Despite all the <a href="https://www.dailywire.com/news/ed-harris-said-he-almost-quit-dutton-ranch-get-me-the-f-out-of-here">complaining</a> he did about the significance of his role on “Dutton Ranch,” actor Ed Harris will reportedly be returning for season two.
Per sources who spoke with <a href="https://deadline.com/2026/07/ed-harris-returning-dutton-ranch-season-2-showrunner-change-1236999568/">Deadline</a>, the second season of the popular “Yellowstone” spinoff has already been picked up by the network, and Harris’s character will be part of the story to some degree.
Harris, 75, made headlines earlier this week after going on a rant about how small his role was in the show. He did eventually admit that he thought the series was “pretty good” overall.
“Midway through the first season, I was ready to say, ‘get me the f*ck out of here,’ to tell you the truth,” Harris said on the red carpet for Apple TV’s “The Dink.” “I didn’t feel I was being used. I felt very misled. Prior to signing on for it, I was talked to quite a bit about what the season was, and what my character was going to do, and that I was one of the four main characters. And that wasn’t really the case.”
He brought up how one scene of him singing in a bar got cut from the finished product. “They said it was too ‘up’ for the dark ending of the episode … I’m like, ‘F*ck you people!’ That, to me, is reason enough to say, ‘I’m voiding my contract,’” Harris said.
“Dutton Ranch” showrunner Chad Feehan left the series ahead of the premiere due to behind-the-scenes friction. The Deadline sources claimed that this was potentially due to how Harris’s character arc was handled, and said the actor was involved in choosing Feehan’s replacement. Paramount+ has not issued any public statements on these claims.
“Yellowstone” creator and “Dutton Ranch” executive producer Taylor Sheridan has made it a habit to underutilize big stars. He’s addressed this in the past, saying he’s well aware it can cause controversy. He did the same with Demi Moore on “Landman.”
“The critics are going to come after me. I’m underutilizing [Moore], can’t write for women, all this nonsense. Then I’m going to kill your husband and you’re going to have to run the oil company. The critics and me … I don’t care what they think, and it annoys the sh*t out of them that I don’t care. I’ll be the first to tell you that there are things that I do that rage-bait them a bit, and this is one of them. F*ck ’em, honestly,” Sheridan said last month, as The Daily Wire previously reported.

Ed Harris

Ed Harris’ Future On ‘Dutton Ranch’ Revealed After He Complained About Role In First Season

Celebrities

Entertainment

Hollywood

Paramount

Taylor Sheridan

Television

Actor Ed Harris said he hasn’t been happy with his role on the Taylor Sheridan drama “Dutton Ranch” and even considered breaking his contract to get out of it.
The 75-year-old star plays Everett McKinney, an ally to Beth Dutton and Rip Wheeler, on the popular “Yellowstone” spinoff show. But he <a href="https://variety.com/2026/tv/news/ed-harris-misled-dutton-ranch-paramount-taylor-sheridan-1236816999/">told</a> Variety he believed the role was going to be more significant, which led to negative feelings.
“Midway through the first season, I was ready to say, ‘get me the f*ck out of here,’ to tell you the truth,” Harris said on the red carpet for Apple TV’s &#8220;The Dink.&#8221; &#8220;I didn’t feel I was being used. I felt very misled. Prior to signing on for it, I was talked to quite a bit about what the season was, and what my character was going to do, and that I was one of the four main characters. And that wasn’t really the case.&#8221;
<blockquote class="twitter-tweet">
Ed Harris says he felt “misled” about his “inconsequential” role on “Dutton Ranch,” and that halfway through filming Season 1, he was telling his team to “get me the f&#8212; out of here.”
“Prior to signing on for it, I was talked to quite a bit about what the season was, and what… <a href="https://t.co/StmmazVogC">pic.twitter.com/StmmazVogC</a>
— Variety (@Variety) <a href="https://x.com/Variety/status/2079417877577544079?ref_src=twsrc%5Etfw">July 21, 2026</a></blockquote>
<script async src="https://platform.x.com/widgets.js" charset="utf-8"></script>
“I said, ‘I’m feeling underused and inconsequential,’ and they kind of went, ‘Oh,&#8217;” Harris said. “I’m being told my character will have a little bit more to do [in Season 2]. I was just a little frustrated, to tell you the truth,” he added, saying his commitment was for two seasons.
“When I watched the season, it’s fine, it’s pretty good. It seemed like I was relatively important to the story, but the doing of it didn’t feel that way,&#8221; he explained. &#8220;What really pissed me off, to tell you the truth, is the first episode, or the second, they told me before I got to sign on that you get to sing in the bar … and they cut it! They said it was too ‘up’ for the dark ending of the episode … I’m like, ‘F*ck you people!’ That, to me, is reason enough to say, ‘I’m voiding my contract.&#8217;”
Sheridan has been criticized for underutilizing big stars in the past and later expanding their roles, which is what he did with Demi Moore on “Landman.”
“The critics are going to come after me. I’m underutilizing [Moore], can’t write for women, all this nonsense. Then I’m going to kill your husband and you’re going to have to run the oil company. The critics and me … I don’t care what they think, and it annoys the sh*t out of them that I don’t care. I’ll be the first to tell you that there are things that I do that rage-bait them a bit, and this is one of them. F*ck ’em, honestly,” he said last month, as The Daily Wire previously <a href="https://www.dailywire.com/news/taylor-sheridan-on-his-critics-i-do-rage-bait-them-fck-em-honestly">reported</a>.
“Dutton Ranch” debuted on Paramount+ in May.

Ed Harris Said He Almost Quit ‘Dutton Ranch’: ‘Get Me The F*** Out Of Here’

Do not pass go, but maybe collect $2 million? 
Netflix just announced a new game show idea based on one of the most iconic board games of all time. The streaming giant said it will begin casting for a reality competition show inspired by the Hasbro sensation Monopoly.
Per <a href="https://variety.com/2026/tv/news/netflix-monopoly-competition-series-casting-1236809961/">Variety</a>, contestants will use strategy and build alliances as they navigate a life-sized Monopoly Town Square, all in pursuit of the $2 million grand prize. That means buying up properties and collecting cash to avoid going bankrupt. The players who lose all their money will get sent home.
Monopoly is scheduled to air on Netflix beginning in fall 2027 and is being made in partnership with Hasbro Entertainment and Studio Lambert, which is also responsible for popular game shows including “Squid Game: The Challenge” and “The Circle.”
It’s not Netflix&#8217;s only big adaptation in the works. &#8220;Wonka’s The Golden Ticket,&#8221; which will be based on the Roald Dahl novel “Charlie and the Chocolate Factory,” will premiere this September.
Casting is currently open as Netflix searches for 12 players who think they have what it takes, or at least who have the stamina to actually finish the game without getting in a massive brawl and flipping the board before storming off. 
The news was met with mixed reactions online and comes on the heels of rumors that Netflix has <a href="https://www.dailywire.com/news/netfilx-lost-the-plot">lost the plot</a>, with the majority of its new shows <a href="https://www.dailywire.com/news/netflix-viewers-abandon-shows-in-droves-after-one-season-and-the-audience-has-feedback?author=Amanda+Harding&amp;category=News&amp;elementPosition=undefined&amp;row=0&amp;rowType=Vertical+List&amp;title=Netflix+Viewers+Abandon+Shows+In+Droves+After+One+Season%2C+And+The+Audience+Has+Feedback">never being renewed</a> for a second season. Subscribers have complained about the long wait between seasons, plus the temptation to binge watch a single series and forget about it shortly after. 
The streamer also turned its big hit “Squid Game” with its 265 million views into a game show. The game show based on “Squid Game,” however, failed to put up such impressive numbers as the original show.

Monopoly

Netflix Is Turning America’s Favorite Board Game Into A Reality Show

Netflix

Reality TV

Netflix has had some hits. The series finale of “Stranger Things,” for example, pulled in 31.3 million views worldwide, and it wasn’t even the streamer’s biggest show. That would be “Squid Game,” season one of which achieved 265.2 million views. Season one of the second-biggest series, “Wednesday,” released in 2022, drew 252.1 million views. Season two of “Wednesday,” released in 2025, dropped to 119.3 million views. Season three is slated for release in 2027 – that’s three seasons in five years.
Since Netflix began offering original programming, though, it’s canceled <a href="https://www.imdb.com/list/ls562757142/">85 series</a>, at least at the time of writing. The problem is that those cancellations are basically Netflix’s specialty. While easy to attribute the gaps between seasons to the dropoff in numbers, and thus the need to cancel, it’s not just that, though the gaps are ridiculous. It’s the business model. It lives to cancel series. And while the service is profitable, it also sucks. Killing programming shouldn’t be the goal of production studios.
Substacker Aakash Gupta has a theory about why Netflix suffers in a way that, say, HBO Max does not. On X, he <a href="https://x.com/aakashgupta/status/2074032098219061359">posited</a> that the gaps punish Netflix twice. That is, since it releases series all at once, it encourages bingeing, but then when people have to wait years for another season, they’ve lost interest. HBO Max, which also has ridiculous gaps between seasons, at least draws them out, forcing people to wait between episodes. That creates a stickier product because viewers invest months in each season rather than a weekend.
This could be accurate – or not. Streaming services don’t like sharing their data because it could be used by competitors. Perhaps it is that Netflix’s internal metrics reveal a <a href="https://www.newsweek.com/netflix-keeps-canceling-shows-prematurely-why-1971080">much less popular</a> show than it would seem to viewers. On the other hand, it could be that the company is simply quick to cancel rather than putting in the effort to develop a show, such as network favorite “The Office,” with <a href="https://www.newsweek.com/netflix-keeps-canceling-shows-prematurely-why-1971080">massive potential</a>.
This happens, or at least used to happen, more than people realized. “Seinfeld” had a <a href="https://www.imdb.com/title/tt0098904/ratings/?newac=true">weak start</a>, something even we fans have to admit. “Cheers,” which ended up wildly successful, was <a href="https://en.wikipedia.org/wiki/Cheers#:~:text=After%2520premiering%2520in,of%2520117%2520nominations.">almost canceled</a> in its first season. “Futurama” has been canceled twice, with its final season streaming this year.
This isn’t a phenomenon that’s unique to television, either. Many bands and artists that ended up with long, successful careers started off with <a href="https://www.reddit.com/r/Music/comments/snlqsg/successful_artists_whose_first_albums_were_flops/">a flop or two</a>. Bruce Springsteen, Hall and Oates, Genesis, Pantera, Tori Amos, David Bowie, Shakira, Black Sabbath, Bob Dylan, and Bon Jovi all would’ve been axed had they been streaming shows. Musicians and bands, though, can bypass the studio gatekeepers much more easily now. For starters, the barriers to entry are much lower than they once were. They don’t need recording studios, just some equipment, an interface, and a laptop. Second, once they have a product, they can simply upload it to Spotify, SoundCloud, Beatport, and YouTube.
Unless, God forbid, AI becomes a popular way to produce video content, it still costs money to make a show. And unlike music, a field which also became more ruthless when sabermetrics came to dominate all, it’s not as easy for those who want to make it to bypass those gatekeepers. Gone are the days of deciders with good instincts willing to take a chance on a product. Now, it’s all analytics. (Unrelated, but please comment and share this article, and subscribe if you don’t already do so.)
And there is nothing inherently wrong with an analytical approach to business. The problem is when the business of art, which is what streaming platforms sell, becomes purely analytically driven. No, something like “Eastbound and Down” isn’t what people would traditionally consider art, but when you really dig into just how <a href="https://medium.com/@joeimbruglia/shakespeares-filthy-sense-of-humor-4ec53a62bed8">juvenile and vulgar Shakespeare was</a>, you gain an appreciation for how sometimes being really old can change people’s perceptions.
Incidentally, “Eastbound and Down,” an HBO show, is a more modern example of beating the system, even though it aired on cable. Part of its brilliance was Danny McBride’s. The show was filmed in North Carolina. Although there were family concerns, a major reason was the lack of direct flights from <a href="https://www.aol.com/articles/danny-mcbride-says-ditching-la-153512621.html">L.A. to Wilmington</a>, which allowed them to create season one without interference from the executives. Season one was successful, and the studio trusted them moving forward.
Now, though, the execs are always watching, keeping up with the numbers, canceling without compunction. And while it makes money, the modern system, particularly as Netflix employs it, doesn’t tend to create the lasting sort of programming that the old ways did. For even though “Stranger Things” closed out with strong numbers, it also closed out with a very anticlimactic ending, after only five seasons over nine and a half years.
As things currently stand, the Netflix formula is unlikely to change unless its profits turn south. Which is a shame, because the future would be better with a return to executives looking to make not just money, but also great programming, even if the numbers don’t initially justify keeping a show on for another season. Step one is to get rid of the ridiculous gaps and the focus on bingeing. Both are overrated, and as the push notification from the Wall Street Journal I received while writing this suggests, they actually aren’t working out so well for <a href="https://www.wsj.com/business/media/netflix-is-exploring-live-tv-and-bundles-as-it-struggles-to-keep-viewers-hooked-e1eb28f6?st=x5ms9P&amp;reflink=desktopwebshare_permalink">maintaining overall engagement</a>.
The proposed solution? Adding live television, which is a <a href="https://www.dailywire.com/news/the-streaming-trap-we-all-fell-for">revolutionary idea</a>. In any case, maybe it’s not that analytics are bad after all, but how the executives <a href="https://youtu.be/kEwFYPQtswo?si=HNJY_f1P4rGhRTbN&amp;t=100">respond to them</a>.
***
Rich Cromwell is a writer living in Northwest Arkansas. He produces the Cookin&#8217; Up a Story podcast, which you can listen to <a href="https://podcasts.apple.com/us/podcast/cookin-up-a-story/id1624969096">here</a>. You can also follow him on X: @rcromwell4

Netflix Lost The Plot

DW Opinion

streaming

TV writer Rebecca Sonnenshine recently defended making her latest project, a reboot of the beloved series “Little House on the Prairie,” a lot more woke.
At this point, it would be more surprising if she had left politics out of it. And to hear her tell it, the word “woke” has lost its meaning anyway. But Sonnenshine did go on record defending the aspect of the new storyline which conservatives are most likely to take issue with, namely, making a local Native American family a key feature of the show despite them not being featured prominently in the best-selling books.
While Laura Ingalls and her family are still main characters, much attention is paid to the mixed-race Osage family, the Mitchells, as Variety noted in an <a href="https://variety.com/2026/tv/news/netflix-little-house-on-the-prairie-woke-comments-tradwife-1236804646/">interview</a> with the showrunner.
“As an adult, everything is different. Especially ‘Little House on the Prairie,’ it’s all about the Osage,” Sonnenshine says. “The Osage are all over that book, but we don’t know them at all. And I thought, well, we have to know them. I have to figure out a way that we can know them, and how do you do that? Trying to create a family that parallels the Ingalls. I had to do a lot of research to figure out how to do that, and I did and we worked with a story consultant named Robert Warrior,” Sonnenshine told the outlet. 
“I’m not even sure what ‘woke’ means to people anymore, to be honest,” she went on. “I know what I think it means, which is the definition of it being aware and alert to social injustice and prejudice, in particular racial prejudice. So, when people say, ‘I hope it’s not woke,’ I think, ‘Really? Oh, that’s interesting.’ But I don’t think people are using it in that manner; I think it’s just become a catch-all word for things that I don’t quite understand. If I had to sum it up, what people are afraid of is that something from their childhood will be portrayed in a way that scares them.”
Sonnenshine reiterated what she’s “been saying from the beginning,” which is, “I feel like people are worried for no reason.”
A Slate reviewer <a href="https://slate.com/culture/2026/07/little-house-on-the-prairie-netflix-series-2026-reboot-laura-ingalls-wilder.html">agreed</a> that the “Little House” reboot has indeed been altered to suit progressive sensibilities. 
“There’s no other way for me to put this: Netflix did indeed woke-ify Little House on the Prairie,” wrote Rebecca Onion. “This new version makes a deep bow to contemporary concerns about the politics of the source material. Some of the Ingalls family’s closest new friends on the show are an Osage couple, a black doctor and black storekeeper, and a French Canadian woman who wears trousers and practices free love.”
She also notes a new antagonist in the form of a stodgy, traditionalist family. 
“Netflix’s Ingalls family are good people, even by 2026 standards, and you can see it in contrast with the Jameses,” she writes. “The Jameses are town-dwelling rich folk who don’t appear in the Little House books but seem to be an adaptation of the Oleson family … The Jameses’ vision for Independence — hierarchy,  respectability, a church, a school — first seduces, then repels, the more gentle-minded Ingallses, Ma and Mary. The James matriarch, Jemma, played by Mary Holland, brings a welcome comedic hateability to this sunny show.” 
Prominent conservatives predicted this long before it happened. Podcast host Megyn Kelly <a href="https://x.com/megynkelly/status/1884765394914681141">posted</a> on X in January, “Netflix, if you woke-ify ‘Little House on the Prairie’ I will make it my singular mission to absolutely ruin your project.” 
This prompted actress Melissa Gilbert, who starred on the original “Little House” series for nine seasons between 1974 and 1982, to reply, “Ummm…watch the original again. TV doesn’t get too much more ‘woke’ than we did. We tackled: racism, addiction, nativism, antisemitism, misogyny, rape, spousal abuse, and every other ‘woke ‘ topic you can think of. Thank you very much.”
Gilbert has been making headlines lately as she defends her husband, Timothy Busfield, amid allegations of child sexual abuse.
The new Little House on the Prairie adaptation debuted all 8 episodes of its first season on Netflix on July 9. The show has been officially renewed for a second season.

Little House on the Prairie

Yes, The ‘Little House On The Prairie’ Reboot Went Woke

Wokeness

The 2026 <a href="https://www.cnn.com/2026/07/08/entertainment/emmy-award-nominations-2026">Emmy nominations</a> were released on Wednesday, delivering several surprise nominees alongside a handful of notable snubs. 
“The Pitt” led all series with 25 nominations. The comedy-drama “Hacks” followed with 24 total noms in its final season, while HBO Max dominated all other outlets with 122 nominations overall, including three shows up for both Best Overall Drama and Best Overall Comedy.
One of the surprise hits was “Widow’s Bay,” a buzzy, unique horror-comedy on Apple TV starring Matthew Rhys, which earned 19 nominations. It gained traction several weeks after its debut thanks to word of mouth and rave reviews from critics.
The New York Times reviewer said of the Apple TV offering, “A laugh and a scare are different outcomes of the same achievement, a good surprise, and ‘Widow’s Bay’ has more of those than there are fish in the sea.”
Filmmaker Guillermo del Toro called the series “one of the most mesmerizing acts of narrative prestidigitation in horror” and even, “the best streaming series in a long time.”
“Pluribus,” a hit from famed creator Vince Gilligan, got 18 total nominations, including a Best Actress in a Drama nomination for “Better Call Saul” alum Rhea Seahorn. 
Apple TV also landed Best Comedy Series nominations for “Margo’s Got Money Troubles” and “Shrinking.”
Stephen Colbert has <a href="https://www.dailywire.com/news/america-waves-goodbye-to-stephen-colbert-as-trump-lands-a-final-parting-shot">made a lot of noise</a> after his “Late Show With Stephen Colbert” got canceled, but the show ended up with the most nominations ever in its 11-year run, scoring 9 total. 
Notable snubs this year include “The Bear,” which earned a few nominations but fewer than in prior years, and no Best Actor recognition for Jeremy Allen White.
Here is a list of the major nominations:
Outstanding Drama Series
<ul>
<li style="font-weight: 400;">“The Diplomat”</li>
<li style="font-weight: 400;">“The Gilded Age”</li>
<li style="font-weight: 400;">“A Knight of the Seven Kingdoms”</li>
<li style="font-weight: 400;">“Paradise”</li>
<li style="font-weight: 400;">“The Pitt”</li>
<li style="font-weight: 400;">“Slow Horses”</li>
<li style="font-weight: 400;">“Your Friends &amp; Neighbors”</li>
</ul>
Outstanding Comedy Series
<ul>
<li style="font-weight: 400;">“Abbott Elementary”</li>
<li style="font-weight: 400;">“The Bear”</li>
<li style="font-weight: 400;">“Margo’s Got Money Troubles”</li>
<li style="font-weight: 400;">“Nobody Wants This”</li>
<li style="font-weight: 400;">“Only Murders in the Building”</li>
<li style="font-weight: 400;">“Shrinking”</li>
<li style="font-weight: 400;">“Widow’s Bay”</li>
<li style="font-weight: 400;">“Hacks”</li>
</ul>
Outstanding Limited Series
<ul>
<li style="font-weight: 400;">“All Her Fault”</li>
<li style="font-weight: 400;">“The Beast In Me”</li>
<li style="font-weight: 400;">“Beef”</li>
<li style="font-weight: 400;">“DTF St. Louis”</li>
<li style="font-weight: 400;">“Love Story: John F. Kennedy Jr. &amp; Carolyn Bessette”</li>
</ul>
Outstanding Lead Actor in a Drama Series
<ul>
<li style="font-weight: 400;">Sterling K. Brown – “Paradise”</li>
<li style="font-weight: 400;">Gary Oldman – “Slow Horses”</li>
<li style="font-weight: 400;">Mark Ruffalo – “Task”</li>
<li style="font-weight: 400;">Rufus Sewell – “The Diplomat”</li>
<li style="font-weight: 400;">Noah Wyle – “The Pitt”</li>
</ul>
Outstanding Lead Actress in a Drama Series
<ul>
<li style="font-weight: 400;">Carrie Coon – “The Gilded Age”</li>
<li style="font-weight: 400;">Chase Infiniti – “The Testaments”</li>
<li style="font-weight: 400;">Keri Russell – “The Diplomat”</li>
<li style="font-weight: 400;">Rhea Seehorn – “Pluribus”</li>
<li style="font-weight: 400;">Zendaya – “Euphoria”</li>
</ul>
Outstanding Supporting Actor in a Drama Series
<ul>
<li style="font-weight: 400;">Patrick Ball – “The Pitt”</li>
<li style="font-weight: 400;">Billy Crudup – “The Morning Show”</li>
<li style="font-weight: 400;">Shawn Hatosy – “The Pitt”</li>
<li style="font-weight: 400;">Gerran Howell – “The Pitt”</li>
<li style="font-weight: 400;">Jack Lowden – “Slow Horses”</li>
<li style="font-weight: 400;">Tom Pelphrey – “Task”</li>
<li style="font-weight: 400;">Carlos-Manuel Vesga – “Pluribus”</li>
</ul>
Outstanding Supporting Actress in a Drama Series 
<ul>
<li style="font-weight: 400;">Taylor Dearden – “The Pitt”</li>
<li style="font-weight: 400;">Fiona Dourif – “The Pitt”</li>
<li style="font-weight: 400;">Allison Janney – “The Diplomat”</li>
<li style="font-weight: 400;">Katherine LaNasa – “The Pitt”</li>
<li style="font-weight: 400;">Sepideh Moafi – “The Pitt”</li>
<li style="font-weight: 400;">Julianne Nicholson – “Paradise”</li>
<li style="font-weight: 400;">Karolina Wydra – “Pluribus”</li>
</ul>
Outstanding Lead Actress in a Comedy Series
<ul>
<li style="font-weight: 400;">Quinta Brunson – “Abbott Elementary”</li>
<li style="font-weight: 400;">Ayo Edebiri – “The Bear”</li>
<li style="font-weight: 400;">Elle Fanning – “Margo’s Got Money Troubles”</li>
<li style="font-weight: 400;">Lisa Kudrow – “The Comeback”</li>
<li style="font-weight: 400;">Jean Smart – “Hacks”</li>
</ul>
Outstanding Lead Actor in a Comedy Series
<ul>
<li style="font-weight: 400;">Yahya Abdul-Mateen II – “Wonder Man”</li>
<li style="font-weight: 400;">Steve Carell – “Rooster”</li>
<li style="font-weight: 400;">Matthew Rhys – “Widow’s Bay”</li>
<li style="font-weight: 400;">Jason Segel – “Shrinking”</li>
<li style="font-weight: 400;">Martin Short – “Only Murders in the Building”</li>
</ul>
Outstanding Supporting Actress in a Comedy Series
<ul>
<li style="font-weight: 400;">Dale Dickey – “Widow’s Bay”</li>
<li style="font-weight: 400;">Hannah Einbinder – “Hacks”</li>
<li style="font-weight: 400;">Janelle James – “Abbott Elementary”</li>
<li style="font-weight: 400;">Kate O’Flynn – “Widow’s Bay”</li>
<li style="font-weight: 400;">Michelle Pfeiffer – “Margo’s Got Money Troubles”</li>
<li style="font-weight: 400;">Megan Stalter – “Hacks”</li>
<li style="font-weight: 400;">Jessica Williams – “Shrinking”</li>
</ul>
Outstanding Supporting Actor in a Comedy Series
<ul>
<li style="font-weight: 400;">Colman Domingo – “The Four Seasons”</li>
<li style="font-weight: 400;">Paul W. Downs – “Hacks”</li>
<li style="font-weight: 400;">Harrison Ford – “Shrinking”</li>
<li style="font-weight: 400;">Nick Offerman – “Margo’s Got Money Troubles”</li>
<li style="font-weight: 400;">Stephen Root – “Widow’s Bay”</li>
<li style="font-weight: 400;">Michael Urie – “Shrinking”</li>
<li style="font-weight: 400;">Tyler James Williams – “Abbott Elementary”</li>
</ul>
Outstanding Lead Actor in a Limited Series or TV Movie
<ul>
<li style="font-weight: 400;">Riz Ahmed – “Fate”</li>
<li style="font-weight: 400;">Jason Bateman – “Black Rabbit”</li>
<li style="font-weight: 400;">Charlie Hunnam – “Monster: The Ed Gein Story”</li>
<li style="font-weight: 400;">Oscar Isaac – “Beef”</li>
<li style="font-weight: 400;">Matthew Rhys – “The Beast In Me”</li>
</ul>
Outstanding Lead Actress in a Limited Series or TV Movie
<ul>
<li style="font-weight: 400;">Claire Danes – “The Beast In Me”</li>
<li style="font-weight: 400;">Sally Field – “Remarkably Bright Creatures”</li>
<li style="font-weight: 400;">Carey Mulligan – “Beef”</li>
<li style="font-weight: 400;">Sarah Pidgeon – “Love Story: John F. Kennedy Jr. and Carolyn Bessette”</li>
<li style="font-weight: 400;">Sarah Snook – “All Her Fault”</li>
</ul>
Outstanding Supporting Actor in a Limited Series or TV Movie
<ul>
<li style="font-weight: 400;">Jason Bateman – “DTF St. Louis”</li>
<li style="font-weight: 400;">Richard Gadd – “Half Man”</li>
<li style="font-weight: 400;">David Harbour – “DTF St. Louis”</li>
<li style="font-weight: 400;">Richard Jenkins – “DTF St. Louis”</li>
<li style="font-weight: 400;">Charles Melton – “Beef”</li>
<li style="font-weight: 400;">Nick Offerman – “Death By Lightning”</li>
</ul>
Outstanding Supporting Actress in a Limited Series or TV Movie
<ul>
<li style="font-weight: 400;">Linda Cardellini – “DTF St. Louis”</li>
<li style="font-weight: 400;">Dakota Fanning – “All Her Fault”</li>
<li style="font-weight: 400;">Laurie Metcalf – “Monster: The Ed Gein Story”</li>
<li style="font-weight: 400;">Joy Sunday – “DTF St. Louis”</li>
<li style="font-weight: 400;">Youn Yuh-jung – “Beef”</li>
<li style="font-weight: 400;">Constance Zimmer – “Love Story: John F. Kennedy Jr. &amp; Carolyn Bessette”</li>
</ul>
Outstanding Reality/Competition Series
<ul>
<li style="font-weight: 400;">“Dancing with the Stars”</li>
<li style="font-weight: 400;">“RuPaul’s Drag Race”</li>
<li style="font-weight: 400;">“Survivor”</li>
<li style="font-weight: 400;">“Top Chef”</li>
<li style="font-weight: 400;">“The Traitors”</li>
</ul>
Outstanding Variety Series
<ul>
<li style="font-weight: 400;">“The Daily Show”</li>
<li style="font-weight: 400;">“Jimmy Kimmel Live!”</li>
<li style="font-weight: 400;">“Last Week Tonight With John Oliver”</li>
<li style="font-weight: 400;">“The Late Show With Stephen Colbert”</li>
<li style="font-weight: 400;">“Saturday Night Live”</li>
</ul>
Outstanding Variety Special (Live)
<ul>
<li style="font-weight: 400;">The Super Bowl LX Halftime Show starring Bad Bunny</li>
<li style="font-weight: 400;">The Golden Globes</li>
<li style="font-weight: 400;">The Grammys</li>
<li style="font-weight: 400;">The Oscars</li>
<li style="font-weight: 400;">The Tonys</li>
</ul>

Emmy Awards

Emmy Nominations 2026: Biggest Surprises And Snubs

Emmys

Primetime Emmys

According to a recent Bloomberg <a href="https://www.bloomberg.com/news/newsletters/2026-07-05/netflix-viewers-are-abandoning-shows-after-one-season">report</a>, Netflix audiences have been abandoning shows after one season and not coming back for more.
The report said that “One Piece,” which was one of Netflix’s most-watched shows in 2023, lost more than 30% of its audience for the second season, which debuted in 2026. “Beef” was another popular show for the streaming giant when it launched in 2023. But Bloomberg reported that season two had a massive reduction in audience — more than 70% — in 2026 as well. 
“The Night Agent” lost half of its audience in season two and saw another 35% decline in season three, the outlet noted.
This report has inspired a lot of feedback on social media from TV viewers who mostly say the biggest issue is the long wait between seasons, which didn’t exist before streaming services took over the entertainment industry.
“A television show has 1) approximately 22 episodes, 2) that are 43 minutes in length, 3) that air weekly, 4) every year … Netflix is confused by all four of these criteria,” one commenter <a href="https://x.com/MadcapMcQ/status/2074608223999377907">wrote</a>.
Another person <a href="https://x.com/RaithwallRover/status/2073907596537299359">added</a>, “1. The gap between seasons is too long. 2. The binge model is bad for building long-term emotional investment. You watch all of a season in a week and then forget about it. This is obvious. It’s amazing that after all these years and all their data, they still don’t [realize] it.”
A third commenter said the same, writing, “Too few episodes and seasons too far apart. A series should come out annually. Especially when it’s as short as 6-8 episodes. Taking 2-4 years between seasons. People stop caring. This isn’t a complicated problem.”
Many also called out television&#8217;s shift toward woke messaging and the way leftist elements are often introduced in follow-up seasons. 
“Because: Season 2 (any show) kick off meeting — ‘Ok, good 1st season! In Season 2 we&#8217;re going to bring the special sauce!  Thomas is going to come out as a trans, and his wife will have a lesbian affair with a trans black woman who is [in] a relationship with an underage trans man. &#8230;  This sh*t is gold!!’ And that&#8217;s why Netflix viewers go elsewhere,” one person observed.

Netflix Viewers Abandon Shows In Droves After One Season, And The Audience Has Feedback

“Yellowstone” creator Taylor Sheridan said he really doesn’t care what the critics think and admitted to “rage bait[ing]” them on occasion.
The hit-producing showrunner, who debuted the popular series “Landman” in 2024, <a href="https://www.theringer.com/podcasts/the-bill-simmons-podcast/2026/06/28/nba-trade-reactions-and-more-with-bill-simmons-and-zach-lowe">said</a> during a recent appearance on “The Bill Simmons Podcast” that he doesn’t typically follow the established rules of the entertainment industry.
“I knew when I started writing [I wanted] to simply not do what everyone else was doing,” Sheridan said.
“What everyone else was doing was taking shortcuts, essentially breaking all the very basic fundamental rules of storytelling, because they couldn’t figure out their story. With a movie, you’re supposed to show me what’s happening. The camera is supposed to move the story. The dialogue is supposed to tell me how the people in this world feel about what’s happening or what they hope to do or what they wish they hadn’t done or had done.”
Sheridan said the critics took issue with how he wrote Demi Moore’s character, making her less of a focus in the first season with the intention of stepping up her involvement in season two.
“The critics are going to come after me. I’m underutilizing [Moore], can’t write for women, all this nonsense. Then I’m going to kill your husband and you’re going to have to run the oil company. The critics and me … I don’t care what they think, and it annoys the sh*t out of them that I don’t care. I’ll be the first to tell you that there are things that I do that rage-bait them a bit, and this is one of them. F*ck ’em, honestly.”
Sheridan came down hard on entertainment executives in particular, saying they were not the experts when it comes to telling great stories. 
“It didn’t used to be this way when Steve McQueen was a movie star at Paramount, and Bobby Evans ran the studio because writers were turned loose. Directors were turned completely loose. There weren’t endless rewrites. There weren’t meetings with executives about tone and mood and all this nonsense.”
“By the way, the studio executives and the network executives — these are marketing executives, for the most part,” he went on. “Or maybe they studied law or whatever. Then they came, got a job in the mailroom at CAA or WME, and hated that sh*t. So then they ended up as an intern at some network. Then, through attrition, they find themselves the head of development. Well, what do you know about developing story? You know nothing. So they get terrified, panicked that the audience won’t get it because they actually have no storytellers.”
He said oversight from the executives is stifling. He also noted that he’s not in the business to win awards. 
Sheridan continued, “Our business, at this point, is truly governed by these executives because they’re the ones that are going to determine whether or not your script is going to go into production. They’re going to try and control every element of that.”
“This is not a democracy. There’s no committee. You’re going to pay me and you’re going to give me a bunch of money and I’m going to deliver you these shows. I’m pretty common and I’m going to tell stories that common people are going to understand. That’s most of America,” he said. 
“You’re not going to win no Emmys with me, but I’m not trying to win Emmys. That’s not my goal. My goal is to sit somebody on their couch and move them, make them think, make them laugh, scare the sh*t out of them, excite them. That’s what I want to do, because that’s what I want from a show.”
Sheridan said he has no interest in making shows in Los Angeles anymore, either. 
“The only way you’re getting me back to Los Angeles is if it secedes from the union and I’m drafted into the Army to take it back. It’s the only way,” the showrunner went on. “I love New York. That city’s way, way stronger than whatever political wind is blowing it in any direction, right? Whereas L.A. is built on sand.”
Despite the popularity of “Yellowstone” and contending for nominations for both “The Madison” and “Landman,” Sheridan has famously never won an Emmy Award.

Taylor Sheridan On His Critics: ‘I Do Rage-Bait Them … F*ck ’Em, Honestly’

Landman

“Cheers” co-creator James Burrows has died at the age of 85.
Burrows’ family confirmed his death in a statement, reported by <a href="https://people.com/james-burrows-dead-cheers-co-creator-director-was-85-exclusive-11744793">People</a>. “We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family. For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”
&#8220;Over the course of his unparalleled career, Burrows directed more than 1,000 episodes of television and was instrumental in creating some of the most iconic series ever produced, including The Mary Tyler Moore Show, Taxi, Cheers, Frasier, Friends, Will &amp; Grace, and The Big Bang Theory, among many others,&#8221; the statement went on.
&#8220;But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated.&#8221;
The director is well-known in Hollywood for directing cult classic shows including &#8220;Will &amp; Grace,&#8221; &#8220;Cheers,&#8221; and &#8220;The Mary Tyler Moore Show,&#8221; and for helping to create hit shows including &#8220;Friends,&#8221; &#8220;Taxi,&#8221; and &#8220;Frasier,&#8221; CBS News reported. Burrows directed episodes of &#8220;The Big Bang Theory&#8221; and &#8220;Two and a Half Men,&#8221; as well as the more recent reboot of &#8220;Frasier.&#8221;   
Burrows won 11 Emmy awards and was nominated for many others, the outlet noted.
&#8220;Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television,&#8221; the statement said. &#8220;His influence will continue to be felt for generations through the countless artists he inspired, the stories he helped tell, and the millions of people whose lives were brightened by his work.&#8221;
His family wrote in conclusion, &#8220;Above all else, Burrows was a devoted husband, father, and grandfather. He is survived by his beloved wife, Debbie, his four daughters, and his seven grandchildren. He will be profoundly missed and forever remembered. Our thoughts are with Debbie, his children and grandchildren, his family, friends, collaborators, and all those whose lives he touched. May his memory be a blessing.&#8221;

James Burrows

‘Cheers’ Creator James Burrows Dies At 85

Actor Tim Allen just gave an update on the highly anticipated reboot of “Home Improvement,” saying “personality problems” with one of the actors are at least partially to blame for it never getting off the ground.
“They keep talking about how it could move forward, but they get stuck [because] there are some personality problems right now with the boys,” Allen <a href="https://www.usmagazine.com/celebrity-news/news/tim-allen-on-faith-fatherhood-and-the-toy-story-franchise/">told</a> Us Weekly in an interview published Wednesday. 
This comment likely referred to Zachery Ty Bryan being arrested in November 2025 over a domestic violence violation after previously being arrested for suspicion of DUI, felony assault, and robbery, as the outlet noted. He was also arrested on suspicion of strangling his then-girlfriend in 2020. Bryan starred as one of Allen’s sons in the series, which began when he was 9 years old.
Another blow to any hope of a reboot is that, in 2024, Jonathan Taylor Thomas, who played another son on the show, <a href="https://deadline.com/2024/03/home-improvement-reboot-not-for-patricia-richardson-1235872269/">is</a> no longer “interested in acting,” according to his former co-star Patricia Richardson.
“They’ve got their own issues. I always thought it would be cool if it was a story about them. That’s a little challenging right now, to put it mildly,” the actor added.
The massive hit “Home Improvement” ran for eight seasons from 1991 to 1999. Allen starred as Tim “The Tool Man” Taylor, and the series followed him as he navigated life with his wife and three sons. Allen, who has a real-life love of cars, previously starred in the popular, Trump-friendly sitcom “Last Man Standing” for many years before it was shockingly canceled in 2017.
He is also part of a new sitcom, “Shifting Gears,” which debuted last year. He is well known for voicing Buzz Lightyear in the “Toy Story” franchise. The fifth installment of the popular animated film is due out later this month.
Allen has had a successful Hollywood career by any measure, but his fans say he’s been discriminated against for holding openly conservative views. 
The 72-year-old told Bill Maher earlier this year that DEI policies should not come at the expense of the show’s quality.
“My wife says, ‘Why do you keep saying that?’ And I said, ‘Somebody told me I was like the Tom Brady of sitcoms.’ When they asked me to do a third [show], I said, ‘I thought they were kidding,’” the comedian told Maher, as The Daily Wire previously reported. 
“I don’t know whether my generation … because all the people that I know that I would make it with are either dead or not the right gender, you know, they’re all light-skinned European older men. And that doesn’t fit the DEI thing that everybody wanted.” 
“I didn’t want to get into that. I didn’t want to patronize people. If you’re going to do a sitcom, it’s just got to be funny. You got to have some drama,” Allen said.

Tim Allen

Tim Allen Hints At Behind-The-Scenes Issues Holding Up ‘Home Improvement’ Reboot

“House” actor Hugh Laurie got into an online argument with a journalist, then apologized later for calling her out, saying he was under the influence of alcohol at the time.
&#8220;I&#8217;m sorry if people have been having a go at you because of my tweet,&#8221; the 66-year-old actor <a href="https://x.com/hughlaurie/status/2064076498894836159">wrote</a> in his apology shared on Monday, saying it was &#8220;not at all the plan&#8221; of his initial response to her criticism of the show.
&#8220;I was very slightly drunk and already upset about something that had nothing to do with you,&#8221; Laurie wrote in an X post. &#8220;If it&#8217;s any comfort, I got it in the neck too. I&#8217;m a thin-skinned twat, apparently, even though it wasn&#8217;t my skin.&#8221;
He went on to say he reacted in anger because he was defending the show’s writers. 
The drama started on Saturday when British journalist Janet Murray shared some of her criticisms of “House,” a popular medical drama series that aired for eight seasons beginning in 2004.
“Late to the party, but I&#8217;ve started watching Season 1 of House. Same narrative every episode: Patient has mysterious illness. Hugh Laurie (House) gets diagnosis wrong. Patient nearly dies,” Murray <a href="https://x.com/jan_murray/status/2063310360514363400">wrote</a> in the original post. 
She continued, “Hugh Laurie gets diagnosis wrong again. Gets threatened with being fired. Patient nearly dies again.”
“Hugh Laurie has last minute left-field idea. Gets diagnosis right. Doesn&#8217;t get fired. Eight seasons of this?”
Laurie wrote back in his original response, “Thanks for your critique, Janet. We actually tried a couple of episodes where House (Hugh Laurie) (please put the brackets in the right place) gets it right first time, but they were only 6 minutes long. NBC weren&#8217;t (sic) happy. Then we tried some where House never gets it right and the patient dies. The audience wasn&#8217;t happy.”
“One could apply your trenchant analysis to other art forms: JS Bach wrote 30 Goldberg variations on the same chord structure; Frida Kahlo painted 50 portraits of herself;  Henry Moore, what??”
He added, “The point is, or was, variations on a theme; if all you see is hospital, medical blah blah, then it wasn&#8217;t meant for you. Nonetheless, I look forward to your first novel!”
<blockquote class="twitter-tweet">
Thanks for your critique, Janet. We actually tried a couple of episodes where House (Hugh Laurie) (please put the brackets in the right place) gets it right first time, but they were only 6 minutes long. NBC weren’t happy. Then we tried some where House never gets it right and…
— Hugh Laurie (@hughlaurie) <a href="https://x.com/hughlaurie/status/2063714447084929437?ref_src=twsrc%5Etfw">June 7, 2026</a></blockquote>
<script async src="https://platform.x.com/widgets.js" charset="utf-8"></script>
Murray went on to publish an article in UnHerd about the interaction and the fallout on social media. It was titled, “What I learnt from my online fight with Hugh Laurie.”
&#8220;While it&#8217;s all been rather fun, I do hope @hughlaurie takes the time to read my @unherd article (I&#8217;m sure he can stretch to a subscription),&#8221; Murray wrote in an X post sharing the article on Monday.
&#8220;Because while his witty riposte was genuinely amusing, one point I make in the piece is that it was shared with his 1.2 million followers on X,&#8221; she wrote, comparing it to her paltry audience of just 38,000.
&#8220;That creates something of an imbalance &#8211; particularly given that the responses to my original post were overwhelmingly warm-hearted and affectionate towards the show. The result has been some fairly horrific trolling. It turns out House fans are even more abusive than trans activists (and that’s saying something).&#8221;
She concluded, &#8220;I have enough experience of the media to take it on the chin, as the saying goes. But someone without my background might have found the experience far more distressing.&#8221;

Hugh Laurie

Hugh Laurie Calls Out Journalist Over ‘House’ — Then Has A Very Good Reason For Apologizing

journalist

Twitter

The creator of the popular HBO drama series “Entourage” says he supports Spencer Pratt for mayor of Los Angeles because it makes logical sense.
Doug Ellin said he was radicalized after having his Beverly Hills home burglarized by masked intruders, as he shared on Instagram last week. The 58-year-old screenwriter and director mentioned that five years ago he didn&#8217;t even lock his door, but now says he has 15 cameras, two German Shepherds, and guns. He said “two animals” invaded his house. 
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&#8220;I know they were animals because they invaded my house. I know I don&#8217;t care what their excuses are, like a lot of you f*cking care. I know invaders of homes should get 20 years,” Ellin said in the video, which was shared across multiple social media platforms. 
He continued, “Everyone in my neighborhood has got the same problem: they&#8217;re f*cking all putting cameras and high-end security guards because we&#8217;re all getting broken into. It&#8217;s not made up, it&#8217;s not false, and this city has collapsed in the last five years. There is no f*cking denying it unless you have an agenda, and I don&#8217;t know what that is.”
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The “Entourage” creator went on to shoot down some of the criticisms that have been voiced against Pratt, a former reality star with no political experience, running for mayor.
&#8220;But, you say, &#8216;Oh, Spencer Pratt has no experience!&#8217; &#8230; What experience did Karen Bass have? &#8230;We want to fix this place because we don&#8217;t want to be forced out. I&#8217;m one of the people who made this city look great! I did it for years. I glorified it. I meet people all the time that moved here because of the show that I f*cking created, and they hate it here now. HATE!&#8221;
Ellin’s video is suspected to be a response to a recently published Los Angeles Times article titled, “L.A. is safer than it&#8217;s been in decades, but crime is an issue dominating the mayor&#8217;s race.&#8221; He addressed the Instagram rant to “LA Times gaslighters.” 
Pratt also shared the video last week to social media. The former “Hills” star is polling second behind Bass ahead of the June 2 primary. While Pratt’s odds of winning have increased dramatically in recent months, he still faces an uphill battle in the Democrat stronghold. The last time a Republican won a mayoral race in Los Angeles was in 1997.

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