HBO Announces May Episodes of Sesame Street!

HBO Announces May Episodes of Sesame Street!

HBO announces May episodes of Sesame Street!

For younger viewers still stuck at home and parents looking for new ways to keep them entertained, HBO has revealed that the iconic crew of Sesame Street are set to return in May with five new episodes exploring everything from nature to Spanish and maps! Check out the episode descriptions below!

RELATED: WarnerMedia Networks To Simultaneously Air Sesame Street Special

Season 50, Episode 25: “A Very Special Fiesta”
Topic: Spanish
Debut date: SATURDAY, MAY 2 (9:00-9:30 a.m. ET/PT)
Charlie, Grover, Rudy, and Abby help Rosita and her abuela plan for a friend’s fiesta. While trying to figure out what they need for the party, they try to guess who Rosita and her abuela’s friend could be.

Season 50, Episode 26: “Back to Nature”
Topic: Nature/Growing
Debut date: SATURDAY, MAY 9 (9:00-9:30 a.m. ET/PT)
Abby and Rudy want to bring nature inside Hooper’s so Chris can feel like he’s outside. Abby uses her mom’s magic wand but makes a mistake and fills Hooper’s with too many animals and plants. Abby apologizes for using her mom’s wand without permission and together, with her mom, she learns how to fix her mistake without using magic.

Season 50, Episode 27: “Welcome Baby Chicks”
Topic: Chickens
Debut date: SATURDAY, MAY 16 (9:00-9:30 a.m. ET/PT)
Elmo, Abby, Bert, and Ernie have to be patient and wait for baby chicks to hatch. By singing and making arts and crafts together, they learn that time can fly when you’re having fun.

Season 50, Episode 28: “Searching for Letter Y”
Topic: Alphabet
Debut date: SATURDAY, MAY 23 (9:00-9:30 a.m. ET/PT)
Telly, Elmo, and Abby become knights and go on a quest to help an AM Letter “Y’ find its purpose in life.

Season 50, Episode 29: “The Treasure of Yucky Mama”
Topic: Maps
Debut date: SATURDAY, MAY 30 (9:00-9:30 a.m. ET/PT)
Yucky Mama’s old treasure map is discovered during Oscar’s spring dusting. The map shows how Sesame Street used to look 50 years ago. To find the treasure, Oscar, Elmo, Abby, Nina, and Charlie use the map to find their way around Sesame Street, comparing the places that used to be on the Street to the places that are there now, and complete three grouchy challenges.

RELATED: Sesame Street Moving to HBO Max, Spin-Offs Ordered for Streaming Service

Sesame Street is currently available to watch on HBO NOW, HBO GO and HBO On Demand, as well as the networks’ streaming platform partners!

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How Adam Schlesinger achieved pop perfection with That Thing You Do

The Oneders in That Thing You Do (1996)

The sad news of Adam Schlesinger’s death due to coronavirus-related complications had fans everywhere humming ‘Stacy’s Mom’ in a low and sombre key. But the Fountains of Wayne hit, co-written with frontman Chris Collingwood, was far from the only earworm Schlesinger was responsible for.

An accomplished multi-instrumentalist with a knack for catchy, ironic pop songs, Schlesinger lent his songwriting genius to numerous movies and TV shows over the years. Most recently, he served as executive music producer on CW series Crazy Ex-Girlfriend, co-created by Rachel Bloom and Aline Brosh McKenna.

Almost 20 years before writing 157 songs for the show – including the Emmy-winning, La La Land-inspired ‘Antidepressants Are So Not a Big Deal’ – Schlesinger tried his hand at writing a retro melody for Tom Hanks’ directorial debut, That Thing You Do!.

The 1996 musical comedy follows the meteoric rise of fictional band The Oneders (pronounced “One-ders”, later restored to its original spelling by Hanks’ character, seasoned record producer Mr White). It’s 1964 in Erie, Pennsylvania and this Beatles-esque pop quartet are desperately pushing for their big break.

When Guy Patterson (Tom Everett Scott) steps in for former drummer Chad (Giovanni Ribisi) after he breaks his arm just before a talent show, he believes it’s going to be for one night only. And his girlfriend Tina (Charlize Theron) couldn’t agree more.

Once at the show, Guy tries to speed things up as Tina’s impatience becomes more and more apparent. The drummer turns the ballad written by arrogant frontman Jimmy (Johnathon Schaech) into a song short enough to give Tina the time to refresh her makeup before their date.

Little does Guy know that his accidental uptempo will make ‘That Thing You Do’ into a snappy, peppy hit ready to take the Billboard charts and the hearts of hundreds of fangirls by storm, if only for a summer. Toying with the classic themes of ’60s pop rock – primarily a consuming, unrequited love for a coquettish young woman — Schlesinger’s song is delightfully self-aware and, crucially, impossible to resist.

After the film’s release, Schlesinger explained that he wrote the track as a creative exercise right before Fountains of Wayne released their debut album. With his friend and producer Mike Viola providing the lead vocals and Schlesinger singing back-up, the perfect fake ’60s bop was born. He didn’t think his demo was going to be picked up, but its British Invasion-inspired groove sealed the deal.

Mirroring the fictional success of the band, ‘That Thing You Do’ entered the actual Billboard Hot 100 peaking at 41 and securing Schlesinger nominations for Best Original Song at the Golden Globes and the Oscars in 1997. Fiction and reality overlapped once more when Hanks established his production company and record label Playtone in 1998, naming it after the record company featured in the movie.

Remembering Schlesinger after his death, Hanks acknowledged the songwriter’s pivotal role in creating Playtone. “There would be no Playtone without Adam Schlesinger, without his ‘That Thing You Do’,” he tweeted. “He was a One-der.”

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Fleabag Live Theater Performance Set to Stream on Amazon Prime

Fleabag Live Theater Performance Set to Stream on Amazon Prime

Fleabag live theater performance set to stream on Amazon Prime

As an effort to raise funds for COVID-19 charities, Phoebe Waller-Bridge’s 2019 live theater performance of Fleabag will now be available for streaming on Amazon Prime Video, starting on Friday, April 10. In addition, producers have also started a fundraising support for UK theatre freelancers, who have been affected by the pandemic, called Fleabag Support Fund. It has already collected £356,000 donations from Phoebe Waller-Bridge and further donations from TodayTix and an anonymous donor.

“I hope this filmed performance of Fleabag can help raise money while providing a little theatrical entertainment in these isolated times.” Waller-Bridge said in a statement (via Deadline). “Thank you to all our partners and to the creative team who have waived their royalties from this production to raise money for such vital causes in this unbelievably challenging situation. All money raised will support the people throughout our society who are fighting for us on the frontlines and those financially devastated by the crisis, including those in the theatre community. Thank you in advance to those who donate. Now go get into bed with Fleabag. It’s for charity.”

Produced by DryWrite, Soho Theatre and Annapurna Theatre,the critically-acclaimed one-woman show was filmed at Wyndham’s Theatre in London, where fees earned from the show are set to be distributed to charities such as The National Emergencies Trust, NHS Charities Together and Acting For Others and the Fleabag Support Fund.

RELATED: Obsession Never Dies in New Killing Eve Season 3 Trailer

Created and written by Phoebe Waller-BridgeFleabag is a hilarious and poignant window into the mind of a dry-witted, sexual, angry, grief-riddled woman (Waller-Bridge), as she hurls herself at modern living in London. The show is based on Waller-Bridge’s play “Fleabag,” which won an Edinburgh Fringe First Award, the Critics’ Circle and Off-West End Awards for Most Promising Playwright and a Special Commendation from the Susan Smith Blackburn Prize.

The series also starred Brett Gelman (American Dad!, Twin Peaks), Olivia Colman (Broadchurch, The Night Manager), Bill Paterson (The Rebel, Outlander), Hugh Dennis (Outnumbered), Hugh Skinner (Harlots, Poldark), Jamie Demetriou (Paddington 2, People Time), Jenny Rainsford (The Favourite, The Smoke), and Sian Clifford (Fry-Up, Paddy).

RELATED: HBO’s Run Trailer: Don’t Say It Unless You Mean It

Fleabag Season 2 debuted last year where it had earned 3 Emmys Awards and 2 Golden Globe Awards including Best Comedy Series and Best Actress in a Comedy Series for Waller-Bridge’s amazing performance as the titular character.

Seasons 1-2 are available for streaming on Amazon Prime Video. recommends all readers comply with CDC guidelines and remain as isolated as possible during this urgent time.

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There’s more hand-me-down genre movie tropes than recognizable human behavior in the new sci-fi/horror hybrid “Vivarium,” about a young couple (Jesse Eisenberg and Imogen Poots) who is abducted and forced to raise a creepy pod person child. Which wouldn’t be so bad if “Vivarium” wasn’t about the suffocating nature of marriage and parenting in the 21st century.

“Vivarium” isn’t a fun watch, and not just because it’s generally claustrophobic and insistently bleak. Even less fun: watching a pair of talented actors go through the motions of an exhausted scenario that’s based almost entirely on pat assumptions about how pre-fabricated and insidious modern suburbia is. In every dream home a heartache? Yeah, sure.

After visiting a creepy realtor (Jonathan Aris), Tom and Gemma (Eisenberg and Poots) are driven to and then abandoned in Yonder, a very bland vision of an even blander gated community. Every house in Yonder is painted green, every backyard is mowed, and every cloud in the sky resembles a matte painting. Tom and Gemma try to escape, but they cannot find Yonder’s exit. So they settle in at #9 (no street address, presumably because they’re all the same), and periodically receive care packages of flavorless, but neatly vacuum-sealed perishables, like steak, eggs, and coffee. One such box includes a human baby; on the side of the box are these instructions: “Raise the child and be released.”

Time passes differently in Yonder, especially for Tom and Gemma’s unnamed child (Senan Jennings, and then later Eanna Hardwicke). This kid is like one of the Midwich Cuckoos from “Village of the Damned,” only he’s not nearly as interesting: he ages faster than normal, like a dog, and he asks awkward questions that have negligible existential value, like what’s a dog, what’s a dream, etc. Tom and Gemma’s child also screams whenever they don’t go through the motions of parenting him, like when they don’t serve him enough breakfast cereal. He also parrots their conversations back to them, like, oh, any time that Tom and Gemma argue. This kid is creepy, mostly thanks to Jennings and Hardwicke’s performances, but he’s not interesting enough to stick in your mind for long.

The same is basically true of Tom and Gemma’s frustrated coping strategies: he tries to escape by digging a hole in their lawn while she tries to bond with Jennings and Hardwicke’s bad seed. Tom and Gemma’s respective activities define who they are in “Vivarium,” because the plot doesn’t slow down long enough to relate any valuable information beyond expository dialogue. This is especially frustrating whenever Tom and Gemma’s situation tells us how they feel about each other, because those feelings are often as vague as Tom and Gemma’s ersatz son.

Most “Vivarium” scenes are too brisk and un-nuanced to flesh out Yonder’s ostensibly forbidding world of plastic, consumer-friendly domesticity. One moment we’re watching Tom trudge from the breakfast table back to his lawn hole. Then, a few minutes and scenes later, we’re watching him cough up a lung, and pantomime bone-deep weariness. Eisenberg’s a talented performer, but he’s not good enough to suggest soul-sick mania in a few seconds.

Viewers are also left with a number of basic conceptual questions that are never really answered, because Tom and Gemma don’t waste much time talking their way through their problems. Is that lack of introspection supposed to mean something? It’s hard to tell, especially given how unyielding most of the movie’s dialogue is, like when Gemma wonderingly tells her child that “You’re a mystery, and I’m going to solve you.” Equally banal dialogue exchanges, like when she tells him that a dream is “all sorts of moving pictures in your mind, but no one else can see them,” also reminded me of the human sensitivity that’s often lacking from “Vivarium.” I know this movie is supposed to be about what it’s like to be sucked dry by social expectations … but does it have to be so empty, too?

Every moment in “Vivarium” is a frustrating synecdoche, since no single metaphor or image convey an idea that you probably couldn’t think up with yourself during an especially foul mood. Marriage is a prison; parenting is a scam; home ownership is a trap; and you’ll probably die alone, without a substantial legacy. Understood, but who cares? If all you can show me is what you think isn’t genuine, you leave me with zero idea about what you think authenticity looks like, or why I should care. “Vivarium” is the horror movie equivalent of Warhol’s Campbell’s soup cans: easy to reproduce, easier to forget.

Available on VOD today, 3/27.