'Malcolm & Marie' to 'The Girl on the Train': What to stream this February

Hollywood actor Timothy Hearl sued Netflix over COVID-19 working conditions. This comes after Netflix also found itself become a part of live entertainment with ‘Stranger Things: The Drive Into Experience’ to keep up the entertainment spirit amid pandemic.&nbsp;

The drive-in show allows fans of the Netflix series to navigate their vehicles through a parking lot styled as the fictional town of Hawkins, Indiana, in 1985, where performers recreate scenes from the show’s third season. The show, located in downtown Los Angeles and designed for the pandemic time, opened in October and runs through at least March.

The actor Timothy Hearl was hired to play a Demogorgon, a monster from the series’ Upside Down realm before he was reassigned to play a character who wears a hazmat suit.&nbsp;

According to the lawsuit, Timothy Hearl expressed concern about the risk of COVID-19 exposure during rehearsals which were held indoors. Unsatisfied by the response, he filed a complaint with the California Occupational Safety and Health Administration (OSHA).

He complains in the lawsuit of having felt sick along with others from possible carbon monoxide poisoning due to car exhaust. He adds that some actors had difficulty breathing. OSHA representatives are said to have performed a site inspection of the Stranger Things set. Eventually, Hearl says, his employment was terminated.&nbsp;

He now claims his firing runs afoul of California’s Whistleblower Retaliation statutes, which protects employees from retaliation after reporting legal violations to authorities.

Hollywood actor Timothy Hearl sued Netflix over COVID-19 working conditions. This comes after Netflix also found itself become a part of live entertainment with ‘Stranger Things: The Drive Into Experience’ to keep up the entertainment spirit amid pandemic.

Hollywood actor Timothy Hearl sued Netflix over COVID-19 working conditions. This comes after Netflix also found itself become a part of live entertainment with ‘Stranger Things: The Drive Into Experience’ to keep up the entertainment spirit amid pandemic. The drive-in show allows fans of the Netflix series to navigate their vehicles through a parking lot styled as the fictional town of Hawkins, Indiana, in 1985, where performers recreate scenes from the show’s third season. The show, located in downtown Los Angeles and designed for the pandemic time, opened in October and runs through at least March. The actor Timothy Hearl was hired to play a Demogorgon, a monster from the series’ Upside Down realm before he was reassigned to play a character who wears a hazmat suit. According to the lawsuit, Timothy Hearl expressed concern about the risk of COVID-19 exposure during rehearsals which were held indoors. Unsatisfied by the response, he filed a complaint with the California Occupational Safety and Health Administration (OSHA). He complains in the lawsuit of having felt sick along with others from possible carbon monoxide poisoning due to car exhaust. He adds that some actors had difficulty breathing. OSHA representatives are said to have performed a site inspection of the Stranger Things set. Eventually, Hearl says, his employment was terminated. He now claims his firing runs afoul of California’s Whistleblower Retaliation statutes, which protects employees from retaliation after reporting legal violations to authorities.

Actor sues Netflix over working conditions amid pandemic

Out of sight, out of mind is a term we only know too well. Human memory is dangerously short &amp; in today’s nano-second times, when the here n’ now rules and impatience, impulsiveness &amp; promiscuity is the name of the game, this adage takes on ominous dimensions. &nbsp;

The nine-month closure of theatres &amp; releases, now slowly limping back but with pandemic still around and vaccine entering the frame with hope &amp; relief, presents a whole new Hitchcock-ian screenplay. &nbsp;In this sanitised world, fear, confusion and uncertainty reigns. Also, second and even third thoughts about entering movie theatres plague movie-junkies. &nbsp;

The nine-month interval however had one dramatic fallout; It allowed OTT, the streaming platform to usurp this space, offering sensationally varied, quality content that can be comfortably and securely enjoyed in the comforts of their home! &nbsp;For the traditional fans of the Bollywood-manufactured masala, this template started out by appearing to be weirdly different.&nbsp;

No high-pitched razzle-dazzle, dance, romance, glamour, tension, dialogue-baazi ignited by sexy, larger-than-life stars ... but soon [due to a lack of option, curiosity &amp; conditioning] and after a longish session of hide n’ seek, the OTT menu grew addictive. &nbsp;Over time, the Bollywood product seemed to move into soft focus, with fresh and absorbing OTT content slowly romancing their mind. [When was the last time you heard anyone excitedly recount or discuss mainstream films or stars?] Sure the media is warming up to usher their comeback – SRK’s Pathan heading the list – but isn’t the old hysteria missing?

Has OTT and their fantastically gifted actors converted a substantial section of the viewers in terms of sensibilities, taste &amp; quality control? Has this period unlocked a new side for audiences bred and buttered on cheap thrills, cardboard cut-out stars &amp; armpit rhetoric designed for instant gratification? &nbsp;Do all of this translate to the end of the blissed-out honeymoon of the superstars affair with their bhakts? Is this new and exciting version of David versus Goliath the latest show in town?

Tempting as it is to be carried away with the OTT-wave, perspective is the need of the day. &nbsp;Can stars really be so easily forgotten or relegated to the background after forever inhabiting the hearts and minds of the masses?&nbsp;

Remember, wherever films are made, stars are made too. &nbsp;Stardom is the characteristic of film industries, the world over. &nbsp;Unlike European and our regional films, which have a long tradition of expressing the viewpoints of their individual makers, Bollywood – like Hollywood – is totally star-driven. &nbsp;

They are the direct/indirect reflection of the needs, drives, dreams of the masses. &nbsp;In the darkened hall of a movie theatre, where wilful suspension of disbelief rules, stars seduce fans to participate in a collective experience that has more in common with tribal worship, myth and primitive magic.&nbsp;

No wonder, hardened film critic Anupama Chopra was once inspired to confess that “despite my long stint as a journo &amp; critic, I haven’t been able to be immune to their magical charms, their amazing ability to imbue inane scripts with heft, their innate talent for fuelling the fantasies of billions of people and their magical power to always provide hope. &nbsp;

Life may be nasty, brutish and short, but we can forever find comfort in the soothing image of SRK’s sexy wide-spread arms, Salman’s flamboyant bhai-giri, Aamir’s charming humour &amp; affection to find our own moral centre. Stars are a source of beauty, pleasure &amp; joy ... and totally irresistible. &nbsp;We in India enjoy a uniquely reverential, unthreatening but obsessive and overblown relationship with stars that remain totally unapologetic!”

So, as the clash between stars and actors is all set to zoom centre-stage very soon, the battle-lines will be drawn between the loyalists &amp; the converts. Will the amazing Pankaj Tripathi and his gifted co-actors or Criminal Justice, Sir, Patal Lok, Kagaz, Panchayat, Family Man or Bandish Bandits be able to match the fire power of the mighty Khans, Ajay, Akshay, Ranveer, Ranbir or the to-die-for wet dreams like Kat Kaif, Priyanka Chopra, Deepika Padukone?&nbsp;

As emotional responses go, stardom unleashes a different kind of fervour from the ones that greet actors. Actors invite respect and admiration. &nbsp;Stars attract craze and madness!

Furthermore, the star opens up doors to advantages galore. Stars have tangible features which can be advertised and marketed – face, body, voice, a certain kind of presence – and can be easily typed: Hero, Heroine, Comedian, Villain, Sexy Siren, Sweetie Pie, Neurotic, etc. The system provides a formula easy to understand and the use of this formula serves to protect Production House biggies from having to pay attention to such intangibles as the quality of the story or acting.&nbsp;

Here is a standardised product which the Bankers &amp; the Trade can easily connect with and regard as insurance for profits. &nbsp;

The Big Banners can then promise the junta of a SRK, Salman, Aamir, Akshay, Ajay, Hrithik, Ranveer, Ranbir, Deepika, Priyanka, Katrina starrer which traditionally spell profit. Star Power in action! Dramatically opposed to this perspective is a view presented by the legendary Marlon Brando.&nbsp;

“The idea is to be real, not to try and act out an emotion that you don’t feel or experience during the performance. Mostly, one has the popular and successful Personality Actors, totally predictable with manners well-loved. Acting is supposed to be a calling redolent with magic and mystique, a leap into the unknown, a voyage of discovery. It’s not about easy-to-digest junk food that guarantees inane feel-good smiles”.&nbsp;

Famous French Director Roger Vadim is up next. “Actors need gardeners more than professors. &nbsp;They are flowers that need to be watered, not cut. Actors, at the end of the day, don’t fantasise about the yellow brick road in the Wizard of Oz. &nbsp;Actors, like fire, are not meant to be hoarded, but spent!” 
&nbsp;&nbsp; 
So the question is: In this more mature environment, will cinema race past movies? &nbsp;Will content defeat glamour? &nbsp;Will realism confront escapism? Will actors challenge stars?

The heat is on and your time starts now!

Out of sight, out of mind is a term we only know too well. Human memory is dangerously short & in today’s nano-second times, when the here n’ now rules and impatience, impulsiveness & promiscuity is the name of the game, this adage takes on ominous dimensions.

Out of sight, out of mind is a term we only know too well. Human memory is dangerously short & in today’s nano-second times, when the here n’ now rules and impatience, impulsiveness & promiscuity is the name of the game, this adage takes on ominous dimensions. The nine-month closure of theatres & releases, now slowly limping back but with pandemic still around and vaccine entering the frame with hope & relief, presents a whole new Hitchcock-ian screenplay. In this sanitised world, fear, confusion and uncertainty reigns. Also, second and even third thoughts about entering movie theatres plague movie-junkies. The nine-month interval however had one dramatic fallout; It allowed OTT, the streaming platform to usurp this space, offering sensationally varied, quality content that can be comfortably and securely enjoyed in the comforts of their home! For the traditional fans of the Bollywood-manufactured masala, this template started out by appearing to be weirdly different. No high-pitched razzle-dazzle, dance, romance, glamour, tension, dialogue-baazi ignited by sexy, larger-than-life stars ... but soon [due to a lack of option, curiosity & conditioning] and after a longish session of hide n’ seek, the OTT menu grew addictive. Over time, the Bollywood product seemed to move into soft focus, with fresh and absorbing OTT content slowly romancing their mind. [When was the last time you heard anyone excitedly recount or discuss mainstream films or stars?] Sure the media is warming up to usher their comeback – SRK’s Pathan heading the list – but isn’t the old hysteria missing? Has OTT and their fantastically gifted actors converted a substantial section of the viewers in terms of sensibilities, taste & quality control? Has this period unlocked a new side for audiences bred and buttered on cheap thrills, cardboard cut-out stars & armpit rhetoric designed for instant gratification? Do all of this translate to the end of the blissed-out honeymoon of the superstars affair with their bhakts? Is this new and exciting version of David versus Goliath the latest show in town? Tempting as it is to be carried away with the OTT-wave, perspective is the need of the day. Can stars really be so easily forgotten or relegated to the background after forever inhabiting the hearts and minds of the masses? Remember, wherever films are made, stars are made too. Stardom is the characteristic of film industries, the world over. Unlike European and our regional films, which have a long tradition of expressing the viewpoints of their individual makers, Bollywood – like Hollywood – is totally star-driven. They are the direct/indirect reflection of the needs, drives, dreams of the masses. In the darkened hall of a movie theatre, where wilful suspension of disbelief rules, stars seduce fans to participate in a collective experience that has more in common with tribal worship, myth and primitive magic. No wonder, hardened film critic Anupama Chopra was once inspired to confess that “despite my long stint as a journo & critic, I haven’t been able to be immune to their magical charms, their amazing ability to imbue inane scripts with heft, their innate talent for fuelling the fantasies of billions of people and their magical power to always provide hope. Life may be nasty, brutish and short, but we can forever find comfort in the soothing image of SRK’s sexy wide-spread arms, Salman’s flamboyant bhai-giri, Aamir’s charming humour & affection to find our own moral centre. Stars are a source of beauty, pleasure & joy ... and totally irresistible. We in India enjoy a uniquely reverential, unthreatening but obsessive and overblown relationship with stars that remain totally unapologetic!” So, as the clash between stars and actors is all set to zoom centre-stage very soon, the battle-lines will be drawn between the loyalists & the converts. Will the amazing Pankaj Tripathi and his gifted co-actors or Criminal Justice, Sir, Patal Lok, Kagaz, Panchayat, Family Man or Bandish Bandits be able to match the fire power of the mighty Khans, Ajay, Akshay, Ranveer, Ranbir or the to-die-for wet dreams like Kat Kaif, Priyanka Chopra, Deepika Padukone? As emotional responses go, stardom unleashes a different kind of fervour from the ones that greet actors. Actors invite respect and admiration. Stars attract craze and madness! Furthermore, the star opens up doors to advantages galore. Stars have tangible features which can be advertised and marketed – face, body, voice, a certain kind of presence – and can be easily typed: Hero, Heroine, Comedian, Villain, Sexy Siren, Sweetie Pie, Neurotic, etc. The system provides a formula easy to understand and the use of this formula serves to protect Production House biggies from having to pay attention to such intangibles as the quality of the story or acting. Here is a standardised product which the Bankers & the Trade can easily connect with and regard as insurance for profits. The Big Banners can then promise the junta of a SRK, Salman, Aamir, Akshay, Ajay, Hrithik, Ranveer, Ranbir, Deepika, Priyanka, Katrina starrer which traditionally spell profit. Star Power in action! Dramatically opposed to this perspective is a view presented by the legendary Marlon Brando. “The idea is to be real, not to try and act out an emotion that you don’t feel or experience during the performance. Mostly, one has the popular and successful Personality Actors, totally predictable with manners well-loved. Acting is supposed to be a calling redolent with magic and mystique, a leap into the unknown, a voyage of discovery. It’s not about easy-to-digest junk food that guarantees inane feel-good smiles”. Famous French Director Roger Vadim is up next. “Actors need gardeners more than professors. They are flowers that need to be watered, not cut. Actors, at the end of the day, don’t fantasise about the yellow brick road in the Wizard of Oz. Actors, like fire, are not meant to be hoarded, but spent!” So the question is: In this more mature environment, will cinema race past movies? Will content defeat glamour? Will realism confront escapism? Will actors challenge stars? The heat is on and your time starts now!

Opinion: Is 2021 the year of Actor vs Star showdown?

Netflix's comedy-drama series 'On My Block'&nbsp;has been renewed&nbsp;for a fourth and final season.

As part of On My Block‘s Season 3 pick-up back in July 2019, stars Sierra Capri (who plays Monse), Jason Genao (Ruby), Brett Gray (Jamal), Diego Tinoco (Cesar) and Jessica Marie Garcia (Jasmine) had reportedly negotiated sizeable pay hike, from $20K per episode to more than $80K, according to TVLine. 
 
The streamer made the announcement about the series' renewal via a video shared on its official YouTube page. No premiere date has been set for the final season. The series is created by Lauren Iungerich, Eddie Gonzalez and Jeremy Haft. 
 
&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xi9oMWgwuEg" width="560"></iframe>

Co-created by Lauren Iungerich (Awkward) and Eddie Gonzalez &amp; Jeremy Haft (All Eyez on Me), On My Block initially followed just Monse, Ruby, Jamal and Cesar, four bright and street-savvy friends as they navigated their way through the triumph, pain and the newness of high-school set in the rough inner city. 
 
Actors Sierra Capri, Jason Genao, Brett Gray, Diego Tinoco, Jessica Marie Garcia and Julio Macias will all return for the fourth season of the coming-of-age comedy set in an inner-city Los Angeles neighborhood.&nbsp;Come Season 2, in the aftermath of tragedy and shocking discovery, the friends leaned on each other like never before, while the third season (which dropped in March 2020) saw the stakes get even higher in Freeridge

Lungerich, who signed an overall deal with Netflix last year, also serves as showrunner and executive produces alongside Gonzalez, Haft and Jamie Dooner.

Netflix's comedy-drama series 'On My Block' has been renewed for a fourth and final season. As part of On My Block‘s Season 3 pick-up back in July 2019, stars Sierra Capri (who plays Monse), Jason Genao (Ruby), Brett Gray (Jamal), Diego Tinoco (Cesar) and Jessica Marie Garcia (Jasmine) had reportedly negotiated sizeable pay hike, from $20K per episode to more than $80K, according to TVLine.

Netflix's comedy-drama series 'On My Block' has been renewed for a fourth and final season. As part of On My Block‘s Season 3 pick-up back in July 2019, stars Sierra Capri (who plays Monse), Jason Genao (Ruby), Brett Gray (Jamal), Diego Tinoco (Cesar) and Jessica Marie Garcia (Jasmine) had reportedly negotiated sizeable pay hike, from $20K per episode to more than $80K, according to TVLine. The streamer made the announcement about the series' renewal via a video shared on its official YouTube page. No premiere date has been set for the final season. The series is created by Lauren Iungerich, Eddie Gonzalez and Jeremy Haft. Co-created by Lauren Iungerich (Awkward) and Eddie Gonzalez & Jeremy Haft (All Eyez on Me), On My Block initially followed just Monse, Ruby, Jamal and Cesar, four bright and street-savvy friends as they navigated their way through the triumph, pain and the newness of high-school set in the rough inner city. Actors Sierra Capri, Jason Genao, Brett Gray, Diego Tinoco, Jessica Marie Garcia and Julio Macias will all return for the fourth season of the coming-of-age comedy set in an inner-city Los Angeles neighborhood. Come Season 2, in the aftermath of tragedy and shocking discovery, the friends leaned on each other like never before, while the third season (which dropped in March 2020) saw the stakes get even higher in Freeridge Lungerich, who signed an overall deal with Netflix last year, also serves as showrunner and executive produces alongside Gonzalez, Haft and Jamie Dooner.

Netflix renews 'On My Block' for fourth and final season

After getting major success at the international market, French crime series 'Lupin' is returning with part 2.&nbsp; 
 
The Netflix confirmed the news and&nbsp;revealed&nbsp;the new poster featuring series star Omar Sy. ''Lupin Part 2..this summer,''&nbsp;they captioned the post.&nbsp; 
 
The series&nbsp;started streaming on January 8, &nbsp;with the first five episodes of the mystery thriller series. The series has&nbsp;garnered 70 million views worldwide in its first month, setting a record for a French TV show, the streaming platform said in a statement.&nbsp;&nbsp;

<a href="https://www.wionews.com/entertainment/bridgerton-becomes-netflixs-most-watched-original-series-359852" hreflang="en">'Bridgerton' becomes Netflix’s most-watched original series</a>

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Lupin Part 2... this summer! <a href="https://t.co/bgWujbrtZ1">pic.twitter.com/bgWujbrtZ1</a>
— Netflix (@netflix) <a href="https://twitter.com/netflix/status/1354821542027227139?ref_src=twsrc%5Etfw">January 28, 2021</a></blockquote>
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'70 million, that's crazy. So proud that 'Lupin' is the first French series to have such an international success.", Omar Sy tweeted.

<a href="https://www.wionews.com/entertainment/inside-assassins-a-documentary-that-talks-about-the-strange-murder-of-kim-jong-uns-half-brother-360088" hreflang="en">Inside 'Assassins': A documentary that talks about the strange murder of Kim Jong Un's half-brother</a> 
 
The mystery thriller has been created by George Kay and François Uzan.The series follows the story of a man who is inspired by the adventures of Arsène Lupin, a character created by Maurice Leblanc. 
 
The release date of the second season has&nbsp;not been announced yet.&nbsp;

After getting major success at the international market, French crime series 'Lupin' is returning with part 2. The Netflix confirmed the news and revealed the new poster featuring series star Omar Sy.

After getting major success at the international market, French crime series 'Lupin' is returning with part 2. The Netflix confirmed the news and revealed the new poster featuring series star Omar Sy. ''Lupin Part 2..this summer,'' they captioned the post. The series started streaming on January 8, with the first five episodes of the mystery thriller series. The series has garnered 70 million views worldwide in its first month, setting a record for a French TV show, the streaming platform said in a statement. 'Bridgerton' becomes Netflix’s most-watched original series Lupin Part 2... this summer! pic.twitter.com/bgWujbrtZ1 — Netflix (@netflix) January 28, 2021 × '70 million, that's crazy. So proud that 'Lupin' is the first French series to have such an international success.", Omar Sy tweeted. Inside 'Assassins': A documentary that talks about the strange murder of Kim Jong Un's half-brother The mystery thriller has been created by George Kay and François Uzan.The series follows the story of a man who is inspired by the adventures of Arsène Lupin, a character created by Maurice Leblanc. The release date of the second season has not been announced yet.

'Lupin' to return with part 2 this summer on Netflix

The American Film Institute on Monday (25 JANURARY 2021) announced its top 10 films of the year, including Pixar’s jazz themed “Soul” and two of Chadwick Boseman’s final films: the August Wilson adaptation “Ma Rainey’s Black Bottom” and Spike Lee’s Vietnam drama “Da 5 Bloods,” both of which are Netflix films.

‘Soul,’ ‘Ma Rainey’s’ among AFI’s top 10 films of the year

'I May Destroy You'&nbsp;star Paapa Essiedu is set to play the lead role in Sky's action thriller 'Extinction'. 
 
According to Deadline, the eight-part series is written by Joe Barton. The story follows George (Essiedu), who keeps reliving the same day over and over again. He is recruited into an organization that harnesses this power to prevent global catastrophes but goes rogue in a bid to save the woman he loves. 
 
"Extinction" is billed as a "gripping exploration of memory, fate, and the limits of love". Urban Myth Films is producing the series, while Marco Kreuzpaintner is attached to direct The series also features actors Tom Burke, Anjli Mohindra, and Caroline Quentin. 
 
Urban Myth's Johnny Capps and Julian Murphy are executives producing the show along with Barton. "Extinction" is slated to premiere in 2022.&nbsp;

'I May Destroy You' star Paapa Essiedu is set to play the lead role in Sky's action thriller 'Extinction'. According to Deadline, the eight-part series is written by Joe Barton.

'I May Destroy You' star Paapa Essiedu is set to play the lead role in Sky's action thriller 'Extinction'. According to Deadline, the eight-part series is written by Joe Barton. The story follows George (Essiedu), who keeps reliving the same day over and over again. He is recruited into an organization that harnesses this power to prevent global catastrophes but goes rogue in a bid to save the woman he loves. "Extinction" is billed as a "gripping exploration of memory, fate, and the limits of love". Urban Myth Films is producing the series, while Marco Kreuzpaintner is attached to direct The series also features actors Tom Burke, Anjli Mohindra, and Caroline Quentin. Urban Myth's Johnny Capps and Julian Murphy are executives producing the show along with Barton. "Extinction" is slated to premiere in 2022.

'I May Destroy You' star Paapa Essiedu set to play the lead in 'Extinction'

The success of the French crime series "Lupin" on Netflix, riding on the heels of hit Spanish show "Money Heist," may hint at a waning of US dominance on the small screen as ambitious European, Latin American and South Korean players kick down the doors on streaming platforms.&nbsp;

"Ten years ago, 90 percent of creativity was in the United States," said Pascal Breton, founder and head of the Federation Entertainment production company. "There were some good little local creatives, but it didn't travel."

But the increase in internet speed, the rise of on-demand television and the example given by American pay channels, led by HBO, have pushed their counterparts abroad to bet on TV shows, having mainly relied on cinema and sport in the past.&nbsp;

"Spiral," (originally "Engrenages"), "Carlos", or "Braquo," all produced for Canal+, highlighted a growing global appetite for non-anglophone TV productions and series.

They were followed by shows from public channels such as the 2010-13 Danish political phenomenon "Borgen" and, from 2010, the British "Sherlock" which, despite being made in English had a particularly non-American flavor.&nbsp;

Luca Barra, of the University of Bologna and co-author of a study on European television shows, said improved standards had been driven by pay TV stations trying to differentiate themselves from public broadcasters by coming up with the kind of premium content you used to only see on the big screen.&nbsp;

Channels, he said, noticed that their premium output "was not just a distinctive feature of every national market, but something that had an appeal also in other markets."&nbsp;

This "change in mentality" has also favored the development of transnational production companies such as Federation Entertainment -- particularly in Europe -- to cope with significantly increasing budgets, he said.

At the same time, the explosion in the number of channels and platforms has generated an appetite for content never seen before, while redefining the notion of success.&nbsp;

"Something that 10 years ago was considered a failure now can easily be a success," said Barra.

The emergence of international platforms, mainly Netflix but also more recently Amazon and Disney+, has played a leading role in driving this appetite for content.&nbsp;

Bolstering its international appeal, Netflix has also set up subtitling for all its productions and dubbing for many of them, allowing a non-English series like "Lupin" to top global viewing rankings.

- Rebalancing -

To gain a foothold overseas, US platforms produced local content in several countries, through production houses based there. In South Korea, and now in Europe, video-on-demand services on the internet are also required to contribute financially to the audiovisual sector in the country where they are established.

In this new landscape of television production, Americans "remain very powerful", acknowledged Breton, but "there is a real rebalancing," which he expected to accelerate.

Cheyenne Federation, part of the Federation group which was behind "The Bureau" (originally "Le Bureau des Legendes") and "Marseille," is currently working on a series around the Notre-Dame fire, expected in 2022, with a budget equivalent to that of "Lupin," said the producer.&nbsp;

For Jonathan Gray, a professor at the University of Wisconsin, non-US production companies have also integrated narrative structures that can be exported abroad, all the way to the United States.&nbsp;

"I think the American palate, which is sort of a notoriously conservative or boring when it comes to television" has been incorporated by overseas producers who have been "stretching it a bit better, but still within pretty recognizable form," said Gray.

Following the footsteps of English-language productions, shows are more and more often devoted to "subjects and narrative forms which are much more international", said Breton.&nbsp;

"Be it Versailles or Saint-Tropez, these are global subjects," he said, and reach an international audience, like (the) Mafia and Italy in "Gomorrah" or Colombia and the drug traffic in "Narcos."&nbsp;

In "Lupin," the Louvre museum acts as a hook, but for Breton, the success of the show can also be explained by its staging.&nbsp;

It "looks a bit like the films of Luc Besson ("The Fifth Element," "Leon: The Professional"), the only one in French cinema who understood the international market," he said. In fact, several former collaborators of the director were behind the camera for Lupin.

The success of the French crime series "Lupin" on Netflix, riding on the heels of hit Spanish show "Money Heist," may hint at a waning of US dominance on the small screen as ambitious European, Latin American and South Korean players kick down the doors on streaming platforms.

The success of the French crime series "Lupin" on Netflix, riding on the heels of hit Spanish show "Money Heist," may hint at a waning of US dominance on the small screen as ambitious European, Latin American and South Korean players kick down the doors on streaming platforms. "Ten years ago, 90 percent of creativity was in the United States," said Pascal Breton, founder and head of the Federation Entertainment production company. "There were some good little local creatives, but it didn't travel." But the increase in internet speed, the rise of on-demand television and the example given by American pay channels, led by HBO, have pushed their counterparts abroad to bet on TV shows, having mainly relied on cinema and sport in the past. "Spiral," (originally "Engrenages"), "Carlos", or "Braquo," all produced for Canal+, highlighted a growing global appetite for non-anglophone TV productions and series. They were followed by shows from public channels such as the 2010-13 Danish political phenomenon "Borgen" and, from 2010, the British "Sherlock" which, despite being made in English had a particularly non-American flavor. Luca Barra, of the University of Bologna and co-author of a study on European television shows, said improved standards had been driven by pay TV stations trying to differentiate themselves from public broadcasters by coming up with the kind of premium content you used to only see on the big screen. Channels, he said, noticed that their premium output "was not just a distinctive feature of every national market, but something that had an appeal also in other markets." This "change in mentality" has also favored the development of transnational production companies such as Federation Entertainment -- particularly in Europe -- to cope with significantly increasing budgets, he said. At the same time, the explosion in the number of channels and platforms has generated an appetite for content never seen before, while redefining the notion of success. "Something that 10 years ago was considered a failure now can easily be a success," said Barra. The emergence of international platforms, mainly Netflix but also more recently Amazon and Disney+, has played a leading role in driving this appetite for content. Bolstering its international appeal, Netflix has also set up subtitling for all its productions and dubbing for many of them, allowing a non-English series like "Lupin" to top global viewing rankings. - Rebalancing - To gain a foothold overseas, US platforms produced local content in several countries, through production houses based there. In South Korea, and now in Europe, video-on-demand services on the internet are also required to contribute financially to the audiovisual sector in the country where they are established. In this new landscape of television production, Americans "remain very powerful", acknowledged Breton, but "there is a real rebalancing," which he expected to accelerate. Cheyenne Federation, part of the Federation group which was behind "The Bureau" (originally "Le Bureau des Legendes") and "Marseille," is currently working on a series around the Notre-Dame fire, expected in 2022, with a budget equivalent to that of "Lupin," said the producer. For Jonathan Gray, a professor at the University of Wisconsin, non-US production companies have also integrated narrative structures that can be exported abroad, all the way to the United States. "I think the American palate, which is sort of a notoriously conservative or boring when it comes to television" has been incorporated by overseas producers who have been "stretching it a bit better, but still within pretty recognizable form," said Gray. Following the footsteps of English-language productions, shows are more and more often devoted to "subjects and narrative forms which are much more international", said Breton. "Be it Versailles or Saint-Tropez, these are global subjects," he said, and reach an international audience, like (the) Mafia and Italy in "Gomorrah" or Colombia and the drug traffic in "Narcos." In "Lupin," the Louvre museum acts as a hook, but for Breton, the success of the show can also be explained by its staging. It "looks a bit like the films of Luc Besson ("The Fifth Element," "Leon: The Professional"), the only one in French cinema who understood the international market," he said. In fact, several former collaborators of the director were behind the camera for Lupin.

Netflix's 'Lupin' marks rise of international TV content

Somewhere near the climax, the lead character and narrator of the film Balram quotes poet Iqbal’s words “the moment that you realise what’s beautiful in the world, you stop being a slave”, ‘The White Tiger’ shows you a mirror in the opposite direction. Directed by Ram Bahrani, ‘The White Tiger’, an adaptation of Booker-prize winning novel by Aravind Adiga, is everything we know about the society we live in, yet choose to ignore by saying this is how the country functions. 
 
Balram (Adarsh Gourav) is a rarity in a village living in servitude, out of necessity and fear, and breaks out the clutter only to create one of his own. The story of the film is all about him breaking out of a rooster coup served to him on a platter by society. Through the symbolism of class, caste, and other divides, that persist in the society, ‘The White Tiger’ actually is a story of a rare man born into the most ordinary circumstances known to him, where he makes the end extraordinary, adapting and accepting the shade of darkness that liberation brings. 
 
Now, one can say the film is a social commentary about a lot of things that persist in the ‘poor democracy’ that’s India. Maybe, more so now, but calling it that would take away the light from the film and put it on the genius of the story that has already been widely appreciated. The cunning story of a rare man could not have been brought alive better by anyone other than Adarsh. The way he imbibes Balram, his servitude, his ambitions, and his constant struggle to seek out an exit, makes you root for him. You know his intentions are not moral, but then neither has been his entire life. Balram is not a man out of choices, he’s not a distressed poor man who did what he did out of no options, or do and die situation, he did it because he believed in himself, something, not all has the privilege of doing. An endearing performance, Adarsh as Balram fits in the regular crowd yet his eyes speak a different language of confidence.&nbsp;In a cast filled with power performers like &nbsp;Mahesh Manjrekar, Rajkummar Rao, and Priyanka Chopra, Adarsh is true ‘The White Tiger’. 
 
 
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/35jJNyFuYKQ" width="560"></iframe> 
Speaking of the supporting cast Rajkummar Rao and Priyanka Chopra fit decently in their parts. Rajkummar as a privileged, educated yet spineless Ashok is what many would relate to. Many are Ashok, while many see an Ashok in a&nbsp; day to day life, something the story hits close to home. He’s a champagne socialist, trying to make it in a corrupt democracy, with a big vision but not enough belief to go ahead with it. Priyanka as Pinky falls somewhat in the same category, the middle ground holder, the enablers, who want to eradicate the big difference between the master and the servant but don’t know-how. 
 
So is ‘The White Tiger' a more real ‘Slumdog Millionaire'? Well. No. Calling it that would be a disrespect of Adiga’s story and Bahrani's impeccable execution. ‘The White Tiger’ is when a servant goes rogue and that’s about it. He’s not changing the system. He’s neither a messiah of the poor nor is he giving a cheat code to break out of the coup. He’s just a shrewd rooster who got out and that’s his story. 
 
Another brilliant aspect in the film is Paolo Carnera’s cinematography of the village of Balram, to the Delhi that you and I recognise. It makes you look up at the sky-rise building with Balram but immediately brings you down to the pavement encroached with homeless people selling ‘faith’ on roads. There’s nothing beautiful in the film and that gives it its flavour of grittiness and suffocation, the way the main character Balram feels. 
 
<a href="https://www.wionews.com/photos/the-white-tiger-to-wandavision-january-guide-for-everything-new-to-watch-353566">'The White Tiger' to 'WandaVision': January guide for everything new to watch</a> 
 
 
Ram Bahrani has hit the bull’s eye with ‘The White Tiger’ and while the association of Priyanka Chopra serving as one of the producers might give a feel of it hanging a foot in the Western gaze, in reality, that’s how Balram would’ve wanted it to be. And a film that follows the footstep of its lead character, is the film done brilliantly. 
 
An invested watch, the film thrives on its acting, execution, and a motive of staying true to its narrator’s vision and vision alone. Not a commentary on India’s divide, ‘The White Tiger’ is the story of a place we recognise and many don’t survive.&nbsp;

Somewhere near the climax, the lead character and narrator of the film Balram quotes poet Iqbal’s words “the moment that you realise what’s beautiful in the world, you stop being a slave”, ‘The White Tiger’ shows you a mirror in the opposite direction.

Somewhere near the climax, the lead character and narrator of the film Balram quotes poet Iqbal’s words “the moment that you realise what’s beautiful in the world, you stop being a slave”, ‘The White Tiger’ shows you a mirror in the opposite direction. Directed by Ram Bahrani, ‘The White Tiger’, an adaptation of Booker-prize winning novel by Aravind Adiga, is everything we know about the society we live in, yet choose to ignore by saying this is how the country functions. Balram (Adarsh Gourav) is a rarity in a village living in servitude, out of necessity and fear, and breaks out the clutter only to create one of his own. The story of the film is all about him breaking out of a rooster coup served to him on a platter by society. Through the symbolism of class, caste, and other divides, that persist in the society, ‘The White Tiger’ actually is a story of a rare man born into the most ordinary circumstances known to him, where he makes the end extraordinary, adapting and accepting the shade of darkness that liberation brings. Now, one can say the film is a social commentary about a lot of things that persist in the ‘poor democracy’ that’s India. Maybe, more so now, but calling it that would take away the light from the film and put it on the genius of the story that has already been widely appreciated. The cunning story of a rare man could not have been brought alive better by anyone other than Adarsh. The way he imbibes Balram, his servitude, his ambitions, and his constant struggle to seek out an exit, makes you root for him. You know his intentions are not moral, but then neither has been his entire life. Balram is not a man out of choices, he’s not a distressed poor man who did what he did out of no options, or do and die situation, he did it because he believed in himself, something, not all has the privilege of doing. An endearing performance, Adarsh as Balram fits in the regular crowd yet his eyes speak a different language of confidence. In a cast filled with power performers like Mahesh Manjrekar, Rajkummar Rao, and Priyanka Chopra, Adarsh is true ‘The White Tiger’. Speaking of the supporting cast Rajkummar Rao and Priyanka Chopra fit decently in their parts. Rajkummar as a privileged, educated yet spineless Ashok is what many would relate to. Many are Ashok, while many see an Ashok in a day to day life, something the story hits close to home. He’s a champagne socialist, trying to make it in a corrupt democracy, with a big vision but not enough belief to go ahead with it. Priyanka as Pinky falls somewhat in the same category, the middle ground holder, the enablers, who want to eradicate the big difference between the master and the servant but don’t know-how. So is ‘The White Tiger' a more real ‘Slumdog Millionaire'? Well. No. Calling it that would be a disrespect of Adiga’s story and Bahrani's impeccable execution. ‘The White Tiger’ is when a servant goes rogue and that’s about it. He’s not changing the system. He’s neither a messiah of the poor nor is he giving a cheat code to break out of the coup. He’s just a shrewd rooster who got out and that’s his story. Another brilliant aspect in the film is Paolo Carnera’s cinematography of the village of Balram, to the Delhi that you and I recognise. It makes you look up at the sky-rise building with Balram but immediately brings you down to the pavement encroached with homeless people selling ‘faith’ on roads. There’s nothing beautiful in the film and that gives it its flavour of grittiness and suffocation, the way the main character Balram feels. 'The White Tiger' to 'WandaVision': January guide for everything new to watch Ram Bahrani has hit the bull’s eye with ‘The White Tiger’ and while the association of Priyanka Chopra serving as one of the producers might give a feel of it hanging a foot in the Western gaze, in reality, that’s how Balram would’ve wanted it to be. And a film that follows the footstep of its lead character, is the film done brilliantly. An invested watch, the film thrives on its acting, execution, and a motive of staying true to its narrator’s vision and vision alone. Not a commentary on India’s divide, ‘The White Tiger’ is the story of a place we recognise and many don’t survive.

'The White Tiger' review: Adarsh Gourav shines in Priyanka Chopra-Rajkummar Rao starrer; showing a mirror to India's sense of servitude

Sony Pictures has sold 'The Mitchells vs. The Machines,' an original animated family film from producers Phil Lord and Christopher Miller, to Netflix.

At one point, Sony changed the name from 'The Mitchells vs. The Machines'&nbsp;to 'Connected,'&nbsp;but it has reverted back to its original title. Sony had planned to release the film theatrically before Netflix acquired worldwide rights. The deal, which excludes China, was reportedly finalized for more than $100 million.&nbsp;

According to Variety, Mike Rianda wrote and directed the film with Jeff Rowe. 'The Mitchells vs. The Machines'&nbsp;is about an everyday family’s struggle to relate with each other while technology rises up around the world. The film centers on Katie (voiced by Abbi Jacobson), a creative type who gets accepted into her dream film school. Before she begins college, her dad (Danny McBride) decides that driving her to school is the perfect opportunity to bond as a family one last time. But as they unplug and hit the road, technology threatens their trip — and the Earth. The voice cast also includes Maya Rudolph, Eric Andre, Olivia Colman and Doug the Pug. Will Allegra and Louis Koo Tin Lok executive produced the film, while Kurt Albrecht served as a producer.

It was originally scheduled to release last year on October 23 but was postponed due to the coronavirus pandemic. Netflix has not announced a release date for the film yet. 
 
&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/toBGv7yvIV8" width="560"></iframe>

“I’m so thrilled that everyone at Netflix has been totally in sync with us creatively and are just as excited about the movie as we are,” he said. “Not only because it’s an original story with a creative visual style that we’re extremely proud of, but also so I can prove to my friends that this five-year journey wasn’t an elaborate delusion on my part.”

Lord and Miller, whose film “Spider-Man: Into the Spider-Verse” won the Oscar for best-animated feature, had previously worked with Netflix on the one-season adult animated series “Hoops” starring Jake Johnson.

“We are overwhelmed by the enthusiasm Netflix has expressed for this movie with this acquisition and grateful to everyone at Sony for making a great picture with us and finding a big way to bring it to audiences,” Lord and Miller said in a statement. “We’re really proud of the film we all made together, plus we understand our subscription fees are waived in perpetuity as part of the deal? We’re not lawyers but it does sound right to us.”

Netflix has been an active buyer during the pandemic, acquiring traditional studio movies such as Aaron Sorkin’s “The Trial of the Chicago 7,” Paramount’s “SpongeBob: Sponge on the Run” internationally, and another Sony animated title “Wish Dragon.” In recent years, the streamer has made a concerted effort to ramp up kids and family programming.

“We want Netflix to be the place where families can come and enjoy stories together,” Netflix’s VP of Original Animation Melissa Cobb said. “And while we know no two families are the same, we think the Mitchells will immediately endear themselves to yours. It’s an honor to work with Phil Lord, Christopher Miller and Mike Rianda to bring this incredibly special film to members around the world.”

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Sony Pictures has sold 'The Mitchells vs. The Machines,' an original animated family film from producers Phil Lord and Christopher Miller, to Netflix. At one point, Sony changed the name from 'The Mitchells vs.

Sony Pictures has sold 'The Mitchells vs. The Machines,' an original animated family film from producers Phil Lord and Christopher Miller, to Netflix. At one point, Sony changed the name from 'The Mitchells vs. The Machines' to 'Connected,' but it has reverted back to its original title. Sony had planned to release the film theatrically before Netflix acquired worldwide rights. The deal, which excludes China, was reportedly finalized for more than $100 million. According to Variety, Mike Rianda wrote and directed the film with Jeff Rowe. 'The Mitchells vs. The Machines' is about an everyday family’s struggle to relate with each other while technology rises up around the world. The film centers on Katie (voiced by Abbi Jacobson), a creative type who gets accepted into her dream film school. Before she begins college, her dad (Danny McBride) decides that driving her to school is the perfect opportunity to bond as a family one last time. But as they unplug and hit the road, technology threatens their trip — and the Earth. The voice cast also includes Maya Rudolph, Eric Andre, Olivia Colman and Doug the Pug. Will Allegra and Louis Koo Tin Lok executive produced the film, while Kurt Albrecht served as a producer. It was originally scheduled to release last year on October 23 but was postponed due to the coronavirus pandemic. Netflix has not announced a release date for the film yet. “I’m so thrilled that everyone at Netflix has been totally in sync with us creatively and are just as excited about the movie as we are,” he said. “Not only because it’s an original story with a creative visual style that we’re extremely proud of, but also so I can prove to my friends that this five-year journey wasn’t an elaborate delusion on my part.” Lord and Miller, whose film “Spider-Man: Into the Spider-Verse” won the Oscar for best-animated feature, had previously worked with Netflix on the one-season adult animated series “Hoops” starring Jake Johnson. “We are overwhelmed by the enthusiasm Netflix has expressed for this movie with this acquisition and grateful to everyone at Sony for making a great picture with us and finding a big way to bring it to audiences,” Lord and Miller said in a statement. “We’re really proud of the film we all made together, plus we understand our subscription fees are waived in perpetuity as part of the deal? We’re not lawyers but it does sound right to us.” Netflix has been an active buyer during the pandemic, acquiring traditional studio movies such as Aaron Sorkin’s “The Trial of the Chicago 7,” Paramount’s “SpongeBob: Sponge on the Run” internationally, and another Sony animated title “Wish Dragon.” In recent years, the streamer has made a concerted effort to ramp up kids and family programming. “We want Netflix to be the place where families can come and enjoy stories together,” Netflix’s VP of Original Animation Melissa Cobb said. “And while we know no two families are the same, we think the Mitchells will immediately endear themselves to yours. It’s an honor to work with Phil Lord, Christopher Miller and Mike Rianda to bring this incredibly special film to members around the world.”

Netflix acquires Lord and Miller's animated film 'The Mitchells vs. The Machines' from Sony

Good news for fans of popular web series 'Bridgerton'. The show will be returning to Netflix for the second season.&nbsp; 
 
The OTT platform has given its nod to a second season renewal of the period drama which has Shonda Rhimes as its executive producer.&nbsp; 
 
Reports suggest that the second season will resume production from spring 2021 in London. The drama, based on Julia Quinn's best-selling novels, premiered on Christmas and gained popularity instantly.&nbsp; 
 
The first season was based on Daphne Bridgerton (Phoebe Dynevor), the eldest daughter of the powerful Bridgerton family, and her romance with the handsome Duke of Hastings (Regé-Jean Page). The second season will reportedly focus on focus on Daphne's older brother Anthony Bridgerton (Jonathan Bailey). 
 
On Friday, the streaming giant announced the second season with a new video, featuring scenes from the first season. The clip concluded with the caption "Second 2 is coming."

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/tsq36Z0lvEI" width="560"></iframe>

Meanwhile, soon after the success of the show, several clips from the series&nbsp;found its way to popular porn sites.&nbsp;The web series is popular not just for its storyline but also sexual content. Reportedly scenes from the show have ended up on certain&nbsp;porn websites. After it was reported, Netflix is said to be “working tirelessly to hunt down pirates” who have uploaded the more intimate moments from the show

Good news for fans of popular web series 'Bridgerton'. The show will be returning to Netflix for the second season. The OTT platform has given its nod to a second season renewal of the period drama which has Shonda Rhimes as its executive producer.

Good news for fans of popular web series 'Bridgerton'. The show will be returning to Netflix for the second season. The OTT platform has given its nod to a second season renewal of the period drama which has Shonda Rhimes as its executive producer. Reports suggest that the second season will resume production from spring 2021 in London. The drama, based on Julia Quinn's best-selling novels, premiered on Christmas and gained popularity instantly. The first season was based on Daphne Bridgerton (Phoebe Dynevor), the eldest daughter of the powerful Bridgerton family, and her romance with the handsome Duke of Hastings (Regé-Jean Page). The second season will reportedly focus on focus on Daphne's older brother Anthony Bridgerton (Jonathan Bailey). On Friday, the streaming giant announced the second season with a new video, featuring scenes from the first season. The clip concluded with the caption "Second 2 is coming." Meanwhile, soon after the success of the show, several clips from the series found its way to popular porn sites. The web series is popular not just for its storyline but also sexual content. Reportedly scenes from the show have ended up on certain porn websites. After it was reported, Netflix is said to be “working tirelessly to hunt down pirates” who have uploaded the more intimate moments from the show

'Bridgerton' gets renewed for season 2, filming to begin in London soon

It may be a little over 9 months but it appears a lifetime, a game-changer and life-transformer. The lockout-pandemic combine converted us suddenly into a nation of cynics, pessimists, philosophers &amp; thinkers re-connecting with long-forgotten, ignored, neglected primal truths that once graced our lives. Since entertainment in India means Bollywood &amp; Bollywood represents stars, this lockout unleashed a dramatic knockout by offering the movie-crazed Janta a startling new alternative, home-delivered: OTT platform! &nbsp;

This streaming space – Netflix, Hotstar, Amazon among tons of others – provided content that was planets away from the Bollywood model to present a cinema that defined truth, twenty-four frames per second. At first confused, reluctant and hesitant, large sections of traditional movie viewers soon embraced this platform with passion &amp; purpose to propel a boom in this space.

Today with the vaccine entering our lives and promising to deliver us from the twin nightmares, will the grandstanding of OTT vanish in the face of the old, much-loved, familiar Bollywood model? &nbsp;While the OTT menu, comprising gifted actors and superbly varied content are indeed great eye-openers, can they ever hope to compete with the mega-power &amp; star-draw of the Khans, Ajay, Akshay, Hrithik, Ranveer &amp; Ranbir or glam, sexy divas, Katrina, Deepika, Priyanka &amp; gang? Will the post-pandemic phase thus be the real litmus test in terms of transformation &amp; conversion and ask the vital question: Was OTT tolerated due to a lack of choice or did it genuinely represent &amp; introduce a new, exciting template and kick off a fascinating voyage of discovery?

Veteran producer of classy films [Rajnigandha, Shatranj Ke Khiladi, Gandhi, Katha] Suresh Jindal takes the first strike. &nbsp;He believes that the Pandemic, in serendipity fashion, has given us the most amazing content-viewing bouquet of our lives.&nbsp;

“With the vaccine entering the frame, the focus could well return to the big screen. The Theatre-going experience can never be replicated. After all, it’s an event! The OTT space however need not feel threatened because it offers its very own USP. Their twin advantage of convenience &amp; comfort is hard to match and the fantastic content spread they lay out, each day, is an impossible act to follow. &nbsp;Finally, you can’t possibly go to movie halls every day. OTT offers that cutting edge benefit. So it has to be, khayal apna apna, pasand apni apni!”

Hi-profile, gifted Adman, Theatre &amp; Screen Artiste, Bharat Dabolkar is next with his POV.&nbsp;

“I think both will exist, after some initial glitches, in peaceful co-existence. &nbsp;Remember the initial anxieties of Bollywood when TV serials – Humlog, Buniyad, Khandan, Ados Pados – were rocking and sometimes even sent movie timings for a toss? It all evened out because ultimately STARS are STARS and actors [TV/OTT] despite their talent &amp; popularity are children of a lesser god! They can never hope to match the larger-than-life aura, glamour or charisma of the demi-gods &amp; goddesses!” he said.

Dabolkar however has a note of warning to both. He cautions the OTT platforms to not freak out on vile language [Tribhanga being the latest] and sex scenes, mostly designed for effect. &nbsp;Bollywood too, after the OTT invasion, needs to review their content-base, forget trash-with-flash and offer meaningful content. OTT has made one thing clear: Substance NOT star is the new name of the game.&nbsp;

Who better than the brilliant, respected, veteran film critic Saibal Chatterjee to wrap up the debate?

“Actually it’s a loaded question and there can be no easy answers simply because this situation is unprecedented in our lifetime.” he says.

Chatterjee believes that while the thrill of the big screen experience and the impact of the mega-stars are undeniable, OTT too has left indelible footprints in the minds of large sections of the traditional audience that one can’t wish away. &nbsp;Undoubtedly, OTT is here to stay and co-exist with the mainstream masala.&nbsp;

“However, my fear is different. OTT’s huge invasion into the homes, hearts and minds of millions hasn’t gone unnoticed by the hawk-eyed sharks of B-town &amp; Karan Johar – along with some other big production house biggies – are already eyeing the platform as the new, juicy target. KJO, it is rumoured, is already busy producing content for Netflix. Others will surely follow, desperate to grab their share of the pie. Will their brand of entertainment muddy the waters and Bollywood-ise the content profile [like Tandav] of this wonderfully creative, democratic space? By doing this, will they devalue, trivialise and corrupt this platform &amp; attract the wrong audience-base to view this space? Agreed, finally it’s the viewer’s choice, but won’t the likes of a Criminal Justice, Sir, Kagaz, Bnadish Bandits, Family Man, Undisclosed etc rubbing shoulders with Bollywood’s self-conscious and pretentiously arty, non-commercial products, look hopelessly out of sync? &nbsp;Mercifully, the digital divide in India is still humongous, so lots of areas will not be affected. However, it’s something to ponder over." he says.

Everything considered, 2021 could be a watershed year as the plot thickens!&nbsp;

Let’s wait and watch.

It may be a little over 9 months but it appears a lifetime, a game-changer and life-transformer. The lockout-pandemic combine converted us suddenly into a nation of cynics, pessimists, philosophers & thinkers re-connecting with long-forgotten, ignored, neglected primal truths that once graced our lives.

It may be a little over 9 months but it appears a lifetime, a game-changer and life-transformer. The lockout-pandemic combine converted us suddenly into a nation of cynics, pessimists, philosophers & thinkers re-connecting with long-forgotten, ignored, neglected primal truths that once graced our lives. Since entertainment in India means Bollywood & Bollywood represents stars, this lockout unleashed a dramatic knockout by offering the movie-crazed Janta a startling new alternative, home-delivered: OTT platform! This streaming space – Netflix, Hotstar, Amazon among tons of others – provided content that was planets away from the Bollywood model to present a cinema that defined truth, twenty-four frames per second. At first confused, reluctant and hesitant, large sections of traditional movie viewers soon embraced this platform with passion & purpose to propel a boom in this space. Today with the vaccine entering our lives and promising to deliver us from the twin nightmares, will the grandstanding of OTT vanish in the face of the old, much-loved, familiar Bollywood model? While the OTT menu, comprising gifted actors and superbly varied content are indeed great eye-openers, can they ever hope to compete with the mega-power & star-draw of the Khans, Ajay, Akshay, Hrithik, Ranveer & Ranbir or glam, sexy divas, Katrina, Deepika, Priyanka & gang? Will the post-pandemic phase thus be the real litmus test in terms of transformation & conversion and ask the vital question: Was OTT tolerated due to a lack of choice or did it genuinely represent & introduce a new, exciting template and kick off a fascinating voyage of discovery? Veteran producer of classy films [Rajnigandha, Shatranj Ke Khiladi, Gandhi, Katha] Suresh Jindal takes the first strike. He believes that the Pandemic, in serendipity fashion, has given us the most amazing content-viewing bouquet of our lives. “With the vaccine entering the frame, the focus could well return to the big screen. The Theatre-going experience can never be replicated. After all, it’s an event! The OTT space however need not feel threatened because it offers its very own USP. Their twin advantage of convenience & comfort is hard to match and the fantastic content spread they lay out, each day, is an impossible act to follow. Finally, you can’t possibly go to movie halls every day. OTT offers that cutting edge benefit. So it has to be, khayal apna apna, pasand apni apni!” Hi-profile, gifted Adman, Theatre & Screen Artiste, Bharat Dabolkar is next with his POV. “I think both will exist, after some initial glitches, in peaceful co-existence. Remember the initial anxieties of Bollywood when TV serials – Humlog, Buniyad, Khandan, Ados Pados – were rocking and sometimes even sent movie timings for a toss? It all evened out because ultimately STARS are STARS and actors [TV/OTT] despite their talent & popularity are children of a lesser god! They can never hope to match the larger-than-life aura, glamour or charisma of the demi-gods & goddesses!” he said. Dabolkar however has a note of warning to both. He cautions the OTT platforms to not freak out on vile language [Tribhanga being the latest] and sex scenes, mostly designed for effect. Bollywood too, after the OTT invasion, needs to review their content-base, forget trash-with-flash and offer meaningful content. OTT has made one thing clear: Substance NOT star is the new name of the game. Who better than the brilliant, respected, veteran film critic Saibal Chatterjee to wrap up the debate? “Actually it’s a loaded question and there can be no easy answers simply because this situation is unprecedented in our lifetime.” he says. Chatterjee believes that while the thrill of the big screen experience and the impact of the mega-stars are undeniable, OTT too has left indelible footprints in the minds of large sections of the traditional audience that one can’t wish away. Undoubtedly, OTT is here to stay and co-exist with the mainstream masala. “However, my fear is different. OTT’s huge invasion into the homes, hearts and minds of millions hasn’t gone unnoticed by the hawk-eyed sharks of B-town & Karan Johar – along with some other big production house biggies – are already eyeing the platform as the new, juicy target. KJO, it is rumoured, is already busy producing content for Netflix. Others will surely follow, desperate to grab their share of the pie. Will their brand of entertainment muddy the waters and Bollywood-ise the content profile [like Tandav] of this wonderfully creative, democratic space? By doing this, will they devalue, trivialise and corrupt this platform & attract the wrong audience-base to view this space? Agreed, finally it’s the viewer’s choice, but won’t the likes of a Criminal Justice, Sir, Kagaz, Bnadish Bandits, Family Man, Undisclosed etc rubbing shoulders with Bollywood’s self-conscious and pretentiously arty, non-commercial products, look hopelessly out of sync? Mercifully, the digital divide in India is still humongous, so lots of areas will not be affected. However, it’s something to ponder over." he says. Everything considered, 2021 could be a watershed year as the plot thickens! Let’s wait and watch.

Opinion: With post-COVID times on horizon, will OTT-fix go for a toss?

BBC's beloved series 'Peaky Blinders' is set to conclude after season 6, putting an end to the Shelby family's story.&nbsp;

On Monday, the BBC announced that Peaky Blinders will end after its upcoming sixth season. Created by Steven Knight and starring Cillian Murphy, the British period crime series follows Tommy Shelby (Murphy) and his family's exploits in 1920s Birmingham. After premiering in 2013, the show gained popularity when it began streaming on Netflix.&nbsp; It won BAFTA Craft awards and the BAFTA TV award for best drama series in 2018.

"Peaky is back and with a bang," said Knight in a statement to Variety.&nbsp;"After the enforced production delay due to the COVID pandemic, we find the family in extreme jeopardy and the stakes have never been higher. We believe this will be the best series of all and are sure that our amazing fans will love it. While the TV series will be coming to an end, the story will continue in another form."

Production on the sixth and final season of Peaky Blinders is currently underway in accordance with government guidelines, as the global pandemic continues.

The final season is written by Knight, while season 5 helmer Anthony Byrne returns to direct and Nick Goding will produce. Executive producers are Mandabach, Knight, Jamie Glazebrook, David Mason, Byrne, and Murphy. "

BBC's beloved series 'Peaky Blinders' is set to conclude after season 6, putting an end to the Shelby family's story. On Monday, the BBC announced that Peaky Blinders will end after its upcoming sixth season.

BBC's beloved series 'Peaky Blinders' is set to conclude after season 6, putting an end to the Shelby family's story. On Monday, the BBC announced that Peaky Blinders will end after its upcoming sixth season. Created by Steven Knight and starring Cillian Murphy, the British period crime series follows Tommy Shelby (Murphy) and his family's exploits in 1920s Birmingham. After premiering in 2013, the show gained popularity when it began streaming on Netflix. It won BAFTA Craft awards and the BAFTA TV award for best drama series in 2018. "Peaky is back and with a bang," said Knight in a statement to Variety. "After the enforced production delay due to the COVID pandemic, we find the family in extreme jeopardy and the stakes have never been higher. We believe this will be the best series of all and are sure that our amazing fans will love it. While the TV series will be coming to an end, the story will continue in another form." Production on the sixth and final season of Peaky Blinders is currently underway in accordance with government guidelines, as the global pandemic continues. The final season is written by Knight, while season 5 helmer Anthony Byrne returns to direct and Nick Goding will produce. Executive producers are Mandabach, Knight, Jamie Glazebrook, David Mason, Byrne, and Murphy. "

'Peaky Blinders' to conclude after season 6

The nominations for the 26th annual Critics' Choice Awards are out and&nbsp;Netflix is leading the field with the most nominations.&nbsp;

The streaming service had the most nominations, 26, of any outlet this year followed by HBO's 24.&nbsp;This year, two Netflix series lead the pack, with 'Ozark'&nbsp;and 'The Crown' each up for six awards including Best Drama Series.&nbsp; 
 
'Ozark'&nbsp;stars Jason Bateman and Laura Linney will vie for Best Actor in a Drama Series and Best Actress in a Drama Series respectively, while Tom Pelphrey, Julia Garner, and Janet McTeer are all nominated for their supporting roles.&nbsp; 'The Crown'&nbsp;also saw many of its royal players recognized.&nbsp; Josh O’Connor is nominated for Best Actor in a Drama Series, while Olivia Colman and Emma Corrin find themselves together in the Best Actress in a Drama Series category.&nbsp; Tobias Menzies and Gillian Anderson received recognition for their supporting roles.&nbsp;&nbsp;

While HBO’s 'Lovecraft Country,'&nbsp;FX’s 'Mrs. America'&nbsp;and 'What We Do in the Shadows and&nbsp;Pop TV’s “Schitt’s Creek” followed with five nods. AMC’s 'Better Call Saul'&nbsp;and HBO’s 'The Plot Against America'&nbsp;received four nominations apiece.

Film nominees will be announced on February&nbsp;8. Winners in both film and television are expected to be announced at the group’s March 7 awards show hosted by Taye Diggs on the CW network.

Hollywood’s traditional awards season has been delayed by the COVID-19 pandemic, with&nbsp;Grammy Awards pushed back to March 14 and the Screen Actors Guild Awards to April 4. The Oscars are expected to close the award season on April 25. 
 
Here's the full nomination list:

<h2>SERIES NOMINATIONS FOR THE 26TH ANNUAL CRITICS CHOICE AWARDS</h2>

BEST DRAMA SERIES

Better Call Saul (AMC)

The Crown (Netflix)

The Good Fight (CBS All Access)

Lovecraft Country (HBO)

The Mandalorian (Disney+)

Ozark (Netflix)

Perry Mason (HBO)

This Is Us (NBC)

BEST ACTOR IN A DRAMA SERIES

Jason Bateman – Ozark (Netflix)

Sterling K. Brown – This Is Us (NBC)

Jonathan Majors – Lovecraft Country (HBO)

Josh O’Connor – The Crown (Netflix)

Bob Odenkirk – Better Call Saul (AMC)

Matthew Rhys – Perry Mason (HBO)

BEST ACTRESS IN A DRAMA SERIES

Christine Baranski – The Good Fight (CBS All Access)

Olivia Colman – The Crown (Netflix)

Emma Corrin – The Crown (Netflix)

Claire Danes – Homeland (Showtime)

Laura Linney – Ozark (Netflix)

Jurnee Smollett – Lovecraft Country (HBO)

BEST SUPPORTING ACTOR IN A DRAMA SERIES

Jonathan Banks – Better Call Saul (AMC)

Justin Hartley – This Is Us (NBC)

John Lithgow – Perry Mason (HBO)

Tobias Menzies – The Crown (Netflix)

Tom Pelphrey – Ozark (Netflix)

Michael K. Williams – Lovecraft Country (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES

Gillian Anderson – The Crown (Netflix)

Cynthia Erivo – The Outsider (HBO)

Julia Garner – Ozark (Netflix)

Janet McTeer – Ozark (Netflix)

Wunmi Mosaku – Lovecraft Country (HBO)

Rhea Seehorn – Better Call Saul (AMC)

BEST COMEDY SERIES

Better Things (FX)

The Flight Attendant (HBO Max)

Mom (CBS)

PEN15 (Hulu)

Ramy (Hulu)

Schitt’s Creek (Pop)

Ted Lasso (Apple TV+)

What We Do in the Shadows (FX)

BEST ACTOR IN A COMEDY SERIES

Hank Azaria – Brockmire (IFC)

Matt Berry – What We Do in the Shadows (FX)

Nicholas Hoult – The Great (Hulu)

Eugene Levy – Schitt’s Creek (Pop)

Jason Sudeikis – Ted Lasso (Apple TV+)

Ramy Youssef – Ramy (Hulu)

BEST ACTRESS IN A COMEDY SERIES

Pamela Adlon – Better Things (FX)

Christina Applegate – Dead to Me (Netflix)

Kaley Cuoco – The Flight Attendant (HBO Max)

Natasia Demetriou – What We Do in the Shadows (FX)

Catherine O’Hara – Schitt’s Creek (Pop)

Issa Rae – Insecure (HBO)

BEST SUPPORTING ACTOR IN A COMEDY SERIES&nbsp;

William Fichtner – Mom (CBS)

Harvey Guillén – What We Do in the Shadows (FX)

Daniel Levy – Schitt’s Creek (Pop)

Alex Newell – Zoey’s Extraordinary Playlist (NBC)

Mark Proksch – What We Do in the Shadows (FX)

Andrew Rannells – Black Monday (Showtime)

BEST SUPPORTING ACTRESS IN A COMEDY SERIES

Lecy Goranson – The Conners (ABC)

Rita Moreno – One Day at a Time (Pop)

Annie Murphy – Schitt’s Creek (Pop)

Ashley Park – Emily in Paris (Netflix)

Jaime Pressly – Mom (CBS)

Hannah Waddingham – Ted Lasso (Apple TV+)

BEST LIMITED SERIES

I May Destroy You (HBO)

Mrs. America (FX)

Normal People (Hulu)

The Plot Against America (HBO)

The Queen’s Gambit (Netflix)

Small Axe (Amazon Studios)

The Undoing (HBO)

Unorthodox (Netflix)

BEST MOVIE MADE FOR TELEVISION

Bad Education (HBO)

Between the World and Me (HBO)

The Clark Sisters: First Ladies of Gospel (Lifetime)

Hamilton (Disney+)

Sylvie’s Love (Amazon Studios)

What the Constitution Means to Me (Amazon Studios)

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

John Boyega – Small Axe (Amazon Studios)

Hugh Grant – The Undoing (HBO)

Paul Mescal – Normal People (Hulu)

Chris Rock – Fargo (FX)

Mark Ruffalo – I Know This Much is True (HBO)

Morgan Spector – The Plot Against America (HBO)

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Cate Blanchett – Mrs. America (FX)

Michaela Coel – I May Destroy You (HBO)

Daisy Edgar-Jones – Normal People (Hulu)

Shira Haas – Unorthodox (Netflix)

Anya Taylor-Joy – The Queen’s Gambit (Netflix)

Tessa Thompson – Sylvie’s Love (Amazon Studios)

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Daveed Diggs – The Good Lord Bird (Showtime)

Joshua Caleb Johnson – The Good Lord Bird (Showtime)

Dylan McDermott – Hollywood (Netflix)

Donald Sutherland – The Undoing (HBO)

Glynn Turman – Fargo (FX)

John Turturro – The Plot Against America (HBO)

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION &nbsp;

Uzo Aduba – Mrs. America (FX)

Betsy Brandt – Soulmates (AMC)

Marielle Heller – The Queen’s Gambit (Netflix)

Margo Martindale – Mrs. America (FX)

Winona Ryder – The Plot Against America (HBO)

Tracey Ullman – Mrs. America (FX)

BEST TALK SHOW

Desus &amp; Mero (Showtime)

Full Frontal with Samantha Bee (TBS)

The Kelly Clarkson Show (NBC/Syndicated)

Late Night with Seth Meyers (NBC)

The Late Show with Stephen Colbert (CBS)

Red Table Talk (Facebook Watch)

BEST COMEDY SPECIAL

Fortune Feimster: Sweet &amp; Salty (Netflix)

Hannah Gadsby: Douglas (Netflix)

Jerry Seinfeld: 23 Hours to Kill (Netflix)

Marc Maron: End Times Fun (Netflix)

Michelle Buteau: Welcome to Buteaupia (Netflix)

Patton Oswalt: I Love Everything (Netflix)

BEST SHORT FORM SERIES

The Andy Cohen Diaries (Quibi)

Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube)

Mapleworth Murders (Quibi)

Nikki Fre$h (Quibi)

Reno 911! (Quibi)

Tooning Out the News (CBS All Access)&nbsp;

The nominations for the 26th annual Critics' Choice Awards are out and Netflix is leading the field with the most nominations. The streaming service had the most nominations, 26, of any outlet this year followed by HBO's 24.

The nominations for the 26th annual Critics' Choice Awards are out and Netflix is leading the field with the most nominations. The streaming service had the most nominations, 26, of any outlet this year followed by HBO's 24. This year, two Netflix series lead the pack, with 'Ozark' and 'The Crown' each up for six awards including Best Drama Series. 'Ozark' stars Jason Bateman and Laura Linney will vie for Best Actor in a Drama Series and Best Actress in a Drama Series respectively, while Tom Pelphrey, Julia Garner, and Janet McTeer are all nominated for their supporting roles. 'The Crown' also saw many of its royal players recognized. Josh O’Connor is nominated for Best Actor in a Drama Series, while Olivia Colman and Emma Corrin find themselves together in the Best Actress in a Drama Series category. Tobias Menzies and Gillian Anderson received recognition for their supporting roles. While HBO’s 'Lovecraft Country,' FX’s 'Mrs. America' and 'What We Do in the Shadows and Pop TV’s “Schitt’s Creek” followed with five nods. AMC’s 'Better Call Saul' and HBO’s 'The Plot Against America' received four nominations apiece. Film nominees will be announced on February 8. Winners in both film and television are expected to be announced at the group’s March 7 awards show hosted by Taye Diggs on the CW network. Hollywood’s traditional awards season has been delayed by the COVID-19 pandemic, with Grammy Awards pushed back to March 14 and the Screen Actors Guild Awards to April 4. The Oscars are expected to close the award season on April 25. Here's the full nomination list: SERIES NOMINATIONS FOR THE 26TH ANNUAL CRITICS CHOICE AWARDS BEST DRAMA SERIES Better Call Saul (AMC) The Crown (Netflix) The Good Fight (CBS All Access) Lovecraft Country (HBO) The Mandalorian (Disney+) Ozark (Netflix) Perry Mason (HBO) This Is Us (NBC) BEST ACTOR IN A DRAMA SERIES Jason Bateman – Ozark (Netflix) Sterling K. Brown – This Is Us (NBC) Jonathan Majors – Lovecraft Country (HBO) Josh O’Connor – The Crown (Netflix) Bob Odenkirk – Better Call Saul (AMC) Matthew Rhys – Perry Mason (HBO) BEST ACTRESS IN A DRAMA SERIES Christine Baranski – The Good Fight (CBS All Access) Olivia Colman – The Crown (Netflix) Emma Corrin – The Crown (Netflix) Claire Danes – Homeland (Showtime) Laura Linney – Ozark (Netflix) Jurnee Smollett – Lovecraft Country (HBO) BEST SUPPORTING ACTOR IN A DRAMA SERIES Jonathan Banks – Better Call Saul (AMC) Justin Hartley – This Is Us (NBC) John Lithgow – Perry Mason (HBO) Tobias Menzies – The Crown (Netflix) Tom Pelphrey – Ozark (Netflix) Michael K. Williams – Lovecraft Country (HBO) BEST SUPPORTING ACTRESS IN A DRAMA SERIES Gillian Anderson – The Crown (Netflix) Cynthia Erivo – The Outsider (HBO) Julia Garner – Ozark (Netflix) Janet McTeer – Ozark (Netflix) Wunmi Mosaku – Lovecraft Country (HBO) Rhea Seehorn – Better Call Saul (AMC) BEST COMEDY SERIES Better Things (FX) The Flight Attendant (HBO Max) Mom (CBS) PEN15 (Hulu) Ramy (Hulu) Schitt’s Creek (Pop) Ted Lasso (Apple TV+) What We Do in the Shadows (FX) BEST ACTOR IN A COMEDY SERIES Hank Azaria – Brockmire (IFC) Matt Berry – What We Do in the Shadows (FX) Nicholas Hoult – The Great (Hulu) Eugene Levy – Schitt’s Creek (Pop) Jason Sudeikis – Ted Lasso (Apple TV+) Ramy Youssef – Ramy (Hulu) BEST ACTRESS IN A COMEDY SERIES Pamela Adlon – Better Things (FX) Christina Applegate – Dead to Me (Netflix) Kaley Cuoco – The Flight Attendant (HBO Max) Natasia Demetriou – What We Do in the Shadows (FX) Catherine O’Hara – Schitt’s Creek (Pop) Issa Rae – Insecure (HBO) BEST SUPPORTING ACTOR IN A COMEDY SERIES William Fichtner – Mom (CBS) Harvey Guillén – What We Do in the Shadows (FX) Daniel Levy – Schitt’s Creek (Pop) Alex Newell – Zoey’s Extraordinary Playlist (NBC) Mark Proksch – What We Do in the Shadows (FX) Andrew Rannells – Black Monday (Showtime) BEST SUPPORTING ACTRESS IN A COMEDY SERIES Lecy Goranson – The Conners (ABC) Rita Moreno – One Day at a Time (Pop) Annie Murphy – Schitt’s Creek (Pop) Ashley Park – Emily in Paris (Netflix) Jaime Pressly – Mom (CBS) Hannah Waddingham – Ted Lasso (Apple TV+) BEST LIMITED SERIES I May Destroy You (HBO) Mrs. America (FX) Normal People (Hulu) The Plot Against America (HBO) The Queen’s Gambit (Netflix) Small Axe (Amazon Studios) The Undoing (HBO) Unorthodox (Netflix) BEST MOVIE MADE FOR TELEVISION Bad Education (HBO) Between the World and Me (HBO) The Clark Sisters: First Ladies of Gospel (Lifetime) Hamilton (Disney+) Sylvie’s Love (Amazon Studios) What the Constitution Means to Me (Amazon Studios) BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION John Boyega – Small Axe (Amazon Studios) Hugh Grant – The Undoing (HBO) Paul Mescal – Normal People (Hulu) Chris Rock – Fargo (FX) Mark Ruffalo – I Know This Much is True (HBO) Morgan Spector – The Plot Against America (HBO) BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Cate Blanchett – Mrs. America (FX) Michaela Coel – I May Destroy You (HBO) Daisy Edgar-Jones – Normal People (Hulu) Shira Haas – Unorthodox (Netflix) Anya Taylor-Joy – The Queen’s Gambit (Netflix) Tessa Thompson – Sylvie’s Love (Amazon Studios) BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Daveed Diggs – The Good Lord Bird (Showtime) Joshua Caleb Johnson – The Good Lord Bird (Showtime) Dylan McDermott – Hollywood (Netflix) Donald Sutherland – The Undoing (HBO) Glynn Turman – Fargo (FX) John Turturro – The Plot Against America (HBO) BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Uzo Aduba – Mrs. America (FX) Betsy Brandt – Soulmates (AMC) Marielle Heller – The Queen’s Gambit (Netflix) Margo Martindale – Mrs. America (FX) Winona Ryder – The Plot Against America (HBO) Tracey Ullman – Mrs. America (FX) BEST TALK SHOW Desus & Mero (Showtime) Full Frontal with Samantha Bee (TBS) The Kelly Clarkson Show (NBC/Syndicated) Late Night with Seth Meyers (NBC) The Late Show with Stephen Colbert (CBS) Red Table Talk (Facebook Watch) BEST COMEDY SPECIAL Fortune Feimster: Sweet & Salty (Netflix) Hannah Gadsby: Douglas (Netflix) Jerry Seinfeld: 23 Hours to Kill (Netflix) Marc Maron: End Times Fun (Netflix) Michelle Buteau: Welcome to Buteaupia (Netflix) Patton Oswalt: I Love Everything (Netflix) BEST SHORT FORM SERIES The Andy Cohen Diaries (Quibi) Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube) Mapleworth Murders (Quibi) Nikki Fre$h (Quibi) Reno 911! (Quibi) Tooning Out the News (CBS All Access)

Critics' Choice Awards 2021: Netflix's 'The Crown,' 'Ozark' lead TV nominations

Netflix recently released series, 'Bridgerton' is garnering praise from all over the world. Drew Barrymore is the new A-lister who shared her experience with the show and how fairy tale drama inspired her to join the dating app. 
 
The Bridgerton star cast appeared on her talk show to discuss the period drama. During their appearance on Friday, Barrymore revealed that the show's scenes inspired her to join dating apps once again.&nbsp; 
 
Interviewing the lead actors Phoebe Dynevor and Rege-Jean Page on her talk show, the revelation came after Ross Matthews, who is also a fan of the series, thanked the actors for "making such a beautiful show that is so modern, that feels so now even though it's based so long ago and for really turning our engines back on if you know what I mean." 
 
By responding to it, Drew confessed, ''It's true, I got back on a dating app during 'Bridgerton. I was like 'I’m not dead, I’m not dead!' For me that was a big step." 
 
Meanwhile, Drew previously revealed she has not been on a date since her divorce with ex-husband Will Kopelman in 2016.&nbsp; 
 
"I'm not closed for business. But I have been exactly in that mentality for the past five years, thinking I just don't have the bandwidth, I don't know if I'm willing to open [up,] I just can't fit it in," she said earlier.&nbsp; 
&nbsp;

Netflix recently released series, 'Bridgerton' is garnering praise from all over the world. Drew Barrymore is the new A-lister who shared her experience with the show and how fairy tale drama inspired her to join the dating app.

Netflix recently released series, 'Bridgerton' is garnering praise from all over the world. Drew Barrymore is the new A-lister who shared her experience with the show and how fairy tale drama inspired her to join the dating app. The Bridgerton star cast appeared on her talk show to discuss the period drama. During their appearance on Friday, Barrymore revealed that the show's scenes inspired her to join dating apps once again. Interviewing the lead actors Phoebe Dynevor and Rege-Jean Page on her talk show, the revelation came after Ross Matthews, who is also a fan of the series, thanked the actors for "making such a beautiful show that is so modern, that feels so now even though it's based so long ago and for really turning our engines back on if you know what I mean." By responding to it, Drew confessed, ''It's true, I got back on a dating app during 'Bridgerton. I was like 'I’m not dead, I’m not dead!' For me that was a big step." Meanwhile, Drew previously revealed she has not been on a date since her divorce with ex-husband Will Kopelman in 2016. "I'm not closed for business. But I have been exactly in that mentality for the past five years, thinking I just don't have the bandwidth, I don't know if I'm willing to open [up,] I just can't fit it in," she said earlier.

Netflix's 'Bridgerton' inspired Drew Barrymore to join the dating app

Netflix has acquired the worldwide rights of Gal Gadot-led espionage thriller `Heart of Stone`, which was developed by Skydance Media. 
 
According to a report in Variety, the film marks the second major movie that Skydance has siphoned off this week. Earlier, Amazon Studios had nabbed the rights for science-fiction spectacle `The Tomorrow War,` starring Chris Pratt. 
 
Although `The Tomorrow War` has been completely shot and is being completely purchased by Amazon, Gadot starred `Heart of Stone` is in early stages of production and has not been shot yet. 
 
The action-thriller is being directed by filmmaker Tom Harper known for films like 'Wild Rose'&nbsp;and 'The Aeronauts' and&nbsp;the screenplay of Greg Rucka and Allison Shroeder.&nbsp;

Netflix has acquired the worldwide rights of Gal Gadot-led espionage thriller `Heart of Stone`, which was developed by Skydance Media. According to a report in Variety, the film marks the second major movie that Skydance has siphoned off this week.

Netflix has acquired the worldwide rights of Gal Gadot-led espionage thriller `Heart of Stone`, which was developed by Skydance Media. According to a report in Variety, the film marks the second major movie that Skydance has siphoned off this week. Earlier, Amazon Studios had nabbed the rights for science-fiction spectacle `The Tomorrow War,` starring Chris Pratt. Although `The Tomorrow War` has been completely shot and is being completely purchased by Amazon, Gadot starred `Heart of Stone` is in early stages of production and has not been shot yet. The action-thriller is being directed by filmmaker Tom Harper known for films like 'Wild Rose' and 'The Aeronauts' and the screenplay of Greg Rucka and Allison Shroeder.

Gal Gadot starrer thriller 'Heart of Stone' bought by Netflix

In Indian cinema, ambitious mothers are problematic. Or so the filmmakers perceive them to be. A mother, who wants to have a thriving career will always falter at home, have a difficult relationship with her children and may also have loose morals. The child will always have a resentment growing up, seeing the mother busy at her work- unable to devote time. Renuka Shahane's directorial debut 'Tribhanga' is set on similar lines with the resentment and anger passing down to two generations.&nbsp; 
 
A story of three generations in a family, 'Tribhanga' has at the core film actress Anuradha (Kajol) and her troubled relationship with her mother, celebrated author Nayantara Apte (Tanvi Azmi). As Nayan suffers a brain stroke and slips into a coma, her family- daughter Anu, son Robindro (Vaibhav Tatwawaadi), granddaughter Masha (Mithila Palkar) rush to her side. The dysfunctional family initially resent the presence of Nayan's biographer Milan's(Kunaal Roy Kapur) presence in the hospital, they slowly open up about their individual relationship with the matriarch, reminiscing about the old times, the issues they have had in with their mother all throughout.

<img alt="t" data-entity-type="file" data-entity-uuid="fa2d23ad-7d94-42ed-92af-f9ce2a0992ad" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%20-%202021-01-15T144622.429.jpg" /> 
&nbsp; 
Films on troubled relationships between a mother and a daughter have been made before. There was Rituporno Ghosh's delicate 'Unishe April' and in the recent past, Anu Menon made 'Shakuntala Devi' to name a few. Shahane who is also the writer of the film serves a similar environment. Nayan, the matriarch, is unapologetically ambitious. She has lived her life on her own terms and brought up her children as a single parent. Instead of admiring her achievements and resilient nature, her children Anu and Robindro have grown up to resent her. Anu is a celebrity in her own right, but temperamental, moody and foul-mouthed.

Anu's daughter Masha is calmer and submissive but has her own set of issues having grown up in a family that was devoid of any father figure. Its been a family of three women- two of whom are strong-headed and Masha, who is now married and pregnant, craves for a proper family of her own.&nbsp;

<img alt="t" data-entity-type="file" data-entity-uuid="32bf48d6-0323-4b9c-8b7a-ab064e7a05b0" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%20-%202021-01-15T144636.945.jpg" /> 
 
While the story highlights the complex relationship of the three women, it lacks coherence. A lot of the plot points are unnecessary and Shahane uses the men as the calming factors who serve as anchors to the firebrand women. Actors like Kunwaljeet Singh and Manav Gohil are totally wasted with limited screen time and their characters are not fleshed out well. Gohil in fact is never really introduced to the audience. His character is either Kajol's companion or a best friend- one isn't very clear and it is never explained.&nbsp; 
 
The film concentrates too much on Kajol's angst against her now ailing mother and meanders around her mostly. Mithila's story is told almost at the fag end of the film and seems so rushed.&nbsp;

<img alt="t" data-entity-type="file" data-entity-uuid="497e4c81-74e1-474d-b8fe-212290d24356" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%20-%202021-01-15T144701.550.jpg" /> 
 
At the onset, 'Tribhanga' seemed like an interesting story of three generations of women but it ultimately leaves a lot of unanswered questions and keeps meandering around a single point. I wish Shahane had fleshed out the characters a bit more and explored the complex relationship between the three women equally. What one gets is a half-baked story of a difficult woman who has had issues with her mother and has never been available to her own daughter.&nbsp; 
 
At 1 hour 35 minutes, the film feels stretched, incoherent and half baked. It may be a great idea on paper, but ultimately it doesn't come together well on screen.&nbsp; 
 
'Tribhanga' is streaming on Netflix.&nbsp;

In Indian cinema, ambitious mothers are problematic. Or so the filmmakers perceive them to be. A mother, who wants to have a thriving career will always falter at home, have a difficult relationship with her children and may also have loose morals.

In Indian cinema, ambitious mothers are problematic. Or so the filmmakers perceive them to be. A mother, who wants to have a thriving career will always falter at home, have a difficult relationship with her children and may also have loose morals. The child will always have a resentment growing up, seeing the mother busy at her work- unable to devote time. Renuka Shahane's directorial debut 'Tribhanga' is set on similar lines with the resentment and anger passing down to two generations. A story of three generations in a family, 'Tribhanga' has at the core film actress Anuradha (Kajol) and her troubled relationship with her mother, celebrated author Nayantara Apte (Tanvi Azmi). As Nayan suffers a brain stroke and slips into a coma, her family- daughter Anu, son Robindro (Vaibhav Tatwawaadi), granddaughter Masha (Mithila Palkar) rush to her side. The dysfunctional family initially resent the presence of Nayan's biographer Milan's(Kunaal Roy Kapur) presence in the hospital, they slowly open up about their individual relationship with the matriarch, reminiscing about the old times, the issues they have had in with their mother all throughout. Films on troubled relationships between a mother and a daughter have been made before. There was Rituporno Ghosh's delicate 'Unishe April' and in the recent past, Anu Menon made 'Shakuntala Devi' to name a few. Shahane who is also the writer of the film serves a similar environment. Nayan, the matriarch, is unapologetically ambitious. She has lived her life on her own terms and brought up her children as a single parent. Instead of admiring her achievements and resilient nature, her children Anu and Robindro have grown up to resent her. Anu is a celebrity in her own right, but temperamental, moody and foul-mouthed. Anu's daughter Masha is calmer and submissive but has her own set of issues having grown up in a family that was devoid of any father figure. Its been a family of three women- two of whom are strong-headed and Masha, who is now married and pregnant, craves for a proper family of her own. While the story highlights the complex relationship of the three women, it lacks coherence. A lot of the plot points are unnecessary and Shahane uses the men as the calming factors who serve as anchors to the firebrand women. Actors like Kunwaljeet Singh and Manav Gohil are totally wasted with limited screen time and their characters are not fleshed out well. Gohil in fact is never really introduced to the audience. His character is either Kajol's companion or a best friend- one isn't very clear and it is never explained. The film concentrates too much on Kajol's angst against her now ailing mother and meanders around her mostly. Mithila's story is told almost at the fag end of the film and seems so rushed. At the onset, 'Tribhanga' seemed like an interesting story of three generations of women but it ultimately leaves a lot of unanswered questions and keeps meandering around a single point. I wish Shahane had fleshed out the characters a bit more and explored the complex relationship between the three women equally. What one gets is a half-baked story of a difficult woman who has had issues with her mother and has never been available to her own daughter. At 1 hour 35 minutes, the film feels stretched, incoherent and half baked. It may be a great idea on paper, but ultimately it doesn't come together well on screen. 'Tribhanga' is streaming on Netflix.

'Tribhanga' review: Kajol, Mithila Palkar's latest talks of complex human relationships 

Netflix has big plans for 2021. The streamer says it will debut 71 films this year, which averages out to at least one per week.

Netflix vows to release a new movie every week in 2021

Netflix Inc said on Tuesday it will release more than 70 movies this year to its U.S. customers across comedy, drama, family and other genres, a lineup that underscores the streaming service`s growing prominence in the film business. 
 
The Netflix slate includes crime thriller "Red Notice" starring Ryan Reynolds, Gal Gadot and Dwayne Johnson, one of six action movies, and zombie heist film "Army of the Dead" from director Zack Snyder. The dozen comedies include "Don`t Look Up" with an all-star cast of Leonardo DiCaprio, Jennifer Lawrence, Timothée Chalamet, Tyler Perry, Meryl Streep and others. 
 
All but four of the films will be available to Netflix customers in the more than 190 countries it serves. Ten of the movies are in languages other than English. Additional movies will be released in markets outside the United States. 
 
Netflix is competing for viewers with a group of newer streaming services from Walt Disney Co, AT&amp;T Inc, Comcast Corp and Apple Inc. Competition has intensified as the coronavirus pandemic has shuttered movie theaters and left home-bound audiences searching for entertainment. 
 
The Netflix pace of releasing more than one film per week dwarfs that of other Hollywood studios. Disney, by contrast, currently plans to debut roughly two dozen movies this year in theaters and on its Disney+ streaming service, including four Marvel Studios films and two from Pixar. 
 
The Netflix 2021 schedule includes 18 dramas, nine thrillers, eight animated films and eight romances. 
 
Other notable titles include musical "tick, tick...BOOM" directed by Lin-Manuel Miranda and "Bruised," a drama that is the first movie directed by Halle Berry. 
 
 
 
&nbsp;

Netflix Inc said on Tuesday it will release more than 70 movies this year to its U.S. customers across comedy, drama, family and other genres, a lineup that underscores the streaming service`s growing prominence in the film business.

Netflix Inc said on Tuesday it will release more than 70 movies this year to its U.S. customers across comedy, drama, family and other genres, a lineup that underscores the streaming service`s growing prominence in the film business. The Netflix slate includes crime thriller "Red Notice" starring Ryan Reynolds, Gal Gadot and Dwayne Johnson, one of six action movies, and zombie heist film "Army of the Dead" from director Zack Snyder. The dozen comedies include "Don`t Look Up" with an all-star cast of Leonardo DiCaprio, Jennifer Lawrence, Timothée Chalamet, Tyler Perry, Meryl Streep and others. All but four of the films will be available to Netflix customers in the more than 190 countries it serves. Ten of the movies are in languages other than English. Additional movies will be released in markets outside the United States. Netflix is competing for viewers with a group of newer streaming services from Walt Disney Co, AT&T Inc, Comcast Corp and Apple Inc. Competition has intensified as the coronavirus pandemic has shuttered movie theaters and left home-bound audiences searching for entertainment. The Netflix pace of releasing more than one film per week dwarfs that of other Hollywood studios. Disney, by contrast, currently plans to debut roughly two dozen movies this year in theaters and on its Disney+ streaming service, including four Marvel Studios films and two from Pixar. The Netflix 2021 schedule includes 18 dramas, nine thrillers, eight animated films and eight romances. Other notable titles include musical "tick, tick...BOOM" directed by Lin-Manuel Miranda and "Bruised," a drama that is the first movie directed by Halle Berry.

Dwayne Johnson, Leonardo DiCaprio headline Netflix's slate of 2021 movies

Regé-Jean Page has stirred the OTT world with his character&nbsp;Simon Basset, Duke of Hastings, on Netflix's new Shonda Rhimes series Bridgerton. The character and the actor have become instant favourites with the fans and critics alike, with many already imagining him as the ultimate 007 agents.&nbsp; 
 
The star spoke to Jimmy Fallon on The Tonight Show about the rumors that he's in the running to portray James Bond post-Daniel Craig retirement following the upcoming film 'No Time to Die'.&nbsp;

"I think the internet thinks a lot of things, and that's one of the more pleasant ones," Page said on the talk show.&nbsp;"So I am pleased as far as that goes." Still, he mused that the speculation may have more to do with the fact that he's a Brit in the public eye than anything else.

"I think there might be an element of cultural translation to be done here," he added. "Like, if you're a Brit, and you do something of any kind of renowned that people regard well, then people start saying the 'B' word."

The actor called the rumors a "merit badge." "I'm very, very glad to have the badge," he said. "I'm glad to be in such wonderful company of people who have the badge."

Other people in the race to become the next 007 agents are Tom Hardy, James Norton, and Idris Elba. Thus far, though, none appear to be in serious talks for the part—not yet, anyway.

While Page may be flattered by the consideration, he also fueled Bond talk himself. Recently, the Netflix star tweeted a video of his Bridgerton character along with the caption "Regency, royalty. Shaken and stirred," a possible nod to Bond's love of martinis.

Regé-Jean Page has stirred the OTT world with his character Simon Basset, Duke of Hastings, on Netflix's new Shonda Rhimes series Bridgerton. The character and the actor have become instant favourites with the fans and critics alike, with many already imagining him as the ultimate 007 agents.

Regé-Jean Page has stirred the OTT world with his character Simon Basset, Duke of Hastings, on Netflix's new Shonda Rhimes series Bridgerton. The character and the actor have become instant favourites with the fans and critics alike, with many already imagining him as the ultimate 007 agents. The star spoke to Jimmy Fallon on The Tonight Show about the rumors that he's in the running to portray James Bond post-Daniel Craig retirement following the upcoming film 'No Time to Die'. "I think the internet thinks a lot of things, and that's one of the more pleasant ones," Page said on the talk show. "So I am pleased as far as that goes." Still, he mused that the speculation may have more to do with the fact that he's a Brit in the public eye than anything else. "I think there might be an element of cultural translation to be done here," he added. "Like, if you're a Brit, and you do something of any kind of renowned that people regard well, then people start saying the 'B' word." The actor called the rumors a "merit badge." "I'm very, very glad to have the badge," he said. "I'm glad to be in such wonderful company of people who have the badge." Other people in the race to become the next 007 agents are Tom Hardy, James Norton, and Idris Elba. Thus far, though, none appear to be in serious talks for the part—not yet, anyway. While Page may be flattered by the consideration, he also fueled Bond talk himself. Recently, the Netflix star tweeted a video of his Bridgerton character along with the caption "Regency, royalty. Shaken and stirred," a possible nod to Bond's love of martinis.

'Bridgerton' actor Regé-Jean Page reacts to James Bond casting rumours

Demi Lovato and Wilmer Valderrama have reunited for Netflix's animated movie 'Charming'.

The two exes have previously worked together on Valderrama's TV show From 'Dusk till Dawn: The Series'&nbsp;where Lovato played a recurring character.&nbsp; 'Charming'&nbsp;sees Valderrama voicing Prince Philippe Charming who is cursed as a child to appear irresistible to any woman who crosses his path. In order to break the curse, he must find and marry his one true love, causing him to compulsively propose marriage to three princesses.

The That '70s Show star's production company WV Entertainment produced the film alongside Lovato, who served as the film's executive producer. She voices Lenore in the film, who seeks payment by the king if she can help the prince find love.

Valderrama, 40, shared a trailer for the film on his Instagram, and wrote "Charming Trailer 2021 EXCITING Announcement: Our company's @officialwventertainment first #Animated feature in partnership with John H Williams (producer of #Shrek) and @jeremywross."

"After years of production and love for this project I am thrilled to share that the untold story of Prince Charming (our first Latino Prince) @charmingmovie will be premiering today Friday January 8th!!!" he continued, "As an Original @netflix #Film Thank you to our amazing team @officialwventertainment, and our incredible cast @ddlovato @avrillavigne @ashleytisdale @gem0816 @niavardalos @siamusic @johncleeseofficial for taking this leap of faith! Hope you all enjoy it!" 
 
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The film also stars the voices of Sia, who plays the Half-Oracle, and Avril Lavigne, Ashley Tisdale and G.E.M. who voice Snow White, Cinderella, and Sleeping Beauty, respectively.&nbsp;

Valderrama and Lovato previously dated for six years before splitting in June 2016. Charming is now streaming on Netflix.

Demi Lovato and Wilmer Valderrama have reunited for Netflix's animated movie 'Charming'. The two exes have previously worked together on Valderrama's TV show From 'Dusk till Dawn: The Series' where Lovato played a recurring character.

Demi Lovato and Wilmer Valderrama have reunited for Netflix's animated movie 'Charming'. The two exes have previously worked together on Valderrama's TV show From 'Dusk till Dawn: The Series' where Lovato played a recurring character. 'Charming' sees Valderrama voicing Prince Philippe Charming who is cursed as a child to appear irresistible to any woman who crosses his path. In order to break the curse, he must find and marry his one true love, causing him to compulsively propose marriage to three princesses. The That '70s Show star's production company WV Entertainment produced the film alongside Lovato, who served as the film's executive producer. She voices Lenore in the film, who seeks payment by the king if she can help the prince find love. Valderrama, 40, shared a trailer for the film on his Instagram, and wrote "Charming Trailer 2021 EXCITING Announcement: Our company's @officialwventertainment first #Animated feature in partnership with John H Williams (producer of #Shrek) and @jeremywross." "After years of production and love for this project I am thrilled to share that the untold story of Prince Charming (our first Latino Prince) @charmingmovie will be premiering today Friday January 8th!!!" he continued, "As an Original @netflix #Film Thank you to our amazing team @officialwventertainment, and our incredible cast @ddlovato @avrillavigne @ashleytisdale @gem0816 @niavardalos @siamusic @johncleeseofficial for taking this leap of faith! Hope you all enjoy it!" View this post on Instagram A post shared by Wilmer Valderrama (@wilmervalderrama) × The film also stars the voices of Sia, who plays the Half-Oracle, and Avril Lavigne, Ashley Tisdale and G.E.M. who voice Snow White, Cinderella, and Sleeping Beauty, respectively. Valderrama and Lovato previously dated for six years before splitting in June 2016. Charming is now streaming on Netflix.

Exes Demi Lovato & Wilmer Valderrama voice soulmates in Netflix’s 'Charming'

Actress Kajols digital debut film Tribhanga has been confirmed for January 15 release. The actress tweeted the announcement on Friday with a glimpse of the story and characters through a video. 
 
"Tribhanga, matlab, tedhi, medhi, crazy, but sexy. #Tribhanga, premieres 15 January, only on Netflix," Kajol wrote, also sharing the announcement on Instagram.&nbsp; 
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The actress will be entering the digital space with the film, which is a Mumbai-set drama. The film tells the story of a family going back and forth through three generations, from the late 1980s to present day. 
 
The film, directed and written by veteran actress Renuka Shahane, also stars Tanvi Azmi and Mithila Palkar.&nbsp; 
 
The actress was last seen on the big screen in last year`s historical action blockbuster Tanhaji: The Unsung Warrior, co-starring her husband Ajay Devgn. 
 
&nbsp;

Actress Kajols digital debut film Tribhanga has been confirmed for January 15 release. The actress tweeted the announcement on Friday with a glimpse of the story and characters through a video.

Actress Kajols digital debut film Tribhanga has been confirmed for January 15 release. The actress tweeted the announcement on Friday with a glimpse of the story and characters through a video. "Tribhanga, matlab, tedhi, medhi, crazy, but sexy. #Tribhanga, premieres 15 January, only on Netflix," Kajol wrote, also sharing the announcement on Instagram. View this post on Instagram A post shared by Kajol Devgan (@kajol) × The actress will be entering the digital space with the film, which is a Mumbai-set drama. The film tells the story of a family going back and forth through three generations, from the late 1980s to present day. The film, directed and written by veteran actress Renuka Shahane, also stars Tanvi Azmi and Mithila Palkar. The actress was last seen on the big screen in last year`s historical action blockbuster Tanhaji: The Unsung Warrior, co-starring her husband Ajay Devgn.

Kajol's digital debut film 'Tribhanga' to release on this date

An&nbsp;English teacher and author from the US has filed a lawsuit against Netflix and the creators of their hit show 'Outer Banks,” claiming copyright infringement. The North Carolina resident, Kevin Wooten, filed an official complaint on December 21.&nbsp; 
 
The author of the 2016 novel 'Pennywise: The Hunt for Blackbeard’s Treasure' claims that Netflix and the creators of 'Outer Banks'&nbsp;— Josh Pate, Jonas Pate, and Shannon Burke — got the plot for the show from his book.

According to Variety, The suit alleges that both the show and the book share striking similarities, including that they take place in the Outer Banks, have the same amount of main characters that share similar storylines, feature antagonists “consisting of a rich benefactor and a corrupt member of law enforcement” and discover similar clues leading them to buried treasure, which is then stolen by said antagonists. 
 
&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GC68w9tvv6I" width="560"></iframe>

The Amazon description of Wooten’s book reads: “Benjamin and Nathaniel Pennywise, along with their uncle, Ottaway Burns, discover a clue while diving off the coast of Ocracoke that takes them on an adventure spanning two continents. They must outwit a sinister group of treasure hunters who will stop at nothing to lay hold to the chest so they can use its contents to further their agenda.”

Wooten is seeking to prove that the creators had access to his book before making the show. According to the complaint, Wooten claims this is possible because he sold and promoted the book in Wilmington, N.C., a place that the show’s creators have previously said was a source of inspiration.

Wooten is seeking payment for damages as well as ongoing royalties and has requested a trial by jury. 
&nbsp;

An English teacher and author from the US has filed a lawsuit against Netflix and the creators of their hit show 'Outer Banks,” claiming copyright infringement. The North Carolina resident, Kevin Wooten, filed an official complaint on December 21.

An English teacher and author from the US has filed a lawsuit against Netflix and the creators of their hit show 'Outer Banks,” claiming copyright infringement. The North Carolina resident, Kevin Wooten, filed an official complaint on December 21. The author of the 2016 novel 'Pennywise: The Hunt for Blackbeard’s Treasure' claims that Netflix and the creators of 'Outer Banks' — Josh Pate, Jonas Pate, and Shannon Burke — got the plot for the show from his book. According to Variety, The suit alleges that both the show and the book share striking similarities, including that they take place in the Outer Banks, have the same amount of main characters that share similar storylines, feature antagonists “consisting of a rich benefactor and a corrupt member of law enforcement” and discover similar clues leading them to buried treasure, which is then stolen by said antagonists. The Amazon description of Wooten’s book reads: “Benjamin and Nathaniel Pennywise, along with their uncle, Ottaway Burns, discover a clue while diving off the coast of Ocracoke that takes them on an adventure spanning two continents. They must outwit a sinister group of treasure hunters who will stop at nothing to lay hold to the chest so they can use its contents to further their agenda.” Wooten is seeking to prove that the creators had access to his book before making the show. According to the complaint, Wooten claims this is possible because he sold and promoted the book in Wilmington, N.C., a place that the show’s creators have previously said was a source of inspiration. Wooten is seeking payment for damages as well as ongoing royalties and has requested a trial by jury.

Netflix's 'Outer Banks' accused of copyright infringement by US author

Cobra Kai is set to get a third season soon as Netflix has moved up the premiere date by a week. It will now be dropped on New Year’s Day rather than January 8.

The announcement was accompanied by a video of William Zabka changing the release date on the show's Netflix landing page.

Netflix picked up Cobra Kai after the first two seasons streamed on YouTube when the latter got out of the long-form scripted business. Netflix has renewed the series, a continuation of the Karate Kid movies, through a fourth season.

Season three of Cobra Kai will pick up in the aftermath of a violent fight between members of Daniel LaRusso's (Ralph Macchio) and Johnny Lawrence's (Zabka) rival dojos.&nbsp;

Cobra Kai is set to get a third season soon as Netflix has moved up the premiere date by a week. It will now be dropped on New Year’s Day rather than January 8. The announcement was accompanied by a video of William Zabka changing the release date on the show's Netflix landing page.

Cobra Kai is set to get a third season soon as Netflix has moved up the premiere date by a week. It will now be dropped on New Year’s Day rather than January 8. The announcement was accompanied by a video of William Zabka changing the release date on the show's Netflix landing page. Netflix picked up Cobra Kai after the first two seasons streamed on YouTube when the latter got out of the long-form scripted business. Netflix has renewed the series, a continuation of the Karate Kid movies, through a fourth season. Season three of Cobra Kai will pick up in the aftermath of a violent fight between members of Daniel LaRusso's (Ralph Macchio) and Johnny Lawrence's (Zabka) rival dojos.

Netflix moves up 'Cobra Kai' premiere date

'Free Guy'&nbsp;star Utkarsh Ambudkar and PJ Byrne of 'The Boys'&nbsp;fame are set to star in recurring roles in the second season of "Never Have I Ever". 
 
The Netflix coming-of-age series, created by Mindy Kaling and Lang Fisher, revolves around an academically competitive and hot-headed Indian American teenager Devi, played by Maitreyi Ramakrishnan, trying to catch the eye of the school heartthrob while secretly grieving the sudden death of her father. 
 
According to Deadline, Ambudkar will play Mr Kulkarni, the English teacher on staff at her school, Sherman Oaks High. He and Devi are buddies. On the other hand, Byrne stars as Evan, a head research assistant in Kamala's (Richa Moorjani) program at Caltech. 
 
Because of her supreme intelligence and his mediocre ability, Kamala, who is Devi's cousin, becomes an easy target for Evan. The project reunites Kaling and Ambudkar, who recurred as Rishi on Kaling's "The Mindy Project". 
 
Apart from Ramakrishnan and Moorjani, the new season will also see returning cast members including Poorna Jagannathan, Jaren Lewison, Darren Barnet, Lee Rodriguez and Ramona Young. 
 
New entrants to season two are Megan Suri and Tyler Alvarez. Fisher serves as writer, executive producer, and showrunner with Kaling executive producing alongside 3 Arts Entertainment's Howard Klein and David Miner. The show is produced by Universal Television in association with 3 Arts Entertainment, Original Langster, and Kaling International.

'Free Guy' star Utkarsh Ambudkar and PJ Byrne of 'The Boys' fame are set to star in recurring roles in the second season of "Never Have I Ever". The Netflix coming-of-age series, created by Mindy Kaling and Lang Fisher, revolves around an academically competitive and hot-headed Indian American teenager Devi, played by Maitreyi Ramakrishnan, trying to catch the eye of the school heartthrob while secretly grieving the sudden death of her father.

'Free Guy' star Utkarsh Ambudkar and PJ Byrne of 'The Boys' fame are set to star in recurring roles in the second season of "Never Have I Ever". The Netflix coming-of-age series, created by Mindy Kaling and Lang Fisher, revolves around an academically competitive and hot-headed Indian American teenager Devi, played by Maitreyi Ramakrishnan, trying to catch the eye of the school heartthrob while secretly grieving the sudden death of her father. According to Deadline, Ambudkar will play Mr Kulkarni, the English teacher on staff at her school, Sherman Oaks High. He and Devi are buddies. On the other hand, Byrne stars as Evan, a head research assistant in Kamala's (Richa Moorjani) program at Caltech. Because of her supreme intelligence and his mediocre ability, Kamala, who is Devi's cousin, becomes an easy target for Evan. The project reunites Kaling and Ambudkar, who recurred as Rishi on Kaling's "The Mindy Project". Apart from Ramakrishnan and Moorjani, the new season will also see returning cast members including Poorna Jagannathan, Jaren Lewison, Darren Barnet, Lee Rodriguez and Ramona Young. New entrants to season two are Megan Suri and Tyler Alvarez. Fisher serves as writer, executive producer, and showrunner with Kaling executive producing alongside 3 Arts Entertainment's Howard Klein and David Miner. The show is produced by Universal Television in association with 3 Arts Entertainment, Original Langster, and Kaling International.

'Never Have I ever' Season 2 adds new cast members

Netflix has decided to delay the production of the much-anticipated thriller 'The Gray Man' amid concerns about the recent surge in COVID-19 cases in California. The Ryan Gosling, Chris Evans starter was scheduled to go on floors in mid-January 2021.

According to Variety, the sources close to the production said&nbsp;that the indefinite pause stems from an abundance of caution that’s driven by the relatively high numbers required to launch production at a time when California has seen record highs of new cases in recent days. Sets had been under construction in the Long Beach area of southern Los Angeles County.

The California State Film Commission announced in August that 'Gray Man'&nbsp;had been selected for a $20 million production tax credit allocation in what was by far the largest amount unveiled among the $50 million in conditional allocations for nine film projects.

'The Gray Man'&nbsp;is based on a series of best-sellers from Mark Greaney. Gosling will portray an ex-CIA operative who becomes a killer for hire and is pursued by a former colleague, played by Evans.<a href="https://www.wionews.com/entertainment/hollywood/news-dhanush-joins-chris-evans-ryan-gosling-starrer-the-gray-man-350604"> The film also stars Indian actor Dhanush in a pivotal role.</a> 
 
Joe and Anthony Russo are directing and producing through their AGBO company with a budget in the $200 million range, one of the biggest ever for a Netflix feature. 
 
<a href="https://www.wionews.com/photos/yearender-2020-from-pratik-gandhi-to-emma-corrin-breakout-stars-of-this-year-350472" hreflang="en">Yearender 2020: From Pratik Gandhi to Emma Corrin, Breakout Stars of This Year</a>

Joe Russo is the writer with a polish by Christopher Markus and Stephen McFeely, who are co-presidents of story at AGBO and the writers on “Avengers: Endgame” and “Avengers: Infinity Wars.” The film will be produced by AGBO’s Russo brothers and Mike Larocca, along with Joe Roth and Jeff Kirschenbaum for Roth Kirschenbaum.

&nbsp;

Netflix has decided to delay the production of the much-anticipated thriller 'The Gray Man' amid concerns about the recent surge in COVID-19 cases in California.

Netflix has decided to delay the production of the much-anticipated thriller 'The Gray Man' amid concerns about the recent surge in COVID-19 cases in California. The Ryan Gosling, Chris Evans starter was scheduled to go on floors in mid-January 2021. According to Variety, the sources close to the production said that the indefinite pause stems from an abundance of caution that’s driven by the relatively high numbers required to launch production at a time when California has seen record highs of new cases in recent days. Sets had been under construction in the Long Beach area of southern Los Angeles County. The California State Film Commission announced in August that 'Gray Man' had been selected for a $20 million production tax credit allocation in what was by far the largest amount unveiled among the $50 million in conditional allocations for nine film projects. 'The Gray Man' is based on a series of best-sellers from Mark Greaney. Gosling will portray an ex-CIA operative who becomes a killer for hire and is pursued by a former colleague, played by Evans. The film also stars Indian actor Dhanush in a pivotal role. Joe and Anthony Russo are directing and producing through their AGBO company with a budget in the $200 million range, one of the biggest ever for a Netflix feature. Yearender 2020: From Pratik Gandhi to Emma Corrin, Breakout Stars of This Year Joe Russo is the writer with a polish by Christopher Markus and Stephen McFeely, who are co-presidents of story at AGBO and the writers on “Avengers: Endgame” and “Avengers: Infinity Wars.” The film will be produced by AGBO’s Russo brothers and Mike Larocca, along with Joe Roth and Jeff Kirschenbaum for Roth Kirschenbaum.

Netflix delays production of Ryan Gosling, Chris Evans starrer 'The Gray Man' due to surge in COVID-19 cases

Online streaming service Netflix has ordered for the production of an original documentary series based on Poper Francis` book `Sharing the Wisdom of Time.` 
 
According to The Hollywood Reporter, the award-winning book features stories of elderly people from different parts of the world. The Documentary series will be divided into four parts and will feature men and women around the age of 70 from across the world, who will be telling stories to young filmmakers under the age of 30.

<a href="http://13.235.153.162/entertainment/nicolas-cage-to-host-netflix-show-history-of-swear-words-on-literally-just-that-348931" hreflang="en">Nicolas Cage to host Netflix show 'History of Swear Words' on literally just that!</a> 
 
An exclusive interview with Pope Francis will also be featured in the docu-series. Besides the interview, the series will also have a common thread in the form of Francis` comments.

<a href="http://13.235.153.162/photos/the-crown-7-times-the-netflix-series-was-factually-incorrect-349049" hreflang="en">'The Crown': 7 times the Netflix series was factually incorrect</a> 
 
The book `Sharing the Wisdom of Time,` was edited by Father Antonio Spadaro and was published in 2018 in America, reported The Hollywood Reporter. The series will be directed and produced by Italian director Simona Ercolani and it will be released globally in 2021.

Online streaming service Netflix has ordered for the production of an original documentary series based on Poper Francis` book `Sharing the Wisdom of Time.` According to The Hollywood Reporter, the award-winning book features stories of elderly people from different parts of the world.

Online streaming service Netflix has ordered for the production of an original documentary series based on Poper Francis` book `Sharing the Wisdom of Time.` According to The Hollywood Reporter, the award-winning book features stories of elderly people from different parts of the world. The Documentary series will be divided into four parts and will feature men and women around the age of 70 from across the world, who will be telling stories to young filmmakers under the age of 30. Nicolas Cage to host Netflix show 'History of Swear Words' on literally just that! An exclusive interview with Pope Francis will also be featured in the docu-series. Besides the interview, the series will also have a common thread in the form of Francis` comments. 'The Crown': 7 times the Netflix series was factually incorrect The book `Sharing the Wisdom of Time,` was edited by Father Antonio Spadaro and was published in 2018 in America, reported The Hollywood Reporter. The series will be directed and produced by Italian director Simona Ercolani and it will be released globally in 2021.

Netflix to bring docu-series based on Pope Francis book, 'Sharing the Wisdom of Time'

'The Crown' stars are defending Netflix’s decision not to put a fiction disclaimer on the historical drama. Ever since the fourth season has released the show has created&nbsp;controversy for the fictional scenes.&nbsp; 
 
It was first started after UK’s Culture Secretary Oliver Dowden suggested that the program should put a disclaimer ahead of each episode to inform their viewers&nbsp;that the drama is a fictionalization of the British royal family history.

<a href="https://www.wionews.com/photos/the-crown-7-times-the-netflix-series-was-factually-incorrect-349049" hreflang="en">'The Crown': 7 times the Netflix series was factually incorrect</a> 
 
Emma Corrin who played Princess Diana in&nbsp;the show, compared&nbsp;the show to HBO Max' ‘Succession’ and defended Netflix for not adding a fiction disclaimer.&nbsp; 
 
“It is very clearly a dramatized version of events," Corrin said in an interview. ''This is fictitious in the same way people don’t mistake ‘Succession’ for what actually happened with the Murdochs.''&nbsp;

<a href="http://13.235.153.162/entertainment/netflix-declines-to-flag-up-to-viewers-that-the-crown-is-fiction-reports-348000" hreflang="en">Netflix declines to flag up to viewers that 'The Crown' is fiction: Reports</a> 
 
''I also understand, as it comes from a place of sensitivity and protectiveness of the royal family and Diana,'' Corin added.&nbsp; 
 
Josh O’Connor who played Prince Charles, also defended the streamer and said, ''it’s unnecessary to give the show a “fiction” label. We were slightly let down by our culture secretary, whose job it is to encourage culture,” Josh shared with tan news&nbsp;agency.

<a href="http://13.235.153.162/entertainment/the-crown-no-princess-diana-did-not-sing-for-prince-charles-as-shown-in-the-series-348891" hreflang="en">The Crown: No, Princess Diana did not sing for Prince Charles as shown in the series</a> 
 
''In my opinion, it’s pretty outrageous that he came out and said what he said. Particularly in this time when he knows that the arts are struggling and they’re on their knees, I think it’s a bit of a low blow.'' 
 
''My personal view is that audiences understand,'' he shared. ''You have to show them the respect and understand that they’re intelligent enough to see it for what it is, which is pure fiction.'' 
 
The late Princess Diana's brother, Earl Charles Spencer too requested to add the disclaimer. 
 
'The Crown' S4 is currently streaming on Netflix.

'The Crown' stars are defending Netflix’s decision not to put a fiction disclaimer on the historical drama. Ever since the fourth season has released the show has created controversy for the fictional scenes.

'The Crown' stars are defending Netflix’s decision not to put a fiction disclaimer on the historical drama. Ever since the fourth season has released the show has created controversy for the fictional scenes. It was first started after UK’s Culture Secretary Oliver Dowden suggested that the program should put a disclaimer ahead of each episode to inform their viewers that the drama is a fictionalization of the British royal family history. 'The Crown': 7 times the Netflix series was factually incorrect Emma Corrin who played Princess Diana in the show, compared the show to HBO Max' ‘Succession’ and defended Netflix for not adding a fiction disclaimer. “It is very clearly a dramatized version of events," Corrin said in an interview. ''This is fictitious in the same way people don’t mistake ‘Succession’ for what actually happened with the Murdochs.'' Netflix declines to flag up to viewers that 'The Crown' is fiction: Reports ''I also understand, as it comes from a place of sensitivity and protectiveness of the royal family and Diana,'' Corin added. Josh O’Connor who played Prince Charles, also defended the streamer and said, ''it’s unnecessary to give the show a “fiction” label. We were slightly let down by our culture secretary, whose job it is to encourage culture,” Josh shared with tan news agency. The Crown: No, Princess Diana did not sing for Prince Charles as shown in the series ''In my opinion, it’s pretty outrageous that he came out and said what he said. Particularly in this time when he knows that the arts are struggling and they’re on their knees, I think it’s a bit of a low blow.'' ''My personal view is that audiences understand,'' he shared. ''You have to show them the respect and understand that they’re intelligent enough to see it for what it is, which is pure fiction.'' The late Princess Diana's brother, Earl Charles Spencer too requested to add the disclaimer. 'The Crown' S4 is currently streaming on Netflix.

'The Crown' stars defends Netflix decision not to use fiction disclaimer

Nicolas Cage is set to host a new Netflix show titled ‘ History of Swear Words’ that will literally tell the viewers about the origin, history, cultural impact and other things about popular cuss words.&nbsp;

The announcement was made earlier this week .

The show will progress with interviews of experts in etymology and pop culture, as well as historians and entertainers.

It will have six episodes as it dives into the origins of &nbsp;“f---,” “s---,” "bitch,” “dick,” “p---y,” and “damn.”

In the first teaser for the comedy series, Nicolas Cage paints furiously while delivering a Shakespearean soliloquy all about the word 'p---y,' revealing a painting of a flower at the end. "It also could be a cat," he said.

<a href="https://www.wionews.com/entertainment/the-crown-no-princess-diana-did-not-sing-for-prince-charles-as-shown-in-the-series-348891" hreflang="en">The Crown: No, Princess Diana did not sing for Prince Charles as shown in the series</a>

The Netflix show will have guest stars including Nick Offerman, Sarah Silverman, Joel Kim Booster, DeRay Davis, Open Mike Eagle, Nikki Glaser, Patti Harrison, London Hughes, Jim Jefferies, Zainab Johnson, Baron Vaughn, and Isiah Whitlock Jr. Cage along with an array of experts, from academics studying cognitive science and feminist studies, to film critics and lexicographers.

Watch the trailer here:

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/4argVWl8AAE" width="640"></iframe>

‘History of Swear Words’ premieres globally on Jauary&nbsp;5.&nbsp;

<h2><a href="https://www.wionews.com/entertainment/hollywood/news-yearender-2020-parasite-tiger-king-are-most-searched-movie--tv-show-of-2020-348771" hreflang="en">'Parasite', 'Tiger King' are most searched movie &amp; TV show of 2020</a></h2>

Nicolas Cage is set to host a new Netflix show titled ‘ History of Swear Words’ that will literally tell the viewers about the origin, history, cultural impact and other things about popular cuss words.

Nicolas Cage is set to host a new Netflix show titled ‘ History of Swear Words’ that will literally tell the viewers about the origin, history, cultural impact and other things about popular cuss words. The announcement was made earlier this week . The show will progress with interviews of experts in etymology and pop culture, as well as historians and entertainers. It will have six episodes as it dives into the origins of “f---,” “s---,” "bitch,” “dick,” “p---y,” and “damn.” In the first teaser for the comedy series, Nicolas Cage paints furiously while delivering a Shakespearean soliloquy all about the word 'p---y,' revealing a painting of a flower at the end. "It also could be a cat," he said. The Crown: No, Princess Diana did not sing for Prince Charles as shown in the series The Netflix show will have guest stars including Nick Offerman, Sarah Silverman, Joel Kim Booster, DeRay Davis, Open Mike Eagle, Nikki Glaser, Patti Harrison, London Hughes, Jim Jefferies, Zainab Johnson, Baron Vaughn, and Isiah Whitlock Jr. Cage along with an array of experts, from academics studying cognitive science and feminist studies, to film critics and lexicographers. Watch the trailer here: ‘History of Swear Words’ premieres globally on Jauary 5. 'Parasite', 'Tiger King' are most searched movie & TV show of 2020

Nicolas Cage to host Netflix show 'History of Swear Words' on literally just that!

All you ‘The Crown’ watchers who thought late Princess Diana actually sang for Prince Charles as his present for wedding anniversary are in for a surprise as makers admit that it did not happen in real life. It was all just a figment of imagination of Netflix show ‘The Crown’ makers.&nbsp;

The singing scene in which Princess Diana played by Emma Corin sings for Prince Charles to which he is shown later admitting “was monstrous” to his sister Princess Anne -- was just imagined by the makers for impact. The makers discovered in way of filming Emma Corin as Princess Diana that she could sing well. So they added the bit &nbsp;of song ‘All I Ask Of You’ from ‘Phantom Of The Opera’ to the show right after she performs for Charles in front of an audience on his birthday.&nbsp;

In the episode ‘Avalanche’ from ‘The Crown’, Princess Diana surprises Charles (Josh O'Connor) with a VHS recording of the performance.

The song is shown after Charles begins to resent her popularity after Diana performs a duet to ‘Uptown Girl’ in honour of his birthday. &nbsp;&nbsp;

Jessica Hobbs, who directed the episode of ‘The Crown’, has said while Diana did perform a dance routine to the number from Andrew Lloyd Webber's musical for their seventh wedding anniversary, she didn't sing. She said, “Our understanding was that she'd done a dance for him that was filmed on stage, in the costumes, on the real set. That's what we understood from the research. So we extended that to her singing.” <a href="https://www.wionews.com/entertainment/hollywood/news-the-crown-season-4-review-show-delivers-its-best-as-diana-thatcher-take-away-the-queens-thunder-343648">Read season 4 review here.</a>

It is said that the directors said in The Crown's podcast the decision was made for Emma Corrin to sing after hearing her voice, and thought it would 'break viewers' hearts'. &nbsp;

The Netflix show ‘The Crown’ has come under scrutiny for a lot of things shown in the series.&nbsp;

<a href="https://www.wionews.com/entertainment/the-crown-season-6-heres-everything-to-know-about-the-final-season-343447">'The Crown' Season 6: Here's everything to know about the final season</a>

All you ‘The Crown’ watchers who thought late Princess Diana actually sang for Prince Charles as his present for wedding anniversary are in for a surprise as makers admit that it did not happen in real life.

All you ‘The Crown’ watchers who thought late Princess Diana actually sang for Prince Charles as his present for wedding anniversary are in for a surprise as makers admit that it did not happen in real life. It was all just a figment of imagination of Netflix show ‘The Crown’ makers. The singing scene in which Princess Diana played by Emma Corin sings for Prince Charles to which he is shown later admitting “was monstrous” to his sister Princess Anne -- was just imagined by the makers for impact. The makers discovered in way of filming Emma Corin as Princess Diana that she could sing well. So they added the bit of song ‘All I Ask Of You’ from ‘Phantom Of The Opera’ to the show right after she performs for Charles in front of an audience on his birthday. In the episode ‘Avalanche’ from ‘The Crown’, Princess Diana surprises Charles (Josh O'Connor) with a VHS recording of the performance. The song is shown after Charles begins to resent her popularity after Diana performs a duet to ‘Uptown Girl’ in honour of his birthday. Jessica Hobbs, who directed the episode of ‘The Crown’, has said while Diana did perform a dance routine to the number from Andrew Lloyd Webber's musical for their seventh wedding anniversary, she didn't sing. She said, “Our understanding was that she'd done a dance for him that was filmed on stage, in the costumes, on the real set. That's what we understood from the research. So we extended that to her singing.” Read season 4 review here. It is said that the directors said in The Crown's podcast the decision was made for Emma Corrin to sing after hearing her voice, and thought it would 'break viewers' hearts'. The Netflix show ‘The Crown’ has come under scrutiny for a lot of things shown in the series. 'The Crown' Season 6: Here's everything to know about the final season

The Crown: No, Princess Diana did not sing for Prince Charles as shown in the series

Fans of musician Ariana Grande have a reason to rejoice as her much-loved 2019 `Sweetener,` world tour is coming to Netflix in the form of a concert movie. 
 
According to Variety, the concert movie titled `Excuse Me, I Love You,` will premiere on Netflix globally on December 21. 
 
The `Sweetener,` world tour featured several hits from the musician including `7 Rings,` `No Tears Left to Cry,` and `God Is a Woman.`Besides these major hits, she also performed some of her blasts hits from the past like `Love Me Harder,` `Dangerous Woman,` and `Side to Side. 
 
Online streamer Netflix has partnered with artists for concert films, including `Springsteen on Broadway,` and `Ben Platt Live From Radio City Music Hall,` as well as documentaries like Beyonce`s `Homecoming,` Taylor Swift`s `Miss Americana,` Shawn Mendes` `In Wonder,` and `Blackpink: Light Up the Sky,` reported Variety.

Fans of musician Ariana Grande have a reason to rejoice as her much-loved 2019 `Sweetener,` world tour is coming to Netflix in the form of a concert movie. According to Variety, the concert movie titled `Excuse Me, I Love You,` will premiere on Netflix globally on December 21.

Fans of musician Ariana Grande have a reason to rejoice as her much-loved 2019 `Sweetener,` world tour is coming to Netflix in the form of a concert movie. According to Variety, the concert movie titled `Excuse Me, I Love You,` will premiere on Netflix globally on December 21. The `Sweetener,` world tour featured several hits from the musician including `7 Rings,` `No Tears Left to Cry,` and `God Is a Woman.`Besides these major hits, she also performed some of her blasts hits from the past like `Love Me Harder,` `Dangerous Woman,` and `Side to Side. Online streamer Netflix has partnered with artists for concert films, including `Springsteen on Broadway,` and `Ben Platt Live From Radio City Music Hall,` as well as documentaries like Beyonce`s `Homecoming,` Taylor Swift`s `Miss Americana,` Shawn Mendes` `In Wonder,` and `Blackpink: Light Up the Sky,` reported Variety.

Ariana Grande 2019 'Sweetener' concert movie to stream on Netflix

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