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Jacob Scipio To Star Opposite Edgar Ramírez In Onyx/Hulu Pilot; Leslie Grace Among Series Regulars

Jacob Scipio To Star Opposite Edgar Ramírez In Onyx/Hulu Pilot; Leslie Grace Among Series Regulars

Yahoo02-07-2025
EXCLUSIVE: Jacob Scipio (Bad Boys for Life, Bad Boys: Ride or Die) is set to co-lead the as-yet-untitled real estate drama pilot ordered by the Onyx Collective for Hulu, opposite Edgar Ramirez. The series regular cast includes Leslie Grace (In The Heights), Mariana di Girolamo (Ema), Liz Caribel Sierra (Dope Thief) and Armando Rivera.
Production To Start July 14 in Toronto.
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From Roberto Patino and Cassius Corrigan, the drama follows a cutthroat battle to dominate the Manhattan skyline, where two rival real estate developers (Ramirez and Scipio) risk everything — wealth, family and their souls — as their ambition turns into obsession, and their partnership turns into war.
Scipio will play Abe Alonso, a wildly ambitious, charismatic up-and-coming real estate developer from the outer boroughs of New York City. He is willing to do whatever it takes to seize the American Dream for his growing family.
Grace will play Val Alonso-Rivera, a passionate architect on a mission to create beautiful, affordable housing amid an industry driven by quick production and cost-cutting at every turn. She is Abe's wife and unwavering partner-in-crime who fiercely protects her family.
Di Girolamo will play Gloria Saladín, a cunning businesswoman married to Moises Saladín (Ramírez), the heir-apparent to a multibillion-dollar real estate empire. Gloria's sights are set on taking over the business with her husband, establishing them as global power players.
Sierra will play as Adela Rivera, Val's sarcastic, willful younger sister who's never seen a rule she didn't want to break, which is perhaps her strongest qualification as Abe's promising development associate.
Rivera will play Diego Saladín, the unpredictable bachelor and black sheep of the Saladín family who harbors ambitions beyond real estate and has a colorful anarcho-capitalist streak.
Patino, who serves as showrunner, Corrigan, Ramírez and pilot director Alonso Ruizpalacios executive produce alongside Oly Obst and Luke Maxwell of 3 Arts, Ramirez, Liz Tigelaar and Stacey Silverman of Best Day Ever, as well as real estate developer Donahue Peebles III, who will serve as technical consultant.
Scipio will next star opposite Madelaine Petsch in Amazon MGM's new romantic comedy, Maintenance Required. He recently starred in Bad Boys: Ride or Die opposite Will Smith and Martin Lawrence. Other credits include Bad Boys for Life, The Expendables 4, The Unbearable Weight of Massive Talent, Pieces of Her opposite for Netflix, Without Remorse, and The Outpost. Scipio will soon star opposite Melissa Leo and Lou Llobell in André Øvredal's untitled horror movie for Paramount. He is represented by CAA, Luber Roklin, and Johnson Shapiro Slewett & Kole.
Grace is a singer and actress whose 2013 debut self-titled album earned her the first of four Latin Grammy nominations and numerous other accolades in the U.S. and Latin America. She was also named one of Variety's 10 Actors To Watch and featured as one of Hollywood Reporter's Next Gen Talents in 2021 for her starring role as Nina in the 2021 film In the Heights. Grace was last seen in The Thicket, In the Summers, and recently starred in and executive produced the Apple-scripted podcast How to Win Friends and Disappear People. She is repped by CAA and 641 Meridian Entertainment Management Group.
Di Girolamo is a Chilean actress best known for her lead role in Ema, directed by Pablo Larraín. She is co-starring alongside John Malkovich and Sam Rockwell in Wild Horse Nine, Martin McDonagh´s upcoming film. She is repped by UTA & IMC Management.
Sierra is a Dominican American actress currently starring opposite Brian Tyree Henry and Wagner Moura in Apple TV+'s limited series Dope Thief, created by Peter Craig and directed by Ridley Scott. Last fall, she starred in Zoe Kravitz's directorial debut, Blink Twice, from MGM. She made her feature debut starring in God's Time, which premiered at the 2022 Tribeca Film Festival and earned her the Special Jury Mention for Best Performance in a U.S. Narrative Feature. She is repped by Sugar23 and Granderson Des Rochers.
Rivera is an up-and-coming Mexican American actor who recently wrapped work on Any Day Now, an indie feature directed by Eric Aronson. He played Danny, the charming, deadbeat, rocker best friend. He also recently led Jesus Celaya's noir short film titled Lucha Noir as Federico, a demon who wishes to live in peace. He is repped by 11:11 Entertainment, Duvall Mac and Jackoway, Austen, Tyerman.
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Critic's Notebook: The Awful Optics of CBS Canceling ‘The Late Show With Stephen Colbert'
Critic's Notebook: The Awful Optics of CBS Canceling ‘The Late Show With Stephen Colbert'

Yahoo

time5 hours ago

  • Yahoo

Critic's Notebook: The Awful Optics of CBS Canceling ‘The Late Show With Stephen Colbert'

In a shocking move that reflected just about every deeply felt insecurity in the TV industry, the entertainment industry and perhaps American media at large, CBS announced on Thursday, July 17, that The Late Show With Stephen Colbert will wrap its run in May 2026, following the 2025-26 broadcast season. Eager to emphasize that this wasn't a Colbert-specific thing, CBS, in its statement, said that the entire Late Show franchise is coming to an end. This isn't quite the same, in historical terms, as the legacy shift that would occur if NBC announced the end of The Tonight Show — The Late Show was David Letterman and then it was Stephen Colbert, not an endless and storied parade of hosts — but it's a degree of finality that few could have expected. More from The Hollywood Reporter Jimmy Kimmel, Elizabeth Warren, Ben Stiller React With Shock Over CBS' Decision to End 'Late Show': "F*** You and All Your Sheldons CBS" 'Late Show' Shocker: CBS Ending Late-Night Franchise in 2026 Joaquin Phoenix Explains Reason Behind That Awkward 'Late Show With David Letterman' Interview Actually, the statement from CBS brass had a lot of things it wanted to emphasize. 'This is purely a financial decision against a challenging backdrop in late night,' the statement read. 'It is not related in any way to the show's performance, content or other matters happening at Paramount.' Methinks the CBS triumvirate — George Cheeks, Amy Reisenbach, David Stapf — doth emphasize too much, because they don't want imaginations to run wild. And therefore, we must trust them, for official purposes. I'm sure that The Late Show With Stephen Colbert is absolutely ending because of a financial decision against the challenging backdrop of late night and it's not related in any way to the show's performance, content or other matters happening at Paramount. The official reasons for the cancellation are whatever they are, and who am I to question the co-CEO of Paramount Global (and president and chief executive officer of CBS), the president of CBS Entertainment and the president of CBS Studios? Nobody. That's who. But official reasons and optics are two different things, and if the folks in charge at CBS didn't know what the optics were, they wouldn't have released a statement saying that what we think we can see with our eyes and infer with our common sense definitely aren't the truth. The optics here may not have any connection to facts, but man the optics here suck — and they suck on a slew of levels that are ALL addressed in the statement as things that we're not supposed to be thinking about but can't help but think about. So it's not related to anything happening at Paramount! Good to know! What could possibly be happening at Paramount? A merger between CBS' parent company, Paramount Global, and Skydance? A massive deal that was seen as a major part of why CBS just settled a lawsuit brought by Donald Trump over details from a Kamala Harris interview that basically everybody in the news business said was standard operating procedure? The deal, of course, requires FCC approval, and the FCC under Trump is looking a lot less like a nonpartisan commission and more like a direct arm of the Trump administration. And what content could the statement possibly be referring to? Well, Colbert was not a huge fan of the settlement. Colbert has not been a huge fan of the president. If you want to send signs to the FCC and Trump that you really want to be allowed to merge with Skydance, canceling a show fronted by one of Trump's most vocal comic opponents would be a great way of saying, 'Hey, we're playing ball here!' If Trump hasn't already enthusiastically gloated on social media about getting Colbert fired — which he definitely didn't do, because CBS' statement definitely says he didn't do it — he's bound to. (Update: He did on Friday morning.) Then again, Colbert isn't going anywhere for 10 months and it's hard to imagine him agreeing to stick around for a swan song in which his content is being restricted by the network that canceled the show. So let's assume that he's going to spend a season lampooning Trump, even as a lame duck. I wouldn't even say that Colbert has been Trump's stiffest critic in the talk show space. John Oliver is aggressive in his analysis on HBO, thumbing his nose at corporate parents who, all things considered, might prefer that he not do that. Jimmy Kimmel is toward the tail-end of a multi-decade journey from jovial, trampoline-loving young man to angry, dogmatic middle-aged man, eviscerating the current administration at every turn. No matter who is hosting on any given night, The Daily Show takes pride in taking shots at whoever is in power, finding shots at Trump to be particularly easy to come by. The 'A Closer Look' segment on Late Night With Seth Meyers rivals Last Week Tonight as TV's most scathing deep dive into whatever is most immediately infuriating in the current landscape. There are less political talk show hosts. Jimmy Fallon plays his various games and goofs around with celebrities and, you know what? There's room for that! (I want nothing to do with it, but that's OK, too.) And when Seth Meyers isn't taking closer looks, sometimes he's just drinking with stars or making fun of his own errors. And you know what? There's room for that! And if Netflix would renew Everybody's Live With John Mulaney, I'd like to believe there's room for doing a talk show episode blindfolded or fighting a trio of 14-year-old boys on live television. Or is there? As the CBS statement wanted to emphasize, this is about 'a challenging backdrop in late night.' Even before All of This, CBS had already ended The Late Late Show after James Corden departed, replacing it with After Midnight, only to cancel After Midnight when host Taylor Tomlinson opted to focus on other professional projects. At some point, CBS might just air whatever procedural or reality show is in the 10 p.m. slot, kick to local news and then play the national anthem and go black, just like back in the good old days. And might everybody else do the same? Talk shows aren't watched like they used to be. Sure, they're one of the best vehicles going for movie stars looking to promote their latest aspiring blockbuster or politicians looking to show they have a sense of humor, but it's been 10 years of increased focus on YouTube and viral clips and nobody has quite figured out how to eliminate the pesky 'late night television show' aspect of things. But it sure feels like they want to try! So the reasons CBS is actually ending The Late Show With Stephen Colbert are what they are. The reasons it FEELS like CBS is ending The Late Show With Stephen Colbert FEEL like they include a precarious situation in which a multibillion-dollar corporate deal might hinge on doing everything possible to kowtow to a commission that isn't supposed to be political, but absolutely is; a political climate in which outspoken opponents to the current regime are more vulnerable than ever before to silencing ripples; and an entertainment economic landscape in which one of the most venerable of television genres is no longer profitable, and thus might go the way of live anthology drama and broadcast Westerns. And even if none of those things has anything to do with anything … It sure looks awful. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword

Former NPR CEO: ‘This has not been a great week for free speech'
Former NPR CEO: ‘This has not been a great week for free speech'

The Hill

time12 hours ago

  • The Hill

Former NPR CEO: ‘This has not been a great week for free speech'

Former NPR CEO Vivian Schiller criticized CBS's canceling of Stephen Colbert's show in a Saturday interview amidst pushback of a decision that the network said was made due to financial constraints. 'This has not been a great week for free speech and speaking truth to power, without a doubt,' Schiller said on MSNBC. CBS has garnered criticism for the move, which many took in the context of its decision earlier this month to settle a lawsuit brought by President Trump for $16 million. CBS's parent company, Paramount, is currently seeking federal approval for a merger deal with entertainment conglomerate Skydance. Colbert panned CBS's move afterwards, calling the settlement a 'big fat bribe' in his monologue and pointing out Paramount's merger effort. Paramount's lawyers had previously characterized the lawsuit, which took issue with CBS's editing of an interview with former Vice President Harris, as 'without basis in law or fact.' Schiller acknowledged Saturday that the evidence around the cancellation of 'The Late Show with Stephen Colbert' was 'circumstantial,' but still called the move 'curious.' The network has maintained that the decision was motivated by financial concerns. 'We have to also make note that Stephen Colbert is unafraid to, again, speak truth to power,' the former NPR executive said. 'He does it in a very bipartisan way over the years, and comedy and parody is an important part of a democratic ecosystem.' Schiller's comments come after a difficult week for NPR, the media organization she helmed for three years. Republicans voted to zero out funding for the Corporation for Public Broadcasting, a nonprofit that provides a small slice of money to NPR's national headquarters and a significant portion of revenue for the broadcaster's member stations. Schiller told NPR's media reporter this week that she thought the loss of federal funds was inevitable, and that the network should have better prepared itself ahead of the vote by Congress. 'Any evidence-based news organization that reports critically is going to be accused of left-wing bias,' she said. 'Journalism and government funding in the United States — those two things are incompatible.' Schiller exited NPR in 2011 over her own controversy surrounding federal funding. Republicans at the time were threatening to cut the broadcaster's funding when video surfaced of a prominent NPR fundraiser attacking Tea Party activists.

Breaking Down the Twists and Reveals in the Ending of Netflix's 'Untamed'
Breaking Down the Twists and Reveals in the Ending of Netflix's 'Untamed'

Time​ Magazine

time12 hours ago

  • Time​ Magazine

Breaking Down the Twists and Reveals in the Ending of Netflix's 'Untamed'

Warning: This post contains spoilers for Untamed. The temptation is strong to classify Untamed, the new series from screenwriter Mark L. Smith and his daughter Elle Smith, as Netflix's answer to Paramount's Yellowstone. In fact, it's not wrong to at least assume as much; when one studio makes a cool $2 billion from their neo-Western surprise smash, a non-zero number of competing studios will inevitably scramble to fund their own. But if Untamed is a product of the ongoing content arms race between cable networks and streaming services, it is nonetheless a better genetic match to Top of the Lake, Jane Campion's 2013 New Zealand mystery drama, whose skeletal structure reads like the unintended template for television's modern crop of regional detective dramas. Untamed, like Yellowstone, concerns itself with one of America's best ideas: its national parks. But it's also a trim limited series rooted in the stuff of parenthood, like Top of the Lake—the sins of the father (and the mother, for good measure), self-doubt, overwhelming powerlessness, and lots of grief. No conflict is had between the old ways and the new, so to speak, not even in context with white settlers' theft of Indigenous land. Instead, the show excavates the souls of its co-leads, Kyle Turner (Eric Bana), an Investigative Services Branch (ISB) agent for the National Park Service in Yosemite; and Naya Vasque (Lily Santiago), an L.A. transplant and NPS newbie, assigned to assist Turner in following the threads of a potential murder case in the park. What they unravel from that skein cuts not only to their cores as parents, but the story's supporting characters' cores, too, from Paul Souter (Sam Neill), Turner's friend, mentor, father figure, and boss as Yosemite's chief ranger, to Jill (Rosemary DeWitt), Turner's ex-wife, who can't resist the gravitational pull of his PTSD. She has her own emotional and moral baggage, too, some that's conventional, and some that's harder to spot, like sunlight glinting off a hunting rifle's scope. Jill takes the hit… Likewise, the reveal of one Sean Sanderson's fate lands one episode too late in Untamed to make an impression on the narrative; it's a missed opportunity by the Smiths to lend Jill necessary character depth. Sanderson (Mark Rankin in a walk-on role) went missing in Yosemite about five years ago in the show's timeline, but his name is brought up frequently in its present. His family is filing a wrongful death suit against the park, and their lawyer, Esther Avalos (Nicola Correia-Damude), visits Turner and Jill alike, sniffing around for information about his disappearance. DeWitt is one of our most casually gifted actors, in that whatever role she plays in whichever medium she chooses, she constitutionally reads as at-ease in her characters; they're lived-in and breathe life through the screen. Jill is no exception. But the guarantee of a good DeWitt performance can't offset Jill's meager profile on the page. She is, like Turner, figuratively haunted by the death of their young son, Caleb (Ezra Wilson), revealed in the series opener, 'A Celestial Event,' to have tragically died prior to Untamed's events–about five years, in fact. Turner is literally haunted, per his recurring conversations with Caleb; it isn't made explicit whether he's an apparition or just a hallucination, but there is nonetheless a ghostly quality to their dialogue together. In keeping with popular male balms for spiritual suffering, Turner turns to alcohol and functions as a mollusk, socially and professionally; his stoicism is an act, one his peers pick up on, and which some openly deride. 'Christ, here comes Gary Cooper,' grouses Milch (William Smillie) when Turner strides on horseback into the scene of the crime that spurs Untamed's A-plot: the murder of Lucy Cook (Ezra Franky), met in 'A Celestial Event' when she leaps off of El Capitan and into the ropes of two climbers ascending the granite monolith—a plunge she doesn't survive. The no-nonsense lawman routine is tired, within the text as well as without—if Milch and the rest of the park staff are done with Turner's schtick, then maybe television writ large should be, too—but at least it's normal. Jill, by contrast, responds to Caleb's death another way altogether. It turns out that Sanderson—he of the missing persons case—is Caleb's killer, whose crime was caught after the fact on motion cameras set up by Shane Maguire (Wilson Bethel), Yosemite's Wildlife Management Officer and staff reprobate. Shane intended those cameras to document animal migration patterns; instead, they reflect Milch's words to Vasquez in the second episode, 'Jane Doe,' that when people trek into the wild, they assume no one's around to watch them, 'so they do whatever bad sh-t pops in their head.' Shane brings this information to Turner and Jill, and offers them revenge in the form of taking out Sanderson. Turner refuses; but Jill accepts. We spend most of the show assuming Turner's change in temperament, following Caleb's death, is the catalyst for his and Jill's divorce. It's a welcome change to the formula that Jill's decision to engage Shane's services is in fact what broke their marriage. If only the Smiths worked that twist into Untamed before the finale. Dropping that grenade on the audience with so little time left to feel the impact does Jill little justice, but DeWitt does, in fairness, invest great pathos in her. As much as it comes as a shock that someone so mild-mannered would turn that dark, the matter-of-factness in DeWitt's delivery reads as confrontational: given the opportunity, would you, fellow parents, make the same choice as her? …but Souter takes a fall There is, of course, another twist to accompany Jill's disclosure to her second husband, Scott (Josh Randall), as we are still awaiting resolution in the matter of Lucy Cook's death. After Turner cleverly unlocks Lucy's iPhone by applying formaldehyde to her corpse's cheeks to dupe its facial recognition biometrics, he discovers that Lucy's heretofore anonymous lover, Terces—'secret' spelled backwards—is actually Shane, and based on videos showcasing him abusing her, not to mention his pro-murder worldview, he looks like the culprit responsible for her ultimate plunge off of El Capitan. But looks are deceiving. Sure, they're not deceiving enough that we feel any kind of pity for Shane when Vasquez gets the drop on him and guns him down, saving Turner's life; unsurprisingly, Turner figures out Shane's involvement in a drug trafficking scheme in Yosemite, moving product in and out of the park through bygone mining tunnels; Shane takes the discovery badly, and nearly kills Turner in a drawn-out hunt over hill and dale. But if Shane is a monster who is guilty in the matter of how Lucy lived, as both her abusive partner and a participant in the drug ring, he is nonetheless innocent in the matter of her death. The real guilty party here is Paul Souter, who also happens to be her biological father, a truth only he and Lucy are privy to. In an abstract perspective, this makes thematic sense. Untamed is about parenthood on a molecular level: the lengths we'll go to protect our children, and the depths we plumb if we're so unfortunate as to mourn them. Vasquez' character arc involves Michael (JD Pardo), her ex-partner on the force and in life, and their son, Gael (Omi Fitzpatrick-Gonzales), whom she took with her to Yosemite for his safety; in flashbacks, we see Lucy with her mother, Maggie (Sarah Dawn Pledge), in happier times, learning about her Miwok ancestry; Paul looks after his granddaughter, Sadie (Julianna Alarcon), while his other, acknowledged daughter, who isn't seen in the show, struggles with personal demons of her own. None of this makes the screenwriting decision to put the burden of Lucy's death on Paul any more welcome or tasteful, though. It's another knife in Turner's back when he's just gotten off of bedrest, post-recovery after his grueling fight with Shane; when he connects a few stray dots that lead him to Nevada, where he meets Faith Gibbs (Hilary Jardine), whose parents fostered a slew of kids, including Lucy. Faith recalls Lucy talking about how her father, a policeman, would come for her one day, and arrest the Gibbs, who severely mistreated their various wards. The gears in Turner's head grind along as she dredges up this memory, and he confronts Paul first thing upon returning to Yosemite. All Paul can do is argue that he only meant the best by whisking her away to the Gibbses, far from her violent stepfather. It's a weak case for the character to make, given the abuse the Gibbses subjected Lucy to, and that when she comes back to the park as an adult to extort Paul, he reacts by accidentally chasing her to her death off of El Capitan–a revelation that feels quite like letting all the air out of a balloon. …and Turner moves on. Consequently, that makes a weaker conclusion for the narrative, one the series can only wrap up by having Paul use his pistol on himself and take a tumble into rushing river waters. Worse, that unceremonious and unearned end robs oxygen from Turner's own catharsis, a black flag at Untamed's last lap. Turner is the lead. His growth as a human being is what we're here for. Paul's increasingly bad decisions throw up a smoke screen around that growth, minutes before the story closes the arc of Turner's self-destructive bereavement. The pivot to Paul's complicity is especially frustrating given the wonderful foundation for Turner's ultimate closure laid out by his friend, former colleague, and Miwok community leader, Jay (Raoul Max Trujillo), in a monologue in the fifth episode, 'Terces,' about the connection he feels to his forebears through his connection to Yosemite's land. 'When it's my time to die, I will die here,' Jay says. 'But if I chose to die somewhere else, I would still have my ancestors with me, because the spirits in this valley are within each one of us.' Turner tearfully echoes the sentiment in 'All Trails Lead Here,' during a final farewell with Caleb's visage. 'No matter where I am, or where I go, you'll always be with me,' Turner chokes. When the credits roll, he's on his way out of Yosemite, the site of his anguish, for good, newly at peace and secure with the memories he has of his beloved son. Untamed incidentally reminds viewers just how vast our country is, at a moment when the world feels smaller than ever–an illusion we perform on ourselves with slavish devotion to our personal devices and social media. Paul's confession and suicide therefore strikes a sour chord on the series' driving motif. Emphasizing the bonds we hold with our loved ones, whether they're with us or not, makes a more fitting ending, for Jill, for Vasquez, and especially for Turner.

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