English Entertainment
Hallmark’s new show finds out ‘Who’s The Boss’
MUMBAI: Family general entertainment channel Hallmark has added yet another feather to its cap by enhancing its already varied bouquet of offerings.
The broadcaster will air the sitcom Who’s The Boss every Monday at 3:30 pm from 4 April. In the US the sitcom was a big hit in the 1980’s on ABC.
Traditional sexual roles are turned upside down . For eight years, blue-collar male housekeeper Tony Micelli (Tony Danza) and his female boss, advertising executive Angela Bower (Judith Light) fought a battle of wits, but in the end, their employer-employee relationship became a romance. Of course, their growing attraction is obvious to everyone except Tony and Angela themselves.
At the start of the show Tony’s world is turned upside down when an injury forced his early retirement from major league baseball, and his beloved wife passed away. Tony is determined to put his life back on track and prove he could earn a living and raise his daughter, Samantha, like any other loving, conscientious parent. Meanwhile Angela is having problems of her own in suburban Connecticut. A high-powered advertising executive, she was leading a frenetic life — too chaotic to simultaneously pursue a career, run a household and properly raise her son, Jonathan. Therefore, her mother Mona hires Tony as a housekeeper, cook, nanny and role model in the Bower household.
“Meaningless, unproductive work” is what Tony does for the Bowers–and does well–but he and his daughter also become part of the family. Angela and Tony go on a number of dates with other people, but there’s an obvious sexual tension between them. The show would continue to exploit that tension for eight seasons in the US to great success and even inspired a British version called The Upper Hand.
English Entertainment
Ellison takes his Paramount-Warner Bros case straight to theater owners
The Skydance chief goes to CinemaCon with promises and a skeptical crowd waiting
CALIFORNIA: David Ellison strode into a room packed with thousands of cinema owners and executives at CinemaCon in Las Vegas on Thursday and did something rather bold: he looked them in the eye and asked them to trust him.
The chief executive of Paramount Skydance vowed that his company would release a minimum of 30 films a year if regulators greenlight its proposed $110 billion acquisition of Warner Bros Discovery, a deal that has made theater owners deeply, and loudly, nervous.
“I wanted to look every single one of you in the eye and give you my word,” Ellison told the crowd. “Once we combine with Warner Bros, we are going to make a minimum of 30 films annually across both studios.”
It was a confident pitch. Whether it landed is another matter. Cinema operators have already called on regulators to block the deal, and scepticism in the room was hardly concealed.
Ellison pushed back by pointing to recent form. Paramount, born from the merger of Paramount Global and Skydance Media last August, plans to release 15 films this year, nearly double the eight it put out in 2025. Progress, he argued, was already underway.
He also threw theater owners a bone they have long been chasing: all films, he pledged, would run exclusively in cinemas for a minimum of 45 days, drawing applause from a crowd that has spent years fighting for exactly that commitment across the industry.
“People can speculate all they want,” Ellison said, “but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”
Fine words. The regulators, however, will have the last one.
