‘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.



Angelina Jolie Turns Personal Pain into Performance for ‘Couture’ Film

Actress Angelina Jolie arrives for a special Maleficent Costume Display at Kensington Palace in London in ths file photo taken May 8, 2014. REUTERS/Luke MacGregor/Files
Actress Angelina Jolie arrives for a special Maleficent Costume Display at Kensington Palace in London in ths file photo taken May 8, 2014. REUTERS/Luke MacGregor/Files
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Angelina Jolie Turns Personal Pain into Performance for ‘Couture’ Film

Actress Angelina Jolie arrives for a special Maleficent Costume Display at Kensington Palace in London in ths file photo taken May 8, 2014. REUTERS/Luke MacGregor/Files
Actress Angelina Jolie arrives for a special Maleficent Costume Display at Kensington Palace in London in ths file photo taken May 8, 2014. REUTERS/Luke MacGregor/Files

Academy Award winner Angelina Jolie faced one of her deepest fears on screen for the French film "Couture" - being diagnosed with cancer.

Based on personal experiences of writer and director Alice Winocour, Jolie plays fictional American filmmaker Maxine Walker, who, while producing a film to accompany a runway show for Paris Fashion Week, discovers she has breast cancer.

Jolie's mother, Marcheline Bertrand, died of breast cancer at the age of 56, and Jolie underwent a double mastectomy in 2013 after discovering she was carrying the same genetic mutation as her mother.

"I thought often of my mother and ⁠how much I ⁠think this film would have been wonderful for her when she was going through this," she told Reuters.

But it wasn't just about her mother; Jolie also got involved to bring Walker’s experience to the world.

"You sit in that chair, and whether it's cancer or anything, whether you're male or female, we've all ⁠had that moment. We've all had that moment where we've gotten some news that has shifted our lives," the “Maria” actor said.

Jolie had to go through a scene where operation lines were placed on her chest by an oncologist.

"It felt a strange moment to have Hollywood in my hospital room," Jolie said.

"Here I am, you know, in my gown, getting my needles, doing all the stuff that I do, but now we are sharing it. And so, it felt very vulnerable,” she added.

Alongside Jolie, the ⁠cast of “Couture” ⁠includes Ada, played by Anyier Anei, who is a model struggling with the fashion industry putting her on a pedestal, and make-up artist Angele, played by Ella Rumpf, who is trying to break out of the fashion scene by becoming a writer.

Jolie hopes that each character’s story will resonate with viewers.

"I think what we found in doing this, and hopefully what the audience will feel, is that we're connected," the 51-year-old said.

"We're connected as human beings, and we all go through something... And it's very necessary to pull us all through being human,” Jolie added.

“Couture” arrives in American movie theaters on Friday.


Clive Davis, Music Industry Starmaker, Dies at 94

Legendary US record producer Clive Davis speaks during the “Recording Academy and Clive Davis' Salute To Industry Icons” pre-Grammy gala at the Beverly Hilton hotel in Beverly Hills, California on January 31, 2026. (AFP)
Legendary US record producer Clive Davis speaks during the “Recording Academy and Clive Davis' Salute To Industry Icons” pre-Grammy gala at the Beverly Hilton hotel in Beverly Hills, California on January 31, 2026. (AFP)
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Clive Davis, Music Industry Starmaker, Dies at 94

Legendary US record producer Clive Davis speaks during the “Recording Academy and Clive Davis' Salute To Industry Icons” pre-Grammy gala at the Beverly Hilton hotel in Beverly Hills, California on January 31, 2026. (AFP)
Legendary US record producer Clive Davis speaks during the “Recording Academy and Clive Davis' Salute To Industry Icons” pre-Grammy gala at the Beverly Hilton hotel in Beverly Hills, California on January 31, 2026. (AFP)

Clive Davis, the record company lawyer who became one of the music industry's most powerful figures, launching or resurrecting the careers of such superstars as Janis Joplin, Whitney Houston, Carlos Santana and Alicia Keys, has died, his family confirmed to the New York Times. He was 94.

Earlier this year, Davis was hospitalized following an upper respiratory issue and was released a few days later. He died in his Manhattan apartment, the Times reported. Messages sent to representatives for Davis were not immediately returned Monday.

Unlike other record moguls whose influence waned as they got older, Davis' might only seemed to grow over his career, which spanned more than five decades, various genres and multiple labels. Into his 80s, he was directing the careers of everyone from Barry Manilow to “American Idol” winners Carrie Underwood and Kelly Clarkson.

His success stories were staggering, with Houston a crowning achievement and devastating tragedy: Davis signed her to his Arista record label when she was just a teen and turned her into America's reigning pop princess: She racked up multiple No. 1 hits and became one of the top-selling artists in pop history before drug abuse hobbled her career. She died in a Los Angeles hotel room in 2012 just hours before she was to appear at the annual pre-Grammy Awards gala hosted by Davis, who had been convinced she was turning her life around.

“Maybe I should have been more skeptical,” Davis wrote in his 2013 memoir, “The Soundtrack of My Life,” “but I’ve always been optimistic, and I felt hopeful. It felt like old times.”

He also launched the career of multiplatinum, multiple Grammy winner Keys — and was quick to note other talents he signed, including Joplin and Billy Joel, Blood Sweat & Tears and other “all-timers,” as he so often put it.

“I signed Patti Smith, the great Renaissance woman ... I signed Lou Reed ... I signed the Grateful Dead,” he proudly touted in an interview with The Associated Press in 1999.

But Davis didn't simply have an eye for new talent — he also knew how to keep veterans relevant decades after their first hit. Aretha Franklin, whose legend was made at Atlantic Records, flourished in her later years at Arista Records, as did Luther Vandross, who made his last albums for another Davis label, J Records.

Davis was also responsible for conceiving of the 1999 album “Supernatural,” which paired guitar god Santana with some of the day's hottest talents. The record went on to win a record tying eight Grammys and gave Santana more success than he had ever enjoyed in his decades-long career.

He had middle aged star Rod Stewart trade in his rock hits for standards from “The Great American Songbook.” The album, released in 2003, sold millions and was so successful it spawned four titles in all.

Davis didn’t always make the right choices; he turned down a chance to sign up Meatloaf. And he and his collaborators didn’t always agree. He and producer David Foster fought bitterly over the arrangement for Houston’s all-time hit, a cover of Dolly Parton’s “I Will Always Love You.” Manilow strongly objected to recording “I Write the Songs,” noting that he didn’t even write the song, a Bruce Johnston ballad that became a signature hit for Manilow, who would have similar latter-day success mining the music of the 1950s, 60s and '70s.

“He's just brilliant at picking ideas he thinks the public will connect,” raved Manilow, who had worked with Davis since he was a budding singer at Columbia Records.

Davis also had his struggles. Though he became president of Columbia Records in 1967 after joining the label in 1960 as a lawyer, by 1973 he was gone in a bitter fallout. The label accused him of mismanagement of funds and he was fired. Although Davis says he was later cleared, it wasn't the end of his problems; he later was indicted on tax evasion charges, pleaded guilty to one count and had to pay a $10,000 fine.

However, Davis would declare victory: he says Columbia gave him the money to start Arista Records to resolve the dispute, and the label would become a huge success with artists like country superstars Brooks & Dunn, sassy R&B group TLC, Babyface, Houston, Franklin and others.

The label had huge success with a debut act — Milli Vanilli. But the male pop duo would become the embarrassment of the industry when, after winning a Grammy, it was revealed that they weren't actually singing their songs (Davis blamed the debacle on the label's European division, which he said signed them; the group was later stripped of its best new artist Grammy).

In 1999, as Arista was celebrating its 25th anniversary, Davis faced another crisis: the label's then-parent company, BMG Entertainment, a division of German media conglomerate Bertelsmann, wanted him to retire; most of its executives were eased out by 60, and Davis was in his mid-60s.

In 2000, despite support from his superstar roster, the company ousted him in favor of producer and songwriter Antonio “L.A.” Reid, who would later become chairman of Island/Def Jam.

However, instead of severing its ties with Davis, BMG helped him launch J Records in what BMG has described as the largest record company startup ever created. Vandross was one of his initial artists, along with forgettable acts like the boy-band O-Town.

J Records was a success from the start, though, and only grew in stature with the arrival of a young singer named Keys, a piano-playing singer-songwriter with powerful pipes and dramatic R&B songs. Keys' albums would go on to sell millions and win several Grammys.

His influence grew even more when Davis was tapped for BMG's US division.

He became a key backer of the careers of the winners of “American Idol,” guiding many albums to platinum status. The show's link to Sony BMG came through a deal between Davis and 19 Recordings Unlimited, the label managed by “Idol” creator Simon Fuller.

In 2007, however, Davis disagreed with the direction of Clarkson's “My December,” and she publicly criticized him. The album was a flop, and she later apologized.

In 2008, Sony BMG replaced Davis as chairman and chief executive officer of the BMG label group, giving him the title of chief creative officer.


‘Toy Story 5’ Rakes in the Biggest Box-Office Debut of the Year with a Franchise-Best $160 Million

 This image released by Disney shows characters Buzz Lightyear, voiced by Tim Allen, left, and Woody, voiced by Tom Hanks, in a scene from "Toy Story 5." (Pixar-Disney via AP)
This image released by Disney shows characters Buzz Lightyear, voiced by Tim Allen, left, and Woody, voiced by Tom Hanks, in a scene from "Toy Story 5." (Pixar-Disney via AP)
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‘Toy Story 5’ Rakes in the Biggest Box-Office Debut of the Year with a Franchise-Best $160 Million

 This image released by Disney shows characters Buzz Lightyear, voiced by Tim Allen, left, and Woody, voiced by Tom Hanks, in a scene from "Toy Story 5." (Pixar-Disney via AP)
This image released by Disney shows characters Buzz Lightyear, voiced by Tim Allen, left, and Woody, voiced by Tom Hanks, in a scene from "Toy Story 5." (Pixar-Disney via AP)

“Toy Story” still has a friend in moviegoers.

The fifth installment in the Pixar series debuted with $160 million in domestic ticket sales, according to studio estimates Sunday, easily setting a new franchise record and notching the biggest opening weekend of the year.

Launching 31 years after the original “Toy Story” first landed in theaters, “Toy Story 5” far surpassed the previous series-best debut: $120 million for “Toy Story 4” in 2019. Internationally, it was just as successful, with $152 million in opening-weekend sales, for a worldwide haul of $312 million.

The “Toy Story” franchise is one of the most profitable for The Walt Disney Co. Before “Toy Story 5” launched, the movies had collectively grossed more than $3 billion, while also pulling in billions from merchandising.

Though the series seemed to reach a conclusion with 2010’s “Toy Story 3,” the decision to revive the franchise almost a decade later — while controversial — has been extremely lucrative. “Toy Story 4” exceeded $1 billion in ticket sales, and “Toy Story 5” is all but certain to as well.

Among animated films, only 2018's “Incredibles 2” had a bigger opening weekend ($182.7 million) than “Toy Story 5.”

Keeping the “Toy Story” movies going has gotten more expensive, though. The fifth movie cost $250 million to make, not including marketing. It returns a voice cast led by Tom Hanks (as Woody), Tim Allen (as Buzz Lightyear) and Joan Cusack (as Jessie).

In the sequel, the toys are pushed aside when Bonnie gets a new tablet. It’s directed by Andrew Stanton, the Pixar veteran who helmed “Finding Nemo” (2003) and “WALL-E” (2008). “Toy Story 5” also features a new song by Taylor Swift, “I Knew It, I Knew You.”

Reviews have been very good and audiences gave “Toy Story 5” an “A” CinemaScore, suggesting it should remain a force in theaters for weeks.

After its chart-topping debut, Steven Spielberg’s “Disclosure Day” slipped to second place with $17 million in its second weekend. That’s not the hold that Universal Pictures was hoping for. Dropping 61% from its first weekend suggests “Disclosure Day” might not find the legs Spielberg’s sci-fi thriller needs to break out this summer.

Still, the $115 million budgeted movie, starring Emily Blunt, Josh O’Connor and Colman Domingo, has grossed $160.4 million globally in two weeks. “Disclosure Day” stands a good chance of remaining the top adult-oriented option in theaters in the coming weeks.

“Toy Story 5” faced little competition from newcomers.

‘Robin Hood’ misses the bullseye

A24’s “The Death of Robin Hood,” a violent revisionist approach to the old legend, flopped with $2.6 million on 1,762 screens. The film, starring Hugh Jackman and directed by Michael Sarnoski, was modestly budgeted at $20 million. But after finding mixed reviews, audiences didn’t go for the movie, either. It earned a “C+” CinemaScore.

The top horror choice remained “Obsession,” the microbudget phenomenon by 26-year-old Curry Barker. In its sixth weekend, it nearly equaled its $17 million opening weekend from mid-May. The Focus Features release, which cost less than $1 million to make, added $14.2 million to bring its domestic total to $215.8 million and its global haul to $333.3 million.

With “Toy Story 5” and “Obsession” driving sales, the summer box office is up 15% from the 2025 summer, according to Rentrak. More impressively, summer ticket sales are nearly equal to the 2019 summer at the same point, not accounting for inflation. The summer to date is just 1.9% down from that year.

Paul Dergarabedian, head of marketplace trends for Rentrak, expects that Hollywood is heading for its best summer since before the pandemic. And the success is coming from both expected and unexpected places.

“To me, this is a hybrid summer and this could be the new blueprint for how you build the perfect summer box-office beast,” says Dergarabedian. “You throw in a mix of very eclectic films and not just the usual suspects — the big franchise films, the known brands — but also films like ‘Backrooms’ and ‘Obsession’ and original films like ‘Disclosure Day.’”