Nikita alumna Lyndsy Fonseca and Carra Patterson The Arrangement have been cast as female leads opposite Josh Peck in Turner & Hooch, Disney+'s reboot of the classic 1989 buddy cop comedy feature. The TV series, which has a 12-episode order, comes from Burn Notice creator Matt Nix and 20th Century Fox TV.
Additionally, Fonseca has been tapped for a season-long arc on Fox’s 9-1-1: Lobe Star, playing Liv Tyler's sister. She will be filming the two series - both produced by 20th TV - concurrently.
Peck plays U.S. Marshal Scott Turner, a version of the character portrayed by Tom Hanks in the movie. Like the movie, the hourlong series revolves around Scott Turner, who is now a U.S. marshal vs. a police detective in the movie, and his dog. When an ambitious, buttoned-up U.S. marshal Peck inherits a big unruly dog, he soon realizes the pet he didn't want may be the partner he needs.
Fonseca will play Laura, Scott Turner's Peck sister and the mother of 7-year-old Matthew. Like the rest of her family, Laura is still coming to terms with the death of their father. A dog lover, who currently owns special needs dogs, Laura with Matthew brings over their father's legacy to Scott, a huge slobbery dog named Hooch. Laura is close to both her brother and mother—with whom she discovers that their father's death may not have been an accident.
Patterson will portray Jessica, Scott Turner's Peck partner, and a sharp contrast to his spit-and-polish ways which she constantly teases him about. Brave and quick-thinking on the job though sometimes her sense of humor gets her in trouble, Jessica genuinely respects and supports Scott. Happily married to Grady, Jessica has no problem with Scott's new sidekick, a slobbery dog named Hooch, and she's willing to bring Hooch to work with them on a tough case.
Nix is the Turner & Hooch series writer/executive producer. Josh Levy is co-executive producer. 20th Century Fox TV, part of Disney TV Studios, is the studio.
Fonseca, who starred for four seasons on the CW series Nikita, had a recurring role as Angie Martinelli in Marvel’s Agent Carter. On the big screen, Fonseca starred in The Escort opposite Tommy Dewey, in Hot Tub Time Machine, as well as Kick Ass 2 and John Carpenter’s thriller The Ward. Fonseca is repped by ICM Partners and Management 360.
Patterson starred in the the titular role in the Fox/WBTV’s comedy pilot Patty’s Auto last season. She also played Tomica Woods in Straight Outta Compton, and was a series regular in The Arrangement. Patterson is guest starring in HBO’s Lovecraft Country and played a lead in the Lena Waithe-produced Showtime pilot How to Make Love to a Black Woman. She’s repped by Innovative Artists, Robyn Bluestone Management, and Meyer & Downs.
Nostalgia is a fickle mistress. Embrace it too much and you run the risk of looking dated, but diverge and audiences forget why they loved a show in the first place. This is the battle currently raging around Disney+ and their spate of new programming.
At last year’s D23 Expo, in a crowded auditorium filled to bursting with fans, the new streaming service announced plans for a revival of the popular 2001 teen series “Lizzie McGuire.” Reuniting star Hilary Duff and showrunner Terri Minsky, the series promised to hold to what drew fans to the series while giving us a Lizzie who, now in her 30s, suffered from a new string of issues.
But after that splashy announcement the love between the series and Disney quickly soured, culminating with the announcement at the beginning of this year that the series had been shut down and Minsky fired. Yesterday, Variety detailed the behind-the-scenes problems with the series, with Minksy and Duff allegedly butting heads with Disney over how “family friendly” the series should be for airing on its new streaming platform. The article came hot on the heels of the streaming service announcing their spin-off show based on the YA movie “Love, Simon” would be moving to Hulu because it wasn’t sufficiently wholesome enough.
So where is the line drawn between family friendly and straight-up sanitized? This is particularly pertinent when it comes to the “Lizzie McGuire” revival. Nominated for two Primetime Emmys over its two season run, “Lizzie McGuire” was a series that didn’t shy away from discussing elements associated with female adolescence, from Lizzie’s desire to buy a bra to her attempts to find the right boy to date. “Lizzie McGuire” was family friendly, but it made sense when she was a 13-year-old. Today, Disney+ recycles similar material with their Latinx-based series “Diary of a Future President.” Like “Lizzie McGuire” before it, “Diary of a Future President” devotes episodes to menstruation and bra shopping, elements tween girls might know but are too embarrassed to talk to their parents about.
But what is necessarily wholesome about being a 30-year-old woman living in New York City, as the plot line to the “Lizzie McGuire” revival mentioned? An updated “Lizzie” is a chance for Disney to maintain some honesty in a beloved character, one who could still resonate with the aged-up audience interested in the show. Television has presented that era of womanhood as a time filled with high fashion and endless romance a la “Sex in the City”. These shows were also unrealistic, but they at least emphasized that being an adult woman meant having a job, contemplating children, and, yes, being a sexual figure. Duff’s Lizzie McGuire doesn’t have to jump from guy to guy every episode or from woman to woman for that matter.
In fact, there could be just as much exploration about Lizzie’s desire to be alone and her own woman and how that doesn’t jibe with how movies and television have dictated where a woman Lizzie’s age should be in her relationships. But to ignore these issues is to contain women, once again, in a safe Tupperware version of femininity. In this situation, nostalgia becomes a prison by which to hold women to outdated standards of who they should be, not who they are. Or, more likely, who they never were.
Disney has retconned and repositioned originally complex shows before for a younger audience, as is the case with the 2014 series “Girl Meets World.” That show was a spin-off/continuation of the popular 1993 series “Boy Meets World” which ran for seven seasons on ABC. The original show centered on the life of tween boy Cory Matthews Ben...
Tubi, or not Tubi – that is the question. Fox Corp. – not to be confused with 20th Century Fox, which was sold to Disney and no longer really exists – is hoping to buy Tubi. What’s Tubi, you ask? Why, it’s a free streaming service with a funny name, of course. The streaming service offers free movies and TV shows with ads, and Fox is looking to purchase it for over $500 million.
Fox Corp., which deals with television broadcasts, news, and sports broadcasting industries that were not acquired by Disney, wants in on that red hot streaming action, so they’re hoping to buy Tubi, according to Variety. Per their story:
With Tubi, Rupert Murdoch’s TV broadcasting and cable company would be adding a dedicated streaming component — offering over 20,000 older TV shows and movies to watch for free — to its portfolio to capture the surge in internet-video viewing.
Tubi may not exactly be a household name, but it is free, and that’s the type of detail that catches people’s attention. The company reports that last year, its monthly active user base “grew to 25 million up from 20 million six months earlier while total viewing time hit over 163 million hours watched, a 160% year-over-year increase.” Tubi was founded in 2014. By 2019, it had over 20 million active monthly users. They offer video content from studios like Paramount, Lionsgate, MGM and more, and Fox Corp. likely wants that kind of library for themselves. But will they keep the name? Or will they change it to avoid confusion with another oddly-named service, Quibi? Let’s all wait and see!
These days, everyone wants their own streaming service. And while some, like Disney+ and Apple TV+, are willing to build from the ground up, others are turning toward already existing platforms to get the job done. Viacom bought the free streaming service Pluto TV for $340 million, and Amazon launched the free-to-stream IMDb TV, which was formerly called Freedive. Vudu, a streaming platform owned by Walmart, is in negotiations with NBCUniversal. NBCU is launching its own streaming service, Peacock, which will have a free ad-supported component.
Robert Iger served as the CEO of the Walt Disney Company for just under 15 years. It’s hard to emphasize exactly how massive an impact Iger made in his tenure at Disney, one which concluded quite abruptly on Tuesday, when he announced that he would immediately transition into a new role as executive chairman before stepping down permanently in 2021. An air of mystery surrounded the announcement, because while Iger’s contract was up at the end of next year, there was little expectation that he would hand over the reins — to Bob Chapek — quite so swiftly.
In the meantime, as the aftermath makes itself clear, it’s high time that we look back on Iger and his many accomplishments at Disney.Going the Distance
Bob Iger first joined the Walt Disney Company in 1996; fittingly, he did so as the result of Disney buying another company. In this case, it was Disney’s acquisition of the corporate parent of the ABC television network, Capital Cities. Iger had been part of the ABC family since 1974, when his own attempts to become a TV news anchor fell by the wayside. Iger became president of ABC, Inc. with the merger’s completion. In January of 2000, he was promoted as the president and chief operating officer of the Walt Disney Company, serving as the number-two man to Michael Eisner, then the CEO of the company.
Before he became the Disney CEO, Iger wasn’t automatically thought of as a natural fit for the role by Eisner, nor was he always held in the best acclaim by his peers. As captured in James B. Stewart’s invaluable behind-the-scenes story DisneyWar, Iger once thought a great idea for a TV series would be one based on the Fountains of Wayne song “Stacy’s Mom”, in which a very attractive middle-aged woman is the sexual fantasy of all the pre-teen boys in her neighborhood. In fairness, Stacy’s mom does got it going on. And Eisner, only a couple years before Iger took over, was dismissive in saying that Iger could never run the company.
But Bob Iger ended up being the perfect person to take the place of Michael Eisner, largely because Eisner made one poor decision after another or, if you want to be charitable, good decisions of his tended to flame out one after another. In 2020, Iger is about as powerful a CEO as you can think of; he’s going out on top, seemingly though we’ll get back to that in a minute. In 2005, he was installed as a more balanced leader in place of Eisner, who was all but booted out of the company by Roy E. Disney, the late nephew of Walt Disney who had once been instrumental in advocating for bringing Eisner in during the mid-1980s.To Infinity and Beyond
One of the biggest sources of tension for the Walt Disney Company in the mid-2000s was Pixar Animation Studios. For more details on the films themselves, I invite you to read my ongoing series on the studio and its history. Michael Eisner, for reasons that may well have boiled down to stubbornness with the late Steve Jobs, refused to bring Pixar closer to the fold. Before Eisner left, there were serious concerns that Pixar’s contract with Disney would conclude, and they’d move to a rival studio. Though Eisner was convinced that Disney could be successful without Pixar, Iger to his credit knew that wasn’t true. Soon after he started as CEO, he went to work on John Lasseter and Jobs, eventually getting them to sell Pixar to Disney for a whopping but well-earned $7.4 billion.
That was just the beginning of a leadership tenure marked by smart and savvy mergers, which have led the Walt Disney Company to a point of success almost everyone would have thought impossible 15 years ago. Attendance numbers at the major Disney theme parks in the United States as well as most of the international Disney theme parks have skyrocketed in the past 15 years, thanks in no small part to...