Netflix is returning to space. The streaming giant has renewed its Steve Carell-led comedy Space Force for a second season. Production on the pricey comedy will move from Los Angeles to Vancouver in a bid to reduce the show's budget. Filming will begin next year. A return date has not yet been determined. As part of a larger creative revamp, Norm Hiscock has also joined the series and will serve as co-showrunner alongside Greg Daniels. Hiscock, a frequent collaborator with Daniels, counts Brooklyn Nine-Nine, Parks and Recreation, People of Earth and King of the Hill among his credits. The hope, per sources, is that a second season will allow Space Force the runway to grow creatively and better connect with viewers and critics alike much in the same way The Office broke out in its subsequent seasons. In addition to Hiscock, co-star Jimmy O. Yang has also joined the Space Force writing staff. Inspired by Trump's order to establish the space force as the sixth military branch, Space Force was co-created by Carell and his former The Office showrunner Daniels. Picked up straight to series in January 2019, Space Force at the time set a record for talent as Carell's deal for the series topped $1 million per episode when factoring in fees for co-creating, exec producing and acting. With The Office ranking as one of Netflix's most-watched acquired series — sources note that it often collects more viewers than some of its originals — the streamer stepped up after hearing Carell was ready to return to series-regular television and aggressively pursued Space Force. The show was not shopped elsewhere. The renewal also arrives as The Office is poised to move from Netflix to Peacock starting in 2021. The 10-episode comedy launched May 29 to high expectations considering it reunited Carell and Daniels for the first time since mega-hit The Office. Critics were not kind and the series, per aggregate site RottenTomatoes.com, has a 38 percent rating. Carell leads a cast that also includes returning co-stars John Malkovich, Ben Schwartz, Tawny Newsome, Diana Silvers and Yang. Daniels, Carell, Hiscock and 3 Arts' Howard Klein also exec produce. The renewal caps a strong year for Daniels, who returned to the TV space for the first time since TBS' People of Earth in 2017 with Space Force and his longtime passion project, Amazon's Upload. The latter hourlong dramedy, starring Robbie Amell and Andy Allo, was renewed for a second season a week after its debut. The futuristic series has an 87 percent with critics and 86 percent with viewers on RottenTomatoes.com.

The CW is prepping another spinoff from one of its Greg Berlanti-produced DC Comics dramas and this time, it's Black Lightning. The younger-skewing broadcast network has put Painkiller into development. Jordan Calloway, who started with the series in season one and was promoted to regular a year later, will reprise his role as Khalil Payne, aka Painkiller. The pilot for the potential series will air as a backdoor pilot and be the seventh episode in the upcoming fourth season of Black Lightning. Salim Akil, who developed Black Lightning, will pen the script, exec produce and direct the pilot. Painkiller is based on DC Comics characters created by Tony Isabella and Eddy Newell. In the episode, Khalil is riddled with the guilt of his troubled past from his former life in Freeland City, where as super-enhanced killing machine Painkiller he was a member of Tobias Whale's gang and a weapon of Agent Odell and the shadowy ASA. After attempting to bury Painkiller, Khalil moves to Akashic valley to find peace as his history clashes with a new beginning and he is forced back into action to bring justice. This will be the first attempt at a spinoff from Black Lightning, which returns for its fourth season on Feb. 8, and the latest offshoot of a Berlanti-produced CW DC Comics show. The flagship, Arrow, wrapped last season and Supergirl, which was the third of the network's DC-verse, will come to an end in 2021 after six seasons. Berlanti's slate of DC fare includes The Flash (returning for its seventh season), Legends of Tomorrow (heading into season six) and Batwoman (entering its sophomore run). For his part, Akil created Black Lightning and exec produces alongside Berlanti and his Berlanti Productions president Sarah Schechter. Mara Brock Akil, Oz Scott and Pascal Verschooris also exec produce the series. It's worth noting that Black Lightning producers Warner Bros. TV previously investigated Salim Akil in late 2018 after he was sued for domestic violence and breach of contract by an actress and writer Amber Dixon Brenner. He denied the allegations and nothing came from the studio's investigation. For The CW, meanwhile, Painkiller becomes the latest spinoff in development for the 2021-22 season. The Mark Pedowitz-led broadcaster is also re-teaming with the team behind Nancy Drew for a spinoff, Tom Swift, that will also air as a planted episode of the sophomore drama this season. News of Black Lightning's spinoff arrives as The CW has become defined by its successful franchises and as the network — a joint venture between CBS Studios and Warner Bros. TV — prepares to say farewell to flagship Supernatural next week. The network last season had a Riverdale spinoff and has attempted to grow Supernatural into several other offshoots. A spinoff of The 100, which recently ended its run, is also in development.

The streamer recently launched the second season of 'The Mandalorian.' Disney+ has attracted 73.7 million subscribers in its first 11 months, far exceeding the company’s expectations. Disney had previously forecast that the family-friendly streaming service would reach between 60 million and 90 million subscribers by 2024. It hit the lower end of that threshold after just nine months. Calling it a "real bright spot" for the Disney business, CEO Bob Chapek called out the success of Disney+ during its first year. The service, which at $6.99 per month is on the lower end of the pricing spectrum for standalone streamers, has amassed its subscribers on the strength of its content library, which includes access to animated classics, Marvel blockbusters, the Star Wars franchise and more. It launched Nov. 12 with original series The Mandalorian, Jon Favreau’s take on the Star Wars universe featuring the incredibly memeable Baby Yoda character. Though some of the service’s high-profile Marvel originals have been delayed due to the coronavirus pandemic, it made up for the loss of new content by moving its Hamilton film to Disney+ over the summer and by releasing Beyonce’s Black Is King in July. On Sept. 4, Disney also released its live-action Mulan remake for purchase on Disney + for a one-time "Premier Access" fee of $30. Disney has yet to share how Mulan performed but Chapek told investors during a conference call on Thursday that its performance was enough to show him that "we've got something here in terms of that Premier Access strategy." Disney+ is available in more than 20 countries around the world and will launch in Latin American markets including Brazil later this month. On the with investors, CFO Christine McCarthy said that Indian streamer Hotstar accounted for a quarter of Disney+'s subscribers. That equates to around 18 million of the service's total paid members. Still, Disney+ has a ways to go to catch up to Netflix’s 195 million global subscribers. It’s hard to compare its performance to other newly launched services. Apple has never disclosed how many subscribers Apple TV+ has attracted. NBCUniversal, meanwhile, has disclosed only that streamer Peacock — which offers both a free, ad-supported offering and a subscription tier — has 22 million users. And WarnerMedia has said 8.6 million people have activated HBO Max since May, but that HBO and HBO Max have a combined 38 million subscribers. The company's other streaming services also saw gains during its fiscal fourth quarter. Hulu grew its base by 28 percent to 36.6 million subscribers, including 4.1 million members to its live TV product. ESPN+ grew more than 100 percent to 10.3 million subscribers. Chapek said Thursday that the company would provide its next Disney+ subscriber update during its Dec. 10 investor day, in which it is expected to lay out plans for a Star-branded international streaming service. In the past, the company has provided an update on subscriber numbers during its earnings calls.

The year 2021 could be The One With the Friends Reunion Special. Matthew Perry tweeted Thursday that the HBO Max special, which has been delayed for months due to the coronavirus pandemic, is set to film in March. That would likely put the show on track to air in the spring. Sources said that while plans are still being finalized, the goal is to film the reunion special in the first part of the new year. That timeline would put the special about a year later than its intended debut date. The reunion special was meant to be part of HBO Max's launch in May, heralding the beloved comedy's move from Netflix to the WarnerMedia streaming platform. The pandemic delayed that, and it was pushed again from a planned August filming date. The show's six stars and HBO Max brass all want an in-person reunion on the show's former home, Stage 24 on the Warner Bros. lot in Burbank, so a virtual reunion isn't on the table. "We haven't all been in the same room in front of people — I mean, we have privately once many years ago but that's it," Lisa Kudrow said in May. "The whole point of this is to be in the same room. That hasn't changed. And HBO Max is being phenomenally patient and understanding." The reunion special received a formal green light in February of this year and was originally set to film in March. HBO Max announced in April that the highly anticipated reunion would miss the streamer's launch. Production on the special shut down March 18, joining hundreds of other film and TV shoots across the globe to do so. Dozens of shows have since gotten up and running again, all adhering to COVID-19 safety protocols. As case counts rise again, however, a number of productions have had to suspend work after team members test positive for the novel coronavirus.

2x Upload is on. 19 hours left.

Filmed over five years, this HBO documentary chronicles four American families as they navigate childhood gender transition. In the gentle and absorbing HBO documentary Transhood, director Sharon Liese conducts a microcosmic kind of longitudinal study on childhood gender transition. Filmed cinema verité-style over five years, starting in 2015, Transhood follows four Kansas City families in various stages of this conversely agonizing and rewarding process. Offering no narration, expert talking heads or text interstitials, Liese forgoes contextualizing the culture wars and instead lets her subjects speak for themselves. Their pathos, however, doesn't always localize where you'd expect. These kids' frustrations range from gender dysphoria to celebrity fatigue to being outed by others before they were ready to do it on their own — cumbersome ordeals even many adults wouldn't be able to shoulder. Yet, we see these young people muster prodigious strength facing a world that often denies them their identities. Their feelings remain potent and tangible throughout: After all, kids are kids, no matter their upheavals. They still battle first breakups and unwanted step-parents like anyone else. It's the parents here I'm more worried about. Throughout Transhood, we watch moms and dads struggle with and also support their children's transitions. (Of course, completely disobliging parents likely wouldn't let their child explore gender diversity at all, let alone allow a camera crew to record it for the whole world to see.) Their emotional processing even feels, at times, more compelling than their children's, perhaps because Liese's team edits the film around the parents' rather explosive confessions. These caregivers' magnetism remains inverse to the age of their offspring: The younger the subject, the more important the parents' narrative. The older the subject, the more they're able to convey personal agency without parental interpretation. We meet redheaded charmer Leena at age 15, just four years after the start of her social transition. Slinky, fashionable and self-involved, Leena is an endearingly average teenage girl. With meticulously manicured talons and a glossy copper mane flowing down her back, she dreams of becoming a runway model. However, unlike most teens who may lazily envisage a life of shallow glamour, Leena studies up on cosmetology, catwalk techniques and trends in the fashion industry. Her parents and grandmother are accepting and compassionate. We're socialized to believe vanity is a harmful, even toxic, personality trait, but vanity can be a lifeline for marginalized people, helping to buoy self-confidence and the projection of power. Leena's ambition speaks to that assuredness, even as her physiological dysphoria continues to smother her. "Oh my god, so many results already!" she jokes, filming herself taking her first hormone pills. Her light-heartedness initially masks her overwhelming sense of corporeal imprisonment. The younger subjects — pubescent Jay, elementary schooler Avery and preschool-aged Phoenix — are developmentally less self-possessed than teenage Leena, so Liese (and the audience) must instead rely on their parents to articulate their children's emotional states. Moody Jay, who began filming at age 12, is being raised by a struggling single mom while enjoying puppy love with a girlfriend who has no idea he's trans. Sarcastic seven-year-old Avery, via her mother's political activism, soon becomes a literal poster child for trans rights. And the parents of spirited four-year-old Phoenix believe their child is gender nonbinary due to their preferred play styles and self-referral as a "girl-boy." While Leena commands your attention from the moment she's on screen, it's the parents of the other three children who nearly steal the film as they candidly delve into the complications of raising trans children in a culture that invalidates their kids' humanity. They each allude to the pain of losing friends, relatives and even their own parents. Some have been called child abusers. But, as one states, "I'd rather have a healthy son than a suicidal daughter." We watch Jay's mom burst into tears during her son's doctor's appointment, panicking over the astronomical costs of his transition care. All the while poor Jay comforts her, no doubt feeling some semblance of guilt over something that is not at all his fault. You continue to detect whiffs of their codependence throughout the film. Meanwhile, as Avery's mother dives into national community organizing, her young daughter's fame soars and soon the girl is authoring children's books, appearing on magazine covers and becoming a locus of public disgust. When her mom tries to wheedle her into appearing at yet another event, the little girl finally lashes out: "I just don’t even wanna have a book. I’ve done too much in this world. It’s ruined my life and now everyone in this world is going to know. If I sell my book it’s gonna go in the news, along with me, for like the fiftieth time at this point and it’s just making my life worse.” Yowsers. Still, by far the most compelling family is Phoenix's. Over five years of filming, the child's young and hippie-ish parents divorce, leading their mom to cease homeschooling and move in with her more conventional parents. Before the divorce, the family is seen joyfully encouraging toddler Phoenix to publicly declare their gender at the pulpit of a local LGBTQ-friendly church. Much later, we witness the kid's regretful mom slowly harden to the idea that her child was ever nonconforming at all, blaming her ex's previous influence as Phoenix starts to assume a more masculine presentation. Her sobering interviews at the tail-end of filming will genuinely leave you more interested in learning the details of her personal biography than in studying the early gender journey of her middle child. Directed by: Sharon Liese Premieres: Thursday, November 12 (HBO Max)

Netflix has won rights to Arnold Schwarzenegger's first scripted TV series. The streamer outbid several other outlets for a global spy adventure series from Skydance Television and creator Nick Santora. The untitled show will center on a father (Schwarzenegger) and daughter (Monica Barbaro). A script to series deal is still coming together, sources said. The Terminator star and former California governor is also an executive producer of the show, which would mark his first regular role in a series. Schwarzenegger has a standing relationship with Skydance, which produced the last two Terminator films, Genisys and Dark Fate. Santora (Amazon and Skydance's Jack Reacher, Quibi's Most Dangerous Game) has an overall deal at the independent studio. News of the project first came to light in August, with Schwarzenegger attached before Skydance took the show out to potential buyers. Barbaro joined the cast soon after. Barbaro recurred on ABC's Stumptown last season. Her credits also include the forthcoming Top Gun: Maverick, ABC's Splitting Up Together, Netflix's The Good Cop and NBC's Chicago Justice. Santora will serve as showrunner and executive produce with Schwarzenegger and Skydance's David Ellison, Dana Goldberg and Bill Bost. Carolyn Harris will oversee the project for the studio. Skydance also produces Grace and Frankie and Altered Carbon for Netflix.

Dylan O’Brien and Eiza Gonzalez are circling roles. Michael Bay is speeding along with his next project. The filmmaker will direct Ambulance, a contained thriller that has Jake Gyllenhaal in talks to star. The project is described as a three-hander that tells of two brothers who steal an ambulance that is already in a heightened state with a female paramedic and a patient who is in critical condition. Gyllenhaal would play the older brother. Sources say that Dylan O’Brien is circling the part of the younger brother and that Eiza González is circling the role of the paramedic. Sources caution, however, that no deals have been made. Chris Fedak, known as co-creator of Fox's Prodigal Son, penned the script, which is described as having elements of action-thrillers such as Speed and Training Day. Bay envisions the film as a character-driven project that will be a departure from his standard explosion-heavy fare. Endeavor Content is packaging Ambulance, and Universal is in final talks to act as distributor. The project would be a negative pick-up, meaning the studio will be mostly hands off and will acquire it fully made. Bay last directed Netflix's 6 Underground and was weighing Ambulance and directing a big-budget video game adaptation at Sony, but the contained thriller won out, as it lends itself more to a COVID-friendly shoot. Ambulance is eying a shoot in Los Angeles, where the Bay-produced thriller Songbird shot in the era of COVID-19. Gyllenhaal starred in last year's Spider-Man: Far From Home and recently signed on to play former Paramout chief Robert Evans in Francis and The Godfather, a behind-the-scenes look at the making of The Godfather.

'The Fighting Shirley Chisholm' from director Cherien Dabis will follow the politician's 1972 presidential run. Danai Gurira will play boundary-breaking politician Shirley Chisholm in a new movie about Chisholm's 1972 presidential run titled The Fighting Shirley Chisholm. The first Black woman elected to Congress in 1968, Chisholm became the first woman to run for the Democratic Party's nomination. Her boundary-breaking campaign was marked by its youth engagement and her efforts to gain enough delegates to speak at the Democratic Convention. (Chisholm was recently portrayed by Uzo Aduba in Hulu miniseries Mrs. America.) Cherien Dabis is set to direct from a script by Adam Countee. Stephanie Allain will produce through her Homegrown Pictures banner, with Gabrielle Ebron set to executive produce. UTA Independent Film Group is behind the project. Dabis, repped by UTA, Anonymous Content and Peikoff Mahan, is a veteran film and television director with recent credits on Ozark, Ramy and Apple's Little Voice. On the feature side, she is behind festival favorites Amreeka and May in the Summer.

Malin Akerman plays a desperate woman who joins an underground female fight club in this raunchy comedy also featuring Alec Baldwin and Bella Thorne. The only thing surprising about Chick Fight is that it took this long for a distaff variation on David Fincher's 1999 classic Fight Club to happen. Not that this Malin Akerman starrer is similar in tone to that film, relying heavily on broad comedy rather than brutal nihilism. That will probably be enough for undiscerning viewers, as well as those who can never get enough of watching attractive women (pretend to) beat each other senseless. There are some undeniably amusing moments, thanks largely to a cast unafraid to throw themselves into the raunchiness and violence with full abandon, but it's hard to avoid the feeling that the film represents a missed opportunity. Akerman, who also produced, clearly relishes the chance to fully display her impressive comedic chops in the lead role of Anna, whose life seems to be going wrong in every direction at once. She's financially on the ropes and she has a nonexistent love life (perhaps the film's most fanciful plot element). She's still grieving the loss of her mother, and is surprised to learn that her father (an amusing Kevin Nash) has become "sexually fluid" and is in a relationship with a much more diminutive man (the basis for an unfunny running gag). When the coffee shop Anna owns burns to the ground after an unfortunate accident involving a lit joint and some spilled liquor, it looks like she's hit bottom. Coming to her rescue is her best friend Charleen (Dulcé Sloan of The Daily Show, not just stealing the movie but making sure that no one else even comes close), a lesbian cop who invites her to join a secret women's fight club presided over by the aptly named Bear (Fortune Feimster). There, Anna discovers that she can channel her despair into physical aggression, the only problem being that she keeps getting beaten up. She also develops a romantic and pugilistic rivalry with the club's resident badass Olivia (Bella Thorne), who competes with her for the affections of the club's doctor (Kevin Connolly). Desperate to improve her skills, Anne turns to Murphy (Alec Baldwin, in enjoyably dissipated mode), a local lush who once "trained Sugar Ray." Viewers won't be surprised by the inevitable Mr. Miyagi jokes and offbeat Karate Kid-style training montages as Anne prepares for her ultimate bout with the villainous Olivia while finding self-empowerment along the way. Director Paul Leyden (Come Back to Me) and screenwriter Joseph Downey — that both creatives are men tends to reduce some of the film's feminist bona fides, as does the demeaning title — aim strictly at lowest common denominator humor, such as a lengthy segment devoted to Anne having to make an emergency room visit after getting a coconut kicked into her crotch. (The film seems strangely obsessed with fruit, with another major segment devoted to her training by attempting to punch a watermelon open with her bare fists.) While countless films have defied the woefully outdated conventional wisdom that women can't be just as comedically down and dirty as men, the relentless procession of vulgar gags and profane dialogue here feels slightly depressing. Still, only the most churlish viewers will find Chick Fight dislikable, especially thanks to the presence of the hugely appealing Akerman, who admirably goes for broke, and Baldwin and Sloan, who handle the material with just the right comic insouciance. Credit must also go to fight/stunt coordinator Shauna Gallagher, who stages the violent mayhem expertly. (It's too bad, though, that director Leyden relies on so many bloody slow-motion shots in an attempt to gross out the audience.) Much like its frequently battered protagonist, you're likely to have a good time during Chick Fight, but you won't feel great about it the next day. Available in theaters and digital formats Production companies: Redbox Entertainment, Yale Productions, Media Finance Capital, Idiot Savant Pictures, Do More Productions Distributor: Quiver Distribution Cast: Malin Akerman, Alec Baldwin, Bella Thorne, Dulcé Sloan, Kevin Connolly, Kevin Nash, Alec Mapa, Vitoria Setta, Dominique Jackson, Fortune Feimester Director: Paul Leyden Screenwriter: Joseph Downey Producers: Anne Clements, Malin Akerman, Ash Christian, Frances Lausell, Michael J. Rothstein Executive producers: Shaun Sanghani, Berry Meyerowitz, Jeff Sackman, Lawrence Greenberg, Galen Smith, Bella Thorne, Tiffany Boyle, Elsa Ramo, Marlon Vogelgesang, David Gilbery, Charles Dorfman, Robert Levine, Phyllis Levine, Jayson Dezuzio, Rohan Gurbaxani, Gigi Lacks, Marc McGivney, Gregory Mulligan, Philip James Boyce, Ruben Rodriguez, Benson Taylor, Graham A. Leslie, Ekaterina Baker, Lee Broda, Ryan V. Murphy, James Sears Bryant Director of photography: Steven Holleran Production designer: Mailara Santana Editor: Kevin Armstrong Composer: Benson Taylor Costume designer: Keia Bounds Casting: Bonnie Wu Rated R, 97 min.

Universal Pictures retains domestic rights to the prospective awards contender. News of the World is heading around the world via Netflix. The streamer is closing on a deal for the international distribution rights to the Hanks-starrer, with Universal Pictures still holding domestic rights. Universal has a December 25 release date in North America, with the movie expected to be a player in this year's awards season. While the deal is not done yet, it is similar to other deals made by the streamer for studio fare including the international rights for Paramount Animation's The SpongeBob Movie: Sponge on the Run. The Paul Greengrass film follows Captain Jefferson Kyle Kidd, a veteran of three wars, who now moves from town to town as a non-fiction storyteller. In Texas, he crosses paths with Johanna, a 10-year-old taken in by the Kiowa people six years earlier and raised as one of their own. The pair embark on a journey when Kidd agrees to deliver the child where the law says she belongs.

John Patrick Shanley's film stars Emily Blunt, Jamie Dornan and Christopher Walken all attempting questionable Irish accents. The first trailer for the rom-com Wild Mountain Thyme dropped on Wednesday and quickly became the talk of Ireland, but not for reasons the filmmakers would have hoped, with the film mocked mercilessly for the attempted "Oirish" accents by the all-star cast. John Patrick Shanley's film, based on his 2014 Broadway play Outside Mullingar, features a stellar lineup of Emily Blunt, Jamie Dornan, Jon Hamm and inexplicably Christopher Walken. From the trailer, which simultaneously seems to be set in Ireland's past and present, the story takes place in County Mayo in southern Ireland and revolves around Blunt's Rosemary Muldoon and Dornan's Anthony Reilly, the former in love with the latter, but the latter has no idea. Meanwhile, Anthony's father, played by Walken, is trying to sell the family farm to an American cousin played by Hamm, who thankfully plays it safe using his own brogue. After the trailer dropped it quickly went viral on social media for all the wrong reasons. Twitter users took exception to the cliches, the "Paddywhackery," the Aran cardigans, the rural setting but most of all a fully united Ireland took pleasure in roasting the actors for their "faith and begorrah" accents, with many suggesting that Blunt, Dornan and Walken's efforts could enter the pantheon of worst Irish accents in Hollywood films to rank alongside the gold standard of Tom Cruise and Nicole Kidman from Far and Away. Dornan has faced much of the scorn, particularly as he is Irish born and bred, hailing from Holywood, County Down in Northern Ireland. Dublin Airport, the National Leprechaun Museum, the Irish police, countless Irish comedians and celebrities have joined in the derision. The Irish Times culture section posted a story with the headline, "Wild Mountain Thyme trailer: What in the name of holy bejaysus is this cowpat?" and Ireland's national broadcaster RTE posted a story titled "Irish accent emergency declared after Wild Mountain Thyme trailer." The hot topic of the film's accents also crossed the Irish Sea, with the BBC posting an investigation "Wild Mountain Thyme: Is an Irish accent the hardest to master?" It wasn't all mockery though, the official Twitter account of Ireland's embassy in Washington D.C., perhaps mindful of straining Ireland-U.S. relations, struck a more diplomatic tone by tweeting, "To be fair, Irish accents are hard (we struggle with them at times). But otherwise #WildMountainThyme looks great. And, in Jamie Dornan & Emily Blunt, presents a remarkably realistic depiction, visually at least, of the average Irish man & woman. Truly, we are a beautiful people." Back in October, in an interview for People, the Blunt and Dornan acknowledged that the accents would be tough to master and that they were fearful of the reaction. "Well, Jamie's from Northern Ireland. So we were both sort of thrown in at the deep end having to do an accent that was unfamiliar," said Blunt. "I'll admit, I'm sure I had a tougher time with it than he did initially, but he's not usually one to give people tips, he's the most unpresumptuous person ever. But he assured me that I sounded Irish and I'm going to believe him. So if he's wrong, I'm going to blame him for any backlash on my accent. He has assured me it was a great Irish accent. We'll see," she added. Dornan added: "We were both terrified, I was like, no, we're going to be good. Yeah. Admittedly, a lot easier for me. I'm from 300, 200 miles from where the movie... I'm actually from about 120 miles from where the movie is set, and Emily, there's an ocean between her and where the movie is set. Or the Irish Sea, certainly. So, it was definitely easier for me, but she's amazing. And you're just great at accents, though, aren't you Emily?" "I mean, let's see! We're going to find out, aren't we?" Blunt replied. Wild Mountain Thyme will hit theaters and on-demand services on Dec. 11.

Netflix's syrupy "opposites attract" rom-com explores a Christmas courtship between two disheartened teens. Do not fall into Dash & Lily's trap. Within the first few minutes of Netflix's whimsical eight-episode Y.A. holiday rom-com, you may immediately come to despise its protagonists — a sneering, disaffected, floppy-haired rich kid and a peppy, idealistic, kiss-starved mousling — due to the cloying contrivances of their meet-cute alone. Just days before Christmas Eve, in the hallowed stacks of NYC's cavernous bookstore The Strand, nitpicking contrarian Dash (Austin Abrams) finds a notebook containing riddles and puzzles about clues hidden around the building. Lily (Midori Francis) flirtatiously narrates the quest as Dash plows through the game with increasing fervor. "She’s sarcastic, sophisticated ...sadistic,” he fawns later to a friend, never once considering the notebook's author may not be the dream girl he's envisioning. In the meantime, you may become nauseous from the faux-literary snobbery, shouting at the screen "Reading is NOT a personality!" (Swotty gushing over J.D. Salinger's Franny and Zooey is practically a pop culture cliché at this point.) By the end of the episode, I desperately wanted You's Joe Goldberg to pop out from a shadow and gobble up both these teen pseudointellectuals. You see, I had fallen squarely into the show's trap: Like Dash, I had been catfished. Adapted from Dash & Lily's Book of Dares by Rachel Cohn and David Levithan, the series purposefully cranks up its protagonist's most irritating qualities head-on, then slowly releases the pressure valve on each to showcase their personal growth due to the other's influence. Over time, Dash's hilariously unearned misanthropy relaxes into low-level sociability and Lily's gratingly cheerful immaturity coarsens into age-appropriate rebelliousness. Like a medium-quality donut, Dash & Lily goes down sweet and easy, but still ends up leaving a slick of unctuous film on the roof of your mouth. In late December, two posho Manhattanite teens wallow in their own holiday misery. Black-clad Dash, nursing a broken heart, tricks each of his divorced parents into thinking he's spending Christmas break with the other and decamps at his father's penthouse to watch black-and-white French films all by himself. Tinsel-bedecked Lily, lover of all things Christmas, is horrified to learn her parents are vacationing in Fiji alone this year instead of reveling in their typical holiday traditions. (You have no idea how many times I wrote "Get a real tragedy, Lily!" in my notes.) Following the bookstore scavenger hunt, the two embark on an anonymous epistolary romance via notebook, each challenging the other to participate in activities that increasingly dislodge them from their individual comfort zones. For example, Dash pushes sheltered Lily to attend a 2 a.m. underground klezmer-punk show and Lily forces Dash to join a mochi-making class with Japanese grannies. Lily doesn't even know her suitor's name and just dreamily refers to him as "Notebook Boy" for most of the season. I imagined this show was probably pitched as a Christmas-themed You've Got Mail-meets-Nick and Norah's Infinite Playlist. In fact, if the plot does sound vaguely familiar, please note Cohn and Levithan also wrote the Y.A. novel on which Nick and Norah is based. Just swap out punky L.A. private school hipsters for bookish New York private school intelligentsia. I was amused that the show is quick to condemn Dash with a lot of adjectives, other characters calling him, "snarky," "finnicky," "persnickety" and "annoyingly pedantic." (Admittedly, his peacoat does kind of groan, "I'm sooo dark and no one understands meee.") Yet, he remains much more palatable than squeakily diffident Lily, whose idea of trauma amounts to being made fun of once in middle school. Luckily, Dash & Lily is neither clumsy nor cheap-looking. Thanks to energetic cinematography from Eric Treml and candid direction from the likes of Fred Savage and Pamela Romanowsky, the show's saccharine candy shell soon melts to reveal a richer emotional core. In addition to being drawn into Lily's involved family politics, we soon meet Dash's ex Sofia (Keana Marie), who, refreshingly, isn't a vengeful or desperate virago like you'd expect. Her renewed longing for Dash isn't about possessiveness but familiarity. And soon, she's offering some of the wisest advice I've seen in a teen rom-com, reminding Dash not to unfairly build up the Lily in his head and to stop trying to live out a fairytale fantasy of rescuing a heroine from her (inner) demons. "When you put girls on pedestals, they fall." Abrams (Euphoria) and Francis' (Good Boys) humming excitement for each other is so convincing you barely even notice they share but just a handful of scenes together. Instead, their characters mainly interact with friends, family, and strangers who all, wittingly or otherwise, assist the two in completing their tasks for the other. Still, despite their jejune ardor, 26-year-old Francis and 24-year-old Abrams are so obviously un-teenager-like that I laughed when I realized midway through the series they're actually supposed to be in high school. I could not figure out why Lily's grandpa/BFF (James Saito) was outraged a 20-something was partying until 4 a.m. or how she could possibly be grounded for it. Relish funny guest turns from Larry Owens as a wild art instructor, Michael Cyril Creighton as a snappish mall employee/drag queen bouncer and Patrick Vaill as a curmudgeonly bookstore clerk, each of whom nurture this hatching courtship. “Hey kid if you ever want to work here... I’ll remember this," the clerk snarls when Dash "helpfully" points out an inventory error. Just try resisting the charms of dressing down a Holden Caulfield wannabe. Go ahead, I dare you. Cast: Austin Abrams, Midori Francis, Dante Brown, Troy Iwata, James Saito, Jodi Long, Glenn McCuen Producted by: Joe Tracz, Shawn Levy, Josh Barry, Nick Jonas, Brad Silberling Premieres: Tuesday, November 10th (Netflix)

Peele will write, direct and produce the movie, which is being kept under wraps. Jordan Peele's next horror film has gotten a release date. The latest from the Oscar-winner will hit theaters on July 22, 2022 via Universal. There are no details about the project other than it is one of two titles that was mentioned when Peele signed his rich five-year overall feature deal with the studio. He will write, direct and produce both, according to the Oct 2019 announcement. The movie will be the follow-up project to Peele's Us, which took in $255 million at the global box office. It was preceded by Get Out, Peele's feature debut, which became a massive success, grossing $176 million at the North American box office on a $5 million budget. Other features set for a July 2022 release include Captain Marvel 2 and the next Indiana Jones installment.

Universal is behind the pic. Chris Pratt and Wu Jing, the star of the massive Chinese box office hit Wolf Warrior, will star in an English language remake of action-comedy Saigon Bodyguards for Universal. Anthony and Joe Russo, who worked with Pratt on Avengers: End Game and Wu on Wolf Warrior 2, will produce the movie that is based on a 2016 Vietnamese feature, which follows two bodyguards that must locate a high profile heir that was kidnapped on their watch. Alex Gregory and Peter Huyck are set to write the script. Pratt will produce through his Indivisible Productions alongside the Russos and Mike Larocca via AGBO. Matt Reilly will oversee the project on behalf of the studio. Creative Executive Kassee Whiting will oversee the project on behalf of AGBO. Pratt, who recently wrapped filming on the third Jurassic World movie, is repped by UTA, Rise Management and Sloane Offer.

Until now, theater owners and Hollywood studios weren't even sure whether the 2021 calendar would hold. The decimated box office received a jolt of good news on Monday. Pfizer Inc. announced that its COVID-19 vaccine may be 90 percent effective, prompting top health authorities to speculate that life could begin to resemble normal by March or April. This provides theater owners and Hollywood studios clarity for the first time as to when moviegoing might resume in earnest. "Pfizer said it is a game changer in terms of public health issues. And I think the vaccine is a game changer in terms of the movie industry. No one had a time frame before. The announcement puts bookends on in," Imax CEO Richard Gelfond said. Exhibition and studios echoed Gelfond's sentiments, while stocks of Imax and other leading exhibition chains soared on Monday upon word of the vaccine, and following Saturday's announcement that President-elect Joe Biden has won the 2020 presidential race ahead of incumbent Donald Trump. Until now, Hollywood studios weren't even sure if the 2021 release calendar was stable in terms of their big-budget tentpoles, and particularly the first part of the year. "The studios have really been struggling. Movies keep moving and people were getting frustrated," another top exec said. "Exhibition has been so beaten down," adds Wall Street analyst Eric Handler. "Now, there is at least hope that we can get back to normal next year. There are a lot of people who won't go back to theaters until there is a vaccine." He's right. Nearly 30 percent of U.S. consumers surveyed by leading Hollywood marketing and research film NRG say they don't plan on going back to the movies until there is a vaccine. While it's true that nearly 50 percent of theaters across the United States have reopened, they are operating at anywhere from 25 percent to 50 percent capacity. In terms of content, they are relying on a diet of smaller Hollywood films and catalogue titles after studios delayed their fall and winter 2020 tentpoles. On Monday, the National Association of Theatre Owners called on the lame-duck Congress to provide millions of dollars in relief to cinemas in the next several months, saying that 96 percent of theaters have seen losses this year of 70 percent of more.

'Let Him Go,' a suspense drama starring Diane Lane and Kevin Costner, scored the best domestid opening in six weeks amid ongoing challenges posed by the COVID-19 crisis. Focus Features' Let Him Go rode to No. 1 in its domestic debut with $4.1 million from 2,454 locations, the top gross in six weeks amid the challenges posed by the ongoing COVID-19 pandemic. The movie's performance also marks the first time in the history of Focus that the specialty label has had two titles open at N0. 1 on back-to-back weekends, and is a reflection of the lack of bigger studio fare. Written and directed by Thomas Bezucha (The Family Stone) and based on Larry Watson’s bestselling novel of the same name, the suspense-filled drama reunites Kevin Costner and Diane Lane. Playing in 2,454 locations, the top gross for the weekend was the Five Drive-In in Toronto with $12,607, while the top-grossing indoor theater was the Palladium in San Antonio with $9,998 in the second spot. Markets including Dallas, Houston and Phoenix all overperformed. Focus' Halloween horror pick Come Play, which opened last weekend to $3.2 million, fell to $1.7 million from 2,213 theaters for a 10-day domestic total of $5.6 million. At the worldwide box office, Christopher Nolan's Tenet finally crossed the $350 million mark in ticket sales after beginning to rollout in late August. The Warner Bros.' tentpole has grossed $55.1 million domestically and $295.6 million internationally for a global total of $350.8 million.

Mel Gibson plays a new kind of Saint Nick in a holiday action film by brothers Ian and Eshom Nelms. In Fatman, the latest film by brothers Ian and Eshom Nelms, Santa Claus is a gruff, defeated man with a drinking problem. Persecuted by those he wants to bring joy to, he at one point suffers a wound in his side, Jesus-style. When we meet him, he's venting some anger by shooting tin cans in his back yard. If any Christmas picture screams out for today's Mel Gibson, this is the one. Yet despite this casting and the increasingly head-spinning plot — the U.S. government hires Santa's workforce to make parts for fighter jets; a rich kid who gets coal under the tree hires a hitman to punish the once-jolly gift-giver — Fatman doesn't elicit the response one rightly expects, the mouth-agape astonishment of wondering how and why such a movie came to exist. The film realizes it's being outrageous, but it's not one of those prefab cult movies that cynically throws one absurdity after another onscreen in the hopes of going viral. Heaven help them, the Nelms brothers actually care about this story, and they hope you will too. If you're the kind of viewer who isn't too put off by the resonances between Gibson's screen persona and his offscreen behavior, you just might. (Which will be lucky since, nutty premise notwithstanding, the movie rarely tries to make you laugh.) This Chris Cringle's despondency comes from the lousy state of the world's children. As he sees it, the Naughty population is ever-growing, while the number of kids who deserve the gifts they wish for decreases by the day. Unfortunately, the money his operation brings in — a subsidy check from the U.S. government — is proportionate not to his costs, but to the number of presents he delivers. (While some parts of this conceit may not hold up to scrutiny, the basic gist makes sense: In paying a little to keep Santa's generosity going, the government props up the gargantuan economy around Christmas-spirit consumerism.) As a result, Santa's workshop is behind on its bills and at risk of closing down. Things are so desperate he's finally willing to sign a contract with the Army, militarizing his North Pole compound in the downtime between bouts of present-making. Elves are highly skilled, after all, despite their all-sweets diet. It's a sad scene, and if not for the calming influence of his wife Ruth (Marianne Jean-Baptiste), Mr. Cringle might crack. (Santa's wife gets more attention here than in most Christmas pictures, and scenes between the two would be credible even in a more serious movie.) Meanwhile, spoiled Billy Wenan (Chance Hurstfield) rules over his family's mansion while a neglectful father vacations around the world with one girlfriend or another. He's a little tyrant with an amusingly grown-up demeanor, treating maids like his secretaries and taking a cutthroat approach to competition at the Science Fair. Outraged at the coal he receives Christmas morning, Billy contacts a hitman credited as the Skinny Man (Walton Goggins). The oddly sentimental killer has spent his life hating Santa for not giving him the gifts he wanted decades ago. He eagerly agrees to find his North Pole lair and kill him. As played by Goggins, this figure is Fatman's most successful invention, a just-novel-enough spin on earlier Yuletide heavies whose villainy derives from childhood suffering. He stalks his prey with quirky menace. But do yourself a favor and don't wait for this Grinch to be redeemed. As it moves toward a climax that will require Santa to connect with his inner action hero, the film works better than it should without being as enjoyable as its predecessor, the brothers' much less ambitious Small Town Crime. In that 2017 private-eye pic starring John Hawkes, seedy vibes came with the territory, and a single genre was enough to keep the writer/directors engaged. Here, viewers must keep asking themselves how many layers of irony they're looking through, and how many varieties of Christmas movies the world really needs. Production company: Mammoth Entertainment Distributor: Saban Films (In select theaters Nov. 13; On Demand and on digital Nov. 24) Cast: Mel Gibson, Walton Goggins, Marianne Jean-Baptiste, Chance Hurstfield, Susanne Sutchy, Robert Bockstael, Michael Dyson, Deborah Grover, Ellison Butler, Eric Woolfe Directors-Screenwriters: Ian Nelms & Eshom Nelms Producers: Nadine De Barros, Michelle Lang, Todd Courtney, Lisa Wolofsky, Robert Menzies Director of photography: Johnny Derango Production designer: Chris August Costume designer: Jennifer Stroud Editor: Traton Lee Composers: Mondo Boys Casting directors: Chelsea Ellis Bloch, Marisol Roncali, Ilona Smyth R, 100 minutes

Netflix's Ratched brought in a sizable audience in its first four weeks, according to the streamer's viewer metrics — and the aqcuisition of Cobra Kai has also paid off. The Ryan Murphy-produced Ratched, starring Sarah Paulson, clocked 48 million views over its first 28 days of release, Netflix announced Tuesday as part of its third quarter earnings report. It was the top original series of the quarter mentioned in the report, topping The Umbrella Academy (43 million) and Lucifer (38 million). Ratched was not, however, the top series mentioned in the letter to shareholders. That honor belongs to Cobra Kai, which Netflix acquired after two seasons airing on YouTube and began streaming on Netflix in early September. The company says 50 million member accounts watched at least two minutes of the show in its first 28 days. Netflix measures viewership by the number of accounts that "choose to watch" a series or feature film by watching at least two minutes of a given title. Its metric is more similar to views on YouTube and other online video services than traditional TV ratings as measured by Nielsen — although Nielsen has also begun releasing weekly streaming rankings, measured by total minutes viewed for a title. All four of the above shows have made ranked No. 1 in the Nielsen streaming top 10 since the ratings service began releasing weekly numbers in early August. Feature films also enjoyed a strong quarter, per Netflix's measurement. The Old Guard (78 million views) and Project Power (75 million) — featuring A-list stars in Charlize Theron and Jamie Foxx — drew substantial interest over their first 28 days of release, and Netflix projects 76 million member accounts will watch Enola Holmes (released Sept. 23) in its first four weeks. YA rom-com The Kissing Booth 2 (66 million views) also performed well. Netflix also noted that it had its two most watched original feature documentaries to date in the quarter: American Murder: The Family Next Door (52 million views over four weeks) and The Social Dilemma (38 million).

HBO's Lovecraft Country ended the season with its biggest first-night audience to date. The series from creator and showrunner Misha Green drew series bests in both on-air (881,000) and multi-platform viewers (1.5 million) on Sunday, according to figures from Nielsen and the premium cable outlet. Those numbers are up from 760,000 linear viewers and 1.4 million all in for the series premiere in August. Viewers watching via replays and streaming made up about 41 percent of the first-night audience, in line with both earlier episodes of Lovecraft Country and other recent HBO series. The finale was also a draw for HBO Max users: Though parent company WarnerMedia doesn't release viewing figures for the platform, it said the episode drew a bigger audience among Max users for its first day of release than any other episode of an original series on the service since its launch in late May. The audience for the Lovecraft Country will also continue to grow in the coming weeks. HBO says the season premiere is "approaching" 10 million viewers since its debut, putting it ahead of Perry Mason (9 million), The Outsider (9 million) and Watchmen (7 million) among recent HBO dramas. HBO hasn't decided on a renewal for the series yet, but Green said "there's definitely a path forward we have" for a possible second season.

The director is currently in post-production on 'F9.' Every road trip eventually comes to an end. Justin Lin will direct the 10th and 11th films in the Fast and Furious franchise, which will be the conclusion of the core movies. Lin has directed four Fast and Furious films beginning with 2006's The Fast and the Furious: Tokyo Drift. He last helmed 2013's Fast & Furious 6. The Lin-directed F9 is currently in post-production, with the release having been pushed back by Universal to May 2021 from a 2020 release due to the pandemic theatrical closures. Vin Diesel will lead the remaining franchise films, likely to be joined by recurring Fast castmembers Michelle Rodriguez, Tyrese Gibson, Sung Kang, Ludacris, Jordana Brewster and Nathalie Emmanuel. While the core Fast franchise may be driving off into the sunset, there will still be room to build out the universe. The first Fast spin-off hit theaters in 2019 with the Dwayne Johnson and Jason Statham starring Hobbs & Shaw. Both a Hobbs & Shaw sequel and a female-fronted spinoff have been talked about by members of the production. The Fast franchise, which began in 2001, has made $5.89 billion globally, with that figure including the 2019 spinoff Hobbs & Shaw. The most recent installment of the core franchise, 2017's Fate of the Furious, grossed $1.23 billion.

The singer and actress is also eyeing a starring role in the STXfilms project now in development via her production banner, July Moon. Selena Gomez is set to produce the upcoming horror thriller Dollhouse for STXfilms and is eyeing the project as a possible starring vehicle. The 13 Reasons Why star is developing the film through her production company, July Moon Productions, along with 21 Laps’ Shawn Levy and Dan Cohen, who will also produce. A director has yet to be attached to the psychological thriller. The screenplay by Michael Paisley is set in the elite world of New York City’s fashion scene. “Selena's involvement is an exciting direction for this project. She is supremely talented as both a star and a producer,” Adam Fogelson, chairman, STXfilms motion picture group, said in a statement. Patricia Braga of STX will oversee the project with 21 Laps’ Emily Morris. Gomez is also to reprise her lead role and executive produce Sony Pictures Animation’s Hotel Transylvania 4. She also stars in and executive produces HBO Max’s Selena+Chef, and will produce and star opposite Steve Martin and Martin Short in Hulu’s Only Murders in the Building. 21 Laps recently sold the horror spec Mother Land to Lionsgate and the Reddit No Sleep article My Wife & I Bought a Ranch to Netflix.

The 'Fury Road' director has never been interested in repeating himself. Oh what a lovely day! George Miller is returning to the wasteland, but this time without his famed hero Max Rockatansky. Instead he’ll be focusing a newer icon in his Mad Max franchise: Furiosa. The long-rumored prequel to Mad Max: Fury Road (2015) is finally reeving its engines with today’s announcement that Anya Taylor-Joy will be playing the character originated by Charlize Theron in an origin story directed, produced, and co-written by George Miller. Joining Taylor-Joy will be Chris Hemsworth and Yahya Abdul-Mateen II. While Miller has previously discussed ambitions for a follow-up to Fury Road with Tom Hardy reprising his role of Max, it was clear from the previous film that Furiosa has captured the filmmaker’s heart, as well as fans of the franchise both new and old. While what’s in store for the young Furiosa remains a mystery, Miller may have planted some seeds that we might see the genesis of in the upcoming film. As with Fury Road, Miller has assembled a cast of major names for Furiosa, suggesting plans to further explore the post-apocalyptic world that clings to life through violence, vehicles, and gasoline. Much in the same way that Fury Road wasn’t just focused on Max, and eschewed the idea of him as a lone hero, despite him being the titular character, it seems reasonable to expect that Furiosa will cast a wider focus than just on the future Imperator. The timeline of the Mad Max franchise is a bit tricky but a comic set before the events of the film, Mad Max: Fury Road – Furiosa No. 1, provides details that tell of Furiosa and her mother being stolen from their matriarchal society. While her mother died, Furiosa became one of Immortan Joe’s wives, but when he discovered she was barren Joe gave her to his Imperator who trained her to become a warrior. It’s possible that we’ll see some of this play out in the upcoming film, with Hemsworth or Abdul-Mateen II playing Furiosa’s mentor and the Imperator who preceded her. It’s also detailed within that comic that Furiosa rose through the ranks as the only woman in Joe’s military, and eventually earned the nickname “Bag of Nails” before becoming Imperator following her mentor’s death, and ultimately losing her arm in a fight for the “glory” of Immortan Joe. While the stories in those Fury Road prequel comics are credited to Miller, and were marketed as being canon to the film upon release, Miller didn’t actually write the comics himself. The Furiosa issue, written by Mark Sexton, with art by Tristan Jones, was heavily criticized upon release for its depiction of sexual violence enacted upon Furiosa, and later Immortan Joe’s five wives. The comic is far less progressive than the characterizations seen in Fury Road, and there is reason to question the details provided in Furiosa’s origin story. Something that’s key to Miller’s filmography is that he’s never been interested in repeating himself, even within franchises. There are tremendous leaps made in the world, story, and the action when you compare Mad Max (1979) to The Road Warrior (1981), or, to a lesser degree, Beyond Thunderdome (1985). And even more so when you compare that original trilogy to Fury Road. So there’s no reason to suspect that Furiosa will be covering the same ground, if any, depicted in the comic. Miller’s wasteland is built upon myths and idea of stories passed down through generations. Details change, like how Max’s origin story in the flashbacks he has in Fury Road don’t match the events of Mad Max (1979). Just because that comic told a story of Furiosa’s origins, doesn’t mean the story was true, or that the details weren’t changed in the telling. Ultimately, the only details about Furiosa’s history that seem reliable at this point was that Furiosa was taken from the Green Place, and that she served under Immortan Joe for a time before her redemption in Fury Road. Miller isn’t tied down to much, giving him an edge that very few creators who venture into prequel territory have. And just because Furiosa is a prequel, doesn’t mean it can’t also be progressive and make great leaps in the same way the forward moving Mad Max films did. An interesting aspect to consider with the Furiosa spin-off is the predictive nature of Fury Road. Miller’s Mad Max franchise has always been deeply tuned into the end result of human wastefulness and excess, but Fury Road’s depiction of Immortan Joe, a bloated, heavily made-up leader, clad in empty symbols of status, protected by a misuse of justice and a cult like tribe of young men, surrounded by a family of enablers, and forced to wear a mask due to breathing difficulties, hits really close to home for Americans. And the parallels between Joe and our current political situation have grown even closer over the years. Even as a prequel, it doesn’t seem implausible to believe Furiosa to be forward-thinking in regards to looking at the world of today. What that means may not be entirely clear for those of us who lack the genius of Miller, but we shouldn’t expect to see an Immortan Joe origin story coupled with Furiosa’s, or for the character to even play a significant part in the film. We know how men like that are built and how they cling to power. What’s more interesting is that Immortan Joe is a symptom of a larger world gone bad, an issue contained to a small space in a much larger world. Given how much our world has to reckon with in order to avoid becoming a wasteland itself, there’s little doubt that Miller will tackle themes that are both illuminating about the past, and predictive of where we might be headed. We know that Furiosa’s path ultimately leads to Fury Road, but as we have seen with Max, Miller’s post-apocalyptic heroes are just necessary tire treads for what’s already in motion, and even when they fall away there’s no stopping the momentum of other characters, the world at large, and the multitude of possibilities that exist with Miller’s foot on the gas.

Dennis Quaid is starring as the 40th president with Jon Voight and Robert Davi also in the cast. Penelope Ann Miller will play Nancy Reagan in Reagan, a biopic of former President Ronald Reagan that stars Dennis Quaid in the title role. The movie is currently, and quietly, in production in Oklahoma, with Jon Voight and Robert Davi also in the cast. Sean McNamara, who directed the faith-based hit Soul Surfer, is directing the indie drama that hails from Rawhide Pictures and producer Mark Joseph. Joseph previously produced the First Amendment documentary, No Safe Spaces, and co-executive produced the Martin Sheen-starring faith-based drama, The Vessel. Ralph Winter, a producer on the X-Men franchise, is also producing. Howard Klausner and Jonas McCord penned the script which is adapting or taking inspiration from The Crusader: Ronald Reagan and the Fall of Communism and God and Ronald Reagan: A Spiritual Life, both written by conservative author Paul Kengor. The story is said to look at Reagan’s life through the eyes of a KGB agent, a fictional character, as he tracks the actor-turned-SAG president-turned-California governor-turned-President from anti-Communist crusader in Hollywood to leader of the free world. Davi is playing Leonid Brezhnev, who ruled the Soviet Union through the 1960s and 1970s. Voight is playing the KGB agent. Nancy Reagan was an actress who became Reagan’s second wife and was the first lady when he was President. One of her political contributions was a major anti-drug campaign in the era. Miller is the veteran actress who starred in Carlito’s Way, Kindergarten Cop and The Shadow. She appeared in 2011’s Oscar-winning Hollywood homage The Artist as well as 2016’s Birth of a Nation.

FreeLeech ON All Torrents Free set by j**** Until 15 Oct 2020 (2d 17:38 to go)