Businesses saw little impact from movie
Several downtown businesses said this week that they saw little economic benefits from the filming of 'Bachelor Santa' for two weeks this month.
But they still enjoyed the experience, several said.
Goldenrod Film & Television filmed the independent Christmas movie here with a cast and crew of 45 people this month.
Kristi Kilday and Jeremy Winton, cofounders of the company, say they plan to return to make more movies in the future.
They had filmed part of the Christmas movie, 'The Christmas Pitch,' here in December.
Andrea Benke, general manager of the Holiday Inn Owensboro Riverfront, said, 'They filmed here Wednesday through Saturday last week. It brought in a nice crowd. But we didn't have rooms for them because of the big basketball tournament in town.'
She said, 'A couple of our housekeepers got to be extras. The baking contest was filmed here. And a little girl got chased by a villain in the restaurant. It was definitely a good experience. It was cool to see behind the scenes of filming.'
Benke said the restaurant got a lot of business from extras, cast and crew.
City Commissioner Sharon NeSmith, general manager of the Hampton Inn & Suites Owensboro Downtown/Waterfront, said, 'They filmed in one hotel room. I didn't charge them for that. One of our housekeepers was in a scene. And one of our people was working in the lobby and they needed someone to receive a package and look surprised. They picked him.'
She said, 'I looked out one day and the lobby was full of people having a good time. It exposed a lot of local people to the hotel. It didn't add to my bottom line. But it showcased the hotel. I'm hoping it's a huge success. They were great to work with.'
NeSmith said, 'The hotel was almost full and the guests enjoyed it. Hopefully, the publicity will help.'
Ben Skiadas, who owns Lure Seafood & Grille and Famous Bistro, said, 'The crew frequented the restaurants. They were as nice as could be. It's always fun to watch out-of-towners slowly fall in love with our little town.'
Collin MacQuarrie, whose family owns both Colby's Fine Food & Spirits and Colby's Deli & Café, said as far as he knew, the restaurants saw little benefit.
'A few people talked about it,' he said, 'but as far as it influencing business, I would say not. They were here pretty quickly and left as soon as they came. Efficient, for sure.'
The Brew Bridge brewery said, 'We didn't see any impact on our business.'
'Bachelor Santa' is scheduled to be released next December on some streaming channel.
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See 'The Andy Griffith Show' Cast Through the Years, 1960 to 2025
When The Andy Griffith Show premiered in 1960, no one could have predicted just how deeply it would embed itself in the American psyche—or how far its stars would travel beyond the sleepy little town of Mayberry. The show wasn't flashy, it avoided controversy and pretty much ignored what was happening in the real world. And yet, more than 60 years later, it's still with us. And whatever the reason for our continuing fascination, most of all it offers a subtle reassurance that a lot of us are chasing that things are going to be okay. Another thing is true: four of its cast members—Andy Griffith, Don Knotts, Ron Howard and Jim Nabors—left a wide-reaching impact that was far from limited to Mayberry. Rather than be a standard biography of The Andy Griffith Show and its stars, what follows is more like a walk through time. What did these four actors do during and after the series? How did their lives and careers evolve through each decade? From the early '60s through the 2020s, we track their lives and work in five-year intervals, not only to see how they grew individually, but how they stayed connected—through collaborations, reunions or simply the impact the show had on their individual careers. The years 1960 to 1964 marked the height of Andy Griffith's rise as a television sensation. The Andy Griffith Show premiered in October 1960, spun off from a backdoor pilot episode on The Danny Thomas Show titled 'Danny Meets Andy Griffith.' As Sheriff Andy Taylor, the easygoing lawman of Mayberry, Griffith stepped into the role that would define his career. Although he was already recognized for his earlier work on stage and in films like A Face in the Crowd (1957) and No Time for Sergeants (1958), it was The Andy Griffith Show that firmly cemented his status as a household name and cultural icon. Don Knotts became a breakout star as the hilariously nervous but lovable Deputy Barney Fife. He joined The Andy Griffith Show at its start in 1960, reuniting with Griffith after their earlier work together in No Time for Sergeants (1958), where Knotts had a small but memorable role. Bringing a vaudevillian energy and brilliant comic timing to Mayberry, he served as the perfect foil to Griffith's calm, straight-man presence. Viewers adored him, and critics agreed—his portrayal earned him four consecutive Emmy Awards for Outstanding Supporting Actor (1961 through 1964). During these years, Knotts focused almost entirely on his role as Barney, taking on very little outside work and pouring all his creative energy into one of television's most iconic sidekicks. Between 1960 and 1964, Ron Howard—billed as Ronny Howard—grew from a child actor into a household name, thanks to his role as Opie Taylor, the sweet-natured son of Sheriff Andy Taylor. Just six years old when the series began, Howard had already logged a handful of early credits, including a small role in The Journey (1959) and a memorable appearance in The Twilight Zone episode 'Walking Distance' (1959). But it was Opie who made him a television staple, endearing him to audiences with a natural charm well beyond his years. During this time, he also appeared in several films, most notably The Music Man (1962), playing lisping, shy Winthrop Paroo—a performance that earned him critical praise. Jim Nabors entered the spotlight toward the end of this period, making his first appearance as Gomer Pyle on The Andy Griffith Show in the episode 'The Bank Job,' which aired in December 1962. A nightclub singer and cabaret performer with a rich baritone voice, Nabors was discovered by Andy Griffith while performing at The Horn, a Santa Monica club known for comedic acts. Griffith was so taken with Nabors' shy, drawling stage persona that he cast him as the guileless, good-natured gas station attendant in Mayberry. Gomer quickly became a fan favorite, and Nabors was promoted to series regular during the 1963–64 season. Between 1965 and 1969, Andy Griffith remained the heart of The Andy Griffith Show, though the series—and his role in it—began to evolve. Don Knotts had departed at the end of Season 5 in 1965, and with Barney Fife gone, the show gradually became more of an ensemble, shining the spotlight on supporting players like George Lindsey (Goober), Howard McNear (Floyd), and others, while Jim Nabors had already left for his own spinoff, Gomer Pyle, U.S.M.C., in 1964. Behind the scenes, Griffith took on a larger role as executive producer, though his focus was more on winding the series down than building it up. In 1968, after eight successful seasons, The Andy Griffith Show ended its run, but CBS kept Mayberry alive through Mayberry R.F.D., with Griffith appearing in the first episode and a few transitional appearances before bowing out entirely. By the decade's end, he was eager to explore more dramatic territory, though the shadow of Mayberry was never far behind. Don Knotts successfully transitioned to a film career during this period, signing a multi-picture deal with Universal Pictures. Believing that Andy Griffith intended to end the show after five seasons, Knotts chose not to renew his contract and left The Andy Griffith Show in 1965. His first major post-Mayberry film, The Ghost and Mr. Chicken (1966), a comedy-mystery tailored perfectly to his persona, was a surprise box office success and confirmed his bankability as a leading man in family comedies. He followed it with a string of similarly styled films, including The Reluctant Astronaut (1967), The Shakiest Gun in the West (1968) and The Love God? (1969), each reinforcing his image as the jittery but lovable underdog. Knotts also returned to Mayberry briefly, guest-starring in the 1966 episode 'The Return of Barney Fife,' a performance that earned him his fifth Emmy Award. As Ron Howard entered his early teens, he remained a steady presence on The Andy Griffith Show through its final season in 1968. His portrayal of Opie evolved during these years—shifting from wide-eyed innocence to a more thoughtful, grounded character that reflected both his and the series' growth. Outside of Mayberry, Howard continued building his résumé with roles in both film and television. In 1965, he starred in Village of the Giants, a campy sci-fi teen comedy, and made guest appearances on shows like I Spy and Daniel Boone. Jim Nabors became a major TV star during this period, thanks to the phenomenal success of Gomer Pyle, U.S.M.C., which premiered in 1964 as a spinoff of The Andy Griffith Show and ran through 1969. As Gomer, Nabors brought his signature blend of wide-eyed innocence and Southern charm—along with his trademark 'Gollllllly!'—to a military setting, playing hilariously against Frank Sutton's blustery Sgt. Carter. The sitcom was a ratings juggernaut, consistently landing among the top 10 shows on television. Remarkably, Nabors never abandoned his musical roots—CBS regularly spotlighted his voice through guest appearances and musical variety specials. In 1969, at the peak of his popularity, Gomer Pyle ended by Nabors' own choice, as he sought to expand his horizons. That fall, he launched The Jim Nabors Hour, a variety show that blended comedy sketches with musical performances, which was his first major effort to move beyond Gomer while still embracing the qualities that made him beloved. Andy Griffith spent much of the early 1970s working to redefine his career beyond Sheriff Andy Taylor. He made a deliberate pivot toward dramatic roles, beginning with the 1973 TV movie Go Ask Alice, in which he played a stern, emotionally distant father—a stark contrast to his beloved Mayberry persona. That same year, he filmed the psychological thriller Pray for the Wildcats, which aired in January 1974, co-starring William Shatner and Robert Reed. Griffith's portrayal of a dangerously unhinged ad executive shocked audiences and critics, showcasing his dramatic range. He also attempted a return to weekly television with The Headmaster (1970–71), a CBS series in which he played the principal of an elite private school. Canceled after 14 episodes, it was quickly followed by The New Andy Griffith Show (1971), which awkwardly reunited him with former Mayberry castmates, yet failed to recapture the original show's magic or ratings. Throughout the early 1970s, Don Knotts continued to carve out his niche in family-friendly comedy. He starred in How to Frame a Figg (1971), a lighthearted satire of small-town bureaucracy and one of the last films under his Universal Pictures contract. In 1970, he launched The Don Knotts Show, a comedy-variety series that showcased his slapstick sensibility and knack for sketch comedy, though it only lasted one season. He also teamed up with Disney for several projects, most notably The World's Greatest Athlete (1973), in which he played the bumbling assistant to a college coach played by John Amos. Knotts filmed The Apple Dumpling Gang with Tim Conway in 1974 (it would be released in 1975), marking the beginning of one of his most enduring comic partnerships. This was a formative era for Ron Howard, marking his transition from child actor to teenage television star. He landed guest roles on series like The Bold Ones and Love, American Style—including a 1972 segment titled 'Love and the Television Set.' Written by Garry Marshall, it served as the backdoor pilot for what would eventually become Happy Days. Around this time, Howard enrolled at the University of Southern California's School of Cinematic Arts, where he began studying film and screenwriting, laying the groundwork for his future as a director. On the big screen, he played Steve Bolander in George Lucas's American Graffiti (1973), a nostalgic coming-of-age hit that reintroduced Howard to a new generation of moviegoers. By early 1974, Happy Days officially premiered, and Howard was suddenly a TV icon all over again—this time as clean-cut everyman Richie Cunningham. Jim Nabors spent the early '70s expanding his reach as an all-around entertainer. With Gomer Pyle, U.S.M.C. behind him, he launched The Jim Nabors Hour in 1969, which ran for two seasons, ending in 1971, but Nabors remained a fixture on television. He became a beloved regular on The Carol Burnett Show, where his recurring guest appearances turned into a tradition—Burnett famously called him her 'good luck charm' and made sure he appeared in the season premiere each year. Nabors also focused on his music career, releasing a steady stream of albums featuring gospel, easy listening and romantic standards. Between 1975 and 1979, Andy Griffith began embracing darker, more complex roles that stood in sharp contrast to his Mayberry image. A key example was the 1974 made-for-TV movie Winter Kill, in which he played a small-town police chief tracking a serial killer. Although it wasn't picked up as a series, it served as a prototype for several similar projects. Griffith reprised variations of that lawman role in TV pilots like Adams of Eagle Lake (1978) and Deadly Game (1977), each continuing his push into more dramatic territory. During the late 1970s, Don Knotts enjoyed a career resurgence, thanks in large part to his popular collaborations with Tim Conway in a string of family-friendly Disney comedies. Their pairing kicked off with The Apple Dumpling Gang (1975), a box-office hit that introduced audiences to their hilariously mismatched chemistry. They followed it with Gus (1976), a slapstick romp about a mule who becomes a football star, and reunited again for The Apple Dumpling Gang Rides Again (1979). This period marked Ron Howard's transition from beloved TV actor to budding filmmaker. He spent the second half of the decade starring as Richie Cunningham on Happy Days, which had become a full-blown cultural phenomenon by the mid-1970s. But behind the scenes, his creative ambitions were shifting. Howard took film courses and began directing short films, gradually building his confidence behind the camera. In 1977, he made his feature directorial debut with Grand Theft Auto, a car-chase comedy produced by Roger Corman. Howard not only directed but also starred in the film and co-wrote the script with his father, Rance Howard. Despite its modest budget, the movie was a box-office success and proved that Howard's talents extended well beyond acting In the latter half of the 1970s, Jim Nabors leaned further into his music and variety roots. He released a steady stream of albums during this time, focusing on easy listening, gospel, and patriotic standards—genres that resonated with his loyal fanbase. Nabors became a popular draw at venues ranging from Las Vegas showrooms to state fairs and concert halls. Between 1980 and 1984, Andy Griffith made meaningful strides in his long-standing goal of being recognized as a dramatic actor. He took on darker, more morally ambiguous roles in made-for-TV films like The Demon Murder Case (1983), where he played a skeptical defense attorney, and Fatal Vision (1984), a chilling true-crime drama in which he portrayed the father of a convicted killer. These performances helped reshape his public image and proved he could handle serious, layered material. At the same time, Griffith stayed active in lighter fare, including The Yeagers (1980), an unsold pilot that featured him in a more familiar, folksy role. He also lent his warm voice to commercials and public service campaigns. During the early 1980s, Don Knotts lent his voice to animated specials and made occasional TV guest appearances, including a 1982 episode of Fantasy Island and a handful of variety programs. But the most significant development during this period came in 1979—continuing into the early '80s—when he joined the cast of Three's Company as the flamboyant landlord Ralph Furley. Brought in after Norman Fell and Audra Lindley departed for the spinoff The Ropers, Knotts injected new life into the show with his trademark expressions, flashy wardrobe and nervous energy. This was the pivotal period when Ron Howard fully transitioned from actor to filmmaker. Though he remained on Happy Days through 1980, he departed the series at the end of Season 7 to focus on directing—having already demonstrated promise with his feature debut Grand Theft Auto (1977). In the years that followed, he directed several made-for-TV movies, honing his skills and attracting attention in Hollywood. His breakthrough came with Night Shift (1982), a fast-paced comedy starring Henry Winkler and a breakout performance by a then-unknown Michael Keaton. Produced by Howard's longtime mentor Garry Marshall, the film was both a critical and commercial success, establishing him as a rising director. He followed that momentum with Splash (1984), the romantic fantasy starring Tom Hanks and Daryl Hannah. In the early 1980s, Jim Nabors remained a beloved entertainer, even as his focus shifted further from scripted television and more fully into music and live performance. One of the most enduring traditions associated with Nabors during this period was his annual rendition of 'Back Home Again in Indiana' at the Indianapolis 500. Although he had first performed it in 1972, it became firmly cemented as a tradition in the 1980s, with Nabors returning year after year to deliver the song in his signature baritone—turning it into one of the race's biggest moments. The late 1980s marked one of the most successful career reinventions in television history for Andy Griffith. In 1986, he returned to weekly TV as the star of Matlock, playing Ben Matlock—a brilliant but unpretentious Southern defense attorney known for his folksy charm, relentless courtroom style and seersucker suit. Created by Dean Hargrove and produced by Fred Silverman, the character debuted in a two-hour NBC pilot movie before launching as a weekly series. Audiences quickly embraced Griffith in the role, which allowed him to channel the warmth of Sheriff Andy Taylor while adding a sharper, more assertive edge. Also in 1986, Griffith reunited with his original Andy Griffith Show castmates for the nostalgic TV movie Return to Mayberry, a ratings hit that momentarily brought Mayberry back to life. After Three's Company ended in 1984, Don Knotts remained active in television through guest appearances, variety specials and retrospectives celebrating his earlier work. He reunited with Andy Griffith in 1986 for a memorable guest role on Matlock, playing Les Calhoun—a quirky, meddlesome neighbor—in the episode 'The Captain.' The performance was so well-received that Knotts returned for several more guest spots on the show, bringing a dose of comic relief that complemented Griffith's more serious turn. That same year, he also reprised his role as Barney Fife (now the town's acting police chief) in the nostalgic TV movie Return to Mayberry, delighting fans in what would be his final official appearance as the beloved deputy. Following the success of Splash (1984), Ron Howard cemented his status as a top-tier director with Cocoon (1985), a sci-fi fantasy about seniors rejuvenated by aliens. The film was both a critical and box-office hit, earning two Academy Awards. He continued his upward trajectory with Gung Ho (1986), a comedy about cultural clashes in the auto industry, and Willow (1988), a George Lucas-produced fantasy epic. Though Willow received mixed reviews on release, it showcased Howard's growing confidence with large-scale productions and has since become a cult favorite. In 1986, he briefly returned to acting, reprising his role as Opie Taylor in the TV movie Return to Mayberry. In the late 1980s, Jim Nabors focused primarily on his music career, touring nationally and headlining venues in Las Vegas and Hawaii, where he had made his permanent home. Though acting roles became less frequent, he remained a familiar presence through talk shows, variety specials, and nostalgic tributes—especially those celebrating The Andy Griffith Show. While he occasionally stepped back from performing due to health concerns, Nabors continued to draw enthusiastic crowds In the early 1990s, Andy Griffith was firmly reestablished as a television star, thanks to the ongoing success of Matlock. The legal drama remained a dependable ratings performer on NBC until 1992, when the network unexpectedly canceled it. ABC quickly picked up the series, where it continued with new episodes through the mid-1990s. During this time, Griffith also lent his familiar voice to commercials and television specials, and made occasional appearances on talk shows and in classic TV retrospectives. Beyond his recurring role as Les Calhoun on Matlock, Don Knotts continued to stay active in entertainment during the early 1990s. He lent his voice to various animated projects and children's programming, and remained a welcome presence on talk shows, game shows and nostalgic specials. In 1991, he appeared in The Magical World of Disney special, The Legend of the Ruby Silver, and made cameos in other family-friendly productions. In 1991, Ron Howard directed Backdraft, a big-budget action drama about Chicago firefighters that combined emotional depth with impressive visual effects. He followed it with Far and Away (1992), an ambitious historical romance starring Tom Cruise and Nicole Kidman. Though reviews were mixed, the film performed well internationally and underscored Howard's expanding scope as a filmmaker. During this period, he also continued to build Imagine Entertainment, the production company he had co-founded with Brian Grazer in the mid-1980s. By the early '90s, Imagine had become a respected name in both film and television. Living full-time in Hawaii, Jim Nabors devoted himself primarily to live performances during the early 1990s, touring with his musical revue and continuing to release albums centered on inspirational, gospel and patriotic themes. In 1991, he returned to the Indianapolis 500 to sing 'Back Home Again in Indiana,' reviving the tradition that had become one of the race's most anticipated moments. With Matlock concluding its run in 1995, Andy Griffith shifted back into occasional acting roles, appearing in a mix of television movies and specials. In 1996, he starred opposite Naomi Judd in the heartwarming holiday TV movie A Holiday to Remember, and also made a memorable comic turn as a spoof villain in the Leslie Nielsen comedy Spy Hard. In 1998, he took on a dramatic role in the TV movie A Justice for All (also known as Crime in the Streets), continuing his exploration of morally complex characters. In the latter half of the 1990s, Don Knotts significantly slowed his on-screen activity but remained a familiar presence through select film and voice roles. He appeared in the comedy Big Bully (1996) and voiced the narrator in the animated musical Cats Don't Dance (1997). In 1998, he made a brief but memorable cameo as the TV repairman in Pleasantville, and in 1999, he voiced the character of Muff Potter in the animated film Tom Sawyer. On television, he guest-starred in a 1994 episode of Burke's Law and lent his voice to the animated TV movie Jingle Bells (1999), part of the Rankin/Bass holiday revival. The late 1990s marked a peak creative period for Ron Howard. In 1995, he directed Apollo 13, a gripping historical drama about NASA's ill-fated lunar mission, which earned widespread acclaim and was nominated for nine Academy Awards. He followed it with Ransom (1996), a high-stakes thriller starring Mel Gibson, which became a major box-office success. Howard spent the remainder of the decade developing and producing projects through Imagine Entertainment and closed out the '90s with EDtv (1999), a media satire about the rise of reality television. In the final years of the 1990s, Jim Nabors maintained a comfortable and respected career focused largely on music and nostalgia-driven appearances. Living quietly in Hawaii with his longtime partner, Stan Cadwallader, Nabors largely stepped back from the spotlight but remained a beloved public figure. He continued to sing at the Indianapolis 500 and toured selectively, performing at concert halls, patriotic celebrations, and special events. Between 2000 and 2004, Andy Griffith remained a beloved figure in American pop culture. Although he had won a Grammy Award back in 1997 for I Love to Tell the Story: 25 Timeless Hymns, the album continued to resonate with listeners into the 2000s, reflecting Griffith's deep faith and musical roots. On television, he made a rare dramatic appearance in a 2001 episode of Dawson's Creek, portraying a grieving grandfather in one of the series' more emotional installments. In 2003, The Simpsons playfully referenced his Matlock persona in a parody episode—though Griffith himself did not provide the voice. In the early 2000s, Don Knotts enjoyed a late-career resurgence, returning to sitcom television with a recurring role as quirky neighbor Mr. Wiggle on 8 Simple Rules for Dating My Teenage Daughter. He also reunited with longtime friend Tim Conway for stage shows and nostalgic appearances, including interviews and TV specials reflecting on their comedic legacy. In 2003, Knotts recorded his voice for Disney's Chicken Little, released after his death in 2005. Ron Howard entered the 2000s at the height of his directing career. In 2001, he helmed A Beautiful Mind, the acclaimed biopic of mathematician John Nash, which won Best Picture and earned Howard the Academy Award for Best Director. The film's success solidified his place among Hollywood's top-tier filmmakers. He followed with The Missing (2003), a dark western thriller starring Cate Blanchett and Tommy Lee Jones. Though less commercially successful, it was praised for its bold tone and direction. Meanwhile, through Imagine Entertainment, Howard produced the cult hit Arrested Development, which premiered in 2003, serving as executive producer and narrator. In the early 2000s, Jim Nabors had largely retired from show business, living quietly in Honolulu with Cadwallader. Following his earlier liver transplant, he focused on his health and personal life but remained a cherished public figure. In the final active years of his career, Andy Griffith made select appearances that reinforced his status as a beloved television icon. In 2007, he delivered a standout late-career performance in the indie hit Waitress, playing the gruff but tender diner owner—a role that introduced him to a new generation. He also lent his voice to documentaries and specials focused on faith, patriotism and classic TV. In 2005, Griffith was awarded the Presidential Medal of Freedom, honoring his lasting contributions to American culture. n his final years, Don Knotts remained a cherished figure, even as his health declined due to lung cancer and respiratory complications. His last major role was voicing Mayor Turkey Lurkey in Disney's Chicken Little (2005), a fittingly playful farewell for one of TV's greatest comic actors. Knotts passed away on February 24, 2006, at age 81. Tributes poured in, including from Andy Griffith, who remembered him as 'a wonderful man, a dear friend and a fantastic actor.' His legacy as a comedic legend remains enduring. Ron Howard's momentum as a filmmaker remained strong in the late 2000s. In 2006, he directed The Da Vinci Code, the blockbuster adaptation of Dan Brown's novel starring Tom Hanks. Despite mixed reviews, it grossed over $750 million worldwide and launched a successful film franchise. Howard followed with Frost/Nixon (2008), a critically acclaimed political drama that earned five Oscar nominations, including Best Picture and Best Director. During this period, he also continued producing acclaimed TV content through Imagine Entertainment, including Friday Night Lights and Arrested Development. Between 2005 and 2009, Jim Nabors remained largely retired, living quietly in Honolulu with Stan Cadwallader. Though no longer acting or recording, he continued his cherished tradition of singing 'Back Home Again in Indiana' at the Indianapolis 500. While far from the spotlight, he remained a treasured symbol of television's golden age, remembered fondly for his warmth, humor and remarkable voice. In his final years, Andy Griffith made only a handful of public appearances but remained a revered figure in American popular culture. In 2010, he appeared alongside Brad Paisley in the music video for 'Waitin' on a Woman." Though his health was declining, he occasionally took part in interviews and tributes celebrating The Andy Griffith Show and Matlock. That same year, he was awarded North Carolina's Order of the Long Leaf Pine, one of the state's highest civilian honors. Griffith passed away on July 3, 2012, at his home on Roanoke Island at age 86. His death marked the end of an era, with tributes pouring in for a man long regarded as the embodiment of decency, wisdom and humility. In the early 2010s, Ron Howard continued to thrive as both a director and producer. He directed The Dilemma (2011), a dark buddy comedy starring Vince Vaughn and Kevin James, which received mixed reviews. Behind the scenes, he remained active with Imagine Entertainment, producing acclaimed series like Parenthood and contributing to the streaming revival of Arrested Development. He also began work on major projects, including the adaptation of Dan Brown's Inferno and the Jay-Z concert documentary Made in America (2013). During this period, Jim Nabors enjoyed a quiet retirement in Hawaii, largely stepping away from public life. In 2011, he made one of his final high-profile appearances at the Indianapolis 500, performing his traditional song, which he'd been doing for nearly 40 years. In 2013, he publicly confirmed his longtime relationship with Stan Cadwallader, announcing they had married in Seattle shortly after same-sex marriage became legal in Washington. The news was met with widespread affection. Though no longer performing, Nabors' legacy endured through reruns of The Andy Griffith Show and Gomer Pyle, U.S.M.C., where his sincerity and warmth continued to resonate with generations of viewers. Jim Nabors died on November 30, 2017, aged 87. In 2015, Ron Howard directed In the Heart of the Sea, a visually ambitious maritime drama starring Chris Hemsworth. While it underperformed at the box office, it reinforced Howard's command of large-scale storytelling. He earned widespread acclaim with The Beatles: Eight Days a Week – The Touring Years (2016), which won the Grammy for Best Music Film. In 2018, Howard entered the Star Wars universe, stepping in to complete Solo: A Star Wars Story after the original directors' departure. Though reviews were mixed, Howard was praised for steering the film to completion under tight constraints. Throughout the 2020s, he remained prolific via Imagine Entertainment, producing high-profile films and series. He directed Hillbilly Elegy (2020) for Netflix—critically divisive but Oscar-nominated for Glenn Close—and expanded his documentary work with Rebuilding Paradise (2020) and We Feed People (2022). As of 2025, Howard continues to be a vital creative force, with a career spanning decades, genres and formats. 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‘The Last of Us' Ratings Declined During Season 2. But Why?
The first season of The Last of Us was a ratings blockbuster for HBO, setting records from the moment it premiered in 2023. The adaption of the postapocalyptic PlayStation game was the second-biggest series debut for network since 2010 and grew its audience significantly over its first few weeks. The second season told a slightly different story, and in more ways than one. More from The Hollywood Reporter Jason Isaacs Supports Johnny Flynn Cast as Lucius Malfoy in HBO's 'Harry Potter' Series 'Surviving Ohio State' Review: HBO's Sexual Abuse Doc Is Thorough and Persuasive, but Lacks a New Smoking Gun 'The Last of Us' Creators Confirm Kaitlyn Dever-Led Season 3: "I Was Sure They Wouldn't Let Us Do This" The Last of Us season two was still an extremely popular and acclaimed success. But according to Nielsen, the seven-episode second season has been softer in the ratings overall, despite kicking off slightly higher. The season's fourth and fifth episodes — the most recent episodes with third-party ratings available — had smaller audiences than any season one episodes. Measured on a week-by-week basis, Nielsen's season two tracking goes from 805 million minutes streamed during premiere week to 937 to 827 to 738 to 745. Overall, season two has averaged 18 percent fewer viewers than the first five episodes of season one. Granted, second seasons often performer lower than debut seasons, but The Last of Us is a show where potential growth seemed very possible, if not likely. The show is a heavily serialized Emmy-winning sensation that had two years to accumulate new fans. The season two trailers looked fantastic. Reviews were extremely strong (if just a tad softer than season one — 92 percent Fresh on Rotten Tomatoes versus 96 percent for the first season). There was plenty of marketing and publicity. And several buzzy HBO dramas have grown their audiences after their debut seasons (such as Game of Thrones, Succession and The White Lotus). So what gives? There is, of course, the obvious: The new season's second episode brutally killed off the show's beloved co-lead Joel (Pedro Pascal), leaving his ward Ellie (Bella Ramsey) to embark on a quest for revenge against his killer, Abby (Kaitlyn Dever). It could be as simple as that. And, yes, there are fans who have criticized Ramsey's portrayal of Ellie in season two, but there is actually evidence pushing back on that as the culprit, as we'll get to below. Here is another point of comparison to be made with Thrones: Fans feel that epic fantasy show started to lose its footing, if not its ratings, late in its run. Many point out that's around the same point in the story when showrunners David Benioff and Dan Weiss ran out of books to adapt from George R.R. Martin. What I find interesting is that Martin ran into enormous difficulty finishing his story around the same point that two entirely different writers began to struggle with their adaptation, despite Benioff and Weiss having previously pulled off many original deviations from the books. In other words: There is probably something inherently difficult about making A Song of Ice and Fire work — regardless of the medium or writer — after Jon Snow gets stabbed to death and Daenerys gets stuck in her Meereen pyramid. Likewise with The Last of Us, there might be something inherently more difficult about pulling off this tale after the first game/season. Once the story stops being about a 'wolf and cub' wandering the apocalypse and becomes the story of a dead wolf and an angry cub chasing a villain who is a mirror universe version of herself, something just slips for some percentage of viewers. The second season's trope-busting story is intensely clever, and has Something to Say about the nature of storytelling and heroes and how we invest in a point of view. You can respect the all artistic choices being made, but that doesn't mean the same number of people will enjoy that kind of story. It is, admittedly, a bit of a bummer. For more evidence, let's look at the sales of The Last of Us games. The first game — which inspired the first season — sold more than 20 million copies. The second game (which was hugely divisive in the gaming community) sold more than 10 million copies. These numbers are out of date (and don't account for the first game having a longer sales history). But by all reported accounts, the second game's sales lagged the first. Given both had Ellie voiced by Ashley Johnson — whom gamers loved in the role — pointing fingers at Ramsey for any slippage seems off base (particularly as the show has seemingly maintained its audience better than the sequel game). One could argue the mission of HBO's The Last of Us shouldn't have been absolute fidelity to the games, but rather fidelity to telling the best possible story with the games as merely an inspiration. Of course, there is no winning that one. Even the smallest change — of which there are many in the series — gets analyzed and criticized, and major shifts would likely get blasted even more. In a way, staying close to the game is the safest route, even if the story itself is more risky. If people don't like what you're doing, you can always say, 'We're being faithful to the game.' I suspect a key reason for the show's ratings slippage has less to do with season two and more to do with the end of season one. The end of the first season of Thrones (yes, back to that again) left viewers bursting with questions about what happens next for a large number of compelling characters. But the end of The Last of Us season one was actually a perfect conclusion. Once Joel saved Ellie from the Fireflies and they settled into a safe and thriving survivor camp, it felt like The End. If you're a viewer watching these two likable characters endure all sorts of grisly horrors, this was just about the best outcome for Joel and Ellie you could realistically hope for. A second season of The Last of Us can only be written as 'but then more — and even worse — bad stuff happens' for a tale that felt resolved. Indeed, the first PlayStation game was written as a complete story. The Last of Us Part II was partly inspired by the same market forces that typically result in sequels — namely, that the first game was a hit. But just imagine if Martin had ended his first Song of Ice and Fire book with all the Stark kids safely back at Winterfell and then he had to figure out a sequel. Or imagine, if after killing off Ned Stark, the only remaining major season one character was Arya, and there was no Tyrion, Jon Snow, Sansa, Dany, Cersei, Jaime and others. In either case, season two could have still been cool, but it would almost certainly have been less popular than the version we got. From HBO's viewpoint, a critically acclaimed, Emmy-worthy appointment television hit is still a hit. Viewers will still line up to check out season three and the recent season will continue to rack up additional viewership on Max over time (when all forms of viewing are tallied over time, both seasons will easily be over 30 million views per episode). There is a 'so what?' counter-argument to be made about all this. But the audience reaction still reflects something interesting about the challenges of adaptation and how some great stories come with knots that cannot be untied. — Rick Porter contributed to this report. 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TVLine's Performer of the Week: Charlie Cox
THE PERFORMER | Charlie Cox More from TVLine And Just Like That EP Talks Working With Season 3's Top Scene Stealer: Carrie's Cat Resident Alien Season 4 Premiere Recap: Was Harry Able to Bust Out of Alien Jail? (Grade It!) And Just Like That EPs Tell All About the Hot New Gardener in Carrie's Life: 'That's Like an Aphrodisiac' THE SHOW | FX's Adults THE EPISODE | 'Roast Chicken' (June 11, 2025) THE PERFORMANCE | As the fortysomething educator known as Mr. Teacher, Cox is supposed to be the adult in the room on FX's Gen Z comedy Adults. But he was anything but this week, as Mr. Teacher got high on ketamine and trashed Billie's dreams of throwing the perfect dinner party, with the Daredevil actor delivering a truly uproarious comedic turn. Billie was excited to prove she was a grown-up by hosting a sophisticated dinner party, complete with roast chicken, but as soon as Mr. Teacher showed up, the vibes were definitely off, with Cox's wild eyes and goofy grin signaling that he wasn't himself. And sure enough, he confessed to Samir that he was on a 'very large, introductory dose of ketamine' — a pony dose! — to help him process his divorce, and he gleefully tripped his way through the evening, staring at his hands and giggling way too hard at Issa's stories. Mr. Teacher's mood turned grave, though, when he realized he couldn't see Billie anymore ('I'm dating a child!'), with Cox punctuating his epiphany with a sad yet hilarious somersault. Mr. Teacher bounced back later, with Cox showing off some very bizarre dance moves to the disco classic 'Sunny.' (Even Julia Fox was impressed.) And when Billie's chicken turned out raw, Mr. Teacher gamely carved it up anyway, chowing down on a slice, bloody juices and all. The evening quickly went south, with Cox smashing plates and yelling before meekly telling Billie: 'I think you might be my rock bottom.' By the time his ex-wife escorted him out in shame, Billie and her friends were more than ready to say goodbye to Mr. Teacher — but we hope this isn't the last time we get to see Cox flex his impressive comedy muscles. Scroll down to see who got Honorable Mention shout-outs this week… Charlotte York Goldenblatt needs to get out more. Kristin Davis always seems to shine whenever her And Just Like That… character goes out on the town and lets her hair down, and she didn't let us down this week, as Charlotte partied late into the night to keep up with her younger art gallery colleagues. Davis channeled Charlotte's perky optimism as she chased a lucrative art client… and she was adorably flustered when that client tried to lay a late night smooch on her. Plus, we giggled when a hungover Charlotte struggled to stay professional the next morning. Charlotte may not be able to keep up with the young kids anymore, but Davis is still serving up vintage comedy fastballs. — D.N. From dangerous baddie to doofy E.T., Enver Gjokaj ran the gamut with Grey/human hybrid Joseph. In the latest Resident Alien, he had us in stitches as the lovestruck alien pined over Asta, serenading her with Pavarotti and proffering a ludicrous marriage plan. When Joseph later regaled Harry, Asta and D'arcy with his Mantid encounter, the actor took center stage as he explained the character's 'tactical decision' to lay down, play dead and relieve himself (yuck) while his opponent made mincemeat out of his body. Gjokaj flexed faux bravado throughout, even as blood spurted from his wounds and the camera panned down to reveal a missing arm that played for comedy. If this was the last time we ever see Joseph in Patience, well, mission accomplished. The actor did a stellar job bringing both suspense and slapstick to the role, and most importantly? He left us wanting more. — Nick Caruso Which performance(s) knocked your socks off this week? Tell us in the comments! Best of TVLine Young Sheldon Easter Eggs: Every Nod to The Big Bang Theory (and Every Future Reveal) Across 7 Seasons Weirdest TV Crossovers: Always Sunny Meets Abbott, Family Guy vs. Simpsons, Nine-Nine Recruits New Girl and More ER Turns 30: See the Original County General Crew, Then and Now
