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Review: Peacock’s Intriguing ‘Bel-Air’ Flips ‘Fresh Prince,’ and Turns Low Expectations Upside-down

The first three episodes of "Bel-Air" premiere (Super Bowl) Sunday, February 13 on Peacock. (Peacock)
The first three episodes of "Bel-Air" premiere (Super Bowl) Sunday, February 13 on Peacock. (Peacock)
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Review: Peacock’s Intriguing ‘Bel-Air’ Flips ‘Fresh Prince,’ and Turns Low Expectations Upside-down

The first three episodes of "Bel-Air" premiere (Super Bowl) Sunday, February 13 on Peacock. (Peacock)
The first three episodes of "Bel-Air" premiere (Super Bowl) Sunday, February 13 on Peacock. (Peacock)

No matter what it turned out to actually be, "Bel-Air" was always going to raise some eyebrows by its premise alone. As every network and streaming service scrambles to make the best (or at least most) use of their in-house IP, a grim reboot of "The Fresh Prince of Bel-Air" for Peacock sounds like something ripped straight from a "30 Rock" joke about NBC trying to make it 1990 again through science or magic. Transforming the neon flair of the popular Will Smith sitcom into a flashy drama could be the inevitable nadir of the Hollywood reboot machine going through its recyclables. But in 2022, there are far worse and stranger inspirations for shows than older ones that succeeded -- and at least in its first three episodes, "Bel-Air" proves itself far from the worst offender.

Irrespective of genre, the basic concept of "Fresh Prince" -- scrappy kid from the supposed "wrong side of the tracks" gets thrown into the realm of the wealthy, hijinks ensue -- is an age-old narrative formula that's been used over and over again for a simple reason: it works. Where ("Bel-Air" executive producer) Will Smith once mugged for the "Fresh Prince" studio audience, isolating and dramatizing the tropes that "Fresh Prince" leaned on is what made Morgan Cooper's hypothetical, viral 2019 "Bel-Air" trailer so sharp in the first place, and it's what makes his full-blown television series version work whether or not you've seen "Fresh Prince." In fact, it might be even better if you haven't.

As imagined by co-showrunners T.J. Brady and Rasheed Newson ("The Chi") and Cooper, who co-wrote and directed the first episode, the lyrics of famous "Fresh Prince" credits song that Smith once rapped with such goofy charm become something much darker. In the more grounded reality of "Bel-Air," the "one little fight" that sends 16 year-old Will (newcomer Jabari Banks) across the country is a legitimate life or death showdown with a West Philly gang leader that goes horribly wrong. After Will gets arrested and his life seems in danger, his mother (April Parker Jones) sends him to Bel-Air, where his Aunt Viv (Cassandra Freeman) and Uncle Phil (Adrian Holmes) are waiting to take him in.

That framework, paired with Phil worrying that his "pulling strings" to get Will out of trouble will backfire on his nascent district attorney campaign, immediately ups the stakes to create the necessary tension for the series' deliberate change in tone from the original. Throw in the worlds of Will's rich new school and cousins, add a splash of corporate intrigue, and "Bel-Air" becomes a familiar mix of shows like "The O.C.," "Empire," and even "Gossip Girl." (To wit: "Bel-Air" features "Empire" writer Malcolm Spellman on its EP roster and shares at least two writers, JaNeika and JaSheika James, with HBO Max's "Gossip Girl.") The dialog can be snappy, even as it's committed to saying the quiet part loud (i.e. rejecting subtext for much blunter text). And as established by Cooper's directing in the pilot, the camera's most comfortable when in motion, whether that be on the basketball court, through the Bel-Air Academy halls, or the glitzy functions reminding Will that he's not exactly in West Philly anymore.

As Will, Banks has the unenviable task of establishing Will's backstory and charisma in a way that rivals Smith's singular entrance on "Fresh Prince" -- and whenever he's able to break free of "Bel-Air"'s many plot machinations, he nails it. In the first three episodes (which drop February 13 on Peacock), the culture shock of going from Philly to Bel-Air overwhelms Will to the point where the show rarely lets his core personality shine through. But the moments in which he can let loose -- like when he asks a catering chef if he can get a Philly cheesesteak, hangs out with hustler Jazz (Jordan L. Jones) or shrugs that he's "not a thug, a smartass" -- are the ones that keep "Bel-Air" from sinking too deep into its own gravitas.

The rest of the show's funhouse mirror versions of the "Fresh Prince" characters are disorienting for anyone who watched the comedy, but they nonetheless make perfect sense for the contemporary melodrama of shifting dynasties that "Bel-Air" is going for. Holmes' Phillip is more suave than James Avery was stern, boasting a killer smile and keen eye for potential enemies. Freeman's Viv, straightforward and ambitious, errs closer to Janet Hubert's original than not, but the role of Geoffrey the uptight butler becomes that of a "house manager" slash muscle man (Jimmy Akingbola). As for the kids, teen princess Hilary (Coco Jones) is now an aspiring cooking influencer who shoots Instagram Lives from the pool house, while baby of the family Ashley (Akira Akbar) is still basically just happy to be here.

The character that represents the most obvious deviation from his inspiration is Carlton (Olly Sholotan), Will's cousin and foil. Whereas Alfonso Ribeiro's sitcom version was a hopelessly out-of-touch dweeb, "Bel-Air" makes him a star lacrosse player and one of the most popular kids in school. The choice should be jarring -- and yet, certain traits of the original Carlton break through this seemingly completely disparate character to make him even more intriguing. In the world of "Bel-Air," Sholotan's Carlton is still as jealous, condescending, and prone to bragging about his privilege as he was in "Fresh Prince." The difference is that he's now looking down at Will from the top of the mountain he's climbed by assimilating into the mostly white world around him, and can't stand to watch Will work his way up by refusing to do the same.

Carlton can't keep clutching onto his meager power with such a tight grip forever, nor can he and Will keep locking horns without the dynamic getting old. But with a two-season order, Cooper and company should be able to figure out how to not just flip the "Fresh Prince" script, but turn "Bel-Air" upside-down into something more unique unto itself, too. If the show's trying to be different from what we've seen before, it might as well keep pushing.

The first three episodes of "Bel-Air" premiere (Super Bowl) Sunday, February 13 on Peacock.

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A New Generation of Elvis Tribute Artists Compete in the King’s Hometown

Elvis Presley in 1975. (Getty Images)
Elvis Presley in 1975. (Getty Images)
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A New Generation of Elvis Tribute Artists Compete in the King’s Hometown

Elvis Presley in 1975. (Getty Images)
Elvis Presley in 1975. (Getty Images)

Nearly 50 years after Elvis Presley's death, a gaggle of exuberant young boys and men shook up his hometown, intent on keeping the king's legacy alive for a new generation.

Ranging in age from seven to 17, some donning jeweled jumpsuits, they took the stage at the Tupelo Elvis Festival's youth tribute artist competition last week.

In contrast to their peers, some of whom may have never heard of Elvis, the competitors have dedicated an enormous amount of time and energy studying the king's voice, mannerisms and style.

They are careful to specify they are Elvis tribute artists. Unlike impersonators, who pretend to be Elvis and sometimes present a characterized version of the king, tribute artists strive for authenticity. Some wore costumes created by B&K Enterprises Costume Co., a company licensed to recreate Elvis' outfits and provide costumes for Elvis movies, musicals and TV shows.

“We're not trying to be him,” said Tucker Gladden, 17, from Madison, Mississippi. “We want to recreate the experience as much as we can for people that maybe didn't get to see Elvis in their lifetime.”

As for their fascination with a long-dead musician, several of the tribute artists credited the 2022 “Elvis” movie with sparking their interest. A couple said their admiration began after discovering they were distantly related to Elvis. Others said it was Elvis' faith and charity that inspired them. Some said they had been performing Elvis songs since they were 3 years old.

For 16-year-old Ayden Maloy from Logansport, Indiana, it was the way Elvis' music helped him during a difficult time in his life that helped motivate him to begin performing as an Elvis tribute artist three years ago.

In an afternoon of dazzling outfits and daring dance moves, the performers paid their tributes, getting the audience clapping, singing and swaying along to their Elvis covers. Ultimately, RJ Hursey, a 14-year-old from Bloomington, Illinois, won the competition.

“It means the world to me,” Hursey said.

Before the competition, the tribute artists toured the Elvis Presley Birthplace, a sprawling complex that includes the home where Elvis was born and the church where he was first exposed to Southern gospel music.

“It feels so surreal to pay tribute to Elvis in his hometown,” said 15-year-old Charles Session from Morrilton, Arkansas. “I hope that he’s looking down and smiling at all these young performers.”

Entertainment

‘Scary Movie’ Tops Box Office, Slaying ‘Masters of the Universe’ and Adding to Low-Budget Streak

(L-R) US actor/producer/writer Shawn Wayans, US actor Anthony Anderson and US actor/producer/writer Marlon Wayans attend Paramount's "Scary Movie" premiere at the Paramount theater in Los Angeles on June 3, 2026. (AFP)
(L-R) US actor/producer/writer Shawn Wayans, US actor Anthony Anderson and US actor/producer/writer Marlon Wayans attend Paramount's "Scary Movie" premiere at the Paramount theater in Los Angeles on June 3, 2026. (AFP)
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‘Scary Movie’ Tops Box Office, Slaying ‘Masters of the Universe’ and Adding to Low-Budget Streak

(L-R) US actor/producer/writer Shawn Wayans, US actor Anthony Anderson and US actor/producer/writer Marlon Wayans attend Paramount's "Scary Movie" premiere at the Paramount theater in Los Angeles on June 3, 2026. (AFP)
(L-R) US actor/producer/writer Shawn Wayans, US actor Anthony Anderson and US actor/producer/writer Marlon Wayans attend Paramount's "Scary Movie" premiere at the Paramount theater in Los Angeles on June 3, 2026. (AFP)

The summer box office is booming — but not because of the usual suspects.

After three weeks of indie horror dominance at the box office, the slasher spoof “Scary Movie” topped ticket sales with $55 million over the weekend, according to studio estimates Sunday, easily besting the far-from-mighty “Masters of the Universe.”

A new order has lately come to movie theaters, which have seen Gen Z ticket buyers flock to the horror hits “Obsession” and “Backrooms,” both made by YouTubers-turned-filmmakers. Those movies have even outshone The Walt Disney Co.’s “Star Wars: The Mandalorian and Grogu.”

This weekend, comedy was the underdog champ. Though the genre has been all but left for dead in theaters, the sixth “Scary Movie” notched a franchise-best $105.5 million global launch. The Wayans brother comedy even outdid its primary satirical target, the “Scream” franchise. Earlier this year, “Scream 7” debuted with $97 million worldwide.

Both franchises are distributed by Paramount Pictures, though Miramax produced the new “Scary Movie.” Co-written by Marlon, Shawn, Keenan and Craig Wayans, the sequel marks the Wayans’ return to the franchise after their departure over creative differences following 2001’s “Scary Movie 2.”

“This is an outstanding opening for a comedy sequel this far into the series,” said David A. Gross, who runs the movie consulting firm FranchiseRe. "It’s a huge bounceback after the last episode crashed in 2013 when Anna Faris and Regina Hall were excluded. The weekend figure is triple the average for the genre.”

Reviews weren’t good (26% fresh on Rotten Tomatoes) and audience scores (a “B” CinemaScore) were so-so. But that didn’t stop the $30-million “Scary Movie” from dominating its much bigger budget competition.

“Masters of the Universe,” a sword and sorcery action adventure based on the 1980s animated series and Mattel toys, failed to revive the dormant franchise. The Amazon MGM release, the second “Masters of the Universe” film following a 1987 movie of the same title, opened with $29.3 million domestically.

“Masters of the Universe,” starring Nicholas Galitzine as He-Man, added $25 million overseas. But for a film that cost nearly $200 million to produce, a much higher launch was needed to make profitability likely.

It’s Mattel Studios’ first release since 2023’s “Barbie.” But after the extraordinary $1.45 billion success of that film, “Masters of the Universe” will be closer to a flop for the toy company.

A24’s “Backrooms,” last weekend’s top release, slid steeply on its second weekend, dropping 68% with $25.9 million. But “Backrooms,” a $10 million movie based on 20-year-old Kane Parson’s YouTube series remains a record-breaking phenomenon. It's now A24’s highest grossing film ever with $212 million worldwide, moving ahead of “Marty Supreme."

In a near tie for third place, Focus Features’ “Obsession” grossed $25.6 million in its fourth weekend. That marked a paltry 7% drop from the previous weekend for 26-year-old Curry Barker’s horror sensation. Not accounting for inflation, no horror movie has ever had a better fourth weekend.

“Obsession,” about a man who wishes his crush returned his affections, was made for less than $1 million. It’s now grossed $152.1 million domestically and $224.8 million worldwide — a record for Focus.

In its third weekend, “The Mandalorian and Grogu” fell all the way to sixth place with $10 million. It was even bested by Fathom Entertainment’s “The Amazing Digital Circus: The Last Act,” a combination of the last two episodes of the animated series. It collected $12.7 million.

A few other movies hit milestones.

Lionsgate’s Michael Jackson biopic “Michael” became the studio’s highest grossing film ever with $898 million globally. That puts it ahead, not accounting for inflation, both the highest grossing entries in the studio’s “Twilight” and “Hunger Games” franchises.

And 2026 got its first billion-dollar movie. “The Super Mario Galaxy Movie” crossed $1 billion worldwide for Universal.

The weekend overall was up a remarkable 63% from the same weekend last year, according to Comscore. Ticket sales on the year are up more than 13%. Next weekend, Steven Spielberg’s “Disclosure Day” debuts.

Entertainment

US Gamers Getting Older as Industry Reports Growth

People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
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US Gamers Getting Older as Industry Reports Growth

People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)

Video games are having a moment in the United States -- but the players are getting older.
The average American video game player is now 37 years old -- up from 29 about two decades ago -- as the industry reports activity climbing back to their highest levels since the pandemic-era boom, a new report reveals.
The findings, from the Entertainment Software Association's annual Essential Facts report, challenge enduring stereotypes about who plays games while underscoring the industry's recovery from a post-pandemic slowdown.
"It mirrors in large part the demographics of the nation," ESA president and chief executive Stanley Pierre-Louis told AFP, noting that more than half of all players in the United States are now 35 or older.
The steadily rising average player age reflects both the aging of a generation that grew up with consoles and a wave of older adults who have since picked up the hobby.
The gender split also defies the stereotypical image of the young male gamer.
Men account for 53 percent of players and women 46 percent, with women actually outnumbering men among Baby Boomers, the ESA said.
Overall, 67 percent of Americans play video games for at least an hour a week -- a figure broad enough to encompass everything from blockbuster console titles to casual mobile games like Wordle.
Revenues -- totaling $60.7 billion in 2025 -- have rebounded to their highest point since 2021, when pandemic lockdowns drove an outsized surge in both players and spending.
After a pullback as restrictions lifted, the industry has returned to growth, Pierre-Louis said.
- Self-regulation -
As lawmakers in the United States and Europe weigh tougher regulations on screen time, age verification and in-game spending, Pierre-Louis argued the US gaming industry's track record of voluntary self-regulation sets it apart.
That voluntary framework, he said, has given the industry credibility with US lawmakers that social media platforms lack.
Those platforms, he noted, "traditionally didn't have the same level of parental tools that video games had" -- a gap that has fueled the regulatory backlash now engulfing companies such as Meta and TikTok.
"Safety is not a competitive issue in our industry -- it's one of collaboration," Pierre-Louis said.
"Being on the ecosystem and staying on the ecosystem means you feel like you're in a trusted environment."
- 'Satisfaction' -
The ESA was founded in 1994 partly in response to congressional concern over violent content in games, and almost immediately established the Entertainment Software Rating Board, which assigns age ratings from E for Everyone to M for Mature for titles sold in North America.
The system also flags details about online interactions and in-game purchases.
Major console platforms including Xbox, PlayStation and Nintendo Switch now offer parental control tools that allow families to restrict what games children can access, cap spending and limit screen time -- capabilities Pierre-Louis said have been refined over decades in direct response to parent and policymaker feedback.
The argument, however, faces increasing pushback in the United States.
The gaming industry is facing growing scrutiny as platforms expand into social media-like features, with ESA member Roblox especially under pressure over child safety issues with regulators and in courts.
Legislative proposals range from mandatory age verification for games with chat features to bills that would impose national safety standards.
For the industry, such legislation should not be necessary.
"It's a matter of how do we get everyone up to speed on what the video game industry has been doing, so that there's satisfaction around the practices and trust and safety mechanisms we have in place," Pierre-Louis said.