KELOLAND+ launches new show: Eye on KELOLAND Rewind
SIOUX FALLS, S.D. (KELO) – A new show makes its way to KELOLAND+, and viewers can expect to see their favorite local stories and familiar faces all in one spot.
KELOLAND+ will air a 30-minute show called Eye on KELOLAND Rewind at 6:30 p.m. on May 21.
Eye on KELOLAND Rewind puts viewers back in time, to the week before, and features six Eye on KELOAND stories- all in one spot.
Mari Ossenfort, KELOLAND vice president and general manager, said she's thrilled that KELOLAND+ can feature Eye on KELOLAND stories.
'Eye on KELOLAND is legendary with our viewers,' Ossenfort said. 'They know it, they like it. They trust it, they expect it. And so, to take all of the episodes and culminate them into one program, I think is going to be an amazing viewer experience.'
Created by KELOLAND News reporters, Eye on KELOLAND engages viewers to in-depth, long-form content, all while featuring local individuals and communities who have a story to share. These stories could include personal or medical journeys, dedicated volunteer work, an individual making a difference to a community, first-of-its-kind advancements in South Dakota, and more.
Eye on KELOLAND Rewind will be the first regularly scheduled program to air on KELOLAND+.
'It's great to start having a regularly scheduled program that will be unique to KELOLAND+,' Jody Staples, KELOLAND digital media manager, said. 'We've had a couple KELOLAND Living specials air exclusively on KELOLAND+ already, but those have not been a regular show.'
KELOLAND offers a KELOLAND+ program schedule to let viewers know what's airing.
In addition to Eye on KELOLAND Rewind, KELOLAND+ offers live-streaming newscasts, KELOLAND Living, Captain 11 re-runs, special broadcasts and video on demand.
'KELOLAND always wants to be the innovator and lead the charge in technology, so it is important for us to stay ahead of the curve and offer every opportunity to experience our content, and we want to make sure that we are meeting people where they're at,' Ossenfort said.
KELOLAND+ is only available on Roku, Amazon Fire, and Apple TV devices, free of charge. All you have to do is download the KELOLAND+ app to your TV:
Roku: Press the Home button on your remote control, then select Streaming Channels to open the store. Next, search for KELOLAND and press add channel.
Apple TV: Open the App Store app, then search for KELOLAND and touch Get to begin downloading.
Fire TV: From the home screen, navigate to the magnifying glass icon at the top left of the screen. Search for KELOLAND, select the app, and hit download to install it.
KELOLAND+ will feature exclusive programming over Memorial Weekend, too.
'We get a variety of programs that we can use from our parent company, Nexstar,' Staples said. 'For instance, this week we've had shows on about the Indy 500 and over Memorial Weekend, we'll re-air the Vietnam specials that we had a few weeks ago.'
KELOLAND+ is loaded with video clips to watch on demand. Simply scroll through the library and pick a video. These range from news articles, weather forecasts, sports, archive videos and more.
Find answers to frequently asked questions about KELOLAND+ on our website.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Brian Tyree Henry on how ‘Dope Thief' let him ‘reclaim' his name: ‘I was just Paper Boi to people,' and now ‘I became Brian again'
"Dope Thief allowed me to reclaim my name," says Brian Tyree Henry, the star and executive producer of the Apple TV+ limited series. The Oscar, Emmy, and Tony nominee tells Gold Derby, "I was just Paper Boi [from Atlanta] to people for quite a few years. And so with this one, I think that I became Brian again, and that is very special to me." Watch our full interview above. Henry plays Ray Driscoll on Dope Thief, a con artist who, along with his lifelong friend Manny Carvalho (Wagner Moura), robs from drug dealers by posing as DEA agents. Unfortunately, they steal from the wrong people, and mayhem ensues. The program is written by Peter Craig and based on the 2009 novel by Dennis Tafoya. "Everything that happens is absolutely terrible, but in the end, it's a fun ride," the actor recalls. More from GoldDerby Emmy experts debate Comedy Series race: 'Hacks' will compete against 'a bunch of new kids on the block' 2025 Tony Awards highlights: The best, the worst, and the 'Hamilton' mixtape Tonys 2025: Best prediction scores by Gold Derby experts, editors, and users "Wagner Moura is truly one of the best that's ever done it," Henry says of his costar. "Being able to do this show with him was the greatest gift I've ever been given, honestly." On their first day on set, he recalls Moura pulling him aside and revealing that he was "really scared," to which Henry responded, "'Regardless of what goes on, I promise you I won't leave your side. We've got each other.' And from then on, we were just connected and locked in." Henry calls Dope Thief a "love story between these two friends who are more than friends. I don't even think the word 'friend' is appropriate. They've been through so much together. It's very easy to see series where it's a Black and Brown man paired together — violence, drugs, all the yahooey — but you never really get to the core of who they are. But these two men are afraid and vulnerable, and there is grief, there is regret." Apple TV+ Henry sees a connection between his roles as the lead actor and executive producer, and takes both positions seriously. "What I realized by being the star of the show and also the EP, is that there's this phrase that floats around on sets that says, 'It starts from the top.' Whoever is considered the top of the show, their tone dictates the rest of how the show goes and is felt. And so, in this particular project, I felt like being No. 1 on the call sheet meant that I set the tone, and I didn't want anything but joy." The tone of Dope Thief shifts between incredibly dramatic and hilariously light-hearted. "Even if I'm on the ground covered in blood with a hole in my leg, in between takes, we're going to get up, I'm going to play music, we're going to talk," says Henry. "Peter would let us improv all the time, which is my juice. I love it. I just always want to be truthful in where the characters are." Regardless of what happens at upcoming awards shows, Henry is happy that Dope Thief gave him room "to show people my range and that I'm not just one thing." He's already been nominated at the Gotham TV Awards for this project, and the Emmy nominations will be unveiled on July 15. "I don't ever win sh-t," he laughs. "It's cool, but I'm always so wrong about what I think people will recognize. Let me tell you something: I'm honored." Henry opens up about how the sixth episode, in which Ray was in a "delirium" after being shot, came on the heels "of a major loss in my life, when my father died." He explains, "This episode also dealt with Ray and his father [played by Ving Rhames] and all these different things, and I was like, you have got to be kidding. There is no way that you can make this up. It was incredibly cathartic. It is an episode that I truly, truly, truly love. It was incredibly hard to make, but at the end of the day, it was so rewarding." The actor is proud of all of his collaborations and has nothing but thanks for Craig. "I tell Peter all the time, thank you for putting dialogue like this in my mouth," he says, "and for allowing space for me to actually show all these different emotions that they normally just don't let us as Black actors play." What does Henry think his character will be up to five or 10 years in the future? "I hope that Ray is on a farm in a garden that he has procured somewhere in New Hope, Pa.," he says with a smile. "I hope that he makes candles, is in love with his mother [played by Kate Mulgrew], that they're running a shop. I really want him to wear cardigans, but I want him to really feel like he's free," Henry continues. "I think that freedom is the thing that he needs." Dope Thief is now streaming on Apple TV+. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby 'Say Nothing' star Anthony Boyle on playing IRA activist Brendan Hughes: We 'get to the humanity as opposed to the mythology' The Making of 'The Eyes of the World: From D-Day to VE Day': PBS variety special 'comes from the heart' From 'Hot Rod' to 'Eastbound' to 'Gemstones,' Danny McBride breaks down his most righteous roles: 'It's been an absolute blast' Click here to read the full article.


CNET
an hour ago
- CNET
Apple tvOS 26 Brings iPhone Karaoke Microphones and Liquid Glass
At WWDC 2026, Apple unveiled the new features coming to tvOS 26 which include the company's Liquid Glass design, and the ability to use the iPhone as a microphone in Apple Music. Apple has now unveiled the ability to connect your iPhone to Apple Music on TVOS to use as a karaoke mic. Apple TV first introduced a karaoke mode to Apple Music in 2022, enabling users to sing along to onscreen lyrics, but there wasn't a way to hear your vocals apart from "live." Liq Apple In addition, Apple said that its Liquid Glass design, which reimagines buttons as see-though glass diffracting the content underneath it, will be coming to Apple TV. The company also said that the Apple TV Plus app is also getting bigger, "more cinematic" poster art in each of the show slides. Lastly, the company is also bringing profiles to TVOS enabling users to set up their own home screens and separate app logins. The Apple TV is one of our favorite streaming devices due to its simple interface and its ability to play games as well as display Dolby Vision content. The updates probably won't encourage users to switch from Roku or Google TV, but should enhance the experience for existing owners.
Yahoo
2 hours ago
- Yahoo
Ike Barinholtz Jokes He's 'Lucky to Be Alive' After Driving With ‘The Studio' Costar Seth Rogen
Ike Barinholtz is everywhere. In the past few months, he has captivated audiences by playing Continental Studios executive Sal Saperstein in Apple TV+'s The Studio, but he's also made moves behind the camera as co-creator, exec producer and writer on Netflix's Running Point. The two projects somewhat overlapped, which Barinholtz admits was 'intense. But that's what I signed up for.' Here, the actor delves into his preparation for The Studio, known for its long takes, and how Running Point, based on the life story of Lakers president Jeanie Buss, had its own unique challenges. More from The Hollywood Reporter How 'Survival of the Thickest,' 'Mo' and 'Shrinking' Are Helping Destigmatize Therapy for Men of Color Ted Sarandos' 'Studio' Appearance Is a Wink - And a Flex The Hollywood Reporter Sets Tonys Preshow Your work on andoverlapped a bit, right? What was that experience like? Yes, Running Point started maybe six weeks beforehand, but there was definitely an overlap. I'd never done that to that extent, for an extended period of time. I'm so lucky to have the partners that I have in Dave Stassen and Mindy Kaling and to have to work for guys like Seth Rogen and Evan Goldberg, who just make it easy, and they make it so when you roll into one place, you know exactly what's going on. It was intense, but hey, that's what I signed up for. In terms of , Seth Rogen wrote Sal Saperstein for you. What were those early conversations with him like? He called me many years ago, and he was like, 'I love The Larry Sanders Show. Evan Goldberg and I are doing a show about showbiz, and we're writing a part for you. Would you do it?' And it was a very easy yes. The Larry Sanders Show is one of my favorite shows of all time, and I've never really gotten a chance to do anything that really puts an eye on this business. But things happen where someone will say something to you, and then the show never materializes, or they end up making it with someone else, so I just said, 'I'm in.' Every six months or so, he would call me and be like, 'You're in, right?' And I was like, 'It's your show, dude!' But then at some point, Dave [Stassen, showrunner] and I were approached by Mindy [Kaling] to come on Running Point. And then a year later, we were rolling [on Running Point]. How did your career in Hollywood prepare you for the role, given that you've had experience with studio executives? The key to making it in Hollywood is being OK with endless rejection, disappointment, moments of great joy and excitement surrounded by nightmarish anxiety. I have been very lucky to be a writer and a producer, and I have dealt with a lot of executives on the other side of it, and the vast majority are smart and nice people who really just want the movie to be as good as possible while keeping their job. I had a lot to tap into when it came to putting Sal together. I came into this business in the 2000s, which was a crazy time, where you had the excess and bad behavior left over from the '90s, but you also had incredible yield. You had incredible comedy. I had seen a lot of executives come and go, and I tried to find someone who made their bones in that era and is still around, so they got to experience the excess and bad behavior of the 2000s but then have made it through the 'awakenings' of the 2010s and '20s. Sal's just a guy who's partied and done it all and been in multiple threesomes at Sundance over the years, but now in 2025 he understands there are certain things you have to change, otherwise you won't last. What is Sal's day like when he's not working? I think every other weekend he spends with his daughters. I definitely believe that after work, he is a martini guy. I think he could do an espresso martini if he would find himself at a brunch, but he's an old-school, normal, Vesper-ish martini guy. I could see Sal five nights a week going to Dan Tana's or Spago or Sushi Park. I could see him spending a lot of time throwing down the silver Amex. If I had to go out five nights a week, I would just die. He also probably joined some weird private gym where he just sits and reads The New York Times. What would've been Sal's bar mitzvah theme? Sal's bar mitzvah was in 1990 and would have had a theme of a film from that year, so maybe Home Alone? Possible chance his dad got Daniel Stern [who played Marv the burglar] to come. The show has some extraordinary continuous takes — what was that like for you being in front of the camera? Seth driving is just … I'm just lucky to be alive. I'm just praying in multiple different languages and religious tomes to make it through that scene. He's a very good driver, but he's a very fast driver, and we're driving cars that were built in, like, 1959. You think affable, sweet, Jewish Canadian stoner. But no, he wants to go fast. He should be in a Fast & Furious movie. As Seth Rogen. At some point, Vin [Diesel]'s character, Dom Toretto, is like, 'There's only one guy we could call, and it's Seth Rogen. He's mishpocha,' which is Yiddish for family. But no, to prepare to do this was unlike anything I'd done in my life. What was your most challenging scene? One of the first scenes I shot was [with] Chase Sui Wonders, which was a very big, emotional one. I'm going from screaming to crying to being grateful. Also, I didn't know Chase, we had just literally met, and she's such a sweet young lady, and she's like, 'Nice to meet you. I'm a big fan.' And then an hour later, I'm just in her face, like, 'You loser!' I would say the stuff in Vegas toward the end was rough. We shot for basically two weeks, every day, long hours, and we're shooting on a live casino floor late at night and dragging nude Bryan [Cranston] through the lobby of The Venetian. Were people in the casino trying to approach you all? We had a great crew that had a lot of spotters, but I mean, you're going through a packed casino floor with Seth Rogen, Bryan Cranston, Catherine O'Hara and Kathryn Hahn. Everyone likes at least one of them, if not all of them. I like to gamble a bit, and when we'd do hair and makeup, you'd have 20 minutes until you have to be on set, and I would just kind of walk past a blackjack table. I was playing, and Cranston walks past, and he's like, 'What are you up? What are you down?' And the dealer froze. He's like, 'Was that Bryan Cranston?' And I was like, 'Yeah,' and he goes, 'Your Honor is the greatest show I've ever seen.' And I was like, 'Yeah, it's amazing. And Breaking Bad!' He goes, 'Never seen it.' There is a guy out there who's like, 'My favorite actor, Bryan Cranston, Your Honor.' The show has amazing guest stars — was there a standout for you? Other than your dad. Obviously, my dad! It's impossible to pick just one. Martin Scorsese is a very important person in my life, and I never thought I would get to work with him, let alone act with him, so that was surreal. … Every day there was a new person where you're like, 'I can't believe I'm sitting in a sprinter van with Ron Howard.' It'll be interesting, for season two, who do you get? How do you top it? You've got to get Tom Hanks or something. After a day of intense filming, what was your way to decompress? When you're acting, especially all day in every scene, it is nice to come home and, at least I try, to watch like a half hour of either a TV show or a basketball game or something. But for this show, I would come home and have to instantly go into my office and work on my lines for the next day, so when I show up, I'm prepared. But it is a bit of a must that if I get home before 10 o'clock, a basketball game is really nice. Vegas was interesting because in L.A., you wrap at 8:30 pm. People are like, 'bye, see you guys tomorrow.' In Vegas, you wrap and you're standing in front of a martini bar and Catherine O'Hara is like, 'does anyone want a martini?' We did get to unwind a little bit after shooting some of those long days in Vegas with a drink or two, or in some cases, seven. In terms of , I know there was a different creative team involved first and you joined later. Initially, Mindy came to Dave and I with the idea, and we, at the time, were knee deep doing History of the World Part II with Mel Brooks. And we were bummed, because we for years were like, we got to figure out a thing to do with Mindy again, just because we love her so much. She's so funny. We just kind of missed each other, which happens. And then by the time we had finished History, she came back, and she was like, 'Hey, we're trying something new.' We sat down and talked about what we thought the show could be and then we pitched it and I think Warners and Netflix saw the path we wanted to go. Before you know, we were back in Mindy's office ordering humongous Italian sub sandwiches just like the old days. How did you collaborate with Jeanie Buss and Linda Rambis, given that the show is based on Jeanie's story? I've been lucky enough to know them for a few years, and they really are two of the nicest people I've ever met. They gave us unprecedented access, where they would let us come to the training center in El Segundo. Walking around the locker room, Austin Reaves came out in a towel and was like, 'Oh, shucks y'all, nice to meet you.' … We knew the tone we wanted, and we knew a little bit of how we wanted Isla [played by Kate Hudson] to be, but hanging with Jeanie and seeing how her employees react to her, and how they interact with each other, really informed a lot, because they love her and she loves them. That informed the writing, because we wanted the characters to be flawed. We love Succession, and we love how they just constantly shit on each other, but we really wanted to make sure there was a big undercurrent of love, and seeing that firsthand really helped us. … I'll never forget, the first day we did our camera test, and Kate walks out. She's got the hair with the little bangs, and she's got the skirt with the blouse tucked, and the lanyard. And I was like, 'It's Jeanie.' Kate and Jeanie have known each other since Kate was little. Did their relationship aid the storytelling? I think when I hear both those names, Kate Hudson and Jeanie Buss, I think of Southern California. I think they just kind of emerged from the Pacific Ocean and walked onto the beach, whether it's Manhattan Beach or the Palisades or wherever. I didn't know [they knew each other], I was just like, that makes the binding ties stronger. … It's amazing when you think about the lives both these women have led, and the fact that now one is kind of playing a version inspired by the other is just delicious. What challenges did you face? Shooting basketball is hard and very expensive. We knew this was a comedy about a family that owns a basketball team, and not about players. At first, I was like, 'How are we going to shoot basketball? We're not able to fill an arena, and we don't have the budget that, say, a Winning Time has.' But Dave Stassen brilliantly made the choice to make it feel almost like a Nike commercial from the mid-'90s. … TV budgets are just not what they used to be, so envisioning a show that was supposed to be very big, and still making it look beautiful and cool, but not having all the tools to have it, is something that was challenging at times, but I think we did it. This story first appeared in a May stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise