Kelly Clarkson Apologizes To ‘The Rookie's Cast & Crew After Cameo: 'I Was An Idiot On That Set'
Kelly Clarkson is apologizing to the cast and crew of The Rookie after her 2023 cameo on the ABC drama.
The daytime talk show host and singer appeared on the police procedural in Season 5, Episode 12, 'Death Notice,' and revealed she was 'terrified.'
More from Deadline
'Bachelor In Paradise' Finds New Showrunner
2025 Premiere Dates For New & Returning Series On Broadcast, Cable & Streaming
Oscars Snubs & Surprises: Denzel Washington, Nicole Kidman & 'Kneecap' Iced Out; 'The Apprentice's Sebastian Stan Finally Gets Some Hollywood Love For Trump Portrayal
'Oh my God, I was terrified. I have to apologize to that cast and crew. I was terrified,' Clarkson said during a fan Q&A for The Kelly Clarkson Show. 'The Rookie they invited me, and here's the thing — I'm a huge, like, I've been a fan of Nathan Fillion since Castle. I already get nervous on sets, but then he made me more nervous than I have ever been on a set… I was an idiot on that set.'
In the episode of The Rookie, Clarkson appears playing a version of herself visiting someone at a hospital and attempting to take an elevator. However, each time the elevator is about to close, a cast member prevents it from shutting, forcing everyone to squeeze into the tight space.
Clarkson was answering a question from a fan who asked if she would want to appear on another show, to which she said, 'I don't really want to be on shows.'
'Maybe Only Murders in the Building because I love Only Murders,' she added. 'But no, I've seen the level in which that show [operates] — I am not a walk-on, so I actually take that back. That's never been my goal to be like, 'Oh, I want to do all these things.' I'm just a big fan.'
Watch Clarkson's full fan Q&A video below.
Best of Deadline
'The White Lotus' Season 3: Everything We Know About The Cast, Premiere Date & More
'Severance' Cast Through Seasons 1 And 2: Innies, Outies, Severed and Unsevered
2025 Awards Season Calendar: Dates For Oscars, Spirits, Grammys, Tonys, Guilds & More
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Forbes
an hour ago
- Forbes
The Latest Update About ‘Dept. Q' Season 2 On Netflix
Dept Q While the Netflix Top 10 list may be mostly dominated by the likes of Ginny and Georgia and Sirens, one new show is sliding under the radar, even if it never landed a #1 spot. That would be Dept. Q, the new British murder mystery series starring Matthew Goode as a traditionally reckless-but-brilliant cop tasked with solving cold cases. It may sound cliché, but it's quite good, and has racked up an 84% critic score and a very high 94% audience score. Now, fans want answers about a season 2. It's not time to worry…yet. No, the show is not a miniseries which would discourage a season 2 ruling this out, and despite that, no, it has not been renewed yet. But Dept. Q only was released at the very end of May, and it hasn't even been out two weeks yet. That's not particularly long for Netflix, and we often see renewals a month or more after release if we're not talking about blockbuster hits. There are some updates here, namely what the cast thinks of all this. Here's star Matthew Goode via Deadline: And here's actress Chloe Pirrie who plays Merritt Lingard to Cosmo: Deadline said they believe there is 'zero doubts' about a second season, and one point in the show's favor is that it's based on a series of books, and there are ten of them for a sprawling amount of source material. I'm not going to go full Deadline here and say there are 'zero" doubts that Dept. Q gets renewed for season 2, but I am leaning in an optimistic direction. Netflix loves crime series. There's lots of source material to pull from. It has been well-received by critics and viewers. It has a stellar cast but not a wildly expensive one, and the same is true for being a grounded crime series rather than some huge blockbuster. All the signs are there that this is going to work out, but fans should be patient as for most Netflix series, this kind of thing doesn't happen overnight. Follow me on Twitter, YouTube, Bluesky and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.
New York Times
2 hours ago
- New York Times
‘Watch What Happens Live,' Direct From the Oval Office
On Thursday, right around the time of the online breakout of a feud between Elon Musk and Donald Trump that resembled a 'Real Housewives' reunion show, we were treated to another episode of what has become the president's favorite reality TV reboot. Call it 'The Apprentice: World Leaders,' and in this latest installment, the German chancellor, Friedrich Merz, appeared alongside Mr. Trump, displaying a sophisticated instinct to hold his ground and emerge unscathed during his visit to the gilded zoo of the Oval Office. We're becoming all too used to watching this new kind of presidential meet-and-greet. What traditionally had been a low-stakes and highly choreographed government function has this year been reinvented by Mr. Trump as 'Watch What Happens Live' set in the Oval Office (with JD Vance on hand to play the supporting role of the bartender). For many of us, watching these affairs offers the same queasy experience as the most car-crash-reminiscent reality shows, but with geopolitical consequences. We brace ourselves for the inevitable moments of skirmish and bluster, of braying rudeness and the possible surprise reveal straight out of 'Punk'd' or 'Jerry Springer.' We grimace in preparation for the next big cringe moment before the show goes to commercial. We watch — often through eyes shielded in dismay — as the president falls just short of resorting to his favorite catchphrase: 'You're fired!' It's natural to conflate these moments with the worst — and most addictive — elements of reality TV. Maybe it's a remnant of my early career writing public-television program guide listings, or perhaps my childhood spent within reach of the Bronx Zoo, but I have come to understand, or at least to tolerate, these diplomacy-shattering displays of ginned-up drama as more like episodes of classic nature programs. For me, they often recall 'The Living Planet,' that grand adventure in BBC travel-budget largess, narrated by David Attenborough, from the 1980s — right around the time a self-styled real estate developer from Queens was buying up New Jersey casinos that would go bankrupt. Admittedly, I might be overly influenced by the news that the Kingdom of Saudi Arabia, a recent most-favored autocracy, will be sending two rare Arabian leopards to the Smithsonian's National Zoo in Washington. Brandie Smith, the director of the zoo, said that Mr. Trump was most interested in learning about the leopards' 'personality.' Want all of The Times? Subscribe.
The Verge
a day ago
- The Verge
The soul of The Last of Us is in Gustavo Santaolalla's music
When fans nervously tuned in to watch HBO's adaptation of one of their favorite video games, there was one familiar presence that immediately calmed their nerves: the mournful guitar of Gustavo Santaolalla. As certain story beats changed and beloved polygonal faces were replaced with new actors, the beating heart of The Last of Us — its mesmerizing, tension-ridden score — survived the transition to TV intact. '[Series creator] Neil Druckmann has said that my music is part of the DNA of The Last of Us,' Santaolalla says. 'I think the fact that we kept the sonic fabric — that we didn't do an orchestral score for the series — has been instrumental in keeping those fans of the games fans of the series, too.' Born and raised in Buenos Aires, Santaolalla first started releasing music when he was 17. Loving both English rock bands and the traditional Argentine folk music that he was raised on, Santaolalla melded both into his own unique sound, part of a genre called rock nacional. Before he could fully make his mark, Santaolalla's family fled the Argentine junta dictatorship in 1978, moving to Los Angeles, where his unique sound soon caught the attention of filmmakers. Snapped up to score the 2000 film Amores Perros and 2003's 21 Grams, their success led to Santaolalla composing the soundtracks for Brokeback Mountain and Babe l, both of which won him Oscars. Santaolla's sonic secret? Embracing the eloquence of silence. 'I work so much with silence and space, because silences sometimes can be louder than a note that you're playing,' says Santaolalla. 'I remember on Brokeback Mountain when I first sent them the music, the producer said 'I thought you were pulling my leg at first, because you wait so long to play the next note!'' 'Silences sometimes can be louder than a note that you're playing.' After winning two Oscars back to back, Santaolalla carefully considered his next career move. Despite being a self-professed 'terrible gamer' Santaolalla tells me he always loved watching his son play, mesmerized by the on-screen kineticism. 'I always thought that if somebody connects this at an emotional level with a player, it's going to be a revolution.' It turns out, the universe had picked up on Santaolalla's newest interest. Post-Oscars, he was approached by several game companies to do music, but turned them down because 'I'm very picky about the work that I do.' That includes a lucrative gaming project that he is careful not to name. 'Everyone thought I was crazy!' he chuckles. Still, Santaolalla quietly hoped that a more emotionally-resonant project would materialize. 'So, I waited… and then Neil appeared,' Santaolalla says. 'When Neil told his colleagues that he wanted me to do this, [his colleagues ] said, No, Gustavo is not going to be interested — he won two Oscars! But when Neil [told me] the story, and that he wanted to do a game that connects with people on an emotional level… I was sold. What even Neil Druckmann wasn't prepared for, however, was that Gustavo's music would become just as crucial a presence as Ellie and Joel. In a post apocalyptic world where life is scarce and danger lurks around every corner, silence hangs in the air like a threat. Santaolalla's scuffed notes, discordant melodies and screeching fret slides reverberate across the dilapidated city streets, feeling as unpredictable as the world Ellie and Joel inhabit. 'I love the use of imperfections, even errors or mistakes.' 'I love the use of imperfections, even errors or mistakes,' Santaolalla explains. 'Any professional guitar player when they're recording tend to avoid all kinds of noises; when you run your hand on the fretboard or little glitches in your playing. But sometimes, I'll push those in my mix, and I think that humanizes it. That's why many people have said that my music becomes like a character — a presence. It's why I play things myself.' In the second game, Gustavo's music becomes a physical part of the fiction, with Ellie carrying a guitar throughout her quest for vengeance. She takes out the instrument during welcome moments of downtime, offering cathartic respite. And just like Gustavo's score, these beautiful vignettes break up the harrowing silence, which carries through in the second season of the show. 'I love the TV series too,' says Santaolalla. ' For the show, Neil associated himself with another incredible talent, Craig Mazin — the guy that did Chernobyl — who knows that media and that language. I think it was a big, big challenge, because when you go from one media to another one, people say no, I like the original better! So, I think, once again, that the way we have used the music has been instrumental to keep that fan base attached.' He adds that 'I think that when a story is really great, like a theatrical piece — like Shakespeare — it doesn't matter who plays the character. Obviously Pedro Pascal's Joel is different than the Joel from the game, but the substance of the character is so powerful that those things are just superficial. They could have done this as a series, as a feature film, as a puppet theatre piece, or an animation and it will still land regardless — because it's just great writing.' Now as Santaolalla finds himself releasing his very own instrument — the Guitarocko — it feels like the culmination of the musical journey he started as a teen. Melding the traditional Bolivian 10 stringed ronroco with the form factor of a Fender Stratocaster, Gustavo feels a father-like pride for his musical creation: the 73-year-old is invigorated by what The Last Of Us has given him at this stage in his career. 'I've been blessed with the fact that I have connected with an audience since I was very young,' he says. 'But the way I connect with the fans of The Last of Us and the way they connect with the music… here's a special devotion that is really beautiful. I have this new audience which is fantastic, and I love that they didn't know me as an artist or as a film composer! Now they look for my music, and they discover these things. It's been a gift for me, at this point — after everything that I've been through — to be involved with a project like this.'
