Netflix's decision to cancel Luke Cage on a Friday night was shocking enough, but why do it on the same day it launched the third season of Marvel's Daredevil? "It’s been four months since the second season of Luke Cage came out," says Phil Owen. "Marvel and Netflix have had since June to make a decision about the show, but waited until this exact moment to tell everybody. They could have waited another week. They could have announced it in tandem with the Iron Fist news. Instead they chose to cancel Luke Cage not only on launch day, but at a time in the evening when many people on the East Coast were probably just settling in to watch Daredevil. And that’s not even taking into account that it took less than half that long for Iron Fist to get the axe after its second season." The reported decision that the cancelation was for creative reasons also doesn't make sense, he says, pointing out that Marvel and Netflix have had no qualms with replacing showrunners -- Daredevil and Iron Fist have had six showrunners combined. "Of course," he adds, "Disney/Marvel could just as easily be eyeing a gradual fresh start, especially since the Netflix corner of the Marvel Cinematic Universe has been increasingly distant from the movies. Most notably, Thanos’ finger snap has had no affect on any of the shows that came out after he wiped out half the universe. It wouldn’t be impossible to simply roll out completely new versions of these characters and make like their Netflix versions don’t share the same universe." ALSO: Iron Fist star Finn Jones expresses solidarity with Luke Cage in an Instagram post.
"Many shows tell stories about grief and mental illness — This Is Us, The Affair, A Million Little Things — but rarely with such an authentic gravity as The Haunting of Hill House," says Lindsey Romain. She adds: "Hill House makes great use of its setting and genre, with plenty of jump scares, ghouls, and gore to satiate horror fans. But its power is not in how thoughtfully it scares, but in how deeply it penetrates. It forces us to contend with our own buried thoughts and emotions, the family secrets that fester deep within, and it does so with an elegant and even hand, telling stories across two timelines: the Crain children’s time in Hill House, and their lives as adults, as they deal with the fallout of the psychological trauma they experienced there." ALSO: Haunting of Hill House creator Mike Flanagan explains the ending.
Collier, the president and general manager of AMC, SundanceTV and AMC Studios, “will oversee the Fox Broadcasting Network and lead the Company’s entertainment programming strategy across live, scripted and non-scripted content,” Fox chief executive Lachlan Murdoch said in a companywide statement. The job was expected to go to to Gary Newman, who has been running Fox with Dana Walden, who is headed to Disney. But Collier's selection makes sense: "it gives Fox a fresh pair of eyes to strategize its new space in the entertainment ecosystem," says Michael Schneider, adding: "Collier’s background is mostly in cable, and in particular smaller, scrappier networks like AMC, SundanceTV, Oxygen and A&E Networks. That experience — including how to program, promote, and sell with a smaller infrastructure — could serve him and Fox well as the network undergoes its own change."
Lena Dunham and Jenni Konner's remake of the Julia Davis-created British cult comedy of the same name received mostly harsh reviews, all of which entirely miss the point, says Josephine Livingstone. "Almost every major review in the U.S. so far has bemoaned the painfulness of the Camping experience," she says, adding: "But great satire is meant to be unpleasant. It’s supposed to make your soul feel the way your mouth does when it fills with bile. When you have that feeling and then you laugh, it has the taste of truth. The new Camping has had some of the old force taken out of its swing, but now and then it delivers a real, live uppercut. A show like this should be a tussle: between viewer and character, between love and hate, between enjoyment and pain. Camping could be nastier still, but at least the fight is there." ALSO: The problem with Camping is the characters aren't unlikable enough.
Before Last Man Standing's Fox revival, Allen says he was in serious talks to be bring back his 1990s ABC sitcom hit. "In the time off, we got real close where we talked to everybody…It was an interesting idea," Allen tells E! News. Allen says he was pitched an idea where the three brothers Brad, Randy and Mark are property owners and real estate "people" in Michigan, while Tim and Jill were still together living in another house. "It was real interesting," he says.
"I grew up sort of an awkward, chubby kid and I got made fun of a lot," the 38-year-old actor and playwright tells Shadow and Act. of taking off his shirt, which was the talk of Twitter. "It just sort of stays with you, even now at this age, as a very, very grown a** man, I'm still scared of it." He added: "I do not like taking my shirt off ever in public, so, this episode, I'm facing one of my 5 biggest fears. It was pretty nerve-wracking, honestly." ALSO: Is Chidi's storyline implausible?
The self-declared Grand Duchess Maria of Russia, who claims to be the rightful heir to the Russian crown, issued a news release on Wednesday citing most TV critics' distaste for Amazon's Matthew Weiner anthology series. Particularly, she objected to the opening credits that portrays the murder of Czar Nicholas II and his family somewhat comedically, calling the sequence "appalling."
"I believe that ship has sailed," Britton recently told The Hollywood Reporter. "It’s funny because I was a fan of the idea early on, back when Pete Berg was into writing it and there was a real conversation about it. But now I realized just how special it was and how fortunate we all were to have the seasons that we had and let it arc to the ending that it had. You don’t want to take that for granted."
Harris, whose biggest sitcom hits besides Golden Girls include Soap, Benson and Empty Nest looked back at her career for EW. "I couldn’t believe (the ratings)," she says of The Golden Girls. '"It was just stunning. I think people felt like you could have a family no matter who you were, at any stage in life. So there was hope in that show — that you didn’t have to be married, you could create your own family. These were four women who became a family." Harris also revealed what she's been watching lately, which is not much. She wasn't a fan of Arrested Development or The Marveloous Mrs. Maisel. But she has been watching dramas like The Looming Tower, Poldark and Succession. ALSO: The Golden Girls cereal is now on sale.
“Trump or Oprah?” asks the ads from the National Republican Congressional Committee that has received more than 1 million views. “Who would you vote for in the 2020 Election? President Trump or Oprah Winfrey. VOTE NOW.” The Republican group has spent $272,000 on the Facebook ads. According to Slate, "the purpose of the Oprah ad appears to be to help grow the PAC’s lists of voters—the same as lots of its ads on Facebook."
"Streaming television’s sheer density has created a sort of small-screen parallel to the film industry concept of opening-weekend box office," says Alison Herman. "What’s at stake in the crucial first few days of a show’s lifespan isn’t revenue; as television executives are quick to remind us, streaming is all about the long game, investing in a show so that it will linger in the archives in perpetuity. But the overwhelming volume of Peak TV creates a now-or-never feeling of scarcity when it comes to another finite, all-important resource: audiences’ attention. It’s a more intangible competition than the hard numbers of a box office gross, yet it’s one where Netflix seems to be at a definite, possibly insurmountable advantage."
Vinessa Vidotto is boarding the Netflix drama for Season 4 as Remiel, a “classic little-sister” character who admires her eldest brother, the mighty Amenadiel.
The partially animated series will follow an eight-year-old named Ben as he bring songs from The Jackson 5, The Temptations, The Supremes, Smokey Robinson and other Motown legends to life.
Episodes of the six-part open-marriage drama from Netflix and BBC are markedly confident and finely cut -- a rarity for a Netflix series, says Ben Travers. "Equal parts empathetic and searing, creator Nick Payne treats his characters honestly and, in turn, crafts a first season both heartening and tragic," he says. "Collette is its center, guiding the ship through turbulent emotional seas with assurance. There’s plenty to admire about Wanderlust, but it easily could have drifted into the vast unknown of Netflix’s content ocean without her precise, textured turn. In one pivotal episode, she steers the vessel almost entirely by herself."
"My Dinner With Hervé isn’t a completely fantastic film, but that’s absolutely no fault of Dinklage’s," says Amy Glynn. "He’s marvelous. It’s just that the film suffers from the same thing that seems to have plagued Villechaize’s life: being somehow incidental to his own story." As the title suggests, the film is the story of the director who met with the Fantasy Island star. "And I guess that’s fine," says Glynn, "but it leaves Dinklage’s sensitive, intriguing, wounded, dissipated and self-sabotaging portrayal of Villechaize as object, not subject."
Season 3 finds the Marvel series getting back to basics, especially with a familiar, marginally more scaleable foe: Wilson Fisk, says Danette Chavez. "It’s a welcome reset," says Chavez, "but one that initially says more about the underwhelming quality of the show’s second season (the introduction of the Punisher notwithstanding) and the years-in-the-making Defenders showdown... As exciting as it is to watch Fisk and Daredevil circle each other again, there’s something almost conciliatory about this arrangement, despite the fact that (new showrunner Erik) Oleson and team weren’t involved in previous decisions to spend so much time on such uninspired enemies (though it is in keeping with the overall Catholic guilt theme). It’s as if they’re acknowledging previous missteps, and offering up the tried-and-true dynamic of Daredevil and Kingpin, who both know what it’s like to wear a mask."
Making a Murderer couldn't re-create the surprises of Part 1, which was the talk of Christmas 2015. "Filmmakers Laura Ricciardi and Moira Demos essentially concede as much in the first episode by racing through news footage that captures the flood chatter generated by season one," says Jen Chaney. "The 'Making a Murderer was a game changer' snippets are a bit self-serving, but they make it clear that this Netflix series altered the course of the Teresa Halbach murder cases, and in turn, has altered the way the filmmakers will tell this story going forward. Making a Murderer Part Two, then, isn’t so much a narrative about a working-class Wisconsin family and how two of its members were potentially framed by law enforcement for committing murder. Instead, it is a less shocking, more plodding, in-depth procedural that depicts the legal steps required to attempt to overturn (Brendan) Dassey’s conviction by proving that his police confession was coerced, while relitigating (Steve) Avery’s case altogether to prove he was wrongly jailed for the second time in his life."