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Beavis & Butt-Head Revival On Paramount+ Releases Fiery First Clip

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It’s been over 10 years, but Beavis and Butt-Head are back for two more seasons of idiocy from creator Mike Judge and MTV Entertainment Studios.

Ahead of its August 4th premiere on Paramount+, the Beavis and Butt-Head revival series released a fiery first clip at this year’s San Diego Comic-Con. The original series ran for 7 seasons on MTV from March 8, 1993, to November 28, 1997, followed by a single-season reboot in 2011. Created by Mike Judge, the show followed two lazy teens from smalltown Highland Texas as they watched TV, ate junk food, and committed acts of vandalism.

The show’s irreverent sense of humor spoke to the Gen-Xers of the 90s, but proved less popular with the viewers of MTV in 2011. The original show’s popularity led to the dimwitted duo’s first big-screen outing, the hit movie Beavis and Butt-Head Do America, in 1996, as well as the current revival on Paramount+. Two seasons have already been ordered alongside a TV movie, Beavis & Butt-Head Do the Universe, which saw the boys going interstellar. Now, after the events of Do the Universe, they’ve been transported to 2022, where they’re even more ignorant of how stuff works because they missed a few decades.

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To celebrate the impending arrival of their continued adventures in Mike Judge’s Beavis and Butt-Head, Paramount+ has released a lengthy clip from the upcoming season. Beavis, the resident arsonist of the two, has had a long-time hypnotic obsession with fire, often prompting him to say things like, “Heh. Heh. Fire!” The clip finds Beavis happening upon his favorite thing in the form of a back alley dumpster fire that commands Beavis to do its bidding. Check out the clip from “The Special One” below:

The Paramount revival is bringing another perk along with it, the addition of 200 episodes of Beavis and Butt-Head’s original seasons with music videos intact and remastered. A major part of the original show’s magic were the segments of the two watching music videos and riffing on them, MST3K-style. But for a long time, these segments had to be cut out of DVD releases and kept most episodes from streaming platforms due to licensing issues. Legally, not only did every song need to be cleared, but every person in every music video needed to be cleared as well, a lengthy and costly process that Paramount has navigated. The new seasons will keep up the tradition of music video riffing with the addition of the two mocking TikTok and YouTube videos to bring them into the modern era.


Times have changed for Beavis and Butt-Head, and not just in how they look, but in the landscape of the world they’re re-entering. The original show was met with critical acclaim for its scathing social commentary, but also met with a fair amount of criticism from parents who thought it condoned and inspired violence. That moral outrage surrounding the show has long since subsided, with the show’s content seeming almost quaint compared to some modern offerings. Where once parents had to worry about the lessons Beavis and Butt-Head imparted, now the show and its brand of humor harken back to a simpler time. If the clip of Beavis encountering the dumpster fire is any indication, this new Beavis and Butt-Head may have finally matured, if only a little.


Source: Paramount+




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Bobby focuses on creating higher margins while investing in society. He believes that our World has room for improvement, and one of his goals is to be part of the evolutionary process. What makes him successful is the collaboration with founders and partners. Bobby has a successful track record in envisioning and creating deals and opportunities from scratch in various industries.

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Bob Greenblatt Turns His ‘Gift of Free Time’ into Memoir of Producing, Programming and Persevering

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After years of working with accomplished writers to develop TV shows, Greenblatt says it was humbling and invigorating to face the blank page every day.

“It was about a year of me pouring out the stories on the page, and another four to five months reworking it,” Greenblatt says. “So many things about writing it were revelatory to me. So many little things.”

The title refers to Greenblatt’s hometown of Rockford, Ill., about 90 miles west of Chicago, and the detective drama series starring James Garner that ran on NBC from 1974-80.

Taking a long look in the rearview mirror helped him take stock of where the industry is headed. And that was a worthy exercise for an executive who is pursuing entrepreneurial ventures in TV, stage and other content opportunities.

“When you step back for a minute and really think about things, it’s really remarkable to look at what’s happened to the business,” Greenblatt says. “When I started there were basically three networks and Fox was on a couple nights a week. Then we went into the cable revolution and now it’s streaming that is the next iteration.”

From the days of vaudeville and nickelodeons to the burgeoning world of Web3 entertainment, the one constant throughout is the need for distinctive content to bring consumers to the screen. Greenblatt’s book is an invaluable compendium of anecdotes about his experiences in the TV trenches. He brings the dual perspective of a seasoned industryite who has worked as a top programming buyer for major networks as well as a producer of Emmy-winning series.

Some of the liveliest tales in the tome revolve around “Six Feet Under,” the beloved HBO drama series that ran from 2001 to 2005. Greenblatt and his former producing partner, David Janollari, shepherded the series with creator Alan Ball through the Greenblatt Janollari Studio banner that the pair ran in the late 1990s and early 2000s.

On paper, a show about a deeply dysfunctional family that runs a funeral home in Pasadena hardly has the makings of a successful TV series. But in the moment that “Six Feet Under” was birthed some 20-odd years ago, HBO was just starting to open the aperture of prestige television.

“The Rockford Files” also makes crystal clear how much television is a team sport. Greenblatt goes out of his way to recognize the many people who contributed the ideas and inspirations that make for distinctive shows.


Courtesy of HBO

The germ of the idea for “Six Feet Under” came from then- HBO development chief Carolyn Strauss being interested in finding a series set against the backdrop of the business of death. At the same time, “Six Feet Under” only worked because Ball brought his unique view to the subject matter.

“Alan Ball is a singular talent, and recognizing that early on was a stroke of luck for us. We had an instinct about him. And while instincts are hard to quantify, if you learn to listen to them and trust your gut about a ‘feeling’ you have, it can pay big dividends,” Greenblatt writes. “This show always goes back to one of my favorite epiphanies — only pursue ideas that are singular, totally original and even risky. While it’s not possible to do that every single time, when you can, the payoff is often extraordinary. In a million years, the idea of a show set in a funeral home doesn’t make any sense, until it gets into the hands of a genius.”

Of course, in the stranger-than-fiction way the world works, Greenblatt was head of programming for HBO rival Showtime by the time “Six Feet Under” wrapped its five-season run in 2005.



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Why Never Have I Ever Season 4 Is The Last Explained By Creators

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Creators of the Netflix series, Never Have I Ever, describe their choice to end the series with season 4. Co-creators Lang Fisher and Mindy Kaling helm the series that follows Devi Vishwakumar (played by Maitreyi Ramakrishnan), and her two best friends, Eleanor Wong (played by Ramona Young) and Fabiola Torres (played by Lee Rodriguez), on their journey through love, embarrassment, and fun in high school. The series also includes several supporting cast members including Poorna Jagannathan as Dr. Nalini Vishwakumar, Richa Moorjani as Kamala Nandiwadal, Darren Barnet as Paxton Hall-Yoshida, Jaren Lewison as Ben Gross, and John McEnroe as himself in the role of the narrator.

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Aside from co-creating Never Have I Ever, Fisher is known her writing on shows such as Brooklyn Nine-Nine and The Mindy Project. Actress, writer, and producer Kaling rose to notoriety after her role as Kelly Kapoor in The Office, a series that she also an executive produced, and since then has gone on to executive produce several others including The Mindy Project, Never Have I Ever, and The Sex Lives of College Girls. Never Have I Ever recently aired season 3 on Netflix, and season 4 already finished filming earlier this month.

In an interview with EW, Fisher and Kaling explain why they are ending the popular Netflix series with season 4. Fisher notes that part of the reason that the series is ending is that the characters are moving on to their senior year of high school in season 4, and unfortunately the writers can’t keep the characters in high school indefinitely. Kaling and Fisher also share the sentiment that the way that they’ve chosen to end the series will bring satisfaction to viewers both because of the natural close to a high school story ending with senior year, and because they didn’t extend Never Have I Ever for an unnecessary amount of seasons just because the characters are so fun to write for. Full quotes from Fisher and Kaling can be read below via EW:


Fisher: “It’s hard when you have a high school show, because you can’t keep them in high school forever. The cast gets older and older. Then you start having, like, 30-year-olds going to high school and it’s hard to take them to college. I think we felt like this is it, this is good. We can tell this tale and end it the way we want to on a high note and really finish out senior year and it will feel satisfying.”

Kaling: “We finished season 4, and it’s good. It’s just a testament to how hard it is to say goodbye to characters you love writing. It takes a while for writers to figure out characters. You write a pilot and then you hire people and then you get into this groove, that’s why so many shows growing up lasted like five seasons too long. [Laughs] But I do feel that, in a couple years, I’ll look back on this and say, ‘No, that was good that it ended then.’ But right now I’m not ready to accept it.”

Kaling and Fisher deciding to end Never Have I Ever with season 4 will be bittersweet for its fans, although that decision leads to a higher likelihood that finale will feel like a true and satisfying series finale, rather than a finale that comes at the necessity of the series being canceled. Season 3 ended with a surprise cliffhanger as Devi is apparently ready to have sex with Ben after deciding to stay at Sherman Oaks High School rather than transferring to the prestigious Shrubland school, so viewers can look forward to a season 4 in which Devi will still be grappling with her feelings toward Ben, and possibly also Paxton. Although season 4 already finished filming, it’s unlikely that it will be released any time soon due to time needed to finish editing the series, as well as seasons 1, 2, and 3 setting the precedent for being released around spring or summer.


If fans truly crave more content revolving around the characters in the series, there is always the possibility that a spin-off could happen for one of the characters as long as it seems like there is a market for that series. As for now, fans of the series can find relief in the fact that there will be another season of the show, and can cherish season 4 knowing that it will wrap up Devi’s story. Viewers will have to continue following updates regarding what Never Have I Ever season 4 may entail, as well as when an official release date for the final season is announced.

Sources: EW

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How Amazon’s ‘League of Their Own’ Ball Players Compare to the 1992 Movie Lineup

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“Broad City” co-creator Abbi Jacobson and “Mozart in the Jungle” executive producer Will Graham give “A League of Their Own” a modern makeover for the upcoming Amazon Prime Video series, emphasizing LGBT storylines and the struggles of Black female athletes to play baseball during the World War II era. The show, which debuted this weekend, follows the basic outline of Penny Marshall’s 1992 movie of the same name: A catcher with a husband away at war quickly becomes a team leader, played in the update by Jacobson. Nick Offerman has stepped into the equivalent shoes of Tom Hanks as a disgraced-star-player-turned-manager. Here’s how the show stacks up against the 30-year-old movie, which introduced Rosie O’Donnell to pal Madonna and was itself an adaptation of a late-1980s documentary of the same name.

Abbi Jacobson plays catcher Carson Shaw, a reluctant leader exploring unexpected feelings for a teammate while her husband is serving overseas.

A LEAGUE OF THEIR OWN, Geena Davis, 1992. ©Columbia Pictures /Courtesy Everett Collection

Geena Davis commands the action behind the plate and off the field as Dottie Hinson, who looks out for her sister Kit while waiting for the return of her soldier husband.

Chanté Adams sensitively portrays the angst of Max Chapman, a talented Black pitcher barred from playing due to her race and gender; she also has a secret romantic life.

Tom Hanks, who had already starred in the Marshall-directed “Big,” is the boozy manager who exasperatedly utters the film’s most famous line: “There’s no crying in baseball.”

A League of Their Own

D’Arcy Carden’s Greta is a flirty presence adept at protecting herself from censure as a queer woman.

A LEAGUE OF THEIR OWN, Lori Petty, 1992. © Columbia Pictures/ Courtesy: Everett Collection

Lori Petty’s Kit wears her heart on her sleeve, frustrated at the attention her big sister Dottie receives.

A League of Their Own

Melanie Field, second from left, portrays Jo De Luca, Greta’s boisterous pal from Queens, who draws teammate whispers about her sexuality.

A LEAGUE OF THEIR OWN, Madonna, 1992. © Columbia Pictures/ Courtesy: Everett Collection.

Madonna, then at the height of her stardom, has a supporting role as Mae “All the Way” Mordabito, a taxi dancer before she joined the Rockford Peaches.

A League of Their Own

Gbemisola Ikumelo is Max’s excitable married pal and wannabe comic book writer, Clance.

Mae’s pal Doris in the movie, Rosie O’Donnell, pops up in the Amazon series as a gay bar owner.

A League of Their Own

Nick Offerman doesn’t stick around long as manager Dove Porter, a former pitcher with a healthy ego.

A LEAGUE OF THEIR OWN, Jon Lovitz, 1992, (c) Columbia/courtesy Everett Collection

Jon Lovitz makes an amusing entrance early on as a scout for the burgeoning all women’s league.

Molly Ephraim plays the role of Maybelle Fox, a fun-loving bottle blonde oblivious to sexual undercurrents on the team.

A LEAGUE OF THEIR OWN, Garry Marshall, 1992. ©Columbia Pictures/ Courtesy Everett Collection.

Marshall’s daughter Tracy Reiner, older brother Garry (a director in his own right) and “Laverne & Shirley” co-star David Lander all play small roles in the movie.



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