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If you’re curious…

Here are the Netflix shows people binge-watch the most

For the second time in the company’s history, Netflix Inc. has published a press release that gives investors a tiny bit more insight into what shows and films are popular on the streaming service.

The most binge watched show: “American Vandal,” a true-crime satire that is centered on the blowback from a costly high school prank.

Shares of Netflix NFLX, -1.23% are down a fraction at $186.17 after hours.

This year, Netflix included only its original content in the ranking and considered shows that people watched more than two hours a day as “devoured” — read: binge watched — and shows that consumers watched less than two hours every day the company tagged as “savored.” The most “savored” show was “The Crown,” a program about Queen Elizabeth II’s life.

The company also disclosed that viewers around the world watch 140 million hours every day and about 1 billion hours of Netflix a week.

Netflix is notoriously tight-lipped about its viewership and streaming-habits data and based Monday’s release on results from November 1 of this year, to November 1, 2016.

1. American Vandal

2. 3%

3. 13 Reasons Why

4. Anne with an E

5. Riverdale

6. Ingobernable

7. Travelers

8. The Keepers

9. The OA

10. The Confession Tapes

The company also conducted a survey of 60,000 members about what shows they skipped ahead of their significant others to watch. Topping that list are “Narcos” and “13 Reasons Why.” The survey also indicated that Netflix original “Stranger Things” was the show families would most watch together.

Netflix stock is up 50% this year, as the S&P 500 index has gained 19%. The Los Gatos, Calif.-based company has beaten Wall Street estimates in four of the past five quarters. Analysts polled by FactSet model fourth-quarter earnings of 42 cents a share on sales of $3.2 billion.

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In other words, Saturday Night Night is about to get worse…if that’s even possible.

SNL: Colin Jost and Michael Che promoted to co-head writers

Colin Jost and Michael Che are taking their Saturday Night Live responsibilities beyond the news desk.

The Weekend Update co-anchors have been promoted to co-head writers of NBC’s late-night sketch series, the network announced Tuesday. Kent Sublette and Bryan Tucker will remain co-head writers as well.

Jost and Che have been anchoring Weekend Update since 2014. Jost, as you may remember, also served as a co-head writer of SNL from 2014 to 2015 before exiting the role and focusing on Weekend Update.

Now in season 42, SNL airs live coast-to-coast, starting at 11:30 p.m. ET / 10:30 p.m. CT / 9:30 p.m. MT / 8:30 p.m. PT.

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I have been so patiently waiting for the new STAR WAS! It’s almost finally here!!!

Coco threepeats at box office as Star Wars: The Last Jedi looms

A week before Star Wars: The Last Jedi throws open the end-of-year floodgates, Coco is enjoying the lull.

With all the major studios forgoing new wide releases for the second week in a row, Disney and Pixar’s Day of the Dead-themed animated musical is set to top the box office for a third consecutive weekend, grossing an estimated $18.3 million in 3,748 theaters in the U.S. and Canada.

That would bring Coco’s domestic total to $135.5 million after 19 days in theaters, while an estimated $55.3 million from foreign markets this weekend would push its international total to $254 million (for a worldwide total of $389.5 million).

Directed by Lee Unkrich and co-directed by Adrian Molina, Coco centers on a 12-year-old Mexican boy (voiced by newcomer Anthony Gonzalez) who confronts his family’s ancestral ban on music. The cast includes Gael García Bernal, Benjamin Bratt, and Alanna Ubach. The film received excellent reviews from critics and an A-plus CinemaScore from moviegoers.

Meanwhile, James Franco’s meta-movie comedy The Disaster Artist is poised to break into the top five after expanding to 840 theaters from 19 last week. The A24 release is on pace for about $6.4 million, edging out Marvel’s threequel Thor: Ragnarok ($6.3 million) for fourth place and bringing its domestic total to $8 million.

Directed by and starring Franco, and based on Greg Sestero and Tom Bissell’s book of the same name, The Disaster Artist chronicles the making of Tommy Wiseau’s notoriously bad — and much beloved — 2003 independent film The Room. Critics have applauded Franco’s film, which also stars brother Dave Franco (as Sestero), Seth Rogen, Alison Brie, and Ari Graynor.

Rounding out the top five are Warner Bros. and DC’s Justice League at No. 2, with an estimated $9.6 million, and Lionsgate’s Wonder at No. 3, with an estimated $8.5 million.

The former film recently crossed the $200-million mark domestically and is now north of $600 million globally; the latter movie is on track to break $100 million by the end of the weekend.

Squeaking in to the top 10 is the ironically titled comedy Just Getting Started, which represents the final production from embattled upstart Broad Green Pictures. Starring Tommy Lee Jones, Morgan Freeman, and Rene Russo, and directed by Ron Shelton, the film is set to debut in 2,161 theaters with about $3.2 million.

On the specialty front, the darkly comic Tonya Harding biopic I, Tonya is bowing in four theaters with an estimated $245,602, which works out to a robust per-screen average of $61,400. The critically acclaimed film stars Margot Robbie as the infamous figure skater, along with Allison Janney, Sebastian Stan, and Julianne Nicholson. Craig Gillespie directed, and Neon/30West are distributing.

Next week marks the arrival of The Last Jedi, which is expected to be a huge blockbuster and will herald a slew of major holiday releases.

According to ComScore, overall box office is down 3.9 percent year-to-date. Check out the Dec. 8-10 figures below.

1. Coco — $18.3 million
2. Justice League — $9.6 million
3. Wonder — $8.5 million
4. The Disaster Artist — $6.4 million
5. Thor: Ragnarok — $6.3 million
6. Daddy’s Home 2 — $6 million
7. Murder on the Orient Express — $5.1 million
8. The Star — $3.7 million
9. Lady Bird — $3.5 million
10. Just Getting Started — $3.2 million

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I’m still shocked that Patty Jenkins didn’t get nominated.

Female Directors Shut Out of Golden Globes Nominations

Despite a best picture, comedy or musical nomination for “Lady Bird” and widespread acclaim for its first-time director, Greta Gerwig, the Hollywood Foreign Press Assn. stuck with an all-male group for the 2018 best director nominations.

In a year in which Patty Jenkins’ “Wonder Woman” and Dee Rees’ “Mudbound” also received universal praise — and in the case of “Wonder Woman,” massive box office as well, the slight was seen as significant.

Gerwig, who has acted in numerous films, had never directed a feature before “Lady Bird.” She did, however, score a screenplay nom for her original “Lady Bird” script. The Globes combine both adapted and original screenplays into one category.

The push to hire and recognize female directors has intensified in the wake of the Academy’s efforts to improve diversity and the massive sexual harassment scandals that are gripping Hollywood.

nstead, the HFPA nominated Guillermo del Toro, whose “The Shape of Water” had the most noms overall, Martin McDonagh, Christopher Nolan, Ridley Scott and Steven Spielberg. Spielberg previously won Globes for directing “Saving Private Ryan” and “Schindler’s List.”

“Lady Bird” stars Saoirse Ronan and Laurie Metcalf were nominated for Golden Globes for best actress, comedy and supporting actress, respectively. Among other honors, “Lady Bird” won best film from the New York Film Critics Circle.

Ronan stars as the title character in “Lady Bird,” a high school senior who deals with a strict mother, college plans and boys in early-2000s Sacramento, Calif.

However, the Globe nominations weren’t all bad news for women directors. Angelina Jolie’s “First They Killed My Father” did receive a best foreign film nomination. The Cambodia-set film’s dialogue is in Khmer, French and English. And “The Breadwinner,” directed by Nora Twomey, will compete in the best animated film category.

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Can’t wait to see THE SHAPE OF WATER!! Congratulations to all the nominees!!

Golden Globes: ‘The Shape of Water,’ ‘Big Little Lies’ Top Nominations

Guillermo del Toro’s Cold War-era, Canadian-shot fairy tale The Shape of Water swam away with a leading seven nominations for the Golden Globes, while the Canadian-directed HBO drama Big Little Lies led the television nominees with six nods.

The Shape of Water was shot in Toronto and Hamilton. Big Little Lies was directed by Montreal’s Jean-Marc Vallée.

The nominations were announced in Beverly Hills, Calif., by actors Alfre Woodard, Garrett Hedlund, Kristen Bell and Sharon Stone.

In what is seen as a wide-open Oscar race so far, several films followed closely behind The Shape of Water, including Steven Spielberg’s Pentagon Papers drama The Post, with six nominations, including best actress for Meryl Streep and best actor for Tom Hanks. Martin McDonagh’s Three Billboards Outside Ebbing, Missouri also received a major boost with six nominations, including best actress for Frances McDormand.

But as the most prominent platform yet in Hollywood’s awards season to confront the post-Harvey Weinstein landscape, the Globes also enthusiastically supported Ridley Scott’s J. Paul Getty drama All the Money in the World. Canadian veteran Christopher Plummer, who has replaced Kevin Spacey in the film, was nominated for best supporting actor. Scott was also nominated for best director and Michelle Williams for best supporting actress.

A rough cut of the film was screened for the Hollywood Foreign Press Association, which puts on the Globes. Scott is quickly re-editing the movie to eradicate Spacey, who has been accused of sexual misconduct by numerous men.

The nominees for best picture drama are:

– Tender young romance Call Me By Your Name.
– Christopher Nolan’s Second World War epic Dunkirk.
– The Post.
– The Shape of Water.
– Three Billboards Outside Ebbing, Missouri.

The nominees for best picture comedy or musical are:
– James Franco’s The Disaster Artist.
– Jordan Peele’s horror sensation Get Out.
– Greta Gerwig’s coming-of-age tale Lady Bird.
– Upcoming musical The Greatest Showman.
– Tonya Harding comic-drama I, Tonya.

Despite considerable backlash, Get Out ended up on the comedy side of the Globes. It was submitted that way by Universal Pictures. Peele himself slyly commented on the controversy, calling his social critique of latent racism “a documentary.” Though the Globes passed over Peele’s script, newcomer Daniel Kaluuya was nominated for best actor in a comedy.

Though some predicted and feared an acting field lacking diversity, the nominees were fairly inclusive. Denzel Washington (Roman J. Israel, Esq.), Mary J. Blige (Mudbound), Hong Chau (Downsizing) and Octavia Spencer (The Shape of Water) were among the 30 film acting nominees.

In the television categories, the Emmy-winning Big Little Lies earned a number of acting nods (Nicole Kidman, Reese Witherspoon, Shailene Woodley, Alexander Skarsgard) as well as best limited series. (HBO recently announced a second season for Big Little Lies, which will change its category in other awards shows.)

FX’s Bette Davis and Joan Crawford chronicle Feud: Bette and Joan landed four nominations, including nods for Jessica Lange and Susan Sarandon. Amazon’s just-debuted The Marvelous Mrs. Maisel scored several nods, including best comedy series. Also with numerous nominations were Netflix’s Stranger Things, Hulu’s adaptation of Margaret Atwood’s The Handmaid’s Tale and NBC’s This Is Us.

Left out were frequent Globes-nominees House of Cards and Transparent, two of the TV affected by the cascading fallout of sexual harassment allegations in the wake of Harvey Weinstein’s ouster. It’s been an omnipresent component of this year’s awards season, including Monday. As usual, the nominations were partly announced on NBC’s Today show, where Matt Lauer was recent fired following allegations of sexual misconduct.

Gary Oldman, nominated for best actor for his Winston Churchill in Darkest Hour, said it’s cast an unusual pall over the season.

“How should we celebrate? Well, I don’t think any of it’s funny, so I guess that people will stay away from it in the ceremony,” said Oldman by phone Monday.

“It’s evolution, and it’s good that we sort of start to check ourselves about what we do and what we say and how we do it and how we say it to people, so I think it’s ultimately a good thing. But I can’t see too much of this coming up in [the show], up there on the platform, as it were, on the podium. It’s not something to joke about, I don’t think.”

The nominees were announced from Beverly Hills after a week of still-burning fires have ravaged Southern California. The Thomas Fire has destroyed some 790 structures and forced thousands to evacuate their homes, with the blazes even entering the nearby neighbourhood of Bel-Air.

The awards haven’t traditionally predicted the Oscars, but they did last January.

The Globes best-picture winners — Moonlight and La La Land — both ultimately ended up on the stage for the final award of the Oscars, with Moonlight emerging victorious only after the infamous envelope flub. The press association, which has worked in recent years to curtail its reputation for oddball choices, is composed of approximately 90 freelance international journalists.

The last Globes broadcast, hosted by Jimmy Fallon, averaged 20 million viewers, an upswing of eight per cent, according to Nielsen. In 2018, Fallon’s NBC late-night partner, Seth Meyers, will host the Jan. 7 ceremony.

No Cecil B. DeMille lifetime achievement recipient has yet been chosen. Last year’s honoree, Streep, spoke forcefully against Donald Trump, shortly before his inauguration as U.S. president, leading him to criticize the actress as “overrated.”

This year, she — along with Spielberg and Hanks — return with a pointed and timely drama, The Post, about the power of the press to counter lies emanating from the White House.

Nominees for the 75th Golden Globe Awards

Best motion picture – drama
Call Me By Your Name.
Dunkirk.
The Post.
The Shape of Water.
Three Billboards Outside Ebbing, Missouri.

Best motion picture – musical or comedy
The Disaster Artist.
Get Out.
The Greatest Showman.
I, Tonya.
Lady Bird.

Best motion picture – animated
The Boss Baby.
The Breadwinner
Coco.
Ferdinand.
Loving Vincent.

Best motion picture – foreign language
A Fantastic Woman.
First They Killed My Father.
In the Fade.
Loveless.
In the Square.

Best performance by an actress in a motion picture – drama
Jessica Chastain, Molly’s Game.
Sally Hawkins, Shape of Water.
Frances McDormand, Three Billboards Outside Ebbing, Missouri.
Meryl Streep, The Post.
Michelle Williams, All the Money in the World.

Best performance by an actor in a motion picture – drama
Timothy Chalamet, Call Me By Your Name.
Daniel Day-Lewis, Phantom Thread.
Tom Hanks, The Post.
Gary Oldman, Darkest Hour.
Denzel Washington, Roman J. Israel, Esq.

Best performance by an actress in a motion picture – musical or comedy
Judi Dench, Victoria and Abdul.
Helen Mirren, The Leisure Seeker.
Margot Robbie, I, Tonya.
Saoirse Ronan, Lady Bird.
Emma Stone, Battle of the Sexes.

Best performance by an actor in a motion picture – musical or comedy
Steve Carrell, Battle of the Sexes.
Ansel Elgort, Baby Driver.
James Franco, The Disaster Artist.
Hugh Jackman, The Greatest Showman.
Daniel Kaluuya, Get Out.

Best performance by an actress in a supporting role in any motion picture
Mary J. Blige, Mudbound.
Hong Chau, Downsizing.
Allison Janney, I, Tonya.
Laurie Metcalf, Lady Bird.
Octavia Spencer, The Shape of Water.

Best performance by an actor in a supporting role in any motion picture
Willem Dafoe, The Florida Project.
Armie Hammer, Call Me By My Name.
Richard Jenkins, The Shape of Water.
Christopher Plummer, All the Money in the World.
Sam Rockwell, Three Billboards Outside Ebbing, Missouri.

Best director – motion picture
Guillermo del Toro , The Shape of Water.
Martin McDonagh, Three Billboards Outside Ebbing, Missouri.
Christopher Nolan, Dunkirk.
Ridley Scott, All the Money in the World.
Steven Spielberg, The Post.

Best screenplay – motion picture
The Shape of Water.
Lady Bird.
The Post.
Three Billboards Outside Ebbing, Missouri.
Molly’s Game.

Best original score – motion picture
Three Billboards Outside Ebbing, Missouri.
The Shape of Water.
Phantom Thread.
The Post.
Dunkirk.

Best original song – motion picture
Home from Ferdinand.
Mighty River from Mudbound.
Remember Me from Coco.
The Star from The Star.
This is Me from The Greatest Showman.

Best television series – drama
The Crown.
Game of Thrones.
The Handmaid’s Tale.
Stranger Things.
This is Us.

Best television series – musical or comedy
black-ish.
The Marvelous Mrs. Maisel.
Master of None.
SMILF.
Will and Grace.

Best television limited series or motion picture made for television
Big Little Lies.
Fargo.
Feud: Betty and Joan.
The Sinner.
Top of the Lake: China Girl.

Best performance by an actress in a limited series or motion picture made for television
Jessica Biel, The Sinner.
Nicole Kidman, Big Little Lies.
Jessica Lange, Feud: Bette and Joan.
Susan Sarandon, Feud: Bette and Joan.
Reece Witherspoon, Big Little Lies.

Best performance by an actor, limited series or motion picture made for television
Robert De Niro, The Wizard of Lies.
Jude Law, The Young Pope.
Kyle McLachlan, Twin Peaks.
Ewan McGregor, Fargo.
Geoffrey Rush, Genius.

Best performance by an actress, television series – drama
Caitriona Balfe, Outlander.
Claire Foy, The Crown.
Maggie Gyllenhaal, The Deuce.
Katherine Langford, 13 Reasons Why.
Elisabeth Moss, The Handmaid’s Tale.

Best performance by an actor in a television series – drama
Jason Bateman, Ozark.
Sterling K. Brown, This is Us.
Freddie Highmore, The Good Doctor.
Bob Odenkirk, Better Call Saul.
Liev Schreiber, Ray Donovan.

Best performance by an actress in a television series – musical or comedy
Pamela Adelon, Better Things.
Alison Brie, Glow.
Rachel Brosnahan, The Marvelous Mrs. Maisel.
Issa Rae, Insecure.
Frankie Shaw, SMILF.

Best performance by an actor in a television series – musical or comedy
Anthony Anderson, black-ish.
Aziz Ansari, Master of None.
Kevin Bacon, I Love Dick.
William H. Macy, Shameless.
Eric McCormack, Will and Grace.

Best performance by an actress in a supporting role in a series, limited series or motion picture made for television
Laura Dern, Big Little Lies.
Ann Dowd, The Handmaid’s Tale.
Chrissy Metz, This is Us.
Michelle Pfeiffer, The Wizard of Lies.
Shailene Woodley, Big Little Lies.

Best performance by an actor in a supporting role in a series, limited series or motion picture made for television
David Harbour, Stranger Things.
Alfred Molina, Feud: Bette and Joan.
Christian Slater, Mr. Robot.
Alexander Skarsgard, Big Little Lies.
David Thewlis, Fargo.

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The U2 album is very good. Much better than I thought it would be.

U2 Achieves Sixth No. 1 Album In Canada

U2 has the No. 1 album in Canada this week with Songs of Experience generating 25,000 equivalent album units for the week ending Dec. 7, according to data provided by Nielsen Music Canada. Out of this total, 24,000 were generated from traditional album sales.

This is the Dublin band’s sixth chart-topper in the Nielsen SoundScan era, and first since No Line on the Horizon spent three weeks at No. 1 in ’09. U2’s last album, Songs of Innocence, peaked at 5 after digital copies were made available for free to iTunes subscribers (and not counted in the chart reckoning). A 2018 North American tour will further propel interest in the new song set, although the lone Canadian tour stop announced takes them to Montreal’s Bell Centre, on June 5-6.

Songs of Experience is the fourteenth studio album by the Irish rock band and is produced by Jacknife Lee and Ryan Tedder with Steve Lillywhite, Andy Barlow, Jolyon Thomas, Brent Kutzle, Paul Epworth, Danger Mouse, and Declan Gaffney.

The album is intended to be a companion piece to U2’s previous record, Songs of Innocence (2014). Whereas its predecessor explored the group members’ adolescence in Ireland in the 1970s, Songs of Experience thematically is a collection of letters written by lead vocalist Bono to people and places closest to his heart. The personal nature of the lyrics reflects a “brush with mortality” that he had following a 2014 bicycle accident.

Ed Sheeran’s Divide holds at 2, picking up a 30% consumption increase that blends sales of albums with track equivalents and on-demand streams. The boost in interest in the seven-month-old album is due to a new version of his current single, “Perfect,” featuring Beyoncé. The song bolts to No. 1 on the Streaming Songs chart–his second chart-topping streaming single, following “Shape of You” earlier this year. “Perfect” also holds at the top of the Digital Songs chart.

Taylor Swift’s Reputation drops to 3 after three weeks at No. 1. Helped by a ticket bundle campaign, Demi Lovato’s Tell Me You Love Me rockets into 4th place, matching the album’s peak in its first week of release back in October.

Chris Stapleton’s From a Room: Volume 2 debuts at 5. This is the alt-country superstar’s third straight top five album. Both of his previous albums return to the top 100 this week.

Three holiday albums remain in the top ten with consumption increases this week. Mario Pelchat avec Les Pretres’ Noel Ensemble (featuring eight priests and seminarians of the archdiocese of Quebec on the Christmas praise album) falls to 6, with a 25% gain; Michael Buble’s Christmas slips one position, to 7, with a 31% gain; and Pentatonix’s A Pentatonix Christmas edges 9-8, with a 45% increase.

Other debuts in the top 50 include Brampton, ON-rapper Roy Woods’ Say Less, at 26; LA electro-R&B singer Miguel’s War & Leisure, lands at 28; Vegas metal band Five Finger Death Punch’s A Decade Of Destruction, at 30; and Neil Young’s The Visitor, at 43.

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How many did you notice?

‘Dunkirk’ tops 2017 movie mistakes list

Christopher Nolan’s Second World War epic Dunkirk was the most mistake-ridden movie of 2017, according to moviemistakes.com’s annual list of film flubs.

Eagle-eyed movie fans spotted 25 errors in the film, many of them historical, which landed the motion picture first place ahead of Beauty and the Beast and The Fate of the Furious.

Dunkirk’s slip-ups included German planes being the wrong colour and a British Rail train from the 1950s bringing troops back from the war in France in the mid-1940s.

But moviemistakes.com editor Jon Sandys’ favourite movie blunders of the year featured in scenes from the eighth Fast and the Furious movie and Wonder Woman.

He explains, “In Fate of the Furious (Vin Diesel’s character) Dom escapes his crew by crashing through a flower stall, leaving flowers and other debris on his car. Just seconds later we see his car again and it’s pristine – it looks like it’s just been washed.

“In Wonder Woman, as (Gal Gadot’s) Diana is translating in the general’s office, one of the buttons on her coat is undone/missing. As she approaches his desk, it’s suddenly visible on her coat where it should be.”

Spider-Man: Homecoming and It also feature on the top 10 countdown.

The full list is:

1. Dunkirk – 25 mistakes

2. Beauty and the Beast – 23 mistakes

3. Fast & Furious 8 – 20 mistakes

4. It – 18 mistakes

5. Wonder Woman – 15 mistakes

6. John Wick: Chapter 2 – 13 mistakes

7. The Circle – 12 mistakes

8. Spider-Man: Homecoming – 12 mistakes

9. Murder on the Orient Express – 11 mistakes

10. The Mummy – 9 mistakes

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This could be awesome!!!

Quentin Tarantino’s ‘Star Trek’ Will Be R-Rated: ‘The Revenant’s Mark L. Smith Frontrunner Scribe

After it was revealed this week that Quentin Tarantino pitched a Star Trek film to JJ Abrams and Paramount, the whole thing is moving at warp speed. Tarantino met for hours in a writers room with Mark L. Smith, Lindsey Beer, and Drew Pearce. They kicked around ideas and one of them will get the job. I’m hearing the frontrunner is Smith, who wrote The Revenant. The film will most certainly go where no Star Trek has gone before: Tarantino has required it to be R rated, and Paramount and Abrams agreed to that condition. Most mega budget tent poles restrict the film to a PG-13 rating in an effort to maximize the audience. That was the reason that Guillermo Del Toro’s $150 million At The Mountains of Madness didn’t go forward at Universal, even though Tom Cruise was ready to star. The exception to this rule was Fox’s Deadpool, but that film started out with modest ambitions before it caught on and became the biggest R rated film ever.

That rating was crucially important to Tarantino, who hopes to direct this Star Trek and who has helmed R rated films his entire career. Imagine how this could open storytelling lanes, or even what the banter on the bridge of the Starship Enterprise might be, if you conjure up memories of the conversations between Samuel L. Jackson and John Travolta in Pulp Fiction, or the banter at the diner between robbers before the heist gone wrong that triggered the action in Reservoir Dogs.

Smith is best known for writing the Alejandro Gonzalez Inarritu-directed The Revenant and subsequently overhauled Overlord, the WWII thriller that Abrams’ Bad Robot is producing for Paramount. Pearce’s script credits include Iron Man 3, Sherlock Holmes 3, Mission Impossible: Rogue Nation and the TV series Runaway TV; he just directed his script Hotel Artemis; Beer’s credits are mostly upcoming, and include the Doug Liman-directed Chaos Walking, as well as Godzilla Vs. Kong, Masters of the Universe, Barbarella and Dungeons and Dragons, all big scale stuff.

They will lock one of the three quickly (if there is a front runner, it might be Smith), and the film will be scripted based on Tarantino’s idea while Tarantino is filming his next film about the Manson summer of 1969, which got set at Sony and has I, Tonya‘s Margot Robbie poised to play Sharon Tate, and Cruise, Leonardo DiCaprio and Brad Pitt all having met with the filmmaker about roles.

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Sorry folks…there will be nothing good on TV in 2018!! :o

Sophie Turner Reveals ‘Game of Thrones’ Season 8 Won’t Premiere Until 2019

Sophie Turner has confirmed our worst fear: “Game of Thrones” Season 8 won’t premiere until 2019. The actress behind Sansa Stark revealed to Variety that HBO’s Emmy-winning fantasy epic will skip 2018 and debut its six-episode final season sometime in 2019. HBO has not confirmed a release date for Season 8, but the show was widely expected to return in either 2019 or late 2018 considering production on the show will last through summer 2018.

“Game of Thrones” creators David Benioff and Dan Weiss previously told Entertainment Weekly they were planning to spend at least a year and a half making the final season, which made the 2019 launch date all but certain given that production kicked off in October of this year. HBO has already revealed that Miguel Sapochnik and David Nutter will be returning to the series to direct the final episodes along with Benioff and Weiss. Each episode is rumoured to be feature-length.

The 2019 premiere date actually works to HBO’s advantage when it comes to awards. Season 7 missed the Emmys deadline this year, which means the latest batch of episodes will be contending for awards at the 2018 Emmys next fall. With the final season reportedly set for a 2019 debut, HBO will have two more years to conquer the Emmys with “Game of Thrones.”

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It is still such an amazing movie. Such a classic, accidental or not.

An accidental classic, ‘Casablanca’ turns 75

Everyone may come to Rick’s Café Américain, but 75 years ago, no one was happy to be there. And they certainly didn’t think “Casablanca” was a hit, much less an iconic piece of cinema.

Humphrey Bogart — a heavy drinker whose third marriage was falling apart — got so grouchy while staging the climactic scene that the producer had to be called in to break up a fight between him and the director.

Ingrid Bergman — hungry for Hollywood stardom after a shaky start — fretted she didn’t know which of her leading men she would go off with at the end of the picture. She also worried that delays would cost her a plum part in “For Whom the Bells Tolls.’’

Paul Henreid — strong-armed into accepting what he called a “lousy, lousy script’’ — was convinced he would be laughed off the screen when his character showed up wearing a perfectly tailored, double-breasted, cream-colored suit after escaping from a concentration camp.

No fewer than seven writers struggled to balance the film’s intoxicatingly irresistible blend of suspense, romance, politics and cynical humor — delivering new pages to the set daily even as the topical World War II romantic thriller was being rushed through at an unusually fast pace for a production that ended up costing just over $1 million.

Oh, and the film’s composer hated “As Time Goes By’’ so much that he wanted to replace it.

“This was not a happy set,’’ says Alan K. Rode, author of a newly published biography of Michael Curtiz, the volatile Hungarian who directed “Casablanca” with consummate skill. “The pressure was really ceaseless.”

Shooting with an unfinished script on a tight deadline with much behind-the-scenes rancor has sunk countless movies. But “Casablanca’’ — which premiered on Nov. 26, 1942 in New York and went into national release on Jan. 23, 1943 — somehow became a masterwork that not only went on to the box office and Oscar glory in its era, but over the decades achieved a rare status as one of the most beloved and most quoted films ever.
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Lou Lumenick LOU LUMENICK
ENTERTAINMENT
An accidental classic, ‘Casablanca’ turns 75
By Lou Lumenick December 4, 2017 | 2:36pm
Everyone may come to Rick’s Café Américain, but 75 years ago, no one was happy to be there. And they certainly didn’t think “Casablanca” was a hit, much less an iconic piece of cinema.

Humphrey Bogart — a heavy drinker whose third marriage was falling apart — got so grouchy while staging the climactic scene that the producer had to be called in to break up a fight between him and the director.

Ingrid Bergman — hungry for Hollywood stardom after a shaky start — fretted she didn’t know which of her leading men she would go off with at the end of the picture. She also worried that delays would cost her a plum part in “For Whom the Bells Tolls.’’

Paul Henreid — strong-armed into accepting what he called a “lousy, lousy script’’ — was convinced he would be laughed off the screen when his character showed up wearing a perfectly tailored, double-breasted, cream-colored suit after escaping from a concentration camp.
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No fewer than seven writers struggled to balance the film’s intoxicatingly irresistible blend of suspense, romance, politics and cynical humor — delivering new pages to the set daily even as the topical World War II romantic thriller was being rushed through at an unusually fast pace for a production that ended up costing just over $1 million.

Oh, and the film’s composer hated “As Time Goes By’’ so much that he wanted to replace it.

“This was not a happy set,’’ says Alan K. Rode, author of a newly published biography of Michael Curtiz, the volatile Hungarian who directed “Casablanca” with consummate skill. “The pressure was really ceaseless.”

Shooting with an unfinished script on a tight deadline with much behind-the-scenes rancor has sunk countless movies. But “Casablanca’’ — which premiered on Nov. 26, 1942 in New York and went into national release on Jan. 23, 1943 — somehow became a masterwork that not only went on to the box office and Oscar glory in its era, but over the decades achieved a rare status as one of the most beloved and most quoted films ever.

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“Casablanca’’ was based on an unproduced play called “Everybody Comes to Rick’s’’ by Murray Burnett, a New York City high school teacher, and a divorced mother named Joan Allison. It fortuitously landed on the desk of a story analyst at Warner Brothers on Dec. 8, 1941 — the day after the Japanese attack on Pearl Harbor.

The timely story was snapped up by Hal Wallis, who had just signed a new producing contract that gave him unusual autonomy. It was in theaters less than a year later, a mind-boggling accomplishment even in an era when movie studios were factories with platoons of actors, director and writers under contract. “Casablanca’’ went before the cameras with a far-from-completed script on May 25, 1942 — after a mad five-month scramble to assemble what turned out to be a perfect cast.

After first-choice William Wyler (“The Letter’’) didn’t respond to a feeler, Wallis went with Warner’s top director. Curtiz had a reputation for ruthlessness and artistry, as well as the clout that came from a long string of hits. It was Curtiz who personally recruited real-life refugee extras, who shed genuine tears while singing “La Marseilles’’ to drown out the Nazis’ German anthem in the most rousing of the film’s many unforgettable scenes.

Studio chief Jack Warner suggested George Raft to play the romantically disillusioned Rick. Instead, Wallis, exercising his contractual prerogative to cast anyone he wanted, had the script tailored specifically for Bogart, who, after a long run of cookie-cutter tough guy roles, had emerged as a leading man thanks to “The Maltese Falcon.’’

The female lead in the play was an American divorcee of dubious morals until Casey Robinson, one of the script writers, made the inspired suggestion she be turned into a more virtuous European refugee. When MGM refused to loan Hedy Lamarr out for the part that became Ilsa Lund, Wallis approached independent producer David O. Selznick for Bergman, a Swede he had under contract. Selznick agreed because he felt “Casablanca’’ might finally put her over with American audiences after several false starts — and it certainly didn’t hurt for Bergman, who was not an American citizen, to play in an overtly patriotic movie.

When he was unable to secure the services of Philip Dorn — the Dutch actor who was Curtiz’ first choice to play the underground leader Victor Laszlo — Wallis leaned on Henreid, an Austrian Jew who had recently scored a huge hit in the romantic weepie “Now, Voyager’’ opposite Bette Davis. In addition to disdaining the script, Henreid scorned the idea of playing a secondary character, no matter how noble. The actor’s ego was massaged with the offer of co-star billing with Bogart and Bergman.

As difficult as the casting was, it was a piece of cake compared to the script-writing process, which continued by fits and stars until the final scene was shot on Aug. 3 — and even after.

The script was first assigned to Julius and Philip Epstein, twin wits credited with most of the movie’s memorable lines, including “I’m shocked, shocked that gambling is going on’’ and “round up the usual suspects.’’ When they were called to Washington to work on war documentaries, the project was taken over by Howard Koch, an avowed liberal who beefed up the film’s political elements. The Epsteins returned and tweaked some — but hardly all — of Koch’s work.

But Wallis and Curtiz still felt the crucial love story needed more heart, and turned to Robinson, the studio’s top paid writer, who had earlier written a story analysis. Robinson joined the team — beginning just five days before cameras started rolling — but thought so little of the story he turned down a shared screen credit, which would have eventually provided his only Oscar.

Somehow, the seemingly chaotic efforts of a disparate group of writers — who, with the exception of Epstein, who died in 1952, argued publicly for decades over who deserved credit — managed to produce what’s still taught as a model of cohesive storytelling in screenwriting classes.

“The Epsteins needed Koch to bring in the moral background, and Koch needed the Epsteins to keep things from getting too preachy,’’ says Noah Isenberg, author of the 2016 book “We’ll Always Have Casablanca: The Life, Legend and Afterlife of Hollywood’s Most Beloved Movie.’’ “And the three of them needed Casey Robinson to crucially shape the romance, especially in the Paris flashbacks. And Curtiz had to keep things moving through many dialogue-heavy scenes.’’

Conflicts continued to dog “Casablanca’’ straight through the shoot, and even after the cameras stopped rolling. There are so many legends surrounding the film’s chaotic genesis that not all of them may be entirely true.

Take the famous story that “As Time Goes By’’ only remained in the picture because Ingrid Bergman’s hair was cut short for her role in “For Whom the Bell Tolls’’ by the time composer Max Steiner wrote his own love theme to replace it. Rode and Isenberg point to the absence of memos corroborating this.

“It’s true that Steiner told his wife he hated ‘As Time Goes By,’ but there’s probably no way they could have gotten Bergman back from location for retakes,’’ Isenberg says. “Steiner ended up using no less than 14 different arrangements of the song in his score, which is one of his best remembered.’’

Bergman insisted in her memoirs that Curtiz told her to “play it in between’’ when she asked the director which man Ilsa would leave Casablanca with. Yet Isenberg and Rode both point to evidence that it was clear from the outset that no matter what her feelings for Rick, Victor would have to be the ultimate romantic victor. That’s the way the play ends, and Robinson had pointed out in a memo before he officially joined the screenwriting team that the film just wouldn’t soar without Rick sacrificing the love of his life for the common good.

“The Production Code Authority would never have allowed a married woman like Ilsa to go off with Rick,’’ says Rode, referring to the studio’s self-censoring system.

The PCA was unusually lenient in other areas, though, notably overlooking the sexual implications of Rick and Ilsa’s late-night encounter where she threatens to shoot him to obtain exit visas and they fall into an embrace. Curtiz cut to a shot of a phallic airport tower and Rick smoking what looks suspiciously like a post-coital cigarette. Nobody, then or now, doesn’t think that they had a steamy reunion between shots.

Even if it was a foregone conclusion that Ilsa would dutifully leave for Lisbon with her husband, the screenwriters were still struggling about the exact plot machinations necessary to get there.

Bogart — who may have ad-libbed the “here’s looking at you kid’’ and “of all the gin joints’’ lines — was especially tense while shooting the climactic sequence at the airport, nearly coming to blows with Curtiz over how his lines should be delivered.

After Wallis calmed them down, there were more last-minute rewrites on the set — one of which introduced the entirely new concept that Rick would go off with Renault and join the Free French after Ilsa leaves with Victor and Rick shoots Major Strasser. “And that should just about cover our expenses’’ was the final line penciled into the much-revised final shooting script.

But Wallis still wasn’t totally happy, and a couple of weeks later he personally came up with Rick’s immortal rejoinder after that: “Louis, I think this is the beginning of a beautiful friendship.’’

Rains was 3,000 miles away from Burbank by this point. Fortunately, he and Bogart had turned their backs to the camera after the “expenses’’ line, so they merely had to call back Bogart to dub the new line over the existing footage.

The producer was tempted to further tinker after some audience members at a sneak preview suggested a coda. He was all set to shoot a brief new scene with Rick and Renault fighting with a garrison of Free French when Selznick — the mastermind behind “Gone With the Wind’’ — persuasively argued that “Casablanca’’ was an already perfect movie.

Jack Warner agreed. Though planned for a summer 1943 release, he was eager to rush it out after Allied forces invaded the real-life Casablanca in early November 1942. The film opened on Thanksgiving Day in New York, and fueled by the headlines and rave reviews, was a smash hit. There was more good luck: a summit by Allied leaders in Casablanca further bolstered the film’s national opening two months later. A year after that, it was nominated for eight Oscars, winning for picture, director and screenplay.

But it took Bogart’s death on Jan. 14, 1957 at the age of 57 — prompting “Casablanca’’ to arrive on TV the following year — to fully launch a never-ending love affair with moviegoers that is still going strong after three-quarters of century.