From Broadway dancer to entrepreneur — Amanda Kloots discusses her entrepreneurship journey and the loss of her husband
A former cohost of CBS' Daytime Emmy Award-winning talk show, 'The Talk,' Kloots has partnered with brands such as American Express, Vita Coco and General Mills.
Her notoriety exploded when her husband, Nick Cordero, a well-known Broadway actor, made headlines when he contracted COVID-19 and passed away during the height of the pandemic, leaving behind his wife and newborn son.
Kloots has written a memoir, 'Live Your Life: My Story of Loving and Losing Nick Cordero.' Through her bedtime ritual with her son, she came up with the idea for her book, 'Tell Me Your Dreams,' as one of the ways to keep her late husband's spirit alive with their son.
Most recently she launched Proper Health, a line of super-food supplement powders that is available in stores across the country.
Soon, she'll be off to Africa to host a new reality show about finding the next fitness star.
And she is long-time fan of Spot Coffee.
Kloots spoke at Kaleida Health's Women's Wellness Summit on May 6. She opened her session with moderator Heather Ly Wesolek by recalling having enjoyed Spot Coffee while she was a cast member of Broadway shows that toured through Buffalo.
The seeds of entrepreneurship
It was her Broadway dancing career that prompted her to become the entrepreneur she is today. After enduring the unpredictability of that realm of entertainment for 15 years, Kloots sought work that gave her greater control.
"I decided to take a leap. I was going to start my fitness business," she said. "That was the first time I created something and it was so empowering."
It was unnerving, too.
"It can be scary sometimes, betting on yourself, especially when the rent and the family depend on it," she said. "I keep that in mind whenever I think, 'I can't do that yet because things aren't lined up.' Things will never be lined up correctly. There's never a perfect time. You have to keep believing in yourself and in what you really want to do."
She started teaching and enjoyed seeing her students evolve, especially those who started the class in the back row, unsure of themselves, and worked their way to the front row with confidence and a smile, ready to share their journey with her.
Kloots confessed to having been body-obsessed, comparing herself to other women and adopting odd eating habits that would help her achieve physical perfection. Then she got pregnant and developed a more well-grounded personal fitness philosophy.
"Fitness is not about your jeans size. It's about your mental health," she said. "Fitness has saved me in my life by giving me the ability to just move my body and remember how grateful I am that I can and how it's such a privilege to be able to go on a walk or a run or take a class, dance or jump rope. It's a privilege. We take our bodies for granted, but we only get one. This is it and you have to take care of it."
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Mark Mulville
Emerging from the COVID-19 loss of her husband
It seems especially cruel for someone so devoted to physical fitness to have had to face the heartbreak of watching her husband battle COVID-19 while she dealt with the constraints of the pandemic.
However she was comforted by coming home from the daily hospital vigils to her son and brother and sister who came to live with her.
She took solace in being with her siblings again, the nightly dinners they took turns making and the movies from their childhood they would watch together.
"Meanwhile, my husband's dying in the hospital," Kloots said. "The juxtaposition of my life at that time was insane. I felt bipolar, coming home to them and my son every night, but it was such a blessing."
Upon her husband's death, HarperCollins Publishers asked her to write a memoir about that period in her life. Never having kept a journal, she was surprised to find the writing cathartic and she encourages anyone faced with trauma or grief to write it all down to help with the healing process.
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Mark Mulville
She also recommends finding a community of people with like experiences who can offer understanding and support without judgement. Making those connections can be difficult for someone who doesn't often reach out, but accepting help is like getting an immediate hug, she said.
Death taught her how to live, do things in the moment and go after her dreams, Kloots said.
"I haven't fought with somebody since I lost my husband. There's no point to it; life is too short," she said. "Love is the most beautiful thing on the planet and it's such a gift we can give to ourselves and other people. Losing the love of my life taught me that."
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Los Angeles Times
2 hours ago
- Los Angeles Times
Hollywood gave up on big-screen comedies. Will the movies learn to laugh again?
For Hollywood, the state of big-screen comedies has been so grim you almost have to laugh. There are genres that have dominated the cineplex in recent years — special effects-heavy blockbusters, family films and scream-in-your-seat horror movies. But comedies? Not so much after the COVID-19 pandemic. A recent spate of theatrical funnies is trying to change that. This month, studios have released one comedy after another, starting with Paramount Pictures' reboot of 'The Naked Gun,' starring Liam Neeson and Pamela Anderson, and Walt Disney Co.'s more-than-20-years-later sequel 'Freakier Friday,' which reunited Jamie Lee Curtis and Lindsay Lohan. So far, 'The Naked Gun' has grossed $73 million worldwide, while 'Freakier Friday' brought in $86 million. Both received solid reviews from critics — 'The Naked Gun' notched a 87% approval rating on aggregator Rotten Tomatoes, while 'Freakier Friday' got a 74%. Next up is Searchlight Pictures' 'The Roses,' a remake of 'The War of the Roses,' and Neon's 'Splitsville,' an original film about messy marriages starring Dakota Johnson. It's an unusual cadence for a genre that fell out of favor with studios over the last decade or so as onscreen laughs largely moved to streaming. But bringing audiences together for a funny movie is just as important as getting them to collectively flinch during a jump scare, filmmakers said. 'People realize the need for a communal experience when they see a horror movie, but I think everyone kind of forgot the need for a communal experience to laugh together,' said Nisha Ganatra, director of 'Freakier Friday.' 'Why do we have to just trigger fight-or-flight in people as a communal experience? Why can't we just trigger joy and connection?' Today, comedies reap a fraction of the box office revenue they once did, according to David A. Gross, who writes the FranchiseRe industry newsletter. This year, for example, will have at least 18 wide-release comedies that are expected to gross a total of $650 million worldwide, he said. In 2005, a high point for the genre, 50 wide-release films garnered more than $4 billion in total worldwide box office revenue. Hollywood comedies were a cash cow for years, but they've run up against a number of hurdles. They got more expensive to produce, particularly as the stars from comedy's boom years in the 2000s became more prominent. Humor has also changed, and jokes that may have been passable decades ago are no longer appropriate, experts said. And U.S.-made comedies don't always work internationally, which can dent their overall box office potential, despite theaters' desire for films of all genres. 'Comedies went the way of the western,' said Jeff Bock, senior box office analyst at research firm Exhibitor Relations. 'We have seen a resurgence, but to keep that genre strong and in the minds of people, there really has to be a commitment from the major studios.' Hollywood's history is entwined with comedy. During the silent film era, audiences flocked to see the physical antics of Charlie Chaplin and Buster Keaton. Decades later, the comedic chops of stars such as Eddie Murphy, Chevy Chase and Mike Myers drew viewers to the big screen. More recently, the 2000s marked a surge for theatrical comedies. From the TV broadcaster fights of 'Anchorman' to the gross-out satire 'Borat' and the drunken escapades of 'The Hangover,' comedies were a mainstay at the box office. Comedy directors such as Judd Apatow, Adam McKay and Todd Phillips achieved explosive results. But since then, the number of wide-release films and global theatrical revenue have trended steadily downward, Gross said. 'This is just the evolution of the theatrical business,' Gross said. 'More and more, it has to be either some kind of visual spectacle or a family movie. To really jolt and move the needle theatrically, it has to be something extraordinary.' Part of that shift can also be attributed to the rise of streaming and the pandemic, which shut down theaters and caused studios to rethink what movies were suitable for the big screen. Comedic films increasingly migrated to streamers, such as this year's Will Ferrell and Reese Witherspoon-led romantic comedy 'You're Cordially Invited' on Prime Video, or 2021's star-studded satire 'Don't Look Up' on Netflix. Streamers have become lucrative business partners for comedians, including Adam Sandler, who first signed a four-film deal with Netflix in 2014. His latest film, 'Happy Gilmore 2,' was released on Netflix last month, earning huge viewership numbers. Comedy has also blossomed in series form, with shows like Netflix's 'Nobody Wants This,' Apple TV+'s 'The Studio' and Hulu's 'Only Murders in the Building.' The success of these shows, as well as a glut of stand-up comics' streaming specials, point to a hunger for laugh-out-loud content, industry insiders say. Now, it's just a matter of porting that interest over to the big screen — or reacquainting audiences with that theatrical comedy experience, filmmakers hope. 'The idea of comedy in the marketplace has been working in television and in streaming in a big way,' said Erica Huggins, president of Seth MacFarlane's Fuzzy Door Productions and a producer of 'The Naked Gun.' 'The more we change people's habits to appreciate and get excited about wanting to go and see it in the theater, it's going to catch on.' One key factor is making comedies on modest budgets. Given the lower box office returns for comedies these days, and the fact that they usually don't work as well internationally, the ideal price point is typically around $30 million to $40 million, said Bock of Exhibitor Relations. That about lines up with the budgets reported for 'Freakier Friday' and 'The Naked Gun' ($42 million). A larger budget for a comedy could feel like too much of a gamble for risk-averse studios, which would then need to rely on a bigger theatrical response and grosses from countries where comedic sensibilities are different. 'Any comedy feels like it's a big swing,' said Kyle Marvin, who produced, co-wrote and stars in 'Splitsville,' said of the landscape for these films. 'It could knock it out of the park. It could also miss.' Comedy is also now integrated in other genres, such as action, kids' movies and CGI-heavy franchises like 'A Minecraft Movie.' 'There's a built-in audience,' said Michael Angelo Covino, who directed, co-wrote, produced and starred in 'Splitsville.' 'It can be big, it can be explosive, and it can have a comedic element to it, as opposed to a purely original comedy, which 20 years ago, we had a robust theatrical market for.' (Though he did not disclose the budget for the film, Covino said it was made 'lean and mean' but still allowed for big stunt sequences.) There's some indication that studios are warming again to big-screen comedies. In a recent presentation to reporters, new Paramount Pictures co-chair Josh Greenstein said the studio saw a 'huge opportunity' for R-rated comedies, among other film genres. A sequel to the Keke Palmer and SZA-led buddy comedy 'One of Them Days,' released earlier this year, is in early development at Sony Pictures Entertainment's TriStar Pictures. The film, which was set in Los Angeles, made more than $51 million on a reported budget of $14 million. Huggins said 'The Naked Gun' was always a theatrical play for Paramount, as well as Fuzzy Door. And studio insiders said the recent box office performances of that film and 'Freakier Friday' have suggested that comedies can still be theatrical draws. Relying on known intellectual property is a way for studios to hedge their bets on comedies, said David Isaacs, a professor of screen and television writing at the USC School of Cinematic Arts who worked on 'MASH' and other shows, and is co-chair of the USC Comedy program. Closer to home, he's noticed that young writers coming through USC's program want more comedy, despite the dearth of original theatrical efforts in the genre. 'You would think this would be a time when we're at an ebb in instruction,' Isaacs said. 'We get complaints that we're not teaching enough comedy.' And in such difficult political and global times, the opportunity to laugh together may be more important than ever, filmmakers said. 'The world is different, and it's a serious time in the world,' Huggins said. 'Comedy is something that we all feel like we need these days.'
Business Wire
2 hours ago
- Business Wire
Dunkin'® Serves Up a Fall First: The New Cereal N' Milk Latte, Plus Lineup Full of Fall Favorites Return
BOSTON--(BUSINESS WIRE)--This fall, Dunkin' is taking mornings back to where they began: with the clink of a spoon in a cereal bowl. Launching nationwide today, the all-new Cereal N' Milk Latte transforms that memory into a sweet, nostalgic sip, blended with cereal milk and espresso. The season gets even sweeter as two-time GRAMMY Award-winning global superstar Sabrina Carpenter is back with more Daydream Refresher flavors to turn any fall afternoon into a little escape. Dunkin's fall icons also make their comeback, with pumpkin spice back in the spotlight and the $6 Meal Deal delivering unbeatable value for great-tasting breakfast all day long. A Sip of Nostalgia: Meet the Cereal N' Milk Latte Dunkin' is serving up a latte that tastes like childhood, all grown up. The new Cereal N' Milk Latte combines espresso with cereal milk for a marshmallow-cereal flavor that's creamy, rich and unmistakably nostalgic. Building on the success of the Dunkalatte™, Dunkin' is taking its latte innovation to the next level with cereal milk made with real cereal, unlocking that unmistakable bottom-of-the-bowl sweetness. Available hot or iced, it's marshmallow cereal nostalgia made for today's busy mornings—spoon-free. 'This latte is all about nostalgia! The idea came from the best part of eating cereal, that last bit of milk. We all remember finishing a bowl just to enjoy those final, sweet sips, which inspired our new Cereal N' Milk Latte,' said Anthony Epter, vice president of menu innovation at Dunkin'. 'With our very own cereal milk blended with rich espresso, the Cereal N' Milk Latte brings that marshmallow-flavored, bottom-of-the-bowl taste in every sip. Just like the Dunkalatte, it gives the classic latte a fun new twist.' And because one good throwback deserves another, Dunkin' is dropping a limited-edition Cereal N' Milk Latte-inspired merch collection at starting today at 9 a.m. ET. Taking inspiration from the golden era of cereal culture, the exclusive drop includes a crewneck ($45), graphic tee ($30) and trucker hat ($20). The merch features a range of playful throwback designs – from cereal bowls, spoons and milk cartons to graffiti-style Cereal N' Milk branding. Each piece is available in three vibrant colors, while supplies last. Dunkin' Refreshers Just Got Dreamier After the buzz of Sabrina's Strawberry Daydream Refresher, two-time GRAMMY Award-winning global superstar Sabrina Carpenter is back to round out the lineup with Mixed Berry, joining Mango and Strawberry to create a trio of Daydream Refreshers. Crafted with oatmilk and topped with velvety cold foam, each sip is indulgent yet refreshingly light. Whether you're in the mood for the tropical pop of Mango, the juicy sweetness of Mixed Berry or the creamy nostalgia of Strawberry, Sabrina's Daydream Refreshers deliver three crave-worthy flavors to match any mood. Through the Dunkin' app, guests can create their perfect sip with the Mix Your Own Refresher option. With customizable bases (green tea, black tea, lemonade, sparkling water, water, or oatmilk), flavors, and sweetness levels – there's a drink that's as creamy, bold, bubbly or tart as they like. Plus, more fun is brewing next month, so fans can stay tuned to Dunkin's social channels for what's next. The Return of Pumpkin at Dunkin' No fall at Dunkin' is complete without pumpkin. The iconic Pumpkin Spice Signature Latte, hot or iced, is back to spice up the season, made with flavors of sweet pumpkin, vanilla and warm fall spices, then finished with whipped cream, caramel drizzle and a dusting of cinnamon sugar. Guests can also add pumpkin swirl to their favorite hot or iced coffee, Cold Brew or espresso drink. Joining the pumpkin lineup this year is the all-new Iced Pumpkin Loaf, a rich pumpkin and vanilla flavored pound cake topped with cream cheese icing. Individually wrapped for on-the-go convenience, it's an instant seasonal classic. Guests can pair their favorite pumpkin sips with the returning Pumpkin Bakery lineup, featuring the Pumpkin Cake Donut and Pumpkin MUNCHKINS® Donut Hole Treats, glazed to perfection for that unmistakable Dunkin' pumpkin fix. Savor the Season with New & Returning Favorites Beyond pumpkin, Dunkin' is rounding out the fall menu with more crave-worthy bites both sweet and savory: Kreme Delight Donut: a yeast shell filled with vanilla flavored buttercreme, topped with rich chocolate icing and finished with a vanilla flavored buttercreme rosette. Chipotle Loaded Hash Browns: Crispy hash browns drizzled with chipotle aioli and topped with crumbled bacon. A delicious take on the popular Loaded Hash Browns. Maple Sugar Bacon: A fan favorite since 2019, back in the Maple Sugar Bacon Breakfast Sandwich, Snackin' Bacon, and Wake-Up Wrap®. These join seasonal favorites like the Chipotle Hash Brown Wake-Up Wrap®, Ham & Swiss Croissant Stuffer and Braided Apple Pie, making fall at Dunkin' a full lineup of flavor. Deals Worth Runnin' On Fall isn't just about flavor—it's about value, too. And with busy schedules in full swing, Dunkin' is keeping guests fueled with deals that fit every kind of day. The popular $6 Meal Deal is back, serving up a Bacon, Egg and Cheese Sandwich, crispy hash browns and a medium hot coffee (14 oz.) or iced coffee (24 oz.) – all for $6*. For Dunkin' Rewards members, the savings stack up even higher with limited-time offers**: Through August 31: $2 10 count MUNCHKINS® Donut Hole Treats, with beverage purchase August 25 – October 27: 100 bonus points when ordering ahead on Mondays September 1 – 15: $1 Braided Apple Pie, with beverage purchase September 16 – 30: $2 Chipotle Hash-Brown Wake-Up Wrap®, with beverage purchase Those not yet enrolled in Dunkin' Rewards can create a free account on the Dunkin' app or by visiting To stay up to date on what Dunkin's brewing up this fall, visit or subscribe to the Dunkin' blog to receive notifications at * Excludes espresso and cold brew beverages, seasoned bacon, and loaded hash browns. Offer valid on Bacon, Egg & Cheese breakfast sandwiches only. Price and participation may vary. Limited time offer. Cannot be combined with other offers. Terms apply. ** Dunkin' Rewards members only. Must activate before use. Additional charges, terms and exclusions may apply. About Dunkin' Dunkin', founded in 1950, is the largest coffee and donuts brand in the United States, with more than 14,000 restaurants in nearly 40 global markets. Dunkin' is part of the Inspire Brands family of restaurants. For more information, visit and
Fox News
3 hours ago
- Fox News
TV anchor sues Boston CBS affiliate claiming White employees targeted under corporate DEI push
A longtime White TV anchor for Boston's CBS affiliate has filed a federal lawsuit alleging she was demoted to satisfy corporate diversity quotas under a broader diversity, equity and inclusion (DEI) push. Katherine Merrill Dunham, an anchor for CBS affiliate WBZ-TV, was known to viewers as Kate Merrill. She filed a lawsuit in Boston federal court on August 5 claiming WBZ-TV "exploited" DEI policies imposed by parent corporations CBS and Paramount Global and took "career-ending action" against her to advance a companywide DEI agenda. The lawsuit notes that in 2021, CBS acknowledged "diversity, equity and inclusion standards need to be a top priority for leadership in every corner" moving forward. According to the lawsuit, CBS executives said WBZ was "too White," "the least diverse station for on air talent," and the "Whitest of all their stations." In September 2023, WBZ hired a Black meteorologist named Jason Mikell, who is listed as a defendant. A White meteorologist, Zack Green, was let go, according to the lawsuit. "On February 22, 2024, Defendant Mikell made an inappropriate sexual innuendo about Ms. Merrill on air. Specifically, he implied that Ms. Merrill and her co-anchor had sexual relations at a gazebo," the lawsuit states. "Mikell was not disciplined for his sexually charged remark." The complaint states that Merrill continued to support Mikell despite her disappointment. However, in April 2024, she privately texted him to correct a mispronunciation of the town "Concord," and Mikell allegedly "loudly yelled at her on the studio floor." "His tone was aggressive and unprofessional… Merrill immediately lodged a complaint with WBZ's Human Resources department," the complaint states. WBZ, CBS and Paramount took no action to investigate, according to the lawsuit. Merrill's complaint about Mikell's aggressive confrontation and threatening treatment of her, nor did they investigate the previous complaints lodged by Merrill's colleagues about Mikell's "sexually charged" comment on air about Merrill, according to the complaint that was obtained by Fox News Digital. However, Merrill was informed "that an investigation was being conducted into allegations that she treated coworkers differently because of their race." According to the complaint, Mikell alleged that Merrill suggested he would "find his people" in Boston, was "always" critical of him, failed to ask him about his weekends and other issues. "Merrill vehemently challenged the validity of Defendant Mikell's allegations and denied (and denies) any of her actions, inactions, or comments were as described or motivated by overt racism or unconscious bias," the complaint states. "Based on the falsity and/or and misleading nature of Defendant Mikell's allegations, Defendant Mikell acted with malice and/or improper motive in lodging a complaint against Ms. Merrill." Merrill was then informed she would be demoted from her role as co-anchor of the "Weekday Morning Show" to working weekend nights, stating that decision "had been in the works for some time," according to the complaint. "Merrill was advised by professional colleagues and senior leaders at SAG-AFTRA that the demotion constituted 'career sabotage' from which her career would never recover – i.e., that the demotion was career ending," the lawsuit states. "Because of the catastrophic damage a demotion would have caused her career, especially in the context of allegations that she was racist, on May 24, 2024, Ms. Merrill gave notice of constructive discharge resignation, effective immediately," the suit continues. "Ms. Merrill's employment agreement with WBZ expires, by its terms on June 1, 2025. It contains a non-competition provision. She was therefore unable to work in her field until after June 1, 2025. As a result, Ms. Merrill has suffered significant financial losses." Merrill claims she suffered significant reputational harm and has not been paid for 20 unused vacation days. She is seeking damages to be determined at trial. CBS' parent company, Paramount, promised it would eliminate DEI policies last month ahead of a planned merger with Skydance Media. WBZ-TV and Mikell did not immediately respond to requests for comment.
