Latest news with #Emmy-Winning
Yahoo
15-07-2025
- Entertainment
- Yahoo
If ‘The Bear' Season 4 Premieres Without Promotion …
The Bear is out of hibernation. FX premiered the fourth season of its hit fine-cuisine dramedy on Hulu on Wednesday, June 25, which may come as a surprise to you. Ahead of the first season of The Bear, you could not take New York City mass transit without being bombarded by ads for the unknown cooking show starring the guy who played Lip on Shameless. But even commuters couldn't fathom that the billboard they were staring at would turn into the new show of the year, let alone the summer. Ahead of the fourth season, anecdotally, it felt like there were fewer ads on the street — but there sure were plenty on our TikTok feeds. (A spokesperson for FX told us the marketing campaign was as robust as ever.) More from The Hollywood Reporter 'The Bear' Review: FX/Hulu's Culinary Dramedy Stalls Out With a Muted Fourth Season 'Very Young Frankenstein' Comedy in the Works at FX, Mel Brooks Exec Producing How to Watch Emmy-Winning Series 'The Bear' Season 4 Online You've probably also read little season four promotion in the press — like in The Hollywood Reporter, for example — and there are multiple reasons for that. FX had initially set up a junket for The Bear for Monday, June 9. The virtual press conference had a dual purpose: 1) to promote The Bear season four, and 2) to act as an FYC (For Your Consideration) awards campaign for season three. The junket was canceled — a scheduling issue, we were told at the time — and it was not rescheduled. Though we were told that talent would still be available for individual interviews, the show's three leads — Jeremy Allen White, Ebon Moss-Bachrach and Ayo Edebiri — were still 'mostly unavailable due to scheduling,' FX said. (White has the Bruce Springsteen biopic from 20th coming later this year and Moss-Bachrach stars in July's Fantastic Four.) Series regular and executive producer (and former culinary consultant) Matty Matheson was also unavailable, as were other show producers, presumably including series creator and showrunner Christopher Storer. At least they all had time to enjoy a meal at Musso & Frank. OK, so that was just a little spirited ribbing. Of course they should celebrate the premiere for themselves — and this group has to go fine dining. For those not in the entertainment-media business, it is rare to not have producers and major castmembers made available to the press ahead of a new season — and exceedingly rare during awards campaign season. FX won the most Emmys of any network in 2024, so it's not exactly amateur hour for the brand; they known what they're doing and they clearly do it well. TV journalists are usually granted access to screeners ahead of a new season's release. A smaller pool than usual was sent screeners for The Bear season four (and for seasons two and three). FX shared screening links with only a select group of critics, which included (one at) THR. An FX spokesperson told THR that more than 219 critics and reporters were given early access at 108 publications. To be fair, curating a tight list of critics and publications is not a wholly uncommon practice for the highest-caliber of series — HBO does it, too. It is network PR's job to control access and avoid leaks. Screeners are a privilege, not a right — it's just that usually more people are in on that privilege. What critics could and could not do — or rather, when they could or could not do something — with those screeners is a bit weirder. Reviews of The Bear season four were embargoed for publication until 11:15 p.m. PT Wednesday night (which is 2:15 a.m. ET on Thursday), or a seemingly random six hours and 15 minutes after premiering (8 p.m. ET/5 p.m. PT on Wednesday). It wasn't random at all, THR math found. The collective runtime of all 10 season four episodes is precisely — you guessed it — six hours and 15 minutes. So in theory and in practice, a super fan could watch and finish (exactly) the entirety of The Bear season four before the moment a TV critic's review could influence their opinion and action. But that wasn't the point of it, the FX spokesperson said. The embargo was simply an attempt to not spoil information about the season's guest stars or how the season ends. Review embargoes are a very common logistical practice in TV and film, though one's exact timing can sometimes speak volumes about the internally perceived quality of the product. For example, in the movie world, a day-of-release embargo on reviews is often a sign the studio knows its movie sucks. In TV, it is much more nuanced. For example, it has become common for a platform — especially a streaming one — to embargo a review until 12:01 a.m. on the day of a TV premiere. You have to pick a time, and in an industry that barely programs to time slots anymore, the literal first minute of the day on which a new show or a new season is released is as good as any. The embargo for The Bear season four, however, is rare. But it's not the craziest we've ever seen. It's not even the craziest we've seen in the past month or so. For its feature film Ballerina, a spinoff from John Wick, the studio Lionsgate (basically) asked critics to adhere to one embargo for positive reactions and a later one for negative takes. That did not go over well, nor should it have. And we're not suggesting that FX believes The Bear season four stinks — they don't — our belief is that the strict rules surrounding this one reflects the seriousness Storer feels for shielding fans from even the smallest potential spoilers on his show. Again, we have receipts. On the night of the season four premiere, an FX rep emailed media asking that a 'spoiler alert' be issued 'at the top of all detailed reviews/recaps/coverage.' Generally that's just good practice if there are semi-significant spoilers. But FX (and Hulu) didn't even release the episode titles and descriptions for The Bear season four until Thursday. That's maybe a bit much. This precedent here was set well before the new season. For season one, when The Bear was a totally unknown summer show, a combination that rarely results in a flood of Emmys, the 'do not reveal' spoilers list even included the guest casting of Oliver Platt as Carmy's (Jeremy Allen White) uncle. No offense to Platt, but reporting his role is not exactly akin to breaking the next James Bond. We're not saying that's a crazy-egregious example of what goes on inside The Bear's PR machine, but it is an example. FX is generally very press-friendly, which is why much of this feels particularly unusual (and makes it easy, correctly or incorrectly, to presume that Storer is the applying a particular level of pressure here). But FX is also fan-friendly, a job the spokesperson said it must take as seriously as it does its interaction with the media. That can often be a delicate balancing act, the spokesperson said. And they don't always get it right. You know who else doesn't always get things right? The media. But the media loves FX, and we do feel that, typically, it loves us back. Since we've been talking inside baseball throughout this whole story, here's a recent very inside baseball example of the love-fest: When FX's longtime publicity boss, John Solberg, internally announced his plans to retire, many entertainment publications (like THR) covered it as industry news. That's not exceedingly rare, but it is a tip of the cap to Solberg's impact on the business, both professionally and personally. Most (if not all) of us genuinely like John, but John earned the coverage through his accomplishments. As has Solberg's boss, John Landgraf. Landgraf is considered one of the most reputable executives in the business. When he speaks, we cover. Landgraf is a TV genius who has shepherded FX to the top of most critics' lists. (Solberg is the one who fostered those reviews, and the one who oversaw the rules related to The Bear's season four publicity campaign.) Landgraf also famously coined the phrase 'Peak TV' — and in 2024, he declared it over. So none of this is a shot at FX — not from us, at least. We see the experience with The Bear's publicity machine to be a one-off. But it is still just … off. The Bear needed season four to be good — while the first and second seasons were beloved by both critics and everyday viewers, audiences turned their backs a bit on season three (the critical reception was also down, but not as dramatically). The restrictive embargo has now lifted, the season four reviews are in, and they're … pretty good, to be honest. Yes, the new season has endured the show's worst critical reception thus far, but the sentiment from TV critics is still generally positive. Well, not all TV critics. THR's Angie Han didn't love it. In her review, Han wrote that 'the latest run has the feel of a show burnt out from the effort of trying to outdo itself. Rather than push forward or drill deeper, it retreats into familiar territory as it prepares, maybe, to wind down for good. 'The spark that lit up earlier volumes has dimmed significantly,' Han wrote. Of course, by now, you've had more than those six hours and 15 minutes to decide what you think for yourself about The Bear season four. If, that is, you knew it was even on. 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
Yahoo
27-06-2025
- Entertainment
- Yahoo
Barbara Walters Documentary Director Explains Why Journalist's Daughter and Diane Sawyer Aren't in Film
Barbara Walters: Tell Me Everything is far from a tell-all on the esteemed journalist, but the film produced by Brian Grazer and Ron Howard's Imagine Documentaries does go beyond the headlines Walters made during her career as a broadcaster to explore her childhood, her drive and the relationships, personal and professional, that shaped her life. 'We really wanted to make sure that we understood all angles of her,' director Jackie Jesko tells The Hollywood Reporter. 'It's not only her record-breaking insane television career in which she interviewed dictators, celebrities and all these different kinds of people with equal skill and publicity, it's also who she was, what made her tick, and really her greater contribution to the industry.' More from The Hollywood Reporter How to Watch Emmy-Winning Series 'The Bear' Season 4 Online Sarah Michelle Gellar's Goal Is to "Bring Back Everyone Who Has Died" on 'Buffy' for Reboot Sterling K. Brown Stars in Hulu Adventure Epic 'Washington Black' Trailer Through footage from ABC News archives where Walters both became the highest-paid news anchor at the time in 1976 and ended her career in 2016 following her final act as creator and co-host of The View from 1997 to 2014, as well as interviews with prominent women journalists such as Katie Couric, Oprah Winfrey and Connie Chung, Jesko and producers Sara Bernstein and Betsy West detail Walters' climb through the news ranks, the sexism and inner feelings of inferiority she battled, as well as her lasting impact in media following her death on Dec. 30, 2022, at the age of 93. Below, Jesko talks with THR about piecing together Walters' career and personal life for the doc, which premiered on Hulu on Monday, the figures she wishes she would've been able to talk with — as well as those who declined participation — and why there'll never be another Barbara Walters. *** I imagine a lot of journalists, women journalists especially, were clamoring to tell Barbara Walters' story. How are you the one to do it? The story actually began with Imagine Documentaries. The executive producer of the film is Betsy West, she directed films like RBG and Julia, and she and Sara Bernstein and Imagine were talking about doing a Barbara Walters film shortly after she passed away. To do that, they approached ABC News Studios who, of course, holds all the archives of Barbara's five decades on camera, and they decided to do it together. But they needed a director and they gave me a call. Of course, I was like, 'Please, please, pick me!' because I actually used to work at ABC News. It was my first job. I was a news producer for 10 years, a lot of that at ABC, so I knew how important Barbara was to the news industry, not just to ABC and to women in the industry, and what a tremendously big career that she had. You really can't tell the story of American Broadcast News without talking about Barbara Walters. So I was lucky to get the opportunity, but it was also a huge responsibility and one I did not take lightly. Was there any overlap between your time at ABC and hers? Did you ever meet? There was. I mean, it's not like we worked together. I was the lowest possible rung on the ladder. I was an assistant, but I would see her sometimes — catch a little glimpse in the halls. She was kind of winding down at that point, but she was doing The View. It would've been a couple of years of overlap. I obviously knew that she had had this tremendous career — although I have to say I wasn't a perfect student of it, but I did see her on The View all the time, and I was very aware of her presence in the building. I think everybody was. So, when did you officially start working on this? We started talking about it in late 2023, and then I think production would've kicked off about April 2024, so it's just been about a year. It actually ended up going pretty quickly, but I think a lot of that was just that it is archival-driven, so the time frame for those films can be shorter. It really feels like Barbara is narrating this film. What was it like for you going through those tapes? Do you have any sense of how much footage you all went through? It had to be thousands of hours of footage. Our amazing partners at ABC News studios opened up this archive, which I don't know that anybody had been allowed to look through to this extent prior to this project, and in there were all kinds of different gems. They had this idea from the outset that maybe we'd be able to learn things about Barbara from both the questions she asked other people, and also little moments that we could find in her tapes where she was sort of off-camera — obviously, not literally off-camera, but sort of an unguarded moment where she's having a normal conversation with a subject or being off the cuff — and seeing if we could piece that together to create a more intimate portrait of her. But as far as her own voice, we actually didn't know how much of her voice we were going to be able to include from the outset. She had done a bunch of interviews surrounding the publication of her autobiography, Audition, in 2008, so we had some raw tapes from that. But really it was our incredible archival producer team that was able to find all these other interviews she did with the Television Academy, NPR, [etcetera]. It was really a patchwork quilt of sources for that audio, and we were really happily surprised that there was a lot of it. What sources did you use to fill in the details of Barbara's childhood, her experience with motherhood and her romantic relationships in the doc? A lot of it was just different people in her life who felt like they could weigh in on that. It's interesting for her childhood, we ended up just relying on her own voice, but it's because she spoke about it so well. We don't always have the best perspective on ourselves — I mean all of us — so there are other aspects of her life we felt like it was useful to have friends and colleagues speak to. I was really struck by Oprah Winfrey saying Barbara impacted her decision not to have children. How did you get to that moment with her in the interview? I didn't know that she was going to say anything like that. I didn't know she felt that way — you don't really get a pre-interview with people like Oprah; you get one swing at that. So, it was an amazing interview. I felt like she really came to talk about Barbara and they had a very real relationship. This wasn't just like a talking head for a documentary thing. She really wanted to talk about their relationship. And when she said that, I was surprised. But it's really interesting: Barbara and Oprah have careers of a stratosphere that 0.0001 percent of any people will ever achieve, so far be it for me to doubt their reasoning for their decisions or what it's like to be on top like that. But the whole topic, that whole section [of the film], it was really important for myself, and for Betsy West and Sara Bernstein, who are working moms, to be careful about what we were saying and to not have the same boring conversation about the balance of work and motherhood. I mean, look, it's easier now than it was for Barbara and Oprah, but it's still not easy. We thought it was kind of an interesting, nuanced conversation. And Oprah, I thought that was really interesting that she shared that. And I understand. I understand both choices. We don't see Barbara's daughter, Jacqueline, in the film. Did you reach out to her about participating? We did a couple different times, a couple different ways. People who know her told us in advance that it was unlikely that she'd want to do anything with the film. She was aware it was being made. Has she seen the finished film? Do you know? I don't know. Bette Midler is sort of the outlier in that she's the only celebrity talking head. Why was she the chosen one? She and Monica Lewinsky were in the same category, mentally, for me, which was we wanted to hear from people who spent time on the other side of the interview table from Barbara. She interviewed Bette a bunch of times, and they certainly had a really good rapport. So that was part of it. And we wanted one of her celebrity friends that she would interview a lot and moved their relationship past just being subject and interviewee. And then Monica, of course, being probably the biggest get of any news magazine show of all time, [I was] sort of curious — Monica's a very lovely person, by the way — to understand what it was like for her to be on the other side of that kind of campaign and what Barbara did differently that made her choose Barbara, and then what her experience was. Diane Sawyer is one of few women news anchors who doesn't participate in the documentary, though you do touch on the perceived feud between her and Barbara, which leads into the larger conversation that people assume Barbara didn't support other women in her field. Was your aim to kind of recontextualize their relationship or that belief? Barbara would say it wasn't a feud. But I do think it's interesting that the way that Diane came into ABC was that Roone Arledge, who was a very famous ABC news president, really helped pioneer the whole news as entertainment philosophy. He was among the first to do that, so he intentionally would set up his anchors to compete with each other. It was no accident. And I think that's a tough situation to walk into for anybody so that's, I think, an important part of the context. But a lot of the women in the film, Cynthia McFadden, certainly Katie Couric, Connie Chung, felt like Barbara was really great to them and defended them at different times in their career. I think perhaps it's not a monolithic answer; relationships are individual. Did you ask Diane about participating? We wanted to find out if she wanted to participate, but I understand that perhaps she didn't. It's sort of interesting that none of the men who created the environment of sexism Barbara had to contend with are around to address their behavior. Was there anyone else you wish you would've been able to speak to for this that you weren't able to? Obviously, I would've liked to talk to her daughter, but that's kind of it. I think because Barbara was so important, and she had such importance to so many people in the news industry we really did have great luck with talking to the people we wanted to talk to. What surprised you most overall in your research? I think it was her childhood. I just didn't know much about it, period. I didn't really know anything about how she grew up. So when I started reading her book and watching other specials that were made about her, and understanding that she grew up in this interesting nightclub environment. Her dad was a showman, maybe a scoundrel, depending on who you ask. And she grew up in the backstage of his nightclub, meeting famous people, hanging out with them, seeing that they were real people. I thought it made a lot of sense for her approach later to famous people and to how she'd never really seemed afraid of anybody. Also, the whole riches to rags storyline. Her dad lost it all when she was in her early 20s. This is an era when a lot of women didn't work at all. And she felt like she had to save her whole family financially. And she probably did. I mean, her dad had nothing. Her mom wasn't educated, had no ability to work, as most women of that generation, and then her sister had some mental disability of some kind, and it was really up to Barbara. I think that that fear and that experience really propelled her entire life. In one of the last scenes in the documentary, Oprah says that there's no place in this world now with social media for a Barbara Walters interview. How does that make you feel as a fellow journalist? It's true. Television news interviews used to hold such a huge audience power. The number of people who regularly watch television news was much bigger. There weren't other sources of information. There was no other way to hear from politicians or from celebrities; they had to use the medium of television news. Obviously, that is over with the dawn of social media and all these different podcasts. There are so many different ways to get information, and there are pros and cons to that. We have more varied things, you can really get into your niche interests. But I think the hard stuff is [part] of the whole idea of disinformation and lack of trust. There's a lack of trust in the news media and a lot of debate about which channel can you trust, and it depends on where you are politically. I think that we've really swung the other side of the spectrum, and we've lost a lot of things in the process. *** Barbara Walters: Tell Me Everything is now streaming on Hulu. Best of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts
Yahoo
27-06-2025
- Entertainment
- Yahoo
‘The Bear' Review: FX/Hulu's Culinary Dramedy Stalls Out With a Muted Fourth Season
Time is a relentless force in FX/Hulu's The Bear, pressing ahead no matter how strenuously our characters try to ignore it or slow it down. Morning alarms drag bleary-eyed employees out of bed. Kitchen timers measure their work to the millisecond. An 'Every Second Counts' sign scans as both inspiration and warning, while nearby, a giant clock ticks down the minutes until the restaurant officially runs out of money; as of the season four premiere, it's set at 1,440 hours, or about two months. But even as time marches on, momentum is under no obligation to follow. Where The Bear once seemed almost too restless — exploding with stress and thriving on turmoil, eager to subvert and surprise — the latest run has the feel of a show burnt out from the effort of trying to outdo itself. Rather than push forward or drill deeper, it retreats into familiar territory as it prepares, maybe, to wind down for good. More from The Hollywood Reporter How to Watch Emmy-Winning Series 'The Bear' Season 4 Online And the Emmy Nominations Should Go to... Bruce Springsteen Says Jeremy Allen White-Led Biopic Covers "Most Painful Days" of His Life To what extent that sense of exhaustion stems from creator Christopher Storer and his team, and to what extent it simply reflects their protagonist, Carmy (Jeremy Allen White, continually excellent), is difficult to say. Perhaps it doesn't matter, when the series has always so closely identified itself with Carmy's psychology, and when we as viewers are inundated by the vibe either way. Having spent much of season three flailing to convince himself he's not stuck in a rut, Carmy begins season four dozing off to Groundhog Day and relating way too hard to lines like, 'What would you do if you were stuck in one place, and every day was exactly the same, and nothing that you did mattered?' He's still angry and grieving, still prone to self-sabotage and self-destruction, and increasingly desperate to break the cycles that have trapped him there. If it's tempting to mutter, 'This again?' when Carmy rehashes once more his feelings of guilt around the death of big brother Mikey (Jon Bernthal), or promises to do better-but-no-really-for-real-this-time — well, one can surely sympathize with how much more exhausted Carmy must be to find himself back in this place, and with how impossible it can seem to grow past our deepest wounds. And one can acknowledge that to some extent, familiarity is to be expected — welcomed, even — from a beloved show in its fourth season. If last year was the equivalent of The Bear's 'chaos menu,' stuffed with flashy ingredients in experimental arrangements, this year is the more streamlined selection Carmy finally agrees to lock in — reliable favorites pared down to their most essential components. It is a comfort to be reunited with the boisterous staff we've logged so many thrilling hours with already, to be enveloped once more by their professional banter and unprofessional screaming matches, to fall into the rhythms of Storer and producer/music supervisor Josh Senior's eclectically cool rock soundtrack. We know by now to look forward to the extra-long episode with All the Guest Stars, longer and starrier than ever this round at 69 minutes including a guest appearance by Oscar winner Brie Larson. And we can eagerly anticipate the one-off detour into a non-Carmy character's life outside the restaurant — in this case a minor gem of a half-hour following Syd (Ayo Edebiri) on her day off as she drops by her cousin Chantel's (Danielle Deadwyler) to get her hair braided and bonds with Chantel's tween daughter TJ (Arion King). But as nice as it is to be back, it's also difficult not to notice a stagnancy setting in — as if Carmy's inability to move on means that no one else is allowed to either. While the peek into Syd's personal life is welcome, she spends the season dithering over the same decision presented to her last season, of whether to accept a job offer from a rival chef (Adam Shapiro). Richie (Ebon Moss-Bachrach) continues to cling to the restaurant as his purpose in life, and to grumble about his ex (Gillian Jacobs) getting remarried. Natalie (Abby Elliott) still alternates between frowning at spreadsheets and willing Carmy to give a shit about her new baby. And Tina (Liza Colón-Zayas) simply makes the same pasta dish over and over and over, attempting to shave seconds off the prep time. Meanwhile, the spark that lit up earlier volumes has dimmed significantly. Though the staff work hard to get the budget back in the black, there's no single interlude as deliciously tense as season one's 'Review' or season two's 'Fishes' or season three's 'Next.' While Richie continues to preach the gospel of unreasonable hospitality (and even follows through with a fake snowstorm conjured for out-of-town visitors), whatever relationship The Bear used to have to its customers, or the Chicago community, or the fine dining scene, has been rendered distant and theoretical as The Bear turns increasingly inward. Even the show's gustatory pleasures are not immune to the creeping anhedonia. 'Every one of our good memories, they happen in restaurants,' Carmy gushes to Mikey in the opening flashback; the key word there is 'memories.' In the present, scenes of characters taking real delight in food — preparing it, consuming it, dreaming up wild new versions of it — have grown rarer. It's still Carmy's primary love language, as seen in the appreciative smile he gives Marcus (Lionel Boyce) for a new dessert or the French Laundry chicken dish he offers his estranged mother (Jamie Lee Curtis) as a gesture of reconciliation. But it's telling that the camera does not linger on the process of Carmy making the latter, nor on her actually eating it. The Bear's ensemble has grown bigger and deeper with each passing year, with the kitchen's latest new hires including food runner Jess (Sarah Ramos) and stage Luca (Will Poulter). And the show's always taken the occasional swerve into other perspectives; for instance, we do still see Syd find quiet satisfaction in whipping up some Hamburger Helper for a hungry TJ, since Syd, unlike Carmy, is not yet dead inside. But it's always been Carmy's moods that primarily set the tone, and his mindset that defines the themes. So many conversations are had this season, by so many different characters, about how we're all secretly anxious or afraid or self-loathing like Carmy, that you start to wonder: Are we, though? Aren't there other obsessions or fears or desires or impulses worth exploring? Must the extreme empathy toward him come at the expense of more fully exploring other promising storylines, like Tina's pursuit of perfection or Marcus' passion for his craft or even the adorable flirty chemistry between Richie and Jess or Syd and Luca? Is there even anywhere deeper for our excavation of Carmy's pain to dig? By season's end, it seems even Carmy's tapped out on Carmy. 'I don't have anything to pull from,' he admits, pleading with Syd to understand. The Carmy who once ruled The Bear with an iron fistful of non-negotiables would like to try relinquishing control. The Carmy who's given his entire life to this art wonders if he's fallen out of love with it. The Carmy so blinkered by his pain that he can't see how it's infected those around him has finally realized that others are hurting too. The Carmy who once trapped himself in the refrigerator seems to believe, at last, that he's found a way to get the door open — to escape or to let others in before the clock runs out and he's frozen in place for good. In a move out of the Ted Lasso playbook, the fourth season ends on a note that could represent the end of everything, or a pivot toward a less Carmy-centric direction, or just a brief pause before business resumes as usual. If it does continue, let's hope the series takes its cue from its protagonist one last time, and considers that The Bear could be so much bigger than just this one guy. 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
News18
27-06-2025
- Entertainment
- News18
Who Is Lauren Sanchez? All You Need To Know About The Emmy-Winning Anchor Set To Marry Jeff Bezos
Who Is Lauren Sanchez? All You Need To Know About The Emmy-Winning Anchor Set To Marry Jeff Bezos
Yahoo
04-06-2025
- Business
- Yahoo
‘Happy Gilmore 2' Trailer Features Cameos From Eminem, Post Malone & Bad Bunny
Eminem and Post Malone have appeared in cameos in the full trailer for Happy Gilmore 2, which dropped over the weekend ahead of the film's July 25 release on Netflix. The sequel follows Adam Sandler's iconic character returning to the green nearly 30 years after the original to raise $300,000 for his daughter's ballet tuition. More from Billboard Lady Gaga's 'Wednesday' Character Confirmed, First Six Minutes of Season Two Released Alf Clausen, Emmy-Winning Composer for 'The Simpsons,' Dies at 84 How to Watch Diddy Documentaries Online During Sean Combs' Trial Sandler previously announced the Detroit rapper's inclusion in the highly anticipated sequel during a recent appearance on The Dan Patrick Show. 'Eminem was cool, he came by, he was great,' Sandler raved of Em, adding, 'I've known Eminem for a long time, he's a great guy and he came in and was funny as hell,' he said. 'I think we just hung out a day with Eminem and he just shot and shot and he was insane. [He] said a million things we can use and a million that we're glad we have him on tape.' The cameo-filled trailer features a slew of other big names, including Bad Bunny, Travis Kelce, Eric André, Margaret Qualley, and Martin Herlihy. Bad Bunny plays Gilmore's chaotic new caddie, while Ben Stiller, Julie Bowen, and Christopher McDonald reprise their roles from the 1996 classic. The movie also stars Sandler's real-life daughter, Sunny Sandler, who plays Gilmore's daughter. Back in August, Sandler also discussed Travis Kelce's cameo in the comedy flick. During a Tonight Show appearance, the comedian shared of the Kansas City Chiefs tight end, 'He's a very nice guy. You guys would love him in real life. What a big, handsome guy. Funny and cool as hell. He's a stud and he's so funny.' Directed by Kyle Newacheck and co-written by Sandler and longtime collaborator Tim Herlihy, the film blends nostalgia with a new twist, bringing back fan-favorite characters while introducing fresh faces. Of course, Gilmore's fiery temper and unconventional golf skills are on full display once again. Eminem's appearance comes during a prolific era for the rapper. His 2024 album The Death of Slim Shady (Coup de Grâce) debuted at No. 1 on the Billboard 200, moving 281,000 equivalent album units in its first week and marking his 11th No. 1 album. The album's lead single, 'Houdini,' debuted at No. 2 on the Billboard Hot 100, earning Eminem his 23rd career top 10 single and his highest chart debut since 'The Monster,' featuring Rihanna, which logged four weeks at No. 1 in December 2013-January 2014. Menawhile, Post Malone is co-headlining the Big Ass Stadium Tour with Jelly Roll, which kicked off in April 2025 and runs through July in North America, before heading to Europe in August and September. The tour supports Post Malone's country-inspired album F-1 Trillion, which debuted at No. 1 on the Billboard 200. Happy Gilmore 2 swings onto Netflix July 25. Watch the film's latest trailer below. Best of Billboard Kelly Clarkson, Michael Buble, Pentatonix & Train Will Bring Their Holiday Hits to iHeart Christmas Concert Fox Plans NFT Debut With $20 'Masked Singer' Collectibles 14 Things That Changed (or Didn't) at Farm Aid 2021
