Latest news with #PaleyCenterforMedia
Hans India
11-06-2025
- Sport
- Hans India
US host cities outline legacy vision for 2026 FIFA World Cup
New York: One year ahead of the 2026 FIFA World Cup, representatives from all 11 United States host cities have presented plans to ensure the tournament drives long-term community impact, from cultural equity and infrastructure to youth sports access. At a panel held Monday at the Paley Center for Media in New York, host city officials shared initiatives aimed at strengthening cultural inclusion, expanding youth opportunities, and investing in public infrastructure. Among the most detailed efforts is Seattle's Chinese American Art Legacy Project, a 250,000 U.S. dollars city-funded program designed to highlight the historical contributions of Chinese Americans in the city's Chinatown-International District, reports Xinhua. April Putney, speaking for Seattle's host committee, said the project reflects the city's "people-based legacy" approach. "We're working hand-in-hand with local communities," Putney said. "It's not just about hosting matches, it's about who gets to be part of the story." In response to a question from Xinhua, Putney said that the Chinatown district - located just steps from the stadium - is central to Seattle's fan and cultural programing. "We want local businesses and residents to benefit directly," she added. Other cities are taking similarly localized approaches: Los Angeles is awarding grants to community nonprofits; Miami is curating a culturally immersive Fan Festival; Kansas City is piloting a new regional transit model; and Dallas is investing in youth soccer infrastructure and media capacity. While FIFA oversees the tournament's competitive structure, U.S. cities are focused on making the event inclusive and locally meaningful. Free public viewing zones, grassroots partnerships, and regional branding efforts are part of a broader strategy to use the World Cup as a platform for long-term civic benefit. The 2026 tournament will span 16 cities across the U.S., Canada, and Mexico, with the United States hosting 60 matches, including the final.
Los Angeles Times
10-06-2025
- Entertainment
- Los Angeles Times
Experts break down the worst Emmy snubs of all time
After every Emmys, it's de rigueur to write about shows that were 'snubbed.' But let's put it in perspective: If 'The Bob Newhart Show' never won an Emmy, why should you? Then again, why didn't CBS' 1970s sitcom ever win an Emmy? Or 'The Wire,' for that matter? Or 'Better Call Saul,' 'New Girl,' 'Parks and Recreation,' 'My So-Called Life,' 'Better Things,' 'The Good Place,' 'BoJack Horseman' and numerous other beloved shows? In many cases, shows shut out at the Emmys have stood the test of time, if not the test of voters at the time. So why do some series — including still-eligible titles like 'NCIS,' 'It's Always Sunny in Philadelphia' and 'Yellowstone' — fall through the cracks? It happens at the Academy Awards too, of course. 'But with the Oscars, you only have one crack at it — if something else got the momentum, there's nothing you can do,' says Jason Lynch, curator at New York's Paley Center for Media. 'For TV, theoretically, if something goes for several seasons, you get multiple cracks at it, so if a series still hasn't received any Emmys, that discrepancy is more glaring and apparent. You can't just say that was a crazy year.' 'Better Call Saul' is a vivid example. 'It went 0 for 53 nominations,' Lynch says. 'There was this drumbeat, the final season, where journalists are reminding Emmy voters, 'This is your last chance, please'' — to no avail. That's another way the Emmys differ from the Oscars, notes Irving Belateche, professor of the practice of cinematic arts at USC. 'With the Oscars, you can point to times when people finally get a kind of career award, even if it's not for that role or that film. In the Emmys, they don't do that, where they say, 'Let's finally give 'Better Call Saul' a win.' That, I don't understand.' Then again, Belateche adds, the series was up against stiff competition: ''Game of Thrones' four times and 'Succession' twice. There are so many good, popular shows you're competing against, it's not so cut and dried.' Similarly, 'The Bob Newhart Show' faced off against 'All in the Family,' 'MASH' and 'The Mary Tyler Moore Show.' Still, even strong fields can't explain away the Emmys' treatment of 'The Wire' — often listed among the greatest TV shows of all time — which not only never won in five seasons but was only nominated twice. 'And 'Parks and Recreation' is absolutely one of the top three comedies of the 21st century,' Lynch says. 'To never win a single Emmy is unfathomable.' Genre bias is another concern, Belateche says. 'That worked against some of the shows that were overlooked, like 'Buffy the Vampire Slayer.'' Although 'Buffy' did win two Creative Arts Emmys, for makeup and music composition, it was up against episodes of 'The Sopranos' and 'The West Wing' — the sort of prestige dramas that traditionally do well with voters — when it was nominated in 2000 for writing. 'Sometimes the format and the tone work against it,' says Belateche. 'Obviously that's true of 'It's Always Sunny in Philadelphia.'' Set to premiere its 17th season in July, 'Sunny' has received only three nods for stunt coordination. 'It's super quirky and really popular among the younger crowd, like my students.' 'BoJack Horseman's' six surreal seasons likewise yielded just three nods. The nomination process itself can present a challenge. 'You're only submitting one episode,' Lynch points out. 'When we're thinking about award-worthy performances, we're thinking about entire seasons, or multiple seasons, but a voter is only watching whatever episode is submitted, which could be a great showcase for a scene or two but is not giving you all the context you need to appreciate that show. And I don't know how to fix that. To their credit, the Television Academy has tried. Every couple of years they do change the voting procedures, and sometimes it helps and sometimes it doesn't.' Plus, voters may lack much time to focus on anything but their own work: 'If you ask showrunners and producers what they're watching, they say, 'I'm so busy I don't have time to watch anything.' That's a problem as well,' says Lynch. 'The other thing that we've seen, even more so the past couple of years, is that Emmy voters are often reflexively voting for whatever they voted for the previous years,' he adds. 'Something like a 'Modern Family' was winning every year. And now we're getting a lot of sweeps, which became most apparent in 2020 when 'Schitt's Creek' ran the board. It's harder for other shows to get in there when you have only a small handful of shows hoovering up all of the awards.' And if shows don't score wins early in their run, it's all the harder for them to break through later. Lynch would love to see a way for TV Academy members to vote for shows once they're clearly seen as part of the pantheon. 'It's only time that's going to give you that sense of a show's legacy. But this is a TV business; nobody's going to watch an Emmy show in 2025 that's giving away trophies to shows from 2015.' Then again, the Emmys' Governors Award has occasionally been given to shows, and the entire 'Star Trek' franchise won a Governors Award in 2018 in recognition of its lasting impact, finally celebrating that first Emmy-less series (along with six others). There may be hope for 'The Wire' yet.
Time Out
03-06-2025
- Entertainment
- Time Out
You can celebrate the 20th anniversary of ‘It's Always Sunny in Philadelphia' with the cast
The gang's all here—in West Hollywood, that is, where all the stars of It's Always Sunny in Philadelphia will be gathering for a special screening at the Directors Guild of America Theater, which will become the de facto Paddy's Pub for one night. On Tuesday, July 1, at 7:30pm, the Paley Center for Media will fete the longest-running live-action comedy series in TV history during its latest PaleyLive program: It's Always Sunny in Philadelphia 20th Anniversary Celebration! That's right, the audacious dark comedy has been around for 20 years now—that's 170 episodes and counting—and you can get a sneak peek at the newest episode alongside the cast and executive producers. Rob McElhenney (Ronald 'Mac' MacDonald), Charlie Day (Charlie Kelly), Glenn Howerton (Dennis Reynolds), Kaitlin Olson (Dee Reynolds) and Danny DeVito (Frank Reynolds) will all be on hand for a conversation after a screening of the 17th-season premiere inside the theater. (McElhenney, Day and Howerton additionally serve as executive producers on the show.) That means you'll be seeing the episode eight days before it premieres on FXX July 9, and hearing firsthand the stars' insight on the show's remarkable run. The episode in question, 'The Gang F***s Up Abbott Elementary,' is the second part of a highly anticipated crossover with the Emmy-winning ABC mockumentary. 'Since 2005, 'the gang' from Paddy's Pub have entertained legions of passionate fans with their high-spirited antics, and we look forward to a fun-filled evening that is sure to be as hilarious as the show itself,' says Maureen J. Reidy, president and CEO of the Paley Center for Media. If you need to brush up on your South Philly history before the new season drops, the Paley Archive in the Beverly Hills Public Library now boasts past episodes of It's Always Sunny in Philadelphia, thanks to FX (or, you know, they're on Hulu). But the archive is well worth a visit—it boasts 160,000 titles all in one place, from history-shaping news broadcasts to some of the most popular TV shows of all time. (And, unlike Hulu, it's free.) Tickets for the PaleyLive event go on sale to the public this Friday, June 6, at noon on and they're expected to sell out quickly. Paley Center members get access a day early, though, so if you want to make sure to reserve a spot, you could always spring for a membership (starting at $75).
Yahoo
31-05-2025
- Entertainment
- Yahoo
'M*A*S*H' 's Loretta Swit, a Passaic native, has died
"Hot Lips" Houlihan, a one-note role in the original 1970 "M*A*S*H" movie, had evolved into a nuanced, complex, heroic character by the time the beloved TV series reached its 11th season. And that has everything to do with the nuanced, complex, heroic performance of Loretta Swit, the Passaic native who died Friday. Swit, who died of natural causes, was 87. "She sort of set the template for complex women characters who evolved on television," said Ron Simon, head curator of the Paley Center for Media in New York. "She worked with the writers and producers to have the character evolve." Swit, who won two Emmys for her "M*A*S*H" role, was modest about her own contribution. It was the ensemble, and the creative team, who made this landmark, long-running comedy-drama (1972-1983) about a surgical unit trying to maintain its sanity amid the madness of the Korean War, into the beloved thing it was. "It's become a phenomenon," Swit told The Record in 2000. "I think it's all due to the fact that the original people in charge were so pure, so caring, so creative, and brilliant. The producers, from the get-go, from Day One, kept the doors open. They were always talking to us [about the characters]. It was a real communal effort. `M*A*S*H' itself was the star." Swit, born Loretta Jane Szwed in 1937 (her parents Lester and Nellie were of Polish descent), was a cheerleader at Pope Pius XII High School in Passaic, where she graduated in 1955. She attended a secretarial school in Montclair. She began her professional life with a series of high-profile secretary gigs: as assistant to famed gossip columnist Elsa Maxwell, as secretary to the U.N. ambassador to Ghana, and secretary to the American Rocket Society, while also studying dance and acting. In 1961, she made the leap to the professional stage with an off-Broadway production of Ibsen's "An Enemy of the People," and continued to do stage work through the 1970s and beyond — from a touring production of the one-woman show "Shirley Valentine" to the 1985 Broadway production of "The Mystery of Edwin Drood" by Rupert Holmes. "Loretta Swit was in real life every bit as warm, caring and sly as her 'M*A*S*H' persona," said Holmes, known for his numerous theater pieces (including one, "Thumbs," for Bergen County Players) not to mention his immortal "Escape (The Piña Colada Song)." "I was privileged to know her when she took over from Dame Cleo Laine in my Broadway musical 'The Mystery of Edwin Drood,' " Holmes said. "In that show, the audience voted on whodunit at each performance, and the biggest problem Loretta presented for us was that everyone adored her and no one could imagine her as a killer." Swit also did movies ("Freebie and the Bean," 1974; "S.O.B.," 1981) and lots and lots of television: "Mission: Impossible," "Gunsmoke," "The Love Boat." But it was her role on "M*A*S*H" that made her, not just a favorite with TV viewers, but also a game-changer in the realm of situation comedy. Characters in sitcoms don't evolve. That is — or was — the point. Lucy is always wacky. Dennis is always a menace. Oscar is always sloppy, and Felix is always neat. That's the situation. Hence, "situation comedy." But "M*A*S*H," with its 11-year run, couldn't be static. Alan Alda, Mike Farrell, Jamie Farr, Harry Morgan, Gary Burghoff, had to develop. "If you're portraying a character for 11 seasons, the character has to have an arc," said Steven Gorelick, former executive director of the New Jersey Motion Picture and Television Commission. "Otherwise, you don't have 11 seasons." And the "M*A*S*H" regular who evolved most was the character, played by Swit, who was originally called "Hot Lips" Houlihan. By the end of the show, she was "Margaret." "She took that role and made it her own," Gorelick said. In the original movie (where she was played by Sally Kellerman) and in the early TV episodes, "Hot Lips" is there to be the butt of jokes. She's the embodiment of stuffy officialdom — and most of the jokes involve the randy surgeons of the M*A*S*H unit knocking her off her pedestal, usually in crudely sexual ways. That's where Swit's character started. But that is not where it ended up. The burgeoning women's movement of the 1970s had something to do with that. But so did Swit. "Starting from that male-viewed stereotype, she becomes more complex," Simon said. One symptom of this: the gradual fading of the "Hot Lips" as a character name. "They stopped calling her that," Simon said. "It just didn't fit. She was head nurse, she had major responsibility, she was the most important woman in the M*A*S*H division." The character, in turn, became the template for other competent women who started to be seen on TV: "Cagney and Lacey" (Swit was originally slated to appear in it), "Murphy Brown." Happily, Swit's work will live on. Because "M*A*S*H" will live on. "I'm heartbroken to learn of her departure," Holmes said. "But I am comforted that the range of her wonderful work lives on in virtually every episode of one of television's legendary series." This article originally appeared on Loretta Swit of 'M*A*S*H,' and Passaic NJ native, dies
Yahoo
24-03-2025
- Entertainment
- Yahoo
Outrage At PaleyFest: Yuval David Slams 'Bloody Hand' Pin Display During Marvel Panel
The Paley Center for Media is facing backlash after an influencer wearing a controversial antisemitic pin was featured in a promotional Instagram post during this year's PaleyFest. The image promoting the upcoming Marvel series "Agatha All Along" shows the influencer proudly displaying a "bloody hand" pin, which is a symbol widely condemned as glorifying violence against Jews. Emmy Award-winning actor and activist , a member of The Brigade, which represents some 700 producers, filmmakers, agents, managers, publicists, executives, actors, and actresses, has called on the Paley Center to immediately remove the post and issue a formal apology to the Jewish community. In an exclusive statement sent to The Blast, David expressed, "The bloody hand pin is incredibly antisemitic. It represents the sheer violence of the Second Intifada, in which Palestinian terrorists murdered Jews in the West Bank with their bare hands." The Emmy-Award-winning actor went on to explain, "On October 12, 2000, terrorists lynched two Israelis in the West Bank, with one (Aziz Salha) appearing in the window with bloodied hands after he murdered them with those same hands. For Jews across the world, the symbol is a reminder of this antisemitic murder and automatically triggers us just like when we see swastikas." The image of a red hand has recently gained traction on social media and at public demonstrations as a symbol representing the call for a ceasefire in the ongoing Israel-Hamas conflict. Supporters use the image to convey solidarity with civilians affected by the violence and to advocate for an immediate end to hostilities. However, its use has also sparked controversy, with critics arguing that the symbol can be perceived as one-sided or insensitive, especially when removed from its broader geopolitical context. 'It is disgraceful and dangerous that the Paley Center has chosen to amplify an influencer proudly displaying the antisemitic 'bloody hand' pin, a symbol celebrating violence against Jews,' David added. In response to growing backlash, Yuval David addressed the need for accountability and education rather than cancellation. "A meaningful apology would be to have The Paler Center issue a statement condemning this action, opening an investigation as to why this influencer was invited to an event in the first place, and how it was featured on their pages when they are literally hosting a panel about antisemitism on social media next week," he told The Blast. "They should also offer to educate this influencer as to why the bloody hand pin is so hurtful to Jews worldwide." "Instead of canceling the influencer, they should offer to have her visit the Holocaust Museum LA to receive an education about why her actions are disrespectful to the Jewish community," he added. The timing of the controversy has drawn particular criticism, as the Paley Center is set to host an upcoming event titled 'Social Media as a Tactic to Fight Antisemitism.' 'Even more ironic and troubling is that the Paley Center is hosting an event next week titled 'Social Media as a Tactic to Fight Antisemitism,'' David added. 'The Paley Center must immediately apologize to the Jewish community at large for platforming this form of hate and remove the post. Platforms must consistently stand against hate, not selectively elevate it.' The influencer interviewed Ali Ahn, who noticed the pin and reacted by saying, 'Wow, wow, this is amazing. I'm looking at you. Oh, you've got the pin.' She also spoke with Kathryn Hahn, though Hahn didn't acknowledge the pin; instead, she complimented the rich purple the influencer was wearing, calling it stunning. As of now, the organization has not publicly responded to requests for comment. With the Paley Center positioning itself as a hub for media discourse and social responsibility, critics say its silence sends the wrong message. For now, all eyes remain on the institution as calls for accountability continue to grow.
