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ncisfranchise-source · 4 days ago

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CBS has ordered full seasons of Poppa’s House and NCIS: Origins. Each show has received a Back 5 pickup in addition to the original 13-episode order to go up to 18 episodes.

With this latest news, CBS has picked up all four new scripted series, including the Kathy Bates-led Matlock and the “Big Bang” Universe prequel Georgie & Mandy’s First Marriage.

According to VideoAmp and internal streaming data, with seven days of multiplatform viewing, NCIS: Origins premiere was been seen by 9.0 million viewers and Poppa’s House by 6.41 million viewers.

“NCIS: Origins has added a brilliant new dimension to the NCIS franchise with an origin story of Leroy Jethro Gibbs and a cinematic ’90s experience that features distinct characters, stories and crime solving. Poppa’s House excels with the dynamic father/son chemistry between Damon [Wayans] and Damon Jr. and their family-inspired stories that bring this comedy to life. These shows fit seamlessly into our Monday night lineup while resonating with viewers on CBS and Paramount+,” Amy Reisenbach, president of CBS Entertainment, shared in a statement.

In Poppa’s House, Wayans and Wayans Jr. star as father and son opposite Essence Atkins and Tetona Jackson. Wayans Sr. portrays the legendary talk radio host and happily divorced “Poppa,” who has his point of view challenged at work when a new female co-host is hired. His home life is no better, as the patriarch of the family finds himself still parenting his adult son, a brilliant dreamer who is trying to pursue his passion while being a responsible father and husband.

Dean Lorey, Damon Wayans and Damon Wayans Jr. executive produce for CBS Studios. The series airs Monday nights from 8:30 to 9:00 PM, ET/PT.

NCIS: Origins follows a young Leroy Jethro Gibbs (Austin Stowell) in 1991, years prior to the events of NCIS, and is narrated by Mark Harmon. In the series, Gibbs starts his career as a newly minted special agent at the fledgling NCIS Camp Pendleton office, where he forges his place on a gritty, ragtag team led by Mike Franks (Kyle Schmid).

Mariel Molino, Tyla Abercrumbie, Diany Rodriguez and Caleb Foote also star.

David J. North, Gina Lucita Monreal, Mark Harmon and Sean Harmon executive produce for CBS Studios. The series airs on Monday nights from 10-11 PM ET/PT.

#ncis origins #poppa's house

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thesuper17 · 5 years ago

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Lorey Rodriquez's third album, I'm Your Empress Of, is occasionally transcendent, fusing the singer's unconventional and forward-thinking production style with her natural ear for perfect pop melodies. Frustratingly though, this interplay is only balanced just right on a few tracks, with much of the album's brief runtime sounding confused and overly busy.

Rodriquez starts strong, opening IYEO with four songs that are among the best of her career. Moreso than many of her contemporaries, electronic music is a clear influence on Empress Of, demonstrated on the eponymous opening track which features a single loop building slowly over its short run. One could easily imagine the build continuing, eventually tipping over into an electronic dance beat, but its ascent is cut short, interrupted by a spoken word sample from Rodriquez's mother.

The interjection is both sweet and thematically enlightening for the rest of the record. Rodriquez's mother says having one girl is "like having thousands of girls," for how many aspects and angles there are to her daughter. Again however, being this up front with the theming is something of a double-edged sword for IYEO. While a person can contain multitudes, an album has but 12 tracks, and limited space within them to competently express so many ideas. Empress Of quickly finds herself making awkward compromises to fit the parts of her album together.

With this interlude fading out, the opening loop returns with some gorgeous disco-influenced guitar parts, before transitioning seamlessly into the second track, an earworm with a significant debt to 90s Europop.

One of the artist's simplest songs to date, “Bit of Rain” is an effortless-sounding slice of pop, breezily moving between sparse verses with Rodriquez's crystalline voice and a single bouncy synth part, and irresistable choruses, underpinned by a punchy but playful bass and adorned with backing vocal flourishes.

The following two songs (rounding out our first four) demonstrate how strong Empress Of's music can be when she hones her focus carefully. “Void” is a straightforward break-up track, but Rodriquez makes adventurous choices with the production that pay off sonically and thematically. Her voice is modulated, pitch-shifted and even chopped up like a sample throughout, all contributing to the sense of instability and insecurity she's singing about.

“Love Is A Drug”, on the other hand, takes a much more direct theme and plays it straight with the album's second undeniable hook. That the song's refrain repeats so many times in less than three minutes without tiring is testament to Empress Of's expert melodic sensibilities.

Throughout the rest of the album however, this tightly aimed focus wavers, and ideas begin to run across each other. Even more disappointingly, the immediacy of the composition slackens such that a large stretch of the record's latter half is noticeably less sharp and powerful.

With the exception of the excellent “Give Me Another Chance”, the second half of IYEO comprises a run of songs that feel like Rodriguez is trying to compensate for more pedestrian songwriting with unconventional production choices. “Should've”, for example, is a conscious throwback to the artist's debut, employing an odd time signature vocal loop, repeated and developed throughout the track.

Unfortunately, it feels too deliberate an attempt to recreate the punch of her early material, and despite only being just over two minutes, still manages to take far long to get to the final chorus where its build pays off. In the meantime, bizarre scraping synths, strangely distant vocal mixing and atonal interstitial sections rob the track of momentum and physicality.

This loss of focus carries through to IYEO's writing as well. Having enlisted her mother to "talk about being a woman... an immigrant... all those things that make you who you are," Rodriquez proceeds to almost totally ignore the idea of identity and its construction throughout the latter parts of the record.

The focus, even on the IYEO's strongest tracks, is firmly aimed at love and heartbreak. These themes are even approached in interesting ways, for example the knowingly pathetic “Give Me Another Chance”, exploring an emotional space not often acknowledged in pop. “Not The One” and “Hold Me Like Water” evoke both sensual physicality ("use both hands") and a more ephemeral, poetic romance respectively.

It's frustrating though, for an album so poised to explore themes with some political and social depth, and for an artist who clearly prides themselves on making forward-thinking choices, that the theming should land in such well-trodden territory. Cynically, one almost feels baited by the promise of the first song.

IYEO is home to a few slick jams, some excellent lyrics and a bevy of interesting ideas stuffed into tracks not quite long enough to house them. Sadly, rather than the cohesive, razor-sharp album experience Rodriguez is clearly capable of, it's destined to be stripped for parts, shoring up more enjoyable playlists and mixes instead.

#empress of #lorey rodriguez #im your empress of #pop #review

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