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Bob Saget

Exclusive Portrait: Jodie Sweetin of ‘Fuller House,’ ‘Dancing With the Stars’

Jodie Sweetin, photo by Joe Arce

CHICAGO – One of the big hits on Netflix is the updating of the Gen-X classic sitcom, “Full House,” naturally entitled “Fuller House.” Taking on the role of Stephanie Tanner in both incarnations is Jodie Sweetin, who has just started a stint as a fan favorite on the 22nd season of “Dancing With the Stars.”

Interview: Bob Saget Reveals His ‘Dirty Daddy’ Side

CHICAGO – There are a couple directions to the long career of Bob Saget. The first is of Danny Tanner, the Dad he portrayed in the 1980s sitcom “Full House,” and the second is his stand-up act, with a reputation for filthy jokes that has no boundaries.

TV Review: It Isn’t Easy Being Green on Showtime’s ‘The Green Room’

The Green Room

CHICAGO – “I don’t even know what to do on this show. We just talk?” asks comic Bobby Slayton in episode four of the new Showtime series “The Green Room with Paul Provenza.” Yes. And therein lies the problem.

TV Review: Bob Saget’s ‘Surviving Suburbia’ is Worst New Show of 2009

Surviving Suburbia
HollywoodChicago.com Television Rating: 0.0/5.0
Television Rating: 0.0/5.0

CHICAGOABC’s “Surviving Suburbia” was originally supposed to air on The CW but the network that found a home for “Stylista,” “13: Fear is Real,” and “Crowned: The Mother of All Pageants” decided to leave this Bob Saget sitcom off their schedule after their deal with the show’s production company fell through.

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TV, DVD, BLU-RAY & THEATER REVIEWS

  • King and I, The

    CHICAGO – The venerable musical “The King and I,” by the legendary team of (Richard) Rodgers and (Oscar) Hammerstein, is now 65 years old. The Lyric Opera of Chicago is injecting fresh life into this senior aged play, with a sumptuous new production that is top drawer at every level.

  • New Country

    CHICAGO – The Country Music industry has become as huge as any category of music entertainment. So Mark Roberts, the creator of the TV sitcom “Mike & Molly,” has fashioned a boisterous new play about the machinations of that genre of music industry, and gave it the plaintive title of “New Country.”

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