Recency bias. Let’s talk about that for a second as it seems to be getting more prevalent by the day. Recency bias is the notion of someone more easily and more fondly remembering something that has just happened as compared to something that happened a while back. It happens across all areas of life and all industries. Case in point, last night Damian Lillard hit an incredible three-point shot to knock the OKC Thunder out of the first round of the NBA playoffs. If you missed it, click here. The Twitterverse et al. has coronated Dame Lillard as the best shooter in the game outside of Steph Curry. That could not be further from the truth and is easily disproven with a cursory glance at statistics, but it’s a prime example of recency bias. The same theories are floating around regarding Game of Thrones. No knock on GoT, obviously, but before deeming it the greatest drama in television history, can we please take a second to remember the likes of Breaking Bad, The Sopranos, The Wire, Lost, etc etc etc, which were, at the time of their airings, the greatest things we’d seen since sliced bread? I know social media doesn’t help any of this and only fosters recency bias, but I would implore you to remember the shows that have preceded the likes of GoT and remember how much you loved them at the time they were reaching their finales. ((stepping off soapbox))
Season 2 of Cobra Kai is now available on YouTube Premium for your viewing pleasure.
Luke Perry’s final Riverdale episode airs tonight.
If you aren’t watching Brockmire on IFC, you should be.
I started watching Huge in France on Netflix and, thus far, I’m pleasantly surprised. I had very low expectations, but so far (2 episodes in) it’s quite entertaining.
“AT&T believes it will hang on to DirecTV’s exclusive rights for the NFL Sunday Ticket, even as the league has said it’s considering ending the satellite operator’s exclusivity to extend the out-of-home games package to streaming platforms. ‘The exclusivity [of Sunday Ticket] should remain as we go forward on DirecTV,’ AT&T CEO and chairman Randall Stephenson said on the company’s Q1 earnings call Wednesday. ‘We’re heavily invested in the NFL on DirecTV.’ Sunday Ticket first launched 25 years ago on DirecTV, and it’s the only place to (legally) watch all of the NFL’s regular-season Sunday daytime match-ups. The price for DirecTV subscribers for the regular NFL Sunday Ticket package for the 2018 season was $293.94.” I believe by “regular” they mean standard definition. Tell me who’s buying that SD package and not the HD package and also tell me why DirecTV offers both?
CBS All-Access has ordered a 4th season of The Good Fight.
Season 3 of Designated Survivor will be available to stream on Netflix on June 7. The series was picked up by Netflix after being canceled by ABC.
“Netflix has ordered adult animated series Inside Job from showrunner and exec producer Shion Takeuchi (Gravity Falls), her first project under her multiyear overall deal with Netflix. The 20-episode series is described as a ‘workplace comedy set in the shadow government, where every conspiracy theory — from the Illuminati to Reptoids — is true, and one woman struggles to keep the chaos under wraps.’ Gravity Falls creator Alex Hirsch, who also has a lucrative deal with the streaming giant, is co-exec producer.”
“Emmy-winning Marvelous Mrs. Maisel creators Amy Sherman-Palladino and Daniel Palladino have identified their next project for Amazon. Amazon has optioned author Mary Gabriel's Ninth Street Women for the Palladinos to develop under their overall deal with the studio. Published in September 2018, Ninth Street Women is set amid the most turbulent social and political period of modern times and chronicles five women — Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell and Helen Frankenthaler — who dared to enter the male-dominated world of 20th century abstract painting as artists (and not muses). These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation.”
Best news of the day: “WE tv is expanding its breakout Love After Lockup franchise, giving a green light to spinoff Love After Lockup: Life After Lockup. The network has ordered eight, one-hour episodes premiering in June on WE tv. The new series builds on the stories from seasons one and two of the original docuseries that chronicles couples making the complicated transition to love on the ‘outside’ when one partner is released from prison.
“Love After Lockup: Life After Lockup follows five couples featured on the original Love After Lockup – Clint and Tracie; Marcelino and Brittany; Megan, Michael, and Sarah; Scott and Lizzie; and Andrea and Lamar – as they build their post-prison relationships and lives. The former inmates will face new challenges and tackle many firsts in their new lives, from raising children to buying first homes to finding work and staying sober, all while living under the restrictions of parole and dealing with the stresses and occasional turmoil of a new relationship.
“Popular originals such as Love After Lockup fueled primetime double-digit ratings growth for the network in the first quarter of 2019 across every demo – up 12% among women 25-54 and 18-49, and 10% among adults 18-49 and 25-54 in Nielsen Live +3 ratings. To date, WE tv has the #1 and #2 fastest-growing unscripted docuseries on television, with Love After Lockup and Marriage Boot Camp: Reality Stars Hip Hop Edition, respectively.
“‘The verdict is in – our viewers can’t get enough of Love After Lockup. There was an outpouring of interest from fans who were eager to keep following these unforgettable couples, making it an easy decision to expand this burgeoning franchise with an all-new series,’ said Marc Juris, president of WE tv. ‘Love After Lockup was a legitimate reality sensation, and Love After Lockup: Life After Lockup, will be a must-watch for the show’s passionate fans.’
“Love After Lockup generated viral buzz and ratings growth, making it 2018’s fastest-growing new cable reality show among Women 25-54. Season two, which concluded earlier this year, continued its ratings trajectory, more than doubling its audience and reaching a season high of 1.6 million viewers in Nielsen live+3 ratings. It ended the season as the #1 cable program in prime time on Friday night among women 18-49 and 25-54 for its finale. WE tv had extended the second season, ordering an additional 10 episodes, due to popular demand.
“The series is produced by Sharp Entertainment, with Executive Producers Matt Sharp, Dan Adler, Alan Madison and Sophie Mallam. Lauren P. Gellert and Kate Farrell are Executive Producers for WE tv.”
Per Deadline, “[i]n the vein of HBO using Liev Schrieber as the voice of HBO Sports, rising sports streaming outlet DAZN has set Bobby Cannavale as the voice of 40 Days, a new documentary series co-produced with LeBron James and Maverick Carter. The plan is for him to recur as the series evolves into an umbrella for various behind-the-scenes sports series.
“These kinds of follow docs are sports media mainstays, especially with the rise of digital video — think 24/7 or Hard Knocks or Tom Vs. Time. But 40 Days, which is named for the eight Monday-to-Friday weeks of training for a boxing match, is aiming to give the series a bit more flair, with individual episodes and series being directed by different filmmakers. The show premieres with a boxing focus on Tuesday night on DAZN, which recently launched in the U.S. after successfully bringing soccer, basketball and ring sports to fans in Europe and elsewhere.
“John Skipper, whose long run at ESPN was capped by a stint as the network’s president before his abrupt exit in late 2017, joined DAZN Group in the spring of 2018 as executive chairman. Having steered the “30-for-30” brand at ESPN, which is known for such titles as the Oscar-winning O.J.: Made in America, Skipper is moving to put his stamp on DAZN (pronounced “da zone), which has locked up rights to boxer Canelo Alvarez, MMA and Major League Baseball in the U.S. The streaming service also operates in Canada, Germany, Austria, Switzerland, Italy, Spain and Japan, with a launch in Brazil up next.
“Uninterrupted, the self-described “athlete empowerment brand” led by James and Carter, its CEO, will produce the show. In addition to the company’s channels and DAZN, 40 Days will air the following day on Univision, NBC Sports Network and regional sports networks including MSG.
“The first edition of 40 Days will spotlight the build-up to the May 4 matchup between Alvarez and Daniel Jacobs. A screening of the show is planned for May 2 in Las Vegas ahead of the fight.
“‘We’re partnering with DAZN to reach a whole new audience of global boxing fans that want to see another side to these athletes that has yet to be shown,’ Carter said. ‘These documentaries will shine a light on the three-dimensional aspect of who these athletes are outside of the ring and empower them to tell their own stories as they prepare for some of the biggest moments in their boxing careers.’
“Skipper praised James and Carter for their ‘unique vantage point that allows them to understand both Canelo’s pursuit to be one of the greatest of all time and Jacobs’ dogged determination to reach the pinnacle of his sport.’”
Per The Hollywood Reporter, “HBO is going full Showtime — as in the Los Angeles Lakers.
“The premium cable network is reteaming with Adam McKay (Succession, Vice) for a scripted drama based on author Jeff Pearlman's nonfiction book Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s. Max Borenstein (Godzilla, Kong: Skull Island, AMC's The Terror) will pen the script for the project, which has been picked up with a pilot order from HBO. Jim Hecht (Ice Age: The Meltdown) will co-write the story.
“Showtime marks the first project for McKay after splitting with longtime producing partner Will Ferrell. McKay and Kevin Messick will executive produce for the former's currently unnamed new company. McKay will also direct the pilot, which is already exploring casting options for actors to take on the roles of former NBA favorites Magic Johnson, Kareem Abdul-Jabbar and head coach Pat Riley.
“Borenstein, Hecht and Jason Shuman will also be credited as EPs on the drama, which HBO describes as a fast-break series chronicling the professional and personal lives of the 1980s Los Angeles Lakers, one of sports’ most revered and dominant dynasties — a team that defined its era, both on and off the court.
"‘Jeff Pearlman's book and Max Borenstein's script of the story of the Showtime Lakers really knocked me over. Sexism, racism, tragedy, redemption, no-look passes and a giant cultural shift in America... I can’t wait to start filming,’ McKay said Tuesday in a statement.
“The 1980s Lakers, featuring a run-and-gun style of play led by perennial All-Stars Johnson and Abdul-Jabbar, won five NBA championships.
“The Showtime pilot order arrives a day after HBO picked up Armando Iannucci's space comedy Avenue 5 to series. Showtime is now the pay cabler's second pilot in the works and joins the Game of Thrones prequel, which is fully expected to go to series. HBO, under new corporate parent WarnerMedia, is under a larger mandate to increase originals as the premium cable network will be the crown jewel of WarnerMedia's forthcoming streaming platform. (That unnamed platform — details of which have not officially been presented — is expected to launch in the fourth quarter of this year.)
“Showtime expands HBO's relationship with McKay, who directed the pilot and executive produces the breakout hit Succession.”
An HBO show called Showtime. I get it.
This I don’t get. Per E!, “Scott Disick is ready to take the real estate world by storm.
“And, thankfully, E! viewers will get a front row seat as Lord Disick will tackle his latest entrepreneurial venture in a new docu-series. Yes, Disick's passion for luxury real estate and house flipping will be well documented on Flip It Like Disick.
“While the father of three has been dabbling in the world of property development for some time—he flipped his first investment 5 years ago—Disick is ready to take his passion project to the next level. In fact, Scott has gathered quite the team to help in this undertaking.
“Namely, Scott will work alongside former pop singer-turned-interior designer Willa Ford, longtime pal and business partner Benny Luciano, all-star (albeit short-tempered) contractor Miki Moor, realtor and Benny's wife Kozet Luciano and veteran assistant Lindsay Diamond.
“In order to keep up with the E! personality, we have a feeling the staffers will need to be both hilarious and headstrong.
"‘Scott Disick is funny, unpredictable and unfiltered,’ E! Executive Vice President of Development and Production Amy Introcaso-Davis stated. ‘Fans of Scott on Keeping Up with the Kardashians will get to see another side of him in Flip It Like Disick, as an entrepreneur and design guru, leading his talented and opinionated team through difficult design challenges that result in astonishing reveals.’
“It's no secret that Disick has a serious eye for design. So, we're more than ready to see him take on many celebrity projects—including a new playhouse for his and Kourtney Kardashian's kids.
"‘I'm excited to bring fans a new series that shows what I'm really passionate about professionally, which is flipping real estate and doing crazy and impressive renovations on celebrity homes,’ Scott gushed in a statement. ‘E! has never had a show like this before. It's a bit different than viewers are used to seeing, but I think they will be both entertained and inspired by my team.’
“Flip It Like Disick will air later this summer on E! (with eight one-hour long episodes).
“The show is produced by STXtelevision with Tower 2 Productions and Ryan Seacrest Productions. Ryan Holcomb, Jason Goldberg, Lori Gordon and Kris Jenner are all serving as executive producers, in addition to Disick.”
Per TheWrap, “AMC says the current fight between writers and agents helps make its case against original Walking Dead showrunner Frank Darabont, with whom the network is locked in a long legal fight.
“The Writers Guild of America has used “The Walking Dead” as an example of an agency — CAA — putting its interests ahead of those of a client, Darabont. An attorney for AMC agreed with the WGA.
“‘The conflict of interest between CAA and Frank Darabont is central to our case,’ attorney Orin Snyder told TheWrap. ‘CAA negotiated a lucrative packaging deal for themselves for The Walking Dead that was better than the deal they negotiated for Mr. Darabont. This was a classic breach of fiduciary duty and why the WGA points to our case as Exhibit A of how talent agencies take advantage of their clients.’
“CAA, meanwhile, accused AMC of opportunistically seizing on the current dispute between writers and agents.
“‘AMC is never at a loss to concoct a smokescreen to mask its own wrongful conduct toward Mr. Darabont and the other profit participants on The Walking Dead. But their most recent argument is unquestionably the most far-fetched, opportunistic, and desperate,’ said Dale Kinsella, an attorney for both Darabont and CAA, in a statement to TheWrap.
“‘The WGA’s recently filed action against various talent agencies is utterly irrelevant to Mr. Darabont’s claims that IT — AMC –wrongfully schemed to deprive the participants of what they are rightfully owed,’ Kinsella added. ‘It is exactly this type of conduct by AMC and others that has deprived many WGA members of untold millions in compensation over the years. Moreover, it is telling that until the recent dispute between the WGA and agencies came to the fore, AMC never suggested — over five years of litigation — that CAA did anything other than zealously fight for its clients.’
“CAA and Darabont sued AMC in 2013 over profits from the hit TV show, after Darabont was fired during the show’s second season. They filed a second suit against AMC in 2018.
“Darabont says that because AMC both produces and airs the series, the network committed ‘improper and abusive… self-dealing.’
“The WGA is fighting with agents over packaging fees — money paid to an agency for bundling talent for a film or TV project presented to a studio. In a report last month, the WGA criticized CAA’s handling of Darabont’s contract with AMC, citing details pulled from his lawsuits.
“The WGA says that packaging fees for The Walking Dead were in negotiations before a contract was finalized with Darabont. The agency also negotiated packaging fees for the spinoff Fear the Walking Dead, which premiered in 2015.
“Darabont’s deal called for profit participation from The Walking Dead that would vest after two years — meaning he had to be working on the series for two seasons, according to an individual with knowledge of the situation. But since he was fired toward the beginning of Season 2 production, that option didn’t vest.
“But the WGA notes that CAA’s profit participation vested immediately.”
A lawyer defending these pieces of trash at CAA is my new lowest of the low on the totem poll. I guess someone has to defend these scumbags the same way an accused serial killer has a right to a defense, but I would rank the latter ahead of the former on my list of who I respect more.