The Bachelorette and Bachelor In Paradise have been renewed by ABC for new seasons to premiere in 2020.
Netflix has canceled The OA.
Season finales tonight for The 100, Blood & Treasure, and Drunk History.
Season premieres tonight for The Real Housewives of Orange County, Flipping Exes (series premiere), Intervention and HBO’s Hard Knocks (featuring the Oakland Raiders).
Younger‘s Nico Tortorella will also star in the new Walking Dead spinoff, which is set to premiere sometime in 2020.
This kid Kai is the biggest fb I’ve seen on any program in a very very long time.
A lot of ABC news today, starting with this: “Could Happy Endings live to see another day at ABC? According to ABC Entertainment president Karey Burke, the answer may surprise you. ‘I will never say never; I'm hearing whispers,’ Burke told The Hollywood Reporter during an interview Monday after her time onstage at the Television Critics Association's summer press tour. ‘That is a dream of a lot of people at ABC. I'm hearing that there's a remote possibility of something. It's at the very beginning [stages].’ Burke, who replaced Channing Dungey at the helm of ABC in November, noted that Happy Endings perfectly represents the type of comedies she and new head of comedy Erin Wehrenberg are looking for in a bid to expand the network's family comedy brand. ‘Happy Endings was certainly one of my favorite ABC shows,’ admitted Burke, ‘One of the things Erin and I bonded over when she came over [from Warner Bros. TV] to take over comedy development was a desire to do a show like Happy Endings, which led to a conversation about Happy Endings. So, I think she's exploring what's possible.’"
The Goldbergs are heading to Disneyland in for the show’s 7th season premiere in an episode that will pay homage to the 1983 film National Lampoon’s Vacation. Anthony Michael Hall and Christie Brinkley will both participate. Here is a description of the episode, per the network: Beverly (Wendi McLendon-Covey) insists the family take a road trip to go on vacation to Disneyland in Anaheim, California, before Erica (Hayley Orrantia) and Barry (Troy Gentile) go off to college. But, like the film, things do not go as planned as they travel across the country. Meanwhile, Erica worries more and more about her relationship with Geoff (Sam Lerner) when he teases “we need to talk” and won’t tell her anything until the family returns from their adventure.
“ABC is developing an anthology series based around historical women of the civil rights movement, ABC entertainment president Karey Burke said Monday during the Television Critics Association press tour. The series, titled Women of the Movement, is a chronology of the civil rights movement as told from a black woman’s point of view, with the first season centered on Mamie Till, who devoted her life to seeking justice in her son Emmett’s name following his murder in the Jim Crow South. The first season will be based on the book, Emmett Till: The Murder That Shocked the World and Propelled the Civil Rights Movement, by Devery S. Anderson. During her executive session, Burke added that the network is eyeing a potential second season to focus on Rosa Parks.”
“The Little Mermaid will come to ABC as a live musical. Moana star Auli’i Cravalho will play the lead role. Queen Latifah will play the villainous Ursula and Shaggy will play the crab, Sebastian. More castings will be announced at a later date. The special will feature music from the original animated film and the Tony Award-winning Broadway stage version, originally composed by Alan Menken. Howard Ashman’s iconic film lyrics will also be showcased, while lyricist for the Broadway adaptation, Glenn Slater, will also contribute. It is slated to air Nov. 5 at 8 p.m. ET.”
Per The Hollywood Reporter, “ABC is adding another game show to its lineup.
“Jimmy Kimmel and producer Mark Burnett are teaming up for Generation Gap, a comedic game show in which family members from different generations have to answer trivia questions about each other's generations. For instance, an eight-year-old might have to complete the catchphrase ‘Go ahead, make my __.’
“Kimmel and Burnett will serve as executive producers for the show along with Barry Poznick. Details including a host and premiere date will be announced later. MGM Television, headed by Burnett, and Kimmel's company Kimmelot are producing.
“Though they're teaming up now, Kimmel aimed some pointed jokes at Burnett — the creator of The Apprentice — when he hosted the 2016 Emmys. ‘Thanks to Mark Burnett, we don't have to watch reality shows anymore because we're living in one,"' he said about two months before Apprentice star Donald Trump was elected president. "If Donald Trump gets elected and he builds that wall, the first person we're throwing over is Mark Burnett." (Burnett laughed off the barbs from the audience.)
“Generation Gap will join a robust lineup of studio game shows on ABC. The shows are a linchpin of the network's summer schedule, with Celebrity Family Feud, The $100,000 Pyramid, To Tell the Truth, Press Your Luck, Card Sharks and Match Game all currently airing. ABC also has Don't, hosted by Adam Scott and executive produced by Ryan Reynolds, in the works.
“The game show is the latest ABC project for Kimmel as a producer. The Jimmy Kimmel Live! host teamed with Norman Lear for the successful live stagings of All in the Family and The Jeffersons in May, and ABC on Monday announced it's doing two more such specials in the 2019-20 season.
“Jimmy Kimmel Live!, meanwhile, is set through 2022 with a three-year deal the host signed in May.”
I will watch exactly zero seconds of this nonsense.
One more Euphoria piece before we bid adieu to this one for a while (hopefully). Per EW, “HBO’s wild new series Euphoria came to a dramatic end in its season 1 finale last night. The final moments involved a breakup (Rue and Jules, a.k.a. Rules), a breakdown (Nate), and full-fledged musical number (Rue).
“While Rue (Zendaya) and Jules (Hunter Schafer) had a magical moment at the dance and their first big romantic kiss, the pair ultimately parted ways as Jules headed to “the city” and Rue returned home and relapsed.
“EW talked to Schafer about that tearful train station goodbye and her hopes for season 2.
Let’s talk about the finale: What did you think of Jules leaving Ru at the train station?
Yeah, I mean, it’s complicated and hard to just feel one-sided because there’s a lot going on right there. I think Jules is sort of wrapped up in this idea of the city, especially after her most recent trips there and having this wild experience and feeling the energy that she craved. And then coming back home and missing that, but also while she was in the city, she was missing Rue. So when Rue offers or sort of just throws the idea out there that they could run off and just go to the city and be happy now that they’re in this place of sort of an understood reciprocation of their love for each other, of course Jules jumps at that.
So I understand Jules as being upset and getting all wrapped up in this idea of being able to return to one of her favorite places she’s been to in a long time. In another sense, it’s the first time we see Rue really making a decision for her sister and her mom, which is really, really important, I think. And while she does relapse, I think that that decision can sort of be seen as a glimmer of hope maybe, and that she’s not making decisions around this sort of toxic idealization of Jules. So yeah, I don’t know. It’s hard to say.
I know you and Zendaya have gotten very close. Was that hard shooting a goodbye scene not knowing what the future holds for Ru and Jules?
Yeah. It was really emotional. It messes with me to see my friends in pain and I can’t do anything. When we we were shooting that scene, it’s just like we were standing on that train platform and the train for hours, but all I could do as my character was just try to coax Rue onto the train. And it was just heartbreaking to just feel that distance already there between the train platform and the train, and then knowing that we don’t know what the future holds for them.
But actually the last scene that we shot as Rue and Jules was the one in the hospital bed at the beginning of the episode. So that was also another emo one.
Are you being stopped by people on the street now? What is the fan reaction like?
Yeah, it’s been, it’s only really felt like it’s actually started to affect my day-to-day life in the past two, three weeks. It’s starting to happen where every time I go on walks around my neighborhood all the time, and I have been since I lived there. But now it’s like I can’t really do that. I just am still getting used to the idea that people are going to interject and say hi and stuff.
Before the winter formal, Rue and Jules catch their parents drinking wine together. Are they becoming a couple?
That’s a good question. I think it’s definitely, like, they were drinking wine together. I guess that could be something. I do not know how Rue and Jules would feel about this, though. That could, whoa, that would be a little messy.
Nate’s motivations and intentions toward Jules are still confusing. What is your take on their relationship?
Yeah, I mean, the really interesting part is I don’t think anybody knows. I think Jacob [Elordi, who portrays Nate] has even expressed not knowing what Nate’s intentions and feelings are, which has kept the interactions they’ve had a little ambiguous in that sense. But I mean, I think based off of his f—ing amazing scene this episode with his dad that was horrifying, he sort of experienced a mental break. I think you can tell that he’s not, like he’s not complete sociopathic or psychopathic in that I don’t think a psychopath would have lost his sh— and tried to bust his head open.
And so I think that is really telling, that he has an unbelievable amount of inner turmoil and conflict and a civil war going on inside of him, which I think is understandable or relatable to a lot of people. But I think for him, it’s astronomic inside. So I don’t think Nate knows. I think Nate probably has feelings, like little tinges of feelings that sometimes we’ve seen him let out but quickly met with self-suppression and killing that feeling, which is sort of internalized in a violent form, which is his favorite way to make a point.
Do you have a scene or episode this season you’re particularly proud of?
Let’s see. Yeah, I mean, I’m still pretty pumped about the club scene. Yeah, the scenes in episode 7 I feel really cool about because it was really special just having trans presences to do scenes with. I think was really fun and it allowed me to enter a headspace for those scenes. It just felt really nice to be in an environment where I was surrounded by people who shared an identity with me.
I loved the scene where Anna [Quintessa Swindell] is applying makeup to Jules and Jules is kind of, that’s a true story of mine Jules is telling about buying the shoes from Sears and sneaking them home. And so Sam [Levinson, the series’ creator] kind of let me interject my own story there. And the scene after where it’s sort of all flashing between Nate and Rue and Anna. I loved working with all of them. So they’re kind of all complied into one moment. And then when Rue says this isn’t going to end well.
There’s a rumor that Rue is actually dead and narrating this from the afterlife. Have you heard that?
Yeah, I’ve heard about it because it got pretty popular. I guess you could apply that perspective if you wanted to. But I don’t really see anything that confirms that.
Has Sam told you anything yet about season 2?
We’ve talked about it a little, but I absolutely can’t say anything.
Is there something you’d personally like to see happen with Jules in season 2?
I think I want to continue to see Jules work on herself in that she’s still got some major issues, and to continue to dissect that and feel it out. I think she learns from experiencing things. And so to experience what she needs to, without being messy, that’s from the sort of loving parent/sister relationship I feel like I have with her. That’s what I want for her, although who knows how it will play out. I’m sure it will be more messy than I would hope for her.”
As we close the book on Euphoria, expect to be inundated with news and articles about Succession over the next several days and months. Here is an early review of season 2 (which premieres on Sunday), per Indiewire: “After developing its unique brand of satiric intensity in Season 1, Succession is leaning into its strengths in Season 2. That means more backstabbing schemes from children angling to be daddy’s No. 1 kiddo, more culture clashes as these out-of-touch 1 percenters pretend to be (or at least placate) everyday Americans, and, yes, it also means more Tom (Matthew Macfadyen) and Greg (Nicholas Braun), quibbling over chicken fingers at the kids’ table while the adults fight for dibs to every course of their banquet.
“Make no mistake, you’re watching this family eat itself alive. If anyone found early episodes of Jesse Armstrong’s critique of wealth-hoarding American families to be too soft in its condemnation of the Roy’s behavior, there’s no misunderstanding now: While you’ll feel for a few of the cannibals in powerful, fleeting moments, there’s an absurd amount of joy to be found in watching the uber-rich go to war with each other, stripping their souls bloody, and only winning in the coldest, ugliest, most Trumpian sense of the word.
“What’s been lost (and continues to be lost) is most often captured through Kendall (Jeremy Strong), the one-time successor whose ploy to overthrow his father would’ve succeeded if not for an ill-advised midnight run. His tragic fate from the Season 1 finale becomes a public shaming in Season 2, as he’s paraded through various Roy family gatherings like a prized buck slain by the top hunter — only he’s still living, breathing, and praising his killer. Kendall’s fall defines his arc through at least five episodes of Season 2, as his zombie-like presence shakes up every scene he’s beckoned to join; Kendall doesn’t act on his own ambitions any more, but Strong’s performance is a visceral and jarring reminder of what happens when you cross Logan (Brian Cox), and what really matters to each member of the family.
“Kendall isn’t sent to the proverbial farm because business must go on — Logan keeps his seat at the head of Waystar Royco, but he’s got new goals in mind to ensure the family’s future. If you saw the trailer, you already know: He wants to become the ‘No. 1 media conglomerate in the world,’ and to do that, the already expansive company has to get bigger. To say more cross into spoiler territory, but this basic idea necessitates many other enticing storylines: New strategy has to be discussed, appearances have to be maintained, and a successor has to be named… maybe.
“Logan tried that once before, to start off the series, and one could argue another very similar false promise is made in Season 2; a promise Logan will be unable to keep no matter the circumstances. But it also asks the audience to examine the cost of that lie. Not only has Logan alienated himself from his family, keeping them clinging to his coattails only because they hope to rip it from him, but it looks to be his ultimate downfall. Logan, like most of the Roys, is chasing something that can’t be caught: absolute power. No one person can hold it, just like no one person can be infallible — and in that thin line between unquestionable command and unreasonable requests lies the patriarch’s weakness. How it catches up to him, and who else it clips, is a delicious waiting game Armstrong builds beautifully.
“To be fair, he built a lot of it already. Part of what makes Season 2 fly so smoothly is how well we’ve come to know each of the characters, and how comfortably Armstrong lets us bask in their dysfunction: Roman (Kieran Culkin) believes he’s a bad person and yet still feels entitled to an empire, so Armstrong sets him on separate paths to explore each side of himself, knowing they have to converge. Connor (Alan Ruck), who’s paying Willa (Justine Lupe) to pretend to be his fiancé just to keep up his picture-perfect fantasyland, is so far gone he thinks he can run for president. Shiv (Sarah Snook) is where things get really interesting, as the capable and experienced political adviser has built a life separate from her family’s business, yet she can’t resist the urge to pop back in and counsel them, too.
“The pull of power and the astonishing things it does to those who wield it creates a story both obscene and inviting. Logan and the rest of the Roys perform the most outlandish acts to flaunt their power and make themselves feel superior. In the moment, they’re hilarious. It’s only when you take a step back and look at the broader picture that the humor becomes enriched by truth. It’s always easy to believe the Roys (or people like them) would make these ridiculous, often malicious, choices. (The post-dinner game in Episode 3, Hunting, is an instant classic.) But only those deserving to be taken down a peg are made into the butt of the jokes. Whenever the Roys have to confront someone from outside their egocentric bubble of money, Succession is tragic and only tragic. These well-timed reminders of the real people suffering from their selfishness (like last year’s softball game) only fuel your contempt for these wannabe gods, and together, Succession becomes a biting satire, built on the back of a family drama, and made stronger by each facet.
“To say Succession is the year’s best drama is a bit of an empty statement: For one, it’s been a notoriously weak year for the medium, with one prominent hourlong series after the next failing to live up to their pedigree. Thankfully, Succession breaks our cultural cold streak, but it does more that: By blending the vitriolic contempt of Veep with the interpersonal family drama in Game of Thrones, Armstrong’s series blends genres smoothly, stretching out the propulsive slew of insults found in Armando Ianucci’s political satire while trimming the fat from David Benioff and D.B. Weiss’ bloated fantasy universe. “Succession” is about one family, one company, and the very real world they’re trying to control. Its eagerness to condemn the country’s terrifying trajectory, along with its efficiency and artistry, is what makes the drama great — the fun it has doing so is what makes it one-of-kind.”
“Amazon and Paramount Television are developing a series adaptation of the 1997 sci-fi horror film Event Horizon, Variety has learned.
“Adam Wingard is set to executive produce and direct the potential series. Wingard recently directed the film Godzilla vs. Kong, which is due out in theaters in March 2020. He has previously directed films like the recent Blair Witch reboot, The Guest, You’re Next, and the live-action version of Death Note. He also wrote and directed films like Autoerotic and What Fun We Were Having.
“Wingard willl executive produce along with Larry Gordon, Lloyd Levin, and Jeremy Platt. Gordon and Levin both produced the film.
“The film was directed by Paul W. S. Anderson and written by Philip Eisner. The titled referred to a spaceship that disappeared after testing an experimental gravity drive capable of creating an artificial black hole that was meant to allow the ship to travel to distant points in the galaxy. A rescue crew and the gravity drive’s inventor are sent to investigate after the ship mysteriously reappears, only to discover that the ship traveled to a hellish dimension outside of the known universe that infects the ship with a sinister sentience, leading to multiple deaths.
“It starred Laurence Fishburne as the captain of the rescue ship with Sam Neill playing the inventor of the gravity drive.
“It was also recently announced that Amazon had boarded the Simon Pegg-Nick Frost series Truth Seekers, a comedy-horror series about paranormal investigators. The streamer is also currently prepping the horror anthology series THEM from Lena Waithe.
“Among the many shows currently produce by Paramount Television is the Amazon series Jack Ryan as well as the Netflix shows 13 Reasons Why and The Haunting.”