• Half Man, the HBO limited series from Baby Reindeer creator and star Richard Gadd, ended Thursday with a finale that revealed the show’s central mystery: what happened between Ruben (Gadd) and his stepbrother Niall (Jamie Bell) in the locked barn at Niall’s wedding — it turned out there were two bodies
• Gadd, who wrote the project in 2019 before Baby Reindeer, told Variety the ending was “ambiguous” but “felt like the right way to end a show like this” — and told Slate there was only one way it could have concluded
• Critical response to the finale was mixed: TV Insider and Time praised the devastating payoff, while TVLine called it a “sour note” and TV Fanatic found the series “exhausting” — a step down from the universal acclaim Baby Reindeer received
• The six-episode series co-stars Jamie Bell; it premiered on HBO and streams on HBO Max

Spoilers below for the Half Man series finale.

Richard Gadd’s second act on HBO ended Thursday — and it went to a dark place, even by his standards. Half Man, the limited series Gadd wrote, created, and stars in (following the same model as his Emmy-winning Baby Reindeer), wrapped its six-episode run with a finale that revealed what actually happened between stepbrothers Ruben and Niall in the locked barn at Niall’s wedding. The show had kept that mystery at the center of its structure from the beginning; the finale answered it with what Slate called “a staggering scene of brutality and a twist.” There were two bodies in the barn, per Variety.

Gadd told Variety the finale was intentionally “ambiguous” but said it “felt like the right way to end a show like this.” He told Slate that there was, essentially, only one way it could have concluded — that the emotional and structural logic of the show pointed to this ending from early on. Gadd began writing Half Man in 2019, years before Baby Reindeer became a cultural phenomenon, making it a project he’d been carrying for a long time before HBO greenlit it, per Time.

A More Divided Reception Than Baby Reindeer

Where Baby Reindeer earned near-unanimous critical praise and six Emmys, Half Man has generated more friction. TV Fanatic’s reviewer admitted getting lost between episodes one and three. TVLine called the finale a “sour note” for a drama that had been consistently dour throughout. TV Insider’s exclusive conversation with Gadd characterized the ending as devastating and earned; Time called it “brutal” and affecting. The split reflects a show that was never going to be as widely embraced as its predecessor — it was always more difficult, more elliptical, more demanding, per TV Insider.

The post ‘Half Man’ Ends With a Devastating Twist — and Baby Reindeer Creator Richard Gadd Says It Could Only Have Gone One Way appeared first on Cream.

• CBS issued a statement Thursday publicly defending its cancellation of The Late Show With Stephen Colbert for the first time, disclosing that the show lost approximately $40 million a year — and that Byron Allen’s replacement arrangement will swing the timeslot to a $15 million annual profit
• Allen is operating under a “time buy” model: he pays CBS $15 million per year to lease the 11:30 PM hour and sells his own ad inventory; his show Comics Unleashed premiered May 22, the night after Colbert’s series finale
• Colbert’s finale on May 21 drew 6.7 million viewers — the show’s most-watched weeknight episode in its history; Comics Unleashed debuted to approximately 995,000 total viewers and 116,000 in the 18–49 demo
• CBS has faced weeks of speculation that the cancellation was politically motivated; the network’s statement called the move a response to a “cost prohibitive” business model rather than a political decision

CBS broke its silence Thursday on one of the more controversial decisions in late-night television in years: the cancellation of The Late Show With Stephen Colbert. For the first time, the network put numbers to the story. The Late Show was losing roughly $40 million a year, CBS said — a figure that had been widely circulated but never confirmed. Under the new arrangement, Byron Allen leases the 11:30 PM timeslot from CBS for $15 million annually and sells his own advertising, flipping the math from a $40 million annual loss to a projected $15 million profit, per Deadline.

“We’re proud to partner with Byron Allen on a new business and programming model for late night that proactively addresses a network daypart that was cost prohibitive to continue,” CBS said in its statement. The network has been under pressure since the cancellation was announced, with critics and commentators questioning whether politics played a role in ousting Colbert, whose show had a distinctly liberal sensibility. CBS did not address the political speculation directly, framing the move purely as a financial one, per Variety.

The Numbers After Colbert

The scale of the audience drop is hard to ignore. Colbert’s May 21 series finale drew 6.7 million viewers — the most-watched weeknight episode in the show’s history. Comics Unleashed, which premiered the following night on May 22, opened to approximately 995,000 total viewers and 116,000 in the 18–49 demo, according to LateNighter citing initial Nielsen Live+Same Day panel data, per TV Insider. Allen has been direct about not trying to recapture Colbert’s audience — he told outlets he has no interest in political humor and is building something different.

Allen, 65, is a Detroit-born billionaire who started his career in stand-up comedy and built a media empire over decades. His Comics Unleashed has been a syndicated panel comedy format for years, and the CBS slot gives it a prime broadcast home. Whether that audience finds him is a question the next few weeks of ratings data will start to answer, per The Hollywood Reporter.

The post CBS Says the Late Show Was Losing $40 Million a Year — Now Byron Allen’s Time Buy Will Turn a $15M Profit appeared first on Cream.

• Helen Mirren publicly backed embattled MobLand co-star Tom Hardy on Thursday by posting a photo of him on Instagram captioned “love you now and always” — her first public statement since reports emerged that Hardy was fired from Season 3 of the Paramount+ series
• The Hollywood Reporter confirmed Hardy has been clashing with producers, including executive producer Jez Butterworth, though a THR source said his fate is “yet to be decided” — not a finalized firing
• New details allege Hardy “refused to come out” of his trailer during production, keeping both Mirren and Pierce Brosnan waiting for hours; the behavior was described internally as “career suicide”
• Hardy has a documented history of on-set tensions, most famously with Charlize Theron on Mad Max: Fury Road; the MobLand situation is being compared to that pattern across multiple outlets

Helen Mirren has three words for Tom Hardy: love you always. The Oscar-winning actress stepped into the swirling MobLand controversy Thursday by posting a photo of Hardy on Instagram — him in character as Harry Da Souza — and captioning it simply: “love you now and always.” It was her first public word on a situation that has dominated entertainment coverage for days, per TMZ.

The drama around Hardy and the Paramount+ crime series escalated this week after The Hollywood Reporter confirmed he had been clashing with producers, including executive producer Jez Butterworth. One source told THR that Hardy’s future on the show is “yet to be decided” — a somewhat softer characterization than the flat firing reports that initially circulated. Still, the details that have emerged in reporting are pointed: Hardy allegedly refused to leave his trailer during production, leaving both Mirren and Pierce Brosnan waiting for hours. The behavior was described internally as “career suicide.”

Mirren’s post notably doesn’t address the specifics — it’s an endorsement of Hardy, not a press statement. But in a situation where most of the noise has been negative, it landed as exactly the kind of public-facing loyalty that Hardy’s camp needed, per The Wrap.

Pattern Recognition

Whether the MobLand situation resolves in Hardy’s favor or not, it has revived coverage of his history of on-set tensions — a list that includes his documented feud with Charlize Theron during the production of Mad Max: Fury Road, which became public years after the fact. MobLand is one of Paramount+’s most-watched series; whether Hardy returns for a potential Season 3 — and how Mirren’s public support factors into any decision — remains unresolved.

The post Helen Mirren Posts ‘Love You Now and Always’ for Tom Hardy as MobLand Firing Drama Intensifies appeared first on Cream.

• Sam Elliott, 81, stars as T.L. Norris in Landman season 2 alongside Billy Bob Thornton in the Taylor Sheridan series, and says audiences are gravitating toward the show as an antidote to modern stress — they want to “escape the ‘s—‘ in the world today”
• Elliott says his character’s physical decline and frailty feel “very true” to his own experience: “I’m just old and I’m still lucky to be working,” he told Variety — a line he delivered after reportedly being called “iconic” at a Directors Guild event
• Despite six decades in Hollywood, Elliott says he is still learning from his Landman costars, and frames the show’s appeal around character-driven storytelling and comfort entertainment rather than spectacle
• The Oscar-nominated actor reflected on one of season 2’s most emotionally resonant storylines involving aging and physical vulnerability, saying the material mirrors his own lived experience

Sam Elliott has never been one for self-congratulation, and that hasn’t changed in his ninth decade. The actor, 81, is in the middle of a late-career run that has introduced him to a new generation of fans through Landman — the Taylor Sheridan oil-patch drama that has become one of the most-watched shows on Paramount+ — and he has a theory about why the show connects the way it does.

“Escape” is his word for it. In an interview with Fox News, Elliott said fans are flocking to Landman to get away from the noise — to escape the “s—” in the world today. It’s not a complicated theory, but coming from Elliott, who has spent 60 years playing characters who don’t explain themselves much, it lands.

The show’s second season cast Elliott as T.L. Norris, a character whose age and physical decline are written into his bones. Elliott told Variety that the frailty feels personal. “What I feel like is that I’m just old and I’m still lucky to be working,” he said — a response, delivered without apparent irony, to people at a Directors Guild event who were describing him as “iconic.”

Still Learning

One of the things Elliott keeps coming back to in press for the season is how much he’s absorbed from his costars. Six decades into a career that spans Mask, Tombstone, The Big Lebowski, and an Oscar nomination for A Star Is Born, he says he’s still picking things up on set — a posture that fits neatly with both his reputation and the kind of grounded performance Landman requires from him, per People.

T.L. Norris is not a glamorous role. It asks Elliott to play vulnerability alongside Billy Bob Thornton, who anchors the series as roughneck fixer Tommy Norris. It’s working. The show has been renewed, the numbers are strong, and audiences, by Elliott’s read, are glad to have somewhere to land.

The post Sam Elliott, 81, Says ‘Landman’ Fans Are Tuning In to Escape the ‘S—‘ — and His Character’s Frailty Hits Close to Home appeared first on Cream.

• Universal Kids Resort officially opens July 1 in Frisco, Texas — the first Universal Destinations & Experiences park built specifically for families with young children
• The park features seven themed lands drawing on Minions, Shrek, Trolls, Gabby’s Dollhouse, Jurassic World, and SpongeBob SquarePants, with rides, attractions, interactive experiences, and character meet-and-greets sized for smaller guests
• A 300-room Universal Kids Resort Hotel is part of the destination; tickets and hotel packages went on sale May 28
• Universal describes it as “inviting a new generation to embark on kid-sized Universal thrills made just for them” — a test of a regional, family-focused park concept distinct from its full-scale destination parks
• The opening puts a major new family attraction in the Dallas-Fort Worth area ahead of the summer travel season

Universal has spent decades building massive destination parks for thrill-seekers. Now it’s going in a different direction — and smaller. Universal Kids Resort, the first theme park Universal Destinations & Experiences has ever built specifically for young children, opens July 1 in Frisco, Texas.

The park is designed for families with small kids, full stop. Seven themed lands bring familiar Universal IP down to a scale that actually works for its audience: Minions, Shrek, Trolls, Gabby’s Dollhouse, Jurassic World, and SpongeBob SquarePants are all represented, with rides, interactive attractions, and character experiences built around children rather than adults who want to get their picture taken.

Per Deadline, a 300-room Universal Kids Resort Hotel is part of the complex, giving families the option to make it an overnight destination. Tickets and hotel packages went on sale Thursday, May 28.

A New Concept for Universal

The resort represents something genuinely new in Universal’s portfolio. The company’s existing parks — Orlando, Hollywood, Japan, Beijing, Singapore, and the upcoming Epic Universe — are built around big-ticket rides and broad appeal. Universal Kids Resort is a regional play, a smaller-footprint concept targeting the part of the family vacation market that has always had to compromise at traditional theme parks because the rides are too big, too fast, or too scary for the youngest guests.

Per The Wrap, Universal is framing the opening as “inviting a new generation to embark on kid-sized Universal thrills made just for them” — language that points directly at parents of toddlers and elementary-age kids who want the Universal experience without the logistics of a full Orlando trip. Frisco, in the Dallas-Fort Worth metro area, puts the park within driving distance of one of the country’s largest population centers. The July 1 opening drops it squarely into peak family travel season.

The post Universal Kids Resort Is Opening July 1 in Texas — Here’s What’s Inside appeared first on Cream.

• Fremantle and Archery Pictures (founded by Operation Mincemeat producer Kris Thykier) are developing a crime drama series tentatively titled Moriarty, based on Sherlock Holmes’ arch nemesis Professor James Moriarty
• The show reimagines Moriarty as a Professor of Criminal Psychology at Durham University who secretly runs a criminal empire across the North of England — and is forced to join the police as a consultant when a rival threatens his operation
• Writers attached: Chris Cornwell (A Discovery of Witches, Strike Back) and Oliver Lansley (Where’s Wanda?, Flack)
• No network is attached yet and no casting has been announced; Fremantle will handle global sales
• Previous actors to play Moriarty include Andrew Scott in BBC’s Sherlock, Jared Harris in Guy Ritchie’s films, and Dónal Finn in Prime Video’s Young Sherlock

The Sherlock Holmes universe just keeps expanding — and this time it’s the villain getting the spotlight.

Fremantle and British production company Archery Pictures have announced they are developing Moriarty (working title), a new crime drama series built around Professor James Moriarty, the fictional criminal genius Arthur Conan Doyle created as Holmes’ most formidable opponent. The project was announced Wednesday and reported by Deadline and Variety.

The show’s logline leans into the procedural format with a twist: Moriarty is reimagined as a Professor of Criminal Psychology at Durham University who, by night, operates as the mastermind behind every sophisticated crime in the North of England. When a rival criminal starts dismantling his underground empire, he’s left with one option — go undercover inside the police force as a consultant, using the law itself as a weapon. His partner on the inside is Detective Imogen Burrows, described as "a stoic Yorkshire detective," and the show promises that the real danger for Moriarty isn’t the rival he’s trying to take down — it’s Burrows slowly figuring out who he really is.

The team behind it is describing the series as "a modern reinvention of the crime procedural, based on the most famous villain in all of detective fiction."

The Team

Archery Pictures was founded by Kris Thykier in 2014. The company’s credits include Operation Mincemeat, Netflix’s Fate: The Winx Saga, and the Bradley Cooper romcom Is This Thing On? The scripts are being written by Chris Cornwell, who worked on A Discovery of Witches and Strike Back, alongside Oliver Lansley, known for Where’s Wanda? and Flack.

"We are thrilled to be working with Fremantle to bring to life the original and character-driven spin-off from the Sherlock Holmes universe that Chris Cornwell has created," Thykier said. "Moriarty will show audiences what it takes to be a criminal genius, combining genre thrills with a playful, dark, and thrilling dive into the psychology of villainy."

Rebecca Dundon, SVP of scripted content at Fremantle, added: "We instantly saw huge potential for a commercial, returning franchise that brings to life one of the more allusive characters in the Sherlock world: Moriarty. It’s exciting to collaborate with Kris and the team at Archery to bring a premium, propulsive, contemporary drama to screen that will not only be clever and hooky, but also give us a fresh spin on the procedural crime format."

A Character With History

Moriarty has been played by a long list of actors over the decades. Andrew Scott’s portrayal in the BBC’s Sherlock — opposite Benedict Cumberbatch’s Holmes and Martin Freeman’s Watson — became one of the most talked-about villain performances in recent TV history. Jared Harris played him in Guy Ritchie’s Sherlock Holmes: A Game of Shadows (2011) alongside Robert Downey Jr. and Jude Law. More recently, Dónal Finn takes on the role in Prime Video’s Young Sherlock, one of several Holmes-adjacent shows currently in production or on air — including CBS’s Watson, which stars Randall Park.

The timing isn’t accidental. Conan Doyle’s copyright on the Holmes stories expired fully on January 1, 2023, opening the door for productions to adapt the characters without licensing fees. No casting has been announced for this version of the professor, and the series has yet to be picked up by a network or streamer. Fremantle is handling global distribution.

The post A Moriarty TV Series Is Coming — Sherlock’s Villain Gets His Own Crime Drama appeared first on Cream.

• Joy Behar, 83, announced on The View’s Behind the Table companion podcast that she’s taking a brief hiatus starting next week
• She’s flying to Paris for a week, then taking the Eurostar tunnel to London — a proper European vacation
• The show made her pre-record (“bank”) weekend episodes before leaving so she’ll still appear on air while traveling
• Producer Brian Teta broke the news on the podcast; Behar jokingly said the show had made her “bank” the shows even though she won’t be there
• The hiatus is temporary — Behar has been a View co-host since 1997 and is currently in her 29th season

Joy Behar is going to Europe, and she made sure everyone knew about it.

On Tuesday’s episode of Behind the Table — The View’s companion podcast — executive producer Brian Teta let it slip that Behar would be taking some time off. “This is your last podcast for a little bit, because next week you’re not going to be here,” Teta said. “Are we talking about this?”

Behar was ready. “Well, they made me bank the weekend shows even though I’m not here,” she said. “You better tell people why I’m not here.”

The reason: she’s flying to Paris this week, staying for a week, then hopping the Eurostar through the Channel Tunnel to London. It’s the kind of itinerary that sounds like it was planned the moment the season calendar cleared.

The “banking” detail is the practical reality of live television — Behar recorded her weekend show appearances in advance so viewers at home would see her on screen while she was actually somewhere in the 8th arrondissement. It’s not the first time a View host has pre-taped around travel, but Behar’s particular insistence on telling the audience exactly what the show was doing with her recorded segments had a very Joy-being-Joy energy about it.

The hiatus is short. Behar, who turns 83 this year, has been a co-host on The View since its premiere in 1997 — which makes this her 29th season. A Paris trip barely registers as an absence by those standards.

She’ll be back. The croissants, meanwhile, are not going to eat themselves.

The post Joy Behar Is Taking a Paris-to-London Trip — and ‘The View’ Made Her Pre-Record First appeared first on Cream.

• Sharyn Alfonsi’s CBS contract quietly expired Saturday after 11 years at 60 Minutes — she has no expectation of returning to the show
• The fallout traces to December, when editor-in-chief Bari Weiss pulled Alfonsi’s segment on Venezuelan migrants detained at El Salvador’s CECOT prison, which Alfonsi publicly called a “political decision”
• In a scorching statement, Alfonsi said her ouster was “a deliberate choice to penalize a journalist for refusing to sanitize factually accurate reporting”
• She remains technically employed at CBS News but says: “If they want me gone because I did my job, they’ll have to fire me”
• Anderson Cooper also departed 60 Minutes in February — Bari Weiss is now planning a significant overhaul of the 58-year-old franchise

Sharyn Alfonsi is out at 60 Minutes. And she is not going quietly.

The veteran CBS News correspondent confirmed to The New York Times on Wednesday that her contract expired over the weekend, drawing to a close more than a decade at the network’s flagship newsmagazine. According to Alfonsi, her agent spent weeks trying to establish a path forward with CBS executives — and was met with complete silence. “The message could not be clearer,” she wrote in a statement published by Puck’s Dylan Byers. “My time at 60 Minutes is apparently over.”

For anyone who’s been following the slow unraveling at CBS News, the news wasn’t exactly a surprise. But the statement Alfonsi released alongside it — blistering, detailed, and aimed squarely at CBS management and editor-in-chief Bari Weiss — landed like a grenade.

What She Said

“This was not a routine corporate transition,” Alfonsi wrote. “It was a deliberate choice to penalize a journalist for refusing to sanitize factually accurate reporting, and it sends a chilling message to the entire newsroom.”

She went further. “Fearless, independent reporting has always been the defining standard at 60 Minutes. Today, CBS management is abandoning that mission, choosing access journalism over accountability and protecting power rather than scrutinizing it.”

And then, directly to her former colleagues: “I’ve learned exactly what it costs to hold the line right now. Hold it anyway.”

In a separate interview with the Times, she was equally blunt: “I think it was a deliberate choice to penalize a journalist for refusing to sanitize accurate reporting.” As for her employment status — she remains on the CBS payroll for now, though without a contract and with no expectation of appearing on screen. “I’m not resigning,” she said. “If they want me gone because I did my job, they’ll have to fire me.”

How It Started

The conflict goes back to December, when Weiss — installed by Paramount owner David Ellison in 2025 — abruptly pulled a 13-minute segment Alfonsi had reported on Venezuelan migrants deported by the Trump administration to El Salvador’s notorious CECOT prison. Alfonsi sent an internal email to colleagues calling the decision “political.” Weiss rejected the characterization, saying the piece “was not ready” and requesting last-minute additions, including an interview with Trump adviser Stephen Miller.

The segment eventually aired largely intact the following month, with administration comments added. Some CBS executives privately characterized Alfonsi’s internal email as insubordinate. Alfonsi said she didn’t regret sending it. “I know they said I was being difficult,” she told the Times, “but I believed I was doing my job.”

She continued to appear on 60 Minutes through the end of this season, which wrapped May 17. Then her contract expired on Saturday, with no renewal conversation ever having taken place.

The State of 60 Minutes

Alfonsi would be the second 60 Minutes correspondent to exit since Weiss took over. Anderson Cooper announced in February that he was leaving the program after 20 years.

Weiss, meanwhile, is preparing what sources describe as a significant shake-up of the franchise: new contributing journalists, shorter digital segments, and live events modeled on The New Yorker Festival where viewers could meet star correspondents. The fate of executive producer Tanya Simon is also said to be uncertain — Weiss is reportedly considering bringing in an outside journalist to oversee or work alongside her.

60 Minutes debuted in 1968 and remains the country’s highest-rated television newsweekly. Its viewership this season was actually up 9 percent from the year before, per Nielsen — which makes the current turbulence all the stranger.

Alfonsi has been thinking about what comes next at the show she helped define for more than a decade. “For the last 60 years it’s been the same formula: tell the truth, hold the power accountable, don’t blink,” she said. “And it’s unclear what next season looks like.”

She added: “There’s a feeling that the wall has come down between editorial independence and corporate interests. The concern is we’re going to end up with a broadcast that looks like ’60 Minutes’ but doesn’t have the courage or the character to produce 60 Minutes journalism that actually matters.”

CBS News declined to comment.

The post Sharyn Alfonsi Is Out at 60 Minutes After Clashing With Bari Weiss appeared first on Cream.

• Howard Storm, veteran television director, died May 26 of natural causes at his home in Beverly Hills at age 94
• He directed 59 episodes of Mork & Mindy — one of the most extensive runs any director had on a single sitcom
• His career spanned Rhoda, Valerie, Laverne & Shirley, ALF, Full House, Everybody Loves Raymond, and dozens more
• Before directing, Storm was a stand-up comedian who performed in Las Vegas and opened for Andy Williams
• He learned filmmaking by working alongside Woody Allen on Bananas and Everything You Always Wanted to Know About Sex

Howard Storm directed 59 episodes of Mork & Mindy. Fifty-nine. For context: the show ran 95 episodes total. That’s not a TV credit — that’s a legacy.

Storm died on Tuesday, May 26, of natural causes at his home in Beverly Hills, his son Anthony Storm told The Hollywood Reporter. He was 94.

Born Howard Sobel on December 11, 1931, in New York City, Storm grew up the son of a vaudevillian — which tells you something about where he was always headed. He came up as a stand-up comedian first, performing in Las Vegas, opening for Andy Williams, and making appearances on The Merv Griffin Show. Deadline reported that he was a fixture in those rooms before pivoting to a second career that would end up defining him far more than any stage ever did.

From Woody Allen’s Set to Robin Williams’s Living Room

The transition from stand-up to director didn’t happen in a straight line. Storm first got his screen credit as an actor in 1959, picking up guest roles in shows like The Untouchables and Love, American Style. His connection to the industry deepened when he became a member of Lucille Ball’s Desilu Workshop in the late 1950s — a training ground that shaped more than a few careers.

What actually taught him to direct, though, was working alongside Woody Allen. Storm had roles in both Bananas (1971) and Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (1972), and watching Allen work changed the way he thought about filmmaking. The Hollywood Reporter recalled a detail Storm used to tell: after shooting a scene with Allen, the cinematographer would say “Good for me, Woody” and the sound man would confirm the same — a casual, efficient creative shorthand that stuck with Storm as a model for how a set should run.

He made his directorial debut on Season 2 of Rhoda in 1975-76, the Mary Tyler Moore spinoff starring Valerie Harper. That led to Mork & Mindy, and with Robin Williams at the center of it, no two days on that set were the same.

59 Episodes

The number is remarkable. Storm directed more than half of the entire run of Mork & Mindy, which means he was in the room for more of Robin Williams’s unscripted brilliance than almost anyone else behind a camera. Sitcom directing at that level isn’t just craft — it’s relationship-building, trust, and the ability to stay out of the way at exactly the right moment.

After Mork & Mindy, the credits kept accumulating: Laverne & Shirley, Valerie, ALF, Full House, Head of the Class, Major Dad, Perfect Strangers, Kenan & Kel, Everybody Loves Raymond, Angie, Doc. That list reads like a survey course in American sitcom history from the late 1970s through the 2000s. He was present for almost all of it.

Howard Storm was 94. He went out at home, quietly, the same Beverly Hills he’d worked from for decades.

Fifty-nine episodes of Mork & Mindy. Some careers speak for themselves.

The post Howard Storm, Who Directed 59 Episodes of ‘Mork & Mindy,’ Dies at 94 appeared first on Cream.

• Lucasfilm confirmed in a GameRant interview that Cal Kestis will appear in future Star Wars stories
• The confirmation comes alongside news that a third Star Wars Jedi game is in development
• Actor Cameron Monaghan (Gotham, TRON: Ares) voices and motion-captures Cal, and is widely expected to reprise the role in live-action
• No specific project has been announced — the confirmation is deliberately vague
• Fans are connecting the dots between the Lucasfilm confirmation and a new Luke Skywalker book that fueled fresh theories

Cal Kestis isn’t going anywhere — and Disney wants you to know it.

Lucasfilm representatives confirmed in a recent interview with GameRant that the Star Wars Jedi video game protagonist will feature in future stories beyond the game series. It’s the clearest official signal yet that the character — an Order 66 survivor introduced in Fallen Order and continued in Survivor — has a place in the broader Star Wars universe that extends beyond a controller.

The catch: no specific project was named. It’s a confirmation in the loosest sense — a door held open rather than a door walked through.

The Cameron Monaghan Question

Speculation has swirled for years that Cameron Monaghan, who voices and motion-captures Cal in both games, would eventually reprise the role in live-action. Monaghan has the profile for it — Gotham fans know him well, and his upcoming appearance in TRON: Ares will only raise his visibility. ComicBook noted that the Lucasfilm confirmation, combined with a new Luke Skywalker book generating fan theories, has the internet doing what it does: connecting dots and running with it.

What’s Next for the Games

A third Star Wars Jedi game from Respawn is in development, though details remain sparse. The Lucasfilm statement suggests that whatever comes after that game — TV, film, animation — Cal’s story is part of the longer plan.

For fans who’ve spent two games investing in this character, that’s enough for now.

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