When asked about the storyline on "Late Night with Seth Meyers," Thede quipped, "I didn't know that I was a clairvoyant, but I do now put that on my résumé next to comedy." Some fans have noted that Thede and the team essentially predicting quarantine with the sketch show's first season, which debuted in August 2019.
(TCA) Award for variety/sketch series last year. The latter was for Dime Davis, who made history as the first Black woman nominated in the category. Angela Bassett also earned a nomination for guest comedy actress for her role as Mo in the aptly titled episode, "Angela Bassett is The Baddest B****h." The series also won the Television Critics Assn. The series has been a big hit for HBO, earning three Emmy nominations for its first season, including in the variety sketch series and variety directing categories.
The second season's writers' room, led by showrunner Thede, includes Lauren Ashley Smith, Black, Holly Walker, Akilah Green, Rae Sanni, Kindsey Young, Shenovia Large, and Kristin Layne Tucker. The season was directed by Lacey Duke and Brittany Scott Smith.
"Oh you thought a pandemic was going to stop me?" Thede says in a teaser for the new season, which you can watch above.
The sketch comedy series from creator Robin Thede will return on April 23, with a six-episode season airing on HBO and available to stream on HBO Max.
The ladies of "A Black Lady Sketch" show are back and the second season will be launching even sooner than fans expected.
A scheduling conflict caused by industry-wide COVID-19 shutdowns kept Season 1 cast member Quinta Brunson from appearing in Season 2.
Returning cast members include Thede, Ashley Nicole Black and Gabrielle Dennis, who will be joined by featured players Laci Mosley and Skye Townsend. Additionally, many guest stars will appear throughout the season, including executive producer Issa Rae, Gabrielle Union, Jesse Williams, Miguel, Skai Jackson, Laz Alonso, Ryan Michelle Bathé, Omarion, Kim Wayans, Ayesha Curry, Lance Gross, Wunmi Mosaku and more.
"A Black Lady Sketch Show" is executive produced by Thede; Rae (for Hoorae); Dave Becky and Jonathan Berry (for 3 Arts Entertainment); Tony Hernandez and Brooke Posche (for Jax Media); and head writer/co-exec. producer Lauren Ashley Smith. Producers are Hoorae's Deniese Davis and Montrel McKay and Jax Media's John Skidmore.” />

We have watched you turn a blind eye as unions refuse to confront their racism and integrate their ranks, muting the authenticity of our culture and only reserving space for us to shine out front on your stages but never behind them. We see you.
"We stand on this ground as BIPOC theatremakers, multi-generational, at varied stages in our careers, but fiercely in love with the Theatre. Too much to continue it under abuse," the letter reads. "We will wrap the least privileged among us in protection, and fearlessly share our many truths."
And now you will see us.
Brown, Viola Davis, Katori Hall, Lin-Manuel Miranda, Lynn Nottage, Leslie Odom Jr., Sandra Oh, Jeremy Pope, Billy Porter, Issa Rae, Cynthia Erivo, Uzo Aduba, Andre Holland and Danielle Brooks, have signed the letter — titled "We See You, White American Theater" — as "The Ground We Stand On," a reference to August Wilson's play based on her 1996 book "The Ground on Which I Stand." The book serves as a literary call to African Americans to challenge racist establishment by taking back their culture, and advocating for Black storytelling to be considered as important as its White counterpart. Actors, including Sterling K.
The letter says there's inherent racism found in theater, with many leaders programming white-led plays and musicals, refusing to prioritize BIPOC communities and audiences, neglecting to say the words "anti-racism" when talking to boards, and heralding white privilege over the safety of people of color.
We are about to introduce you…to yourself.
We have watched you hustle for local, federal, foundation and private funding on our backs, only to redirect the funds into general operating accounts to cover your deficits from years of fiscal mismanagement. We see you.
We have watched you dangle opportunities like carrots before emerging BIPOC artists, using the power of development, production, and awards to quiet us into obedience at the expense of our art and integrity. We see you.
We have watched you attend one “undoing racism workshop,” espousing to funders you are doing the work, without any changes to your programming or leadership. You’ve been unwilling to even say the words “anti-racism” to your boards out of fear of them divesting from your institutions, prioritizing their privilege over our safety. We see you.
We see you. We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged and produced by your rosters of white theatermakers for white audiences, while relegating a token, if any, slot for a BIPOC play.
Read the full letter below.
The Ground We Stand On” />
It calls out the theater industry for using people of color to appear in "galas, talkbacks, panels, board meetings, and donor dinners" without "being willing to defend the sanctity of our bodies beyond the stages you make us jump through hoops to be considered for."
Too much to continue it under abuse. We stand on this ground as BIPOC theatremakers, multi-generational, at varied stages in our careers, but fiercely in love with the Theatre. We will wrap the least privileged among us in protection, and fearlessly share our many truths.
We have watched you discredit the contributions of BIPOC theatres, only to co-opt and annex our work, our scholars, our talent, and our funding. We see you.
This ends TODAY.
We see you. We have watched you amplify our voices when we are heralded by the press, but refuse to defend our aesthetic when we are not, allowing our livelihoods to be destroyed by a monolithic and racist critical culture.
Hundreds of stars have banded together to sign an open letter calling out leaders in the theater industry for neglecting to acknowledge their own white privilege and lift up people of color.
We have watched you harm your BIPOC staff members, asking us to do your emotional labor by writing your Equity, Diversity and Inclusion statements. We see you. When we demanded you live up to your own creeds, you cowered behind old racist laments of feeling threatened, and then discarded us along with the values you claim to uphold.
We come together as a community of Black, Indigenous, and People of Color (BIPOC) theatremakers, in the legacy of August Wilson’s “The Ground on Which I Stand,” to let you know exactly what ground we stand on in the wake of our nation’s civic unrest.
We have watched you inadequately compare us to each other, allowing the failure of entire productions to be attributed to decisions you forced upon us for the comfort of your theater’s white patrons. Meanwhile, you continue to deprioritize the broadening of your audiences by building NO relationship with our communities. We see you.
Signed,
As if oppression isn’t multi-layered. We see you. We see you. Or, I may be white, but I’m gay. We have watched you exploit us, shame us, diminish us, and exclude us. We have watched you say things like – I may be white, but I’m a woman.
We see you. We have watched you hire the first BIPOC artists in executive leadership, only to undermine our innovations and vision of creating equitable institutions, by suffocating our efforts with your fear, inadequacy, and mediocrity.
We have watched you un-challenge your white privilege, inviting us to traffic in the very racism and patriarchy that festers in our bodies, while we protest against it on your stages. We see you.
We see you. We have watched you pretend not to see us. We have always seen you.
We have watched you promote anti-Blackness again and again. We see you.
About theatres, executive leaders, critics, casting directors, agents, unions, commercial producers, universities and training programs. You are all a part of this house of cards built on white fragility and supremacy. And this is a house that will not stand.
We have watched you use our BIPOC faces on your brochures, asking us to politely shuffle at your galas, talkbacks, panels, board meetings, and donor dinners, in rooms full of white faces, without being willing to defend the sanctity of our bodies beyond the stages you make us jump through hoops to be considered for. We see you.
Dear White American Theater,
We have always seen you.

El Masri's previous credits include "Here and Now" at HBO and the recently-released Netflix series "October Faction." He is also a supervising producer on the upcoming Brie Larson CIA series at Apple. Miller has previously worked on HBO shows like "Crashing" and "Vice Principals," as well as shows like "American Dad" and "King of the Hill."
Dwayne Johnson, Issa Rae, and Dany Garcia are set to executive produce a half-hour series in development at HBO about the creation of a backyard wrestling promotion, Variety has learned exclusively.
(Pictured: Dany Garcia, left; Dwayne Johnson, center; Issa Rae, right)” />
The company also produces shows like “The Titan Games,” “Finding Justice,” and “Rock the Troops.” Seven Bucks is also producing Johnson’s upcoming films, including “The Jungle Cruise,” which is based on the Disney ride of the same name. Seven Bucks most recently produced Johnson’s film "Jumanji: The Next Level" and "Fast and Furious Present: Hobbs & Shaw," as well as many of Johnson’s other theatrical releases.
In addition to her work on "Insecure," Rae is an executive producer on the HBO comedy "A Black Lady Sketch Show." She made her film debut in the drama "The Hate U Give." Her other recent film credits include "The Photograph" and "The Lovebirds," with the latter film set to debut on Netflix on May 22 after its theatrical release was canceled due to the coronavirus pandemic.
The project is currently titled "TRE CNT" (a.k.a "TRE COUNT") and hails from writer Mohamad El Masri. The series focuses on Cassius Jones, a young dock worker and struggling pro-wrestler, who uses inherited life-insurance money for start-up cash and the deed to a shotgun house from his grandfather to start a hip-hop centric backyard wrestling empire in Houston's Third Ward (The Tre) with the help of his working-class family, neighbors, and friends.
During his time with that promotion, he rose to be one of the most famous pro wrestlers of all time, winning numerous championships and regularly headlining major pay-per-views. Johnson's involvement brings a layer of authenticity to the project, as he previously wrestled as The Rock in WWE.
El Masri is an executive producer on the project in addition to writing. Judah Miller will executive produce and serve as showrunner. Johnson and Garcia will executive produce along with Hiram Garcia under their Seven Bucks Productions banner. Rae and Montrel McKay will executive produce via Issa Rae Productions. Dave Becky, Tom Lassally, and Jonathan Berry will executive produce for 3 Arts Entertainment.
The show also deepens Rae, Garcia, and Johnson's relationships with HBO. The fifth and final season of that show concluded on HBO in October 2019. Johnson and Garcia executive produced the series "Ballers," on which Johnson also starred. Rae currently stars in, executive produces, and co-created the critically-acclaimed the HBO series "Insecure." The fourth season of that show bowed April 12.

The cast includes Ian McShane, Sasha Lane and Daniel Dae Kim. Directer by Neil Marshall, "Hellboy" is the third movie based on the Dark Horse comic about the half-demon superhero. "Hellboy," starring "Stranger Things" actor David Harbour, is coming in under expectations, which had ranged between $16 million to $20 million at 3,303 screens.
Universal's body-swap comedy "Little" is eyeing second place with about $14 million, narrowly topping another newcomer, Lionsgate's "Hellboy" remake, at around $12 million. The second weekend of "Pet Sematary" and the third frame of "Dumbo" will battle for fourth at about $8 million each. Laika's animated "Missing Link" is debuting quietly in the $6 million range.
"Hellboy" has received mostly negative reviews, with a current 12% rating on Rotten Tomatoes. Critics have compared the R-rated film unfavorably to the two installments directed by Guillermo del Toro and starring Ron Perlman. "Hellboy" carries a $50 million production cost.
The DC Comics tentpole, which carries an $80 million budget, should wind up the frame with more than $90 million domestically in its first 10 days. "Shazam!," starring Zachary Levi as the boyish superhero, is declining about 61% from its opening.
"Shazam!" will likely have the year's lowest gross for a domestic box office winner since the third weekend of "Glass" topped the chart during Super Bowl weekend with $9.5 million.
"Shazam!" is still showing box office power as it heads for a repeat victory in North American, with about $21 million, early estimates showed on Friday.
Reviews have been mixed, with a 51% Rotten Tomatoes score. "Little" is performing in line with expectations, which had ranged from $14 million to $18 million at 2,667 venues. The film stars Regina Hall as a take-no-prisoners tech mogul and Marsai Martin as her 13-year-old version. "Little," also toplined by Issa Rae, cost $20 million to produce.
This weekend's final release is Aviron's romantic drama "After," which is expected to generate less than $10 million at 2,138 locations. The film stars Josephine Langford as a college student who begins a relationship with the school's resident bad boy, played by Hero Fiennes-Tiffin.” />
Tina Gordon directed the PG-13 comedy, produced by Will Packer — known for his work on "Girls Trip," "Night School" and the "Ride Along" franchise. The 14-year-old Martin, who stars in "Black-ish," came up with the premise of the movie and is an executive producer.
Directed by Chris Butler, the "Missing Link" voice cast includes Hugh Jackman, Zoe Saldana and Emma Thompson. Laika Studios' "Missing Link" is also under-performing earlier estimates, which had pegged the pic for a finish between $8 million and $12 million from 3,413 venues. Critics have been dazzled, giving the pic an 88%. United Artists Releasing's stop-motion animated adventure follows an explorer searching in the Pacific Northwest frontier for a Bigfoot-type mythical creature.