Shortly after the reveal of the Season 4 return of Rick & Morty, creators Dan Harmon and Justin Roiland extended an invitation to Kanye West to develop his very own episode.
The duo were asked about collaborating with ‘Ye during WarnerMedia’s upfronts – a showcase of the media company’s upcoming entertainment offerings – to which Roiland responded with, “‘Ye is a fucking kindred spirit, genius, visionary. “If that guy had the support to do all the ideas he has in his head, he’d be fucking Elon Musk 2.0.” Adding that they would for Kanye to come by the studio to “hang out and do a voice.” “I’m giving him an episode. I’m making it official. We have 70, he can have one. Kanye, you can have one . . . It’s official. That would be fucking amazing.”
Kanye West has been a fan of the Adult Swim series for quite some time, often celebrating how many times he has watched every episode of the show on social media. Additionally, last year Kim Kardashian tapped Roiland to create a Rick & Morty-themed birthday song for her husband’s birthday.
No word from Kanye just yet, but stay tuned for more information as the story develops.
One of the biggest TV shows in recent history is about to end, after a long, hugely successful run.
Viewers are sharply divided. Some have argued that the show is a massively enjoyable example of the power of the monoculture, complete with great character work and compelling storytelling.
But others believe its point of view is regressive and backward, playing off stereotypes and tropes that can be actively harmful if they aren’t handled with care — and which the show has often mishandled.
But look beyond its massive viewership and you’ll find a series that has won many Emmy Awards as well as several other honors. You’ll find a show that, at its height, was embraced enthusiastically by TV critics. You’ll find a show that made lots of people laugh and cry and maybe even feel better about life.
I’m speaking, of course, about The Big Bang Theory, which ends its 12-season run Thursday night on CBS. (Okay, also Game of Thrones, but set that aside for a bit.)
And if you’ll excuse my hacky “you thought I was talking about one thing, but I was really talking about another thing” setup, the strange lack of buzz around the end of what is still the top-rated comedy on television feels unusual. Normally, the end of a series like this would lead to exhaustive oral histories and one last media blitz. The Big Bang Theory is getting some of that, but it’s mostly fizzling out, compared even to the end of HBO’s much-less-watched Veep (which ended its seven-seasonrun a few days ago).
But look again at Game of Thrones and you’ll start to see why The Big Bang Theory is going out with a relative whimper. Like the HBO drama, Big Bang rode the rise of geek culture into the mainstream to become one of the biggest hits of the 2010s, a decade-long staple of the Nielsen ratings’ top 10 shows list. But its treatment of geek culture ended up spawning just as much hatred as joy. Unfairly, I’d say, but let’s look at how it all began.
When The Big Bang Theory debuted in the fall of 2007, there were few reasons to expect it would ever grow to be an award-winning hit. The series was actually on its second pilot. The first, which CBS had passed on for the fall of 2006, featured Amanda Walsh in the role that would ultimately be played by Kaley Cuoco, and it boasted a wildly different supporting cast. (You can see a little of it on YouTube.)
But what the show’s original pilot did have was a central duo who clearly had the makings of a great comedy team. As Leonard and Sheldon, Johnny Galecki and Jim Parsons brought an odd-couple energy to their scenes as roommates.
It’s easy to forget now, but The Big Bang Theory’s original premise was much more about Leonard and Sheldon being hornt up for their new neighbor Penny (the role that would ultimately go to Cuoco) than what the show eventually settled on, which was closer to a hangout sitcom. And central to its hangout vibe was how good Galecki and Parsons were together, and how entertaining they were whenever Cuoco entered a scene and started pressing their buttons.
(It took longer for The Big Bang Theory to figure out its two supporting guy characters, the hopelessly lovelorn nerds Howard, played by Simon Helberg, and Raj, played by Kunal Nayyar. Indeed, it struggled with what to do with Raj, who couldn’t talk to women unless he was drunk for far too long, until midway through the series.)
Still, The Big Bang Theory’s first full season — which ran from the fall of 2007 through the spring of 2008 and was interrupted by the writers’ strike of that same period — wasn’t a culture-dominating force. Reviews were decidedly mixed, with many critics taking issue with the show’s portrayal of Penny (who was much more of a dim bulb in the early going) as a sexy complication rather than a character in her own right.
And while the show’s viewership was okay, its first season ranked an unimpressive 68th against all the other shows on TV. Had CBS opted to cancel it, the decision wouldn’t have come as a huge shock.
Sheldon, played by Jim Parsons, became the show’s breakout character.
CBS
But The Big Bang Theory hung on. In season two, during which viewership grew by just over 20 percent, the show started focusing more energy on the growing friendship between Sheldon and Penny — a fairly classic “book smarts meets street smarts” dynamic, but with a frisson of sexual tension and a wholly unique character in Sheldon. It was still predominantly about how goofy and horny nerds are, but there was something human at its core, something it kept chasing.
The Big Bang Theory would keep growing, but it wouldn’t enter the season’s-end Nielsen top 10 list until its fifth season — which debuted in the fall of 2011. By that point, the show had added two more women to its supporting cast, in Howard’s love interest Bernadette (the always undersung Melissa Rauch) and Sheldon’s love interest Amy (Mayim Bialik).
Indeed, the show’s crossover from “hit” to “megahit” so neatly aligns with the addition of these two women to the cast, and the subsequent foregrounding of romantic plotting, that it seems likely that a portion of its audience was drawn to them. (I should also note here that the addition of Bernadette and Amy spurred much of the critical warmth toward the show in those years, including two awards for Outstanding Achievement in Comedy from the Television Critics Association.)
What’s remarkable about this is how old-fashioned this development is. This show started as a low-rated oddball, then slowly but steadily built up its audience over time. Along the way, it was granted the freedom to experiment and add and subtract new characters (that Sara Gilbert was briefly a regular in the show’s second season is something I always forget). And CBS was incredibly patient with it.
So what was it that encouraged the network’s patience, its apparent belief that The Big Bang Theory could be a massive hit? Well, believe it or not, it was doing something very different from other TV shows at the time.
Check out this viral tweet from 2016, which pulled a Big Bang Theory joke out of context to explain why the person writing the tweet thought the show was so terrible.
“So it’s settled,” Howard proclaims. “The fate of Doctor Who’s TARDIS will be decided by a Game of Thrones-inspired death match on the battlefield of ThunderCats versus Transformers.” Yes, that’s a word salad of geek culture references. Yes, if you’re at all familiar with geek culture, it sounds like complete gibberish.
But if you look at the gag in context, you’ll notice something else. The actual joke is the line that follows Howard’s ridiculous mashup of nerd-friendly properties, the one the tweeter shouts over. It’s not the world’s greatest joke — it’s a callback to an earlier one about a bra that Howard used to have his toys fight over — but it’s at least a standard sitcom gag.
And in the divide between that convoluted setup and the understated punchline lies the secret of The Big Bang Theory’s popularity: It was never about nerd culture so much as it used nerd culture for what felt like a novel setting when it debuted. The jokes themselves were always about sex or interpersonal relationships or the characters’ foibles. The geek references were simply window dressing.
This half-measure approach is what caused much of the backlash against the show (which we’ll deal with in a second), but it clearly worked for some portion of the viewing public. At a time when network TV audiences were eroding due to the explosion of options in how to watch television, The Big Bang Theory was the only show regularly pulling in more than 15 million viewers per week.
In seasons six through 11, its average viewership surpassed 18 million people per episode once some time-shifted viewership was accounted for — an astonishing feat for the 2010s. (The final season has fallen off from that level quite a bit, but the show still routinely pulls in more than 12 million viewers for the initial broadcast of each episode.)
Everybody looks a little glum in this still from the finale.
CBS
The accidentally great timing of The Big Bang Theory’s debut is key here. The show might not have been about geek culture in any real way, but because it applied a veneer of geek culture to pretty traditional sitcom stories about friendship and romance, it managed to appeal to both actual geeks and people who knew those geeks and didn’t quite understand them.
The idea that the show was genuinely popular with geek audiences for a while seems bizarre in an era when it’s synonymous in many circles with all that is stale and hacky about TV.
But it really was popular with a certain subset of geeks. The Big Bang Theory wasn’t for Comic-Con die-hards, but it was for people who thought going to Comic-Con once or twice might be fun — and the standing-room-only audiences it drew at Comic-Con at the height of its popularity more than proved as much.
Plus, the series predates everything from The Dark Knight to the Marvel Cinematic Universe to, yes, Game of Thrones. Geek culture was big when the show debuted, but it wasn’t yet all-consuming. So the longer The Big Bang Theory ran, the more certain it could be that when Howard mentioned the TARDIS, at least some portion of its viewership would be aware that he was referencing Doctor Who.
At the same time, the show was careful never to let geek culture references become its primary mode of joke-telling. In a real way, the geek stuff is a MacGuffin — a plot device that drives the story. You don’t need to know what a TARDIS is to appreciate what’s going on in the clip above. You just need to know it’s big and weird and won’t fit very well in Howard and Bernadette’s house, so they’re fighting about it. It could be a tacky armchair or a dog.
The Big Bang Theory’s specific portrayal of its geek characters also endeared it to some of its audience. Sheldon, in particular, was incredibly annoying, but in the show’s best seasons (roughly seasons two through six), it displayed real compassion for him and his rigid way of thinking about the world. It never once said the character was on the autism spectrum, but it hinted as much, and Jim Parsons’s performance, even in weaker episodes, was frequently tremendous. There’s a reason he’s won multiple Emmys for the role, even if he probably has too many of them.
Finally, on a pure craft level, the series didn’t strain to cram full stories into 21-minute running times, an unusual occurrence in this era. Once an episode reached the point where viewers could realistically conclude, “Okay, Sheldon and Leonard probably patch things up,” it would cut to a point after they already had. This gave The Big Bang Theory room to breathe, allowing for more scenes with the characters just hanging out, rather than satisfying the demands of the plot.
Still, even though I can give you several reasons why The Big Bang Theory became so big, it’s a lot harder to answer one other question: Why do so many people hate this show so much?
Look, even if it’s a show I no longer watch, I’ll always check out a sitcom finale!
CBS
The Big Bang Theory is a “multi-camera sitcom,” meaning that it’s filmed on a soundstage, in the fashion of a stage play, with multiple cameras recording each take. The format is particularly efficient, as it allows for longer scenes that are captured from several angles.
The show is also filmed in front of a live studio audience, whose laughter is miked up in a way where every single chortle serves to create a massive cacophony of sound. It’s a common practice in multi-camera sitcom production, but it nonetheless accounts for the frequent assumptions that The Big Bang Theory uses a “laugh track.” That’s not quite accurate, but the fact that even its hackier jokes are greeted by extreme audience approval makes a disconnect between the show and its audience all but inevitable.
Even in 2007, The Big Bang Theory felt like a throwback. At that time, TV comedy was tilting toward more cinematic “single-camera” comedies, which didn’t contain any audience laughter. Both The Office and 30 Rock were at their peaks, and hour-long dramedies like Ugly Betty and Desperate Housewives were seen as innovators.
Those trends have only gained momentum, and while multi-camera sitcoms have enjoyed a mini-comeback in the past few years, it’s mostly been for shows like One Day at a Time and The Conners, which deal frankly with social and political issues of the moment — making them the exact opposite of The Big Bang Theory, which does its level best to feel just a little bit out of time.
So The Big Bang Theory feels incredibly traditionalist in a world where acclaimed TV comedy skews more and more toward shows like Atlanta or Barry, though neither of those lauded but extremely niche shows could even dream of earning ratings as massive as Big Bang’s.
The Big Bang Theory’s ratings prowess — undeserved in the eyes of viewers who consider their comedy tastes more rarefied — has long been enough to mark the show as something to scoff at. But the sheer hatred the show inspires comes from a handful of unlikely other sources.
One is that in 2010, when the show was just beginning its ascension to megahit status, CBS moved it from Mondays to Thursdays. So its fourth season aired at 8 pm on Thursdays, directly opposite the second (and best) season of the beloved geek-friendly sitcom Community, which took as a point of pride its ability to actually make accurate pop culture jokes. On Community, jokes about the show’s characters were often told via their incredibly specific tastes, not the most generic version of geek culture the show’s writers could dream up.
Community’s fervent fan base helped keep it on the air for six seasons, despite it never becoming a huge hit. But its continued survival didn’t matter: Having the very traditional Big Bang Theory air opposite the much cleverer Community drew the lines for battles to come. The Big Bang Theory was fake geek culture. Never mind that it was written by math and science nerds, and never mind how many geeks really did see themselves in it. It was always, on some level, going to go for the broadest possible audience rather than the narrowest one, and that was the opposite of being a geek.
This all led to one of the more unfortunate strains of Big Bang Theory dislike — calling the show “nerd blackface,” meaning that it was built around big, trope-y portrayals of geeks that were meant to draw derisive, jeering laughter. Equating the show’s clumsy portrayal of geeks and geek culture to a decades-long history of systemically portraying black people as bumbling fools is, I hope I don’t have to tell you, pretty dang offensive. Yet the idea of describing the show in such a fashion keeps cropping up, because many self-proclaimed geeks feel like the show takes a hectoring or even bullying tone toward them.
That feeling stems, I believe, from the simple fact that multi-camera sitcoms, even at their best, are typically built around very broad stereotypes. Think of the early seasons of Will & Grace, a show that genuinely seems to have moved the American conversation about LGBTQ issues forward a couple of steps but that also featured a very stereotypical, flamboyant portrayal of a gay man in its supporting cast. Viewers were invited to laugh at this character because he was so stereotypical and ridiculous, but the more time you spent with him, the more you saw he was a human being too.
The Big Bang Theory debuted in an era when network television increasingly (though not always) tried its damnedest to avoid these sorts of stereotypes. Remember how the initial backlash to the show stemmed mostly from how ditzy Penny was? That sort of response likely wouldn’t have happened to the same degree if the show had premiered even 10 years earlier.
But The Big Bang Theory mostly sidestepped network TV’s growing aversion to stereotypes by centering itself on a group of people who were still largely acceptable to stereotype. Geekdom was a community built by choice, not by genetics. The show’s broad portrayals are the whole point. The stereotype is meant to make you laugh. And then, just as in Will & Grace, you hopefully become attached to the characters and realize they’re human too.
You can even see this reflected in the show’s scripts. The characters of Howard and Raj have long since left behind their horny nerd starting points; Howard has two kids, for god’s sake. But they are still referred to in The Big Bang Theory’s scripts as “Wolowitz” and “Koothrappali,” their last names and what they were called on the show early on, when they were defined less as characters and more as walking exemplars of geeky ineptitude.
I understand why so many geeks find the show so repugnant. There are plenty of engineers out there in highly successful relationships, who know how to talk to women, who are women themselves. Liking geeky things doesn’t mean you’re socially maladjusted by default. (I’m at least somewhat convinced by the arguments that The Big Bang Theory’s refusal to talk about whether Sheldon is neuroatypical created patronizing stereotypes of people with autism, an argument made wonderfully by Yohana Desta at Mashable in 2014.)
And like all TV shows that have run this long, The Big Bang Theory’s best days are behind it. There was a time when I did genuinely enjoy the show — though I never would have called it one of my absolute favorites — but I have fallen away from it as the characters have gotten married and had kids and settled into relatively peaceful, static lives. That’s the appeal of many a show like this, but I always found The Big Bang Theory’s early years, when the show’s characters were just trying to figure out how to live together, far more compelling.
I also don’t think The Big Bang Theory has ever truly argued that to be a nerd is to be forever alone, unless a sitcom-hot woman moves in across the hall. After all, the show’s characters have all found long-term partners, and it has more or less made a rousing case for domesticity. Like other sitcoms, The Big Bang Theory used broad stereotypes to try to humanize a group of people who were often the butt of the joke on other shows. And because it was doing so right alongside the rise of geek culture in the mainstream, it became massively popular.
Did the show always succeed at letting its characters be the butt of the joke and the person telling it, in the style of something like Will & Grace? Opinions, of course, will vary. But to write off The Big Bang Theory is to write off a show that shined a spotlight on geek culture in a way that has helped it take over the world.
Do we have the MCU because of The Big Bang Theory? Nah. But having the most popular sitcom in the country cracking wise about Iron Man and the TARDIS and Arya Stark, well — it certainly didn’t hurt.
Correction: The man who plays Howard is Simon Helberg, not Simon Kinberg. The article has been corrected.
CBS is shuffling its comedy lineup in the fall as the network serves up its first primetime schedule without “The Big Bang Theory” in more than 12 years. CBS also confirmed the Tea Leoni drama “Madam Secretary” will end with its sixth season and a final 10-episode run.
CBS will add three new comedies to the lineup including the return of “Everybody Loves Raymond” alum Patricia Heaton on Thursday’s in “Carol’s Second Act.” CBS is giving drama launch pads to “Evil,” from “The Good Wife” creators, in the Thursday 10 p.m. slot and courtroom drama “All Rise” in the Monday 9 p.m. berth.
The Eye will have a big gap to fill on Thursday after this week’s final bow of “The Big Bang Theory,” long one of the pillars of CBS’ comedy block. “Young Sheldon,” the “Big Bang” prequel, slides down to the 8 p.m. anchor slot. Newcomer “The Unicorn,” starring Walton Goggins as a widower and father, lands at 8:30 p.m., followed by season seven of “Mom” and “Carol’s Second Act” at 9:30 p.m.
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CBS Entertainment president Kelly Kahl called the network’s moves a bid to craft a schedule that is “stable but not sleepy, aggressive but not reckless.”
On Monday, domestic comedy “The Neighborhood” returns in the anchor slot for its second season. “Bob Hearts Abishola,” a new offering from the Chuck Lorre comedy club, slides in at 8:30 p.m. Drama “Bull” returns for its fourth season at 10 p.m. following “All Rise,” which revolves around the lives of judges, prosecutors and public defenders.
The Eye’s Tuesday and Sunday drama lineups return in tact. The procedural “FBI” is back for season two at 9 p.m., sandwiched by “NCIS” and “NCIS: New Orleans.” Wednesday is status quo with “Survivor” and “Seal Team” from 8-10 p.m., followed by “SWAT,” which relocates for its third season from the Thursday 10 p.m. berth this past season.
Friday sees “Hawaii 5-0” move up an hour to the 8 p.m. spot for its tenth season. “Magnum, P.I.” shuffles off Monday to the 9 p.m. slot followed by season ten of “Blue Bloods.”
Saturday is a two-hour Amortization Theater showcase of crime drama reruns from 8-10 p.m. followed as ever by “48 Hours.”
On Sunday, CBS is sticking with last year’s slate of “60 Minutes,” “God Friended Me,” “NCIS: Los Angeles” and “Madam Secretary.”
Miley Cyrus will star in a new episode of “Black Mirror,” the fifth season of which premieres on Netflix on June 15. Cyrus portrays a performer in the new trailer for the technology-themed sci-fi drama series, confirming longstanding rumors about her involvement. Watch it below. The season will include three episodes, following December’s interactive film Bandersnatch.
Also starring in the series are Andrew Scott, Anthony Mackie, Yahya Abdul-Mateen II, Topher Grace, Damson Idris, and more.
Miley Cyrus recently shared a cover of John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” with Mark Ronson and Sean Ono Lennon. She also appeared on Ronson’s single “Nothing Breaks Like a Heart.” Her last album, Younger Now, arrived in 2017.
On Monday, during his Late Late Showmonologue, James Corden made a joke that was kind of a big spoiler for the most recent episode of Game of Thrones.
"I feel like this trade war is going to end with Trump, riding on the back of a dragon, torching the entire economy," he said, referencing Daenerys Targaryen's actions in the previous night's episode.
Don't worry, everyone! President Trump knows exactly how to get out of this trade war with China...
While the live audience laughed at the joke, some people online weren't so happy with Corden for spoiling the plot twist.
According to the Blast, one Twitter user said they "hope his kid gets cancer".
"It’s fucked up you can’t even watch TV without a fat fuck spoiling something… Luckily I got to see it before this, but seriously I hope his kid gets cancer," the user wrote in a now-deleted tweet.
Corden and his wife have three children: 8-year-old Max, 4-year-old Carey, and 1-year-old Charlotte.
Now Corden has responded to the tweet, calling it "the single most upsetting thing" a person could say about his family.
@halfbaked6god @latelateshow That is, without question, the single most upsetting thing I think you could ever say about me or my family. Please take a minute and think about what you just wrote and whether you want to be a person who publicly says such things.I believe you’re better than that x
"My hope for your [children] is that they never get to read that their mother or father would wish cancer on any child as 'a joke'," he continued.
@halfbaked6god @latelateshow Well I saw your hope for my https://t.co/sXNdumvMFm hope for yours is that they never get to read that their mother or father would wish cancer on any child as ‘a joke’.Because however you defend it to them,they’ll never be able to understand how you could do such a thing.Night x
"However you defend it to them, they'll never be able to understand how you could do such a thing," he concluded, before wishing the user goodnight.
Dia Dipasupil / Getty Images
Representatives for James Corden have been contacted for further comment.
Ellie Bate is a celebrity reporter and talent coordinator at BuzzFeed UK and is based in London.
“Black Mirror” will return for its fifth season on June 5, Netflix announced Wednesday.
This new installment of the anthology series will consist of three all-new stories from Charlie Brooker and Annabel Jones. They star Anthony Mackie, Miley Cyrus, Yahya Abdul-Mateen II, Topher Grace, Damson Idris, Andrew Scott, Nicole Beharie, Pom Klementieff, Angourie Rice, Madison Davenport and Ludi Lin.
Once again, technology is front and center driving the stories in these three pieces, both distracting and tempting the protagonists. In addition to continuing to comment on the state of social media, this season promises to also dive deeper into the state of artificial intelligence, smart technology and virtual reality.
Notably, Cyrus appears to be taking part in a meta storyline, as she portrays a performer with with thousands of fans who appears to have undergone a transformation in order to rise to a higher level of fame.
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This new installment comes less than six months after Brooker and director David Slade dropped the special, interactive standalone “Black Mirror: Bandersnatch” at the end of 2018. In that unique piece of content, viewers who watched on select platforms were able to make decisions for the main character (played by Will Poulter) in a “choose-your-own-adventure” scenario that could last for minutes or hours, depending on what permutations of decisions were made and whether or not the viewer stuck around to choose different decisions to see alternate outcomes.
Watch the first look at “Black Mirror” Season 3 below:
ABC on Tuesday formally responded to the recent imbroglio involving Fresh Off the Boat star Constance Wu, insisting there are no plans to recast the role of Jessica Huang.
Even in the name of “perfect harmony” for all involved, “There have been no thoughts of recasting Constance. We love what she does on the show, and we love the show,” Karey Burke, president of entertainment at ABC, told TVLine during an Upfronts press briefing. “I did know that she had another opportunity that, had Fresh Off the Boat not gone forward, she would have pursued. But we never really considered not bringing the show back. It’s just too strong for us.”
Burke added that she is “going to choose to believe Constance’s most recent communications about the show” and its renewal, reiterating that Wu is “happy to return” to the sitcom.
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“The cast and crew is happy to have her back, and we’re thrilled to have her on the show,” she continued.
The controversy began on May 10, when Wu posted angry tweets just a few minutes after Fresh Off the Boat was picked up for a sixth season. “So upset right now that I’m literally crying. Ugh. F—k,” she wrote, following that up with a tweet that read, “F—king hell.” And if there was any doubt that her tweets were referencing Boat‘s renewal, she then replied (in a since-deleted tweet), “No, it’s not” to a fan who said the Season 6 pickup was “great news.” Wu also left a comment on the show’s official Instagram post celebrating the renewal that said simply: “Dislike.”
After posting a clarification on Friday evening, insisting that her tweets were “ill-timed” and that she was “so grateful” for the renewal, Wu then published a lengthy explanation on Saturday and revealed that she had to pass on another project because of Fresh‘s pickup.
“I love [Fresh Off the Boat]. I was temporarily upset yesterday not because I hate the show but because its renewal meant I had to give up another project that I was really passionate about,” she wrote. “So my dismayed social media replies were more about that other project and not about FOTB. But I understand how that could feel interconnected and could get muddled. So here is me unmuddling it with my truth: FOTB is a great show that I’m proud of and that I enjoy. I’ve gotten to fully explore my character and I know her like the back of my hand.”
Wu went on to regret her “insensitive” tweets, adding that “I know it’s a huge privilege that I even have options — options that FOTB has afforded me.”
She continued: “People can hold conflicting feelings in their hearts — that conflict is a part of being human. So I can both love the show/cast/crew but at the same time be disappointed that I lost that other unrelated job.”
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