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As many offer tribute to the late television legend Norman Lear after his death, we take a look at the television shows featuring predominately Black casts he produced which changed the culture.
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The passing of television icon Norman Lear at the age of 101 has paved the way for a further examination of the shows that the producer and writer was responsible for bringing to the screen and in the process, impacting comedy and American society greatly with a focus on social and political themes of the time.
His work (which included having an astonishing eleven hit shows on air at one time) included shows airing in the 1970s and 1980s that showcased the Black community in roles that captured their full scope and would have a major impact on the industry for decades afterward. We take an in-depth look at the Black-focused shows of Norman Lear that had major success.
Sanford & Son
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Reworking a popular British sitcom Steptoe & Son, Sanford & Son became a smash hit when it aired on NBC in 1974. Ribald veteran comedian Redd Foxx was tapped to star as Watts-based junkman Fred G. Sanford and Demond Wilson as his son, Lamont. Featuring beloved recurring characters such as Aunt Esther (LaWanda Page), the show was Lear’s first featuring an all-Black cast and was a solid ratings giant all of its six seasons, coming in second only to Lear’s iconic All In The Family on CBS. It would end in 1977 after a contract dispute between Foxx and NBC.
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Good Times
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A spin-off of the Bea Arthur-fronted Maude (which was itself a spin-off from All In The Family), Good Times focused on Maude’s former housekeeper Florida Evans (Esther Rolle), and her husband James Evans (John Amos) as they raised their three children in the projects in Chicago. Good Times was co-created by Eric Monte (who wrote the cult classic Cooley High) and Mike Evans, who starred as Lionel on All In The Family. The show would become another hit series for CBS, despite some turbulence with Rolle and Amos over concerns of negative stereotypes as the character of J.J. (played by comedian Jimmie Walker) was thrust into the forefront with his “Dyn-O-mite” catchphrase (which Lear actually detested at first). Good Times would go on to be revered by many, with numerous Black stars appearing on the show including Janet Jackson as Penny Gordon.
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The Jeffersons
Featuring Sherman Helmsley as the quick-tempered laundry owner George Jefferson and Isabel Sanford as his wife, Louise, The Jeffersons would become another major hit series for Norman Lear with roots in All In The Family. The Jeffersons would represent America’s first look at an upwardly mobile Black family as the couple moved from living next door to the Bunkers to the Upper East Side. With a catchy theme song (you’re humming it right now as you read this no doubt) and a unique perspective thanks to the strong cast, The Jeffersons would run for ten seasons from 1975 to 1985 on CBS.
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Diff’rent Strokes
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This sitcom by Norman Lear first made its debut on NBC in 1978, with Gary Coleman and Todd Bridges starring as Arnold and Willis Jackson, two recently orphaned Harlem children taken in by wealthy Park Avenue widower Phillip Drummond (Conrad Bain) and their daughter, Kimberly (Dana Plato). The show would run for eight seasons on NBC and ABC highlighted by Coleman’s magnetic charm and the “very special episodes” that tacked issues like racism and drug use.
227
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Lear would be an uncredited executive producer for 227, a show that would become part of NBC’s vaunted Saturday night comedy block in the 1980s. Marla Gibbs, who rose to fame as the wisecracking housekeeper Florence on The Jeffersons, starred as housewife Mary Jenkins as part of a trio of friends and neighbors Rose Holloway (Alaina Rose Hall ) and Sandra Clark (Jackee Harry) in the same Washington D.C. apartment building. 227 was also the debut of Regina King, who played Mary’s daughter Brenda. The show would last for five seasons.
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Norman Lear, a screenwriter and producer behind several hit sitcoms that were huge in the 1970s, has died. Lear, who produced The Jeffersons and other beloved Black sitcoms, was involved with over 100 shows and worked as a producer well into the next century after his initial encounter with fame.
Norman Lear was born July 22, 1922, in New Haven, Conn. After a stint in the military in the 1940s, Lear got involved in entertainment by first working in public relations. Along with his cousin’s husband, comedian and writer Ed Simmons, Lear and Simmons wrote comedy sketches for the likes of Dean Martin and Jerry Lewis for their comedy variety show.
In 1959, Lear created his first television show, The Deputy, with Henry Fonda. Lear then became known as a comedy writer through the 1960s. In 1971, Lear saw the debut of his show All In The Family, which went on to become a hit with critics and viewers alike. Sanford & Son was another hit that came the following year in 1972.
All In The Family spawned spinoff series too such as Maude in 1972, and The Jeffersons in 1975. The Jeffersons, which ran for 11 seasons and starred Isabel Sanford, Sherman Hemsley, and Marla Gibbs, is one of the longest-running sitcoms of all time. Good Times, starring Esther Rolle and Jon Amos, was developed by Lear in 1974 although he just served one year as its lead producer.
Lear served as the executive producer of the One Day At A Time revival in 2017 for Netflix and has a credit as an executive producer for the I Got A Monster documentary in 2023.
Lear is survived by his wife, producer Lyn Davis, six children from his three marriages, and four grandchildren.
Norman Lear was 101.
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For many, thoughts of the late, Tupelo, Mississippi-born music icon Elvis Presley center around his emotional, husky vocals, genre-defying catalog of enduring recordings, signature hip gyrations, electrifying performance style, jet black hair and bedazzled jumpsuits.
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But for another Southern-born singer-songwriter, the Tennessee and Georgia-raised Kane Brown — who to date has earned 10 Billboard Country Airplay No. 1 hits, including “Heaven,” “What Ifs” and most recently, “Bury Me in Georgia” — Presley’s name and music conjure thoughts of personal connection with a beloved family member.
“My nana is a huge Elvis fan and always has been,” Brown tells Billboard via email. “Growing up, I remember her carrying around a bag with Elvis’ face on it, and my earliest memories of Elvis and his music were of listening to him with her, and how excited she is and still gets hearing his music. My nana is a superhero, and so having that connection with and memory with her and his music is something that means a lot to me.”
On Wednesday (Nov. 29), Brown will be one of several performers helping to celebrate the legacy of the late Presley — as part of the new holiday special, Christmas at Graceland, which airs on NBC beginning at 10 p.m. ET and will be simulcast on Peacock.
Christmas at Graceland marks the first live musical televised holiday special of its kind at the late Presley’s 13.8-acre Memphis, Tennessee estate, and will feature never-before-broadcast footage of Presley. In 1982, Graceland was opened to the public as a museum, which draws hundreds of thousands of visitors annually to honor the life of Presley, who died in 1977 at age 42.
In addition to Brown, other artists taking part in the Christmas at Graceland special are Alanis Morissette, John Legend, Kacey Musgraves, newly named CMA entertainer of the year Lainey Wilson, Lana Del Rey, Post Malone and 2024 Grammys best new artist nominee The War and Treaty.
Brown’s performance on Christmas at Graceland connects with his recently released holiday song, a version of Presley’s “Blue Christmas,” which features vocals from both Brown and Presley. Brown previously released a solo version of “Blue Christmas” last year, reaching No. 14 on the Hot Country Songs chart.
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Written by Billy Hayes and Jay W. Johnson, the tale of unrequited love was recorded by Presley as part of his 1957 Elvis’ Christmas Album project. Brown’s ties to the song as a country singer are notable, given that prior to Presley’s version, “Blue Christmas” had been a No. 1 Hot Country Songs hit for country singer Ernest Tubb in 1950.
Presley’s granddaughter Riley Keough will make special appearances on Christmas at Graceland, and she will also serve as an executive producer under her Felix Culpa banner with partner Gina Gammell. Christmas at Graceland is produced by Done + Dusted, Authentic Studios and Felix Culpa.
Brown recently talked with Billboard over email, discussing his recording “Blue Christmas” alongside Presley’s own vocals, his experience performing as part of Christmas at Graceland, and his own favorite family holiday experiences.
Are you an Elvis fan, and if so, what are your favorite Elvis songs?
Elvis is an internationally recognized icon and paved the way in so many different areas for artists, but I think to me what’s been really cool is — as I got older, learning a lot more about his background growing up, and just how much he had to push the meter in so may different ways, and how many times he was told “no” before he powered through to become the legend he is today. Now being an artist, having a better understanding just how amazing what he was able to accomplish was, and how he did it with his talent and by being so unique — that’s still so inspiring. It would be hard to pick just one song, but it is still something I am trying to wrap my head around that I have a duet with ELVIS. And to hear my daughters sing it at home now too — what an amazing feeling.
What was the recording session for “Blue Christmas” like, and what did you think when you heard the finished version?
Really different, in the sense that you obviously don’t have the other artist in the room while you are recording it — but the first time I heard the final track, it gave me chill bumps.
What are your impressions of Graceland?
Visiting Graceland and being able to see where he lived and what was important to him and what life he was able to build for his family, having come from nothing, is something I really connect with. I feel his spirit so much there.
What are your favorite holiday traditions you have started with wife Katelyn and your children?
The girls love to sing, and having them be old enough to sing holiday songs together has meant so much.
Are there certain things you all love to do around Nashville for the holidays?
We love being at home and getting a chance to recharge and really live in gratitude for a minute. Sometimes you blink, and it’s already a year later when you’re out on the road. Touring is amazing, and I am so grateful for what I get to do for a living and all the fans that have been with me since day one and along the way. But getting that time at home when you’re often on the road is an amazing feeling to take the time to have those little moments like having breakfast together and really do the small stuff as a family helps recharge you, and then you feel like you’re ready to get back out there and give it your all on tour. We have such an exciting year coming up next year, and getting that space to be together as family beforehand is something we don’t take for granted.
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The annual Macy’s Thanksgiving Day Parade is returning for its 97th installment this year and will air across the country on Thursday (Nov. 23).
This year’s parade is set to take place in New York City in front of a live audience, making its 2.5-mile trek through Manhattan and featuring performers and attendees as it travels from the city’s Upper West Side to Midtown.
Fans looking to watch the parade this year are in luck because there are several ways to tune in to the event with or without cable. Find out how below.
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How to Watch Macy’s Thanksgiving Parade
The 97th Macy’s Thanksgiving Day Parade will be broadcast on NBC and Telemundo from 8:30 a.m. to noon ET.
How to Stream Macy’s Thanksgiving Parade
If you have cable (or a digital TV antenna like this one from Amazon), you can watch the parade on TV through your local network NBC affiliate. The parade will also stream live on Peacock Premium (click here for more details on Peacock’s Black Friday discount).
The Macy’s Thanksgiving Parade can be viewed online, as NBC can be streamed using SlingTV, fuboTV, DirecTV Stream, or Hulu + Live TV. Most these services offer free trials, which will allow you to watch the Thanksgiving parade fun for free online without cable.
How to View the Macy’s Thanksgiving Parade in Person
There are a small number of viewing areas for the Macy’s Thanksgiving Parade, but fans can start arriving at 6 a.m. ET Central Park West between West 75th to West 61st Streets. Great views can be found on 6th avenue between West 59th to West 38th Streets, and limited public viewing on the south side of West 34th Street between Broadway and 7th Avenue will be available.
Who is performing at the Macy’s Thanksgiving Parade?
This year’s parade will feature lots of performances, including Cher, Brandy, ENHYPEN, Jon Batiste, Jesse James Decker, En Vogue, Manuel Turizo, Jabari Banks, Bell Biv Devoe, Pentatonix, Ashley Park, Chicago, David Foster, Katherine McPhee, Alex Smith, Amanda Shaw, Miss America Grace Stanke and Paul Russell.
Last year, Gloria Estefan and her family sang atop the Deck the Halls float by Balsam Hills, while Joss Stone appeared on a Hallmark Channel float, and Jordan Sparks performed on a Toys R Us float. Paula Abdul, Big Time Rush, Kirk Franklin, Cam, Betty Who, Sean Paul, Zigg Marley and more were featured during the 2022 parade. Mariah Carey, Rihanna, Miley Cyrus, and Ariana Grande are some of the stars who have performed at the Thanksgiving Day Parade in previous years.
It’s no secret that awards show ratings on traditional TV platforms have been declining, even though fan engagement in the form of social media is up. Fans want the buzzy moments and maybe to find out who won, but they aren’t as inclined to sit for three or four hours and watch the show unfold in real time.
So producers are trying to come up with fresh approaches and figure out how to survive and thrive in this challenging environment. That’s one reason that the team behind the 2023 Billboard Music Awards have created a fresh format. Performances and awards will roll out across BBMAs and Billboard social channels, as well as via BBMAs.watch, on Sunday, Nov. 19.
In what is billed as a first-of-its-kind collaboration, the BBMAs and Spotify “Fans First” will bring fans up-close-and-personal with their favorite artists at performances and award celebrations taking place around the globe, in the midst of sold-out tours and in custom venues.
Nine new categories are being added this year, including four K-pop awards and two for Afrobeats, as well as top Hot 100 songwriter, top Hot 100 producer and top rock duo/group.
To find out more about the 2023 Billboard Music Awards Presented by Marriott Bonvoy, we quizzed two of the show’s producers, Maddy Mesevage, SVP, marketing for dick clark productions, and Alexi Mazareas, DCP’s VP, programming & development, to answer all the burning questions around the revamped awards show.
Do you agree with the premise that producers are trying to come up with fresh approaches and figure out how to survive and thrive in this challenging environment?
Mesevage: When conceptualizing a newly reimagined BBMAs, it was important for us to put the artists and fans first, leaning into the existing viewing habits of today’s audience to create an awards show that speaks to a new generation. Similar to how music consumption has shifted, with 85% of music consumed digitally, how fans engage with their favorite artists and view content has also shifted. So this year, the BBMAs is meeting fans everywhere they are, and everywhere they already consume music and content.
How has the creative community reacted to this new concept for the show? What are the main questions you’re getting from artists as they approach the new concept?
Mazareas: The new concept has resonated with both artist teams and the creative community as it allows an unprecedented amount of flexibility for an awards show performance. Not being restricted to a single stage or location, we are approaching each performance as a blank slate where we can collaborate with artists to create something totally unique, and bring on creative team members specifically curated to execute that vision. We’re partnering with best-in-class creative directors, world-renowned choreographers, and of course each artist’s creative team to make every one of these performances really special. Productions will take place all around the world from a variety of locations, each with their own vision and identity.
Are you telling top artists “Give us a four-minute performance and we’ll run it,” or is it more of a collaboration between the show and the artist?
Mazareas: This is a true collaboration between the artists, dick clark productions, and some amazing creative partners. We’ll collectively develop each concept, build a bespoke execution plan based on that vision, and then jump in together. The BBMAs team is heavily involved in all phases of the process, but our core goal is to facilitate the artist’s vision and help that vision come to life. Each production is completely unique.
The BBMAs used to be a three-hour show that aired from 8-11. Could someone who likes the traditional awards show format tune in to the show in that same way if they wanted?
Mesevage: Content will roll out directly to fans, including performances, exclusive interviews, and acceptance speeches across BBMAs and Billboard social channels; artists’ social platforms; BBMAs.watch, which takes viewers to a central curation page on Billboard.com; as well as Harmony, PMC’s proprietary live streaming platform, which saw record viewership for this year’s Streamy Awards at 15 million views and Billboard Women in Music with 57 million views.
Will there be a host or presenter to welcome the audience and make transitions and say “good night”?
Mazareas: Since this is such a non-traditional format, we are moving away from traditional host and presenter patterns. The goal is to really lean in to each unique performance and winner celebration that connects the artists and their biggest fans.
Will any of the performances be live? Will they all be new performances, recorded specifically for the show? Will any of them be pre-existing clips?
Mazareas: They will all be pre-recorded. All performances are exclusive to the BBMAs.
Will artists accept awards on the show or appear in some capacity even if they aren’t going to perform?
Mazareas: Yes, artists will accept awards, and with Spotify’s help, some will celebrate their winning moments with the fans who helped them reach the top of the charts.
In the absence of a live broadcast, will there be opportunities for spontaneous moments that often arise at awards shows?
Mesevage: We have created a scenario to give viewers an exciting new experience. We are leaning into the strengths of what this adapted format provides. We are not trying to re-create a live show environment. With that in mind, each taping lends itself to spontaneous moments and content that will feel truly unique to our 2023 BBMAs.
Another attraction of awards shows is that all your favorite stars are gathered into one place for one night. They watch each other rehearse and perform and cheer each other on. Will there be any of that?
Mazareas: Those are always great moments, but we are not focused on trying to replicate that element. We are leaning into the flexibility the new format allows to create completely original and unique performance, that prioritize both artist creativity and the fan experience.
With TV ratings, it’s very clear how many (or how few) people watched the show, but how will it be measured here?
Mesevage: We will measure the audience based on views and engagement across BBMAs content.
How else will you evaluate the success of the show?
Mesevage: Success for us is not solely how many views the content receives. What we are doing with the BBMAs is re-evaluating the value proposition for the talent involved and the fans that both watch BBMAs content and consume artist content and music. We are interested in bringing value to artists and to fans. For us, working through how we can continue to further hone in on those elements will create success in the short and long term. We are also looking at how thoughtfully and intentionally we can work with brand partners within this new model and are excited to be working with Spotify, Lexus and Marriott.
The show’s new November air date means that the eligibility period now syncs up with the year-end Billboard charts. Have you been getting a favorable response to that new timing?
Mesevage: Everyone has been supportive of the change, and we’re now uniquely positioned as the only year-end awards show that’s dedicated to celebrating the year’s best in music.
How does the Spotify partnership come into play? What creative involvement do they have in the show via their “Fans First” program?
Mesevage: The Spotify partnership allows us to identify fans who have consumed vast amounts of music over the past year of our performers and helped drive their favorite artists to the top spots on the Billboard charts. These fans will receive a “golden ticket,” granting them a once-in-a-lifetime opportunity to see their favorite artist up close, in an intimate setting.
The BBMAs is unique among music awards shows because winners are determined by year-end performance metrics on the Billboard charts, which are data-driven. Fans’ consumption habits are the driving force behind this data, so the partnership with Spotify is naturally synergistic because Spotify is where many fans consume music. Together, we’re able to unite artists with their biggest fans who have directly impacted their success on the charts through streaming.
Spotify’s Fans First program offers exclusive rewards and privileges like one-of-a-kind concerts, personal artist experiences, and more. Spotify has been a great collaborative partner in working with us to create memorable and fun experiences for these top fans.
Will there be a special effort to spotlight the nine new categories on the show, including four K-pop and two Afrobeats categories?
Mazareas: There will be special global moments in the show spotlighting some of the new categories, including a couple that K-pop fans will not want to miss.
How many awards will be presented on the show? How many will be otherwise revealed or announced on the show?
Mazareas: We plan to reveal all winners on the BBMAs in a variety of ways.
This year will end as it began, with an all-star Grammy salute to hip-hop. On Sunday, Dec. 10, CBS will air the live, two-hour concert special A Grammy Salute to 50 Years of Hip Hop. An extended “50 Years of 50-Hop” segment was one of the highlights of the 65th annual Grammy Awards on Feb. 5. That kicked off a year of hip-hop celebrations that has underscored the importance and dominance of the genre.
The lineup includes Black Thought, LL Cool J and Queen Latifah, all of whom were also part of the Grammy telecast salute, as well as Bun B, Common, De La Soul, Jermaine Dupri, J.J. Fad, Talib Kweli, The Lady of Rage, MC Sha-Rock, Monie Love, The Pharcyde, Questlove, Rakim, Remy Ma, Uncle Luke and Yo-Yo. More performers will be announced in the coming weeks.
Ahmir “Questlove” Thompson of Two One Five Entertainment and LL Cool J will also serve as executive producers of the special, which tapes Nov. 8 at the YouTube Theater in Los Angeles. The show was originally set to tape on Aug. 11, which was the 50th anniversary (to the day!) of a back-to-school party in The Bronx that many point to as the beginning of hip-hop culture.
A Grammy Salute to 50 Years of Hip Hop is produced by Jesse Collins Entertainment. Collins, Shawn Gee, Dionne Harmon, Claudine Joseph, Fatima Robinson and Jeannae Rouzan-Clay also serve as executive producers. Marcello Gamma serves as director.
Questlove curated the 15-minute spot on the Grammy telecast, which featured three dozen rap acts. Collins, Robinson and Gee (Questlove’s manager and president of LNU) were also among the producers of that segment.
The segment drew universal praise. Billboard’s Joe Lynch pegged it as the best performance on the 2023 Grammys telecast. “While it’s an impossible task to sum up 50 years of any genre (much less one that fought for decades to get a modicum of mainstream respect and eventually became the dominant genre in American music), this electrifying medley brought to vivid life the charged personalities, thumping grooves, deft deliveries and unpredictable flourishes that make hip-hop a global force.”
While many will assume that the success of the spot on the Grammy telecast led CBS to hurry a special into production, the special was in the works before anyone knew there would be a segment on the telecast, according to a source.
Harvey Mason jr., CEO of the Recording Academy, hinted at the upcoming special in a statement announcing the telecast segment. “For five decades, Hip Hop has not only been a defining force in music, but a major influence on our culture,” he said. “Its contributions to art, fashion, sport, politics, and society cannot be overstated. I’m so proud that we are honoring it in such a spectacular way on the Grammy stage. It is just the beginning of our year-long celebration of this essential genre of music.”
The Grammys have not always been hip-hop supporters. The awards show didn’t have a dedicated category for rap or hip-hop until the 1988 awards, which were presented Feb. 22, 1989. D.J. Jazzy Jeff & the Fresh Prince’s genial pop hit “Parents Just Don’t Understand” was the first hip-hop recording to win a Grammy (best rap performance). But they weren’t invited to perform on the show that year.
A year later, on Feb. 21, 1990, the duo became the first hip-hop act to perform on the Grammys. “We’d like to dedicate this performance to all the rappers last year that stood with us and helped us to earn the right to be on this stage tonight,” Will Smith said before he and D.J. Jazzy Jeff launched into “I Think I Can Beat Mike Tyson.”
CBS, which has broadcast the Grammy telecast since 1973, aired another Grammy-branded special – A Grammy Salute to The Beach Boys – on April 9. That special was taped on Feb. 8 at the Dolby Theatre in Hollywood.
A Grammy Salute to 50 Years of Hip Hop airs Dec. 10 from 8:30-10:30 p.m. ET/8-10 p.m. PT on CBS. It streams on Paramount+ (live and on demand for Paramount+ with Showtime subscribers, or on demand for Paramount+ Essential subscribers the day after the special airs).
What’s that song in the new Survivor commercial? Swifties will recognize it from the first note. Taylor Swift‘s “Mastermind,” from her 2022 Midnights album, plays in a new promo for the 45th season of the CBS reality competition series Survivor. The Swift song placement comes soon after she had 1989‘s “Welcome to New York” featured […]
The Masked Singer returned, and it all started with a mouse. Anonymouse, that is. The mystery singing competition show aired a special kick-off episode Sunday night (Sept. 10) ahead of season 10’s official premiere on Sept. 27. Explore Explore See latest videos, charts and news See latest videos, charts and news The highlight of The Masked […]
Wynonna will receive the Country Champion Award at the inaugural People’s Choice Country Awards, which is set to air live from the Grand Ole Opry House in Nashville on Thursday, Sept. 28 at 8 p.m. ET/PT.
And Wy will head right back to the Opry on Oct. 3 when she hosts Christmas at the Opry, a two-hour special that will air Thursday, Dec. 7 at 8 p.m. ET/PT.
The People’s Choice Country Awards will air live on NBC and Peacock while Christmas at the Opry will air on NBC and next day on Peacock. The latter show is seen as competition for CMA Country Christmas, a fixture on ABC since 2010. Carly Pearce hosted last year’s show, which aired on Dec. 8, 2022.
“Wynonna is one of the most recognized and lauded performers in country music,” Cassandra Tryon, senior vice president, live events, NBCUniversal Entertainment, said in a statement. “Not only is she incredibly talented, her selflessness and passion for putting the needs of others in the spotlight is unmatched. We can’t think of a better person to honor as our inaugural ‘Country Champion’ and to celebrate the holidays with across these two major country music events.”
As the Country Champion recipient at the inaugural People’s Choice Country Awards, Wynonna will be celebrated for her decades-long career and efforts around philanthropy and activism. She has used her public platform to advocate for children, military veterans and their families, disaster relief and more through her work with such organizations as the Wounded Warrior Project and Habitat for Humanity.
As previously announced, Toby Keith will receive the Country Icon Award on the show.
The same producers are behind both shows. People’s Choice Country Awards is produced by Den of Thieves with Jesse Ignjatovic, Evan Prager and Barb Bialkowski serving as executive producers, along with RAC Clark as executive producer and showrunner.
Christmas at the Opry is executive produced by Ignjatovic, Prager and Bialkowski for Den of Thieves along with Clark and Jen Jones.
Tickets for the Oct. 3 taping of Christmas at the Opry, in front of a live audience, are on sale now at Opry.com. The performer lineup will be announced at a later date.
NBC calls these projects “an example of collaboration resulting from NBCUniversal’s equity investment in Opry Entertainment Group alongside Atairos, which was finalized last year.”
Casey McQuiston’s Red, White & Royal Blue – an LGBTQ romcom novel about the Prince of England and the U.S. president’s son falling in love despite a despising each other at first – was a smash hit when it came out in 2019, quickly becoming a New York Times bestseller and creating a devoted fanbase. Captivated by the international screwball romance, the book’s enthusiastic fanbase has created everything from artistic renderings of swoon-worthy moments between main characters Alex and Henry to playlists based on songs McQuiston wrote into the plot.
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But even for the most devoted readers, there will be a few surprises when the Red, White & Royal Blue film – starring Nicholas Galitzine, Taylor Zakhar Perez and Uma Thurman — comes out Aug. 11 on Amazon Prime Video.
“Casey was never insistent that I make Casey’s Book: The Film,” Matthew Lopez, the film’s director and co-writer, tells Billboard. “She always wanted me to make Matthew’s movie. She trusted that someone who loved the book was in charge of the film.”
The cinematic adaptation is Lopez’s directorial debut after conquering Broadway, earning a Tony for his acclaimed 2019 play The Inheritance and earning a second Tony nom this year for co-writing the book to Some Like It Hot, a musical based on the gender-bending 1959 film. He first encountered McQuiston’s book pre-pandemic and recalls that it “refused to be ignored – it absolutely stayed in my imagination.” After successfully lobbying for the director’s chair on the movie adaptation, Lopez began working with music supervisors Kristen Higuera and Maggie Phillips on the soundtrack.
While many of the songs mentioned in the book do feature in the film (Queen’s “Don’t Stop Me Now”; Lil Jon’s “Get Low”), Lopez followed his muse — and not the page — in certain instances.
In one key scene, the star-crossed lovers slow dance in London’s Victoria & Albert Museum, despite it being after hours (one of the many perks of being a prince). In the book, Elton John’s “Your Song” plays, but cinematically, that didn’t track for Lopez.
“I love Sir Elton — he’s been such a supporter of mine throughout my career — but the scene I envisioned, I couldn’t hear that song,” he tells Billboard. With the help of his music supervisors, the aching, lovelorn voice of Mike Hadreas found its way into the film via Perfume Genius’ 2016 cover of “Can’t Help Falling in Love.” It was originally supposed to be an on-set placeholder until Hadreas recorded a new, different cover, but after living with it for months, Lopez decided he couldn’t see or hear the scene any other way.
“I felt terrible calling Mike,” Lopez says. “[I told him] ‘I have good news and bad news. The bad news is I don’t need a cover from you. The good news is I already have one [from you].”
Another cover that prominently features in the film is a fresh reimagining of Rodgers & Hammerstein’s Carousel classic “If I Loved You” performed by Vagabon. “I knew her voice and her sound, married to that classical music theater, was going to be the right match,” says Lopez, who describes himself as “a huge musical theater nerd.” When he approached Vagabon (Laetitia Tamko) with the idea, she wasn’t familiar with the song, which made him doubly sure of the decision. “It was great, because she had no associations,” he reasons. “It’s a new way of looking at it.”
Having familiar songs with new voices was important to Lopez for this queer romcom. “This movie was always about, for me, new ways of doing old things — that was the ethos of the film, so I wanted to try and get a couple covers in there.”
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Another example of putting a new twist on something familiar came via Oliver Sim. The filmmakers asked the solo artist and The xx member for an original composition, but after he watched an early cut of the film, he told Lopez, “I think I’ve already written the song for the movie.”
“It was his idea to take the song ‘Fruit’ from his most recent album and completely re-orchestrate it,” Lopez explains. “He said, ‘I made the acoustic version; now I want to make the cinematic version.’ He took something very delicate and blew it up to these epic proportions. It sounds so swoon-y and hopeful. That was a big win, for me, to get him to do that — I have my own bespoke version of an Oliver Sim song,” he adds with a smirk.
You can see what else made its way into the film when it begins streaming on Prime Video on Aug. 11.