Martin Mull, Hip Comic and Actor from 'Fernwood Tonight' and 'Roseanne,' Dies at 80

Martin Mull participates in “The Cool Kids” panel during the Fox Television Critics Association Summer Press Tour at The Beverly Hilton hotel on Thursday, Aug. 2, 2018, in Beverly Hills, Calif. Photo by Willy Sanjuan/Invision/AP, File
Martin Mull participates in “The Cool Kids” panel during the Fox Television Critics Association Summer Press Tour at The Beverly Hilton hotel on Thursday, Aug. 2, 2018, in Beverly Hills, Calif. Photo by Willy Sanjuan/Invision/AP, File
TT

Martin Mull, Hip Comic and Actor from 'Fernwood Tonight' and 'Roseanne,' Dies at 80

Martin Mull participates in “The Cool Kids” panel during the Fox Television Critics Association Summer Press Tour at The Beverly Hilton hotel on Thursday, Aug. 2, 2018, in Beverly Hills, Calif. Photo by Willy Sanjuan/Invision/AP, File
Martin Mull participates in “The Cool Kids” panel during the Fox Television Critics Association Summer Press Tour at The Beverly Hilton hotel on Thursday, Aug. 2, 2018, in Beverly Hills, Calif. Photo by Willy Sanjuan/Invision/AP, File

Martin Mull, whose droll, esoteric comedy and acting made him a hip sensation in the 1970s and later a beloved guest star on sitcoms including “Roseanne” and “Arrested Development,” has died, his daughter said Friday.
Mull's daughter, TV writer and comic artist Maggie Mull, said her father died at home on Thursday after “a valiant fight against a long illness.”
Mull, who was also a guitarist and painter, came to national fame with a recurring role on the Norman Lear-created satirical soap opera “Mary Hartman, Mary Hartman,” and the starring role in its spinoff, “Fernwood Tonight."
“He was known for excelling at every creative discipline imaginable and also for doing Red Roof Inn commercials,” Maggie Mull said in an Instagram post. “He would find that joke funny. He was never not funny. My dad will be deeply missed by his wife and daughter, by his friends and coworkers, by fellow artists and comedians and musicians, and—the sign of a truly exceptional person—by many, many dogs.”
Known for his blonde hair and well-trimmed mustache, Mull was born in Chicago, raised in Ohio and Connecticut and studied art in Rhode Island and Rome.
His first foray into show business was as a songwriter, penning the 1970 semi-hit “A Girl Named Johnny Cash” for singer Jane Morgan.
He would combine music and comedy in an act that he brought to hip Hollywood clubs in the 1970s.
“In 1976 I was a guitar player and sit-down comic appearing at the Roxy on the Sunset Strip when Norman Lear walked in and heard me," Mull told The Associated Press in 1980. “He cast me as the wife beater on ‘Mary Hartman, Mary Hartman.’ Four months later I was spun off on my own show.”
His time on the Strip was memorialized in the 1973 country rock classic “Lonesome L.A. Cowboy" where the Riders of the Purple Sage give him a shoutout along with music luminaries Kris Kristofferson and Rita Coolidge.
“I know Kris and Rita and Marty Mull are hangin' at the Troubadour,” the song says.
On “Fernwood Tonight” (sometimes styled as “Fernwood 2 Night”), he played Barth Gimble, the host of a local talk show in a midwestern town and twin to his “Mary Hartman” character. Fred Willard, a frequent collaborator with very similar comic sensibilities, played his sidekick. It was later revamped as “America 2 Night” and set in Southern California.
He would get to be a real talk show host as a substitute for Johnny Carson on “The Tonight Show."
Mull often played slightly sleazy, somewhat slimy and often smarmy characters as he did as Teri Garr's boss and Michael Keaton's foe in 1983's “Mr. Mom.” He played Colonel Mustard in the 1985 movie adaptation of the board game “Clue,” which, like many things Mull appeared in, has become a cult classic.
The 1980s also brought what many thought was his best work, “A History of White People in America,” a mockumentary that first aired on Cinemax. Mull co-created the show and starred as a “60 Minutes” style investigative reporter investigating all things milquetoast and mundane. Willard was again a co-star.
He wrote and starred in 1988's “Rented Lips" alongside Robert Downey Jr., whose father, Robert Sr., directed.
His co-star Jennifer Tilly said in an X post Friday that Mull was “such a witty charismatic and kind person.”
In the 1990s he was best known for his recurring role on several seasons on “Roseanne,” in which he played a warmer, less sleazy boss to the title character, an openly gay man whose partner was played by Willard, who died in 2020.
Mull would later play private eye Gene Parmesan on “Arrested Development,” a cult-classic character on a cult-classic show, and would be nominated for an Emmy, his first, in 2016 for a guest run on “Veep.”
“What I did on ‘Veep’ I’m very proud of, but I’d like to think it’s probably more collective, at my age it’s more collective,” Mull told the AP after his nomination. “It might go all the way back to ‘Fernwood.’”
Other comedians and actors were often his biggest fans.
“Martin was the greatest,” “Bridesmaids” director Paul Feig said on X. “So funny, so talented, such a nice guy. Was lucky enough to act with him on The Jackie Thomas Show and treasured every moment being with a legend. Fernwood Tonight was so influential in my life.”
Mull is survived by his daughter and musician Wendy Haas, his wife since 1982.



Keke Palmer Is a Fish Out of Water in Horror-Comedy Series Based on Cult Movie ‘The ’Burbs’

Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)
Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)
TT

Keke Palmer Is a Fish Out of Water in Horror-Comedy Series Based on Cult Movie ‘The ’Burbs’

Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)
Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)

The suburbs are anything but bland in the new Peacock series “The 'Burbs,” where strange things are going on. Like how jokes mix with the dread.

Inspired by the 1989 Tom Hanks-led movie of the same name, “The 'Burbs” follows a new mom as she navigates a foreign world of white picket fences and manicured lawns while also investigating a possible murder.

“It’s got the comedy, it has the drama, it's got the mystery, it's got the horror, the thrills, the suspense — all of it,” says Celeste Hughey, the creator, writer and executive producer. All eight episodes drop Friday.

Hanks is replaced by Keke Palmer, who plays a newlywed and new mom who moves into her husband's family home in fictional Hinkley Hills, where everyone is in everybody else's business. “Suburbia is a spectator sport,” she is told.

Across the street is an abandoned home, where a local teen disappeared decades ago. Palmer's Samira soon joins forces with a band of off-beat suburbanites to help solve the case, even if her own husband had some sort of role.

“I really wanted to focus on that fish-out-of-water feeling, centering Samira as a Black woman in a white suburb who is a new mom, a new wife — new everything — and trying to figure out where she belongs in the environment,” says Hughey.

The cast includes Jack Whitehall as Samira's husband and the trio of Julia Duffy, Mark Proksch and Paula Pell as her wine-swilling, investigating neighbors who form a sort of found family.

“The movie came out when I was quite young, but I remember seeing it as a kid and it being like this terrifying movie to me,” says Hughey. “But revisiting it as an adult, it's just like the most timely movie.”

The scripts crackle with witty humor, from references to Marie Kondo to “Baby Reindeer,” and jokes often improvised by the actors. Chocolate brownies are described as “the Beyoncé of desserts” and there’s a joke about how white ladies love salad.

“The ’Burbs” also touches on more serious issues over its eight episodes — microaggressions, racial profiling, bullying and childhood trauma — but takes a kooky, off-beat approach.

“I always look at things with a sense of humor,” says Hughey. “I think comedy is a way to be able to examine all these pretty heavy subjects, but in a way that’s accessible, in a way that is clarifying.”

Palmer says she grew up watching Norman Lear shows and admired his ability to both entertain and address social tensions — something she found in “The 'Burbs.”

“When I read this script for the first time, then as we started doing the show, it started to become clear that we had an opportunity to do the same thing,” Palmer says. “We can expose cliches, we can lean into things, which is one of the greatest tools of satire and comedy in itself, and horror as well, because horror can play as a good allegory for the issues in our life.”

Whitehall, who grew up in the London suburb of Putney, says he appreciates that the social commentary never feels that heavy handed between the comedy and horror: “It was great to sort of be able to play in both genres.”

There are multiple nods to the original movie, like picking the last name Fisher after the late actor Carrie Fisher, who appeared in the Hanks-led version, and naming a dog Darla after the name of the pup who starred in the 1989 version. Hanks, himself, appears in a blink-or-you’ll-miss-it image.

There’s a scene where Samira steps onto her neighbor’s grass and leaves suddenly swirl around her feet menacingly, an echo to the original. And there’s a moment when sardines and pretzels are served, a riff off a classic moment in the movie. The creators even asked original actor Wendy Schaal to return to play the town librarian.

“I really wanted to honor the original fans of the movie and make sure that they see that someone who respects the original material and loves the movie had it in their hands,” says Hughey. “I see the fans.”

Hughey said she wrote the series with Palmer's voice in mind, a piece of manifesting that turned out to actually work when she first met Palmer over a year later.

The music ranges from Bill Withers' “Lovely Day” to Steve Lacy's “Dark Red” to Doechii’s “Anxiety” and Big Pun's “I'm Not a Player.”

“Music is very much a part of my creative process and something that I wanted to stand out in the show as well,” says Hughey. “I got to pull in so many of my inspiration songs.”


Kurt Cobain's 'Nevermind' Guitar Up for Sale

Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)
Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)
TT

Kurt Cobain's 'Nevermind' Guitar Up for Sale

Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)
Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)

The guitar played by late rock legend Kurt Cobain on the anthemic grunge track "Smells Like Teen Spirit" is going under the hammer next month.

 

The 1966 Fender Mustang is among a treasure trove of instruments and musical memorabilia that also includes the logo-emblazoned drum that announced The Beatles to the United States when the Fab Four played "The Ed Sullivan Show" in 1964.

 

The Jim Irsay collection -- put together by the one-time owner of the Indianapolis Colts NFL team -- includes guitars played by musicians who defined the 20th century, including Pink Floyd's Dave Gilmour, The Grateful Dead's Jerry Garcia, as well as Eric Clapton, John Coltrane and Johnny Cash.

 

But at the center of the collection are handwritten lyrics for The Beatles' smash "Hey Jude" as well as guitars played by John Lennon, Paul McCartney and George Harrison.

 

"I think it's fair to say that this collection of Beatles instruments...is the most important assembled Beatles collection for somebody who wasn't a member of the band," Amelia Walker, the London-based head of private and iconic collections at Christie's, told AFP in Beverly Hills.

 

"There are five Beatles guitars in his collection, as well as Ringo Starr's first Ludwig drum kit (and) John Lennon's piano, on which he composed several songs from Sergeant Pepper."

 

Also included is "the drum skin from Ringo's second Ludwig kit, which is the vision which greeted 73 million Americans who tuned in to watch 'The Ed Sullivan Show' on the ninth of February 1964 when the Beatles broke America."

 

The drum kit is expected to fetch around $2 million, while the guitars could sell for around $1 million at the auction in New York, Christie's estimates.

Perhaps the most expensive item in the collection is Cobain's guitar, which experts say might sell for up to $5 million.

"It's a talismanic guitar for people of my generation... who lived through grunge," said Walker.

"(Smells Like Teen Spirit) was the anthem of that generation. That video is so iconic.

"We're incredibly proud and privileged to have that here."


Movie Review: Caleb Landry Jones Is a Lovesick Vampire with a Fabulous Wig in Besson’s ‘Dracula’

Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)
Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)
TT

Movie Review: Caleb Landry Jones Is a Lovesick Vampire with a Fabulous Wig in Besson’s ‘Dracula’

Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)
Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)

“I haven’t eaten in centuries,” says the stooped, wrinkled man knocking at a convent door, seeking food and shelter.

LOL! It’s a funny line, given that this is a disguised Count Dracula — who indeed has not eaten in centuries, unless you count human blood. And it’s especially funny given that “Dracula” is not now, nor has ever been, a comedy.

But the humor’s a nice touch, as are the splashes of color, the lovely 19th-century gowns, the rendering of Parisian salons and vivid street celebrations that are part of Luc Besson’s reimagining of the oft-told tale (more like the told-all-the-time tale), starring Caleb Landry Jones. And yes, the story of Dracula is not usually set in Paris. There’s a lot that’s familiar in this version, but enough variety, panache and bravado to raise it up a notch and give it, well, a raison d’être.

Writer-director Besson’s calling card is romance. Unlike Robert Eggers’ 2024 “Nosferatu,” which was beautiful but bleak to look at and featured an ugly, fearsome vampire, Besson imbues his main character with a swashbuckling sexiness that suits his star's craggy appeal.

We begin back in the year 1480, in a remote castle, where a handsome prince — Vlad’s his name, for now — is with beautiful bride Elisabeta (Zoë Bleu). They are interrupted suddenly by Vlad’s men: War is at hand, and it’s time to fight.

Vlad’s main concern is his wife. He asks the Orthodox priest to protect the life of Elisabeta. Alas, escaping through the forest in the snow, Elisabeta is killed in an ambush. A grief-stricken Vlad returns to kill the priest and is thus cursed with immortal life. A life he will spend trying to find his wife, reincarnated.

Four hundred years later, Vlad, now Count Dracula, resides — shriveled but stylish, with an incredible flowing, white wig that looks like something Elvis might have worn if he were a 400-year-old vampire — in the Carpathian Mountains. But the action shifts to Paris, mainly just because Besson loves Paris, where citizens are joyously celebrating the centenary of the French Revolution.

Paris is also where we meet a prominent vampire-hunter from Bavaria — and unnamed priest — played by Christoph Waltz, who you might imagine is perfect for this role. Like Javert hunting Valjean in “Les Miserables,” this priest is determined to find his prey, wherever that takes him.

And Dracula's on his own mission. In his gloomy castle, where he lives with a gaggle of CGI gargoyles, he prepares to kill a young solicitor (Ewens Abid) who came to see him about his property, hanging him upside down until the blood pools in his head.

But then he sees a picture of the frightened young man’s intended, Mina, and becomes obsessed with finding her, certain she's his reincarnated bride. He spares the man’s life and heads to Paris.

The scenes in the French capital are full of welcome color and life — everything from receptions in salons or at Versailles to a street carnival to a mermaid swimming in an aquarium — all chances to display sumptuous costumes by Corinne Bruand.

When, aided by one of his vampire followers, Maria (Matilda De Angelis), Dracula finds Mina — also played by Bleu (the real-life daughter of Rosanna Arquette) — he immediately knows she’s his eternal love. Now, all he needs to do is win her heart, and get back to Transylvania to escape the vampire hunters. Luckily for him, he’s looking good — those nuns at the convent gave him all the fresh blood he needed to look young and handsome again.

There are plenty of Bessonian flourishes along the way — those gargoyles sure are weird, and they don't remain gargoyles — but in the end, it’s too bad there weren’t even more, to further distinguish this “Dracula” telling from many before it. In any case it all leads to a fairly satisfying confrontation between Dracula and the priest, saved until the very end, a la Pacino and De Niro in “Heat.”

Here, it’s fun to watch Jones and Waltz sink their teeth — well for Jones, his fangs — into a story that’s old as time, but can always use another fairly watchable remake.