Latest news with #X-Files'
Newsweek
3 days ago
- Entertainment
- Newsweek
'The Office's Craig Robinson Reveals His Retirement Was A Prank
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors If you were sad to learn of Craig Robinson's announcement late last week about his retirement from comedy, we've got good news: "The Office" star was pulling the wool over our eyes. The aforementioned announcement was a prank, and it was all part of a new AT&T ad campaign targeted at small business owners. AT&T Business released an ad, which you can watch below, featuring Robinson with his former "The Office" co-stars Angela Kinsey, Ellie Kemper, Oscar Nuñez, and Creed Bratton. In the ad, Robinson develops a new AI product called CrAIg, the world's first AI alarm clock. Read More: 'Dexter: Resurrection' - Release Date, Schedule, How To Watch The ad also references another AT&T campaign from last year featuring "The Office" stars. The "Sleep With Rainn" pillow mentioned in the newer ad is from a campaign featuring Robinson, Jenna Fischer, and Rainn Wilson. Craig Robinson performs at The Stress Factory Comedy Club on February 20, 2025 in New Brunswick, New Jersey. Craig Robinson performs at The Stress Factory Comedy Club on February 20, 2025 in New Brunswick, New The Hollywood Reporter, AT&T Business said about the new ad, "This campaign isn't just a one-off moment — it's a multiyear movement designed to shine a light and celebrate the real journey of small business owners. We wanted to break the mold by bringing beloved cultural icons to the forefront." "By casting them as themselves — playing versions of their own entrepreneurial journeys — we create authentic, relatable stories that resonate deeply with small business owners." Robinson told THR, "I know some people with small businesses. I have a cousin in Chicago with a small business, and [I am aware of] the unexpected things that happen with a small business — like, take a pandemic or what have you — a lot of times there's support needed, and it's just a beautiful thing to know that you can lean on somebody." Last week, Robinson released a video announcing his supposed retirement from comedy. "Just want you to hear it from me," Robinson said in the first video. "I am quitting comedy, but not for nothing. It's been an amazing run, and y'all been amazing and wonderful. But I'm following something bigger. So, you know, thank you so much. I love you, and stay tuned." In a second video he mentioned hitting a few "bumps in the road," and captioned it with, "Turns out having a dream and building a business with your friends are two VERY different things. I can't go into detail just yet, but for real though any help would be huge." Turns out those bumps in the road were fictional, but comedy fans everywhere are likely relieved Robinson isn't leaving the trade he's best known for. More TV: 'X-Files' Composer Mark Snow Dead at 78 'Buffy' Reboot Star Teases Return of Dead Characters
Yomiuri Shimbun
5 days ago
- Entertainment
- Yomiuri Shimbun
Mark Snow, Composer of Eerie ‘X-Files' Theme, Dies at 78
Mark Snow, who composed the ghostly theme for the long-running occult TV series 'The X-Files' and more than 200 episodes of the show as well as its spin-off films, died July 3 at his home in Washington, Connecticut. He was 78. The cause was a rare blood cancer, said his son-in-law, Peter Ferland. A Juilliard-trained classical oboist who co-founded the New York Rock & Roll Ensemble in 1967, a quintet that performed Bach and modern rock, Mr. Snow eventually found a musical home in Hollywood scoring for Aaron Spelling-produced TV series. 'The X-Files' creator Chris Carter approached him in 1993 in part because Mr. Snow's Santa Monica studio – filled with a digital synthesizer called a Synclavier and other high-tech gear – was convenient to his home. Carter gave Mr. Snow a stack of CDs as musical suggestions for what might suit his new Fox series about two FBI agents, Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), who investigate supernatural phenomena and alleged alien conspiracies. The composer's first order of business was creating a signature theme. 'I was looking for something that Boy Scouts could hum at the campfire as a scary song,' Carter told NPR, 'something akin to 'The Twilight Zone.'' After ruling out a list of orthodox instruments, he tried performing the theme on a sample called 'Whistling Joe' on his E-mu Proteus sampling machine. Mr. Snow said he was inspired, in part, by his studies with composer Earle Hagen, who had written (and whistled) 'The Andy Griffith Show' theme song in the 1960s. 'The door was open to the studio,' Mr. Snow told NPR, 'and my wife heard this, says, 'Well, that's pretty interesting. What's that?' I said, 'I'm just fooling around with this new theme.' She said, 'Oh, that's good. You know, I'm a good whistler, too. Maybe I could beef it up a little bit.'' The end result – which combined 'Whistling Joe' with a sample of his wife's whistle – kicked off a nine-season pop culture sensation. 'The X-Files' theme became one of TV's most recognizable melodies and even charted around the world in its original form and as a dance remix. The whistle, Mr. Snow said, 'has mystery and simplicity and transparency.' Writing music for television is a largely anonymous and thankless job, but Mr. Snow's affable and self-deprecating personality, by all accounts, was a good fit for the medium, as he composed thousands of minutes of mood music during the show's run. Many TV composers, he told the Orange County Register, can create music that sounds 'very cold and unmusical. It's very important to me that 'X-Files' sound as musical as possible – human, warm and emotional, although still in the electronic setting.' 'A little electronic music goes a long way,' he added. 'Scully's father comes back as a vision – that had to be really emotional, but really emotional in 'X-Files' language. That meant not a cornball, florid, over-the-top melody but a simple, heartfelt melody like Samuel Barber's Adagio for Strings. 'Sometimes you have to lay low with it and go simple or neutral, because what's happening on video is so wild,' he continued. 'It's so abnormal that big music or busy music would really hurt it.' 'The X-Files' yielded a spin-off series, two feature films and a belated reboot season. Mr. Snow also scored Carter's late 1990s series 'Millennium'; the hit teenage Superman drama 'Smallville'; and the popular Tom Selleck police series 'Blue Bloods.' Martin Fulterman, who later changed his name when he entered the TV industry, was born in Brooklyn on Aug. 26, 1946. His mother was a kindergarten teacher, and his father was a drummer in big bands and Broadway pit orchestras. His first instrument was the drums, but he eventually became first oboist in New York's All-City High School Orchestra. At Juilliard, he majored in oboe performance in 1968 but lost interest in an orchestral career while playing in rock groups. 'A lot of Juilliard students go to school and lock themselves in their practice rooms,' Mr. Snow told Pop Scene Syndicate in 1968, soon after co-founding the New York Rock & Roll Ensemble. 'All they can do is read scores, and all they can talk about is Chopin's études.' Mr. Snow played oboe, drums, piano and saxophone in the ensemble, which played on 'The Tonight Show' and shared stages with Leonard Bernstein and Sly and the Family Stone. Before disbanding, they released five albums, performed Michael Small's score for the 1969 film 'Out of It' and appeared on-screen in the 1971 counterculture Western 'Zachariah.' After a brief stint working for a New York record company, Mr. Snow moved to California in 1974 and got a demo tape to producer Spelling. 'My wife's sister, Tyne Daly, was married at the time to Georg Stanford Brown, who was on [Spelling's police show] 'The Rookies.'' Spelling later hired Mr. Snow to work on series including 'Starsky & Hutch,' 'T.J. Hooker,' 'Hart to Hart' and 'Dynasty.' In 1967, he married Mary Glynn Daly, known as Glynnis. In addition to his wife, survivors include three daughters, Sarah, Nora and Megan; and four grandsons. Mr. Snow, who was nominated for 15 Primetime Emmy Awards, said that succeeding in series TV requires someone who can deliver creatively under high-pressure stakes. 'I'd say 80 to 85 percent of the time is spent under a time crunch,' Mr. Snow told Variety in 1989. 'The guys who can work under those limits and not complain are called back before the guys who bitch about it. If the Muses visit you on a regular basis, you've got it made.'
News18
6 days ago
- Entertainment
- News18
Legendary Music Composer Mark Snow, Creator Of Iconic ‘X-Files' Theme, Passes Away At 78
Legendary Music Composer Mark Snow, Creator Of Iconic 'X-Files' Theme, Passes Away At 78 | N18G Last Updated: July 06, 2025, 22:00 IST Movies Videos Mark Snow, the legendary composer behind the hauntingly iconic theme of The X-Files, has passed away at the age of 78 at his home in Connecticut on Thursday. A 15-time Emmy nominee, Snow's prolific body of work spanned several decades and included scores for popular television shows like Hart to Hart, T.J. Hooker, The Ghost Whisperer & more. Watch the video for more. bollywood news | entertainment news live | latest bollywood news | bollywood | news18 | n18oc_moviesLiked the video? Please press the thumbs up icon and leave a comment. Subscribe to Showsha YouTube channel and never miss a video: Showsha on Instagram: Showsha on Facebook: Showsha on X: Showsha on Snapchat: entertainment and lifestyle news and updates on: RRR Music Composer MM Keeravani Says Life Hasn't Changed After Oscar Win RRR Music Composer MM Keeravani Says Life Hasn't Changed After Oscar Win More Videos homevideos Legendary Music Composer Mark Snow, Creator Of Iconic 'X-Files' Theme, Passes Away At 78 | N18G CNN name, logo and all associated elements ® and © 2024 Cable News Network LP, LLLP. A Time Warner Company. All rights reserved. CNN and the CNN logo are registered marks of Cable News Network, LP LLLP, displayed with permission. Use of the CNN name and/or logo on or as part of does not derogate from the intellectual property rights of Cable News Network in respect of them. © Copyright Network18 Media and Investments Ltd 2024. All rights reserved.
Yahoo
28-05-2025
- Entertainment
- Yahoo
When Actors Direct: What TV Can Teach You About Career Evolution
An actor who decides to direct may inspire an eyeroll: Well, of course they can. After leading a hit show, what producer will say no? A powerful actor who wants to direct has an advantage others won't. At the same time, to become directors Tyler James Williams, Ayo Edebiri, Jason Bateman, and Rhea Seehorn had to be willing to step away from the comfort zone of their expertise and see themselves as beginners. More from IndieWire Sarah Michelle Gellar Says Chloé Zhao's Passion for 'Buffy' Changed Her Mind About a Reboot: 'OK, There's a Reason' Gillian Anderson: Ryan Coogler Is the 'Perfect Person' to Direct the 'X-Files' Reboot They also took advantage of a Hollywood truism: People work with people they know, and the only way to make yourself known is to be excellent around the people who can hire you to do the work. It's the same logic that creates a script supervisor-director (Karyn Kusama), a PA-producer (Kevin Feige), or an art coordinator-Oscar-winning production designer (Hannah Beachler). Here's what these actors say they learned while making the transition. Back when he was the lead in 'Everybody Hates Chris,' Williams began peppering 'Everybody' producer-director Jerry Levine with questions. As he told IndieWire's Proma Khosla in February 2025, he fell in love not just with being on TV but with the prospect of making it. The dream came true in Season 4 of 'Abbott Elementary' with episode 13, 'The Science Fair,' but Williams realized that his dream was considerably larger than anticipated. The mockumentary style meant a single scene could demand crossing three sets at one time. 'We had a lot of conversation about not just where the camera could be for the shot, but does that make sense for the documentarian on the other side of that camera?' he said. 'Playing with these camera operators and cameras as characters in this world, what are their opinions on everything? Why are they getting this shot the way they are? It influenced a lot of the decisions I made.' Williams' prep began months in advance. He sat in on production meetings, tone meetings, concept meetings. He talked with the crew, with the camera department, with executive producer Randall Einhorn. And he began breaking down the episode outline even before he had dialogue or characters. 'Because I know the space, and I know kind of the language of our show and how it works, I can start understanding how this needs to move and what this needs to look like,' he said. 'It's really hard to explain, and I guess that's where the the vision part of it comes in, where I just start to see it as I'm reading. I can kind of see it moving in real time.' By the time Edebiri joined 'The Bear,' she had dozens of acting credits, she'd been a story editor on 'Sunnyside,' a staff writer on 'Dickinson,' and a writer and consulting producer on 'What We Do in the Shadows' and 'Big Mouth.' However, she'd never gotten to direct. Before she directed 'The Bear' (Season 3, episode 6, 'Napkins'), she got a crash course on TV directing from the Directors Guild of America's First-Time Episodic Director Orientation Program. (It's a DGA requirement for a series that 'employs a 'first-time Director' to direct an episode of a dramatic television, High Budget SVOD series, or High Budget AVOD series.') She said it was 'probably one of the coolest, greatest things I've ever done.' 'The thing that I walked away with the most was that the only wrong way to direct — well, there's probably a lot of wrong ways, but beyond not communicating and not being open — is not finding your way,' said Edebiri. 'If you try to do somebody else's way, it's not going to work. Our instructors were so helpful with really illustrating their differences — and that they were successful with their differences — and so encouraging us to find our our ways of communicating, stressing the fact that you always have to be communicating.' Her instructors included legends such as Paris Barclay, Keith Powell, and Dr. Valerie Weiss, but Edebiri had to rely on her own instincts and the readiness of her cast and crew. 'You have to have a certain amount of ego and a certain amount of assuredness in your decisions, but there needs to be space for collaboration, and to also be wrong, or to not have the answer,' she said. 'It's this really miraculous amount of collaboration … It's like making a Venn diagram, but out of a thousand circles. That's why those moments when you get something, or you get it right, it does feel so special — because it's like, that's insane. That's insane that there's a thousand circles but found the one overlapping point.' The actress who portrayed Kim Wexler across six seasons of 'Better Call Saul' became the first performer to direct an episode of the show with Season 6 installment 'Hit and Run.' Bryan Cranston also directed episodes of 'Saul' predecessor 'Breaking Bad'; like Cranston, she played a major role that required she frequently 'hoof it to the monitor.' Relying on the producing team was vital. 'Michael Morris, our producing director, was kind of my right-hand person,' said Seehorn. 'I could watch playback when I needed it. And then I wanted to make sure that I was just available as Kim, once I was in the scene. I would never want a scene partner to feel like their director is observing them.' For her episode, Seehorn was initially anxious about working with Giancarlo Esposito as Gus Fring; they'd never shot a scene together. However, Seehorn soon realized her way in with him. 'He's from theater, as am I. So we had a good shorthand from the beginning,' she said. 'I just simply asked him, 'Do like talk about the scene or beats or do you just only want adjustments after the fact?' And he said, 'I'd love to talk about the scene. Thank you very much.' I said, 'Fantastic! Because here's my six binders.'' (Esposito would shoot his own episode later that season.) On Season 1 of 'Ozark,' Bateman directed four episodes while producing and starring in all 10. (He originally intended to direct all of them.) He believes a director's role hinges on making sure everyone is 'feeling good' — something he learned this from another actor-director, Michael Langdon, who Bateman worked as a child on 'Little House on the Prairie.' 'It was very helpful for me to see that a call sheet can get shot without yelling,' he said. 'It can be done well without being precious, but just by simply encouraging and being supportive and staying out of the way of something that might be better than what you thought.' Understanding actors also helped him be an effective director. 'One of the easy tricks is to go up and if you want an actor to do something, compliment on them having just done it and you want them to do a little more of it,' he said. 'You gotta think of what's the positive way to say this as opposed to 'Stop doing that,' because that's gonna make them nervous.' As IndieWire's Ben Travers noted back in 2020, Bateman would 'rather talk about the look, pace, feel, sound, and tone of his show — all of which form individual 'magic tricks' that help shape 'Ozark' — than his performance in front of the camera, and he's eager to steer the conversation toward his collaborators.' 'I mean, I'm a crew dork,' Bateman told Travers. 'I study who the gaffer or the best boy or the location manager is, let alone production designer [or] cinematographer. When I see a trailer, I'm immediately going over to IMDB Pro and just scouring the crew of that movie, because I'm noticing things that they're doing. I want to see who those people are so that maybe in the future, if I'm lucky enough to build a crew, I'm going to remember those names and see if they're interested in joining the team.' It worked: Bateman won the 2019 Emmy for Outstanding Directing for a Drama Series. Best of IndieWire Martin Scorsese's Favorite Movies: 86 Films the Director Wants You to See Christopher Nolan's Favorite Movies: 44 Films the Director Wants You to See The 25 Saddest TV Character Deaths of This Century
See - Sada Elbalad
19-04-2025
- Entertainment
- See - Sada Elbalad
Ryan Coogler Teases "X-Files" Series Reboot
Yara Sameh With 'Sinners' now in theaters, Ryan Coogler is turning his attention back to his 'X-Files' series reboot. 'I've been excited about that for a long time and I'm fired up to get back to it,' Coogler said during a recent interview with ' Last Podcast on the Left ,' confirming that that project is 'immediately next' on his slate. 'Some of those episodes, if we do our jobs right, will be really fucking scary.' Coogler was first reported to be developing an 'X-Files' series back in 2023, when series creator and showrunner Chris Carter confirmed that the two have had conversations about remounting the supernatural detecivde drama, which starred David Duchovny and Gillian Anderson as FBI agents Fox Mulder and Dana Scully, who were assigned to investigate reports of paranormal activity. 'The X-Files,' originally produced by 20th Century Fox Television, aired on Fox for nine seasons from 1993 to 2001, before being revived at the network for two more rounds in 2016 and 2018. Coogler is developing the revival idea through his overall deal with Walt Disney Television. Asked if he's touched base with Anderson, Coogler confirms the two have spoken. 'She's incredible and fingers crossed there,' he said, explaining that Anderson was finishing up work on 'Tron: Ares' the last time they talked. 'We're going to try to make something really great, bro, and make something for the real 'X-Files' fans and maybe find some new ones.' Over the past dozen years, Coogler has proven to be a master of breathing new life into established IP. First, he rebooted the 'Rocky' franchise with 2015's 'Creed.' Then, he adapted Marvel's 'Black Panther' comics into one of the MCU's most critically-acclaimed franchises, with both the 2018 original and its 2022 sequel, 'Wakanda Forever,' earning multiple Academy Award nominations. 'Sinners' is Coogler's first wholly original premise. The R-rated vampire thriller has proven to be an early hit with critics and audiences, earning $4.7 million in previews on the way to a projected $40 million to $50 million opening weekend. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Egypt confirms denial of airspace access to US B-52 bombers News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia Lifestyle Pistachio and Raspberry Cheesecake Domes Recipe News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Videos & Features Bouchra Dahlab Crowned Miss Arab World 2025 .. Reem Ganzoury Wins Miss Arab Africa Title (VIDEO) Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Arts & Culture Arwa Gouda Gets Married (Photos)
