LOS ANGELES (AP) — Shannen Doherty, the “Beverly Hills, 90210” star whose life and career were roiled by illness and tabloid stories, has died at 53.

Doherty died Saturday, according to a statement from her publicist, Leslie Sloane, given to People magazine. She had had breast cancer for years.

Her illness was publicly revealed in a lawsuit filed in 2015 against her former business managers, in which she alleged they mismanaged her money and allowed her health insurance to lapse. She later shared intimate details of her treatment following a single mastectomy. In December 2016, she posted a photo of her first day of radiation, calling the treatment “frightening” for her.

In February 2020, Doherty revealed that the cancer had returned and she was at stage four. She said she came forward because her health conditions could come out in court. The actor had sued insurance giant State Farm after her California home was damaged in a fire in 2018.

LOS ANGELES (AP) — Norman Lear, the writer, director and producer who revolutionized prime time television with “All in the Family,” “The Jeffersons” and “Maude,” propelling political and social turmoil into the once-insulated world of TV sitcoms, has died. He was 101.

Lear died Tuesday night in his sleep, surrounded by family at his home in Los Angeles, said Lara Bergthold, a spokesperson for his family.

A liberal activist with an eye for mainstream entertainment, Lear fashioned bold and controversial comedies that were embraced by viewers who had to watch the evening news to find out what was going on in the world. His shows helped define prime time comedy in the 1970s, launched the careers of Rob Reiner and Valerie Bertinelli and made middle-aged superstars of Carroll O’Connor, Bea Arthur and Redd Foxx.

Lear “took television away from dopey wives and dumb fathers, from the pimps, hookers, hustlers, private eyes, junkies, cowboys and rustlers that constituted television chaos, and in their place he put the American people,” the late Paddy Chayefsky, a leading writer of television’s early “golden age,” once said.

Tributes poured in after his death: “I loved Norman Lear with all my heart. He was my second father. Sending my love to Lyn and the whole Lear family,” Reiner wrote on X, formerly Twitter. “More than anyone before him, Norman used situation comedy to shine a light on prejudice, intolerance, and inequality. He created families that mirrored ours,” Jimmy Kimmel said.

“All in the Family” was immersed in the headlines of the day, while also drawing upon Lear’s childhood memories of his tempestuous father. Racism, feminism, and the Vietnam War were flashpoints as blue collar conservative Archie Bunker, played by O’Connor, clashed with liberal son-in-law Mike Stivic (Reiner). Jean Stapleton co-starred as Archie’s befuddled but good-hearted wife, Edith, and Sally Struthers played the Bunkers’ daughter, Gloria, who defended her husband in arguments with Archie.

Lear’s work transformed television at a time when old-fashioned programs as “Here’s Lucy,” “Ironside” and “Gunsmoke” still dominated. CBS, Lear’s primary network, would soon enact its “rural purge” and cancel such standbys as “The Beverly Hillbillies” and “Green Acres.” The groundbreaking sitcom “The Mary Tyler Moore Show,” about a single career woman in Minneapolis, debuted on CBS in Sept. 1970, just months before “All in the Family” started.

But ABC passed on “All in the Family” twice and CBS ran a disclaimer when it finally aired the show: “The program you are about to see is ‘All in the Family.’ It seeks to throw a humorous spotlight on our frailties, prejudices, and concerns. By making them a source of laughter we hope to show, in a mature fashion, just how absurd they are.”

By the end of 1971, “All In the Family” was No. 1 in the ratings and Archie Bunker was a pop culture fixture, with President Richard Nixon among his fans. Some of his putdowns became catchphrases. He called his son-in-law “Meathead” and his wife “Dingbat,” and would snap at anyone who dared occupy his faded orange-yellow wing chair. It was the centerpiece of the Bunkers’ rowhouse in Queens, and eventually went on display in the Smithsonian’s National Museum of American History.

Even the show’s opening segment was innovative: Instead of an off-screen theme song, Archie and Edith are seated at the piano in their living room, belting out a nostalgic number, “Those Were the Days,” with Edith screeching off-key and Archie crooning such lines “Didn’t need no welfare state” and “Girls were girls and men were men.”

“All in the Family,” based on the British sitcom, “Til Death Us Do Part,” was the No. 1-rated series for an unprecedented five years in a row and earned four Emmy Awards as best comedy series, finally eclipsed by five-time winner “Frasier” in 1998.

Hits continued for Lear and then-partner Bud Yorkin, including “Maude” and “The Jeffersons,” both spinoffs from “All in the Family,” with the same winning combination of one-liners and social conflict. In a 1972 two-part episode of “Maude,” the title character (played by Arthur) became the first on television to have an abortion, drawing a surge of protests along with high ratings. And when a close friend of Archie’s turned out to be gay, Nixon privately fumed to White House aides that the show “glorified” same-sex relationships.

“Controversy suggests people are thinking about something. But there’d better be laughing first and foremost or it’s a dog,” Lear said in a 1994 interview with The Associated Press.

Lear and Yorkin also created “Good Times,” about a working class Black family in Chicago; “Sanford & Son,” a showcase for Foxx as junkyard dealer Fred Sanford; and “One Day at a Time,” starring Bonnie Franklin as a single mother and Bertinelli and Mackenzie Phillips as her daughters. In the 1974-75 season, Lear and Yorkin produced five of the top 10 shows.

Lear’s business success enabled him to express his ardent political beliefs beyond the small screen. In 2000, he and a partner bought a copy of the Declaration of Independence for $8.14 million and sent it on a cross-country tour.

He was an active donor to Democratic candidates and founded the nonprofit liberal advocacy group People for the American Way in 1980, he said, because people such as evangelists Jerry Falwell and Pat Robertson were “abusing religion.”

“I started to say, This is not my America. You don’t mix politics and religion this way,” Lear said in a 1992 interview with Commonweal magazine.

The nonprofit’s president, Svante Myrick, said “we are heartbroken” by Lear’s death. “We extend our deepest sympathies to Norman’s wife Lyn and their entire family, and to the many people who​, like us,​ loved Norman.”

With this wry smile and impish boat hat, the youthful Lear created television well into his 90s, rebooting “One Day at a Time” for Netflix in 2017 and exploring income inequality for the documentary series “America Divided” in 2016. Documentarians featured him in 2016’s “Norman Lear: Just Another Version of You,” and 2017’s “If You’re Not in the Obit, Eat Breakfast,” a look at active nonagenarians such as Lear and Rob Reiner’s father, Carl Reiner.

In 1984, he was lauded as the “innovative writer who brought realism to television” when he became one of the first seven people inducted into the National Academy of Television Arts and Sciences’ Hall of Fame. He later received a National Medal of Arts and was honored at the Kennedy Center. In 2020, he won an Emmy as executive producer of “ Live In Front of a Studio Audience: ‘All In the Family’ and ‘Good Times’.’”

Lear beat the tough TV odds to an astounding degree: At least one of his shows placed in prime-time’s top 10 for 11 consecutive years (1971-82). But Lear had flops as well.

Shows including “Hot L Baltimore,” “Palmerstown” and “a.k.a. Pablo,” a rare Hispanic series, drew critical favor but couldn’t find an audience; others, such as “All That Glitters” and “The Nancy Walker Show,” earned neither. He also faced resistance from cast members, including “Good Times” stars John Amos and Esther Rolle, who often objected to the scripts as racially insensitive, and endured a mid-season walkout by Foxx, who missed eight episodes in 1973-74 because of a contract dispute.

In the 1990s, the comedy “704 Hauser,” which returned to the Bunker house with a new family, and the political satire “The Powers that Be” were both short-lived.

Lear’s business moves, meanwhile, were almost consistently fruitful.

Lear started T.A.T. Communications in 1974 to be “sole creative captain of his ship,” his former business partner Jerry Perenchio told the Los Angeles Times in 1990. The company became a major TV producer with shows including “One Day at a Time” and the soap-opera spoof “Mary Hartman Mary Hartman,” which Lear distributed himself after it was rejected by the networks.

In 1982, Lear and Perenchio bought Avco-Embassy Pictures and formed Embassy Communications as T.A.T.’s successor, becoming successfully involved in movies, home video, pay TV and cable ownership. In 1985, Lear and Perenchio sold Embassy to Coca-Cola for $485 million. They had sold their cable holdings the year before, reportedly for a hefty profit.

By 1986, Lear was on Forbes magazine’s list of the 400 richest people in America, with an estimated net worth of $225 million. He didn’t make the cut the next year after a $112 million divorce settlement for his second wife, Frances. They had been married 29 years and had two daughters.

He married his third wife, psychologist Lyn Davis, in 1987 and the couple had three children. (Frances Lear, who went on to found the now-defunct Lear’s magazine with her settlement, died in 1996 at age 73.)

Lear was born in New Haven, Conn. on July 27, 1922, to Herman Lear, a securities broker who served time in prison for selling fake bonds, and Jeanette, a homemaker who helped inspire Edith Bunker. Like a sitcom, his family life was full of quirks and grudges, “a group of people living at the ends of their nerves and the tops of their lungs,” he explained during a 2004 appearance at the John F. Kennedy Presidential Library in Boston.

His political activism had deep roots. In a 1984 interview with The New York Times, Lear recalled how, at age 10, he would mail letters for his Russian immigrant grandfather, Shia Seicol, which began “My dearest darling Mr. President,” to Franklin D. Roosevelt. Sometimes a reply came.

“That my grandfather mattered made me feel every citizen mattered,” said Lear, who at 15 was sending his own messages to Congress via Western Union.

He dropped out of Emerson College 1942 to enlist in the Air Force and flew 52 combat missions in Europe as a turret gunner, earning a Decorated Air Medal. After World War II, he worked in public relations.

Lear began writing in the early 1950s on shows including “The Colgate Comedy Hour” and for such comedians as Martha Raye and George Gobel. In 1959, he and Yorkin founded Tandem Productions, which produced films including “Come Blow Your Horn,” “Start the Revolution Without Me” and “Divorce American Style.” Lear also directed the 1971 satire “Cold Turkey,” starring Dick Van Dyke about a small town that takes on a tobacco company’s offer of $25 million to quit smoking for 30 days.

In his later years, Lear joined with Warren Buffett and James E. Burke to establish The Business Enterprise Trust, honoring businesses that take a long-term view of their effect on the country. He also founded the Norman Lear Center at the University of Southern California’s Annenberg School for Communication, exploring entertainment, commerce and society and also spent time at his home in Vermont. In 2014, he published the memoir “Even This I Get to Experience.”

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Longtime AP Television Writer Lynn Elber retired from The Associated Press in 2022. Contributors include Alicia Rancilio in Detroit and Hillel Italie in New York.

La serie de HBO, que capturó la profunda inquietud en los Estados Unidos durante los choques raciales y políticos en medio de la pandemia, fue postulada a mejor serie limitada y recibió menciones para miembros de su elenco que incluyen a Regina King y Jeremy Irons.

King fue parte de un grupo vanguardista de actores de color que demostró que los votantes de la academia televisiva prestaron atención al clima social.

“¡Zendaya!”, exclamó además la presentadora Leslie Jones al anunciar la nominación de la estrella de “Euphoria” a mejor actriz en una serie de drama. “Este es un día maravilloso”, agregó.

Jones estuvo entre los presentadores que revelaron la lista de nominados por internet, no por televisión como suele hacerse. Pero nada es usual en la era del coronavirus que ha paralizado las producciones en Hollywood y llevado a los Emmy y otros premios a buscar alternativas.

El sólido desempeño de “Ozark” de Netflix ayudó al servicio de streaming a lograr un récord de 160 nominaciones, superando a la perenne líder HBO, que recibió 107.

El servicio debutante Apple TV+ despertó atención en su primera temporada con la nominación de Jennifer Aniston a mejor actriz en una serie de drama por “The Morning Show”. Otra novata del streaming, Disney+, figuró con su derivada de Star Wars “The Mandalorian”, que consiguió 15 menciones, incluyendo a mejor serie de drama.

La comedia de Amazon “The Marvelous Mrs. Maisel” fue la segunda con mayor número de nominaciones, 20, seguida de “Ozark”, con 18.

“Este año, también fuimos testigo de una de las peleas por la justicia social más grandes de la historia. Y es nuestro deber usar este medio para el cambio”, dijo Frank Scherma, presidente y director ejecutivo de la Academia de la Televisión, al comienzo de la presentación.

Kerry Washington recibió cuatro menciones en una variedad de apartados, incluyendo a mejor actriz por “Little Fires Everywhere” y por el trabajo de su compañía productora en esta serie limitada y otros programas.

La diversidad fue especialmente notable en las categorías de comedia tras haber estado casi ausente el año pasado.

“Ramy”, que hace humor de una crisis de identidad y fe de un joven musulmán estadounidense, le mereció una candidatura a mejor actor a su protagonista y creador, Ramy Youssef. Issa Rae volvió a la categoría de mejor actriz de comedia por su serie “Insecure”, que también fue postulada.

“Schitt’s Creek”, que no había sido reconocida por los Emmy hasta el año pasado, recibió 15 nominaciones para su última temporada, entre ellas a mejor serie de comedia y mejor actor y actriz, para Eugene Levy y Catherine O’Hara, respectivamente.

“The Good Place”, que también llegó a su fin, fue nominada a mejor serie de comedia y mejor actor de comedia, para Ted Danson.

La despedida fue menos afectuosa para otros programas que llegaron a su fin, como “Modern Family”, “Homeland” y “Silicon Valley”.

Pero el difunto Fred Willard recibió una mención por su aparición como invitado en “Modern Family”. También recibió una candidatura póstuma la directora Lynn Shelton, por la serie limitada “Little Fires Everywhere”.

“Estoy increíblemente agradecida de que la Academia de la Televisión haya decidido honrar a Lynn con esta nominación tan merecida”, dijo Washington. “Sé que ella está celebrando en el más allá”.

Las ocho candidaturas para “Unorthodox”, una serie limitada sobre una judía ortodoxa insatisfecha, podría reflejar que el tiempo en casa por la cuarentena llevó a los votantes del Emmy a ver series que de otro modo habrían pasado por alto, dijo Daniel Fienberg, el principal crítico de TV para The Hollywood Reporter.

Un fenómeno de la cultura pop muy diferente también se habría beneficiado.

“Una serie como ‘Tiger King’, por ejemplo, que recibió un puñado de nominaciones, en realidad no es tan maravillosa, pero era absolutamente la comida chatarra que la gente ansiaba al principio la cuarentena”, dijo Feinberg.

Junto a Jones presentaron a los nominados Laverne Cox (“Orange is the New Black”), Josh Gad (“Frozen”) y Tatiana Maslany (“Orphan Black”).

Entre los homenajeados por papeles que chocaron con sucesos de actualidad, Brad Pitt fue nominado por su papel como invitado en “Saturday Night Live”, donde interpretó al doctor Anthony Fauci.

Las nominadas a mejor serie de comedia son: “Curb Your Enthusiasm”, “Dead to Me”, “The Good Place”, “Insecure”, “The Kominsky Method”, “The Marvelous Mrs. Maisel”, “Schitt’s Creek”, y “What We Do in the Shadows”.

Las candidatas a mejor serie de drama: “Better Call Saul”, “The Crown”, “Killing Eve”, “The Handmaid’s Tale”, “The Mandalorian”, “Ozark”, “Stranger Things” y “Succession”.

Por el premio a la mejor actriz en una serie de drama compiten Jennifer Aniston (“The Morning Show”), Olivia Colman (“The Crown”), Jodie Comer (“Killing Eve”), Laura Linney (“Ozark”), Sandra Oh (“Killing Eve”) y Zendaya (“Euphoria”).

Por el de mejor actor en una serie de drama, Jason Bateman (“Ozark”), Sterling K. Brown (“This is Us”), Billy Porter (“Pose”), Jeremy Strong (“Succession”), Brian Cox (“Succession”) y Steve Carell (“The Morning Show”)

Los candidatos a mejor actor en una serie de comedia son Anthony Anderson (“black-ish”), Don Cheadle (“Black Monday”), Ted Danson (“The Good Place”), Michael Douglas (“The Kominsky Method”), Eugene Levy (“Schitt’s Creek”) y Ramy Youssef (“Ramy”).

Las nominadas a mejor actriz en una serie de comedia: Christina Applegate (“Dead to Me”), Rachel Brosnahan (“The Marvelous Mrs. Maisel”), Linda Cardellini (“Dead to Me”), Catherine O’Hara (“Schitt’s Creek”), Issa Rae (“Insecure”) y Tracee Ellis Ross (“black-ish”).

Jones comenzó la presentación del martes con mucha energía en un escenario virtual. En chiste, dijo que le habían informado que habría mucha más gente con ella para anunciar a los nominados, pero que estaba encerrada en un estudio sólo con un camarógrafo.

Los premios Emmy se entregarán el 20 de septiembre en una ceremonia transmitida por la cadena ABC que tendrá a Jimmy Kimmel como anfitrión.