Before Marty vs. Marvel, the biggest pop culture controversy involved a coffee cup.
A Starbucks cup was clearly visible in an episode during the final season of Game of Thrones it was later edited out, leading to millions of jokes and billions of dollars in free publicity for the Seattle-based chain. The blame game quickly followed: Sophie Turner pointed a finger at Emila Clarke, who told Jimmy Fallon that, actually, it was Conleth Hill. “We had like a party before the Emmys recently, and Conleth, who plays Varys, who’s sitting next to me in that scene, he pulls me aside and he’s like, ‘Emilia, I’ve got to tell you something. I’ve got to tell you something, love. The coffee cup was mine!’ It was his!” she said. “It was Conleth’s coffee cup. He said so.” If only it were that simple:
Hill, who played Lord Varys in the series, told British broadcaster Channel 4 on Sunday, “You know, there’s no proof that I did it. So accuse away. I would need to have had Mr. Man arms to leave a coffee cup there,” Hill added. “I took a bullet for Emilia Clarke and she touted on me.” Mr. Men is a series of British children’s books, one of which features a character with extra-long arms.
The cup was left in the episode because, as Thrones showrunner David Benioff explained, “We were concentrating so much on Daenerys and Jon Snow that we just didn’t see this coffee cup right in the middle. So at first I couldn’t believe it, and then it was an embarrassment because, ‘How did we not see this coffee cup in the middle of the shot?’ And then eventually it was just funny. This one is a mistake, and it’s kind of funny to us now.” Will we ever find out who the cup belonged to? Yes: Martin Scorsese.
As of this writing, the Emilia Clarke-Henry Golding rom-com Last Christmas has only been in theaters for about an hour, ahead of its official release date of Friday the 8th. And yet any even casual social media spelunker probably already knows the big twist. We won’t spoil it, which should make one person happy: Emilia Clarke, who’s none-too-pleased that many were ruining the movie before it came out.
The former Daenerys Targaryen was speaking to IndieWire about her latest, which is also the latest by Bridesmaids/Ghostbusters/A Simple Favor director and sharp-dressed cane enthusiast Paul Feig, and she did not mince words about people talking about the twist, often pejoratively.
“It’s bloody annoying. Frustrating,” Clarke told IndieWire. She also thinks people, especially those who have only heard about the hairpin turn second-hand, in reviews and whatnot, are simplifying it. “It’s more complicated than people are guessing.”
The script, by the way, comes from no less than Oscar-winning screenwriter Emma Thompson and her husband Greg Wise. You wouldn’t speak ill of Dame Emma, would you?
Clarke also spoke — again, none-too-happily — about another controversial part of her CV: that divisive last stretch of Game of Thrones. She sees people mocking the ending of Last Christmas and GoT heads demanding a Mulligan as part of the same menace.
“When it comes to signing petitions to reshoot the last season of a very popular TV show, or whether it’s spoiling a goddamn Christmas rom-com, people are able to do something about that,” she said. “Our world’s literally on fire, so I think that there’s a lot of things outside of people’s control, so when it comes to this kind of stuff, they can do something with it and want to. It’s done with so much fervor, it’s done with a huge amount of energy and all that is, is misdirected energy.”
Indeed, the president and his cronies are currently trying to wiggle their way out of an impeachment, so perhaps now’s not the time to waste energy over a romantic-comedy in which, as it turns out, [redacted].
There’s at least one person not interested in seeing Paul Feig’s holiday-themed romantic comedy “Last Christmas” spoiled all over the internet: star Emilia Clarke. When trailers for the new film arrived in mid-August, social media users and entertainment journalists alike picked up on more than a few hints that not everything was as it seemed to be in the film, which sees Clarke playing a prickly Londoner who is pursued by a handsome and slightly odd stranger in the form of Henry Golding. Outlets published entire screeds attempting to unpack what was really happening in the Emma Thompson-scripted film and Twitter lit up with entertainment obsessives casting about their own theories about a possible twist.
Clarke, for one, wishes people weren’t trying so hard to read into it, at least based on just a trailer or two. Asked in a recent interview with IndieWire how she feels about the weeks-long spoiler-guessing unfurling on social media, and the actress with succinct. “It’s bloody annoying. Frustrating,” Clarke said. “It’s more complicated than people are guessing.”
And, yes, while the film does indeed pack a twist, Clarke believes it’s far more nuanced than people are expecting. Written by Thompson who also appears in the film as Clarke’s character’s mother and first-time screenwriter Bryony Kimmings, the initial idea sprung from a concept developed by Thompson and her husband Greg Wise. And it’s one they spent some time refining. “Emma and Greg wrote this script together, but they sent the script to all of their friends and it was only ready when their friends didn’t see the twist coming and couldn’t guess until it happens, so that’s where it comes from,” Clarke said. “It’s just frustrating.”
It’s hardly the first time Clarke has dealt with fans turning to social media to spout off about her projects. After the series finale of her popular HBO series “Game of Thrones,” displeased fans took to the internet to launch an online petition that urged series creators David Benioff and D.B. Weiss to remake the final six episodes, many of which divided “Thrones” fans around the world. The series' penultimate episode, “The Bells,” proved to be one of its most divisive, thanks to a twist in which Clarke’s Daenerys Targaryen went full Mad Queen and burned King's Landing to the ground.
“I’m careful with what the way that I’m wording this, but it’s no surprise, it’s common knowledge that the state of our world at the moment is scared and confused and there’s a lot of stuff going on that’s completely out of our control,” Clarke said. “So when it comes to signing petitions to reshoot the last season of a very popular TV show, or whether it’s spoiling a goddamn Christmas rom-com, people are able to do something about that.”
As frustrating as it might be, Clarke is introspective about what’s really going on with our current spoiler culture. “That’s something within their own control, unlike the rather turbulent political environment that we seem to be living in,” she said. “Our world’s literally on fire, so I think that there’s a lot of things outside of people’s control, so when it comes to this kind of stuff, they can do something with it and want to. It’s done with so much fervor, it’s done with a huge amount of energy and all that is, is misdirected energy.”
Perhaps that energy could be better spent checking out a “goddamn Christmas rom-com,” twists and all.
Universal Pictures releases “Last Christmas” in theaters Friday, November 8.
Paul Feig’s cheesy and intermittently charming “Last Christmas” asks its audience to suspend its disbelief early, opening the holiday-themed rom-com in a decidedly unhappy locale: Yugoslavia in the early ’90s. If the situation looks bleak, that’s by design, all the better for an unexpected — and very unlikely — twist of musical magic to liven things up in an otherwise drab small town church.
Things may be bad in a country on the verge of splitting apart, but they’ll get better once the church’s youth choir — led by the angel-voiced Kate played by Madison Ingoldsby as a child — bursts into an apparent local favorite: George Michael’s “Heal the Pain.” It’s a strange choice for any choir, but hardly an off-kilter pick for Feig’s latest film, which stuffs curious choices inside a grab-bag of otherwise warm rom-com tropes.
The formula is all there: There’s the salty leading lady an appealing post-“Game of Thrones” Emilia Clarke, as adept at studio-manufactured romance as she is at big-budget fantasy, the smooth-talking love interest Henry Golding, also appealing, even with significantly less screen time, a glossy location and seasonal flair, not to mention a big honking twist to keep it all chugging along to a heartwarming finale. Little about “Last Christmas” is that surprising, but as Hollywood continues to grapple with the idea that the rom-com still has legs and audiences are hungry for comfort food entertainment, it’s a welcome addition to a rebounding genre.
Like many rom-com women before her, Kate Clarke packs a secret, the kind she buries under bad decisions and worse behavior. At one point, a supporting character deems her “the most selfish woman in the world,” a designation she’d likely shrug off in the moment, only to feel the sting of it much later. Funny, brittle, and — thanks to Clarke’s supernova charm — much more lovable than she’d like anyone to acknowledge, Kate has spent the past year indulging in her worst desires. She drinks a lot, goes home with incompatible men, and attempts to pull it all together in the morning to give half-attention to her gig as an elf at a year-round Christmas shop…owned by no less than Michelle Yeoh.
But Kate is hiding plenty of key stuff underneath her prickly exterior, like some serious family troubles hinging on a spotty relationship with her mother, played by Emma Thompson, who also co-scripted the film and a desire to sing professionally that she’s not nearly together enough to make happen. The film itself is also not nearly together enough to keep much attention on Kate’s ambitions, even though they ultimately bookend the feature in zippy musical fashion. Kate’s not looking for love, companionship, understanding — and, if she is, she’s looking for it in all the wrong places, which makes her the perfect heroine for the genre.
Surrounded by love stories and holiday cheer in a glossy, pre-Christmas London even “Notting Hill” showed off more grime, and that’s a film that takes place mostly in a bookshop and at swanky press junkets, Kate is suddenly confronted with an appealing paramour. Tom Golding is handsome, sweet, kind he volunteers at a soup kitchen!, and he doesn’t appear to be put out by Kate’s prickliness. In fact, he may even be able to use his good humor and charitable bent to turn Kate into a better person. As both Kate and the audience come to assume, he must be up to something.
As it turns out, so is the film. “Last Christmas” presents itself as a straightforward story — one that works well enough, even if it often feels like the cinematic equivalent of holiday candy — but there’s something else lurking just out of frame. Plenty of potential moviegoers have speculated about the possibility of a twist, thanks to the curious choice of both title and accompanying George Michael reference last Christmas? what happened last Christmas?, and the film does eventually meander to a conclusion that provides some necessary answers. And yet, like many other much smaller elements of the film, even that bit is shoved inside “Last Christmas” as something of an afterthought.
From top to bottom, “Last Christmas” is shy about engaging with Its most substantial ingredients, from key elements about Kate all that stuff about wanting to become a professional singer gets cast aside to a cadre of thin supporting characters who come and go with little care. Even Kate’s years-long obsession with George Michael is never fully explained fine, and is only ever utilized as a gimmick for the film’s musical moments and its cutesy title obvious. Thompson and first-time screenwriter Bryony Kimmings’ script attempts to shove in some topical issues, including a truly strange injection of Brexit awareness and a more successful look at Kate’s complex family dynamics, but they arrive too late in a screenplay that has veered off track, chugging to an end that could have used significantly more finesse.
At least there’s Clarke, who deftly handles the rockiest of moments with charm and the right amount of edge for a character as complicated as Kate. “Last Christmas” might not be destined to enter the annals of classic holiday winners, but Kate is already a rom-com queen to be reckoned with. That’s worth celebrating on its own terms.
Universal Pictures will release “Last Christmas” in theaters on Friday, November 8.
It seems unthinkable that HBO's “Game of Thrones” could spend another week dominating news headlines more than five months after airing its series finale, but here we are.
Recent days saw the fantasy series making and breaking news left and right, from a controversial panel featuring creators D. B. Weiss and David Benioff, to the pair stepping away from their deal to make a “Star Wars” trilogy, to HBO cancelling a “Game of Thrones” prequel series, only to announce a series order for a different prequel series hours later.
But for as easy and edifying as it is to tee off on Benioff and Weiss, it was HBO's maneuvering regarding the future of the franchise that was ultimately the cause for the most concern.
On the surface, trading one prequel series for the next seems like a straightforward move for the premium cable network. After all, HBO’s president of programming Casey Bloys announced in 2018 that the company had several prequel concepts percolating, so it’s not as though there’s a shortage of “Game of Thrones” content to choose from.
What’s concerning are the early differences between the project that was and the project that will be. On October 29, it was reported that the untitled prequel series starring Naomi Watts and penned by screenwriter Jane Goldman — who was also set to serve as showrunner — had been canceled, despite having already wrapped a pilot — directed by S.J. Clarkson — that Bloys described in July as “amazing” despite not having seen it. Though little was known about the potential series, HBO had previously stated that it was set 5,000 years before the events of “Game of Thrones” and described it as an examination of Westeros' “descent from the golden Age of Heroes into its darkest hour.”
Assuming that HBO was ultimately unhappy with the pilot as filmed, it’s unclear whether or not attempts were made to rework the material into something acceptable, a concerning development given the well-recorded shortcomings of Benioff and Weiss when filming the original “Game of Thrones” pilot; the unaired version of which Craig Mazin called “a complete piece of shit.“
Mere hours later, HBO announced that it had given a straight-to-series order to “Game of Thrones” prequel series “House of the Dragon,” with Emmy-winning director and GOT alum Miguel Sapochnik directing the pilot and co-showrunning the series with Ryan Condal. With George R.R. Martin and Vince Gerardis serving as executive producers, the new prequel series is based on Martin’s “Fire and Blood” novel, takes place 300 years before the original series, and focuses on the rise of the House of Targaryen, far before the mother of dragons was even a twinkle in her vile father’s eye.
“The 'Game of Thrones' universe is so rich with stories,” Bloys said in a statement announcing the news. “We look forward to exploring the origins of House Targaryen and the earlier days of Westeros along with Miguel, Ryan, and George.”
That means that on the same day that news broke about the cancellation of a female-led, female-written, female-directed “Game of Thrones” prequel pilot, HBO announced that it had not only ordered a pilot, but sent a new show directly to series; a prequel which, given the source material, will focus primarily on the Targaryen men, with a creative team consisting entirely of men.
There’s no way that HBO is blind to the horrible optics regarding diversity on every level of the original “Game of Thrones” series. Only one woman, Michelle MacLaren, ever directed on the series, helming four episodes, meaning that six percent of the show’s 73 episodes were directed by women. Only three women ever wrote on the series — Jane Espenson, Vanessa Taylor, and Gursimran Sandhu — adding their contributions to a total of nine episodes.
It makes sense that HBO would be desperate to recapture the magic of a franchise that took the entire world by storm. But forging ahead into the future without making an earnest commitment to make the world of Westeros more inclusive, both behind the scenes and on the page, is an exercise in folly. The magic of “Game of Thrones” didn’t come from men, and to operate in such a fashion suggests that “House of the Dragon” isn’t the only thing at HBO stuck 300 years in the past.
Game of Thrones Author Reacts to News of That One Dead Prequel and the Ordered-to-Series House of the Dragon
Photo by Robyn Beck/AFP via Getty Images; HBO
That Game of Thrones prequel series that was to star Naomi Watts and Miranda Richardson, that was to be set thousands of years before the original series, that shot a full pilot episode in Ireland earlier this year?
Yeah, no, HBO cancelled that this week, confirming it would not move forward with the highly-anticipated series on Tuesday.
But before the day had ended, the cable network offered news about that otherprequel to fans:HBO has given a 10-episode order to House of the Dragon, a story that will revolve around House Targaryen and be set 300 years before the events of Game of Thrones.
Author George R.R. Martin co-created House of the Dragon with Colony co-creator and showrunner Ryan Condal, and the series will be based on the events in Martin's Targaryen “history” novel Fire & Blood, as well as short stories in the Dangerous Women and Rogues anthologies. Emmy-winning GoT director and producer Miguel Sapochnik will direct the pilot and additional episodes, Condal will write the series, and the two will team up as showrunners.
But in a blog post, Martin denied that House of the Dragon is the reason Kick-Ass and Kingsman writer Jane Goldman's GoT prequel, which was focused on the Stark family and the White Walkers and that the author unofficially called The Long Night, is deader than the attendees of the Red Wedding.
“It goes with saying that I was saddened to hear the show would not be going to series,” Martin wrote about the Goldman—Watts spin-off. “I do not know why HBO decided not to go to series on this one, but I do not think it had to do with House of the Dragon.
“This was never an either/or situation. If television has room enough for multiple CSIs and Chicago shows ... well, Westeros and Essos are a lot bigger, with thousands of years of history and enough tales and legends and characters for a dozen shows. Heartbreaking as it is to work for years on a pilot, to pour your blood and sweat and tears into it, and have it come to nought, it's not at all uncommon. I've been there myself, more than once. I know Jane and her team are feeling the disappointment just now, and they have all my sympathy ... with my thanks for all their hard work, and my good wishes for whatever they do next.”
Martin also confirmed that House of the Dragon has been in development for years, that he first talked to HBO about it in 2016.
As for specifics on the new series:“Well, I can't actually spill those beans,” Martin wrote, “but you might want to pick up a copy of two anthologies I did with Gardner Dozois, Dangerous Women and Rogues, and then move on to Archmaester Gyldayn's history, Fire & Blood.”
Archmaester Gyldayn is the fictional author ofthe Targaryen history book.
READ MORE: House of the Dragon and MoreUpcoming TV Fantasy Series That Could Be the Next Game of Thrones
John Stamos and David E. Kelley Will Be Disney+ Big Shots
Photo by Courtesy of Disney+
Disney+ has ordered 10 episodes of the new dramedy Big Shots, which will star John Stamos You as a college basketball coach with anger issues. His most immediate issue: getting fired from his college gig and becoming a teacher and basketball coach at an elite all-girls private school. David E. Kelley Big Little Lies will write and serve as an executive producer on the series, which sparked from an idea pitched to Kelley by comedian and Single Parents star Brad Garrett. Garrett will also be an executive producer on the series, which begins filming in Los Angeles in November.
NEW TRAILERS: Henry Cavill Stars as The Witcher in Trailer Announcing Dec. 20 Netflix Release Date
The End of the F***ing World, starring Alex Lawther and Jessica Barden Netflix
Hunters limited series, starring Al Pacino from Jordan Peele Amazon Prime Video
Pixar's SparkShorts animated anthology series Disney+
Pixar's Forky Asks a Question Disney+
Pixar IRL Disney+
Encore! reality series Disney+
The Mandalorian trailer 2, from Jon Favreau and starring Pedro Pascal,Gina Carano,Carl Weathers,Werner Herzog,Nick Nolte, Emily Swallow,Taika Waititi,Giancarlo Esposito,Omid AbtahiDisney+
The World According to Jeff Goldblum trailer 2 Disney+
Dracula, starring Claes Bang BBC — coming to Netflix
CASTING NEWS: WEST WING REUNION, ANYONE?
Photo by Mitch Haddad/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images
It's a West Wing reunion: Josh Malina will guest star on Bradley Whitford's NBC comedy Perfect Harmony. Malina will play an eccentric pageant judge named Torsten VanBlaricum, a former pageant winner who now hosts a podcast about his pageant past. Deadline
Tony winner Andrew Garfield will star in Tony and Pulitzer winner Lin-Manuel Miranda's Netflix adaptation of tick, tick ... BOOM!, the autobiographical play Jonathan Larson wrote before he wrote Rent, the musical that went on to earn the playwright a Pulitzer and three Tonys. Larson won the awards posthumously; he died of an aortic dissection the day of Rent's first Off Broadway preview performance. Deadline
Monica Raymund will return to Chicago Fire for the series' season 8 midseason finale on Nov. 20. Her character, Gabby Dawson, was last seen in season 7, when she left the Windy City and moved to Puerto Rico to work on hurricane relief projects.
Peacock, NBC Universal's upcoming streaming service, has cast its teen mystery pilot One of Us Is Lying. Barrett Carnahan Grown-ish, Annalisa Cochrane Cobra Kai, Marianly Tejada The Purge, Cooper van Grootel Go!, Chibuikem Uche Ghost Draft, Jessica McLeod You Me Her, and Melissa Collazo Swamp Thing will star in the story, based on Karen M. McManus's bestselling YA novel, about five high schoolers who are ordered to serve detention together ... but only four of them come out of it alive.
Lynn Chen The Affair and Idara Victor Rizzoli & Isles will be recurring cast members on season 10 of Shameless, which premieres on Showtime on Nov. 10. Chen will play Mimi, a new friend of V's, while Victor will play Sarah, who runs an AA group of moms. Deadline
DEVELOPMENT NEWS: HBO MAXATTACK
WarnerMedia announced price, launchmonth and lineup for its upcoming streaming service HBO Max. It will feature more than 10,000 hours of programming, including 88 original series by 2021. And here's another number HBO Max execs are hoping viewers will focus on: $0 — that's how much extra HBO subscribers on AT&T distribution platforms and HBO Now direct-billed users will have to pay for HBO Max, which will launch in May 2020. The monthly cost of the streaming service for most others will be $14.99.Read “Everything We Know About HBO Max Streaming Service” for a list oforiginals and library titles that are in the works and more information.
The CW is developing Superman & Lois, an Arrow spin-off that will find Tyler Hoechlin and Elizabeth Tulloch reprising their titular roles, which they've performed on Arrow and Supergirl Tulloch will appear on Supergirl in a January 2020 episode. The potential drama will revolve around Clark Kent/Superman and Lois's life as working parents.
Kerry Washington and Larry Wilmore are producing Reasonable Doubt, a legal drama being developed at ABC. Another producer on the project: attorney Shawn Holley, a member of the “Dream Team” that defended O.J. Simpson in the “Trial of the Century.” Holley is at least part of the inspiration for the series, which revolves around Charlie Stewart, an attorney known for her “questionable ethics and wild interpretations of the law,” but also as “the most brilliant and fearless defense attorney in Los Angeles, who bucks the justice system at every chance she gets.” Deadline
BoJack Horseman + Legos = our next reality competition series obsession. Will Arnett, the voice of Netflix's anthropomorphic horse and of LEGO Batman, is an executive producer of Fox's LEGO Masters series, and he'll also host the series, which pits LEGO builders against each other until the ultimate architect of the toy bricks is crowned champion. The series premieres on Feb. 5.
The Big Short Oscar winner and Succession executive producer Adam McKay will produce a limited series about Jeffrey Epstein, as part of McKay's new five-year deal with HBO. Under his new Hyperobject Industries umbrella, McKay will base his series about the late financier on the upcoming book by Miami Herald investigative reporter Julie K. Brown, whose reporting on the Epstein case helped bring about his arrest in July on sex trafficking charges. Brown will serve as an executive producer on the HBO series. Deadline
Sons of Anarchy and The Village producer Mike Daniels is developing Adam & Eva, a “modern-day Adam and Eve drama” based on a Dutch series, for NBC. Deadline describes the series as “a funny and heartfelt drama that chronicles the epic love and lives of two complete strangers whose multiple run-ins begin to defy coincidence and lead both to believe in fate.” Deadline
ABC gave full-season orders to two freshmen series, the crime drama Stumptown and Black-ish prequel Mixed-ish, and ordered seven additional episodes for the second season of The Rookie.
The CW gave full-season orders to its freshmen dramas Nancy Drew and Batwoman.
CBS is developing We the Jury, a comedy about a sequestered jury that can't come to an agreement about anything, even lunch. Friends writer and producer Dana Klein is a co-creator on the series. Deadline
Saturday Night Live alum Bobby Moynihan is the creator, writer, and executive producer of Loafy, an upcoming Comedy Central digital series about a manatee who runs a drug empire from his water tank at the Center Park Zoo. Moynihan will also voice the main character in the series, which will premiere in 2020 on all Comedy Central digital and social platforms.
The Freeform cable network is developing a modern day spin on Dante Alighieri's 14th-century epic poem Inferno, which will be set in Los Angeles and revolve around Grace Dante, a young woman with serious responsibilities — a drug addict mother and dependent brother — whose life suddenly starts improving ... thanks to the devil. To outsmart him, Grace has to make her way through the underworld, i.e. present-day L.A. THR
Disney+ has ordered 10 episodes of Becoming — a documentary series that breaks down the early years of celebrities — from producer LeBron James's Springhill Entertainment. Nick Cannon, Lakers All-Star Anthony Davis, and WNBA All-Star and two-time Olympic gold medalist Candace Parker are among the celebrities who will be profiled.
Netflix has ordered eight episodes of Heaven's Forest, an animated drama with stories and characters inspired by the Indian mythology of Ramayana. Castlevania creator Warren Ellis will write and serve as an executive producer on the project. Deadline
Sony Pictures Television is developing The Good Dish, a syndicated daytime series for 2020 hosted by Daphne Oz, Vanessa Williams, Gail Simmons, and Jamika Pessoa. The spin-off of The Dr. Oz Show began with cooking segments on that series hosted by Oz's husband Dr. Mehmet Oz, and will expand on the cooking segments with lifestyle, budget, and menu advice.
Spectrum cable customers will be able to watch all new episodes of the Mad About You reboot on Nov. 20. Spectrum customers can watch all 164 episodes of the original Helen Hunt/Paul Reiser series on demand at SpectrumTV.com.
Wilmer Valderrama is producing The Trail, a drama CBS is developing about elite investigators who work for the U.S. National Park Service and solve high-profile cases at Yosemite National Park. Deadline
Upcoming mobile video platform Quibi has announced a new celebrity gossip talk show called Potty Talk. The series, hosted by fashion designer Alexander Wang, will find the designer and a guest host interviewing their famous friends inside the bathrooms at various pop culture events.
Quibi is also putting a new spin on the celebrity game show. Comedian Ron Funches will host Nice One!, in which comedians are pitted against each other and challenged to “out-compliment one another in a showdown of sweetness and consideration.” Deadline
Lucifer will air its final season in two parts, each made up of eight episodes. Series star Tom Ellis announced the season 5 breakdown while he hosted a tour of the Lucifer set on The Kelly Clarkson Show.