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Sad news for dog lovers is coming in today as it's now being reported that another beloved television animal has passed away. Odin the Northern Inuit, the dog seen by millions of Game of Thrones fans across the world when he played Bran Stark's pet direwolf Summer in the very first episode of the hit HBO series, died this week after battling mouth cancer for the past several months. According to his owners, Odin had spent his final days with his family taking walks on the beach and dining on his favorite foods, dying at the age of ten this week when his health took a turn for the worse.
In a social media post confirming Odin's passing, his owners state they adopted the Inuit when he was just a 7-week-old puppy, spending the next ten years with the television dog as a very important part of the family. 'Odin's passing marks the end of a decade and the end of an era as he taught our friends and family a lot of lessons about life for one dog he has more stories to tell than some people would,' they explain on Instagram. Adding that we can all 'take great comfort in knowing that he is forever immortalised' on Game of Thrones, the owners also note: 'It's an incredible piece of luck to have a pet you love so well become world famous and touch so many people's hearts.'
Longtime Game of Thrones fans might remember when Ned Stark Sean Bean adopted orphaned direwolf puppies for each of his five children: Grey Wind for Robb Richard Madden, Lady for Sansa Sophie Turner, Nymeria for Arya Maisie Williams, Summer for Bran Isaac Hempstead Wright, and Shaggydog for Rickon Art Parkinson. Ned's illegitimate son Jon Snow Kit Harington adopted another direwolf puppy named Ghost for himself as well. Following the appearances of the direwolves as puppies in season one, CGI would later be used to create the larger adult versions of the animals in later seasons.
Recently, we lost another famous television dog as well, as Modern Family's bulldog Stellapassed away just days after the series wrapped filming its final episode. Last year also saw the deaths of the animal actors who played the beloved pet dogs on the comedy shows Brooklyn Nine-Nine and Fuller House. Needless to say, it's been a bit rough lately for dog lovers, so let's hope our other favorite pets from television stay safe with no new casualties for a long, long time.
Following Odin's cancer diagnosis, HBO also did their part in caring for the Game of Thrones star by helping to raise funds to pay for his ongoing medical treatment; Odin's family says the leftover funds after paying for the vet bill will be donated to animal charities. Though the dog was unfortunately unable to be saved, his top-notch medical treatment and the quality care from his owners went a long way in making his final days on Earth as comfortable and happy as they could possibly be for the world-famous pet. Rest in peace, sweet Odin - you were a very good boy. This news comes to us from...
Nicole Kidman returns to HBO this May as a woman in crisis for the upcoming limited series “The Undoing,” which just released its first teaser. From the sights and sounds of this unsettling first look at the series, Kidman will sink her teeth into a juicy psychological thriller, based on the novel “You Should Have Known” by Jean Hanff Korelitz.
Here’s the official synopsis: “The limited series ‘The Undoing’ stars Nicole Kidman and Hugh Grant as Grace and Jonathan Fraser, who are living the only lives they ever wanted for themselves. Overnight a chasm opens in their lives: a violent death and a chain of terrible revelations. Left behind in the wake of a spreading and very public disaster and horrified by the ways in which she has failed to heed her own advice, Grace must dismantle one life and create another for her child Noah Jupe and her family.”
The miniseries hails from creator and writer David E. Kelley “Big Little Lies”, also serving as showrunner, with direction by Danish filmmaker Susanne Bier, who also executive-produces with Kelley, Nicole Kidman, Per Saari, Bruna Papandrea, Stephen Garrett, and Celia Costas. “The Undoing” marks Bier’s third high-profile foray into the small-screen, after 2016’s acclaimed John le Carré limited series adaptation for AMC, “The Night Manager,” and her 2018 Netflix end-of-days thriller film “Bird Box.”
“The Undoing” is the second series to emerge from Nicole Kidman’s production shingle Blossom Films, which also helmed “Big Little Lies.” That series, which wrapped a second season last year, earned Kidman the 2017 Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie for her bruising turn as Celeste Wright, a battered wife attempting to wrest control of her long-suffering life from her abusive husband played by Alexander Skarsgård.
In front of the camera, Kidman is busy as ever these days, having just appeared as Gretchen Carlson in the Academy Award-nominated “Bombshell.” She’s currently filming Ryan Murphy’s “The Prom,” and has “The Northman,” as well as Blossom Films series “Nine Perfect Strangers” and “The Expatriates,” also coming down the pike.
During the recent TCA panel in Pasadena, Kidman dished on this sure-to-be-twisted new series. “The great thing about the series — and what really drew me to it — is that it's so twisty and nothing is as it seems,” Kidman said.
David E. Kelley added, “This particular piece, the theme and the core of denial that these characters lived in and inhabited, drew me in…The propensity that they all had to draw false narratives about who they were, who their partners were, who...
With most major releases indefinitely delayed, film festivals postponed, and studios dropping their theatrical releases on digital left and right due to the coronavirus COVID-19 crisis, awards season is going to look very different by the time it rolls around in the fall. And no, it won’t be Bloodshot and Sonic the Hedgehog gunning for best picture, as many online have joked.
The Hollywood Foreign Press Association is making significant changes to its long-standing rules for the Golden Globes awards eligibility that expands the formats where an eligible film can be first released, including subscription streaming services, subscription cable channels, and broadcast TV. With these changes to the Golden Globes eligibility rules, other awards bodies like the Academy Awards, will likely soon follow.
Deadline reports that the HFPA announced that it would be altering its rules for Golden Globe motion picture eligibility and screenings for this year, which would — for the first time in history — open up the films eligible for the top best picture prizes drama and musical/comedy to those that were first released on streaming services, cable, and broadcast TV. However, producers and studios must still prove they had a “bona fide theatrical release planned to begin in Los Angeles during the period from March 15 to April 30 2020.”
This is a change that would likely have come at some point anyway, with the rise of streaming platforms who have become awards heavy-hitters like Netflix, Amazon Video, and Hulu, but has been expedited by the coronavirus epidemic, which has forced the shuttering of theaters across the country and delayed film releases and productions.
“The HFPA’s reminders list committee will consider application of this suspension of the rules on a case-by-case basis when compiling the annual Golden Globe reminders list in the fall,” the HFPA says. “The HFPA will continue to assess the impact of the COVID-19 epidemic on motion picture and television distribution and exhibition and may extend these suspensions of the Golden Globe award rules and/or may make other temporary variations to those rules as it considers appropriate in the future.”
Exhibition requirements have been temporarily suspended, except for the rule that films must be released seven days prior to midnight on December 31 of the qualifying year. The HFPA has broadened eligible feature film release platforms — previously only pay-per-view services and theaters — to the alternate formats like streaming services, subscription cable channels, and broadcast TV. But this expansion opens up a whole host of questions: what does this mean for the Golden Globe categories dedicated to TV movies that are dominated by HBO? Could a film that premiered at a film festival but picked up by a cable channel now be...
Star Wars: The Clone Wars has finished off the first arc of its seventh season. The final chapter of the arc, “Unfinished Businesses”, yields sharper emotional beats than the penultimate chapter, following up on the rather bittersweet moment when the rescued clone trooper Echo Dee Bradley Baker, who voices every clone repeats “the good old days” with ambivalence.
While it’s hazy on how Echo feels about his re-integration into his Republic military, from the moment he reports for duty in his new distinctive armor with his signature handprint on his armor, it’s evident he has accepted he isn’t going to be the same soldier on the battlefield. He seems just as loyal as before. Due to the digital implants the Separatists forced into his body, Echo offers his abilities to help the Jedi, Rex, and the Bad Batch infiltrate an enemy Separatist ship. However, Echo and Rex have to navigate some skepticism about whether Echo’s Republic allegiance is still true. Echo is constantly dutiful to his Republic mission, although it turns out that he has changed even in ways he’s unsure of.
It’s fun to observe the battlefield professionalism between Jedi and the clones. Some overdue insight is provided to the Bad Batch and their brotherhood. Tech’s mental aptitude makes him a standout member of the Bad Batch. Crosshair enacts a neat little sniping scene where he plants reflective devices in a corridor that allow his shot to bounce through multiple droids with slick precision. Wrecker scores the most comedic gold, such as when he smashes through poor B1 droids to the point where even the clones feel bad for the droid, and Wrecker enacts his best moment—“This is the happiest day of my life”—when he finally gets to blow something up. Mace Windu Terrence “T.C.” Carson also has a comedic moment where he stalls the droid battalion by trying to bargain with them and he partakes in a genuinely tense sequence where he has to tap into the Force to defuse a bomb.
Despite the fun action, the episode’s path doesn’t feel fully formed despite the rather warm-hearted destination. The central existential crisis—Echo’s unspoken realization that he doesn’t quite fit in his old environment and Rex clocking in Echo’s alienation—is not fleshed out and feels lost in the flurry of action. While Echo’s decision to join the Bad Batch, who are both renegades and servants to the Republic, is a warm send-off that gives plenty of consideration to his state of mind, the opportunity for dimensions are mere suggestions throughout the arc, such as the insinuation that the Bad Batch are drifting their way through the war for occasional purpose and aren’t too comfortable accepting the tokens—the honors—of the Republic institution they serve.
But for writing material and characterizations that should...