‘Ted' Animated Series From Seth MacFarlane a Go at Peacock

After two movies and a prequel series, the world of Ted is growing again.
Peacock has greenlit an animated Ted series based on the movies from Seth MacFarlane. The show will sit alongside the prequel series on Peacock, which premiered in January 2024 and has been renewed for a second season.
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MacFarlane will continue to provide the voice of Ted — a teddy bear brought to life by a boy's wish, now grown up and bearing the hallmarks of a boorish Seth MacFarlane character. Mark Wahlberg, Amanda Seyfried and Jessica Barth will also star, reprising their roles from the Ted movies (the show will be set after the events of 2015's Ted 2), along with Kyle Mooney and Liz Richman.
The live-action Ted prequel had a solid first season for Peacock, making the top 10 original streaming series rankings three times during its run and outpacing all other original comedies on streaming for two months. It also had a strong showing on Sky in the U.K.
MacFarlane told The Hollywood Reporter when the prequel series debuted that he was satisfied with where the Ted movies ended, but 'the idea of doing a prequel was a different case. It wasn't something that I came up with. Universal actually proposed the idea to me of doing a Ted series. I hadn't really thought about going back to that character until they mentioned it, and I said, 'Really? Isn't that outrageously expensive?' They stayed true to their word and did not compromise the quality.'
Like the live-action Ted series, the animated show comes from Universal Studio Group's UCP, MRC and MacFarlane's Fuzzy Door Productions. Paul Corrigan and Brad Walsh, executive producers of the prequel, will be showrunners and exec produce with MacFarlane, Erica Huggins, Alana Kleiman, Jason Clark, Aimee Carlson of Fuzzy Door and Claudia Katz of animation studio Rough Draft.
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Carrie-Anne Moss is finally having fun

Carrie-Anne Moss has lived many lives. At 30, she got her big break opposite Keanu Reeves as Trinity, the sunglasses-wearing, gun-toting badass who fought the evils of a simulated reality in " The Matrix." In her 40s, she scaled down her workload so she could raise her three kids. Now in her 50s and with her kids off to college, Moss is back on our screens, making a dramatic appearance as a Jedi knight in the "Star Wars" Disney+ series " The Acolyte" and starring opposite Arnold Schwarzenegger in the second season of his Netflix series "FUBAR." But she still holds her breakout role close — so close that she almost turned on "The Matrix" on a recent plane trip to Los Angeles. "I seriously almost watched it, but I didn't want anyone on the plane to think I was watching it to watch myself," Moss told Business Insider. "I just love the story." While she ended up watching her former costar Reeves kick butt in " John Wick" instead, Moss still cherishes the opportunity to revisit the famous Wachowski sisters movie. "'The Matrix' is one of those movies where, as you grow in your thinking, it becomes something different," Moss continued. "There is so much in it that I know I haven't received yet in terms of storytelling." These days, Moss isn't just poring over her old movies in search of new meaning. Returning to acting in earnest now that her children are older has given her a newfound sense of enjoyment for the craft and the experience. That's especially true of her time on "FUBAR." As the East German spy Greta, Moss not only puts on an accent, but gets to play a juicy arc as a villain — one who kisses Schwarzenegger's character in their first meeting. The role was reinvigorating. "I love working and love so many of the jobs that I've done, but that wouldn't be how I would describe them," Moss said. "Having a job for the first time where I can say, 'That was so much fun,' it makes me want to do more." In the latest interview in Business Insider's "Role Play" series, Moss reminisces about about her years as a struggling actor, getting pulled over while nursing her baby, and the moment when the "Memento" script finally clicked. On getting sick immediately after learning she got the part in 'The Matrix' Business Insider: Let's take it back to the '90s. You're landing a few roles, most notably on the "Melrose Place" spinoff series, "Models Inc." What are you doing in that time to just pay the bills, pay the rent, and get by before the big break? Carrie-Anne Moss: I waited tables a little bit when I first came out. I was a model when I was first breaking into acting, so I made a little bit of money doing that. And then I would get little parts that would just make me enough money to get to the next one. I didn't know about paying taxes, so when I got that tax bill, I was like, "Oh, no! What do you mean?" I was in acting class, I was going to the gym, didn't have many friends, I would make friends on the treadmill, just becoming an adult. I was pretty innocent, naive, and very excited about living this dream that I had had my whole life. LA was so amazing then. Tell me about the moment you learned you got the role of Trinity in "The Matrix." I screen tested for it. I did all these different auditions to get to the final screen test, which was with Keanu [Reeves]. And it was on my 30th birthday. I met Keanu that day and felt very comfortable with him. He was very kind. I was very nervous. I mean, there was so much riding on it. You have to sign your contract before you go into the screen test, so you already know that if you get it how much you're going to get paid. So that just builds more pressure. Yeah, and I kind of didn't expect to get it. 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By continuing you agree that you accept the Terms of Service and Privacy Policy . They called me, and everyone was on the phone, and they told me I got it, and I remember I instantly got sick. I remember that distinctly — I literally felt a head cold. I think I was holding so much stress, I was crying, and I was so happy, and got sick. I remember getting off the phone with them, and I didn't even know how to tell anyone. It was a surreal moment, almost too much. On the scene that convinced her to do 'Memento' My manager is the one who really wanted me to read that. I was reading it, and I was intrigued, but it does take quite a few reads. And I remember, even after reading it a couple times, I didn't fully get it. But when I got to that scene where Natalie turns on Leonard — I remember the big splurge I did for myself after "The Matrix" was I bought myself a lawn chair so I could lay down and read scripts out in the sun. 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WNBA Responds to Angel Reese's Pregame Outfit Before Chicago Sky Game

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The Creator of Scream Has a New Netflix Hit. It's Salty, Soapy, and Fully Adult.

The Waterfront If things continue at their current pace, all of television is in danger of turning into a genre that I like to call 'Yellowstone, but … ' Of course, we have the Taylor Sheridan show's many prequel spinoffs, but their success also seems to have inspired waves of Westerns and dramas about locally powerful families who have fallen on hard times. The latest 'Yellowstone, but … ' show is The Waterfront, now streaming on Netflix, where it has immediately shot to No. 1 on the charts. This is a story set in a seaside town, following the locally powerful Buckley family, owners of a fishery, a restaurant, some beautiful houses, and undeveloped tracts of coastline, who have—you guessed it—fallen on hard times. Like the Duttons trying to hold on to their Yellowstone Ranch, the Buckleys need to arrest their downward mobility; their attempts to do so without betraying their beliefs, or one another, will be the meat of the story. The Waterfront is a Kevin Williamson show, set (like his Dawson's Creek) in coastal North Carolina, so it's full of salty, beautiful people who do soapy things. But unlike Dawson's Creek and Williamson's latter-day hit The Vampire Diaries, this is a full-on adult show, with no teenage romance, and with moments of hyperviolence that startled me into audible exclamations of 'Oh!' Adventuresome Netflix viewers looking for 'Outer Banks without the treasure hunt' will likely find themselves confused, and hopefully minimally traumatized, by this one. The Waterfront stars Holt McCallany, the granite-faced father-figure standout from Mindhunter and The Iron Claw, as the patriarch Harlan Buckley, whose own father was involved in the drug trade, but who has been running 'clean' businesses for a couple of decades, ever since his father's illegal activities ended in his death. Maria Bello plays Harlan's wife, Belle, who tolerates her husband's drinking and affairs, for reasons that are somewhat hard to parse. Jake Weary is his golden-boy son, Cane, a former football player and reluctant participant in all this crime who becomes the heart of the show, and Melissa Benoist is his daughter Bree, an addict in recovery who, we find out, has good reason to hate her family. Will the Buckleys, having trouble keeping their businesses in the black, get back into running drugs? You bet they will! And for the sake of the show, it's a good thing they do, because that's what brings Grady, a drug dealer played by Topher Grace, into the mix, significantly livening up the action. Grace has gotten really good at being in on the trick that his face plays on you. You see those features and think 'preppy; professional-managerial; Connecticut.' But there's something creepy about a guy that clean-cut; a Topher Grace villain knows it. Here, as Grady, Grace creates a really weird—maybe not always successful, but always interesting—villain. Topher Grace and Holt McCallany are the most recognizable actors on the show, and The Waterfront has placed them in opposition to one another, playing contrasting versions of powerful manhood. After the Buckleys eliminate the middleman they've been working with, they find Grady, who has a big drug operation set up in a farmhouse heavily populated by hired badasses, and try to do business with him. Grady at first looks like a vest-wearing tech bro, but we find out he has—as Harlan says—'no code.' We first see how disturbing he is when Grady orders his men to turn a minigun mounted on a truck on a henchman who's displeased him and is running away across a field. Grady jokes about how loud the gun is, and mocks how the guy's body jumps around as it's riddled with bullets, while Harlan stares, shocked. Grady is there to show us that some people shouldn't have power, to draw a contrast between his infatuation with it and our heroes' supposed reluctance to use it. But he's also kind of funny, which is good, because the dominant feeling you get from spending time in the world of the Buckleys is one of hungover, self-serious misery. (In that way, this show is, indeed, 'Yellowstone, but … ') Out of some sociopathic impulse of friendliness, or maybe in order to control the situation, Grady cozies up to the Buckleys, showing up at their restaurant, convincing their teenage grandson Diller (Brady Hepner) to go on a hunting trip, and directly asking Harlan if they can become like family. When Harlan, Grady, and Diller walk in a field, hunting quail, the series best gets at the contrast it's trying to draw between these two men. Grady is a guy who loves violence but doesn't really know how to use a gun. Harlan tries to teach Grady how to aim, how to be disciplined with his hunting rifle; Diller, taught by Harlan, already knows. McCallany's calm, paternal intensity, heightened by being thrown into this situation with an unpredictable and dangerous person, ramps up by the moment, until he gives off a wave of gravitas that makes you believe that indeed, Harlan is the kind of father who can be so-so, but who has (as Bree puts it) 'moments of spectacular.' But just as often, when McCallany and Grace face off, the manic energy rolling off Grady crashes into the stone-faced Harlan in a way that's less effective, giving McCallany less to do. In one scene, as the two debate the terms of their relationship, Grady describes Harlan as having 'resting stress face'; Grace pulls down the sides of his mouth, making a perfect simulacrum of McCallany's. That's funny! But it also makes Harlan into more of a caricature—something the show needs to break down, rather than build up, since it's picked such a perfect Big Daddy actor for its Big Daddy character. This first season of The Waterfront sets more tables than the waitresses at the Buckleys' seaside restaurant. We see Cane's moral dilemmas, Bree's tragic history. But the best seeds it sows are in the relationship between Harlan and Belle. Belle is the kind of wife who accepts the appearance of Harlan's out-of-wedlock son with barely a blink, but also one who tries, behind Harlan's back, to sell a piece of land in a development deal that goes against Harlan's principles but that would have gotten the family out of the drug business for good. This scheme aside, in this season, the parents are mostly on the same page. But by the end, we see that we may get a lot of McCallany vs. Bello next time around. That's a good idea. Yellowstone always suffered because John Dutton had no plausible opposition inside his family. (Jamie does not count.) If The Waterfront is about a family managing its own decline, it only makes sense that in such a family, Mom and Dad would, quite often, find themselves fighting.