Just as Connie Britton was starting to stare down the big 4-0 nearly a decade ago, along came her career-changing role as Tami Taylor on TV’s Friday Night Lights. On a show about football that isn’t really about football, “Mrs. Coach” was no simple foil — she was a guiding light for nearly every major character at some point, and a complicated character herself. Since then, Britton has become one of TV’s most-beloved leading ladies, from American Horror Story’s first season to Nashville, which she stars in and co-executive-produces.

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Diablo Cody and Glee co-creator Ian Brennan are working on a new show at Fox. According to The Hollywood Reporter, the network has given a put-pilot commitment to an untitled show written by Cody and Brennan set in the world of synchronized swimming. The single-cam project centers on a woman named Marion Lolo, “who has 26 synchronized swimming medals, one restraining order against her and zero friends.” Brennan and Cody will serve as co-executive producers alongside Simon Cowell.

The core ethos of The Heart of Rock and Roll might be best expressed in an early scene by the musical’s exasperated head of HR, played by Tamika Lawrence, who accedes to its peppy hero’s scheming by shrugging and saying, “Fine! What the hell. It’s the ’80s.” There’s a lot to unpack in that exchange alone. The Heart of Rock and Roll is about a cardboard-box company where the head of HR is a crucial character.

Drake with Sean Combs, 2014. If there’s a poet laureate of pettiness today, it would have to be Drake. As an artist whose rhetoric is laced with incessant reconsideration of slights real and perceived and whose hostility mostly manifests in open-ended, passive-aggressive asides, the Toronto superstar has built no small portion of his reputation through appealing to the less passionate but more common aspects of the self. He longed after people without committing himself to loving them; he was always sad but never depressed; he was frequently annoyed but never enraged.

Not many comedians have the luxury of getting comedy advice from a superstar when they’re still young and starting out in their career, but when it comes to Eddie Murphy, pretty much nothing about his early years doing stand-up is typical. In a new video for W magazine, Murphy had a great story to share when asked about the worst advice he’s ever received, in which a then-teenage Murphy — whose act was “really dirty” and full of “edgy racial stuff” — asked Dangerfield to watch him perform at a Florida club, only to be told by the comedian afterward, as Murphy retells it, “Hey, kid.

Lone Survivor Peter Berg’s film of Marcus Luttrell’s memoir Lone Survivor is frankly worshipful: It celebrates sacrifice and sanctifies agony. In an early training montage, Berg lingers on the young Navy SEALs’ sinewy limbs and ripped torsos, marveling (in slo-mo) at their ability to endure pain with manly, near-miraculous stoicism. The prep for war is itself a near-death experience, and it’s transmutational. These ordinary American guys — guys’ guys with pretty wives and loving families — are reborn as supermen.

Evil Z Is For Zombie Season 2 Episode 5 Editor’s Rating 5 stars ***** «Previous Next» « PreviousEpisode NextEpisode » Evil Z Is For Zombie Season 2 Episode 5 Editor’s Rating 5 stars ***** «Previous Next» « PreviousEpisode NextEpisode » Have you ever wanted to stand up and slow clap for a show you were watching?

Congrats to the bride and groom! On January 4, The Golden Bachelor’s Gerry Turner officially lost his bachelor status by getting married to Theresa Nist at the La Quinto Resort & Club in Palm Springs, California. Like many weddings, friends and family were present at the ceremony. Unlike many weddings, one of the groom’s exes was a gold carpet “correspondent,” multiple members of the media were on the guest list, and the entire event was televised live on ABC.

Grace Jones: Bloodlight and Bami opens with about as fine a welcome as you could ask for: striking 35mm footage of the disco icon during her 2009 world tour, some 60 years old and stalking the stage in a gold skeleton mask and a billowing midnight-blue cape. It would appear to be a proper setup for Sophie Fiennes’s documentary portrait, which seeks to emphasize Jones as she is here and now (or rather, the decade or so ago when the film was shot), every bit as full of vigor and vision as she was when she set off on her boundary-pushing recording career in the 1970s, though living in a world where much has changed.