‘Malcolm in the Middle’ Returns After 20 Years with Questions of Legacy and Its Trademark Craziness

Christopher Masterson, Justin Berfield, Jane Kaczmarek, Bryan Cranston and Frankie Muniz attend Hulu's "Malcolm in The Middle: Life's Still Unfair" New York Premiere at DGA Theater on April 07, 2026 in New York City. (Getty Images/AFP)
Christopher Masterson, Justin Berfield, Jane Kaczmarek, Bryan Cranston and Frankie Muniz attend Hulu's "Malcolm in The Middle: Life's Still Unfair" New York Premiere at DGA Theater on April 07, 2026 in New York City. (Getty Images/AFP)
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‘Malcolm in the Middle’ Returns After 20 Years with Questions of Legacy and Its Trademark Craziness

Christopher Masterson, Justin Berfield, Jane Kaczmarek, Bryan Cranston and Frankie Muniz attend Hulu's "Malcolm in The Middle: Life's Still Unfair" New York Premiere at DGA Theater on April 07, 2026 in New York City. (Getty Images/AFP)
Christopher Masterson, Justin Berfield, Jane Kaczmarek, Bryan Cranston and Frankie Muniz attend Hulu's "Malcolm in The Middle: Life's Still Unfair" New York Premiere at DGA Theater on April 07, 2026 in New York City. (Getty Images/AFP)

A very grown-up Malcolm turns to the camera at the beginning of the new “Malcolm in the Middle” revival and, weirdly, has nothing to complain about.

“Yeah, I look different, but, hey, everything about me is different. I’m happy. I’m successful,” he says. “My life is fantastic now. You want to know how I did it? All I had to do is stay completely away from my family.”

That's going to be very hard to do in Hulu's four-part return to “Malcolm in the Middle: Life’s Still Unfair,” which reunites one of the zaniest and chaotic families ever on prime time. The episodes premiere Friday.

Twenty years after the last episode aired, we learn that Malcolm — a nervous, sputtering Frankie Muniz — is now a father of a teen and desperate to shield her from his dysfunctional parents and siblings.

“I cannot go back to the way I was before and I’m not going to risk you,” Malcolm tells her. “You have to think of it like they’re the full moon and we’re werewolves.”

How the revival came about

Original series creator Linwood Boomer and his co-producer-wife, Tracy Katsky Boomer, batted ideas on how to get the gang back together for years. Both weren't willing to make just anything for a “shameless cash grab.”

Linwood Boomer recalls a light bulb went on when his wife wondered what would it be like if Malcolm had a daughter who was exactly like him. “I was just like, ‘Oh my God, that kid would be miserable,’” he says.

In addition to Muniz, Bryan Cranston and Jane Kaczmarek are back as the barely-holding-it-together parents and Christopher Kennedy Masterson and Justin Berfield return as brothers Francis and Reese, respectively.

Newcomers include Keeley Karsten as Leah, Malcolm’s deeply empathic daughter, and Vaughan Murrae, Malcolm’s whip-smart youngest sibling, who we last saw as a baby. Caleb Ellsworth-Clark takes over the role of Dewey.

Director Ken Kwapis, one of the original directors of the show, was tapped to return and was impressed with how the old and new cast members handled the physical and emotional tasks.

“The original cast slipped back into their roles effortlessly. But equally important is they embraced the new members of the cast very quickly,” he says.

“There’s a performance level that some people have described as high octane. And so for the new members of the ensemble, they had to like, ‘OK, I’m going to step up and do it.’ And they all hit it out of the park.”

A comically accurate view of child-rearing

Malcolm may desperately want to keep his distance from his family, but the 40th wedding anniversary of his parents has a gravitational pull, putting everyone on a collision course, albeit a hysterical one.

“It’s hard to do a straight comedy right now because everything’s very serious in the world,” says Katsky Boomer. “It feels nice to just unleash good vibes so people can just take a breather.”

“Malcolm in the Middle: Life’s Still Unfair” joins a list of new and upcoming reboots and revivals from the late 1990s and early 2000s, including “Scrubs,” “King of the Hill,” “Prison Break,” “Baywatch” and “Phineas and Ferb.”

The Boomers credit Cranston for keeping the flame of a revival alive, staying in touch with the actors and crew. And he’s jumped back in boldly, despite becoming a huge star in the intervening years.

“Malcolm in the Middle” originally aired on Fox and ended its seven-season run in 2006. It won seven Emmy Awards — including one for best writing for a comedy series — and currently streams on Hulu and on Hulu on Disney+, where the revival will also live.

Linwood Boomer based “Malcolm” on his own nutty family, and it struck a chord, depicting childhood as a constant power struggle — with bigger kids, teachers, parents and siblings. There were squabbles with a ferocity rare on TV, and it was funny because it was so grounded in truth. It was TV’s most comically accurate view of child-rearing since “Roseanne.”

“There was a line in the pilot I would say to myself all the time — ‘I want a better family!’ — and it turns out most families aren’t any better,” says Boomer.

Parental legacy

For the revival, the tables are turned. This time it's about being a parent and the legacy that we extend to our children. Malcolm's daughter is struggling in life and school, but her father's genetic toolkit only has belligerence, impulsiveness and thickheadedness, passed on by his on-screen parents.

“So much trauma, unfortunately, is the result of good people literally trying their best,” says Katsky Boomer. “You can understand it as you grow old enough to appreciate that your parents are human beings.”

Kwapis says the revival is painfully — and also hilariously — looking at how sometimes years go by and we're often in the same groove when it comes to family dynamics.

“You get to explore new things, but you also get to the explore the idea that some things — for better or for worse — just can’t change,” he says.

As for any future revisiting of this family, the husband-and-wife “Malcolm” team are noncommittal. “There are no plans. It was a really lovely experience,” says Linwood Boomer. Might there be more? “I can’t say no, but I also can’t say yeah,” he says.



Star-Maker Clive Davis Honored at Funeral That Draws Bruce Springsteen, Dionne Warwick and Others

A note by the star of late record producer Clive Davis on the Hollywood Walk of Fame in Los Angeles, California, US, June 23, 2026. (Reuters)
A note by the star of late record producer Clive Davis on the Hollywood Walk of Fame in Los Angeles, California, US, June 23, 2026. (Reuters)
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Star-Maker Clive Davis Honored at Funeral That Draws Bruce Springsteen, Dionne Warwick and Others

A note by the star of late record producer Clive Davis on the Hollywood Walk of Fame in Los Angeles, California, US, June 23, 2026. (Reuters)
A note by the star of late record producer Clive Davis on the Hollywood Walk of Fame in Los Angeles, California, US, June 23, 2026. (Reuters)

Kenny G played a mournful sax solo to kick off the funeral Monday for music legend Clive Davis, as pop royalty turned out to honor a man who championed so many of their careers.

Dionne Warwick, Barry Manilow, Bruce Springsteen, Alicia Keys, Ja Rule and Stevie Wonder were among of the other musical stars at the memorial service. Former House Speaker Nancy Pelosi, Adrien Brody, Hoda Kotb and Gayle King were among the other notables.

Rabbi Angela Warnick Buchdahl said Davis would have been thrilled by the turnout. “Clive would have loved this,” she said.

The service was closed to the public but was livestreamed from Central Synagogue in Manhattan.

Davis, a record company lawyer who rose to become one of music’s most influential figures, launched the careers of numerous stars, including Whitney Houston, Springsteen, Keys and Kenny G, and influenced others such as Carlos Santana, Janis Joplin and the Grateful Dead.

He died June 22 in his Manhattan apartment at the age of 94, a few weeks after he was hospitalized for an upper respiratory issue.

Buchdahl asked what song Davis most admired that was not something he had a hand in and was told “Somewhere Over the Rainbow,” written by composer Harold Arlen and lyricist E.Y. “Yip” Harburg in 1938 for the film “The Wizard of Oz.” Buchdahl then sang a soaring version. “You have a home at Sony Music Classics,” joked Rob Stringer, the CEO of Sony Music Entertainment.

Warwick told a story about how Davis urged her to work with Manilow in the late 1970s, which she initially resisted. But Davis’ suggestion was fruitful: Their partnership, the album “Dionne,” went platinum and earned two Grammy Awards.

Manilow recalled Davis urging him to record the rock song “Brandy,” written by Scott English and Richard Kerr. Manilow turned it into a love song and played it for Davis. “Just do that,” Davis told him. They renamed it “Mandy.” It went to No. 1. “He believed in me from the very beginning,” Manilow said.

For more than 50 years, Davis convened a gala attended by some of the biggest names in music the night before the Grammy Awards.

At this year's gala, former President Barack Obama praised Davis. While many record execs saw their influence wane as they grew older, Davis' seemed to grow. He breathed new life into the careers of established artists such as Aretha Franklin and Santana, and helped launch Keys and several early “American Idol” winners' careers, including Kelly Clarkson's.

He is survived by his four children, eight grandchildren and two great grandchildren.


In Blow to DC Studios, 'Supergirl' is No Match for 'Toy Story 5' at Box Office

A child runs past promoters for the Supergirl movie at a mall in Beijing, Saturday, June 20, 2026. (AP Photo/Ng Han Guan)
A child runs past promoters for the Supergirl movie at a mall in Beijing, Saturday, June 20, 2026. (AP Photo/Ng Han Guan)
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In Blow to DC Studios, 'Supergirl' is No Match for 'Toy Story 5' at Box Office

A child runs past promoters for the Supergirl movie at a mall in Beijing, Saturday, June 20, 2026. (AP Photo/Ng Han Guan)
A child runs past promoters for the Supergirl movie at a mall in Beijing, Saturday, June 20, 2026. (AP Photo/Ng Han Guan)

In a setback for Warner Bros.′ revamped DC movie operations, “Supergirl” was absolutely no match for “Toy Story 5” at the box office, opening a distant second to the Pixar blockbuster.

After a near-record debut for an animated movie, “Toy Story 5” remained No. 1 at the box office with $70 million in domestic ticket sales and another $89.1 million overseas, according to studio estimates Sunday. The Walt Disney Co. release has in two weeks quickly amassed $585 million globally, making it one of the biggest hits of the year.

“Supergirl,” however, failed to lift off. It opened with $38 million in US and Canadian theaters. It added $30 million in overseas markets.

Craig Gillespie’s superhero spinoff is the second big-screen release from James Gunn and Peter Safran, who were tapped to lead DC Studios in late 2022. Their first release, 2025’s “Superman,” grossed $618 million worldwide, a strong-enough start for Gunn and Safran.

But “Supergirl” flopped with both critics and moviegoers. Reportedly trimmed significantly after test screenings, Gillespie’s film landed poor reviews (56% fresh on Rotten Tomatoes) and a “B-” CinemaScore from audiences.

The poor opening weekend for “Supergirl” puts it behind the disappointing debuts of DC busts like “The Flash” ($55 million in 2023) and “The Green Lantern” ($53 million in 2011), and only barely ahead of “Joker: Folie à Deux” ($37.7 million in 2024).

David A. Gross, who runs the movie consulting firm FranchiseRe, noted superhero movies no longer drive the box office like they did pre-pandemic. There are fewer yearly releases, and the box office in the genre is down approximately $3.5 billion annually from its highs in 2017-2019.

After huge successes like “Wonder Woman” ($822 million in 2017) and “Captain Marvel” ($1.13 billion in 2019), female-fronted superhero movies have also taken a downturn.

“You’ll hear general explanations like ‘the audience lost interest.’ Yes, they did,” The Associated Press quoted Gross as saying. “But no one has been able to explain why it happened so suddenly and so completely. Why female superheroes in particular, after their sensational starts? We don’t understand it either.”

The stumble for “Supergirl,” which cost $170 million to make, comes as Warner Bros. Discovery, the film studio’s parent company, is preparing to be acquired by Paramount Skydance. David Ellison, Paramount chief executive, recently met with Gunn and Safran.

The next DC release is “Clayface,” a body horror take on the DC character, to be released in October. Gunn’s “Superman” follow-up, “Man of Tomorrow,” is currently in production. It’s dated for July 2027.

Gunn, who serves as a producer on “Supergirl,” handed directing duties to Gillespie, the filmmaker of “I, Tonya” and “Cruella.” Milly Alcock, who briefly appeared in “Superman,” stars as Supergirl, or Lara Zor-El, a younger cousin to Superman who’s more of a party girl than a world saver.

Paramount Pictures’ “Jackass: Best and Last” was the weekend’s other new wide release. The latest stunt compilation from Johnny Knoxville and company opened with a modest $8.4 million from 2,855 North American theaters. While that’s a good result for a movie that cost just $10 million to make, the 2022 installment, “Jackass Forever,” debuted with $23 million before ultimately grossing $80 million worldwide.

Olivia Wilde’s dinner party comedy “The Invite” notched one of the best per-screen averages of the year. Opening on seven screens in New York and Los Angeles, it debuted with $379,104, good for a per-screen average of $54,158.

Wilde’s third film as director stars herself, Seth Rogen, Penélope Cruz and Edward Norton as a pair of San Francisco couples who meet for an impromptu night together. A24 acquired the film after its buzzy Sundance Film Festival premiere. The indie distributor is hoping “The Invite,” which will expand next week and go nationwide on July 10, can revive the largely dormant summer comedy.

The micro-budget horror phenomenon “Obsession” continued to hold unusually strong. It took third place on the weekend with $9.8 million in its seventh weekend of release. Curry Barker’s film, made for less than $1 million, has now collected $233.9 million domestically for Focus Features, plus $108.9 million internationally.

Such legs, however, haven’t materialized for Steven Spielberg’s sci-fi thriller “Disclosure Day.” In the Universal Pictures’ third weekend of release, it slipped to fifth place with $8.1 million in domestic theaters. Spielberg's UFO tale has grossed $193.7 million globally in three weeks.


Manga Productions Announces Its New Project 'Henna' in Collaboration with Bilibili

The film tells the story of a young deaf girl, who embarks on a journey to discover her voice and express herself through the art of henna, (SPA)
The film tells the story of a young deaf girl, who embarks on a journey to discover her voice and express herself through the art of henna, (SPA)
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Manga Productions Announces Its New Project 'Henna' in Collaboration with Bilibili

The film tells the story of a young deaf girl, who embarks on a journey to discover her voice and express herself through the art of henna, (SPA)
The film tells the story of a young deaf girl, who embarks on a journey to discover her voice and express herself through the art of henna, (SPA)

Manga Productions, a subsidiary of Mohammed bin Salman Foundation “Misk,” is participating in the Annecy International Animation Film Festival 2026, one of the world’s leading festivals dedicated to animation and creative content, taking place from June 23 to 26 in Annecy, France.

The company is showcasing a selection of its creative projects and productions that reflect Saudi identity and culture, while further strengthening its international presence and building strategic relationships with global partners in the entertainment and content industry, reported the Saudi Press Agency on Wednesday.

During the Annecy International Animation Film Festival, Manga Productions announced its new animated short film project, “Henna”, in collaboration with the Chinese platform Bilibili. The film tells the story of a young deaf girl, who embarks on a journey to discover her voice and express herself through the art of henna, representing the deaf and hard-of-hearing community in a story that reflects the company's commitment to creating culturally rooted, inspiring human stories for global audiences.

“Henna” marks the first co-produced animation project between Bilibili and an Arab company, and is one of the first outcomes of the strategic partnership signed between Manga Productions and Bilibili in August 2025 to strengthen collaboration in content creation, production, and distribution.

This step is part of Manga Productions’ efforts to expand the reach of Saudi content and Arab creativity in international markets, particularly in China, one of the world’s largest and fastest-growing digital entertainment markets. Bilibili is one of China's leading digital platforms, with more than 107 million daily active users, opening new opportunities for Saudi content to reach a broad global audience.

CEO of Manga Productions Dr. Essam Bukhary stated: "Our participation in the Annecy International Animation Film Festival reflects Manga Productions’ commitment to strengthening the global presence of Saudi creative content and building strategic partnerships that contribute to the growth of the animation industry and cultural sector in the Kingdom.”

“We are also proud to announce our new animated short movie, ‘Henna’, in collaboration with the Chinese platform Bilibili. The project reflects our strategy of creating impactful human stories inspired by our local culture and presented through a global perspective, while showcasing the talent and creativity of the Saudi youth in whom we place great confidence and high expectations,” he added.

“Henna” Director Riyadh Al-Dossary said: “‘Henna’ carries a human message that reflects the power of one’s inner voice and self-expression despite challenges. Through this project, we aim to deliver a visually engaging and emotionally authentic experience inspired by our local culture in a language that resonates with global audiences.”

Manga Productions also highlighted the global success of the Saudi-Japanese anime series “Asateer2: Future’s Folktales”, co-produced with Toei Animation and created with the participation of more than 50 Saudi artists, which achieved over 151 million views and 450+ media features across five continents.

Manga Productions also announced the global expansion of the series through multiple languages and platforms, including the Arabic version on Shahid, Japanese version on Lemino, and French version on Anime Digital Network, in addition to the English and Spanish versions.

The Annecy International Animation Film Festival is considered one of the most prominent global platforms bringing together leading animation studios, content creators, distributors, and investors from around the world, contributing to the exchange of expertise, the development of partnerships, and the exploration of the latest trends in the animation industry.

This participation aligns with Manga Productions’ strategy to expand its global impact and reinforce Saudi Arabia’s position as a growing hub for creative industries, in line with Saudi Vision 2030 objectives to support the creative economy and strengthen the Kingdom’s cultural presence internationally.