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ITVX to Get 400 Hours of Content From Anime Ltd, CBS Reality – Global Bulletin

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The U.K.’s ITV has signed an agreement with Glaswegian-based Anime Ltd, the largest independent anime licensor in the U.K., which will make its upcoming streamer ITVX the free-to-air home of 500 episodes and 200 hours of anime television series and films. The collection will include “Escaflowne,” “Lupin III Part 6,” “Megalobox,” Shinichiro Watanabe’s “Cowboy Bebop” and Hideaki Anno’s “Gunbuster.”

An additional deal involves the launch of True Crime U.K. from CBS Reality. Drawing from the library of CBS Reality, the factual entertainment channel in the U.K. popular amongst adult women, the service will provide ITVX with an additional 200 hours of true crime content at launch, and a further 50 hours in 2023. Titles include “Descent of a Serial Killer,” four series presented by renowned investigative journalist and criminologist Donal MacIntyre, two series of “The Real Prime Suspect” hosted by former detective Jackie Malton, the inspiration behind drama series “Prime Suspect,” “New Scotland Yard Files,” all of which are original programs from the CBS Reality library, along with three series of popular show “Medical Detectives.”

These agreements also mark the first advertising revenue sharing deals for ITVX, a way by which ITV will be bringing on a range of third-party content.

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Warner Bros. Discovery U.K. has commissioned three true crime series, as well as the return of Quest Red’s “Deadliest Mums & Dads” for season 2. “The Swindlers” (working title) is a 6×60′ docu-series produced by Crackit Productions Ltd that examines audacious stories of brazen and ruthless serial swindlers who charmed and manipulated their way into the lives and wallets of their victims. The series, which will flip between the perspective of the swindlers and that of their victims, will air on Quest Red early next year. Also produced by Crackit, “Deadliest Mums & Dads” season 2, will be released on Quest Red in September. Each of the episodes will focus on a different harrowing story of parents who murdered their own children.

5×60′ documentary series “Dead Fake” (working title), is an exploration of fraudsters faking their own death and where true-crime meets intrepid caper, produced by Man Alive Entertainment. The series will launch on Discovery+ in early 2023. “Michael Sams: Kidnapper Killer” is a Candour-produced 1×60 documentary’ featuring never-before-heard audio tape of Sams — who murdered 18-year-old Julie Dart and then kidnapped estate agent, Stephanie Slater — once labelled ‘The Other Yorkshire Ripper,’ secretly recorded whilst he was in a high-security prison. The series will drop on Discovery+ in the U.K. on July 30. The series were ordered for Discovery+ by Clare Laycock and commissioned by Charlotte Reid. Executive producers for Warner Bros. Discovery are Deirdre Dowling, Romy Page and Matt Reid.

FESTIVAL

The Oscar qualifying Hollyshorts Film Festival‘s 18th edition takes place Aug. 11- 20 as a hybrid edition at TCL Chinese Theatre in Hollywood and virtually through the official festival streaming platform Bitpix. Films include “Five Cents,” starring Brian Cox; “Aurinko In Adagio,” produced By Lena Waithe; “Life And Debt,” starring Rosario Dawson; “Bainne,” directed By Jack Reynor and starring Will Poulter; “North Star,” featuring Kevin Bacon, Colman Domingo, Laura Innes, Chris Sheffield and Malcolm Gets; “Thoughts And Prayers,” starring Zachary Levi; “Be Careful What You Wish For,” featuring June Squibb and Ed Asner ; “Still Rolling Papers,” featuring Wiz Khalifa; “The One,” directed by Nina Dobrev, starring Madeline Brewer and Indya Moore; “Tara Messenger Of Death,” starring Margaret Cho; “Color Me Jane,” starring Penn Badgley; “Don’t Worry, It’s Gonna Be OK,” directed By Izabel Pakzad and produced by James Franco; and “Celebritas Ex Machina,” featuring Dolph Lundgren, Sean Astin and Danny Trejo.

The winners of HollyShorts’ three top prizes will be eligible for nomination at the 2023 Oscars. Six HollyShorts films were nominated for the 2022 Oscars with wins for Aneil Karia and Riz Ahmed’s “The Long Goodbye” and Ben Proudfoot’s “The Queen Of Basketball.”



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Every New Key In Locke & Key Season 3

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This article contains spoilers for Locke & Key season 3.Locke & Key season 3 introduced four powerful new keys, and every one of them is uniquely puzzling and dangerous. Inspired by the dark comic book stories of Joe Hill and Gabriel Rodriguez, Locke & Key has proved itself one of Netflix’s best comic book adaptations. The series tells the story of a family who return to their ancestral home, only to learn they have inherited the position of Keepers of the Keys.

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These magical keys are actually the spirits of demonic beings from another dimension, trapped in demon iron that can be forged into keys. The one who forges the key can imbue it with any power they wish, making them tremendously powerful. Unfortunately, the magic contained within these keys is dangerous and complex, derived from a realm of pure evil, meaning the Keepers of the Keys struggle to prevent them from being used for evil. It doesn’t help that magic can only be remembered by children, with people losing all their memories of magic as they reach adulthood. Over the course of three seasons, the Lockes have discovered many keys in their home, the Keyhouse.


Locke & Key season 3 brings the story of the keys to an end. This time around, the Lockes only discover four new keys, each of which possesses remarkable abilities. Some of them prove useful, while others become difficult obstacles. Here’s a breakdown of every new key in Locke & Key season 3.

The Snow Globe Key

The Snow Globe Key is introduced in Locke & Key season 3, episode 1. It syncs the Keyhouse with a replica contained within a snow globe, allowing people to enter into the globe and have fun there. At first, this seems to be one of the more benign keys, good for a bit of snowtime fun and nothing more; in reality, though, it’s a dangerous trap. It’s possible to become trapped in the snow globe, and indeed Bodie almost freezes to death there. Like all the keys in Locke & Key, a single mistake with the magic can prove fatal. Worse still, the original Keepers of the Keys seem to have used the Snow Globe Key as a prison for two beings (probably demons), Sisters Ada and Dorothy, who break out and attempt to wreak havoc in the Keyhouse. Nina manages to trap them again using the Mirror Key.


The Harlequin Key

The next new key to be discovered is the Harlequin Key. This can be used to turn a magical trunk into an impenetrable container, and the Lockes wisely decide the Harlequin Box is the best place to store all the other keys. Unfortunately, Locke & Key season 3 sees Gideon figure out how to use the Harlequin Key to his own advantage, locking the keys in there and pocketing it. The end of Locke & Key season 3 sees Bodie and Nina desperately try to open the Harlequin Box, figuring it was created before a lot of modern technology. Magic proves stronger than science, however, and even the best equipment the two can find is unable to break it open. The only answer to magic, it seems, is more magic.


The Timeshift Key

The Timeshift Key is one of the more complex, in that it can only be used alongside a grandfather clock that contains magical mechanisms. Using the Timeshift Key, a person can time travel back to the past; they can even set how long they will spend there. The Timeshift Key’s powers are a tantalizing temptation for the stars of Locke & Key, particularly Bodie, who misses his dad. Yet again it turns out there’s a sting to this magic, because anyone touching a time traveler at the moment the time runs out is transported forward with them. Bodie accidentally brings back Dodge, the Lockes’ greatest enemy, who was defeated in Locke & Key season 2, and she possesses his body.


The Timeshift Key has a built-in failsafe for this eventuality, a timer meaning anything brought from the past can only exist for so long before it blinks out of existence. To the horror of the Lockes, when time runs out, Bodie’s body disappears. Bodie’s spirit is able to figure out another workaround, thankfully.

Temporal mechanics are tricky to handle well (even the MCU’s time travel doesn’t make sense). In the case of Locke & Key, the use of the Timeshift Key appears to create a branched reality that can only be maintained for so long before it is destroyed. This means the Timeshift Key cannot be used to create paradoxes by changing the past, nor can it permanently bring a person to the present to cheat death. Its power lies in the experiences of the time travelers, and it is a cruel irony that — without the Memory Key — these experiences too would be forgotten.

The Creation Key

Locke & Key season 3 saves the best key till last. The Creation Key is the most powerful of all, in that it is limited only by the imagination of its bearer. It is more like a pen than a key, and anything drawn by someone who holds the Creation Key will become real. The Creation Key is the MacGuffin of the third and final Locke & Key season, sought after by Gideon simply to complete the set but in reality just what the Lockes need to defeat him. The Lockes come within a hair’s breadth of banishing Gideon through the Well House using the Creation Key, but they underestimate his strength, and he is able to break free and destroy the Well House.


The dramatic end of Locke & Key season 3 sees the Lockes discover the true power of the Creation Key. It can be used to circumvent the magic of the other keys, with Kinsey drawing a new opening on the Harlequin Box so the Alpha Key can be retrieved to kill Gideon. It’s something of a shame that Locke & Key season 3 wraps up the story because it would be fascinating to see how the Creation Key could be used when interacting with the magic of some of the other keys.

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Kenan Thompson Shares Why He Couldn’t Say No to Hosting the Emmys — Plus, Seth Meyers Offers Some Advice (EXCLUSIVE)

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Hosting an awards show these days is considered a pretty thankless job, with little upside — dwindling ratings, snarky social media posts and rigid formats that are tough to change. And yet, it’s still a bit of a bucket-list item for many performers, which is why I totally get it that Kenan Thompson would say yes to this year’s Emmys. (And I find it doubly admirable that he agreed to do it, even after TV Academy voters snubbed him this year and NBC canceled his primetime sitcom!)

“They asked, and it’s an honor,” Thompson told me Thursday on a sweltering August afternoon in Hollywood, where he was receiving his star on the Walk of Fame. “It’s a giant career milestone to host an Emmys, an Oscars, a Tonys, whatever. So you get that phone call, you should take it!”

His NBC colleague Seth Meyers, who hosted in 2014, had no interest in doing it again (nor did Jimmy Fallon, who hosted in 2010). “SNL Weekend Update” anchors Colin Jost and Michael Che did it in 2018, so they’re already covered. Now, it would only make sense that NBC would go to the “SNL” GOAT, Thompson, to take the reins this time around.

“Everyone’s got to do it once, and it’s his turn, he’s earned it,” Meyers says. “The good news is Kenan, like I was, is lucky enough to be connected to a talented group of writers. The ‘SNL’ writing staff I’m sure it’s going to show up for Kenan because he has been showing up for them and their sketches, getting laughs on looks and line reads for two decades.”

If Meyers has any advice for Thompson, it’s that “especially after the last two years, people just want to have a good time at the Emmys and not feel like it’s being taken too seriously. I think the Oscars you can get a little serious, but with the Emmys, it’s better just to be fun. That’s the opportunity you have with that show.”

Meyers will be in the audience, this year as a nominee in the variety talk category — a first for “Late Night With Seth Meyers.” “It’ll be a new experience to actually be a nominee, as opposed to a presenter,” he chuckles. “That alone will be worth it.”

Thompson says he’s already been meeting with NBC and Emmy producers Done+Dusted and Reggie Hudlin to start mapping out the show. “We’re figuring out who we want to do bits with, who wants to do bits in general,” he says. That likely means plenty of interaction with “SNL” players past and present (many of whom will be in attendance as nominees on various shows — like “Ted Lasso” star Jason Sudeikis, whose running-man character is a part of Thompson’s signature “What’s Up With That?” sketches). Says NBCU exec VP of live events and specials Jen Neal: “You can imagine his friend list is wide and broad, and you will see lots of Kenan and his friends in the performances.”

What about reaching back even further and inviting Kel Mitchell for some “Kenan & Kel” moments? Perhaps pass out Good Burgers to the audience? “It’d be interesting to do,” Thompson says. “That’d be a good bit. If I write that bit, he’d have to come, right? Thank you for putting that inkling in my mind!”

Thompson may feel like the obvious choice for NBC this year, but he was announced just a month before air — making for a much shorter prep window than normal for a major awards show like the Emmys. But he seems unnervingly relaxed about the timetable: “We’ll be fine,” he says. “I don’t have to do much, a couple of good jokes throughout the night, basically. It’s not like I’m going to be doing stand-up. I just want to celebrate creative people in this business that make these moments possible.”

Of course, Thompson comes from an “SNL” schedule where the show goes from blank slate to live, on the air, within a week. Neal is similarly not concerned: “From my perspective, we still have a lot of time. So we’re excited and we’re working through it now. And we feel like we’re in great shape to have him out there with us.

“He’s a perfect choice because of his broad appeal to the audiences at home,” she adds. “He’s a veteran in the TV space, his comedic approach, his likability, his knowledge and his passion for all things television. We are already having so much fun working with Kenan right now and can’t wait to have audiences at home see him in a few weeks.”



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Why She-Hulk Doesn’t Rage Out Explained By Tatiana Maslany

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She-Hulk: Attorney at Law star Tatiana Maslany explains why Jessica Walters doesn’t rage out when she transforms like Bruce Banner did.

Tatiana Maslany explains why Jennifer Walters doesn’t rage out the way Bruce Banner does in She-Hulk: Attorney at Law. The upcoming Disney+ series will introduce Walters to the world of the MCU, known as Bruce Banner’s cousin in the comics. Mark Ruffalo will reprise his role in the series as Banner/Smart-Hulk, and provide guidance to his cousin on the responsibility she now holds by being a Hulk, after a car accident causes her to get cross-contaminated with Banner’s blood.

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She-Hulk: Attorney at Law will mark a drastic change in tone for the MCU, as the show is billed as a half-hour legal comedy. Walters is at the center of many legal cases involving superheroes and villains, and many characters from the expanded world of MCU are set to appear, including Abomination, Wong, and Charlie Cox as Daredevil. Meanwhile, the She-Hulk doesn’t want to use her newfound superpowers to save the world like her cousin does, but only wants to continue her quiet life as a lawyer.

In the series, Walters can take on legal cases as the She-Hulk, something she can do because her Hulk-self doesn’t rage out when fully transformed, and can speak as normally as she does when she is Jennifer Walters. In a recent interview on The Late Show with Stephen Colbert, Maslany explains why Jennifer Walters can control her emotions while being Hulked out and is essentially better at Hulking than Bruce Banner is. Check out her comments on the matter below:


Because women have been socially taught to repress and control their emotions in order to survive. So she’s like, ‘I’m so good at dealing with my rage. I deal with it constantly. I deal with fear constantly.’ So she’s able to just navigate it effortlessly.

In Avengers: Endgame, Bruce Banner explains that he spent years in a lab trying to repress his Hulk emotions, which allowed him to create his Smart Hulk persona and function as an individual while being fully Hulked out. But it looks like Walters won’t need to do this, because she’s able to repress her emotions as a Hulk to function as a lawyer pretty much immediately. Her origins as She-Hulk, and how she’s able to control her emotions, will likely be fully explained in the series.

However, Maslany’s comments on the matter give a small glimpse of what audiences should expect when they are introduced to the She-Hulk for the first time in She-Hulk: Attorney at Law. Everything audiences knew about being a Hulk from Bruce Banner’s story is likely off the table now, with the show introducing the latest addition to the Hulk family. And Jennifer Walters/She-Hulk is faster, stronger, and more agile as a Hulk than Bruce Banner has been since he took on the Smart Hulk personality in Endgame.

Source: The Late Show with Stephen Colbert/YouTube

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