‘Seasame Street’ needs new home after HBO, Max opt not to renew deal
Courtesy of HBO
Sesame Street is searching for a new home.
The long-running children’s TV show is now on the market after Warner Bros. Discovery decided not to renew its Sesame Street deal with HBO and Max. Original episodes of the program will now need a new home.
Max will be working with the show’s producer, Sesame Workshop, to license episodes from its library through 2027. It is not yet clear if the library deal would prohibit potential new partners from also acquiring the old episodes of the program.
The streamer’s decision to not continue the deal comes from a strategy change to focus on more adult and family programming, with less of an emphasis on children’s programming.
“It has been a wonderful, creative experience working with everyone at Sesame Street on the iconic children’s series and we are thrilled to be able to keep some of the library series on Max in the U.S.,” a Max spokesperson told The Hollywood Reporter, which broke the story. “We will continue to invest in our best-in-class programming and look forward to announcing our new distribution plans in the coming months, ensuring that Sesame Street reaches as many children as possible for generations to come.”
Sesame Street first aired in 1969, with episodes running on PBS since 1970. The show moved to HBO in 2016, with episodes airing on PBS months after they drop on HBO to ensure maximum reach and accessibility. A deal was struck in 2019 that moved Sesame Street to HBO Max, which was then renamed to Max.
Amazon MGM Studios is taking its hit Tom Clancy’s Jack Ryan series to the big screen, with actor-director John Krasinski reprising the title character in a film.
According to Deadline, Krasinski’s small screen co-star Wendell Pierce will also return as James Greer, and veteran character actor Michael Kelly, who until very recently could be seen in The Penguin, is also in talks to reprise as Mike November.
The Jack Ryan series, which wrapped up its fourth season in June, remains Prime Video’s most-watched series globally.
The character originated on the big screen in 1990’s hit The Hunt for Red October with Alec Baldwin playing Ryan; he was succeeded by Harrison Ford in 1992’s Patriot Games and 1994’s Clear and Present Danger.
Ben Affleck played Jack Ryan in 2002’s underperforming The Sum of All Fears opposite Morgan Freeman, and in 2014 Chris Pine played the character opposite Kevin Costner in Tom Clancy’s Shadow Recruit, before Krasinski took the role to streaming success in 2018.
Timed to the release of Venom: The Last Dance, cellphone company Human Mobile Devices has melded with the titular alien symbiote seen in the hit franchise.
Calling its new mobile device, Fusion, the world’s first “symbiotic smartphone,” HMD has created a glass case for it that contains a crawling, oozing Venom-like black liquid that squiggles and dances under the surface.
In reality, it’s not an alien, it’s a very expensive magnetic substance known as a ferrofluid, which is controlled by 160 electromagnetic arrays.
If that sounds like something you’d be afraid of dropping though your butterfingers, you’d be right — but you needn’t worry. While the Fusion phone is now available for preorder, complete with Venom alerts and other themed sound effects, there are only three of the cases in the world and they’re not available for purchase.
Back in June, Sir Ian McKellen seemed to downplay a fall off a London stage during a performance of the Shakespeare adaptation Player Kings. A statement at the time said he was in good spirits and would make a speedy recovery. But now, several months later, McKellen reveals the whole thing was pretty scary.
“Apparently, I’m told by the company manager who’s holding my head as I lay on the floor, I said to her, ‘I’ve broken my neck. I’m dying,'” McKellen told ABC Audio in an interview from his home in London. “Now, I don’t remember saying that, but I must have felt it.”
He says he’s fine now, after fracturing his wrist and hurting his back, crediting the fat suit he was wearing in order to play rotund Knight John Falstaff with protecting his ribs and hips in the fall. And while physically he’s almost completely back to normal, the mental effects linger.
“I’m left with some disappointment,” McKellen confesses. “I’m ashamed that I didn’t complete — you know, my pride was bruised. How could this happen to me?” he asks with a chuckle. “And I suspect that although physically I’m healing, I wonder whether deep down there’s something mental or emotional that was jolted that needs to be attended to. And I’m attending to it by not working at the moment and resting.”
McKellen appears to be in a reflective mood as he discusses the fall, and his new film The Critic, in which he plays a prominent 1930s London theater critic named Jimmy Erskine, a once feared and respected tastemaker trying to recapture his glory days. Reviews, McKellen reveals, are a necessary evil for actors.
“We are seeking for approval. And we’re probably rather pathetic people who need that approval. We’re not confident enough of ourselves. So if you get a good review — oh, it’s an added pleasure. And if you get a bad review, it can be very hurtful,” McKellen admits.
And although he hasn’t been on the receiving end of a lot of bad reviews, the ones he has had are seared in his brain. Take for instance his turn in a Bernard Shaw revival in London’s West End when he was much younger. He starred in the play alongside a pre-Dame Judi Dench and recalls how he overheard a few fellow actors discussing his performance one night at a restaurant.
“One of them was going on and on and on about how dreadful I’d been. And I was typical of these modern young actors, using my voice in the wrong way and drawing attention to myself. And he just simply hadn’t enjoyed it.” McKellen says he laughed off the criticism, but the next night onstage it crept into his consciousness. “And as I looked into the audience talking away, I suddenly thought, ‘My God, every single person in this audience agrees with that actor that I heard last night. They all think I’m rubbish. I shouldn’t be here.’” He says he froze, forgot his lines and Dench had to rescue him.
Still, he swears if there’s a bad review out there, he’s going to read it. “I like to know. If people haven’t enjoyed the film of Cats I’d like to know about it.” 2019’s film adaptation of Andrew Lloyd Webber’s Broadway musical Cats was savaged by critics, probably the worst-reviewed film McKellen has ever been in. McKellen didn’t get the blame, though. His portrayal of Gus the Theater Cat was mostly praised. And he may be returning to a role that garnered him some of the most praise of his film career: the mighty wizard Gandalf in The Lord of the Rings movies.
“There are going to be a couple of more films, I think, with some of the same characters in it. And I’ve been asked to stand by,” McKellen says. “But there’s no script that I read, and no date. All I can say, as far as I’m concerned, they better be quick.”
Quick, because at 85 years old, McKellen isn’t sure how much time he has left. “I’m rather living a year at a time, rather than two or three years at a time,” he says.
Gandalf is a part of his legacy, so if he can, he’s going to go to New Zealand and put on the robes. Legacy is a theme in The Critic, as well. In his downtime, legacy and what’s next are things McKellen has been thinking about a lot. He remembers going to visit a friend in the hospital, a friend who was dying, and asking him what he was thinking about as his life neared the end.
“And he said, ‘I don’t want to miss anything.’ And that’s rather my view,” McKellen says wistfully. He wants to know what’s going to happen. “How is AI going to really take over? I mean, what is life going to be like? When is the world going to settle down? Is the world going to survive? I won’t know. I won’t know. And I suppose I won’t care because I won’t exist.”
