Thursday, July 2, 2026

War Continues at “Kelly and Michael”: Show Returns with Scripted Opening, Avoiding Elephant on the Set

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“Live with Kelly and Michael” opened this morning with the most boring opening chat in history. Scripted heavily and ripped from today’s other headlines, the opening was like a laundry list of things no one cares about. It was just a way to talk around the elephant in the room while the elephant was using its trunk to upend the furniture.

What a mess: Kelly Ripa has now been on the show since 2001– that’s fifteen years. And no one at ABC respected her enough to consult her on Michael Strahan moving to “GMA.” Same for executive producer Michael Gelman. They were left in the dark, and feel– with good reason– that they were ambushed.

“GMA” cannot expand to three hours, by the way. The 9am hour on ABC is syndicated and doesn’t belong to the network. It makes too much money for everyone– and that includes ABC, which owns Disney, which is the syndicator. So bringing Strahan to “GMA” is not a gambit to expand their show.

This is a lot like when Joan Rivers left Johnny Carson for Fox without telling him first, in 1986. Johnny never spoke to Joan again. Kelly might never speak to Michael again, except that by next week they’re both supposed to be on stage together again.

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Roger Friedman
Roger Friedman
Roger Friedman is the founder and editor-in-chief of Showbiz411. He wrote the FOX411 column on FoxNews.com from 1999 to 2009, where he covered Michael Jackson, and previously wrote the "Intelligencer" column at New York magazine in the mid-1990s, where he covered the O.J. Simpson trial. He also edited Fame magazine. His bylines have appeared in The New York Times, The Washington Post, the New York Daily News, the New York Post, Vogue, Details, and the Miami Herald. He is a voting member of the Critics Choice Awards (Film and Television branches), and his movie reviews are tracked by Rotten Tomatoes. With D.A. Pennebaker and Chris Hegedus, he co-produced the 2002 documentary "Only the Strong Survive," which screened at Directors' Fortnight at the Cannes Film Festival.

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