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'Shifting Gears' brings Tim Allen back to TV, along with some familial political differences

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'Shifting Gears' brings Tim Allen back to TV, along with some familial political differences

Welcome Tim Allen back to the land of multicamera sitcom, for a third run in a form that has treated him well. “Home Improvement” ran for eight seasons on ABC and is arguably what allowed him to become a film star; “Last Man Standing,” which returned him to television after a decade in the movies, finished a nine-season run (six on ABC, three on Fox) in 2021. And here he is again, once more on ABC, with “Shifting Gears,” premiering Wednesday, which, if past is prelude, should just about see Allen — a fit 71, his tight T-shirt would like you to know — into his 80s.

Allen plays Matt, who — importing Allen’s own automotive interests — runs a garage specializing in vintage and custom cars. (Working here we find Daryl Mitchell as Stitch, a wise wisecracker, and Seann William Scott as Gabriel, handsome, amiable, a little dim.) Literally driving back into Matt’s life, in a filthy Pontiac GTO she stole from him 15 years before, when taking off pregnant with a musician boyfriend, is his daughter Riley (Kat Dennings). She’s getting divorced, musicians being what they are, and needs a place to land with her two kids, moony teenager Carter (Maxwell Simkins) and cheerful little Georgia (Barrett Margolis), who has a thing for inventor and “Shark Tank” panelist Lori Greiner and dreams of becoming a billionaire. (The kids are excellent.)

“Well, good luck finding a man who’s OK with his wife making more money than him,” says Matt, an old-fashioned sort of fellow.

“I don’t need a man to feel complete,” replies Georgia.

“You want to kill a spider, a man’s going to look pretty darn good.”

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“I have a shoe.”

Father and daughter have been estranged, more or less — the kids do know their grandfather — since the death of Riley’s mother some indefinite years before; she was the bridge that allowed them to have a relationship. Riley, a former wild child, voted “Mean for No Reason” by her high school class, is trying to raise her kids with a sensitivity that Matt, who is all “in my day we were,” regards as coddling. And so they must learn to get along under the same roof. You get the picture.

Allen plays Matt, a widowed owner of a classic car restoration shop, whose estranged daughter, Riley (Dennings), and her children come back into his life. Dennings, left, Maxwell Simkins, Barrett Margolis, Allen and Seann William Scott.

(Raymond Liu / Disney)

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When “Last Man Standing,” in which Allen played a not dissimilar character, went on the air in 2011, we were in the third year of the first Obama administration, and a show with a volubly conservative lead character played a little differently in the TV ecosystem; now, on the verge of heaven knows what, such a character reads as something like an adorable, almost moderate curmudgeon. Matt reads the Wall Street Journal and rails against television pundits “telling you what you’re supposed to think about the news, like I‘m too stupid to form my own angry opinion.” When Stitch, anticipating one of Matt’s rants, says, “Let me guess, we’re all going to hell in a hand basket,” Matt replies, “We don’t even make hand baskets in the U.S. anymore. We do make excuses, quitters and diabetes, and celebrities that use diabetes medicine to lose weight.” He describes Gabriel’s dirty hat as looking like “a normal hat that was left in Portland too long.”

The tenor of such softball japes can make “Shifting Gears” feel behind the times. There’s something sort of dutiful about the show’s sociopolitical humor, such as it is, which exists more to give the characters something to bat around than to say anything substantial about How We Ought to Live Now. And no one is batting very hard; this is, after all, a show about loving your difficult relations and putting differences aside. (Riley: “Can we try to talk to one another like rational adults? Matt: “Have you watched the news lately? That’s not a thing anymore.”) Classic stuff.

Allen and Dennings do quickly strike a satisfying mix of antagonism and affection. Both know their way around a filmed-before-a-live-audience sitcom. (Dennings spent six seasons on “2 Broke Girls.”) They’re very good talking over one another, and very good not knowing exactly what to say. In one tender moment, side by side on a couch, unsure how to reach out, he touches her … foot. To the extent that there’s a new Tim Allen here, it’s the one who, thinking of his late wife, and the flour sifter he has taken care not to clean, he cries, almost, sort of. But there has always been a soft center to his self-important characters. (And who, really, needs a new Tim Allen?)

“It’s been really different here, alone,” he tells Riley. “I think that’s why I watch the news in the morning, so I can hear a woman’s voice — even though it’s sometimes Nancy Pelosi.”

“Yeah, it’s annoying the way she’s trying to save democracy.”

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The series was created by Mike Scully and Julie Thacker Scully, “Simpsons” writers and co-creators with Amy Poehler of the animated series “Duncanville.” They reportedly left after the pilot (directed by John Pasquin, who directed about a fifth of “Home Improvement” and more than a third of “Last Man Standing” episodes), which is perhaps why the second episode — only two were available to watch — feels less focused.

That there is nothing new to see here is not in the series’ disfavor. Political differences among close-quartered sitcom families go back at least as far as “All in the Family,” which had been off the air nearly a decade when Dennings was born; adult children moving in with parents or parents moving in with children (see “Lopez vs Lopez,” currently in its third season on NBC) is an old theme on television, which loves to pack as many generations into a three-walled set as possible. Formulas are formulas because they give consistent, reliable, unsurprising results.

Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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