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Megan Boone Exiting ‘The Blacklist’

BY RICK PORTER | HollywoodReporter.Com

Troy Warren #reviews-all

The actress will wrap up her run on the NBC series with the conclusion of season eight.

One of the two leads of The Blacklist is departing.

Megan Boone will exit the NBC series with the conclusion of season eight. The season finale is scheduled to air June 23, and the Universal TV/Sony Pictures TV drama has been renewed for a ninth season.

NBC declined comment on Boone’s departure.

Boone and James Spader have formed the central relationship on The Blacklist from its beginning. She plays Elizabeth Keen, a young FBI agent who joins a task force working with Spader’s Raymond “Red” Reddington, a former intelligence officer turned criminal, in tracking down criminals both the bureau and Reddington have an interest in capturing.

The current season has seen Elizabeth become a criminal in her own right and target Reddington, culminating a long game in which she sought to avenge Red killing her mother.

Boone made the show’s producers aware of her decision earlier in the season, so there will be a conclusion to Elizabeth’s story in the final two episodes that circles back to why Red took such an interest in the young agent at the show’s outset.

The Blacklist was a breakout role for Boone, who recurred on NBC’s Law & Order: Los Angeles in 2010-11 and had a handful of TV and film roles before landing the show. She also plays a role in Amazon’s The Underground Railroad.

With Boone’s departure, Spader, Harry Lennix and Diego Klattenhoff are the sole remaining members of The Blacklist‘s original cast heading into season nine.

Deadline first reported the news.


 

 

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Box Office Upset: ‘In the Heights’ Loses to ‘A Quiet Place Part II’ With Tepid $11.4M Bow

BY PAMELA MCCLINTOCK | HollywoodReporter.Com

Troy Warren #reviews-all

Jon M. Chu directed the big-screen adaptation of Lin-Manuel Miranda’s musical with an ensemble cast led by Anthony Ramos and Corey Hawkins.

Warner Bros.’ In the Heights sang off key in its box office opening with $11.4 million, well below expectations and putting the musical at No. 2 behind holdover A Quiet Place Part II in a surprise upset.

Heading into the weekend, Jon M. Chu’s big screen adaptation of the musical that put Hamiltoncreator Lin-Manuel Miranda on the map, was widely expected to top the chart with anywhere from $15 million to $20 million.

Instead, Paramount’s A Quiet Place Part II sequel shot back up to No. 1 in its third weekend with an estimated $11.7 million for a domestic total of nearly $109 million. The horror-thriller is the first film in the pandemic era to cross the $100 million mark domestically in a victory for exclusive theatrical releases. Overseas, the sequel has hit $78.5 million for a global cume of nearly $188 million.

Like all 2021 Warner Bros. titles, In the Heights is debuting simultaneously on HBO Max because of the challenges posed by the pandemic. It is impossible to know exactly how much business that is taking away in terms of box office grosses, but the feel-good pic may be more impacted than other genres since musicals often play to older adults, and especially older females. Consumers over 35 are the most reluctant to return to the multiplex, according to NRG surveys. At the same, musicals have a decidedly mixed track record at the office.

The hope now is that glowing reviews and strong exits lead to increased grosses. “We’re incredibly proud of this movie, and hope audiences find it over time,” says Warners president of domestic distribution Jeff Goldstein.

Per normal practice, HBO Max isn’t releasing viewership numbers for In the Heights.

Anthony Ramos and Corey Hawkins led the ensemble cast in this tale of a corner in Upper Manhattan’s Washington Heights where different members of the close-knit Latinx community pursue their dreams. Leslie Grace, Melisa Barrera, Olga Merediz, Daphne Rubin-Vega, Gregory Diaz IV and Jimmy Smits also star in the critically acclaimed film, which received an A CinemaScore from audiences.

The film over-indexed on both Coasts, and particularly on the East Coast, where five of the top 10 theaters on Friday came from New York City alone. It also over-indexed among Latinos, who made up 40 percent of ticket buyers.

Sony’s family pic Peter Rabbit 2: The Runaway, the weekend’s other new offering, also came in behind expectations — although not as dramatically — with an estimated domestic debut of $10.4 million. The film received an A CinemaScore.

Overseas, where Peter Rabbit 2 had already opened in select markets, the family film took in another $10.7 million from 11 territories for a foreign tally of $57.9 million and $68.3 million globally.

The summer season is fully underway at the U.S. box office as the pandemic recovery continues, although grosses are still more tepid than in past years because of ongoing challenges facing the marketplace, including major theater closures in Canada, and hesitancy among some consumers. (There’s also cannibalization from streamers, such as HBO Max.)

“Another impressive performance for A Quiet Place Part II, a film that continues to enthrall audiences in its ‘theatrical first’ release and even in its third weekend, was able to grab the top spot despite the arrival of well-reviewed competition that also offered a streaming option for consumers,” says Comscore’s Paul Dergarabedian. “Is this enough?”

Warner Bros.’ The Conjuring: The Devil Made Me Do It declined 58 percent in its second weekend to $10 million for a 10-day domestic total of $43.8 million. Globally, the horror threequel cleared the $100 million mark to finish Sunday with a foreign cume of $68 million and $111.8 million globally.

Disney’s Cruella — which is also available on Disney+ Premier Access for $30 — rounded out the top five with $6.7 million in its third weekend for a domestic total of $56 million and global haul of $129.3 million.

June 13, 8:35 a.m. Updated with revised estimates.
June 13, 8:48 a.m. Updated with revised estimates.


 

 

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Box Office Milestone: ‘Quiet Place II’ Crosses $100M Domestically in Pandemic-Era First

BY PAMELA MCCLINTOCK | HollywoodReporter.Com

Troy Warren #reviews-all

The performance of John Krasinski’s horror-thriller is a win for a theatrical-only release.

A Quiet Place Part II continues to make plenty of noise at the North American box office.

The Paramount pic — in which John Krasinski returns to the directors’ chair — on Friday became the first movie in the pandemic era to cross the $100 million mark domestically upon finishing the day with $101 million in ticket sales.

Starring Emily Blunt, the movie accomplished the feat in 15 days. It also set a pandemic-era record when posting a four-day debut of $57 million over Memorial Day weekend.

“If we jumped into a time machine and went back a year, the once-commonplace milestone of crossing $100 million dollars almost overnight became a pipe dream for the beleaguered movie theater industry,” says Comscore’s Paul Dergarabedian.

Warner Bros. and Legendary’s Godzilla vs. Kong should also reach the milestone in the next several days, albeit nearly three months into its theatrical run. Heading into the weekend, the film’s North American total was $99.4 million (that could grow to $99.8 million by the end of Sunday).

The major caveat — Godzilla vs. Kong opened in late March, when the box office office recovery in North America had yet to commence in earnest. Many theaters still hadn’t reopened after virtually all indoor cinemas flipped off the lights in March 2020 because of the COVID-19 crisis.

Also, Godzilla vs. Kong, like all 2021 titles from Warners, launched simultaneously in cinemas and on HBO Max in a bid to boost WarnerMedia’s relatively new streaming service during a time of uncertainty regarding moviegoing habits.

A Quiet Place II is getting a traditional theatrical release, and won’t be available in the home via Paramount+ until 45 days after it first hit the big screen.

“This makes the stellar performance of A Quiet Place Part II even more impressive having reached this $100 million mark at a pre-pandemic pace,” says Dergarabedian. “It proves not only the power of the horror genre to draw audiences, but that the prestige and exclusivity of a theatrical-first release is undeniably without peer in terms of its ability to deliver huge financial dividends and long-term rewards.”

Now in its third weekend, A Quiet Place II is pacing ahead of expectations and could come close to matching — or surpassing — the debut of Jon M. Chu’s musical In the Heights in a surprise upset. (From Warners, In the Heights is available on HBO Max).

Both titles are estimated to earn $12 million to $13 million for the weekend. In the Heights was widely expected to take the crown with an opening in the mid-teens, or even $20 million, but needed to win over plenty of older customers. Polls show that moviegoers over the age of 35, and especially females, are far more reluctant to return to the multiplex for the time being.

So far, the genres that have done the best in recent weeks, as the box office recovery progresses, are horror and action.

The last film to earn north of $100 million in North America was Paramount’s Sonic the Hedgehog, which debuted in mid-February of 2021.


 

 

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Kevin Bacon Tapped for Villain Role in Legendary’s ‘Toxic Avenger’ (Exclusive)

BY BORYS KIT | HollywoodReporter.Com

Troy Warren #reviews-all

Peter Dinklage, Jacob Tremblay and Taylour Paige are already on the call sheet.

The Toxic Avenger will now be one degree away from Kevin Bacon.

Bacon has joined the cast Legendary’s reboot of the 1984 film from schlock movie house Troma Entertainment.

Peter Dinklage, Jacob Tremblay and Taylour Paige are already on the call sheet for the project, which gets underway later in June in Bulgaria with Macon Blair in the director’s seat.

Blair also wrote the script for the story of a struggling everyman who, when pushed into a vat of toxic waste, is transformed into a mutant freak who must go from shunned outcast to underdog hero as he races to save his son, his friends, and his community from the forces of corruption and greed.

The original film — with its environmental themes and superhero tropes subverted a la Deadpool, but with a grade-Z budget — went on to be Troma’s biggest hit, and the character became a mascot for the company. The original movie expanded across three sequel films, a stage musical production, a children’s cartoon TV series, and even a Marvel Comic.

Dinklage is headlining as the hero, with Bacon tapped to play a slick (and likely over the top) villain.

Bacon has played an array of bad guys and shady characters over his long career, including in comic book-centric films such as James Gunn’s Superand Fox’s X-Men: First Class. The actor currently stars in the critically acclaimed Boston crime drama series City on a Hill for Showtime, which has announced its third season, and recently wrapped crime thriller One Way with Travis Fimmel.

Bacon is repped by MGMT and Gaines Solomon.


 

 

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Marvel’s ‘She-Hulk’ Enlists Jameela Jamil as Villain

BY AARON COUCH | HollywoodReporter.Com

Troy Warren #reviews-all

The ‘Good Place’ actor will play Titania in the Disney+ series.

Jameela Jamil has joined the cast of She-Hulk, The Hollywood Reporter has confirmed.

The actor, who broke out with NBC’s The Good Place, will play the villain Titania. Marvel declined to comment on the casting, which first came to light last month via Giant Freakin Robot, with character details reported Thursday by The Illuminerdi.

She-Hulk stars Tatiana Maslany as Jennifer Walters, a lawyer and cousin of Bruce Banner (Mark Ruffalo). In the comics, Walters gained Hulk powers after an emergency blood transfusion from her cousin. Kat Corio is helming the She-Hulk pilot, with Rick & Morty scribe Jessica Gao serving as head writer. Ruffalo will appear on the show, and Tim Roth, who played the villain in 2008’s The Incredible Hulk movie, is also returning.

Jamil played socialite Tahani Al-Jamil on The Good Place, and her credits also include voice work on Jurassic World: Camp Cretaceous and DuckTales. Jamil steps into a character who dates back to 1984’s Secret Wars No. 3, where Titania was introduced by writer Jim Shooter and artist Mike Zeck. Though she grew up small, Titania, aka Mary MacPherran, gained super strength and endurance after being taken to an alien planet where Marvel’s heroes and villains had been transported to battle it out. Eventually, she became a rival of She-Hulk.

On Wednesday, Marvel launched its third Disney+ show, Loki, after finding success with WandaVision and The Falcon and the Winter Soldier. Also expected to debut this year are Ms. Marvel, Hawkeye and the animated What If…?, with She-Hulk expected to bow in 2022.

Jamil is repped by UTA and 3 Arts Entertainment.


 

 

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Mark Wahlberg in Antoine Fuqua’s ‘Infinite’: Film Review

BY DAVID ROONEY | HollywoodReporter.Com

Troy Warren #reviews-all

A confused man discovers his schizophrenic visions are actually memories from past lives just in time to save humanity in this high-octane sci-fi thriller debuting on Paramount+.

It’s an intriguing idea in theory to hitch the reincarnation beliefs of Eastern religions to a futuristic scenario of gifted souls with perfect recall of their past lives, split into good and evil factions at war over humanity’s survival. But Infinite is a soulless grind. Juiced up with a succession of CG-enhanced accelerated chases and fight action interspersed with numbing bursts of high-concept geek speak, Antoine Fuqua’s sci-fi thriller isn’t helped by a lead performance from Mark Wahlberg at his most inexpressive. His character is basically a charisma void with a permanently furrowed brow suggesting brain strain. It’s no surprise Paramount shunted this thrice-delayed theatrical release to its streaming platform.

Adapted by Ian Shorr (with a screen story by Todd Stein) from D. Eric Maikranz’s novel The Reincarnationist Papers, originally self-published in 2009, the film plays like an overcomplicated imitator of The Matrix that never pauses long enough to foster interest in a single character. It’s busy and bombastic but dull, explosive and assaultive but never exciting, with a James Bond entry’s worth of international locations — Mexico City, London, Thailand and Cambodia among them — that whizz by in a blur of sameness. Most of the plot seems like laborious exposition for a franchise that will never happen. If we’re lucky.

The high-speed, Fast & Furious-style opening takes place in the Mexican capital in “The Last Life.” A man driving a red Ferrari, later identified as Heinrich Treadway (Dylan O’Brien), zips through the streets with cop cars and other vehicles in pursuit, including one carrying his comrades, Leona (Joana Ribeiro) and Abel (Tom Hughes), who remind him of the importance of keeping “the egg” out of their adversaries’ hands. They have just enough time to reaffirm their love before an assassin blows them to smithereens and Treadway takes a death-defying leap out of his car as it flies off an under-construction bridge.

Back in New York City in “This Present Life,” Evan McCauley (Wahlberg) wakes up disoriented from that vivid dream and heads off to interview for a security position at an upscale brasserie. But a background check revealing his history of mental illness has already ruled him out. Fortunately, he has a sideline handcrafting samurai swords using a process not seen since feudal Japan — an art he somehow remembers without ever having studied it. He sells them to gangsters in exchange for antipsychotic meds; when he gets shorted on a deal, things get messy and he’s detained by police.

The sword has barely been entered into evidence when it draws the attention of Porter (Toby Jones), a senior operative who works out of a swanky book-lined study tricked out with the nifty finger-swipe hologram technology that’s become a sci-fi cliché. He urges his associate Nora Brightman (Sophie Cookson) to investigate with haste, reasoning that if they know about the sword, their enemy Bathurst does too.

Sure enough, Bathurst (Chiwetel Ejiofor, in glowering form) turns up at the prison where Evan is being held and starts playing Russian Roulette while quizzing him about his past lives until Nora busts him out with an armored sports car. Another big chase follows with a hailstorm of bullets before she whisks him off in a private jet to an isolated mountain retreat somewhere in Asia, promising to sort out his jumbled memories.

Nora informs Evan that he has fought Bathurst in different incarnations going back centuries, and that the visions in his head are not a product of schizophrenia, as countless doctors have stated. She believes he is an Infinite, one of a secret society of some 500 people across the globe able to recall their past lives and reconnect in each new one. His development of this skill has been stalled by a steel plate in his head after a teenage suicide attempt. Just summarizing this plot is exhausting.

Nora’s cohorts are distinguishable more by their cool looks and names — Garrick (Liz Carr), Kovic (Jóhannes Haukur Jóhannesson), Trace (Kae Alexander) — than by character definition. They belong to the group of Infinites known as the Believers, dedicated to the protection and growth of all humanity. Bathurst and his heavily armed militia are part of their opposition, the Nihilists, who believe the eternal cycle of reincarnation is a curse that must be ended. Hence the egg, a silver filigree Fabergé-type tchotchke capable of unleashing some kind of chemical weapon that attacks the DNA of any living organism. Yikes!

Anyone paying attention will know by now that Evan was once Treadway so they need to unlock his memory to find the egg before the Nihilists. The obligatory quick training montage refreshes his fight skills, but his neural network is a little more sluggish, so the Believers rush him off to their brain guy in London, Artisan (Jason Mantzoukas), for a “total mental reboot.” By this time that was precisely what I wanted. There’s a moment of suspense when Artisan’s radical methods appear to have gone too far. But Evan/Treadway and company are soon back in action, with Bathurst’s goons on their heels.

The most prolonged of the ensuing clashes takes place on a plane between Bathurst and Evan, and if you’ve seen The Old Guard, you’ll be recalling how much more fun it was to watch Charlize Theron and KiKi Layne go mano a mano in similar circumstances, even if they didn’t have a rotten egg in the bomb hatch. There is a female face-off at Bathurst’s grand estate in Scotland, where Nora tackles his sneering sidekick Shin (Wallis Day) in order to break into his library and free the souls of all the Believers imprisoned there in digitized limbo. Or something. Among them is Nora’s lost love…Abel.

That might explain why the chemistry in her many scenes with Evan feels so stiff. Or maybe it’s Wahlberg’s wooden delivery of the deadpan cracks that are meant to pass for humor. One can imagine the original casting of Chris Evans working better in that regard, though it’s still a stretch to think he could have made the contorted plot less of a yawn.

Fuqua has a solid enough track record both with character-driven thrillers like Training Day and more pedestrian popcorn like The Equalizer and its sequel. He handles his chores here with slick cynicism, though it’s hard to discern much serious investment in a story that shrugs off its spiritual dimensions in favor of one visceral smackdown after another. The attempt toward the end to add some philosophical heft by underlining the hope that each life contains the potential to add up to something bigger than itself is not going to convince anyone.

In the absence of substance or thematic texture, Fuqua capably steers cinematographer Mauro Fiore to keep his dynamic camera in constant motion, and slaps on plenty of Harry Gregson-Williams’ tense score, with its urgent percussion elements. Still, it’s a mercy when Infinite finally ends.


 

 

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Kevin Hart Comedy ‘Die Hart’ Renewed at Roku

BY RICK PORTER | HollywoodReporter.Com

Troy Warren #reviews-all

The former Quibi series — which was also picked up at the shortform outlet before it folded — becomes the streaming device maker’s first renewal.

Die Hart, an action comedy series starring Kevin Hart, has been renewed for a second season — for the second time.

The series made its Roku Channel debut on May 20 as part of the library the streaming device maker acquired from defunct shortform streamer Quibi. The pickup — season two will be called Die Harter, keeping up the play on Die Hard and its sequel — is the first renewal for what are now called Roku Originals.

It’s not, however, the first renewal for Die Hart. Quibi picked up the series for a second season in September 2020, about a month before the streamer announced it was shutting down. Production on season two hadn’t started, and the renewal didn’t carry over to Roku. The company says Die Hart has performed well enough since its launch, however, to merit another run. (Roku is following the familiar streaming playbook of not releasing viewing data for its programming.)

“Die Hart exploded out of the gate and after a record-setting debut weekend, has quickly become one of the most watched Roku Originals on The Roku Channel,” said Colin Davis, head of original scripted programming at Roku. “We couldn’t be more excited to bring an equally hilarious, action-packed second season to the record number of viewers who have watched in recent days.”

Season one of Die Hart follows the comedian, playing a fictionalized version of himself, as he looks to break out of his “comic sidekick” niche and land an action-star role. He goes to an action-star school run by a lunatic (John Travolta), where he’s pushed by a rival student (Nathalie Emmanuel).

Season two will be produced by LOL Studios, the production division of Hart and Jeff Clanagan’s Laugh Out Loud.

“The return of Die Hart marks a pivotal moment in the continued growth and expansion of LOL Studios,” said Clanagan, CEO of Laugh Out Loud. “We’re excited for the opportunity to team up with Roku and be the first Roku Original to get a second season. We can’t wait for fans to dive into what is sure to be an even bigger, more action-packed season two.”

Hart and Clanagan executive produce Die Hart with Tripper Clancy, Candice Wilson, Bryan Smiley and Thai Randolph. Director Eric Appel is set to return for season two.


 

 

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Bill Skarsgard in Talks for ‘John Wick 4’

BY MIA GALUPPO | HollywoodReporter.Com

Troy Warren #reviews-all

The latest installment in the Lionsgate franchise is set for a Memorial Day weekend release in 2022.

Bill Skarsgard is in talks for the upcoming John Wick film.

The fourth installment in the Lionsgate franchise will see Keanu Reeves return as a formerly retired hitman who finds himself stripped of the protection from a shadowy international assassins guild.

Chad Stahelski is returning to direct from a script by Shay Hatten and Michael Finch.

The plan is to film the fourth and fifth John Wick features back-to-back. John Wick 4 is now scheduled for a Memorial Day weekend release on May 27, 2022, after being pushed back a year from May 21, 2021, due to the pandemic. (The first three movies have generated over $579 million worldwide.)

Skarsgard’s upcoming projects include Naked Singularity, starring John Boyega and Olivia Cooke, and period adventure thriller Emperor.

Collider was the first to report the news.


 

 

 

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Chris Harrison Exits ‘The Bachelor’ Franchise After 19 Years

BY JACKIE STRAUSE | HollywoodReporter.Com

Troy Warren #reviews-all

The veteran host of the ABC franchise had stepped aside after a racism controversy ignited during the 2021 season of ‘The Bachelor.’

Chris Harrison has officially parted ways with The Bachelor franchise.

After stepping aside during the controversial 2021 season of The Bachelor, the host and producer — who has served as the face of the hit ABC and Warner Bros. TV franchise since 2002 — has exited his veteran role after reaching a confidential settlement and reportedly big payday, The Hollywood Reporter has confirmed.

The news comes one day after the premiere of the 17th season of The Bachelorette and amid an unsettled time for the reality dating series, which has been without its host since early February. Harrison announced that he was stepping aside from his role following an interview where he defended Rachel Kirkconnell — the front-runner of the then-airing historic season of The Bachelor with first Black Bachelor Matt James — when racially offensive behavior in her past resurfaced. Harrison offered two social media apologies following the Feb. 9 interview, including the announcement that he was taking an indefinite hiatus after consulting with ABC and Warner Bros. “I am dedicated to getting educated on a more profound and productive level than ever before. I want to ensure our cast and crew members, to my friends, colleagues and our fans: This is not just a moment, but a commitment to much greater understanding that I will actively make every day,” he vowed.

Former Bachelorette leads Tayshia Adams and Kaitlyn Bristowe were later tapped to step in as his replacements for Katie Thurston’s Bacheloretteseason, which premiered on Monday night. Bachelor in Paradise, meanwhile, is the next cycle to head into production and returns with its seventh season mid-August. The summer spinoff will reportedly be filling Harrison’s role with a rotating roster of guest hosts, with names including celebrity superfan David Spade having been recently reported. ABC, Warner Bros. and Harrison’s attorney, Bryan Freedman, declined to comment on the reports when reached by The Hollywood Reporter at the time, as the behind-the-scenes negotiations about Harrison’s future with the franchise remained ongoing.

Harrison has hosted The Bachelor, The Bachelorette and its many spinoffs since the Mike Fleiss-created franchise first launched. After his interview sparked widespread backlash, however, the franchise became embroiled in an ongoing racism controversy that ended up engulfing The Bachelor. James’ season was meant to be historic and reflect more inclusivity following backlash in 2020. Instead, the cycle exposed systemic issueswithin the reality series over its continued mishandling of race and lack of diversity among its decision-makers. Kirkconnell’s history, and Harrison’s initial defense of her behavior, resulted in more criticism and calls for inclusivity and change that only grew louder as the landmark 25th season played out.

On March 4, nearly one month after the firestorm was ignited, Harrison had said he planned to return as host, but did not specify when. He also revealed that he had been working with a race educator and strategist. As his future with the franchise continued to remain up in the air, Harrison retained power attorney Freedman later that month.

When announcing that Harrison would not return to host Thurston’s season of The Bachelorette, the executive producers said in their statement that they “support Chris in the work that he is committed to doing.” They also said they vowed to improve the BIPOC representation of its crew, including among the executive producer ranks, as they “continue the dialogue around achieving greater equity and inclusion within The Bachelor franchise.” When announcing Adams and Bristowe, the pair were called “mentors.” (Months later when the premiere episode aired, they were labeled as “co-hosts” on air.)

Even with Harrison’s future uncertain, ABC tripled down on the Warner Bros. TV and Next Entertainment-produced franchise. For the remainder of 2021, the Bachelor franchise will be taking over Monday nights for back-to-back TV seasons. Following the return to Paradise, which premieres Aug. 16, The Bachelorette returns in the fall with star Michelle Young, who was James’ runner-up and who will be the third Black Bachelorette, following Adams and Rachel Lindsay. A host or hosts for her season have yet to be announced.

Meanwhile, The Bachelor, which has yet to be officially renewed, typically returns in January, and the “seniors” spinoff, which has been putting out casting calls since the most recent Bachelor season, also remains in the works.

Paradise, which reunites former contestants from The Bachelor and The Bachelorette and has been hosted by Harrison since it launched, was postponed for the 2020 summer season when productions shut down during the height of the pandemic. After filming COVID-safe “bubble” seasons with 2020’s The Bachelorette, 2021’s The Bachelor and the upcoming season of The Bachelorette with Thurston — which filmed at a resort in New Mexico and was the first cycle to not have Harrison as host — the producers behind the franchise will continue to apply its pandemic-era blueprint to future cycles.

The current star of the franchise, meanwhile, applauded the decision to have Adams and Bristowe step in as hosts when recently interviewed by THR. “I do think it’s beneficial to have previous Bachelorettes there to support the upcoming lead. There is so much that you think you know and you don’t. So, however they incorporate that, I think it’s so important to make sure that [the lead has] access to getting advice from any Bachelorette who has gone through it,” she said, when asked about how they should handle Young’s season.

She continued, “Being the Bachelorette is such a unique journey that not a lot of people understand. [Tayshia and Kaitlyn] have advice that they could give me that no other woman could. It was great to have women supporting women and have these great conversations throughout the entire process from start to finish. It’s all about the women supporting women and, if it wasn’t for them, I don’t know that I could have done it.”

Amid widespread reports a deal was nearing, Deadline was first to confirm Harrison’s exit had been executed. ABC and Warner Bros. TV could not be reached for comment on Tuesday.


 

 

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CBS’ ‘The Neighborhood’ Taps Meg DeLoatch as Showrunner

BY RICK PORTER | HollywoodReporter.Com

Troy Warren #reviews-all

The veteran writer and producer takes over for series creator Jim Reynolds, who left the show amid complaints about his leadership.

CBS has found a new showrunner for its comedy The Neighborhood.

Meg DeLoatch (Netflix’s Family Reunion) will take the reins of the series from creator Jim Reynolds, who exited at the end of the 2020-21 season, the show’s third, amid reports of complaints about his leadership of the show, particularly with regard to race-related issues. Two of the CBS Studios show’s Black writers exited after finishing season three.

The series revolves around the relationship between a Black family and their white neighbors, who move into a part of Pasadena historically populated by African American families.

The Neighborhood, which was renewed for a fourth season in February, has become one of CBS’ more successful comedies. The series, which stars Cedric the Entertainer and Max Greenfield, averaged about 6.8 million total viewers and a 1.0 rating among adults 18-49 this season.

DeLoatch created and serves as showrunner of Family Reunion, whose second season debuted in April. Should it be picked up for a third, DeLoatch would remain an executive producer but hand over showrunning duties.

DeLoatch also created UPN’s Eve and has worked on Raven’s Home, Fuller House, VH1’s Single Ladies, One on One and Family Matters, among others. She is repped by Gersh and Morris Yorn.

Aaron Kaplan, Dana Honor, Wendi Trilling, Cedric the Entertainer and Eric Rhone also exec produce The Neighborhood.