Looks like we're getting a 2nd season of The Challenge: Champs vs. Pros.
Dennis Rodman is in North Korea. I'm sure that will work out splendidly.
People really eat Panda Express? The line there at lunchtime is astonishingly long every day.
The 2nd episode of Apple's Planet of the Apps airs tonight. More below.
Oh, Hello On Broadway is now streaming on Netflix.
"Since 1939, when Franklin D. Roosevelt decreed that his official papers be made available to all citizens, the presidential library has been an essential destination for school trips when the amusement park is too expensive. The Daily Show Presents: The Donald J. Trump Presidential Twitter Library continues this grand tradition with a celebration of President Trump’s most important documents: his tweets. The exhibits that follow explore the history, science and art of Donald Trump’s tweets - from his earliest attempts to put stubby fingers to phone, to his emergence as our era’s preeminent social media revolutionary. The Daily Show Presents: The Donald J. Trump Presidential Twitter Library will be located at 3 W. 57th Street, New York, NY and free and open to the public from Friday, June 16 through Sunday, June 18, from 11am until 7pm. Then, it will close forever. Sad!"
ESPN debuts its much-hyped Boston Celtics / Los Angeles Lakers 30 for 30 docuseries. The two-parter will air tonight and tomorrow.
"Like DirecTV with Friday Night Lights and Damages, Hulu with The Mindy Project and Netflix with Longmire, Facebook is taking in a series cancelled by a traditional network to help establish an original scripted brand. The social network giant, which had been planning a foray into scripted series, has zeroed in on Loosely Exactly Nicole, which aired on MTV for one season." This show stinks, but good luck!
Speaking of which . . . "Facebook is pushing full-steam ahead with its efforts to enter the original content business. The social media giant has closed a deal for reality competition series Last State Standing. While specific details are being kept under wraps, sources tell The Hollywood Reporter that the series hails from American Ninja Warrior producers A. Smith and Co.'s Arthur Smith. It will feature 50 contestants — one from every state in the U.S. — competing in unique and crazy games for a chance to win a $500,000 cash prize. Production on the series has already begun in Los Angeles. A premiere date, episode count and rollout plan has yet to be determined. A. Smith and Co. and Facebook declined to comment." WHY do buyers continue to hand this scumbag production company business??!!??!!?? They are the very very very bottom of the barrel, and that's being generous.
"Tweeting about the president is a sure-fire way to drum up controversy, as Adam F. Goldberg has learned firsthand after sharing his thoughts on 'the most clueless and ineffective' president of all time. The creator of ABC's The Goldbergs took to Twitter on Sunday to blast President Skroob, the sleazy and corrupt president played by Mel Brooks in the director's 1987 classic Spaceballs. Less than a day later, Goldberg is down more than 1,000 followers and has ignited a tweet storm — because a number of people mistakenly thought Goldberg was speaking about President Donald Trump." Morons.
Per Deadline, "[t]he creative team behind Hulu’s five-part sketch VR comedy Virtually Mike And Nora is now mounting a VR comedy series for the platform network called Door No. 1, which is pushing the interactive envelope further. Door No. 1 is a narrative, choose-your-own-adventure, VR comedy series about going to your 10-year high school reunion. It is being done exclusively for Hulu as an advertiser-integrated VR app series and is from Nora Kirkpatrick (The Office), who stars in and is directing the pilot episode.
"All of this will likely be talked about at the E3 panel tomorrow that features Kirkpatrick, RYOT co-founder Molly Swenson and Hulu’s head of VR Noah Heller. The annual confab is taking place at the Los Angeles Convention Center starting tomorrow through Thursday in downtown L.A.
"Door No. 1, which merges video game product design with filmmaking, is in pre-production and they will be shooting the first episode in September.
"How does it work?
“'Imagine you are in a Sixteen Candles or Ferris Buehler’s Day Off where you essentially can walk into your own show and interact with the cast. You can drop in different storylines. You will drop into different scenes depending on your discovery of these kind of "Easter eggs." So you discover the eggs and they open and you can go into another scene,' said Swenson, an executive producer. 'The level of interactivity we’re attempting with Door No. 1 has never been done before in this medium. Hulu has proven itself to be one of the most bold, forward-thinking companies doing original VR content, and we’re excited to be partnering again,' she said.
"Lee Eisenberg (The Office), Jarrad Paul (The Grinder) and RYOT are also executive producers on Door No. 1.
"Virtually Mike And Nora — which Kirkpatrick did with SNL alumni Mike O’Brien — was considered the first VR comedy series on a network platform. Mike And Nora were five- to eight-minute segments and was interactive, but not in the same way Door No. 1 will be. In Door No. 1, the viewer is making choices as to how the plot goes and will navigate through a high school reunion with the end result (depending on the choices) being who they will end up dancing with
"Kirkpatrick told Deadline she will shoot about 55 minutes of footage and of that 'the user experience will be 15 to 20 minutes.' They are just starting the casting process now.
“'I love to watch people watch Mike And Nora. Most of the VR I’ve seen are animated games or documentaries and no one is doing live-action comedies,' she said. 'A 10-year reunion is going to be a great VR experience.'”
Per TechCrunch, "[r]eviewers have not been kind to Apple’s first TV offering, Planet of the Apps. Variety had a particularly entertaining, if biting, take, with writer Maureen Ryan likening the show to 'something that was developed at a cocktail party, and not given much more rigorous thought or attention after the pitcher of mojitos was drained.'
"[W]e talked with one of the show’s 'stars,' Jeremy Liew of Lightspeed Venture Partners, about those reviews, along with how many startups he found through the filming and where he’s shopping now. Liew said he doesn’t mind the critics’ opinions but worries founders could miss a solid opportunity to learn from the pitch meetings aired in the latter half of each episode. 'I don’t think there are many opportunities like this for people to understand how the process of pitching a VC works in real life.'
"More from our conversation, edited for length, follows"
TC: Lightspeed reportedly had to commit $10 million across various companies as part of this show. How many investments did you make?
JL: We made about a dozen investments altogether across the 10 episodes. We committed to making our best effort to fund interesting companies, but we were also clear that we weren’t going to drop our standards. Because of the nature of the show, we made more seed- and pre-seed stage investments than is typically the case for the firm [but in solid teams].
TC: How many pitches did you sit through for the filming of the show, and did you feel like they were vetted well enough?
JL: We probably sat through 35 to 40. They were very well vetted. Thousands of people applied originally; the founders who met with us had made it through a number of levels [including talking with show mentors Jessica Alba, Gwyneth Paltrow, Will.i.Am, and Gary Vaynerchuk, as well as participating in six-week incubator] before we talked with them.
There’s a pretty big investment that gets made tomorrow night. We made a few investments that would qualify as Series A size checks.
TC: You were holding one-hour long meetings with these companies — not listening to the escalator ride pitches that are a feature of the show. Do you believe in elevator — or escalator, in this case — pitches?
JL: Absolutely. Investors, journalists — we get pitched a million times a day. If someone is inarticulate or unable to capture in 30 seconds why we should pay attention to them, they either don’t have [an interesting story], they don’t understand what’s special about their business, or they don’t have that charismatic, visionary feel that you often need to change the world. People do need a good elevator pitch. You have to give someone a good reason to spend an hour talking with you.
TC: When people participate in a show, they’re often surprised by the final product. Do you feel like the editors did you justice?
JL: I do think I come across the way I actually am and that the nature of the conversations we had with the entrepreneurs was very well-preserved. For people who want to understand how VCs make investments, it’s an excellent window onto how the process works in real life. To some extent, the [filmmakers] could have chosen all the clever things or dumb things or nice things we said, but I think they captured the essence of the conversations pretty accurately. Anyone wanting to know what a real pitch process is like could do a lot worse then watch them to see what works, what doesn’t, the kinds of questions you get, how people can answer those questions well and answer them badly. I don’t think there’s another resource quite like it.
TC: Outside of the show, where are you shopping right now?
JL: E-commerce and m-commerce continue to be the gift that keeps on giving as more people buy things online. My most recent investment, for example, was Rothy’s, an e-commerce startup that makes fashionable women’s flats. [Editor’s note: The Times wrote up the company in its Style section last week. Its shoes are made from recycled plastic water bottles.]
The special twist is the shoes are made through a 3-D knitting machine that enables them to use different colors and styles and enjoy a great deal of flexibility. They’re also known for being super comfortable to wear.
TC: You’ve also been a bitcoin bull for several years. Are you still actively backing bitcoin and blockchain technology companies?
JL: We have four investment right now: Ripple [the real-time payment system], Blockchain [the bitcoin wallet company]; [the Chinese bitcoin exchange] BTTC, and LedgerX [a company that’s right now awaiting final approval from the Commodity Futures Trading Commission for its bitcoin options trading service].
We may have more to report in that space in a little while. But as everybody is seeing, the industry has been heating up over the last 12 to 18 months after a bit of a slow start. You’re seeing much broader adoption taking place right now across industries, across geographies, and across use cases.
TC: You led an investment for Lightspeed in Snap, which is now down 30 percent from its IPO price. Did you sell at the IPO? Are you concerned about its prospects?
JL: Snap asked some of the early holders to sell a little bit at the IPO to provide additional liquidity at the float, and we complied with that request, as did all the other early investors.
TC: Think the stock is misunderstood?
JL: I’d never bet against Evan Spiegel and his product sense. He has a once-in-a-generation type mind for product. I think he has a lot of interesting stuff up his sleeve, too, that we’ll start to see over the coming quarters.
TC: As we speak, you’re in a car en route to the airport. You’ve traveled a lot in recent years, saying Silicon Valley is an echo chamber and you can get a better feel for consumer trends elsewhere. Is that still the case?
JL: I’m still traveling a lot, yes. I made 45 trips last year, and I’m on track to do the same this year.
Part of why we participated in Planet of the Apps is because we’re seeing more entrepreneurs starting outside of the Bay Area and wanted a better mechanism to reach those people. I’m on my way to Luxembourg right now. I’ve been to Belgrade, Tennessee, Arkansas, the University of Chicago.
Infrastructure entrepreneurship is still largely concentrated in the Bay Area, but consumer entrepreneurship is so distributed; if you want to see great founders, you need to be willing to get on a plane."
This is SO pathetic, I'm at a loss for words: "This is either going to be really good or so bad, it’s great. But either way, ABC’s relaunch of Battle of the Network Stars (premiering Thursday, June 29 at 9/8c) is looking like the summer’s must-see [?????????????] — especially since on Tuesday the full list of competitors was released. The celebrities we’re most psyched to see throwing down in events like the kayak relay race and dunk tank.
"Here’s the full list of stars competing on the 20 teams that will, in different episodes, do their damnedest to avoid 'the agony of defeat':
TV Sitcoms (Bronson Pinchot, Tom Arnold, Dave Coulier, AJ Michalka, Tracey Gold) vs. TV Kids (Joey Lawrence, Corbin Bleu, Nolan Gould, Lisa Whelchel, Kim Fields)
Primetime Soaps (Ian Ziering, Josh Henderson, Gabrielle Carteris, Donna Mills, Mischa Barton) vs. ABC Stars (Olivia d’Abo, Shari Belafonte, Michael Fishman, Jason Hervey, Anson Williams)
Variety (Joanna Krupa, Nick Lachey, Vanessa Lachey, Gilles Marini, Jack Osbourne) vs. TV Sex Symbols (Keegan Allen, Traci Bingham, Rosa Blasi, Brant Daugherty, Galen Gering)
Cops (Erik Estrada, Larry Wilcox, Kelly Hu, Jodi Lyn O’Keefe, Lorenzo Lamas) vs. TV Sitcoms (Todd Bridges, Leigh-Allyn Baker, Dave Foley, Willie Garson, Jenna von Oy)
White House (Cornelius Smith Jr., Marlee Matlin, Joshua Malina, LaMonica Garrett, Mary McCormack) vs. Lawyers (Elisabeth Rohm, Corbin Bernsen, Matt McGorry, Romi Dias, Catherine Bell)
TV Moms & Dads (Chad Lowe, Greg Evigan, Ted McGinley, Lesley Fera, Jackee Harry) vs. TV Kids (Jimmie Walker, Mackenzie Phillips, Jonathan Lipnicki, Krista Marie Yu, Jeremy Miller)
Famous TV Families (Danny Bonaduce, Barry Williams, Beverley Mitchell, Willie Aames, Charlene Tilton) vs. Doctors (Thomas Calabro, Taye Diggs, Rachelle Lefevre, Deidre Hall, Benjamin Hollingsworth)
Troublemakers (Vivica A. Fox, Paul Johansson, John Barrowman, Julie Benz, Catherine Bach) vs. TV Lifeguards (David Chokachi, Brande Roderick, Parker Stevenson, Nicole Eggert, Gena Lee Nolin)
ABC Stars (Ted Lange, Troy Gentile, Jill Whelan, Denise Richards, Joely Fisher) vs. Variety (Lance Bass, Joey Fatone, Adrienne Houghton, Cameron Mathison, Kelly Osbourne)
Cops (Marisol Nichols, Roma Maffia, Adrian Zmed, Fred Dryer, Ryan Paevey) vs. Sci-Fi/Fantasy (Lou Ferrigno, Vinnie Jones, Charisma Carpenter, Kevin Sorbo, Jill Wagner)"
I think ABC should consider just shutting down as a network.
Per The Hollywood Reporter, "Laura Prepon had two days to direct one of the most impactful scenes of the fifth season of Orange Is the New Black. [SPOILERS BELOW]
"The moment came in the 10th episode, titled The Reverse Midas Touch, when the riot happening at Litchfield took a dark turn down a prison hallway and into a janitor's closet. A multi-season power struggle between Red (Kate Mulgrew) and head guard Piscatella (Brad William Henke) played out in harrowing form when Piscatella, after taking several inmates hostage, broke down his all-mighty rival. In several scenes of physical and emotional abuse, Piscatella attempted to reduce the prison's fearless leader into nothing. He tortured her methodically, cutting the red hair off her head with a shear knife and nicking her scalp while forcing those closest to her to watch.
"One of the inmates in the scene was Prepon, as her Alex and Piper (Taylor Schilling) were taken by Piscatella while naked together in the shower. The storyline called for the pair to be wrapped in shower curtains as they joined the rest of their prison pals — Nicky (Natasha Lyonne), Boo (Lea Delaria) and Red's partner-in-crime Blanca (Laura Gomez) — to sit, bound by their hands and mouths with duct tape, and watch helplessly until they were ultimately rescued by the inmates hiding in Freida's (Dale Soules) bunker.
"'I’m wrapped on the floor with my legs and arms bound and with duct tape over my mouth, and I’m having to be Alex, but I’m watching Brad give Piscatella’s monologue and I’m also directing him,' Prepon tells The Hollywood Reporter of pulling double duty. 'While I’m sitting on the floor bound and gagged, I’m also in my head thinking, "In the next take I want him to do this."'
"Jenji Kohan's prison dramedy is no stranger to luring actors behind the camera — Jodie Foster and Andrew McCarthy, as well as Nick Sandow, who plays Litchfield warden Caputo, have all directed episodes — but Prepon is the first to do it while in character as a hostage victim. Alex even gets her arm broken while fighting off Piscatella during the scene.
"Below in a chat with The Hollywood Reporter, Prepon explains how her Orange directorial debut came to be, talks about the balance of acting and directing her costars — while in a shower curtain — and provides insight on an episode from which many of the surviving characters will be forever changed:
How did your directing come about this season and why this episode?
I had been asking Jenji about directing for a while, because I had been directing for a while, and when I got on the show, well, it’s just such a special show. These actors and actresses are so wonderful. So many people want to direct our show. It’s prestigious, cool, fun and dangerous, so it’s a really amazing show to direct. Finally she gave me a shot and I’m so thankful for her doing that. I’m so comfortable directing and I knew that it would be a great experience. There were so many wonderful colors to play with in this episode. You care about the girls and when you see this thing happening to Red, it’s brutal. You also see what’s happening in the bathroom scene with Suzanne (Uzo Aduba) or with Pennsatucky (Taryn Manning). When I read the episode, I thought, "Yes, this is going to be exciting."
You're on a very short list of Orange stars who have stepped behind the camera to direct an episode. What kind of advantage does being on the show give you when it comes to directing your co-stars?
I’m so deep inside with the characters. I know them and because I’m an actor, I can speak that language. I’ve been acting since I was 18, so I know how I like to be spoken to and the respect I like to have as an actor, and I give that back to my actors when I’m directing. It’s a lovely kind of cohesive, openly creative environment. I think the fact that I know the characters so well and I’m not just a director coming in allows you to really tell the stories we were telling here with the camera.
Kohan said the election didn’t impact this season since you were already in production, yet the idea of fighting back against abusive power is very timely. What were some of those conversations like in regards to your episode?
That was a huge part of my episode. In the episode, the power reverts back a little bit. You see what happens to people in an environment like a prison when there is no control and no authority. You see how different personalities handle that environment. We have the backstory of Piscatella and also the scenes of the girls in the closet with him, and how he asserts his authority over the women. We filmed his flashback scenes in a men's maximum security prison. We actually shot at the same prison in Queens where Taylor and I filmed in season two, when Piper goes to Chicago. Litchfield is a minimum security prison, and to be in a maximum security prison is a very different and very serious thing. I had so much to play with and I thought it turned out to be a really beautiful episode. Jenji is so smart and nothing is taboo for her. And it is true, our show really does transcend what happens socially and it’s relevant with what is going on right now.
How did this season’s timeline taking place in three days impact how you approached your episode as a director, and also as an actor filming the entire season?
The main thing of it taking place over three days is that the last episode was five minutes ago, so it’s tracking where the character is emotionally and the energy of the scene. Where are they coming from and where are they going? As an actor, you should think about those things anyway, but especially if something takes place in a finite period of time. Those questions are even more relevant in terms of reorienting everybody to what just happened last episode, because it literally took place right before you walked in the door. It’s a fun and different kind of energy where you have to set yourself up so one episode just flows right into the next. I loved playing with that.
It’s arguably one of the toughest episodes of the season and especially given your acting role in it, what were some of your conversations like with Kohan about its magnitude?
It was one of the toughest, material-wise. The interesting thing, too, was directing while my hands were tied behind my back, literally! And wrapped in a shower curtain. After I did that, I felt like I could probably direct anything! Being bound and gagged and having to direct is pretty funny.
You might be the first director to be bound and gagged on the job.
Seriously. I was directing in a shower curtain! But it was really tough subject matter. Having all the women in that environment with this man doing these things to them. You watch what’s going on in the janitor’s closet with the girls and how this man is totally debasing Red in front of her daughters, essentially, and just stripping her of all her power. And then having to go into the flashbacks and making you care about Piscatella was a really interesting and dynamic thing to play. It was wonderful as a director being able to work with these actors. You haven’t really seen Kate, as Red, in a position like that before, where she is so stripped of her dignity and the fact that this one man finds the right way to strip this woman of her dignity, and then to then go to his backstory and care for him with his relationship with the inmate. It was great material. It was one of the toughest episode in terms of what was happening with everybody, but as a director, I was very excited to be able to find all the nuances and to make an audience care about someone like Piscatella in those flashback scenes where you get a sense of why he is the way he is. That’s not an easy thing to do.
Can we go back to how you were directing while wearing the shower curtain?
Yes! I was wrapped in a shower curtain with my hands and ankles bound with duct tape, and duct tape over my mouth. I was like a dolphin without fins. They would wrap Taylor and I up and two stunt guys would have to lower us to the ground. It was crazy. We couldn’t move. They bound us up and our stunt guy would literally lower us to the ground and there were times where I needed two people to help me get down because we couldn't. Then every few takes someone would come in and pull the duct tape off my mouth so I could talk to people.
Did you shoot the scenes in the janitor's closet in one day?
It took two days to do all the janitor’s closet stuff. I knew that it was going to be really intense. I told my awesome first AD, Becky Chin, that the scenes were going to be so intense that we needed to do it on a Friday and a Monday so we could have a weekend in between. Luckily the schedule worked out and it was really, really nice to have that reprieve.
How many takes did you do of Piscatella cutting Red’s hair and scalp?
It’s tricky because everything takes time. So, to get one wig on it takes an hour and a half. You can’t actually put a knife that cuts on actress Kate Mulgrew’s head, so only specific cuts I can put on a stunt double, and then I have to come back with Kate. Figuring out how to shoot that was really fun because it was like a puzzle in terms of timing. At the end of the day, doing a show like Orange, one of the things is that there’s a lot of people to cover in the scene and they’re all very integral to it. Also, as an actor, I don’t want to wear anybody out and it was very emotional. Physically, we’re in these situations where we’re tied up on the floor. Taylor and I, as I said, are wrapped in shower curtains, bound and gagged. Kate is being debased. There’s a lot of physical fighting and movements and Brad's having to maneuver around the space. As a director, that’s wonderful, because you want all of these things going on, but on the technical side, it was a lot of scheduling and being highly efficient. First and foremost I wanted my actors to be comfortable and making sure they have enough time to get to where they need to get emotionally and be present. But when you have to deal with stunts and knives and people getting hit and punched — my arm also gets broken — it's all very delicate and just takes time with so many balls in the air.
As Alex, you’re worried about Piper. As Laura, you’re trying to support everyone. How did you balance that?
This is going to sound odd, but you just do it. It’s something that I’ve just been able to do. It’s like interchangeably changing hats: Now I’m an actor, and now I’m a director. it's about having that kind of double brain where you're acting but also observing everything around you. You’re watching where the camera is and what it’s doing, making sure that they’re doing what you want, looking at the actors and making sure the emotions are tracking and the moments are there. All of these things are going on in your head at the same time. That’s what I thrive on.
The flashback really sets up what is likely to be a polarizing reaction to Piscatella's journey this season. Do you hope fans are ultimately mixed in how they feel about him?
I hope so. Or even if the flashback gives you a little more understanding of why he is the way he is, and just a little more empathy for a character like that, then I’ve done my job. Brad is so wonderful to work with and he was so open to working with me. I knew it was going to be a tough episode for that character, because he goes through a lot, and we really took a lot of time to find the moments and figure out the best way to go about it and really break it down. He was totally open to so many things and we just trusted each other.
What can you say about Mulgrew’s performance?
Kate is just a pro. Truthfully, all these women are. Kate is game for anything. If it serves the scene and it serves the character and it makes sense and it tracks emotionally and is a smart decision, she’s game. She’s very elegant and powerful as an actress, so to take someone like that, who plays a character like Red, and make her weak on camera and see her break is a very hard thing to watch for the audience. She did a very beautiful job and totally trusted me. She was even game for the stunts. She wanted to do her own stunts to the point where I was telling her, “Kate, I legally can’t let you be dragged across the floor by the hair!” She told Brad, “Just grab my hair.” She is hardcore. It was obviously difficult because of the subject matter, but as a director and as actors, this episode was a wonderful experience. Everyone is really proud of the episode, as am I."
From The New York Post: "The fallout from Bachelor in Paradise continues.
"Contestant Corinne Olympios has reportedly hired an attorney, blaming the producers of the Bachelor spinoff for letting a sexual encounter with fellow cast member DeMario Jackson go too far following a day of drinking, sources close to the reality star tell TMZ.
"Olympios and Jackson allegedly engaged in sexual conduct while on the premises of a Mexican resort during the filming of Bachelor in Paradise over the weekend. Though Jackson is said to remember the tryst — 'rubbing and touching' — Olympios says she cannot remember, claiming her castmates informed her the following day.
"While Olympios alleges contestants expressed their concerns for her safety to the crew, production insiders insist the cast did not approach the staff.
"People previously reported Jackson engaged in sexual activity with a woman who was too intoxicated to consent. According to those with knowledge of the footage, however, it appears Olympios was 'fully engaged.'
"Production of the ABC reality series has since been suspended, with Warner Bros. on Sunday launching an investigation regarding 'allegations of misconduct.'
“'We have suspended production and we are conducting a thorough investigation of these allegations,' the studio said in a statement to The Post. 'Once the investigation is complete, we will take appropriate responsive action.'
"Olympios, who appeared on Season 21 of The Bachelor, is said to be in a relationship, telling friends she would not have engaged in such conduct with cameras rolling.
"As for Jackson, the Bachelorette castoff made an embarrassing exit on the most recent season of the dating competition after his ex-girlfriend crashed the set, encountering star Rachel Lindsay.
"The fourth season of Bachelor in Paradise was set to premiere Aug. 8."
"Some of the requirements contestants must follow to make it on TV are tougher than others, like meeting the show’s required minimum budget of $30,000 and finding a house within 40 miles of Waco, Texas. Other requirements are a bit more personal, as people must be 'outgoing, energetic and fun!' and accept all final renovation choices. A rep for HGTV confirmed the casting call’s authenticity to HuffPost.
"Not to burst anyone’s bubble, but the questionnaire also seemingly confirms a previous contestant’s admission that certain parts of the show are staged or reenacted. For example, the family’s home must have already been purchased before the show starts ― so the search for a house in the beginning of the episode is indeed staged.
"In the casting call, some questions reference the house-hunting process as though it’s already begun before the show’s taping:
Tell us about your home search. How many homes have you looked at? Please describe all of the homes & neighborhoods that you have looked at and why they have not worked for you.
Tell us about the home you are most interested in― what do you love about it, what do you dislike about it?
Talking about the home you are considering purchasing- If we could help you turn this home into your dream home, what would it look like? Please be descriptive (feel free to send tear sheets of things you’ve dreamt of for the space).
Other questions mention the home as if it has already been purchased:
Where are you in the escrow process?
What is the purchase price of your new home?
Are you aware of any construction/structural issues? If yes, please describe.
"And at the end of the questionnaire, future Fixer Upper stars are asked to submit multiple photos of their purchased home.
"In 2016, Season 3 participant David Ridley told Fox News that you must have already purchased a home to be on the show.
“'You have to be under contract to be on the show. They show you other homes but you already have one,' Ridley revealed. 'After they select you, they send your house to Chip and Joanna and their design team.'
"Drew and Jonathan Scott of Property Brothers recently said that certain parts of their show are reenacted.
“'At the end of the day, it has to be interesting television,' Jonathan told the New York Times. 'But when we find a load-bearing wall, we are really finding a load-bearing wall.'”