This is very exciting news!! Can’t wait to see it!! MAKE IT SO!!

Patrick Stewart to reprise role as Jean-Luc Picard in new Star Trek series

Patrick Stewart is boldly going where he’s been before — Star Trek.

CBS All Access said Saturday that Stewart has been tapped to headline a new Star Trek series, reprising his Star Trek: The Next Generation character, Capt. Jean-Luc Picard.

Stewart, 78, shocked an audience at a Las Vegas Star Trek event when he announced he would be reprising his famous role.

The new series is not a Next Generation reboot but will tell the story of the next chapter of Picard’s life. No title or air date was revealed.

In a statement on Instagram, Stewart says he thought his Star Trek days “had run its natural course” so he considers it a delightful surprise to be playing Picard again.

“During these past years, it has been humbling to hear stories about how The Next Generation brought people comfort, saw them through difficult periods in their lives or how the example of Jean-Luc inspired so many to follow in his footsteps, pursuing science, exploration and leadership,” Stewart wrote.

“I feel I’m ready to return to him for the same reason — to research and experience what comforting and reforming light he might shine on these often very dark times.”

Stewart headlined his Star Trek series for seven seasons and portrayed Picard in the movies Star Trek Generations (1994), Star Trek: First Contact (1996), Star Trek: Insurrection (1998) and Star Trek: Nemesis (2002).

Star Trek fans, considered among the most fanatical of any film or television franchise, responded gleefully on social media to the news.


Somehow, for some unknown reason, I still enjoy this show.

CBS in ‘Preliminary Discussions’ to Renew ‘Big Bang Theory’ for Season 13

“Big Bang Theory” could be back for a thirteenth season.

During an appearance at the TCA summer press tour on Sunday, CBS Entertainment head Kelly Kahl said that the company and Warner Bros. Television, which produces the show, are already discussing renewing the show beyond its upcoming twelfth season.

“We don’t believe it’s the final year,” Kahl said. “We are in preliminary discussions to renew the show with Warner Bros.” The announcement drew tweets of “huh” and “fascinating” from series co-creator and executive producer Bill Prady.

Warner Bros. declined to comment.

Series star Johnny Galecki also said back in January that he and the cast would be comfortable ending the show with Season 12.

“The only way we’ve discussed wrapping the show is we’re all going to be very sad when that day comes,” he said. “I think at this point everyone is very comfortable with 12 seasons being a good time to go home and see our families.”

“Big Bang” was renewed for Seasons 11 and 12 last year, with the five original members of the series ensemble — Jim Parsons, Galecki, Kaley Cuoco, Kunal Nayyar and Simon Helberg — all striking new deals. The previously mentioned stars are said to have taken pay cuts in order to free up funds for pay increases for newer stars Melissa Rauch and Mayim Bialik.

The show remains a major force not just on CBS but across all of television. Season 11 averaged a 2.7 rating in adults 18-49 and 14 million viewers an episode in Live+Same Day and was frequently the top shows in Live+7 as well.


I hope to see both Christopher Robin AND The Spy Who Dumped Me this week.

Mission: Impossible — Fallout holds off Christopher Robin at the box office

Oh, bother. Winnie the Pooh is back on the big screen this weekend — in live action, no less — but he and his pals won’t be on top of the box office.

Tom Cruise’s spy sequel Mission: Impossible — Fallout is poised to win the weekend again with an estimated $35 million from 4,395 theaters in the U.S. and Canada, outgrossing Disney’s Christopher Robin and fellow new releases The Spy Who Loved Me and The Darkest Minds.

For Fallout, that figure represents a decline of just 43 percent from its debut last weekend, and its brings the film’s domestic total to $124.5 million after 10 days in theaters. Overseas, the film will add about $76 million this weekend, putting its international total at an estimated $205 million ($329.5 million worldwide).

Written and directed by Christopher McQuarrie and released by Paramount Pictures, Fallout finds super-agent Ethan Hunt (Cruise) and his IMF colleagues trying to recover stolen plutonium after a mission gone awry. The cast also includes Henry Cavill, Simon Pegg, Sean Harris, Rebecca Ferguson, Ving Rhames, and Angela Bassett. Reviews have been excellent, and audiences gave it an A CinemaScore.

Christopher Robin will debut in second place, with an estimated $25 million from 3,602 theaters, toward the lower end of industry projections. It will add about $4.8 million from international markets.

The film — which stars Ewan McGregor in the title role and uses CGI to bring Winnie the Pooh and his Hundred Acre Wood friends to life — comes as the latest Disney project to put a live-action spin on an animated classic (see also: Maleficent, Cinderella, Beauty and the Beast). Reviews were mixed to positive, while moviegoers gave it an A CinemaScore, suggesting solid word-of-mouth prospects.

The weekend’s other new major releases, Lionsgate’s R-rated comedy The Spy Who Dumped Me and Fox’s dystopian YA tale The Darkest Minds, will settle for the No. 3 and No. 8 spots, respectively.

The Spy Who Dumped Me will take in about $12.4 million, in line with modest industry expectations, but The Darkest Minds is in rough shape with a lackluster $5.8 million. Both movies failed to impress critics and garnered B CinemaScores.

Further down the list is Death of a Nation, the latest documentary from Dinesh D’Souza, the controversial conservative commentator who received a presidential pardon in May for a felony conviction of making illegal campaign contributions. It will debut with about $2.3 million from 1,005 theaters, putting it in 13th place. Film critics have panned the doc.

Also this weekend, Disney’s superhero smash Black Panther — which, yes, is still in theaters — will become just the third film in history to cross the $700 million mark at the domestic box. (The others are Star Wars: The Force Awakens and Avatar.)

According to ComScore, overall box office is up 8 percent year-to-date. Check out the Aug. 3-5 figures below.

1. Mission: Impossible — Fallout — $35 million
2. Christopher Robin — $25 million
3. The Spy Who Dumped Me — $12.4 million
4. Mamma Mia! Here We Go Again — $9.1 million
5. The Equalizer 2 — $8.8 million
6. Hotel Transylvania 3 — $8.2 million
7. Ant-Man and the Wasp — $6.2 million
8. The Darkest Minds — $5.8 million
9. Incredibles 2 — $5 million
10. Teen Titans Go! To the Movies — $4.9 million


Very, Very Cool!!

Lost Neil Young and Joni Mitchell concert recordings uncovered by archivists

Live concert recordings of Neil Young and Joni Mitchell considered lost for decades have been unearthed by Michigan archivists.

The Canadian folk legends are among a number of historic music performances recently discovered by the non-profit Michigan History Project.

All of the recordings were made at the Canterbury House, the Episcopal student ministry at the University of Michigan campus in the late 1960s. The space doubled as a place of worship and a concert venue during the era with some of the biggest folk acts of the time performing there.

Each was recorded in professional audio quality on seven-inch reel-to-reel tapes. They’re now being shopped to record labels for an official release, organizers say.

Other tapes found in the collection include performances by Tim Buckley, Doc Watson and Odetta.

Archivists have known about the elusive recordings of Young and Mitchell for years.


I love these Impossible Mission movies!!!

Mission: Impossible — Fallout sets franchise high with $61.5 million opening

Tom Cruise is in control once again.

The actor’s new spy flick Mission: Impossible — Fallout is on track to earn an estimated $61.5 million in ticket sales at 4,386 theaters in the U.S. and Canada from Friday through Sunday, easily topping the box office and scoring the highest opening yet for the enduring six-film franchise (not adjusting for inflation). Mission: Impossible II previously held that distinction, debuting with $57.8 million in 2000, while the most recent M:I movie, Rogue Nation, bowed to $55.5 million three years ago.

Fallout’s opening comes in toward the higher end of industry projections, which were in the range of $50 million to $65 million. The film, which cost $178 million to produce, received excellent reviews from critics, and moviegoers gave it an A CinemaScore. It could mark a much-needed hit for Paramount Pictures as the studio tries to regain its footing under new leadership. Overseas, in about 40 percent of the foreign marketplace, Fallout will add an estimated $92 million this weekend.

Written and directed by Christopher McQuarrie (who also handled Rogue Nation), Fallout finds super-spy Ethan Hunt (Cruise) and his IMF colleagues trying to recover stolen plutonium after a mission gone awry. The cast also includes Henry Cavill, Simon Pegg, Sean Harris, Rebecca Ferguson, Ving Rhames, and Angela Bassett.

This weekend’s other major new release, Warner Bros’. animated superhero comedy Teen Titans Go! To the Movies, is poised to earn about $10.5 million from 3,297 domestic theaters. That number falls considerably short of industry expectations of $15 million and puts the movie in fifth place.

Based on the TV series Teen Titans Go! and directed by Peter Rida Michail and Aaron Horvath, the film garnered positive reviews and a B-plus CinemaScore.

Three holdovers round out the top five: Universal’s musical sequel Mamma Mia! Here We Go Again, with an estimated $15 million; Sony’s gritty action movie The Equalizer 2 (last weekend’s No. 1 movie), with an estimated $14 million; and Sony’s cartoon monster comedy Hotel Transylvania 3, with an estimated $12.3 million.

According to ComScore, overall box office is up 7.9 percent year-to-date. Check out the July 27-29 figures below.

1. Mission: Impossible — Fallout — $61.5 million
2. Mamma Mia! Here We Go Again — $15 million
3. The Equalizer 2 — $14 million
4. Hotel Transylvania 3 — $12.3 million
5. Teen Titans Go! To the Movies — $10.5 million
6. Ant-Man and the Wasp 2 — $8.4 million
7. Incredibles 2 — $7.2 million
8. Jurassic World: Fallen Kingdom — $6.8 million
9. Skyscraper — $5.4 million
10. The First Purge — $2.2 million


This should be fun, fun, fun and historic too!!

Beach Boys, Brian Wilson to Reunite for SiriusXM ‘Town Hall’

The Beach Boys’ classic lineup – including Brian Wilson – will reunite for a special Q&A session moderated by director Rob Reiner that will air August 10th at 5 p.m. ET/PT on the band’s SiriusXM channel, Good Vibrations.

The “Town Hall” event marks a rare live appearance for founding members Wilson, Mike Love, Al Jardine and David Marks, as well as longtime Beach Boy Bruce Johnston. The event will take place at the Capitol Records Tower in Los Angeles, were the Beach Boys recorded some of their earliest material.

The Q&A will feature fan questions and focus on the Beach Boys’ “SiriusXM channel, their new album, The Beach Boys with The Royal Philharmonic Orchestra and their celebrated career as one of the world’s most beloved and respected bands.”

The SiriusXM “Town Hall” marks the first time the surviving Beach Boys will take the stage together since 2012, when they wrapped their extensive 50th anniversary tour. That year, the band’s classic lineup also released a new album, That’s Why God Made the Radio, though afterwards Love decided to keep touring as the Beach Boys, but without Wilson, Jardine and Marks.

Since 2012, Love’s Beach Boys have continued to tour regularly, while the musician also released a solo album, Unleash the Love, in 2017. Wilson has also kept a busy touring schedule, releasing his own record, No Pier Pressure, in 2015. In June, the Beach Boys released The Beach Boys with The Royal Philharmonic Orchestra, which paired the group’s classic vocal takes with new orchestral arrangements.


Best wishes, Demi.

Demi Lovato ‘Awake’ After Suspected Drug Overdose, Rep Says

UPDATED: Demi Lovato is now awake after being hospitalized on Tuesday in Los Angeles after a suspected drug overdose.

“Demi is awake and with her family who want to express thanks to everyone for the love, prayers, and support,” Lovato’s rep said in a statement to Variety. “Some of the information being reported is incorrect and they respectfully ask for privacy and not speculation as her health and recovery is the most important thing right now.”

According to law enforcement officials, the Los Angeles Police Department responded to a medical emergency at the 8000 block of Laurel View Drive in the Hollywood Hills, where Lovato’s home is located. before noon.

Law enforcement sources told TMZ, which was first to report the news, that Lovato, who was found unconscious, was treated with Narcan — a medication designed to rapidly reverse opioid overdose — at her home before being transported to a local hospital. TMZ initially reported that Lovato had overdosed on heroin.

The “Sorry Not Sorry” singer, 25, has struggled with substance abuse for years. Lovato revealed in June that she had relapsed just months after celebrating six years of sobriety.

“To the ones who never left me / We’ve been down this road before / I’m so sorry, I’m not sober anymore,” Lovato sings in her recent single “Sober” off of her sixth album, “Tell Me You Love Me.”

Lovato has received treatment for bipolar disorder, bulimia, and substance abuse. She chronicled her daily struggles with recovery in the 2017 YouTube original documentary “Simply Complicated.” In the movie, Lovato opened up about using cocaine while filming her 2012 doc, “Stay Strong.”

Lovato, who began her acting career on the popular children’s series “Barney & Friends,” rose to fame on the Disney Channel. She appeared in the short series “As the Bell Rings” and show “Sonny With a Chance,” in addition the hit 2008 Disney Channel Original Movie “Camp Rock,” co-starring the Jonas Brothers. Lovato said her drinking escalated during her Disney Channel days.

She performed a concert in Paso Robles, Calif., on Sunday.

Lovato’s show in Atlantic City, N.J., set to take place on Thursday, was scrapped on Tuesday following her hospitalization. The news was followed by the cancellation of tonight’s episode of the Fox game show “Beat Shazam,” which featured an appearance by Lovato. The episode was taped in April 2017. “In light of recent reports, we have decided to replace the episode of ‘Beat Shazam’ with another all-new episode,” the network in a statement. “Our thoughts go out to Demi and her family.”


Was hoping to see at least a couple of new movies this weekend, but life got in the way.

Equalizer 2 edges out Mamma Mia! Here We Go Again at the box office

Denzel Washington has no equal at the box office this weekend.

The actor’s gritty action sequel The Equalizer 2 is on track to open with an estimated $35.8 million in ticket sales at 3,388 theaters in the U.S. and Canada, outperforming its predecessor and earning Sony a surprise victory over Universal’s ABBA-fueled musical Mamma Mia! Here We Go Again, which will take in about $34.4 million.

Heading into the weekend, industry projections put The Equalizer 2 (or “The Sequelizer,” if you will) in the $25 million to $30 million range, but it should clear those marks as well as the $34 million bow of the first Equalizer in 2014. (That film went on to earn $192.3 million at the global box office.) The Equalizer 2 will add about $3.3 million in foreign markets this weekend.

Once again directed by Antoine Fuqua, and marking the first sequel of Washington’s career, The Equalizer 2 finds retired special-ops agent Robert McCall (Washington) exacting bloody revenge after one of his friends is killed. Critics’ reviews were unenthusiastic, but audiences gave it a solid A CinemaScore, suggesting good word-of-mouth prospects.

Though it won’t top The Equalizer 2, fellow sequel Mamma Mia! Here We Go Again will also outdo its forerunner on opening weekend, as the original Mamma Mia! debuted to $27.8 million a decade ago. The latter film ultimately raked in $609.8 million at the worldwide box office, most of which came overseas. For Here We Go Again, its opening is squarely in line with industry projections, which were in $30 million to $35 million range. Overseas, it will earn about $42.4 million this weekend.

Featuring a star-studded cast including Lily James, Amanda Seyfried, Christine Baranski, Pierce Brosnan, Colin Firth, Meryl Streep, and Cher, Here We Go Again continues the first film’s multigenerational story of love and family, and also flashes back to reveal how hotelier Donna (played by James and Streep) came to be on the Greek island of Kalokairi.

Reviews for Here We Go Again were generally positive, and moviegoers gave it an A-minus CinemaScore.

Also arriving this weekend, though less successfully, is OTL Releasing and Blumhouse Tilt’s cyber-thriller Unfriended: Dark Web. The follow-up to 2014’s Unfriended is on track to open with about $3.5 million (at 1,546 theaters), good for ninth place.

Made on a shoestring budget of about $1 million, Dark Web was expected to open with $6 million to $8 million. Reviews were mixed, and audiences gave it a C CinemaScore.

Three holdovers round out the top five this weekend: Hotel Transylvania 3, with about $23.2 million; Ant-Man and the Wasp, with about $16.1 million; and Incredibles 2, with about $11.5 million.

According to ComScore, overall box office is up 8.1 percent year-to-date. Check out the July 20-22 figures below.

1.The Equalizer 2 — $35.8 million
2. Mamma Mia! Here We Go Again — $34.4 million
3. Hotel Transylvania 3 — $23.2 million
4. Ant-Man and the Wasp — $16.1 million
5. Incredibles 2 — $11.5 million
6. Jurassic World: Fallen Kingdom — $11 million
7. Skyscraper — $11 million
8. The First Purge — $5 million
9. Unfriended: Dark Web — $3.5 million
10. Sorry to Bother You — $2.8 million


Now you go your way baby and I’ll go mine/Now and forever ’till the end of time/I’ll find somebody new and baby/We’ll say we’re through and you won’t matter anymore/You won’t matter anymore

Drake Just Broke Another Streaming Record That Doesn’t Matter

Congratulations are in order for Drake, who on Thursday became the first artist to ever reach 10 billion streams on Apple Music. The milestone is – per the proud, multi-platform announcement from the music-streaming service as well as coverage of it on various news outlets – a Big Deal.

Or is it? The other shining records that Drake has broken since the release of Scorpion include: highest number of single-day streams on Apple Music, highest number of single-day streams on Spotify and most streams per hour on Spotify. That’s not to mention dethroning himself from Number One on Billboard‘s charts (twice), scoring the highest number of total Number Ones of any rapper, becoming the male artist with the most-ever Number Ones in digital song sales and pushing an unprecedented seven songs into the Hot 100’s top 10 simultaneously. Again, that’s only with Scorpion. (Take a breath.)

All of these virtual trophies speak to Drake’s musical prowess, to be sure. But the accomplishments belong less to the rapper himself and much more to streaming services his album is listened to on, which have exploded in popularity at unparalleled speed and thrown all the traditional metrics of “success” in the music industry into unfettered chaos. Billboard‘s decades-old charts, for instance, now have to factor in streams against CD sales and digital downloads at a somewhat arbitrary rate; as of this summer, those charts weigh the success of songs differently depending on whether they were streamed for free or via a paid streaming subscription.

As for the millions and billions in streaming counts that are constantly being announced as new records: Under streaming’s business model, listeners don’t pay to hear individual songs or albums, so there’s no cost – as there would have been in the era of CD sales and digital downloads – to pick up an additional record after listening to something else. It’s a “yeah I’ll give this a listen, why not?” model that Spotify in particular capitalized on when it partnered with Drake for a platform-wide takeover a few weeks ago, pushing Scorpion to almost every single one of its 170 million users. The album, which boasts an outsized 25 tracks, was an album tailor-made for the era of streaming, which rewards sheer quantity over quality.

Streaming services are a very young distribution format in the broader scheme of music consumption, making it easy for “records” to constantly be set and broken and re-broken. While Spotify has been around for a decade now, the service didn’t rise into the heart of the mainstream until a few years ago, and Apple Music launched in the summer of 2015; as a format, streaming only started surpassing digital music sales in the U.S. as the music industry’s revenue-driver in 2016, per Nielsen’s yearly reports. In sum: Drake may be the biggest artist of modern times, but streaming’s continued growth means it won’t take long before his records are broken once more.


Did you know that average ticket prices are at a record high of $96.31? I sure didn’t. WOW!!

Why Your Favorite Concerts Are Bigger – and More Expensive – Than Ever

U2 had its 400-ton, 360-degree “Claw” stage that cost $30 million. Lady Gaga’s 2013 concert circuit involved a looming five-story Gothic castle. Taylor Swift’s ongoing Reputation stadium tour needs 52 semis and 30 flatbed trucks just to haul all the gear.

It isn’t fans’ imagination that music tours, particularly ones put on by the biggest artists, are getting more lavish by the year. For evidence in hard numbers, look no further than the mid-year report Pollstar released this week: The concert company found that the live market’s 2018 mid-year gross is a record-setting $2.21 billion, up $240 million (12 percent) from the previous year, and that average ticket prices are at a record high of $96.31. Fans are hungry for live shows, and they’re willing to splurge on them. “The precipitous rise speaks to the industry’s aggressive pricing strategy to better meet demand and exclude the secondary market,” Pollstar noted, as well.

But the soaring costs are also due to the fact that A-list concerts – which have been exploding in popularity as fans in the streaming era seek more interactive connections with their favorite musicians – are now regularly expected to be full-blown, Instagram-ready spectacles. For a closer look at the future of major music tours, we spoke to Ray Winker, CEO and design director of Stufish Entertainment Architects, the firm that crafted the visual dreamscape for Beyoncé and Jay-Z’s current On the Run II tour. (The studio has also designed stages and sets for the likes of U2, Madonna, Pink Floyd, the London and Beijing Olympics and Cirque du Soleil.)

Q – Now that live events are such a key, lucrative industry for music – how have artists changed their approach to concert tours? Do they give them more thought than before?
A – By the industry’s own admission, the way to make money in the day and age of streaming and downloads is for artists to go on tour. The demand is for artists to do something spectacular. The crowds are expecting something pretty big. So that pushes the artist to think about touring in a more challenging way. In the late Eighties and early Nineties, touring was a promotional tour that bands used for new albums. It wasn’t the profit center that it is now, where bands don’t make money on CD sales – they do so in touring and merchandising. Their core mission is to grow the fan base and get them to come to an event that basically allows bands to make a business out of their music.

Q – So what kinds of “spectacular” things are we seeing on stage? And what will we see more of?
A – Everybody likes pyrotechnics. People will always revert back to that technology because it’s just a wonderful way of celebrating something; it’s grand and exciting. I don’t think you can really advance on that too much, [other than] things like making the timecode with the music absolutely precise. But what’s happening much more on top of that is audience participation – like giving wristbands that are controlled by the show and change colors and patterns with the show. I think that trend is going to increase with augmented reality, as well. Fans downloading an app and holding it against the screen to get an AR experience with the band. But how loyal fans are going to be to AR, only time will tell.

Q – Why is that?
A – Because people are no longer content with an experience that creates a barrier between them and the experience. They want to be much more immersed in the event. People go to these shows to experience something, and if there’s a certain distance between them and the artist, the link between the two can be severed quite easily. So we’re always looking for ways to bring the show closer.

Q – What kinds of features accomplish that?
A – Bigger and wider stages, for example. Catwalks deeper into the house. In On the Run II, there’s a bridge that spans over the audience’s heads – and Taylor Swift did that too, and in 1997 when the Rolling Stones did their [Bridges to Babylon] tour, there was a bridge hidden under the stage. Those are things that go down very well. Other big changes are ones you can see in the technology of engineering: bigger, brighter and cheaper.

Q – Why are shows getting grander in the first place?
A – The desire for humans to be entertained – it’s a very important part of how we express ourselves. And entertainment architects apply understandings from one industry to another. For example, lightweight façades, LED technology: U2 went on tour a few years ago with the largest screen ever that created the backdrop to the band’s performance. That was revolutionary. You wouldn’t have found that scale of screen anywhere. And now, it’s pretty much present in any city center around the world. There’s direct tie-ins, [which is] how entertainment architecture works.

Q – What’s most different about the set design for tours today?
A – In the day and age of Instagram and Snapchat and all other social media, far more people know about the show than the people actually sitting in the stadium. The “Instagram moment” is a very important aspect of how we design things. At the start of the On the Run II show, before it’s even started, there will be thousands of photos circulating on the internet about how it looks like. So a show no longer starts when the curtain rises. The show starts the moment the first person takes a picture of it. Getting that moment right – making sure the show looks impressive and enticing before it starts – is a challenge you wouldn’t have thought about, 10 years ago.

Q – The show has to live up to expectations – but also to images.
A – Yes, nowadays, you’re very minded to make the experience mobile-friendly. As soon as the doors are open for the very first show, the excitement mounts. People talk. A lot of people don’t even watch the show anymore – they film the show and watch it on their phones. That changes the way one thinks about design, quite considerably. You can’t underestimate the power of making sure a show looks good the moment people walk into a stadium – it’s now as important as the show itself.