CANNES– Rolling off its recent output deal with AMC Networks, Entertainment One Television Intl. has inked a raft of sales on AMC’s “Turn” and “Halt And Catch Fire” (pictured above) as well as SundanceTV’s “The Red Road,” among other shows. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season Deals were unveiled by Prentiss Fraser, senior VP of worldwide sales and acquisitions for eOne Television International, on April 7, the first day of MipTV. eOne sold “Halt And Catch Fire” to France’s Canal Plus and “Turn” to OCS, another French paybox. The shows were also picked by C More (Scandinavia) for exclusive payTV rights; HBO Nordic for SVOD; TV2 (Norway); and Yes DBS Satellite Services (Israel). eOne closed a deal with Sundance Channel Global for “The Red Road” in multiple territories across Europe, North America and Latin America. The series will bow on the Sundance Channel Global on April 24. Under the terms of its output deal with AMC Networks, eOne handles international distribution for all original scripted series from AMC and SundanceTV. eOne also sold multiple seasons of “Hell On Wheels” to LoveFilm and Watchever in Germany, as well as NOW in Russia. “The Walking Dead” was snatched up by Media Access (Pakistan), RTL (French-speaking Belgium) and TV Peretz (Russia). eOne is launching a compelling slate of new titles at MIPTV including the AMC and SundanceTV titles. Buyers will have the opportunity to meet with Seth Numrich, Heather Lind and creator/executive producer/showrunner Craig Silverstein from TURN as well as Kerry Bishé and executive producer Mark Johnson from HALT AND CATCH FIRE. TURN will premiere on AMC in the US on April 6th and HALT AND CATCH FIRE will premiere on June 1st.

RTL CBS Asia Entertainment Network and Sony Pictures Television have announced a deal that will bring “House of Cards” to Southeast Asia on May 1 exclusively on the new RTL CBS Asia Entertainment channel. RTL CBS Asia Entertainment Network is a joint-venture formed in August 2013 between German powerhouse RTL Group and CBS Studios International. Its two new channels, RTL CBS Entertainment HD and RTL CBS Extreme HD, will be distributed in more than 20 Asian markets. RTL CBS Entertainment HD is currently available in Malaysia on HyppTV, in the Philippines on SKYcable and Cablelink; in Singapore on mio TV and in Thailand on TrueVisions. Other shows they air include “Under the Dome,” “Beauty and the Beast,” The X Factor USA,” and “Late Show with David Letterman.” DANISH SOCIAL EXPERIMENT FORMAT ‘MARRIED AT FIRST SIGHT’ GOES TO RUSSIA Danish hit format “Married at First Sight” will be adapted for Russia by top Russian independent broadcaster CTC which has picked up the rights from Red Arrow International. In “Married at First Sight” six singles take the radical step of marrying a complete stranger and decide whether to stay married after six weeks. The extreme social experiment show, to be titled “Zhenaty s pervogo vzglyada” in Russian, will premiere on April 20th on CTC. “Married” has been going strong on Denmark’s DR3´s where it debuted last year, besting the channel average by almost 500%. It will now air on DR’s main channel, DR1. Originally created by Red Arrow´s Snowman Productions, “Married at First Sight” has previously sold to over 15 countries. Red Arrow Entertainment Group is a wholly owned subsidiary of the Germany’s ProSiebenSat.1 Group. ITALO PUBCASTER RAI LAUNCHES EXPANDED SALES DIVISION Italy’s state broadcaster RAI is setting up an expanded new sales oufit that will combine its current RAI Trade sales division with its RAI Net web unit and also absorb digital sell-through of its RAI Cinema movie properties. The new entity – which has been approved by the RAI board but is still without a name – will be handling foreign rights of all RAI product, comprising film, TV, sports, music, and also digital distribution in Italy for 01 Distribution, which is RAI Cinema’s theatrical arm. RAI’s new beefed-up sales division, which be operational within the next three months, will be headed by Luigi De Siervo, the current head of RAI Trade. Besides sales De Siervo will also be in charge of setting up some international co-productions starting with the animation field where he is seeking partners for kiddie series “Pio the Chicken,” a spin-off of an Italian song with animal sounds and related YouTube video which went vastly viral. “RAI has decided to meet the challenges of the market with a sales company that can ensure flexibility and prompt timing,” De Siervo commented in a statement. ITV TAKES ON WORLD SALES ON FOUR NEW SHOWS: “TEXAS RISING,” “AQUARIUS,” “THE GOOD WITCH,” AND “SCHITT’S CREEK” ITV Studios Global Entertainment has taken world sales on four new scripted series: Roland Joffe-directed “Texas Rising,” “Aquarius,” “The Good Witch” and “Schitt’s Creek.” “Texas Rising,” about the rise of the legendary Texas Rangers, is co-produced by A+E Studios and ITV Studios America, and produced by Thinkfactory Media. The cast comprises Bill Paxton, Brendan Fraser and Ray Liotta. “Aquarius” stars David Duchovny as an undercover L.A. cop in the late 1960′s investigating Charles Manson. It is produced by ITV Studios America in association with Marty Adelstein Productions. “The Good Witch” is based on the hit Hallmark the TV movie franchise. The new skein, which is a Whizbang production, will start shooting early next year. “Schitt’s Creek” is about a formerly filthy rich video store magnate gone bust and forced to relocate his family to a crummy little town he once bought as a joke when he was loaded. It toplines Eugene Levy (“American Pie”) and and Catherine O’Hara. The series is produced by Not A Real Company Productions Inc. and commissioned by Canada’s CBC. It is created by Eugene Levy and Dan Levy who serve as Executive Producers alongside Fred Levy, Andrew Barnsley and Ben Feigin of Anonymous Content. Production is set to start this spring. ITV Studios Global Entertainment is the sales arm of ITV, which is the UK’s largest commercial broadcaster. SWEDEN’S TV4 ORDERS UP SECOND SEASON OF ‘WELCOME TO SWEDEN’ Sweden’s top commercial broadcaster TV4 has ordered a second 10-episode season of Amy and Greg Poehler’s “Welcome to Sweden” which will bow on NBC in the U.S. on July 10 at 9 p.m. Produced by Entertainment One and based on Greg Poehler’s true life story, the half-hour comedy series is a a fish-out-of-water comedy series about a New York accountant, Bruce (Greg Poehler), who falls in love with a Swedish girl, Emma (Josephine Bornebusch) and follows her to Sweden. “Viewers love the show and the ratings are fantastic,” enthused Fredrik Arefalk, Executive Producer of WTS and Head of Channel TV4, in a statement. ”We really look forward to a new season and to keep on following Bruce and Emma and their continuing struggle to settle down in Sweden.” Lensed in Sweden, New York and L.A., the offbeat show marks TV4′s first-ever English-language series. NBC picked up U.S. rights at Mipcom in October 2013. eOne is handling world sales. Amy Poehler will speak at the MIPTV Media Mastermind Keynote in Cannes today (April 7) at 5:20 p.m. in the Grand Auditorium. DREAMWORKS CLASSICS DRUMS UP MORE DEALS ON ‘THE OWL & Co’ DreamWorks Classics has inked a raft of new deals in Europe, the Middle East, and Asia on “The Owl & Co,” the kiddie series produced by Paris-based Studio Hari in tandem with France Televisions. The series for kids ages six and up about The Owl whose sole concern is to hunt caterpillars has gone to Super RTL (Germany); DR (Denmark); Planeta Junior (Italy, Spain, Portugal, Greece and Cyprus); MBC (Middle East); Minika Channel (Turkey); TVB (Hong Kong) and Cineplex (Thailand). The original series featured fifty-two one minute (52 x 1 minute) episodes that received top ratings and aired in 200 countries Worldwide. Four television specials based on the series that preemed last year will roll out internationally throughout 2014 along with the all-new “The Owl & Co.” episodes in a longer (78 x 7) format. EMMETT/FURLA AND TOWER 18 PRODUCING SECOND SERIES OF ‘SAF3′ Emmett/Furla and Tower 18 Productions have renewed Malibu-set syndicated TV series “SAF3,” the second series of which will premiere in the U.S. simultaneously for English-speaking and Latino audiences, reaching the latter via Univision’s UniMas platform. The 20 episode first season premiered in September 2013 and airs in over 90% of the United States. Tribune Broadcasting serves as the lead station group. Internationally, “SAF3″ has been sold in over 60 countries. The hourlong skein about an elite division within the Malibu Fire Department was created by Tai Collins and Gregory J. Bonann who co­-created “Baywatch.” Chris Philip (Sierra Engine), Nadine de Barros (Fortitute) and Tannaz Anisi (13 Films) are handling worldwide sales. Hank Cohen (Trifeca) is handling domestic distribution and Dave Soberai (Millenium) handling ancillary sales. ISRAEL’S ARMOZA SCORES TRIO OF DEALS IN CANADA Israel’s Armoza Formats has scored three deals in Canada where its scripted drama “Hostages” will air in the original version in French speaking territories via SVOD platform tou.tv. Additionally, Armoza’s game show “While You Were Sleeping,” touted as being the first game show that gives you money while you are fast asleep, has been picked up by French-speaking Canadian specialty youth channel VRAK.TV. While divorcees-themed factual format “You, Me and My Ex,” has been acquired by Toronto-based production company for English-language Canada. “Hostages,” which also airs on the BBC in the original version and on CBS in a U.S. adaptation, is about surgeon who becomes entangled in a political conspiracy when she is ordered to sabotage a routine operation on the President, or her family will die. The original Israeli series, produced by Chaim Sharir (also of “The Naked Truth”), and written by Omri Givon and Rotem Shamir, aired simultaneously in Israel on Channel 10 while the US adaptation was airing on CBS. BANIJAY BUYS ‘THE LIE’ FOR FRANCE French media conglom Banijay Group’s Air Productions has acquired “The Lie,” dubbed the first quiz show without questions, to develop the format for French audiences. Sold by Red Arrow International and developed in the UK by STV, TV3 and GroupM Entertainment, “The Lie” has been a huge hit with Irish audiences, exceeding the slot average on Irish channel TV3 by up to 32%. A second season has been commissioned. The new show gives a team of two contestants the chance to hit the jackpot if they can separate fact from fiction during increasingly tense rounds where they risk increasing amounts of money on their ability to spot “The Lie.” BETA SELLS ‘VELVET’ TO ITALY AND FRANCE Germany’s Beta Film has sold its new show “Velvet,” a period drama set in a famous Madrid fashion boutique, to Italy’s RAI, for an Italo adaptation, and to France’s M 6 which will air the original Spanish version. Set in the 1950′s and 60s in Madrid’s dazzling Art Deco clothing store, Galerias Velvet, the show turns on the forbidden affair between the fashion empire heir Alberto and the lowly seamstress Ana. Spanish network Antena 3 has ordered a second season of “Velvet“ after season-one debuted with a strong 25 percent primetime share, drawing some 5 million viewers. The show is created by Ramón Campos and Gema R. Neira, the team behind “Grand Hotel,” which is considered Spain’s “Downton Abbey” of sorts. “Grand Hotel” was sold by Beta to more than 60 territories, including Germany, UK, US and France. RAI Uno and Cattleya are currently producing a “Grand Hotel” remake for Italy.

CANNES– Studiocanal’s Tandem Communications and Lionsgate, who signed a co-financing and distribution deal last year, are set to team up on this first project, the procedural crime drama “Sex, Lies and Handwriting.” Showrunner Nancy Miller (“Saving Grace”) and writer Annie Brunner (“Against The Wall”) have come on board the 12 episode one-hour series, which will start lensing on location in Vancouver this summer. Sea To Sky Studios, Lionsgate and Thunderbird Films’ Canadian studio joint venture are producing. Bell Media (Canada), TF1 Network (France) and ProSiebenSat.1 TV Deutschland (Germany) are co-developping the series. The new show was unveiled on April 7, on MipTV kick-off day, by Tandem Communications prexy Rola Bauer and Lionsgate Television Group chairman Kevin Beggs. “We’re very excited to be part of this unique project with Lionsgate and Sea To Sky,” says Tandem’s prexy Rola Bauer, who also served as executive producer on the series. ”With our wonderful network partners and among the best of show-runner and writer talent in the industry on board, we believe ‘Sex, Lies and Handwriting’ is poised to be one of the most original and intriguing new series in the past few years.” Lionsgate’s Kevin Beggs added, “Our goal has been to fast track ‘Sex, Lies and Handwriting’ by leveraging our combined extensive relationships on both sides of the Atlantic, and we’re pleased by our progress at this early stage in the creation of the series.” Inspired by Michelle Dresbold’s eponymous book, “Sex, Lies and Handwriting” follows the exploits of ‘Katie Bold,’ an accomplished artist and forensic handwriting expert who gets unexpectedly draws her into the world of crime-solving. Tandem and Lionsgate are handling distribution worldwide outside of Canada. The series is exec produced by Bauer, Jeff Sagansky, Sunta Izzicupo and Chris Barrett. Ivan Fecan and Brett Burlock, on behalf of Sea To Sky Studios, also serve as executive producers.

CANNES– French pay TV giant Canal Plus has acquired Hugo Blick’s “The Honorable Woman,” the politically engaged series toplining Maggie Gyllenhaal, which world-premieres today at Mip TV. “The Honorable Woman” turns on Nessa Stein, a young woman who witnessed the assassination of her father by the Palestinian Liberation Organization, and stands at the forefront of the Middle East peace process. But after awarding a lucrative contract to a Palestinian businessman, who is later found dead, she finds herself under the close scrutiny of Whitehall and the Secret Intelligence Service. Repped by BBC Worldwide, the drama was produced by Drama Republic and Eight Rooks for the BBC. The U.S. channel Sundance TV co-produced. Gyllenhaal will attend the premiere of the show today, along with co-star Andrew Buchan, exec producer Greg Brenman (Ripper Street) and Blick, writer-director of “The Shadow Line.” The screening will be followed by a Q&A. “The Honorable Woman” was just acquired by HBO Nordic. Canal Plus will start airing the show in 2015. Canal Plus also nabbed “Halt And Catch Fire,” AMC’s new hit skein, for its recently-launched Canal Plus Series channel.

CANNES– Variety caught up with Caroline Torrance, who took the reins of Zodiak Media’s international scripted in October. Torrance joined Zodiak from BBC Worldwide where she headed scripted, content and production of such high profile shows as “Da Vinci’s Demons.” Owned by giant Italian conglom De Agostini, Zodiak Media ranks as one of Europe’s leading producer and distributor of drama series and formats, including “The Returned,” “The Girl with the Dragon Tattoo,”"The Inbetweeners,” “Totally Spies” and “Being Human.” It operates in 17 countries and owns Yellow Bird in Sweden, Marathon in France and Bwark in the U.K., among other shingles. Zodiak Media’s MipTV slate boasts French hit crimer “Braquo III,” Swedish comedy series “Solsidan” and entertainment format “Dropped.” Torrance discussed Zodiak Media’s plan to expand its geographical footprint in the U.S., Spain and Italy, as well as production trends for international drama series. How do you envision the evolution of Zodiak’s strategy with regards to in-house and third-party productions? We are looking to grow our in-house drama productions both in terms of domestic productions and also collaborations within the Zodiak group. We already have well established operations in the Scandinavia, France, Belgium and the UK and we are looking to expand in the US, Spain and Italy. In terms of third party productions we encourage producers to come and talk to us with their ideas. We can help them in terms of raising co-production finance as well as being a successful distributor for the finished programme. What are the emerging markets for interesting drama series? What countries are on your radar? It is a great time for drama in the international market. Series are traveling everywhere. Channels are no longer so concerned about language. They are looking for exciting, well produced series from wherever they find them. Our most recent sales deals epitomize this trend: pan-Asian platform Cinemaworld recently acquired a raft of European drama, while Russia’s first broadcaster (channel One) acquired both ready-made and format rights to the French prestige drama series “Braquo” and “The Returned.” We are therefore more than ever looking to grow our catalogue with high quality drama, wherever it comes from. What kind of series works best in today’s market? Crime is always popular and shows no sign of decreasing. Major event pieces also and we have just announced 2 major productions. “Versailles” to be co-produced by Capa Drama and Marathon for Canal Plus and “Occupied” – a co-production between Yellow Bird, GTV, TV2 Norway and ARTE. Genre series – like “The Returned” – are very popular right now. Are you looking to produce more of them? Definitely. “The Returned” produced by Haut et Court TV was a fantastic success for us – sold in 75 territories to date. It broke through in markets that would not normally consider subtitled series. We have quite a few shows in development and would love to have more in our catalogue. What’s your take on remakes? Are you looking to produce more remakes of your popular shows? Again there is real interest in remakes and for channels to look at what we has been produced in other territories and adapt for their local market. At the moment we have a lot if interest in “Solsidan” – a Jarowskij production… This is a very popular comedy in Sweden and perfect to be re-made. Are you aiming to produce more English-language shows? Our company - Touchpaper – is a very successful producer in the UK. They produced “Being Human” which was sold into over 200 countries as well as being remade for Syfy in the US. They also produced the BAFTA award winning series “Murder” and are in production and development on a number of exciting series. How hard is it to finance ambitious series today? What new sources of financing do you have access to? How important are international pre-sales in the financing of an upscale series? The market is good at the moment. Of course it can be tough but there are lots of opportunities and a real will amongst producers to find areas of collaboration. Co-productions, pre-sales, location and tax incentives, distributor MGs are all important in making up the jigsaw puzzle of funding but no two shows are ever the same. What do you hope to achieve at Zodiak? Zodiak’s stated aim is to increase both its own drama production and it’s representation of third party producers over the next few years so I am actively working with Zodiak producers to develop ideas suitable for the international market as well as looking for producers to bring us great ideas.

CANNES — Xbox Entertainment Studios and U.K.’s Channel 4 have inked a co-production deal for drama series “Humans,” based on the Swedish sci-fi drama “Real Humans.” Distribution will be handled by Shine Intl. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season The series, which will comprise eight hour-long episodes, will be produced by Kudos (“The Hour,” “Utopia,” “Broadchurch,” “The Tunnel”). Channel 4 in the U.K. and the Xbox platform in North America will share a 2015 premiere broadcast window. “Humans” is an English-language adaptation of Sveriges Television (SVT) and Matador Films’ series, which will be penned by Sam Vincent and Jonathan Brackley (“Spooks,” a.k.a. “MI-5″). Show is set in a parallel present where the latest must-have gadget for any busy family is a “Synth” — a highly-developed robotic servant that’s so similar to a real human it’s transforming the way people live. When a rushed-off-his-feet suburban father of three buys a refurbished second-hand Synth, he hopes it will relieve some domestic pressure, and paper over the cracks of his marriage. But sharing their life with a machine has far-reaching and chilling consequences — for this Synth, the cuckoo in the nest, is harboring a secret. Filming in the U.K. will begin in summer 2014, with casting to be announced. Exec producers are Jane Featherstone (“Broadchurch,” “Utopia,” “The Hour”) and Derek Wax (“The Hour,” “Occupation,” “Lip Service”) for Kudos, and Henrik Widman and Lars Lundstrom for Matador Films, and Chris Fry (“The Smoke”) is to produce. Nancy Tellem, president of Microsoft’s Xbox Entertainment Studios, said: ” ‘Humans’ not only questions personal relationships, but we loved how this sci-fi show toys with reality and our connection to technology.” She adds: “This deal with Channel 4 and Kudos underscores Xbox Entertainment Studios’ commitment to programming premium TV series with global partners, and creating engaging interactive experiences — and sits alongside other original commissions including a Halo TV series executive produced by Steven Spielberg.” Channel 4 head of drama, Piers Wenger, said: “In ‘Humans,’ Sam and Jon have not only crafted an ingenious and imaginative thriller, but they’re also asking big, thought-provoking questions about how we live. I’m thrilled to be working once again with the team at Kudos and to be partnering with Xbox to bring this extraordinary and epic series to the screen. This is the first co-production commission to benefit from Channel 4’s increased investment in drama and reaffirms our commitment to ambitious, highly original drama series.” Featherstone said: “Exploring themes of love, discrimination and integration, this thrilling, beautifully written series allows us to get under the skin of what it means to be human in the most compelling way. The bold, innovative storylines and subject matter lend themselves perfectly to this pioneering collaboration with Channel 4 and Xbox.” Commissioned for Channel 4 by Wenger and Beth Willis, and for Xbox Entertainment Studios by Tellem, the deal was brokered by Dan Isaacs, COO of Kudos, Ben McLean, SVP of business affairs for Xbox Entertainment Studios, Channel 4’s director of commercial affairs Martin Baker, and by Matt Vassello and Gordon Synn on behalf of Shine Intl.

CANNES — Youth programming digital upstart VICE Media and FremantleMedia, the distribution-production giant behind shows like “Idols,” “Got Talent” and “The X Factor,” launched their joint-venture Munchies channel at MipTV Monday in Cannes. FremantleMedia is repping the channel’s shows, which target the youth demo, in international markets. Keith Hindle, CEO digital and branded entertainment, FremantleMedia, said that a U.S. cable network is in talks to acquire Munchies’ content, but would not give details. Munchies, which is named after VICE’s existing flagship food show, is a video-driven online channel that sets out to combine the fast-paced pumping-style VICE is known for with the production capability and global reach of FremantleMedia. The shows are aimed at audiences from 18 to 34 years old, which the partners believe have been ignored by mainstream producers and broadcasters of food shows. Hindle said: “In TV it is increasingly hard for us and anybody else to launch new content on television that attracts a younger demo. When you see a new show launching on television networks around the world, look at the young demo that they have attracted and very often it is lower than the show that it replaced in that time slot in the 18-34 demo. VICE have been very successful at attracted that young demo to the new content they have launched.” Five shows were unveiled at MipTV: “Being Frank,” “Munchies: Chef’s Night Out,” “Fresh Off the Boat,” “Girl Eats Food” and “F*ck, That’s Delicious.” Four of the shows are presenter led: “Being Frank” is delivered by two restaurant owners from Queens, New York, Frank Falcinelli and Frank Castronovo; “Fresh Off the Boat” is fronted by Taiwanese-American hip-hop aficionado Eddie Huang; “Girl Eats Food” is hosted by British food fantasist Joanna Fuertes-Knight; and “F*ck, That’s Delicious” is presented by chef turned rapper Action Bronson. Eddy Moretti, VICE chief creative officer, said that mainstream producers of food programming have not served the youth demo well. “TV missed the boat on this kind of content because they didn’t turn over their development machinery to these kids,” he said. “There’s a changing of the guard.”

Barbara Walters has set May 16 as her final appearance on ABC’s daytime strip “The View” as she retires from TV journalism. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season Walters’ 50-plus years in television will be feted that night with a two-hour primetime special on ABC. “In this business there are legends, there are icons, and then there is Barbara Walters,” said Disney chairman-CEO Bob Iger. “She’s a dear friend and colleague as well as someone I deeply admire, and it’s impossible to fully convey her impact and influence on television. She broke barriers, defied convention, made history and set the standard for journalistic excellence for more than 50 years. It’s hard to imagine television without her.” Walters speaks exclusively to Variety about her long career and post-retirement plans in a cover story to be published on Tuesday.

Food Network has ordered another 26 episodes of its latest Bobby Flay series, “Beat Bobby Flay,” which is among a handful of new shows showing some life for the Scripps Networks Interactive cabler this past quarter. Scripps Networks has been under scrutiny from investors for ratings dips at its flagship Food Network cabler — a topic of much discussion for its past two quarterly earnings calls with Wall Streeters. But in Q1, Food Network saw some gains with its newest trio of competition series, “Beat Bobby Flay” (averaging .6 in adults 18-49 since its March 10 debut), Guy Fieri-hosted “Guy’s Grocery Games” (with an average .7 in adults 18-49) and Alton Brown’s “Cutthroat Kitchen” (average .8 adults 18-49). Food Network’s primetime numbers for the quarter inched up 3% in adults 18-49 (to 490,000) and 10% in among women 18-49 (310,000) compared to the year-ago quarter. The cabler noted that its median age has dropped two years, to 47, compared to first-quarter 2013. Food Network also saw 25% year-to-year viewership gains in its morning lineup with “Pioneer Woman” and “Trisha’s Southern Kitchen,” both averaging a .9 in women 25-54. “Beat Bobby Flay” features three contestants who battle on another for a chance at a cook off with Flay. Series hails from Flay’s Rock Shrimp Prods. and its exec produced by Flay and Kim Martin.

Fox Broadcasting said it had picked up “Boom!” a competitive trivia game show that has already had successful outings in Israel. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season In the game, a squad of four players must defuse eight replica bombs” by answering trivia questions correctly within a strict time limit. A nominated player must defuse one “bomb” per question by cutting through colored wires representing multiple choice answers. If the player answers correctly, the prize money builds and he or she continues playing. “Never has a ticking clock been so ingeniously placed at the center of a game, and never has a game more inventively borrowed from the language of a thriller,” said Simon Andreae, executive veep, alternative entertainment at Fox Broadcasting, in a statement. In Israel, ”Boom!” became the highest-rated game show launch ever in that country. According to its producers “Boom!! scored a 41.2% share and 26.7% household rating. Series is produced by Keshet International (Keshet DCP in the U.S.) and Dick Clark Productions. While the show’s formula may seem new and different, pick up of the program follows a familiar pattern for Fox, which in the past has expressed a yen for innovative reality-competition formats that have previous track records in overseas markets, including “American Idol” and “The X-Factor.” Fox previously announced it would cancel “X Factor.”

ABC rookie drama “Resurrection” slid a bit more in its fifth week Sunday, likely losing some audience to CBS’ telecast of the Academy of Country Music Awards, though the kudocast was down from its especially strong numbers of last year. The Alphabet fared better relative to last week with “Once Upon a Time,” which is clearly looking healthier than it was at this time a year ago. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season Ratings for HBO’s return of “Game of Thrones” and Showtime’s season finale of “Shameless” were not available early Monday, but are expected to be released later in the day. CBS won Sunday in key demos as well as total viewers, according to Nielsen, with the ACMs averaging a 3.3 rating/9 share in adults 18-49 and 14.1 million viewers overall from 8 to 11 p.m., beating its rivals in all six half-hours. The awards show dubbed “Country Music’s Party of the Year,” hosted this year by Luke Bryan and Blake Shelton, will come in down about 20% in 18-49 from last year’s show (4.3/11, 15.51 million) but above the years from 2010 through 2012. The 2013 ACM Awards logged the show’s highest 18-49 average in 12 years and its largest overall audience in 15 years. Kicking off the night, “60 Minutes” led its time period with a 1.3/4 in 18-49 (tying with ABC’s “America’s Funniest Home Videos”) and 9.6 million viewers overall. At ABC, “America’s Funniest Home Videos” (1.3/4 in 18-49, 6.0 million viewers overall) matched last week’s delivery, and “Once Upon a Time” (2.2/6 in 18-49, 6.7 million viewers overall) was up a tick and narrowly beat Fox’s comedies to rank second to the ACMs in 18-49 for the 8 o’clock hour. “Once” didn’t air an original against the ACMs a year ago, but its 2.2 rating on Sunday was nearly 20% above its 1.85 average for three April episodes in 2013. From there, “Resurrection” (2.1/5 in 18-49, 7.5 million viewers overall) continues to gradually lose audience, with last night’s average (likely a 2.2 in the nationals) off 8% from the previous week’s 2.4 — though it still beat the regular series airing opposite it on Fox and NBC. And at 10, “Revenge” (1.3/3 in 18-49, 4.9 (1.9/5 in 18-49, 4.3 million viewers overall) was down a tenth from last week to match its low. Fox was in line with last week, though “Bob’s Burgers” (0.9/3 in 18-49, 2.2 million viewers overall) and “American Dad” (1.2/4 in 18-49, 2.7 million viewers overall) were down a bit. “The Simpsons” (1.9/5 in 18-49, 4.3 million viewers overall) was steady in demos and up about 10% in total viewers at 8 while “Family Guy” (2.3/6 in 18-49 and 4.7 million viewers overall) was up 10% (0.2) to narrowly stand as the night’s top broadcast series in adults 18-49. “Cosmos: A Spacetime Odyssey” (1.5/4 in 18-49, 4.0 2.3/6 in 18-49 and 4.7 million viewers overall) matched its week-ago score. At NBC, auds were cool toward NBC’s special “Ann Curry Reports: Global Warming” (0.6/2 in 18-49, 2.9 million viewers overall) as well as alternative series “American Dream Builders” at 8 (0.6/2 in 18-49, 4.1 million viewers overall). The net then picked up a bit with 9-11 p.m. drama “Believe” (1.0/2 in 18-49, 4.4 million viewers overall) and “Crisis” (1.0/3 in 18-49, 2.3 million viewers overall), both of which were down a tick to lows. Preliminary 18-49 averages for the night: CBS, 2.8/8; ABC, 1.7/5; Fox, 1.5/4; NBC and Univision, 0.8/2; Telemundo, 0.7/2. In total viewers: CBS, 13.1 million; ABC, 6.3 million; NBC, 3.9 million; Fox, 3.7 million; Univision, 2.1 million; Telemundo, 1.7 million.

Syfy has given a series order to “Z Nation,” an action-horror series set in the aftermath of a zombie apocalypse, Variety has learned. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season The 13-episode series produced by The Asylum (“Sharknado”) is set three years after a zombie virus gutted the country. It follows a team of everyday heroes tasked with taking the only known survivor of the plague from New York to California, where the last functioning viral lab waits for his blood. But things aren’t as easy as they seem: Although the antibodies the survivor carries are the world’s last (and best) hope for a vaccine, he also hides a dark secret that threatens them all. The show is executive produced by “Eureka” creator Karl Schaefer. “‘Z Nation’ will take viewers where no zombie has gone before,” says Schaefer, who will also serve as showrunner. The show, he continues, adds “a sense of hope to the horror of the apocalypse –- our everyday heroes take the fight to the zombies. It’ll be an epic journey unlike anything you’ve seen before.” This series order is the most recent in a string of projects for the NBCUniversal network. Other deals include a series adaptation of the Bruce Willis-Brad Pitt movie “12 Monkeys” and the drama series “Olympus” from Robert Halmi Sr. “’Z Nation’ is a unique new journey into the long established zombie genre,” Chris Regina, Syfy’s SVP of programming. “Instead of existential despair, the series offers hope that somehow, some way, humanity will not only survive, but triumph. In producing their first ever weekly series, our long-time partners The Asylum have created a different way of telling an iconic story.” “Z Nation” will premiere in this fall. Dynamic Television will handle international rights.

TEL AVIV — Furthering its march into Israel, one of the most hotly-watched territories for fresh television content, Endemol has tapped prominent exec and producer Gal Zaid to oversee scripted operations for its startup division in partnership with Endemol North America. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season Zaid, whose credits in Israel include “Homeland” predecessor “Prisoners of War” as well as “Hostages,” will serve as director of comedy and drama for Endemol Israel. He has served as director of drama at both Israel’s Channel 10 and for industry leader Keshet. His appointment continues Endemol’s push into the Israeli market last year when the company acquired top Israeli indie producer Kuperman TV. Endemol broadened its reach further in December when it nabbed a 33% stake in Keshet rival Reshet, a deal that came with the signing of a strategic pact to focus on the creation, production and distribution of new multi-platform content. Zaid, one of Israel’s most respected producers and actors, is also a well-known screenwriter and actor. He appeared onscreen in “Prisoners of War” as Mossad agent Haim Cohen, and served as script editor for Endemol Israel’s “Traffic Light,” which was later sold to Fox. His remit will include working with LA-based Endemol Studios team to develop scripted TV formats that are highly adaptable for the U.S. screens. “Gal is recognized in the Israeli market as being a creative entrepreneur with a capacity to deliver great storytelling that translates across all territories,” said Phillippe Maigret, CEO of Endemol Studios. “We look forward to collaborating with him to find new ideas based on scripted Israeli formats that we can adapt into content for the U.S. market.” Elad Kuperman, CEO of Endemol Israel, added: ”Gal is responsible for some of the most successful and exciting scripted series to come out of Israel and we are thrilled to have him join us in this key role. “ Endemol and Reshet last month announced “Fundastic,” their debut international format, which will be one of Endemol’s headline formats at MipTV this week and is being promoted as the world’s first live, multiplatform crowd-funding format. “Fundastic” can be expected to go head to head with rival Keshet’s “Elevator Pitch,” in which wannabe entrepreneurs stump for investments before a live viewing audience. In addition to placing Zaid at the helm in Israel, Endemol has been growing its scripted business across the globe. Last week the company acquired South Wales-based international drama producer Artists Studio, which produces Gillian Anderson starrer “The Fall.” Their scripted business has grown 75% over the past five years and includes productions “Hell on Wheels,” BBC Two’s “Peaky Blinders” and Zeppotron’s satirical, future-set drama “Black Mirror.”

CANNES– European powerhouse Zodiak has assembled a strong creative team and cast for “Occupied,” the dystopian political thriller created by Jo Nesbø (“Headhunters”) and produced by Yellow Bird (“The Girl With The Dragon Tattoo”). TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season Charlotte Brandstrom (“Wallander”) has come on board to direct the series, along with Pal Sletaune (“Babycall”), Erik Richter Strand, John Andreas Andersen and Erik Skoldbjaerg (“Insomnia”). Henrik Mestad (“Lillyhammer”), Ane Dahl Torp (“As you see me”), Eldar Skar and Selome Emnetu have joined the cast. Karianne Lund is lead-writing the series, based on an idea and concept by Nesbo. “Occupied” is set in a not-so distant future where Russia has invaded Norway and orchestrates a “silk-glove” invasion to control its oil resources. The mission gradually breeds patriotism and resistance factions are formed between Russian dignitaries, Norwegian officials and opposition groups. Backed by GTV, TV2 Norway and Franco-German net Arte, the series is now lensing in Norway in English, Norwegian and Russian languages. The show is being shopped by Zodiak Rights at Cannes’s MipTV.

John Pinette, a comedian known for his stand-up career and an appearance in the “Seinfeld” series finale, was found dead in a Pittsburgh hotel room on Saturday, according to reports. He was 50. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season No cause of death has been released yet, though he was suffering from liver and heart disease, according to several outlets. Authorities have no suspicion of foul play at this time. Along with his appearance as a carjacking victim in “Seinfeld,” his other credits include “Junior” (1994), “The Punisher” (2004) and “The Last Godfather.” (2010) His last hourlong stand-up special was 2011′s “Still Hungry.” The comedian was known for often poking fun at himself, and he was noted in the comedy world for his self-deprecating style. His television credits include “Parker Lewis Can’t Lose” and “Vinnie & Bobby.” He was also noted for his impressions, including those of The Chipmunks and Elvis Presley. He was in the middle of a live comedy tour at the time of his death, with his next performance to take place at a California comedy club called Ontario Improv, according to his Facebook page. The tour had dates from April-June in the U.S. and Canada.

The J.J. Abrams “mystery box” approach to publicity has provoked a swirl of rumors around his next project, Star Wars: Episode VII. The more reports about the film surface, the less we seem to know for sure, but here are the basic facts so far: Abrams is directing a script by he and The Empire Strikes Back co-writer Lawrence Kasdan (from an earlier draft by Toy Story 3 writer Michael Arndt) and the original cast is returning for a story set 30 years after Return of the Jedi. In order to deliver the film on time for its December 2015 release date, Abrams and company are thought to begin shooting in London in just a few weeks, with early reports on the shooting locations suggesting that a return to Tatooine is in the cards. A dizzying array of names are said to be approached for roles, from Gary Oldman and Benedict Cumberbatch to Jack Reynor (Transformers: Age of Extinction), with Adam Driver (supposedly) as the main villain. While we haven’t been exactly sure how far along the production is, now we have details straight from Walt Disney Studios chairman Alan Horn, who recently attended a Q&A with THR‘s Stephen Galloway at Loyola Marymount University. According to Horn, not only is the cast essentially locked down, the film has already begun shooting. Watch the video above for Horn’s full remarks. When asked about the toughest part of the development of Star Wars 7, Horn said simply: “Casting.” Though Horn would not disclose any details of just who has been cast, he confirmed that they’re almost done with the process, saying: “We have a lot of them. We’re just not completely done yet.” Filming was thought to officially begin in six weeks, but according to Horn, “We’re actually shooting some of it now.” The Disney chief did not reveal what’s being shot or where… but most likely in the UK. Horn also touched on the film’s script and story, possibly the aspect of the film which induces the most anxiety in longtime fans. The prequel films were roundly derided for their simplistic screenplays, all of which were written or co-written by George Lucas. Horn acknowledged that this time around: “It’s all about the screenplay. It has to be screenplay, screenplay, screenplay.” Asked if the script was now complete, Horn replied: “It actually is now.” Horn also confirmed – seemingly once and for all, if the issue remained in doubt – that Episode VII will be a real-time continuation of Return of the Jedi. According to Horn, the new film takes place: “[...] where 6 left off — and where 6 left off is 35 years ago by the time this is released.” So the film is shooting, the script is done, the casting is nearly complete… still, Horn’s comments are remarkable for how much he doesn’t reveal. At this point, we’re about 20 months from the movie’s release, but hardcore fans have no inkling about the film’s actual story or whether or not aspects of the Star Wars Extended Universe will be included (and if so, which ones and to what extent). Also, Horn confirmed that Episodes VII, VIII and IX are not shooting back to back – this opens up the possibility that we’ll have a timeline for those standalone films (supposedly featuring Han Solo and Boba Fett) before too long. Now that the filming is underway, we can probably also expect some unofficial development and set pictures to make their way online eventually. Abrams will keep the cloak of secrecy firmly in place for as long as possible, but fans will need something concrete, and sooner rather than later. Stay tuned for more news, as always.

Just another day at the box office as Marvel took the top spot and set a record in the process. Captain America: The Winter Soldier (read our review) is the number 1 film this weekend with $96 million. As we already mentioned, that’s the biggest April opening ever, ahead of Fast Five‘s $86 million back in 2011. The Winter Soldier also continues to add to its worldwide total, which is now up to a massive $303 million after two weeks abroad. Next up for the international markets are Brazil and Japan – two pretty lucrative territories. While many predicted the Marvel train would keep rolling post-Avengers, these Phase 2 films are still far and away exceeding expectations, both financially and critically. Case in point: The Winter Soldier should eclipse the first Captain America‘s $179 million domestic total next weekend. Dropping to the number 2 spot this weekend is Noah with $17 million. Although Darren Aronofsky’s biblical epic fell almost 62%, the film has earned $72 million domestic and $178 million worldwide. Divergent is the number 3 film this weekend with $13 million. Lionsgate/Summit’s latest YA adaptation has preformed much better than most with $114 million so far, but its numbers are still a far cry from the likes of Twilight and The Hunger Games. We’ll see how the film’s sequel, Insurgent, does next year. In at number 4 is God’s Not Dead with $7.7 million. The religious-themed film is now up to $32 million. Rounding out the top 5 is The Grand Budapest Hotel with $6.3 million. Now at $33 million, this latest Wes Anderson film has a solid chance of becoming the director’s highest grossing film ever, surpassing The Royal Tenenbaums‘ $52 million. Either way, The Grand Budapest Hotel will likely hang around the top 10 for a while as it continues to expand to more markets. Coming in at number 6 is Muppets Most Wanted with $6.2 million, which brings its domestic total up to $42 million. While this latest Muppet adventure should surpass its $50 million budget when all is said and done it won’t be by much. It’s likely time to put the characters back on ice for a little bit. The number 7 film is Mr. Peabody & Sherman, which pulled in $5.3 million over the weekend. Fox’s latest animated feature has eclipsed the $100 million mark with $102 million total, and is posting even better numbers overseas. All told, Mr. Peabody & Sherman has earned $238 million worldwide. Sabotage is the number 8 film this weekend with $1.9 million. With only $8 million accrued thus far, Sabotage has firmly cemented its place as one of Arnold Schwarzenegger’s least successful films ever. In at number 9 is Need for Speed with $1.83 million. With only $40 million domestic thus far, some might be quick to nix chances of seeing a Need for Speed 2, but the film has actually done decent business overseas and is now up to $183 million worldwide. Rounding out the top 10 is Non-Stop with $1.82 million. The Liam Neeson thriller has accrued $88 million after six weeks. _________________________________________________ [NOTE: These are only weekend box office estimates - based on Friday and Saturday ticket sales coupled with adjusted expectations for Sunday. Official weekend box office results will be released on Monday, April 6th - at which time we'll update this post with any changes.]

[This is a review of Game of Thrones season 4, episode 1. There will be SPOILERS.] - HBO’s Game of Thrones is at its best when tackling matters of division in the world created by George R.R. Martin. This idea of binary opposition is key to the series’ structure, and it has enjoyed varying levels of complexity through the first three seasons. The differences began simply enough in season 1 by highlighting the variation in location between Ned Stark’s home in Winterfell and Robert Baratheon’s seat on the Iron Throne in King’s Landing. While the two men were not in conflict with one another, the settings around them generated a compelling opposition that would later branch out into the far deeper, more personal aspects of series’ vast character roster as the audience became more familiar with them. Bill Murray Tells Actress 'You can't act.' Early on, these divisions were kept fairly simple; it was north versus south, or – the even less complicated – cold versus warm. This juxtaposition of basic structural components supplied an immediate and clear understanding of Westeros through its differences as they were in relation to one another. Naturally, this binary distinction soon grew more complex and intricate, as the characters and their desires were fleshed out, and, certainly, as the landscape expanded far beyond the two regions that first held any significance (the yearly additions made to the stop-motion map/credit sequence, season after season, offers a great example of the increased enormity of the series’ setting). The complexity of these differences reached a new high of sorts in season 3, as the discussion fell most heavily on the division between ideologies and constructs like realms, rulers, and the often-perilous distinction of loyalty. ‘Two Swords’ kicks-off season 4 with the profoundly symbolic gesture of Eddard Stark’s Valyrian steel sword being melted down into two smaller blades; one for Joffrey and one for Jaime. Tywin’s act of dividing Stark’s sword amongst his family is not merely symbolic in terms of what has happened to the likable members of House Stark; it also alludes once more to the binary principles at play in the structure of the narrative. And yet, in underlining that aspect, many more intriguing and far more personal complexities arise, building the framework for several new and continued character arcs and interpersonal conflicts that David Benioff and D.B. Weiss seem prepared to focus on in the upcoming season. As it has in seasons past, the premiere sweeps through Westeros with great speed, seamlessly serving up the continuation of the storyline so many have been waiting for. Game of Thrones has become so adept at handling its many storylines within the span of a television hour (which is mercifully much longer on HBO), there’s a comforting nonchalance in the way ‘Two Swords’ briefly checks in with each character, quickly illustrating what’s changed – like the size of Daenerys’ dragons, as well as her army – and what hasn’t – like Tywin’s demonstrable ability to enervate anyone (in this instance, it’s Jaime) without getting up from behind his desk. Jaime’s string of unpleasant meetings with Tywin, Cersei, and Joffrey kicks off a series of murky reunions throughout the episode, like Jon Snow’s potentially life-threatening reintegration back into the Night’s Watch, Sansa’s introduction to her publicly drunken secret admirer, and Arya’s violent but admittedly more crowd-pleasing reunion with Needle. There are plenty of new characters to be introduced as well, such as the tribe of scarred cannibals that’ve come to aid Ygritte, Thormund, and the rest of Mance’s people south of the Wall. Fittingly, however, the hour saves most of its time for the introduction of Oberyn Martell (Pedro Pascal), his lover Ellaria Sand (Indira Varma), and his unquenchable thirst for vengeance against Ser Gregor ‘The Mountain’ Clegane, as well as Tywin Lannister. After he and Tyrion share a terse conversation, in which the newly appointed Master of Coin tries unsuccessfully to establish common ground by pointing out the fact they’re both second sons, Oberyn quickly changes the discussion to the far less pleasant subject of his sister’s rape and murder at the hands of Gregor by saying, “Tell your father I’m here. And tell him the Lannisters aren’t the only ones who pay their debts.” Peter Dinklage is terrific, as the exchange between Tyrion and Oberyn demonstrates how admitted similarities can sometimes be a greater threat to those in the seat of power than any perceived differences. After all, who is more likely to challenge authority than those who have already tasted it? As Oberyn’s intimates: What the Lannisters do, others can do. And naturally, in a place built on the power and authority of the ruling class, this notion is bound to generate considerable heat and discord, as the distinction between those with power becomes more difficult to discern. It calls to mind the failed but continued efforts of Stannis Baratheon, but it also brings the narrative full circle, once again demonstrating that the most influential division in Game of Thrones will always be the one it explores so skillfully: the division between the haves and the have-nots. Throughout ‘Two Swords,’ there is a constant demarcation between those in possession of something and those in search of it. Hands (and various other body parts), swords, brains, money, youth, beauty, freedom, integrity…a pony, are all part of the continued focus of how these characters are initially defined by what they are lacking – either temporarily or permanently – while the dramatic manner in which they proceed to overcome that deficiency is the series’ greatest strength. This has been the MO of the program from the beginning; the difference here being that season 4 demonstrates the advantages of the program’s age. Every character beat feels like it’s been crafted to its finest point, while each scene carries with it the possibility of drastic change – but that is only because the series has done such a fantastic job conditioning the audience to expect such things with little warning. That is one of the pleasures of watching a series like this. And while the deft presentation of an enormous multi-faceted narrative and the successful delivery of tremendous, traumatic events have likely cemented Game of Thrones‘ place in the annals of TV history already, the series doesn’t shirk its responsibility to make the smaller, character moments – like Arya enacting her revenge with the camera positioned to make the diminutive Stark look as large as the fury within her – say something that deepens the experience in between the moments that seek to define it.

[This is a review of the Silicon Valley series premiere. There will be SPOILERS.] - Mike Judge proved himself quite adept at skewering corporate culture with the 1999 film Office Space. Now, in his return to television, Judge has turned his acerbic eye to the anti-corporate-but-still-corporate culture of massive, zeitgeist-y multi-billion dollar tech companies and their cult-like followings in the decidedly sharp and witty HBO comedy Silicon Valley. The series focuses on a group of young programmers who sort of fall backwards into the rapidly developing startup of their friend Richard (Thomas Middleditch) after it’s discovered that his music search site, known as Pied Piper, contains a compression algorithm that has two of the biggest icons in Silicon Valley in a sudden bidding war to obtain or be a part of the company Richard may or may not build around it. Middleditch is joined by a host of familiar faces such as T.J. Miller, Kumail Nanjiani, Martin Starr, and Josh Brener, as members of the incubator run by Miller’s character, Erlich, a would-be Steve Jobs to Richard’s Steve Wozniak. Judge’s knack for picking apart subcultures and pointing out their absurdities is on full display early on, as the series opens up at a private party being thrown by some recently-made-rich programmers where Kid Rock is, as Erlich notes, “the poorest guy” there. It’s a distinction that clearly proves money doesn’t necessarily prove one’s genius, and it certainly doesn’t fill one with a profound sense of humility. What Judge does, though, is similar to his approach in Office Space, wherein he pinpoints a particularly absurd notion and lingers on it, blowing it up and then repeats it over and over again, until the amplification of the ridiculous element serves to define the world in a very real, very relatable way. Judge has done this sort of thing time and again; it was seen in Beavis and Butt-Head and King of the Hill, but it became most pronounced in films like the aforementioned Office Space and Idiocracy. Silicon Valley blends the fast-paced, technologically competitive environment of the titular location with the often strange, practically unhinged, free-to-pursue-anything creative culture that can often define what it’s like to work at a startup. For those who haven’t worked at a startup before, just take a good look at Erlich’s den of programmers huddled around a table of monitors, or stopping for some mid-day cereal, and you’ll have pretty good idea of what goes on at one. On the other hand, just take a look at the excesses peppered about the fictional campus of tech giant Hooli – run by Gavin Belson (Matt Ross) – and you’ll have an equally good idea of how billions of dollars can fuel a company’s insane sense of self-importance. The majority of the comedy’s superb satire comes from the repeated comments made by people like Gavin Belson and his immediate competitor, the aloof, possibly-somewhere-on-the Asperger’s-spectrum, Peter Gregory (Christopher Evan Welch), about making the world a better place. This honest and oft-repeated belief that something as benign and seemingly trivial as a compression algorithm will literally improve the lives of its users is such a dead-on portrayal of the ideology behind such a distinct subculture that it feels utterly present, precise, and yet gloriously exaggerated all at the same time. What makes Silicon Valley work, though, is that its primary narrative is constructed around technology that doesn’t necessarily require the audience to determine its appeal to them on an individual level. Pied Piper – or at least the algorithm behind it – is broad in its potential application, but by keeping its appeal more on the business side of things, the series alleviates the concern of whether or not the audience will accept it, while also increasing the level of satire it can wring from such a concept. There is a scene in the premiere where Erlich listens to pitches by young programmers trying to join his incubator, wherein he sneers at the idea of any concept being consumer-facing. That divide between a consumer-facing or business-facing application is at the forefront of the series early on, as Judge works to ground the series’ in that very specific reality, rather than simply lampooning a subculture from afar. By maintaining that Silicon Valley produces tremendous, useful innovations in technology, while also being a place filled with people who earnestly say things like, “that 10 minutes is just incredible,” when discussing what it’s like to be in the company of an icon like Gavin Belson, the series will likely appeal to audiences in and out of the technology industry. However, it’s not all about algorithms, technology, ridiculously thin cars, and pointing out the weird cliques programmers seem to form. At its heart, Silicon Valley takes a skewed look at the pressures associated with finding rapid success, and how money too often becomes the determining factor of a person’s level of achievement, rather than the effort and the outcome of building something. For his part, Middleditch superbly conveys the kind of anxiety sudden success can bring, but he also excels in his depiction of the social outcast that’s normally the symbolic character in a group of otherwise “cool” people. That depiction is a part of the satire, as here, the symbolic character in Erlich’s incubator is the one whose skills with a computer are inferior to those around him. In that sense, Judge, Middleditch and the rest of the cast are working to create a familiar comedy dynamic that’s set within a unique ensemble of characters. And that uniqueness deepens as the series progresses, shaping Silicon Valley into a wickedly funny, character-driven satire that may not make the world a better place, but it will definitely improve your Sunday nights.

Magic Mike 2 nabs a new director and an official title; a new Pink Panther movie is in the works; Zac Efron replaces Shia LaBeouf in The Associate; the Jem and the Holograms movie starts shooting in three weeks; Key and Peele will produce the Police Academy remake; and Roland Emmerich snags a new action-thriller script. - Although it’s been a few a weeks since we last heard any news regarding the Magic Mike sequel, the upcoming film is reportedly starting to pick up steam. In fact, according to co-star Joe Manganiello, Magic Mike 2 will start filming this fall. “Yeah, it’s gonna happen this fall. I think they’re going to announce it soon. It’s crazy. I didn’t think that would be my first franchise. I never thought that would ever be the direction of my career. But that said, it’s just proof that I don’t know best, all the time. It was the most fun I’ve ever had, and I can’t wait to get back in and mix it up with those guys.” Alongside Manganiello’s unofficial comments, a second bit of news has revealed the sequel also has a title and a new director. The Playlist reports that Greg Jacobs will helm Magic Mike 2, which is apparently now called Magic Mike XXL. A fitting title if you ask us. Of course, following a celebrated director like Steven Soderbergh – now “retired” – isn’t going to be easy, but Warner Bros clearly has faith that Jacobs is the man for the job even if he doesn’t have a lot of directorial experience. If these sources are correct, then we should hear an official confirmation from WB very soon. Source: Collider, Playlist - The Simpsons Movie director David Silverman has signed on to helm a new Pink Panther movie for MGM. According to THR, this new Pink Panther film will feature a combination of CGI and live-action in the vein of The Smurfs or Alvin & the Chipmunks. What’s more, this latest feature will use the iconic pink feline as its main character, rather than the original film’s hero, Inspector Clouseau. While many will cry foul at the idea of replacing Clouseau, it seems pretty clear that MGM is headed in a different direction with this new Pink Panther film. The choice of live-action and CGI suggests they want to go after a younger demographic while presumably keeping the writing sharp, which should make Silverman a good fit. At the very least, this sounds like a better approach then another remake. Source: THR - Zac Efron has signed on to star in and produce The Associate, a forthcoming adaptation of the John Grisham novel. Many will remember that the film was initially set up a few years back with Shia LaBeouf in the starring role, but obviously a lot has changed since then. For starters, the project has traded one Disney star for another. For those that might be familiar with The Associate, or who have a hard time differentiating between Grisham stories, the novel tells the story of a Yale grad named Kyle McAvoy who snags a job at the world’s largest law firm. McAvoy’s position comes at a price, however, as he is forced to spy on the firm for some seedy criminals. Source: THR - Producer Jason Blum has shared a few additional details regarding his upcoming Jem and the Holograms live-action movie. In an interview with Collider, Blum provided a clue as to the tone of the film, more specifically that it will be rated PG. He also added that the film will start shooting in three weeks, with GI Joe: Retaliation‘s Jon M. Chu directing. With a cast comprised of relative unknowns, Blum is hoping to keep the film relatively low-budget in order to position it for big success. In essence, he’s using the Paranormal Activity approach, but on a more familiar property. Source: Collider - Keegan-Michael Key and Jordan Peele, better known as the comedic duo Key & Peele, are set to breathe new life into the Police Academy remake. The remake itself has been in development for quite some time now, with several screenwriters and producers joining and then jumping off the project. Now, it seems like New Line Cinema is ready to put the remake in the hands of people who know their way around the parody genre. At this point, Key and Peele are only slated to the produce, but we wouldn’t be surprised if the duo also helped write and/or starred in the film. They’ve already proven themselves strong comedic forces with their Comedy Central show Key & Peele, to the point it seems only a matter of time before they break into major motion pictures. Source: THR, Tracking Board - Roland Emmerich (Independence Day, White House Down) may have found one of his next directing gigs in an untitled action thriller spec script. While details are fairly slim, we do know that Emmerich’s production company, Centropolis Entertainment, scooped up the script from Nicolas Wright and James A. Woods, and the story is said to involve a diving ship in the Arctic. Moreover, sources close to the situation think that Emmerich is interested in directing the yet-to-be-titled film. Obviously, Emmerich is best known for his big budget destruction films, but he has been known to pare down his approach every now and again. Well, as much as someone who regularly destroys North America could. In other words, this project could be a chance for Emmerich to deliver high-octane thrills only in a more intimate setting. First up, Emmerich has an Independence Day sequel to deliver.

It seems to be a rule that just about every successful movie ever made has a remake or sequel in development, even if nothing ever comes of those plans. Talk of planned follow-ups to 1980s classics Gremlins and The Goonies is therefore nothing new, but it seems that the gears might finally be turning on Warner Bros’ planned Gremlins remake and The Goonies 2. The Goonies director Richard Donner revealed last week that a sequel is currently in the works. Sean Astin said in 2012 that he was “1000 percent certain” that a sequel would happen and that he was willing to bet his children on it, so this news bodes well for both Astin and his children. Ain’t it Cool News has now reaffirmed that The Goonies 2 is “very real” and claims that Donner, Steven Spielberg and Chris Columbus are co-producing the film and actively looking for writers and directors. This means that Donner and Columbus are not planning to direct or write the sequel themselves, as they did with the original. As far as the plot goes, the producers apparently want to focus on the children of the Goonies and include cameos from the original characters where possible. The Goonies 2 is reportedly being fast-tracked by Warner Bros, and if AICN is to be believed then it’s not alone. The article concludes with the hint that a Gremlins remake is “moving quickly” at the studio. As with The Goonies 2, this is a project that has been talked about for years and was supposedly just around the corner the last time we reported on it, around this time last year. At the time, Abraham Lincoln: Vampire Hunter writer Seth Grahame-Smith was attached to produce the remake. Grahame-Smith seems to be firmly entrenched in reviving nostalgic classics right, as he’s also set to produce a remake of It and is writing and producing Beetlejuice 2. When Columbus was asked about a potential Gremlins remake a few years ago, he said that it was the kind of movie that would be “impossible to recreate in a CGI environment,” since doing so would “lose that sense of anarchy that those gremlins had.” Obviously CGI has come a long way even in that short time, but even so it would be great to see a remake with new and improved puppets. Gizmo in particular wouldn’t be nearly as cuddly if he was computer animated.

A beloved remnant of the Hollywood of yore from the early 20th century, Mickey Rooney has remained active in his onscreen acting career in recent years, nearly 90 years after his first appearance in a movie at age 6. Unfortunately, today we have to report that the hard-working veteran of the big screen, small screen, and the stage has made his final bow, having passed away at age 93, as has been confirmed by his son Michael Joseph Rooney. Born Joseph Yule Jr. in Brooklyn, New York, in the year 1920, Rooney was (literally) a lifelong performer, as he began working alongside his parents in vaudeville when he was 17 months old. His ability to sing, dance, act, and play various musical instruments (very) quickly got him employed in Tinseltown, as Rooney began acting at age 6 in the short film “Not to Be Trusted”. He thereafter began playing the character who would come to be known as Mickey McGuire in the 1927 short comedy “Mickey’s Circus”, before Rooney would reprise as the silent-film era character more than 50 times over the subsequent decade. McGuire was a street-wise kid who caused much in the way of mischief (often involving babysitting his younger brother), though in later years the character became a hero of sorts, often helping the down-trodden and less fortunate people. That devotion to irreverent entertainment, yet being armed with a social conscience and big ol’ heart of gold within the rough edges, would go on to define a good chunk of Rooney’s career-work over the many, many years ahead. Rooney took on additional work during his tenure playing McGuire, such as voicing Walt Disney’s pre-Mickey Mouse cartoon creation Oswald the Lucky Rabbit in a handful of shorts and headlining The Adventures of Huckleberry Finn a few years later in 1939. That was not long after he began portraying the character of Andrew Hardy in 1937 with A Family Affair, before playing the role in more than 15 movies total. Hardy, like McGuire, was constantly landing in hot water for his comical misdeeds, before he would learn a valuable lesson and change his misbehaving ways (until the next film, anyway). In Love Finds Andy Hardy, Rooney costarred opposite Judy Garland; the pair went on to form a strong friendship in real-life, while also working together onscreen in a string of musicals, including Babes in Arms in 1940 (which landed Rooney an Oscar nomination), as well as Babes on Broadway and Girl Crazy. While he was already beloved across the U.S. by that point, Rooney also became a box office titan during the 1940s, after being voted the number one box office star by theater owners in 1939. Mickey Rooney and Judy Garland After enlisting in the army for two years during World War II, Rooney continued his movie career while he also transitioned into television acting, with a body of work that includes The Mickey Rooney Show: Hey Mulligan in the mid-1950s. The sitcom featured Rooney as a young man who aspired to become a recognized acting sensation, in a setup that could described as the opposite of the actor’s real-life experience (though, there were certainly meta qualities to the show regardless). Eventually the whirlwind nature of Rooney’s commitment to entertaining the masses and his sky-rocket jump to stardom, coupled with his plunge in box office popularity during the second half of the 20th century, took its toll on his personal life in a bad way. He took to gambling as a hobby for some time, while also going through eight different marriages over the course of his life – though, Rooney never expressed regret about being wed so many times, having said (read: his wives) “I loved every one of them.” Nonetheless, Rooney kept on amassing even more roles to his name throughout the 1960s and ’70s, in such films as Breakfast at Tiffany’s (with his infamous, but well-meant Mr. Yunioshi character), It’s a Mad, Mad, Mad, Mad World, Pete’s Dragon, and The Black Stallion (in another Oscar-nominated turn) among several others. He also pressed ahead with supporting roles in small screen fare, with a list of performances that includes roles on The Dick Powell Theatre TV series, the original The Fugitive TV show, The Red Skeleton Hour, and the TV Movie The Year Without a Santa Claus. Rooney with Dick Van Dyke and Bill Cobbs in ‘Night at the Museum’ Indeed, it was in the 1970s that Rooney started to turn his prospects around, as he gave up drinking, became a born-again Christian, and married Jan Chamberlain, who remained his wife on through to Rooney’s death. Besides netting yet another Oscar nod for Black Stallion (the fourth in his career), Rooney continued to regain more star-power for his song-and-dance work in the Broadway show Sugar Babies, starting in the late 1970s. A few years later, Rooney was also honored with a special Academy Award, upon nearly 60 years of acting in Hollywood. During the three decades that followed (on through to the new millennium), Rooney kept on working at a relatively furious rate as a supporting player and voice actor, lending his vocal talents to such nostalgic animated features as The Fox and the Hound, The Care Bears Movie, and Little Nemo: Adventures in Slumberland, working on such TV shows as The New Adventures of the Black Stallion, and making small, but noteworthy appearances in family-friendly movies like Night at the Museum and The Muppets in recent years (and that’s just the tip of the iceberg). All in all, Rooney’s professional life and personal experiences were quite the roller coaster ride, yet over his 93 years on this Earth he – quite literally – managed to touch the hearts of millions of people with his brand of good-hearted showbiz. Rooney’s work over the years will undoubtedly continue to resonate with people long after his passing. (For more on his life, you should read the New York Times‘ obituary). The Screen Rant team would like to express their sincere and heartfelt condolences to Mr. Rooney’s family and loved ones in this difficult time.

ABC’s Resurrection asks how we might react if our deceased or missing loved ones suddenly, spontaneously came back to us; HBO’s The Leftovers take that question and flips it around. What if the people we cared about, or simply the people that we know and interact with on a daily basis, just vanished off the face of the Earth, leaving no hint, no trace, of where they went? What kind of impact does a mass-disappearance have on a society at large, and also to the individuals that make up its backbone? The above teaser sets up the foundation of the premium network’s latest ambitious endeavor: 2% of the planet’s population, roughly one hundred and forty million souls in total, suddenly and unceremoniously blink out of existence. It’s a global Rapture of sorts, maybe Biblical, maybe not – the show comes to us from Damon Lindelof, of Lost, Prometheus, and Star Trek Into Darkness notoriety, so you can pretty safely bet that the nature of this mysterious exodus will be of huge consequence to both the series’ overarching narrative and its cast of characters. That cast, by the way, includes quite a few recognizable names, including Justin Theroux, Ann Dowd (Gimme Shelter, Compliance), Christopher Eccleston (Thor: The Dark World), and Liv Tyler (The Lord of the Rings trilogy); they’re joined by Amy Brenneman and Amanda Warren, and the pilot also has the added benefit of being directed by Peter Berg (Friday Night Lights, Lone Survivor). Not too shabby a troupe, though HBO never has much trouble gathering talent for their small-screen enterprises. Each actor will play a member of an unnamed suburban community, and depict how its remaining inhabitants deal with the world-changing event that makes up The Leftovers‘ basic conceit. While the trailer itself doesn’t get much into specifics, it does suggest a bit of cult activity (at least if we make assumptions about the numerous people wearing matching white outfits), and, unsurprisingly, a great deal of grief. One can only wonder if the show will also deal with issues of resentment, too, as these people all ponder why they were ultimately left behind. Of course, Lindelof may be the most important player here; his involvement, more than anyone else’s, will determine the shape of The Leftovers‘ story and the direction taken by its plot. Will more emphasis be placed on discovering the truth behind the Rapture, as well as it source? Or will that riddle be left unsolved, leaving us only to see how our principal and supporting characters cope with their losses and move on with their lives? We’ll find out in just a couple of months, and since The Leftovers already has a full series order, we can at least expect to get some answers without fear of cancellation.

HBO announces premiere dates for The Leftovers and True Blood season 7; Syfy orders 12 Monkeys for a 12-episode first season; The Big Bang Theory and Lucasfilm team for a ‘Star Wars Day’ episode; and Netflix announces a series based on the story of Pablo Escobar and the Medellin Cartel titled Narcos. - HBO announced premiere dates for two highly-anticipated season premieres this week, setting The Leftovers for a June 15, 2014 debut and True Blood‘s final season to commence the following Sunday, June 22. With Damon Lindelof (Lost) producing, Peter Berg (Lone Survivor) directing the pilot and stars like Liv Tyler, Justin Theroux and Christopher Eccleston in the cast, The Leftovers has certainly piqued the interest of TV fans – especially those who are familiar with Tom Perrotta’s eponymously-titled novel, from which the show is based. Even those who may have rolled their eyes when Lindelof was announced as leading the series have to take comfort in the fact that Perrotta is helping Lindelof adapt his book, which tells the story of a small town dealing with the sudden disappearance of many of its citizens, an event that some refer to as a Biblical rapture. Meanwhile, True Blood is getting all the attention and adulation one would expect a popular series would receive as it enters its final season. Of course, many fans who have been with Sookie and the entire supernatural gang of Bon Temps since the beginning have remained skeptical at how successfully the series will wrap up – especially considering ratings and general interest in the soapy drama have dipped a bit in recent years. Will season 7 of True Blood resonate with its faithful followers like Breaking Bad‘s final run did, or will it pull a Dexter and leave viewers scratching their heads? We’ll have to wait until June to find out how the last ride will begin. The Leftovers season 1 and True Blood season 7 begin on June 15 and 22, respectively, on HBO. Source: HBO - After ordering a 12 Monkeys pilot last year, Syfy decided this week to green light the series – which is based on Terry Gilliam’s 1995 film of the same name – for a 12-episode rookie season. In an effort to beef up its scripted programming roster, the network was reportedly eyeing two potential new series, but ended up choosing Terry Matalas and Travis Fickett’s (Nikita) 12 Monkeys adaptation over Bryan Fuller’s (Hannibal) latest project, High Moon. It’s unclear whether the network actually saw a higher quality end product in the 12 Monkeys pilot, or if it saw some untapped potential in the property, which, despite being critically and financially successful as a film, was left as a standalone story and a cult hit among genre fans. Like the film, the series will follow the journey of a time traveler from a post-apocalyptic future who is sent on a mission to jump back to present day and eliminate the source of a deadly plague that will eventually decimate the human race. Aaron Stanford (Nikita) is set to play the show’s main protagonist (played by Bruce Willis in the film). Cast members also include Noah Bean (Damages), Kirk Acevedo (Oz) and Amanda Schull (Suits). Syfy’s 12 Monkeys is expected to premiere on the network in January 2015. Source: Deadline - Television’s most popular nerds saw their dreams come true this week, as The Big Bang Theory and Lucasfilm teamed for a ‘Star Wars Day’ episode. The show’s characters will partake in the holiday, which celebrates the famous film franchise every year on May 4, in an episode titled “The Proton Transmogrification” set to air May 1. The deal with Lucasfilm will allow the hit CBS sitcom to re-create the remote swamp world of Dagobah, which served as Master Yoda’s refuge during his exile. In the episode, Sheldon (Jim Parsons) is guided by visions of his childhood idol and mentor, Professor Proton (played by Emmy winner Bob Newhart), who will represent Sheldon’s own Jedi teacher, playing a character (likely Yoda) from the original films. Fans of the show – many of whom also celebrate Star Wars Day by screening the classic films – will certainly be excited to see the cast play around in iconic Star Wars sets, but the creative minds behind the series are just as thrilled at the idea. Said showrunner Steve Molaro: “We knew that Bob [Newhart] was coming back and Lucasfilm called us, and we realized that that this might be an opportunity to mix both stories and come up with something special.” The Big Bang Theory airs Thursdays @8pm on CBS. The Star Wars Day episode will air May 1, 2014. Source: THR - Brazilian film star Wagner Moura (Elysium) has re-teamed with Robocop director Jose Padilha for a Netflix series titled Narcos, which will tell the story of real life drug lord Pablo Escobar and the infamous Medellin Cartel. Moura, who worked with Padilha on Brazilian action films Elite Squad and Elite Squad: The Enemy Within, will portray the ruthless money-hungry Escobar in the series, which will attempt to take on all-new approach to the story of Escobar’s notorious reign atop the drug world 1970s and 80s. Said Netflix Chief Content Officer, Ted Sarandos: “Jose and Wagner together created one of the most sophisticated and chilling portraits of criminality and official corruption ever in their ‘Elite Squad’ movies. Their version of the Escobar saga will be like nothing ever seen before.” Of course, the real story became much bigger than one man’s rise to power in Columbia, which is something the series will also focus on, according to Padilha, who said: “Our idea is to tell the true story of how cocaine became such a huge problem in the U.S. and Europe – and how it all started here in Medellin.” Season 1 of Narcos will begin filming in Columbia soon and is set for a 2015 premiere on Netflix. Let’s just hope the show turns out better than Vincent Chase’s poorly-received attempt at the story in HBO’s Entourage.

Captain America: The Winter Soldier is now in theaters, earning both critical acclaim (read our review) and securing another box office win for Marvel Studios. While we have a separate article breaking down all of the many Captain America 2 Easter eggs that fans are buzzing about, as always we want to break down the mid-credits and post-credits button scenes included in the film. Thor: The Dark World had button scenes revealing much about the future of the Marvel Cinematic Universe, and The Winter Soldier did much the same. Our discussion is going to be full of SPOILERS from here on out – not just for The Winter Soldier, but every Marvel movie and Agents of S.H.I.E.L.D. episode we’ve seen so far. READ NO FURTHER unless you’re all caught up. Even though most of our discussion will be speculation, a lot of it could be considered FUTURE SPOILERS for the Marvel Cinematic Universe. You have been warned. The Winter Soldier mid-credits scene was a direct lead-in to The Avengers: Age of Ultron, and was directed by Joss Whedon. In the aftermath of S.H.I.E.L.D.’s collapse and the revelation of HYDRA’s infiltration, we find ourselves in the underground bunker of one Baron von Strucker (Thomas Kretschmann). The Baron is heard chatting with an underling, assessing HYDRA’s situation in the aftermath of Alexander Pierce and Project Insight’s failure. Strucker’s dialogue reveals that HYDRA has many bases still in operation, but this particular one is special: here they are housing Loki’s mind-controlling scepter from The Avengers, a weapon that Strucker confesses has taught them much, even though they’ve only “scratched the surface.” One big thing they’ve accomplished is some kind of experimentation on human beings that has resulted in a tremendous success: And with that, we meet “The Twins.” Casual viewers may have been left wondering who the two crazy young people in the Silence of the Lambs-style holding cells were, but Marvel Comics fans surely recognized twin characters Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen). In the Marvel Cinematic Universe, Quciksilver still has super-speed abilities (which he needs to learn to control, from the looks of things), but Scarlet Witch’s reality-altering “hex” powers seem to have been re-imagined as telekinesis. (Remember, telepathy, telekinesis – and even clairvoyance – aren’t phenomenon that exist in the MCU, as mutants, the characters who possess these gifts, are legally the property of Fox.) WHY IT MATTERS: This mid-credits scene is quick, but it sure is loaded: We are introduced to a major Marvel villain (READ MORE on Baron von Strucker). We are introduced to the next phase of threat, with HYDRA now operating as the foe “Captain America and his colorful friends” will have to battle across the globe. We meet two major characters from Avengers mythos (Quicksilver and Scarlet Witch). We learn that Loki’s scepter (that still undefined MacGuffin) is still very much in play – and still in the wrong hands. Most importantly, we officially enter “The Age of Miracles”. Up until this point, the Marvel Cinematic Universe has consisted of a “superhero” team consisting of a science-created super soldier (Captain America); a science-created super-soldier failure (Hulk); a tech genius (Iron Man); a “godlien” (Thor); and some highly trained operatives (the agents of S.H.I.E.L.D.). That doesn’t leave a lot of room to explain the wide array of Marvel Comics superpowers, like flight, super-speed, energy projection, psychic abilities, invulnerability, etc… but that won’t be a problem going forward. Strucker’s experiments on “The Twins” have successfully opened the door to explainable super powers in the MCU; how he achieved that success remains to be seen – but there have been clues. Interestingly enough, the Agents of S.H.I.E.L.D. TV series has been the most likely forefront for developing this aspect of the Marvel Cinematic Universe; as recent revelations about that mysterious blue corpse in the “Guest House” facility have indicated (CLICK the IMAGE above to learn more). Along with films like Guardians of the Galaxy and Easter eggs like a Doctor Strange name-drop in Captain America 2, it’s clear that Marvel Studios is opening the floodgates to a whole universe of super-powered possibilities – from the extraterrestrial to the supernatural. We’re looking forward to seeing how “The Twins” change the game in The Avengers: Age of Ultron - and which characters we could see in the MCU thereafter. - Post-Credits Scene: Captain America II Comic book fans who read writer Ed Brubaker and artist Steve Epting’s “Winter Soldier” story arc – and beyond – already know what the future holds for Bucky Barnes; however, movie fans have only been given teases they may not have even picked up on – especially when the main tease came in the form of a vague post-credits scene viewers sat an extra five minutes to see in the theater. In the scene, we head back to the Smithsonian Museum for one last visit to the Captain America and The Howling Commandos exhibit. This time, instead of Steve Rogers it is Bucky Barnes visiting the site, finally coming face to face with his own memorial as a fallen American hero. As The Winter Soldier starts to read his own lost history, Steve Rogers’ words start to click into place, and Bucky Barnes seemingly starts to find his way back from the darkness. WHY IT MATTERS: This post-credits scene or a random shot of Winter Solider holding Cap’s shield (see above), may seem like small matters to the uninformed – but they’re definitely a big deal. In the comics, when Bucky regains control of his own mind, and Steve Rogers eventually falls in battle, it is Bucky who honors his friend’s memory by taking up the Captain America mantle. The same thing could very well happen in the Marvel Cinematic Universe. Here are some real-world facts: Captain America star Chris Evans is stepping back from acting after his Marvel contract is up (6 films in total). He’s done three of his six (Cap 1&2 and Avengers - Thor 2 doesn’t count) and the last three are presumably Avengers 2, Captain America 3 and Avengers 3. Winter Soldier/Bucky actor Sebastian Stan has a 9-film contract with Marvel; he’s only done two films so far. With the source material paving the way, and real-world factors providing the incentive, how do you think Marvel could eventually get the most out of those seven films they have left with Stan – while still getting the most out of the Captain America brand? Yeah, the writing is definitely on the wall… Don’t be surprised if Thanos finally brings down The First Avenger in Avengers 3. And if that film ends somewhere with Bucky Barnes taking up the Captain’s shield, you’ll be able to look back at The Winter Soldier‘s final moments and know that the epic transition began with this small step.