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A Beauty and the Beast prequel series is in the works for Disney+. The show is set to take place well before the events of the movie and will see stars Josh Gad and Luke Evans return as LeFou and Gaston, respectively. This is the latest major blockbuster that Disney has decided to spin-off for the streaming service, which launched in November, following in the wake of Star Wars and Aladdin.
According to a new report, Eddy Kitsis and Adam Horowitz Once Upon a Time are set to serve as showrunners on the series alongside Josh Gad. All three of them will write scripts for the project in addition to serving as executive producers. Luke Evans will also executive produce. Story details remain scarce currently, but no other stars who appeared in the 2017 live-action version of Beauty and the Beast are attached yet. Though, the possibility remains that other stars could become attached for brief appearances, as the show is in the early stages of development.
Another key is that Oscar-winner Alan Menken, who composed music for the original animated movie, as well as the 2017 remake, is in negotiations to return as well. The prequel, which currently doesn't have a title, will be a musical and is described as a limited series. That means it will be a one-and-done.
One question worth pondering is whether or not LeFou's sexuality will be explored at all. Quite a big deal was made about LeFou having a 'gay moment' on screen in the movie, which turned out to be a rather small, missable moment. Though, given what has happened with projects such as Lizzie McGuire, it seems Disney will probably play it safe on that front.The project came about as Josh Gad, Eddy Kitsis and Adam Horowitz were working on Muppets Live Another Day for Disney+, which was ultimately scrapped. Talk of this Beauty and the Beast prequel began shortly after they walked away from The Muppets show, which would have been a sequel to Muppets Take Manhattan. Gad has an excellent working relationship with Disney, as he also stars as Olaf in the Frozen franchise. Gad is also set to star in Shrunk, the upcoming Honey, I Shrunk the Kids sequel, alongside Rick Moranis.
Beauty and the Beast, directed by Bill Condon, was released in 2017 and remains one of the most successful live-action remakes Disney has produced. With a cast led by Emma Watson and Dan Stevens, grossed $1.26 billion at the global box office. Disney is also developing an Aladdin spin-off series following that movie's success, as the movie grossed $1 billion last year. The studio also has several live-action Star Wars shows in development such as Rogue One prequel and an Obi-Wan Kenobi series starring Ewan McGreggor. We'll be sure to keep you posted as any further details are made available. This news comes to us via The Hollywood Reporter.
“Succession” is one of HBO’s most acclaimed drama series and an Emmy frontrunner in 2020, and its popularity has been bolstered in part by its addicting opening credits sequence. The 90-second sequence is set to Nicholas Britell’s Emmy-winning original theme music and cuts together footage of the New York City skyline with home video footage of the Roy family. The grainy home videos remind viewers about the privilege and isolation of the Roy family at the start of each episode. It turns out this now-classic opening credits sequence owes a lot of credit David Fincher, who crafted virtually the same sequence to open his 1997 mystery thriller “The Game.” Both openings have been embedded in videos below.
An eagle-eyed Reddit user recently noticed the similarities between the “Succession” and “The Game” opening credits and brought it to the attention of viewers. Fincher’s 1997 movie begins with grainy home video footage that fills in the backstory of protagonist Nicholas Van Orton, played in the film by Michael Douglas. The clips show Nicholas as a child and his father at the latter’s 48th birthday party, the event where Nicholas’ father committed suicide. The editing, courtesy of James Haygood, cuts the father out of the home videos later in the sequence to reflect his death, similar to how the “Succession” credits removes the faces of the Roy parents to show their disconnection from their children.
“The Game” opened in between Fincher’s “Seven” and “Panic Room” and remains one of the director’s most underrated directorial efforts. Out of all of Fincher’s films, “The Game” is the one that gets talked about the least despite strong reviews and box office nearly $110 million on a $70 million production budget. Anticipation for “The Game” was high since Fincher was coming off “Seven,” so many at the time saw the film as a step down for the director. The plot follows Douglas’ Nicholas after he accepts an offer to compete in a life-changing game, but the game ends up destroying Nicholas’ sense of what’s real and what’s fake. The supporting cast includes Sean Penn, James Rebhorn, Deborah Kara Unger, and Carroll Baker.
Watch the openings of “Succession” and “The Game” in the videos below. It’s only a matter of time before a Fincher fan sets “The Game” opening to Britell’s “Succession” score.
Theaters are shut, production postponed, dealmaking stalled and writers are twisting in the wind. Given these conditions, it's perversely appropriate that the hottest new book about the movie business is focused on an angst-ridden writer. The Big Goodbye doesn't try to make the writing trade seem like fun, but the creation of Chinatown is steeped in so much drama and pathos that Sam Wasson's book has propelled itself onto bestseller lists.
In writing his Chinatown script, Bob Towne's agony was such that he became the only writer I can recall who actually hired his own ghost writer. And paid him. Towne himself wrote almost all the script.
The 1975 Jack Nicholson-Roman Polanski noir classic won 11 Oscar nominations, including Best Original Screenplay for Towne, but throughout the three-year writing process it seemed increasingly unlikely that the movie would ever get made.
Towne had earlier done touch-ups for The Godfather and other important films, but to move Chinatown into production he had to deal with a manic depressive director who periodically stopped talking to him, a studio chief whose career was on the brink of collapse, and a star who didn't believe that the dialogue in screenplays really mattered in the total picture.
Deliberations grew so disruptive that at one point Towne, though broke, decided to pay another writer, Edward Taylor, to cope with the madness and contribute key scenes Taylor, an old friend, never demanded credit.
At its inception, Chinatown seemed like a dream project. Nicholson, then a rising young star, had developed a friendship with Towne during production of Easy Rider, and now implored him to create a Raymond Chandler genre detective story for him. Towne confided that idea to Robert Evans, then production chief at Paramount, who was eager to expand his portfolio as a producer, with the added compensation.
While Evans coveted a Towne-Nicholson collaboration as his first solo production credit, there was a catch: He didn't want to make a movie about either China or Chinatown. Towne patiently explained that Chinatown was only “a state of mind,” whose intricacies involved incest, murder and a scheme to steal a city's water supply.
Unmoved, Evans instructed Towne to abandon Chinatown, offering instead a payday of $175,000 to adapt The Great Gatsby. Towne angrily pointed out that a screenplay based on the Gatsby novel would be even more confusing than Chinatown.
To prove his point, Towne turned his back on Paramount, and borrowed $10,000 to rent a bed-and-breakfast cabin on Catalina where he would start writing. While he relished his freedom, it proved illusory. There were still other voices with other opinions.
Over time he would find himself re-crafting his story with guidance...
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...