The WarnerMedia streaming platform, which launches in 2020, has added four actors to the rom-com anthology. Zoe Chao, Sasha Compere and Peter Vack will all be regulars alongside Kendrick, and Scott McNairy will have a recurring part.
Love Life, created by Sam Boyd In a Relationship and executive produced by Paul Feig and Kendrick who teamed on A Simple Favor, will follow a different protagonist each season on the journey from first love to last love, with each half-hour episode chronicling one of their relationships. The first season will center on Kendrick's Darby, who runs a "historically significant butts" tour for a company headed by McNairy's Bradley.
Chao The OA, Facebook Watch's Strangers will play Sara, Darby's best friend and roommate since college. She's sweet and big-hearted but sometimes shows bad judgment. Sara is in a long-term relationship with Jim Vack and has appointed herself Darby's relationship coach, but her own love life is less stable than she realizes.
Compere Miracle Workers plays Mallory, Darby's outspoken roommate who uses her dry sense of humor and bluntness to tell Darby the hard truths she sometimes needs to hear.
Vack's The Bold Type, Someone Great Jim is a staffer at Politico is easygoing but has an edge. His and Sara's relationship is something Darby aspires to, but it also runs hot and cold and may not be built to last forever.
Bradley McNairy, Once Upon a Time in Hollywood, H and Catch Fire owns the museum tour company where Darby works. It's a successful business, and he has a stunning fiance — but also a roving eye that's currently fixed on Darby.
Love Life is produced by Lionsgate TV and FeigCo Entertainment, with Kendrick, Feig, Boyd, Jessie Henderson and Bridget Bedard executive producing. Dan Magnante is a co-exec producer.
After Friends briefly hits theaters next month, it will leave its streaming home at Netflix in 2020 and move to WarnerMedia’s HBO Max. The Office, meanwhile, is also leaving the challenged streaming juggernaut for NBC’s forthcoming follow-up to its shuttered Seeso platform. So, to put things plainly, a whole bunch of “classic” broadcast programs are about to be shuffled around amid some massive deals, and now it seems Chuck Lorre’s The Big Bang Theory and Two and a Half Men are about to join the mix.
According to Deadline, WarnerMedia “had been looking to secure Warner Bros. TV’s latest comedy blockbuster” in a deal that many “expected to cross the $1 billion mark.” However, industry sources are now indicating that The Big Bang Theory and Two and a Half Men, both of which Lorre co-created, executive produced and showran, are being packaged together in a deal that could “[fetch] as much as $1.5 billion.” The reported price is so high, Deadline notes, because of how limited the pair’s exposure to streaming has been so far. That, and “stipulations” in Lorre’s deals for each show.
Whatever ends up happening with these two shows and their potentially costing WarnerMedia a solid chunk of change, one thing is clear: Young Sheldon is the real loser here.
n the heels of scoring 5 Primetime Emmy nominations for its freshman run, including Outstanding Drama Series, HBO’s family saga Succession returned for a second season on Sunday to a series high 1.2 million premiere night viewers across HBO's linear network and digital platforms.
That was up +32% from the viewership for Succession‘s series premiere night 918,000 viewers and +22% from the nightly audience for the Season 1 finale 997,000 viewers.
The Season 2 opener averaged 612,000 viewers at 9 PM on HBO, up +5% from the Season 1 premiere, indicating that most of the premiere night gains came from digital viewing. In linear Live+ same day premiere ratings, the series high mark still belongs to the Season 1 finale, 730,000 viewers
Created by Jesse Armstrong and executive produced by The Big Short's Adam McKay, Season 2 of Succession follows the Roy family as they struggle to retain control of their empire, and while the future looks increasingly uncertain, it is the past that threatens ultimately to destroy them.
The Season 2 cast includes Brian Cox, Jeremy Strong, Hiam Abbass, Sarah Snook, Kieran Culkin, Alan Ruck, Nicholas Braun, Matthew Macfadyen, Peter Friedman, Rob Yang, J. Smith Cameron, Dagmara Dominczyk and Arian Moayed. Holly Hunter is recurring.
Succession is executive produced by Armstrong, McKay, Frank Rich, Kevin Messick, Will Ferrell, Jane Tranter, Mark Mylod and Tony Roche. Armstrong also serves as showrunner.
e've always known that when it comes to impressions, Bill Hader can do anyone.
But for those who don’t know, what he wonderfully flaunts in season 2 of HBO's Barry is his riveting finesse for directing action scenes across two episodes, “ronny/lily” and the finale “berkman>block”, literally reminiscent of James Mangold’s work on Logan and Michael Mann’s cinematic crime oeuvre.
It’s a wonderful evolution for Hader who started off as a PA on such action pics as Dwayne Johnson’s Scorpion King and Arnold Schwarzenegger’s Collateral Damage, and is now the guy who gets to call “action”.
Hader's Emmy-nominated directed and written episode “ronny/lily” follows the actor's hitman Barry, who after being blackmailed by Detective John Loach John Pirruccello, is forced to take Ronny Proxin Daniel Bernhardt, the guy who is having an affair with Loach’s wife. Barry breaks into Ronny’s house, and asks him kindly to leave town. But it turns out that Ronny is an award-winning martial arts master. Ronny and Barry brawl, and just when it looks like the latter has the upper hand, he’s ambushed by the guy's daughter Lily Jessie Giacomazzi, an 11-year old karate dynamo who makes Dafne Keen's girl wolverine stunts as Laura in Mangold's Logan look like child's play Lily literally bites off the face of Barry's partner in crime, Fuches. It's a hysterical chase sequence, beginning in a smoky, blasé suburban home, continuing into the streets and ending with a crash at a grocery store. Clouseau and Cato could not have done more damage in the Pink Panther movies.
For season 2, Barry is nominated for 15 Emmys, Hader owning four of those in the categories of Best Comedy Series, Best Lead Comedy Actor, Directing, and Writing.
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With several big media companies gearing up for the launch of new streaming platforms, long-running broadcast comedy series are taking center stage as cornerstones of their offerings. NBCUniversal paid $500+ million for The Office, and HBO Max shelled out $425 million for Friends - both pulled away from Netflix. Additionally, Disney+ is taking over streaming rights to The Simpsons library which Disney-owned FX Networks had paid $100 million for in a multi-platform deal several years ago.
The massive recent Office and Friends deals could soon be dwarfed by the first streaming pacts for two big Chuck Lorre hits, The Big Bang Theory and Two and a Half Men. WarnerMedia had been looking to secure Warner Bros. TV’s latest comedy blockbuster, The Big Bang Theory, in a deal, which industry observers had expected to cross the $1 billion mark. I now hear that HBO Max is in conversations for both Big Bang and 2.5 Men, with the package possibly fetching as much as $1.5 billion.
Part of the reason why the price tag is so big is because, unlike Friends and The Office, which have been drawing millions of old and new viewers on Netflix, Big Bang and 2.5 Men have never been exposed to streaming beyond a few “stacked” recent episodes of Big Bang on CBS All Access over the last several seasons. WBTV similarly held back Friends until scoring the big deal with Netflix in 2014.
Additionally, Big Bang just came off its original highly rated run on CBS and continues to be a huge draw in off-network syndication on TBS. Two and a Half Man, which went through two leading men, Charlie Sheen and Ashton Kutcher, has long been a top performer in broadcast syndication.
I hear talks are complex, in large part because of stipulations in co-creator/executive producer Lorre’s deal, but I hear WarnerMedia is determined to have WBTV’s biggest comedy series of the last two decades, Friends, The Big Bang and 2.5 Men, on HBO Max at launch in spring 2020.
Image courtesy of Sony TV
Adding intrigue to the situation is the fact that, likely enticed by the blockbuster recent deals for Friends at HBO Max and The Office at NBCU, I hear Sony Pictures Television has taken out Seinfeld, which the studio distributes.
The classic NBC 1990s sitcom is tied up until 2021 in its exclusive SVOD deal at Hulu. I hear that in the previous negotiations, Sony synched up the off-network cable deal for Seinfeld at TBS with the streaming pact at Hulu, so all rights become available at the same time.
I hear Sony TV has pitched the show to multiple streamers, including HBO Max and Netflix. I hear there is no asking price that the distribution company is floating but they likely are targeting a deal of a size similar to that for fellow 1990s Must See TV tentpole Friends in the red-hot marketplace. That would be a major premium over the reported $130+ million Seinfeld‘s current Hulu deal pays.
HBO Max would be an obvious choice as Seinfeld is owned by Warner Bros. via Castle Rock, as is the series’ current cable network home, TBS. However, after shelling top dollar for Friends and getting ready to write a giant check for Big Bang and 2.5 Men, the company may be tapped out for the moment or at least preoccupied until they can close deals for the Big Bang and 2.5 Men.
Netflix already has a $100-million deal with Jerry Seinfeld for his show, Comedians In Cars Getting Coffee, and two-stand-up specials, though it is unclear how interested the streamer is in Seinfeld repeats as it is poised to lose Friends and The Office in the coming months. Seinfeld is said to have done well on Hulu though it is not believed to be as big as Friends and The Office on Netflix.
I hear that accounting-wise, for Sony TV it is more beneficial to renew the existing Seinfeld pacts as money can be added to its balance sheet right away but it also pursuing the biggest possible payday for everyone involved, including profit participants led by Seinfeld.
For now, I hear that Hulu is not looking to step up in a major way to keep Seinfeld. The streaming platform is now controlled by Disney, and Hulu is getting a pipeline into a slew of binge-friendly shows from across the company, like the 20th Century Fox TV’s Family Guy.
The final episode of Comedy Central’s Nathan for You aired on November 9, 2017, and I’ve missed it every day since. “Finding Frances” does not get enough credit for being one of the best series finales ever. Thankfully, Nathan Fielder is returning to TV with a new show for you, for me, for everyone… who borrows their parents’ HBO Go account. According to Variety, Fielder signed a one-year deal with HBO, where he’ll executive produce How To… With John Wilson and star in a still-untitled comedy pilot, which he’ll also write and direct.
Little is known about Fielder’s series details are being cryptically kept “under wraps”, but How To… With John Wilson is described as a “half-hour, first person documentary series hosted by an anxious New Yorker Wilson who attempts to give everyday advice while dealing with his own personal issues. Acting as both cameraman and narrator, he covertly documents the lives of fellow New Yorkers in a comic odyssey of self-discovery, inevitably making the audience comfortable with the awkward contradictions of modern life.”
Fielder responded to the news with his typical enthusiasm:
New stuff coming https://t.co/Sji64FXNef
— nathan fielder @nathanfielder August 12, 2019
To pass the time until these shows are on HBO, why not watch “I Love You” on loop? It stops being uncomfortable around hour seven.