Brits to ask Netflix to stipulate The Crown is fiction

  • Post category:Netflix
  • Reading time:2 mins read

Britain’s culture secretary Oliver Dowden will officially ask Netflix to add a disclaimer to The Crown making clear it is partly a work of fiction.

“It’s a beautifully produced work of fiction, so as with other TV productions, Netflix should be very clear at the beginning it is just that,” he said.

“Without this, I fear a generation of viewers who did not live through these events may mistake fiction for fact.”

The move follows ongoing criticisms of Peter Morgan’s script around dramatised events.

Last week ABC noted on social media that dialogue attribute to Bob Hawke on a Four Corners episode never took place.

Princess Diana’s brother, Charles Spencer, has also said, “Americans tell me they have watched The Crown as if they have taken a history lesson. Well, they haven’t.

“It is very hard, there is a lot of conjecture and a lot of invention, isn’t there? You can hang it on fact but the bits in between are not fact.”

There is also doubt over a scene in which Lord Mountbatten writes a letter to a young Prince Charles.

“I made up in my head — whether it’s right or wrong — what we know is that Mountbatten was really responsible for taking Charles to one side at precisely this point and saying, ‘Look, you know, enough already with playing the field. It’s time you got married and it’s time you provided an heir,’” Morgan said.

“I think everything that’s in the letter that Mountbatten writes to Charles is what I really believe — you know, based on everything I’ve read and people I’ve spoken to, that that represents his view.

“We will never know if it was put into a letter, and we will never know if Charles got that letter before or after Mountbatten’s death but in this particular drama, this is how I decided to deal with it,” he added.

Morgan has also claimed to meet regularly with people who are very high-ranking and very active within the royal household, but Donal McCabe, the Queen’s communications secretary, said in a letter, “The Royal Household has never agreed to vet or approve content, has not asked to know what topics will be included, and would never express a view as to the programme’s accuracy.”

Source: Deadline 9Now

Source: tvtonight.com.au

The English Game: Upper Class, Working Class, Sports and Money

  • Post category:Netflix
  • Reading time:2 mins read

My wife and I binge-watched The English Game on Netflix.  We’re not football aka soccer (in the U.S.) fans.  In fact, the only team we care about are the New York Yankees.  But we really enjoyed The English Game.  Although it’s almost completely unlike Friday Night Lights, it’s an another example of a sporting story done so well, and touching on so many social and interpersonal issues, that it’s well worth watching even if professional sports are not high up on your entertainment list.

The English Game was written by Downton Abbey‘s Julian Fellowes.  That’s a reason right there that the show is irresistible.  Fellowes has a keen eye for local historical color and speech, ranging from the wines and port that are poured at dinner tables to a smoking train with garrulous passengers wending its way through the countryside.  And he’s deft at handling the class conflicts which are the very lifeblood of Britain.

In the late 1870s and 1880s, these class conflicts shot through the emerging sport of football.  The game was invented by the upper class, who devised the rules and played the game for the pure love of it.  The workingmen, in the surge of the Industrial Revolution, also loved the game, and brought to it some new strategies from Scotland, in the person of Fergus Suter, a real football player in our real history, who plays a major role in the series.  His opposite is Arthur Kinnaird, also a real person, whose father was a lord.  But he has something in common with Fergus in their shared devotion to the game, and maybe in their ultimate response to the most unsettling element in this new iconic culture: those who would play the game for not just love but money.

I didn’t know most of the acting talent in The English Game, but they all did a fine job. I did know Charlotte Hope as Catherine in The Spanish Princess, and believe it or not she plays a very similar role in The English Game, but I won’t tell you exactly what or how it’s resolved.  I will tell you that The English Game is well worth your viewing, not just for the entertainment but the enduring social issues it adeptly addresses.

 

Source: paullevinson.blogspot.com

The Prom | Official Trailer | Netflix

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  • Reading time:2 mins read

The Prom follows Dee Dee Allen (three-time Academy Award winner Meryl Streep) and Barry Glickman (Tony Award winner James Corden) who are New York City stage stars with a crisis on their hands: their expensive new Broadway show is a major flop that has suddenly flatlined their careers. Meanwhile, in small-town Indiana, high school student Emma Nolan (newcomer Jo Ellen Pellman) is experiencing a very different kind of heartbreak: despite the support of the high school principal (Keegan-Michael Key), the head of the PTA (Kerry Washington) has banned her from attending the prom with her girlfriend, Alyssa (Ariana DeBose). When Dee Dee and Barry decide that Emma’s predicament is the perfect cause to help resurrect their public images, they hit the road with Angie (Academy Award winner Nicole Kidman) and Trent (Andrew Rannells), another pair of cynical actors looking for a professional lift. But when their self-absorbed celebrity activism unexpectedly backfires, the foursome find their own lives upended as they rally to give Emma a night where she can truly celebrate who she is.

Directed by Ryan Murphy, The Prom is the spectacular, big-hearted film adaptation of the Tony-nominated Broadway musical. Screenplay by Bob Martin and Chad Beguelin.

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

The Prom | Official Trailer | Netflix
https://youtube.com/Netflix

A group of down-on-their-luck Broadway stars shake up a small Indiana town as they rally behind a teen who just wants to attend prom with her girlfriend.

Sabrina vs. Prudence | WHO WORE IT BEST? | Netflix

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  • Reading time:1 mins read

Sabrina Spellman and Prudence Blackwood go head to head in the ultimate fashion battle to decide who is Greendale’s style queen. You voted for your favorite looks on Instagram, and these are the results!

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Sabrina vs. Prudence | WHO WORE IT BEST? | Netflix
https://youtube.com/Netflix

Love and loyalty are pushed to their limits as Sabrina navigates a sinister new normal — with the help of Greendale’s bravest allies.

5 Things You Should NEVER Say To The Queen | The Crown | Netflix

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  • Reading time:1 mins read

Ever wondered how you should behave if you meet Queen Elizabeth? These are the five things you should never, EVER say to the Queen.

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

5 Things You Should NEVER Say To The Queen | The Crown | Netflix
https://youtube.com/Netflix

In the 1980s, Elizabeth clashes with Prime Minister Margaret Thatcher while Prince Charles enters a tumultuous marriage with Lady Diana Spencer.

The Prom: trailer

  • Post category:Netflix
  • Reading time:2 mins read

A full trailer has now been released for new Ryan Murphy musical film The Prom.

The top-line cast features Meryl Streep, James Corden, Nicole Kidman, Keegan-Michael Key, Andrew Rannells plus Tracey Ullman, Mary Kay Place, Kerry Washington and newcomer Jo Ellen Pellman.

Dee Dee Allen (three-time Academy Award winner Meryl Streep) and Barry Glickman (Tony Award winner James Corden) are New York City stage stars with a crisis on their hands: their expensive new Broadway show is a major flop that has suddenly flatlined their careers. Meanwhile, in small-town Indiana, high school student Emma Nolan (newcomer Jo Ellen Pellman) is experiencing a very different kind of heartbreak: despite the support of the high school principal (Keegan-Michael Key), the head of the PTA (Kerry Washington) has banned her from attending the prom with her girlfriend, Alyssa (Ariana DeBose). When Dee Dee and Barry decide that Emma’s predicament is the perfect cause to help resurrect their public images, they hit the road with Angie (Academy Award winner Nicole Kidman) and Trent (Andrew Rannells), another pair of cynical actors looking for a professional lift. But when their self-absorbed celebrity activism unexpectedly backfires, the foursome find their own lives upended as they rally to give Emma a night where she can truly celebrate who she is.

Directed by Ryan Murphy and also starring Tracey Ullman, Kevin Chamberlin, Mary Kay Place, Nico Greetham Logan Riley, Nathaniel J. Potvin and Sofia Deler, The Prom is the spectacular, big-hearted film adaptation of Chad Beguelin, Bob Martin and Matthew Sklar’s award-winning, Tony-nominated Broadway musical. Screenplay by Bob Martin and Chad Beguelin; the film is produced by Ryan Murphy, Alexis Martin Woodall, Adam Anders, Dori Berinstein and Bill Damaschke.

Friday December 11 on Netflix.

Source: tvtonight.com.au

Govt seeks feedback on local quota proposal for Streaming

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  • Reading time:4 mins read

The Australian Government has today released a Green Paper setting out proposed reforms to support the media industry and is seeking public and industry comment.

The paper proposes creating a law that requires Streaming services to invest a percentage of local revenue into local content, either in the form of commissions, co-productions or acquisitions of content (in Europe a similar levy is set at 30%).

The Green Paper also highlights that the business model of Australia’s free-to-air television businesses is under severe strain and proposes a new broadcasting licence structure for networks by using less radiofrequency spectrum.

The Government is seeking views on:

  • Offering commercial broadcasters the choice to operate under a new kind of commercial television broadcasting licence, with a reduced regulatory burden provided they agree to move at a future point to using less radiofrequency spectrum;
  • Promoting the public interest by using proceeds from freed-up spectrum to invest in Australian news and screen content;
  • Introducing an Australian content spend obligation on video-on-demand services; and
  • Formalising the role of national broadcasters as key providers of Australian content.

“The media landscape has changed significantly over the past decade, with faster internet allowing digital technologies to generate significant benefits for industry and consumers. However, these technologies have also fractured business models and rendered many of our regulatory structures obsolete,” Minister Fletcher said.

“With declining revenues, rising costs and an outdated regulatory framework, the capacity of Australia’s media sector to provide Australian programming, local content and public interest journalism is being challenged. These structural pressures have been accelerated by the economic impact of the COVID-19 pandemic, reinforcing the need for regulatory action.”

These proposed reforms are in addition to those announced as part of the 2020-21 Federal Budget to simplify regulations and inject $53 million into the development and production of local film and television content.

“What we are proposing would rebalance Australia’s media regulations so that the industry can continue to support jobs, connect communities, and keep Australian stories on our screens regardless of whether they prefer to watch free-to-air television, subscription television or video-on-demand services,” Minister Fletcher said.

To view the Green Paper, and for more information visit Department of Infrastructure, Transport, Regional Development and Communications website.

Submissions are due by 7 March 2021.

Media Entertainment & Arts Alliance statement:

MEAA CEO Paul Murphy says as thousands of skilled writers, directors, creatives, technicians, performers and other workers face an uncertain future, the need for the Federal Government to take regulatory action is critical.

“While we need to see more detail within the Government’s green paper, placing a requirement on streaming services to invest a percentage of their Australian revenue in local content gives a devastated local industry much hope for the future.” said Murphy.

“We will be studying the green paper carefully, and consulting our members to prepare a submission in response.

“Getting this reform right will create thousands of jobs and also benefit audiences for generations to come by bringing more uniquely Australian stories to the screen.”

Screen Producers Australia:

SPA CEO Matthew Deaner stated: “After an incredibly hard year for the screen sector which has seen local stories suffer at the hands of content quota suspensions and production shutdowns, this is an exciting and welcome development for Australian audiences, as well as Australian creative workers and independent production businesses.

“Streaming services are now an entrenched part of the Australian entertainment and cultural landscape, deriving huge financial gain from operating here. Now is the time to be taking definitive steps to ensuring they make an appropriate contribution back to Australian audiences.

“Incorporating streaming platforms into the regulatory mix and leveling the regulatory playing field with the free-to-air networks will be crucial to unlocking the growth potential of our industry, delivering more jobs, added exports, extra economic activity and new high quality Australian content for audiences at home and abroad.

“I congratulate the Minister on this announcement. The success of this approach will in large part be determined by the underlying details of the scheme, and we look forward to working with the government on the details of this arrangement in the coming months.”

Source: tvtonight.com.au

TV’s Biggest Turkeys: A Celebration of the Worst TV

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  • Reading time:6 mins read

As much as we appreciate a special bird for its sacrifice for our holiday meals, the term “turkeys” has always been associated with things that fail, no matter how hard they try.

We love to eat them, but we don’t have any qualms tying them the worst of any discussion, which, in this case, is all about television.

So while you’re giving props to the bird on your table, let’s talk turkey in another way with the awful programming we’re calling TV’s Biggest Turkeys.

co and ka

Coffee & Kareem – Netflix

This Netflix movie heralded a cast including the likes of Ed Helm and Taraji P. Henson. It should’ve been funny, or at least made the viewer smile.

However, it was unnecessarily explicit and profane with an obnoxious, foul-mouthed 12-year-old, a dopey police officer, and a tired retreaded buddy cop attempt that skirted along the lines of racist AF. It wasn’t just bad, it was obnoxiously bad, but worst yet, unfunny.

Fall from Grace

Tyler Perry’s A Fall From Grace – Netflix

Both Netflix and Tyler Perry are none for success, and Tyler Perry’s A Fall From Grace was no exception. Unfortunately, it was for all the wrong reasons.

The film wasn’t just bad, it was hilariously bad which made it a must-see in its own way. Social media platforms like Twitter had a field day roasting the poor acting, laughingly terrible hairpieces, and two-bit soap opera plot.

sbtb revival 3

Saved by the Bell – Peacock

We know it’s new, but what the heck were they thinking with this series? 

They managed to bring back some of the original stars, and brought made the series a self-aware satire set at Bayside High. 

It pales in comparison to the original, and features the most one-dimensional and self-absorbed characters on TV. 

soulmates amc

Soulmates – AMC

Oh, 2020 and it’s neverending heaps of Suck. Love and the concept of soulmates weren’t spared from 2020’s chaotic evil go at being the ultimate villain.

Soulmates sounded so good, the concept had so much potential as folks in the distant future, committed, single, or in entanglements, took a test to determine their soulmate in life.

But happiness eluded pretty much anyone who jumped on this bandwagon, ruining marriages, families, and so much more. It never went anywhere remotely interesting despite decent actors.

We didn’t spend enough time with any of the characters. Yeah, no, some of us will happily stay single, thanks.

Pandora – The CW

The CW’s attempt at a sci-fi adventure-drama sexy-soap somehow scored a second season and although there’s something to be said for owning their own ridiculousness, it has become increasingly hard to give them the benefit of the doubt in terms of baseline intelligence.

Excusing the effect gaffs and costuming meh-ness as budgetary restraint issues, the season’s long arc has been repeatedly sidetracked by needless flashbacks to personal trauma, gratuitous vanity scenes, and, most recently, an unexplainable spontaneous pregnancy.

This is a turkey of a schedule filler of the highest degree and deserves to get stuffed for all the times it presented potentially interesting elements only to squander it in sensational and meaningless plot holes.

Penny Dreadful: City of Angels – Showtime

was a television turkey so disappointing that even being stuffed with the talents of Nathan Lane and Natalie Dormer couldn’t save it. It was such a travesty of wasted potential that the gravy of its sumptuous 1930s Los Angeles set and costuming couldn’t make it palatable.

It was over-salted with illogical, unexplainable, over-reaching plot devices; riddled with the bitterness of pretentiousness; and spoiled with haphazard editing and disingenuous emotion. It literally molested young girls, martyred the mentally unstable, and terrorized the innocent.

This may be the season to pardon turkeys but, hand to heaven, this mess was so completely beyond redemption, we have no tears left to shed and it should all be buried deep and forgotten forever.

Dynasty – The CW

Who knew a reboot of one of the biggest primetime soaps ever would result in something so empty? In three seasons we’ve had three different actresses playing a Cristal, and three different actresses playing Alexis. 

That alone is a huge cause for concern, but the biggest complaint was that the series never really took the characters out of the mansion. 

Dynasty Season 3, however, brought in new locations, including a hotel, but failed to give the characters meaningful plots. Elizabeth Gillies is wasted on such a wretched series. 

Party of Five – Freeform

Like Dynasty, Party of Five removed all of the aspects that made the original series a success. The plots did have heart, but the series would have been better served without the title of the previous series. 

Ultimately, fans of the original bailed on the reboot and it was canceled after a single season. 

Steve Carrell on Space Force

Space Force – Netflix

A series filled with comedy greats such as Steve Carrell and Lisa Kudrow should have been a bigger success than this was. 

The plot lacked laughs and the cast looked bored throughout the entire first season. 

It’s obvious the series only got picked up for a second season to see if it would hit when The Office left Netflix for good.  

Tommy 1

Tommy – CBS

Edie Falco’s big TV comeback was a surprisingly dull affair. 

Despite sticking with the whole series, we’re struggling to remember what actually happened. It was absurdly handled, and quickly canceled. 

Probably for the best. 

insatiable cropped

Insatiable – Netflix 

On paper, Insatiable sounded like a hit, but the execution was terrible. 

Immediately after the trailer debuted, the show was accused of body-shaming, and what did Netflix do in response?

Renewed it for an even worse second season. Thankfully, the show has now been canceled, but still, it was bad. 

9-1-1: Lone Star – FOX

As a spinoff of the wildy addictive 9-1-1, Lone Star was pretty terrible. 

Many of the characters had promise, but they were dumbed down by poor storytelling. The actors looked bored during the episodes, and it’s a real shame. 

Hopefully, the series gets a jolt of life in its second season. 

Source: TVfanatic.com

Giving Thanks for TV Blessings in 2020

  • Post category:Netflix
  • Reading time:7 mins read

It’s time to discover the silver lining to 2020.

Today, we celeberate our blessings at home, so we’re doing the same about our passion — telelevision!

Join us in giving thanks for the things that have kept smile on our faces during this difficult year.

Streamers Plus

Surprisingly, we’re thankful for the number of streaming services.

Just last year, it seemed like we’d be inundated with too many choices and extra costs, but when broadcast shut down and movie theaters closed, we were grateful to have vast libraries of entertainment available for less than a visit to the movies.

Who knew??

We’re thankful that Modern Family has finally ended.

The series had a great run but it makes little sense to keep these families going when the kids are all grown-up and have artificially been close to home for so long.

Besides, the immensely talented cast can now commit themselves to new opportunities.

We’re thankful for Brockmire’s happy ending as the IFC series concluded this year after four seasons.

Few TV characters have seemed as hopeless as alcoholic TV announcer Jim Brockmire.

His never-ending cycle of shame and self-sabotage has been entertaining, but the fact that he convincingly turned his life around step-by-step has been surprising, inspiring, and a little tear welling.

We’re thankful that Dean and Sam found peace on the series finale of Supernatural, even if they found it at different times.

It would have been easy for the series to go out on a much darker note, but the Winchester brothers spending eternity with their family was a more optimistic end than we had ever hoped.

With Castiel rescued from the empty and free to roam heaven with Dean, and Jack righting all the wrongs of the afterlife, there was a lot to be thankful for. After fifteen years on the air, we’re simply happy these characters can finally lay their weary heads to rest.

We’re thankful that NBC gave Zoey’s Extraordinary Playlist a chance to shine. It was the surprise musical dramedy we didn’t know we needed to help survive 2020.

It’s a rom-com, a family drama, and a quirky musical all wrapped up in one gloriously optimistic package.

We laughed, cried, loved, grieved, and sang and danced our way through season one and we are even more grateful that the show will return in January 2021!

We’re thankful for a beautiful end to Marvel’s Agents of S.H.I.E.L.D.

It’s a rare occurrence nowadays for a show to serve up a happy ending for all of its main characters, especially on superhero series.

And to take its faithful audience on one final journey that stayed true to the core message of the show is more than we could ever ask for.

Plus, Agents of S.H.I.E.L.D. Season 7 kept us entertained during a quarantined summer when TV options were bleak. Now, how about a Quake spin-off?

We’re thankful that Young Sheldon takes place long before COVID so that we can get a break from reality while spending time with the Cooper family.

Sheldon’s odd behavior combined with the usual childhood concerns are genuinely funny and reminds us that the world used to be different and maybe will be again someday.

We’re thankful for Kevin Atwater’s very existence on Chicago PD.

As one of the best characters of the Chicago franchise, he has revitalized the series with a strong, compelling storyline that is one of the show’s best to date.

He’s proven to be the show’s moral compass, and during a time when police procedurals have had to adapt to a more conscious climate, Chicago PD has risen to the occasion in large part because of Kevin Atwater and LaRoyce Hawkins’ impressive performance.

Lifemark Christmas

We’re thankful for Lifetime and Hallmark kickstarting their Christmas movies early.

When the world is bleak during these unprecedented times, it’s nice to escape into small towns filled with love, community, and holiday cheer.

We’re also grateful for the measures both networks are taking to create more inclusive content for many demographics to enjoy.

Phantom Sitters

We’re thankful for coming of age/tween series such as The Babysitter’s Club and Julie and the Phantoms that have raised the bar, not just for younger-skewed shows, but all series.

Also, the Julie and the Phantom soundtrack.

We’re really grateful for that.

We’re grateful for quirky, unique, genre-bending shows like Prodigal Son that can’t be boxed in and gives you a little bit of everything.

From the dark humor, to the thrills, a great cast, and an intriguing lead, every episode is a blast.

Also, we’re eternally grateful for Michael Sheen playing the most lovable cardigan-wearing serial-killer dad on the air.

Queens Materials

We’re thankful for amazing literary adaptations like His Dark Materials. and The Queen’s Gambit.

They have breathed life into the words from the page, spinning narratives and fleshing out characters in beautiful, poignant, and enchanting ways.

Cobra Shera

We’re thankful for the power of nostalgia and the geniuses behind Cobra Kai and the rebooted She-Ra and the Princesses of Power.

They’ve successfully reframed well-known characters into contemporary retellings that have empowered, enriched, and enthralled fans, both old and new.

Rediscovering Ships

We’re thankful for ‘ships! All the ‘ships!

With such little original content over the past few months, it’s given us time to re-watch some of our favorite shows from years past and check out some recent ones as well.

And we remembered how fun it is to fall in love with a ship and watch it ebb and flow throughout a series. From the often maligned Scandal ships (Olitz for the win) to ships that never were (we’re looking at you, Bellarke).

To ships that may be starting to set sail (we see you, Malex) and the all-time ships that never go out of style (Pacey and Joey forever), it’s been wonderful discovering and re-discovering some of the greatest television pairings out there.

We’re thankful for the Pearsons! Even though

This Is Us is addressing COVID and police brutality in a time when we would love escapism, we’re so glad to have the Pearsons back.

We’re thankful for Kevin and this bizarre engagement. We’re thankful for Randall finding a Black therapist in a stressful time for Black people.

We’re thankful for Kate and Toby finding a child to adopt. We’ll always be thankful for more Pearsons.

Run Hillbilly

We’re thankful for a couple non-holiday, non-sappy, non-stupid streaming movies like Run on Hulu starring Sarah Paulson (our favorite performance to date) and Hillbilly Elegy on Netflix co-starring Glenn Close (who was ROBBED of her The Wife Oscar and is brilliant in this with her realistic, fake, sagging low hangers and her crass mouth).

And a shout out to David Atkinson for his all-too-brief appearance as Ray in that one, and Amy Adams also does real nice work.

Man, we needed to see these ladies at their best again, and these performances are something to be grateful for, for sure.

We’re thankful for zombies!

AMC continues to take us to a post-apocalyptic world with its The Walking Dead franchise, and this seems to be the year Fear the Walking Dead managed to deliver a better season than its parent series.

After years of weak storytelling, FTWD is blossoming into one of the better shows on TV.

Coming Jan 2021

We’re thankful for 2021, lingering on the horizon like a beacon of hope on the TV landscape.

After the return of broadcast programming for only a scant few weeks, we’ll be in full swing in the new year on both broadcast and cable.

The Resident, the 9-1-1 franchise, Discovery of Witches, American Gods, The Rookie, Prodigal Son, Servant, Walker, Cobra Kai, Wandavision, Batwoman, Dickinson, All American, Riverdale, Nancy Drew, and Charmed all premiere in January, and we are so ready.

What about you?? Share what you’re thankful for in the comments below. Happy Thanksgiving!

Source: TVfanatic.com

Shawn Mendes Breaks Down his Massive Concert Scene in SHAWN MENDES: IN WONDER | Netflix

  • Post category:Netflix
  • Reading time:1 mins read

A Netflix Original Documentary only on Netflix.
Shawn Mendes watches and breaks down the huge Roger’s Center concert from his new documentary ‘Shawn Mendes: In Wonder’

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Shawn Mendes Breaks Down his Massive Concert Scene in SHAWN MENDES: IN WONDER | Netflix
https://youtube.com/Netflix

Over the course of a world tour, this unguarded documentary follows Shawn Mendes as he opens up about his stardom, relationships and musical future.

Shawn Mendes: Live In Concert | I Can’t Have You | Announcement | Netflix

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  • Reading time:1 mins read

A Netflix Global Event. Shawn Mendes Live In Concert.

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Shawn Mendes: Live In Concert | I Can’t Have You | Announcement | Netflix
https://youtube.com/Netflix

In his hometown of Toronto, Shawn Mendes pours his heart out on stage with a live performance in a stadium packed with adoring fans.

Shawn Mendes: In Wonder LIVE! Surprise Announcement, Conversation with Alicia Keys & More | Netflix

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Join Shawn Mendes for a surprise announcement, special ‘artist on artist’ conversation with Alicia Keys and more!

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading internet entertainment service with over 151 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

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The Great British Bake Off’s Michael Chakraverty Takes On Pumpkin Pie I The Most I Netflix

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  • Reading time:1 mins read

The Great British Bake Off’s Michael Chakraverty takes a stab at making an iconic Thanksgiving staple: pumpkin pie. Come for Michael’s mom’s recipe, but stay a “wee bit” for his skills and dimples.
The Most, Netflix’s LGBTQ+ platform, centers queer creators, voices and stories all while celebrating the intersections that make us our full selves. Follow us @most on Instagram or Twitter!

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

The Great British Bake Off’s Michael Chakraverty Takes On Pumpkin Pie I The Most I Netflix
https://youtube.com/Netflix

Cake pops, custards, beloved bakers from seasons past and the “Derry Girls” cast bring cozy Yuletide joy to the tent. But will Paul be naughty or nice?

Top 10 Dares In Dash & Lily Ranked | Netflix

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  • Reading time:1 mins read

Which Dash & Lily dare is the most daring? Once Lily (Midori Francis) challenges Dash (Austin Abrams) to a simple dare via a red notebook, he retaliates with a dare of his own, sparking a series of escalating challenges. Which one was #1? Watch to find out!

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Top 10 Dares In Dash & Lily Ranked | Netflix
https://youtube.com/Netflix

Opposites attract at Christmas as cynical Dash and sunny Lily trade messages and dares in a red notebook they pass back and forth around New York City.

The Voices of Fire Choir | Lift Every Voice and Sing | Netflix

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Pharrell Williams’ Voices of Fire choir unites as one voice in their performance of “Lift Every Voice and Sing”. Voices of Fire is now streaming, only on Netflix!

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

The Voices of Fire Choir | Lift Every Voice and Sing | Netflix
https://youtube.com/Netflix

In this faith-based docuseries, Bishop Ezekiel Williams builds an inspiring, nontraditional gospel choir with the help of superstar nephew Pharrell.

Princess Diana’s Sweetest Moments in The Crown | Netflix

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A young Princess Diana (Emma Corrin) steals the show in Season 4 of The Crown with her kind hearted attitude, adorable smile, and general goodness. Here are some of our favorite moments!

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Princess Diana’s Sweetest Moments in The Crown | Netflix
https://youtube.com/Netflix

In the 1980s, Elizabeth clashes with Prime Minister Margaret Thatcher while Prince Charles enters a tumultuous marriage with Lady Diana Spencer.

The Crown Season 4 | Playing Diana | Netflix

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  • Reading time:1 mins read

Emma Corrin describes her experiences playing the iconic figure of Princess Diana, with contributions from the cast and crew of The Crown Season Four.

SUBSCRIBE: http://bit.ly/29qBUt7

About Netflix:
Netflix is the world’s leading streaming entertainment service with over 195 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

The Crown Season 4 | Playing Diana | Netflix
https://youtube.com/Netflix

In the 1980s, Elizabeth clashes with Prime Minister Margaret Thatcher while Prince Charles enters a tumultuous marriage with Lady Diana Spencer.

TV tonight: our highlights for Thursday 26th November

  • Post category:Netflix
  • Reading time:4 mins read

Saving Britain’s Pubs is just one of the gems on today…

TV tonight Saving Britain's Pubs with Tom Kerridge

Tom Kerridge calls last orders on his tour of the country Saving Britain’s Pubs, three orphaned brothers’ lives are changed by the DIY SOS team, and Pharrell Williams is on the lookout for Voices of Fire on Netflix. Here’s what you shouldn’t miss on TV tonight. 

  • Our hand-selected recommendations for what’s on TV tonight include three TV shows, live sport, a film and the latest trending need-to-binge-on-now box set 
  • Keep up to date with the latest soap spoiler storylines on TV tonight with our daily soap synopsis 
  • For more information about what’s on TV tonight see our TV Guide 

What’s on TV tonight 

Our expert TV journalists have picked the best things on TV tonight… 

Best TV shows on TV tonight

DIY SOS: The Big Build, 8pm, BBC1

TV tonight DIY SOS: The Big Build

You’ll never get this lot in a bungalow!

Former foster parents Stephen and Lynn Smedley’s retirement plans were changed forever when their daughter Carrie died suddenly, and grandsons Ruben, Jaden and Uche came to live with them in their two-bedroom bungalow – sharing a triple bunk bed in a single room. The team set out to extend the house and give the family some breathing space, and Nick Knowles’ chats with Ruben reveal him to be a thoughtful, upstanding young man who takes caring for his younger brothers very seriously. 

★★★★ SP

Saving Britain’s Pubs with Tom Kerridge, 8pm, BBC2

TV tonight Saving Britain's Pubs with Tom Kerridge

Tom outside his own pub, The Hand and Flowers

It’s cruelly apt that this series, planned as a four-parter, ended up being cut down to three episodes as a result of the pandemic – it echoes the change in fortunes of the featured pubs, which were forced shut by the lockdown just as they were finding their feet. This final instalment follows each pub through that unprecedented time as the publicans film their own experiences. As Tom notes, lockdown brings challenges but it also gives each of them time to step back, evaluate their business and work out what needs to change. 

★★★★ SP

Voices of Fire, Netflix

TV tonight Voices of Fire

Bishop Ezekiel and Pharrell Williams

This is a talent show unlike any other. No celebrity judges, no fancy staging or backing music, but a steady stream of ordinary people with extraordinary stories lining up to audition for a gospel choir in Hampton Roads, Virginia. Perhaps it’s because singer-songwriter Pharrell Williams (a judge on The Voice US) is involved, or his uncle Bishop Ezekiel Williams has successfully shared his vision of creating the world’s biggest multicultural community choir, but there’s no end of talent and it keeps coming, their voices powerful and raw. 

★★★★ MC

Best box set to watch

Him & Her, seasons one to four, BritBox/BBC iPlayer

TV tonight Him & Her

Sarah Solemani and Russell Tovey star

Russell Tovey, recently seen in ITV’s spooky drama The Sister, appears in lighter vein here as one half of a lazy twenty-something couple (Sarah Solemani plays his partner) who spend their days watching DVDs in his flat, at least until the idea of getting married starts to take hold. At times crude, it is also heart-warming and funny. Joe Wilkinson played Dan, the couple’s eccentric neighbour who lives in the flat upstairs, while Camille Coduri also starred.

Best film to watch on TV tonight

Grounded For Christmas, 3.10pm, Channel 5

Hit by a sudden blizzard, airline pilot Julianna Guill co-opts fellow pilot Corey Sevier into pretending to be her boyfriend when she visits her parents nearby for Christmas, after hearing her ex will be there with his new squeeze. Yes, love blooms in usual festive TV movie fashion, but watch out for Cheryl Ladd as Guill’s mum.

Live sport

  • Europa League Football: SC Braga v Leicester City 5.30pm (k-o 5.55pm), BT Sport 1
  • Europa League Football: Molde v Arsenal 5.30pm (k-o 5.55pm), BT Sport 2
  • Europa League Football: Sparta Prague v Celtic 5.30pm (k-o 5.55pm), BT Sport 3
  • Europa League Football: Tottenham Hotspur v Ludogorets 8pm (k-o 8pm), BT Sport 2
  • Europa League Football: Rangers v Benfica 8pm (k-o 8pm), BT Sport 3

Soaps on TV tonight

  • EastEnders, 7.35pm
  • Emmerdale, 7pm & 8pm
  • Hollyoaks, 6.30pm

If you watch just one thing on TV tonight… 

Don’t miss Saving Britain’s Pubs on TV tonight – it’s been a journey

Not found anything you want to watch on TV tonight? Check out our TV Guide. 

Happy viewing!

 

The post TV tonight: our highlights for Thursday 26th November appeared first on What's on TV.

Source: whatsontv.co.uk

Four Corners fact checks The Crown

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  • Reading time:2 mins read

Four Corners has taken to social media to clarify a dramatisation in The Crown, which recreates an interview Bob Hawke gave in 1983.

In the Netflix series, Hawke (Richard Roxburgh) answered a question on Australia becoming a republic by saying, “You wouldn’t put a pig in charge of a herd of prime beef cattle, even if it does look good in twin set and pearls.”

But Four Corners maintains he never said it on their show.

The Crown does use creative license, it may ultimately prove to be nod to another Hawke comment made elsewhere…. or just a blokey dramatisation of an Aussie politician for global consumption.

Via: Herald Sun

Source: tvtonight.com.au

Netflix to Spend Record-Breaking $1BN on UK Programming

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Last year, we talked about the British TV bloodbath over at Netflix – and why it’s actually a good thing for British TV fans. For a couple of years, Netflix had been losing title after title from their library of British TV shows. Shows like Death in Paradise, Shetland, Father Brown, Midsomer Murders, Doctor Blake Mysteries, Fawlty Towers, and Luther all disappeared from the service in a relatively short period of time. 

Many (but not all) of the shows that have left Netflix migrated to BritBox, a streaming service created by ITV and the BBC. It’s a service that’s been steadily adding content since they began a few years ago, and they now have one of the largest streaming libraries of British TV programming. Unfortunately, this has left a lot of Netflix fans upset. 

Our argument was that as inconvenient as it may have been in the short-term, these changes were – and still are – good for British TV fans. The world is quickly catching on to the wonders of British TV, and if Netflix can’t get someone else’s titles on their platform, they’ll respond to that demand by making their own.

And that’s exactly what has happened.

Netflix British TV Productions in 2020

Olivia Colman plays Queen Elizabeth II in Season 3 of The Crown (a Netflix series)

Despite the disruptive impact of the pandemic, Netflix is poised to have increased UK production spending to roughly £750m ($1 billion) in 2020 – an increase of 50% over the estimated £500m spend on UK productions in 2019.

The company produced more than 50 TV shows and films in the UK in 2020, even WITH the shutdown and coronavirus restrictions that have been enacted this year. 

In total, Netflix is estimated to be spending $17 billion worldwide on new TV and movies in 2020. The US is, of course, their top market right now, but the UK is firmly planted in the number two spot. Roughly one-third of all Netflix’s European productions are made in the UK.

A Netflix spokesperson told The Guardian:

The UK is an incredibly important market to Netflix and we are proud to be increasing our investment in the UK’s creative industries. The CrownSex Education and The Witcher are among the shows that have been made in the UK this year and will be watched by the world. These shows are a testament to the depth of talent that exists here.

For comparison, the BBC’s total budget for TV content was £1.6bn in the most recently reported year, with ITV coming in at £1.1bn.

Last year, Netflix even signed a 10-year deal to take over Shepperton Studios (a production space where shows like Red Dwarf and 8 Out of 10 Cats have been produced). This addition gave them plenty of space to help churn out the content they need to keep their 200+ million subscribers happy. 

Which Shows Does Netflix Make in the UK?

The Witcher and his horse, Roach. Another Netflix production

If you haven’t checked out Netflix in a while, you might want to browse this list of British TV shows on Netflix. They don’t produce all of them, of course, but they label the ones that are Netflix Originals when you view them on their website or app.

The Future is Bright for British TV

Even if you’re not a fan of Netflix, all of this is good news for British TV fans. The more companies we have producing British TV (and films), the more content we’ll all have to choose from. The only major downside is that we might need to start investing in treadmills and exercise bikes to help offset the inactivity they inspire!

 

The post Netflix to Spend Record-Breaking $1BN on UK Programming appeared first on I Heart British TV.

Source: iheartbritishtv.com

2019 / 2020 Drama Report

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  • Reading time:12 mins read

This year’s annual Drama Report from Screen Australia provides an insight into the impact of the COVID-19 pandemic on the Australian screen industry, which resulted in the near total shutdown of large-scale drama production in March 2020, and continues to present significant challenges for production and the wider sector both in Australia and internationally.

Expenditure

$991 million total Australian expenditure – 18% down on last year’s spend and below the 5-year average, largely due to the effects of the COVID-19 pandemic and the almost total shutdown of
large-scale drama production for the last quarter of 2019/20.

Expenditure by Australian titles – $543 million 55% of total expenditure was triggered by Australian titles that started principal photography during 2019/20.

20 Australian general TV drama titles- $198 million expenditure down by 39% on last year’s record spend, and 31% below the five-year average. Hours were down by 19%. Across the total general TV drama slate, hours, budgets, spend, and average cost per hour were the lowest in over ten years.

12 Australian children’s TV drama titles – $46 million 55% below last year’s decade-high spend of $101 million.

23 Australian online drama titles – $94 million record expenditure, up 95% on last year. Hours up by 16%.

Hours

20 general TV series at drama 351 hours of content, down on last year’s 440 hours.

Children’s Television

Twelve children’s dramas entered production in 2019/20, generating 78 hours of content, 51% down on last year’s 6-year high, with a spend of $46 million. Budgets were down by 52% and spend by 55%. Hours, spend, budgets and cost per hour fell below the 5-year average.

The ABC financed seven of the 12 titles in production, including animations Kangaroo Beach and Space Nova, which was also financed by Nine, and live action titles Definitely Not News, DisRupted, First Day and Mustangs FC series 3, which was also financed by NITV.

In 2019/20, five titles entered production that were financed by the commercial freeto-air broadcasters, including The Bureau of Magical Things series 2 (10), The Gamers 2037 (Nine) and Kitty is Not a Cat series 3 and Tales of Aluna (Seven).

Online TV @ 30 mins or more: SVOD (e.g. Stan), BVOD (e.g. ABC iview), AVOD (e.g. YouTube) and TVOD (e.g. iTunes)

In 2019/20, 23 titles were first released online, all of which were series. While fewer titles were produced in 2019/20 compared to last year, hours increased by 16%. Considerable increases in budgets and spend can largely be attributed to two larger-budget titles for SVOD platforms. A much greater proportion of budgets was spent in Australia this year, with total spend rising 95%.

Foreign TV

Foreign TV and online drama activity accounted for $193 million in Australian expenditure in 2019/20, up 59% on last year, driven by spend on titles for VOD platforms. Eighteen titles contributed to this result, including the three foreign shoot titles Shantaram (The Bear) (US), Odd Squad series 3 (US/Canada) and Bad Genius (Thailand); and fifteen PDV-only titles including US titles The Mandalorian series 2, Rise of the Teenage Mutant Ninja Turtles series 2, What If…? and The Boys series 2.

Sources of Finance

The Australian screen industry provided 42% of the finance to this year’s Australian TV and online drama titles – one per cent lower than last year’s share, and made up of $144 million to 48 titles. The Producer Offset provided $32 million and made up 9% of total finance, below the 5-year average of 11%. The Location and PDV Offsets have been combined to ensure data confidentiality. Seven titles accessed either the Location or PDV Offset, and the Offsets contributed a combined $10 million in finance. Direct government sources provided $44 million for 41 titles, or 13% of total finance. Screen Australia provided $18 million to 30 TV and online drama titles that commenced principal photography during the year (55% of all titles in the Australian TV and online drama slate).

Drama production by location (inc. film)

With 48% of Australian spend, New South Wales accounted for the greatest share of total expenditure. Spend of $475 million was up 22% on last year.

Victoria accounted for 28% of spend, the majority of which was attributable to domestic TV and online drama. Spend of $279 million was 21% down on last year’s record high.

South Australia reported 15% of the national share. Total spend of $146 million represented an increase of 34%, the state’s fifth consecutive year of growth, and a new record.

Queensland dropped to 5% of the national share, with almost all expenditure coming from domestic productions. Expenditure fell by 82% from last year to $53 million.

Western Australia’s share of spend remained at 3%. Expenditure fell by 3% to $34 million.

The Australian Capital Territory, Tasmania and the Northern Territory accounted for the remaining expenditure of $4 million, or less than 1%, representing an 84% decline on last year’s record.

Drama Series

At Home Alone Together Australian Broadcasting Corporation ABC
The Heights series 2 Matchbox Productions Pty Ltd ABC
Home and Away series 33 Seven Network Operations Limited Seven
Housos vs Virus: The Lockdown Antichocko Productions Pty Ltd Seven
Kinne Tonight series 2 Big Yellow Taxi Productions Pty Ltd 10
Metro Sexual Humdrum Comedy Pty Ltd 9Go!
Neighbours series 37 Fremantlemedia Australia Pty Ltd
Regular Old Bogan Stepmates Studios Seven
Retrograde Orange Entertainment Pty Ltd ABC1
Rosehaven series 4 Guesswork Television Pty. Ltd. ABC
Wentworth series 8 Fremantlemedia Australia Pty Ltd Foxtel

Mini Series

Fat Pizza: Back in Business series 1 Antichocko Productions Pty Ltd Seven
Five Bedrooms series 2 Hoodlum Entertainment and Hoodlum Active Pty Ltd 10
Halifax: Retribution Beyond Lonehand Pty Ltd Nine
Harrow series 3 Hoodlum Entertainment and Hoodlum Active Pty Ltd ABC
Informer 3838 Screentime Pty Limited Nine
Mystery Road series 2 Bunya Productions Pty Ltd ABC
Operation Buffalo Porchlight Films Pty Ltd ABC
Wakefield Jungle Entertainment Pty Ltd ABC
With Intent Fremantlemedia Australia Pty Ltd 10

Children’s

Alphabet Street Paper Moose Pty Ltd Disney Junior
The Bureau of Magical Things series 2 Jonathan M Shiff Productions Pty Ltd 10
Definitely Not News Australian Broadcasting Corporation ABC
DisRupted CJZ Worldwide Productions Pty Ltd, Sticky Pictures Pty Ltd, LateNite Films Pty Ltd ABC
First Day Epic Films Pty Ltd, Kojo Entertainment, Epic TV Pty Ltd ABC
The Gamers 2037 Ambience Entertainment Pty Limited Nine
Kangaroo Beach Cheeky Little Media Pty Limited ABC
Kitty Is Not a Cat series 3 Bogan Entertainment Solutions Pty. Ltd. Seven
Mustangs FC series 3 Matchbox Productions Pty Ltd ABC
Space Nova SLR Productions Pty. Ltd. Nine
Tales of Aluna Three’s A Company P/L Seven
Thalu Weerianna Street Media Pty Ltd NITV

Online Drama

2121 Jenna Cosgrove, Resurgence Productions Pty Ltd YouTube
Back to the Rafters Seven Studios Pty Limited Amazon Prime
Bloom series 2 Playmaker Media Pty Ltd Stan
Cancelled More Sauce Pty Ltd Facebook
Clickbait Tony Ayres Productions Pty Ltd, Matchbox Pictures Pty Ltd Netflix
The Commons Playmaker Media Pty Ltd Stan
Deadhouse Dark Deadhouse Films Pty. Ltd. YouTube
Ding Dong I’m Gay Wintergarden Pictures Pty. Ltd. YouTube
Dom and Adrian: 2020 Easy Tiger Productions Pty Ltd, Soul HQ Pty Ltd Stan
Drunk History Australia Eureka Productions Pty Ltd 10Play
Fracketty Frack: It’s the Frackpocalypse Odd Tale Productions Pty Ltd YouTube
How To Stay Married series 2 Hell And High Waters Holdings Pty Ltd 10Play
Love, Guns and Level Ups Fury Fingers Films YouTube
Loving Captivity Heroine Productions Facebook
Meta Runner series 2 Glitch Productions Pty Ltd YouTube
Mint Condition Boilermaker Pty Ltd Vimeo
Moments of Clarity Electric Yak Pty Ltd YouTube
Neighbours: Erinsborough High Fremantlemedia Australia Pty Ltd 10Play
Nice Shorts Bunya Productions Pty Ltd YouTube
Rain Dance Cockatoo Colab Pty Ltd TBD
The Unboxing Seven Studios Pty Limited Facebook
Why Are You Like This (series) WAYLT S1 Pty Ltd, C-KOL Pty Ltd ABC
YOLO: Crystal Fantasy Princess Pictures Pty Ltd Adult Swim

Impact of the COVID-19 pandemic

• In March 2020, the COVID-19 pandemic halted large-scale drama production.

• Titles that had their production or post-production interrupted by the pandemic reported increases in costs. For most titles, these costs were yet to be fully realised at time of reporting. Surveyed producers of titles with budgets over $1 million reported cost increases ranging from marginal increases, to increases of around 15% of the pre-COVID budget.

• The pandemic is estimated to have postponed around 26 Australian drama titles with total budgets exceeding $325 million. Several of these titles are now slated to enter production in 2020/21, which is affecting the scheduling of other titles.

• Following the introduction of Australian Screen Production Industry COVID-Safe Guidelines in late May 2020, large-scale production began to resume in some locations, assisted in several cases by additional Government funding, and the new Temporary Interruption Fund. The pandemic continues to seriously affect the development, production, and release of drama throughout Australia.

• The 2019/20 slate includes a significant number of titles affected by the COVID-19 pandemic that were yet to finalise production and extra costs at time of publication. Estimations have been made when necessary.

You can read the report in full here.

Screen Australia

Screen Australia’s Chief Executive Officer, Graeme Mason, said, “Never in the 30 year history of the Drama Report have we seen an event like the COVID-19 pandemic. While we looked on track to celebrate a record year in many areas of the industry, the pandemic is estimated to have postponed around 26 Australian drama titles with total budgets exceeding $325 million. This large scale impact is unprecedented.”

“Several challenges remain with many projects reporting increases in costs as they make necessary adjustments to work in a COVID-safe environment, while others are yet to resume work or get started for a variety of COVID-related reasons. This will also have a flow on effect as some productions slated to commence work in 2020/21 have not been able to, with dramatic changes in production schedules impacting the availability of cast, crew and studio space.”

“Despite the hardships, I’m encouraged that our industry has been able to safely and markedly increase production activity and there are already positive signs that our sector will be able to bounce back. As a result of support from the Federal Government’s Temporary Interruption Fund (TIF) and Screen Australia’s direct COVID-19 funding we have supported a safe return to work on projects with combined production budgets of over $330 million. The TIF continues to fill a vital gap in getting productions back up and running, and has now been replicated in many other countries.”

“I commend everyone in the industry on their tenacity, resilience and ability to adapt and find ways to move forward in the midst of a global pandemic,” continued Mason.

Free TV Australia

Free TV CEO, Bridget Fair said: “While Screen Australia report shows this was undoubtedly a tough year for all in our industry, it also highlights broadcasters’ absolute commitment to providing great Australian content.

“In FY20, commercial free-to-air broadcasters produced 336 hours of first-release Australian drama with programs like Housos vs Virus: The Lockdown, Home and Away, Informer 3838, Halifax: Retribution, Five Bedrooms, and Neighbours.

“This was despite the unprecedented challenges faced by the industry, including suspension and cancellation of program production across all genres, a significant reduction in advertising revenues, and increased costs of producing and delivering content during this time.

“The interesting thing is, during COVID-19 Australians relied on our services more than ever before, with average audiences for some programs up by 60% at the end of March in all demographics.

“Broadcasters worked hard to meet this demand, including by bringing great Australian drama to free-to-air screens.

“We are proud to be the platform of choice for so many Australians – and our drama slate is an important part of our overall offering.”

Screen Producers Australia

“It has been a challenging year for the screen industry, and we should be proud of the quality and quantity of great Australian content that has been produced over the last 12 months despite what has been a significant decline in and disruption of production of Australian content,” said SPA CEO Matthew Deaner.

“SPA will carefully consider the wealth of data in the report, however the $543m spend is a great result given the impact of COVID-19 and the disrupted commissioning from broadcasters prior to the pandemic taking hold (signalled here and here) as well as the provision of quota suspensions for 2020 from mid April. While diminished in output, this still translates into a rich and diverse range of content available for Australian and international audiences, at a time in which people are spending more and more time with screen content.

“In particular, we note the investment of $46m from Australian and foreign streaming services in TV and online drama, against the backdrop of the soaring popularity of what are at last count 24 significant streaming platforms providing content to the Australian viewer. This result remains modest and reaffirms our desire to continue to work closely with these platforms and the Government to ensure an ongoing appropriate investment in the market from this sector.

“We also note the spend on Australian features was down at $25m and the need to ensure the Government’s announced reforms to support measures do not put this economic and cultural dividend at risk. There are also similar concerns for children’s drama, with spend and hours well down from last year and the genre facing an uncertain future,” said Deaner.

“We congratulate Screen Australia on this important work, which over the years has continued to provide an invaluable longitudinal picture of the health of the scripted content made by our industry. It also highlights the need for a broader range of data about the production industry across a range of genres such as factual and entertainment and on critical key metrics such as exports. Our industry’s ongoing health is not purely a function of dollars spent but on the ongoing capacity and growth from SMEs to continue to generate jobs, exports and Australian stories.

“There are examples of valuable analysis undertaken in overseas territories as joint exercises between industry and Government (the UK and Canada) which provide a good template for local analysis and reporting in Australia. We also look forward to the release of updated ABS data for our local sector, which is now overdue and which provides another valuable benchmark for the industry,” Deaner continued.

Source: tvtonight.com.au

Is classic Heartbreak High rerun a hint to reboot?

  • Post category:Netflix
  • Reading time:1 mins read

Tomorrow Netflix will drop all episodes of classic Aussie drama Heartbreak High, which ran from 1994 – 1999.

That’s 7 seasons all up featuring the likes of Alex Dimitriades, Callan Mulvey, Lara Cox, Doris Younane, Salvatore Coco, Abi Tucker, Ada Nicodemou, Jeremy Lindsay Taylor, Tony Martin, Kym Wilson, Ivar Kants, Jan Adele, Peta Toppano and more.

On the surface it’s a surprising move from the streaming platform to go so retro…. but as TV Tonight recently reported a reboot has been in development with Fremantle.

Could the two be linked…?

 

Source: tvtonight.com.au

Noemí Gonzalez on Being Bold, Her Dream Role, and The Labor of Love that is Selena: The Series!

  • Post category:Netflix
  • Reading time:15 mins read

Selena: The Series is one of Netflix’s most highly-anticipated and buzzed-about shows, and fortunately, we won’t have to wait much longer for it to hit the streaming network. The first part of the series will hit Netflix on December 4, and it’s a must-see.

Beautiful, positive, warm, bold, and passionate, Noemí Gonzalez is a go-getter who has put in the work in her newest project, transforming into Suzette Quintanilla.

Trust me, that included learning how to play the drums!

We had the pleasure of speaking to her about the challenges of playing Suzette, how important this project is to her, and la familia vibe on set. Check it out!

Of course, Selena is one of the most beloved Latinx icons ever, so what was it like for you, as a Latina, having such a significant role in a project like this?

It was everything, Jasmine. It was so full-circle for me as someone who has been a fan of Selena since I was very young. I followed her when she was on variety shows when she was becoming a rising star.

She inspired me as a woman, as an actor, and as a professional. So to give back to her, in any way, shape, or form by being a part of retelling her story in this format — I just feel so blessed, and so inspired, and so thankful.

That I could even be part of this about her, provide Latinx representation, and love to Selena and her legacy. It’s been an incredible blessing, that’s for sure.

I can only imagine because I mean, again, it’s Selena. That’s huge.

Yeah, I was totally done when I was told I booked the job. I just felt that much closer to Suzette, to Abraham, you know? They used to be such figures, like so far away from me that I was inspired by Selena and this family.

It was just a real dream come true in a way that is always going to be a part of my life, and it’s always going to hold a special place in my heart. It’s insane.

Now, did you audition for the role of Suzette?

Yes. My manager called after reading the break down and was like, “You know, I really see you as Suzette.” And I was like, “You know, you ain’t lying, let’s try this!”

I went in, and I did a great audition, followed by a great call back, interview process, and then I had a really fun at home camera test to demonstrate to production my likeness to Suzette.

It was a fun creative opportunity for me to show my love, and my teamwork vibe, and my absolute dedication to telling the story and coming alive as Suzette. It was really cool to have that casting process happen, and then, of course, I’m just excited because it’s Selena.

So, how difficult is it to play a real person? Especially when it’s Suzette, and she isl    0 the executive producer? Did you have to consult with her, or did you spend time with her to get mannerisms down?

I got to enjoy all the archive footage. We were given a lot of material for us to study our real-life counterparts. That was fun, learning how to do that — how to pull from the footage, and how to recreate it. Then we also had some creative license of what was missing in the archives of Suzette.

Because we see a lot of her as an adult, leading Q Productions now. But I was playing her at a time where there was very little footage of her, so it was really fun to balance out the creative license that I have and also the real-life material that I had as well to mimic on stage. It was a nice creative experience. It’s definitely more of a challenge than when you create a character from fresh.

Of course, definitely.

It definitely tripped me out in the beginning that she was E.P., so I had to cut out that pressure immediately and just channel it into everything. Definitely channel it into the drums. [Laughs] So that nothing would get in my head about the job I was set to do.

So, what can we expect from Selena: The Series that we haven’t already seen before? What distinguishes it from other versions of her story?

What really distinguishes it is, you know, we have a two-part series, so that gives you so much more time to get intimate with the story and the details of it.

A two-hour movie had Selena’s story skipping the part at the beginning of the creation, and it went straight to the developing rising star. Whereas here, we’re really starting from birth to her tragic end.

Right.

That’s an opportunity for fans to really see a coming-of-age story of what it takes to be Selena, that star that we know today. I think it’s going to be very fun for people to go back and see all those nostalgic family vibes from having this version provide this opportunity and time to get into the beginning of her story.

Yeah, I think that’s something, like you said, that people look forward to here because it gives the story room to breathe. And again, it’s Selena; she registers with so many people, even now, all these years later.

I think that’s an important story, and you guys have quite an impressive, predominantly Latinx cast. How important was it to you to work on projects that tell Latin stories and showcase representation?

Oh, it’s incredibly important to me. And it’s not just a Latinx cast but also a Latinx crew.

And this opportunity, we were retelling the story of Selena for the people, by the people. We filmed in Baja Studios in Rosarito Baja, California, with a whole Mexican cast and crew.

That’s amazing!

Yeah, so we completely had this very strong familial México camaraderie, and work ethic that is something that I hadn’t experienced before.

I have had the unique blessing that I’ve actually in my career been a part of casting crews that were predominantly Mexican, or Mexican-American, or multicultural. And then, I’ve had to sprinkle the general market that is not as specifically Latinx diverse.

But this was completely and utterly México Lindo, that when you were preparing and getting ready to do your scenes, you felt supported by la Raza, by the people.

It was such a beautiful part of the blessing — of the time and the story, in this place, with this crew, and with this family story. It was such a beautiful experience and dynamic of the work that I’ll never forget. It made a huge impact that I hope you can see on screen because I definitely felt that going to work every day.

It really does make a huge difference. I don’t think people always realize how big of a difference that makes.

Mmhm.

You spend a lot of your time in this series with Christian [Serratos], so did you two have a natural chemistry as sisters, or did you have to put in work and form a bond? They were friends; they were best friends, bandmates, and sisters. It’s a difficult dynamic to nail.

We let it happen naturally. Hiromi Kamata, our producer, might have had some encouragement for us to naturally develop it. It wasn’t something that was forced by any means, it just really happened naturally, and we both were extremely busy when we finally started to film.

She had her journey as Selena, which is a tall order, and then I have my opportunity of playing a real-life person, who is learning the drums, which is a very demanding instrument, so we both had tall orders at the same time.

I’m thankful that when we had the time early on, we had homemade tacos and tequilas to bond and actress-to-actress conversations.

It reminded me of Selena telling Suzette all of the stories of her designing dreams, and her boutique dreams, and the English album. It really felt like Christian and I knew the work we had to do, and we let it happen naturally. And I think you can see it onscreen, this beautiful dynamic between these two sisters.

So the drums, I am super impressed with the fact that you learned for this role. What?! [Laughs] That’s insane!

Yeah! [Laughs]

That was a tall order indeed. I mean, a lot hinged on you nailing that, so it was incredibly impressive and bold!

Thank you! [laughs]

What was it like trying to learn the drums for this role?

It was such a dynamic challenge that was so fun, playful, and overwhelming, and draining all at the same. [laughs]

It was just so layered with like I guess I really love a challenge because I knew that I was going to commit to learning the drums because I have such a love for Selena and the family.

I knew I could not half-ass this. I knew that I had to really apply myself, and it was challenging for sure, and I learned a lot about myself.

And whatever was challenging for me, I let that inform my spirit and where I was developing — as a woman, and as an actress, and as an artist with learning something new at this age that is so demanding and how I can apply that to anything else that I might see as a challenge.

Then, on the other side of that coin, I also thought of Suzette is that what being a little girl learning how to play the drums alongside Selena and A.B.

That helped me shape the character in regards to how Suzette felt — like learning how to play the drums at this age with everyone, you know, hoping that she can get it together and make it possible. I felt like I went through a similar experience with making sure that I did the role and the story justice with me applying myself and my drumming.

It’s a strong factor in this role that I’m so thankful for — I never expected it to shape the character the way that it did.

I’m especially thankful that I now can say that I can rock out to Selena’s music and be present with an instrument and connect with an audience.

To have that introduction, I’m getting emotional … to have that introduction with Selena’s music is just a dream come true in a way that I never imagined. It was awesome.

I am in awe finding that out. That is definitely throwing it all out there. I’m impressed that you poured yourself into it, and to find out that you got so much out of it is touching and awesome.

Thank you. Thank you, I really appreciate it. It’s interesting now to have gone through that silently with my instructors and with the production. Now to have to talk about it or to have it presented around the corner is going to be exciting. I can’t wait for you guys to see it. The performances are just so beautiful.

Can we expect a soundtrack along with the series?

I mean, I can’t confirm or deny it, but I think there’s got to be! I mean, movies have soundtracks, and this is a two-part series that is so musically based. I’m sure that Netflix will provide something.

I sure hope so!

Now, the first part is in December. Have you guys finished filming the second-part?

We literally finished filming the second part, Jasmine. Last week.

Wow. How was it with all the COVID restrictions? Did it make filming more difficult?

Majorly. It was a definite elevated challenge. There is a difference in filming this experience before COVID and after COVID.

Um, we were at the beginning of filming the last leg, then we were shut down for five months because of the global pandemic, and we didn’t know if we were coming back at all. We didn’t know if we were coming back in 2020 or 2021.

When we came back, you know, it was on location away from our families during a global pandemic. And with you know, with PPE for our cast but major PPE for the crew.

Everyone had to learn how to do their jobs with the PPE in the way. It was a true pouring of love and labor to get this done — for Selena and for the fans. We cast and crew really poured our all into this.

Before I go on other interviews, I make sure to let them know because it was an incredible difference in the challenge of filming.

We already had the challenge anyone would have trying to retell the story of Selena, but to have that pressure with COVID on top of that changing a lot of the filming dynamics? It was, man; we needed things to go a little smoother, but we can’t control everything, and you just adjust to gray days. We stay grateful, stay positive.

If you get down, don’t stay down for too long because you know there are more things to be done in the midst of it all, and it’s better to face it.

Yeah, absolutely. If you guys were already tight-knit, I’m sure that process brought you closer together, going through something like that.

Yeah, yeah. We went from being a very big cast and crew, and then the actors had to have individual hair and make-up. We couldn’t go to the make-up trailer.

We had our intimate pods that took care of us, each castmate, and we had the full crew. It was a nice way to have the close bonds that grounded us to do our performances and then to have the bigger collective that was there ready and supportive.

It was just such a cool team, and I just give so much love to the whole cast and crew because we really gave it our all.

Okay, what else would you love for us to know about the series that we haven’t touched on?

Well, being that I mentioned that already, you’re so good in knowing about that reality, I would say I guess the fun thing with that in mind is the silver lining was we’ve got to have a lot of our crew appear as extras.

So it was beautiful to have that family love off-camera now be on-camera, and now the cast can watch and see how creative we got when it got challenging and how it was better because of that.

I can’t wait for the trivia. It’s going to be fun for me to watch part two, “Oh, I didn’t know so and so was this person in this guest-star moment.”

I give credit to Hiromi Kamata, our main director, and EP, for being a creative genius, but also having that loving family through awareness, so I hope you guys enjoy that we definitely worked as a team and as a family.

Yeah, it’s clearly a project that is a labor of love. Do you have any other projects that you’re working on that you’d like to mention?

Well, I’m currently developing a TV show with my best friend Chelsea, so that’s in the works right now. And then I have two international releases of The Tax Collector with David Ayer–

That was a great film. I watched it as soon as it was released. 

Thank you! I’m so glad you enjoyed it. Maybe I’m biased, but I really enjoyed it. [Laughs] That was such a great experience, too.

And then Dark/Web, an Emmy-award winning TV show that was originally released on Amazon Prime, is now released on Blu-Ray DVD. I would love people to watch both.

They’re both outstanding, and you’re not going to be sorry.

Outside of your television shows, since this is TV Fanatic, what are some shows you’ve been watching or probably bingewatched during quarantine?

Honestly, when I was in Mexico, I binge-watched all of Rupaul’s Drag Race on Netflix because they don’t stream it stateside. It did help me focus on the performance scene while on stage, so it was cool to unwind while watching this but also learning to apply it.

So you were still doing research? [Laughs]

Yeah, it was like relaxing, rewarding research. I am really chomping at the bit to watch The Crown, but I said let me do some work first before I deep-dive into the new season because I’ve been a huge fan of that show since the beginning. And I watch La Bamba over and over again to center myself.

Noemí Gonzalez is an absolute delight and a total badass. If you want to see her rock out in this series about love, family, and an actual icon, please, check her out in Selena: The Series.

It hits Netflix on December 4.

Over to you, TV Fanatics! Sound off below about your anticipation and shower Noemí with love here or on her Instagram.

Source: TVfanatic.com

One Day at a Time Cast & Showrunners React to Second Cancellation

  • Post category:Netflix
  • Reading time:2 mins read

One Day at a Time was given the boot by Pop TV on Tuesday. 

The beloved series had aired just seven episodes of its planned 13 episode season ahead of the cancellation, with the final episodes delayed due to COVID-19. 

Now, they will never be produced unless another network swoops in to save the show again. 

The good news is that Sony is actively pursuing a new home, so there’s a glimmer of hope yet. 

Shortly after the announcement was made official, the cast and showrunners took to social media to respond to the sad news. 

“Sadly, the news is out,” said co-showrunner, Gloria Calderón Kellett, adding:

“I’m not sad just yet, y’all. We still have some hope for new homes. Hang tight, my loves. You know that if I go down, I will go down swinging for this show (& cast & crew) I love.”

“So… yes. Much has changed at Viacom in the last year and unfortunately we won’t be on Pop anymore,” said Mike Royce.

“Thanks to everybody over there for the opportunity to do season 4. And guess what? We’re still trying for season 5. What if #ODAAT was the first show ever on 3 networks?”

“Maybe third network’s the charm? 🤞🏼😅 Seriously, regardless of what happens, familia para siempre. And I’ll have a sappy post coming when we find out which way this goes. I love you guys,” said Isabella Gomez.

“Go get’em, Glo,” added Ed Quinn. 

The series was canceled two years after Netflix swung the axe following the third season. 

The cancellation comes as Pop TV is exiting the scripted market. The cabler said goodbye to Schitt’s Creek, which ended on its own terms earlier this year. 

It also canceled previously renewed shows such as Flack and Florida Girls. 

What are your thoughts on the sad news?

Hit the comments below. 

Remember you can watch One Day at a Time online right here via TV Fanatic.

Source: TVfanatic.com