Fox has doubled its slate of drama pilots with orders for a pair of shows. The network has greenlit Deputy, a pilot about a Los Angeles County sheriff's deputy who suddenly is elevated to the department's top job, and an untitled project set at a wedding from Lucifer and Californication creator Tom Kapinos. Deputy comes from Aquaman co-writer Will Beall; Entertainment One, which is co-producing with Fox; and Cedar Park. It centers on Bill Hollister, a career lawman who is comfortable kicking down doors but utterly lost in staff meetings. But when the L.A. County sheriff dies unexpectedly, Bill is named acting sheriff and put in charge of a 10,000-strong force. David Ayer (Suicide Squad, Bright) will direct and executive produce with his Cedar Park partner Chris Long and Beall. Cedar Park has a first-look deal with eOne. Beall's other credits include creating the CBS series Training Day, based on the 2001 movie written by Ayer. He is repped by CAA, Management 360 and attorney Jeff Frankel. The Kapinos drama — which had the working title Let's Spend the Night Together earlier in its development — comes from 20th Century Fox TV and Endemol Shine North America. It is based on a French series, Quadras, and the first season would take place over a single night at a wedding. The show would explore the romantic lives of the wedding party and delve into the complicated bonds of love, friendship and family at different stages of life. Kapinos executive produces with director Samaa Hamri, Sharon Levy, Francois-Xavier Demaison and Nicolas Coppermann. Kapinos developed Lucifer for Fox but stepped back after the pilot episode; he retained an executive producer credit throughout the series' run on the network. He also created Californication, which ran for seven seasons on Showtime. The two pilots join the Southern Gothic soap Filthy Rich and the crime show Prodigal Son on Fox's drama pilot slate for 2019-20.

It's been more than five years since Frank Darabont and Creative Artists Agency sued AMC over profits to The Walking Dead. So what's one more? On Tuesday, at a status conference, the parties learned that the huge profits case with more than $300 million on the line will head to trial in May 2020. This comes after New York Supreme Court Justice Eileen Bransten largely denied summary judgment motions in December. Neither side is appealing. A jury will thus be deciding whether AMC has to impute a fair-market value for the highly rated series or whether Darabont and his reps allowed AMC to set the amount with certain limitations. Overseeing the trial will be Justice Joel Cohen, who took over the case when Bransten retired at the end of the year. The summary judgment briefing spilled massive amounts of financials and depositions into the public domain, and the trial will showcase even more about Hollywood dealmaking (assuming no settlement in the interim). The parties are also still engaged in discovery for the follow-up second lawsuit over an audit, but both cases will be consolidated for purposes of trial. Of course, schedules could change. "We’ll put this in, in something between pencil and pen," Cohen said Tuesday. Both sides had comment. "We are thrilled that Justice Cohen set a trial date, and we look forward to trying both the original self dealing case and additional audit claims before a jury," said Chad Fitzgerald of Kinsella Weitzman Iser Kump & Aldisert, attorney for Darabont and CAA. Orin Snyder, attorney for AMC, said, "We look forward to our day in court and proving that this case is nothing more than a money grab by CAA and a gang of Hollywood lawyers who have already been paid millions and millions of dollars for their participation in The Walking Dead.”

The Big Bang Theory star Jim Parsons is taking his next producing project to Netflix. The streamer has picked up Special, an eight-episode comedy series from writer and star Ryan O'Connell (Will & Grace, Awkward). It is based on his part memoir, part manifesto I'm Special: And Other Lies We Tell Ourselves. The series, set to premiere April 12, will follow O'Connell's character, a gay man with mild cerebral palsy who decides to rewrite his identity as an accident victim and finally go after the life he wants. Special also stars Jessica Hecht (Friends, Breaking Bad), Punam Patel (Adam Ruins Everything), Marla Mindelle, Augustus Prew (Pure Genius) and Patrick Fabian (Better Call Saul). The project comes from Big Bang Theory producer Warner Bros. TV, studio-affiliated Stage 13 and Parson's That's Wonderful Productions. O'Connell executive produces with Parsons and That's Wonderful's Todd Spiewak (who is also married to Parsons) and Eric Norsoph. Flight of the Conchords and Insecure veteran Anna Dokoza directs and exec produces. Parsons is also an executive producer and the narrator of Big Bang Theory spinoff Young Sheldon. Special marks his first time working with Netflix as a producer; he stars with Zac Efron in Extremely Wicked, Shockingly Evil and Vile, a feature film about serial killer Ted Bundy that Netflix picked up at Sundance.

Stars Anna Faris and Allison Janney have inked new deals to return (with sizable raises). CBS' Mom is not going anywhere. The network on Tuesday handed out a two-season renewal for the series as stars Anna Faris and Allison Janney have each inked rich new deals to continue on the Chuck Lorre comedy from Warner Bros. TV. “We’re exceptionally proud to have Mom on our air; a high-quality, signature comedy with characters viewers love, that also brings strength and stability to our lineup,” CBS Entertainment president Kelly Kahl said Tuesday in a statement. “Under Chuck Lorre’s extraordinary leadership and with his outstanding writing and production team, we look forward to having Mom on CBS for many years to come.” The renewal arrives as Lorre and CBS are ending the flagship comedy The Big Bang Theory this season after a 12-season run. The prolific producer's CBS roster also includes Big Bang prequel Young Sheldon and a pilot in the mix for next season. Lorre is fresh off a Golden Globe comedy win for his second Netflix series, The Kominsky Method. He remains one of WBTV and CBS' most valued producers. The Mom renewal helps solidify the bulk of CBS' Thursday lineup for the 2019-2020 broadcast season. Lorre's deal with WBTV expires in June 2020. This season, Mom is averaging 10 million viewers per week and ranks as the No. 3 most-watched comedy on television (behind only Big Bangand Young Sheldon). It ranks as a top five comedy among adults 25-54. Sources note that Mom's Janney and Faris each received sizable salary increases to return for two more years, triggering the two-season renewal that mirrors Big Bang's most recent (and final) renewal agreement. Mom joins fellow early renewals at CBS for the 2019-2020 season including the final season of Criminal Minds and rookies FBI, God Friended Me, Magnum PI and The Neighborhood.

Netflix's Delhi-set drama shows the importance of context in keeping the police procedural genre from going stale. Procedurals, even the most gory and violent, are built with audience comfort in mind. Unless you're an utter genre neophyte, you can tune in to a procedural and know its rhythms and arcs with reasonable certainty. They're shows meant to be watched in partial distraction and with a sense of relief in knowing that whether the show is set in New York or L.A. or Chicago or Miami, crimes will be solved, diseases diagnosed, or cases tried in a familiar enough way so that you can also fold laundry, prepare dinner or vacuum the living room. Put Netflix's Delhi Crime Story in a category of anti-procedural procedurals. The seven-part drama, which premiered its first two episodes as part of Sundance's Indie Episodic program, focuses on the type of horrifying sex crime that Law & Order: Special Victims Unit has built nearly 450 episodes around — chew on that figure for a couple of seconds. Canadian writer-director Richie Mehta, whose background is in film, certainly knows his procedural conventions. Those conventions pop up over and over again in the initial Delhi Crime Story episodes, and because of Mehta's focus on cultural context, they all feel reasonably fresh and consistently engaging. Delhi Crime Story is based on real events from 2012. The series begins with the discovery of a naked man and woman in a ditch. He was beaten. She was beaten and gang-raped in ways that are detailed in the dialogue and, thankfully, less so visually. The crime took place on a city bus. Gradually and accompanied by chyrons telling us their rank and years of service, the various law enforcement figures on the case are introduced. Leading the case are Deputy Commissioner of Police Vartika Chaturvedi (Shefali Shah), a longtime department veteran who fixates on the gruesome nature of the crime and is determined to oversee the case's solution herself, and Neeti Khanna (Rasika Dugal), an inexperienced trainee whose potential Vartika is able to spot. The series opens with a foundation-laying voiceover that paints Delhi as a woefully under-policed city in which half the force is stuck on traffic duty or on VIP protection. It concludes by teasing that this was "a crime that took the city to the brink." The voiceover verges on hard-boiled, much of Vartika's dialogue is comparably turgid, which had me thinking Delhi Crime Story might be some kind of Indian noir. It's a possibility that I was totally on board for, but one that didn't quite pan out. Delhi Crime Story is one of those elongated procedurals that Peak TV and streaming have birthed and enabled, in the character-driven vein of The Killing or Seven Seconds, only without their character complexity. In the opening two episodes — almost completely about assembling a team and beginning the process of tracking down the crime-scene bus — most of the character beats are among the series' most heavy-handed moments. Vartika, for example, has a teenage daughter who's eager to flee to Canada, convinced that India is garbage. Vartika takes it upon herself to give her daughter reasons to stay, a rosy picture jeopardized by the series' central crime, which gets immediate media interest and misrepresentation. And Neeti goes out on a date as prelude to a potential arranged marriage, the kind of thing that introduces the subject of gender roles and relationship power dynamics among young generations in contemporary India. Nothing related to these characters is introduced that doesn't lend itself to Mehta's bigger thematic points, and any dialogue that isn't on topic thuds a bit. There just isn't time to make jokes or digressions when it makes more sense to show viewers the convoluted nature of the Delhi justice system. Somehow, and probably for the best, this is where Mehta's reliance on exposition has a lighter touch. There's a The Wire-esque aspect to how Vartika has to handpick a motley team of officers and investigators who she knows she can trust in order to keep the case out of the morass of Delhi's bureaucracy. Two episodes aren't enough for most of those investigators to make even the slightest impression as individuals, though I think I've been able to categorize people as "harmfully inept" or "hopefully effective." Nearly every bit of incremental progress requires the cashing in of favors or going into hock on new ones. Instead of being presented as corruption, the convolutions of this city are presented through a prism of entrenched classism and sexism and an assortment of isms that would never come up in a Law & Order or NCIS episode. The series feels more like the work of a sincerely interested outsider than a native piece of representation. Or maybe it just feels like it's being made for outsiders? The "Delhi is crowded!" approach isn't going to be revelatory to anybody who has seen a locally shot movie or Delhi-set episodes of The Amazing Race. Still, there's a focus that prevents Mehta and cinematographer Johan Huerlin Aidt's approach to the city from feeling stereotypical. Everything in the first two episode stems from traffic, and that's how the series captures Delhi's crowding, its urgency and the central crime itself. Traffic is a vehicle, so to speak, for some exposure to Delhi's geography, its frenzied rhythms, and the gaps between people and neighborhoods that can be insurmountable on physical and metaphorical levels. Whether it's the interrogation of a cagey suspect or a confrontation with a stern authority figure or the push-and-pull with political and media figures, everything in Delhi Crime Story is familiar-yet-different. Throw in the visceral punch of the horrible crime itself — the desire for resolution is one of outrage, not mystery-driven curiosity — and some complicated and detailed variations on cell-signal tracking, CCTV monitoring and other common procedural beats, and you get an above-average genre exercise. Venue: Sundance Film Festival (Indie Episodic) Cast: Shefali Shah, Adil Hussain, Denzil Smith, Rasika Dugal, Rajesh Tailang, Yashaswini Dayama Creator-director: Richie Mehta Premieres: March 22 (Netflix)

Fox's roster of pilots continues to grow. The network has given orders to two more projects: comedy Adam & Eve, from Ed co-creator Jon Beckerman, and drama neXt from 24: Legacycreator Manny Coto and the duo of John Requa and Glenn Ficarra (This Is Us). The two orders follow on the heels of green lights for two other dramas, cop show Deputy and an untitled drama set at a wedding from Californication's Tom Kapinos. Fox now has five dramas and six comedies — including animated shows Duncanville and Bless the Harts, ordered straight to series — on its slate for 2019-20. Adam & Eve, based on a French-Canadian format, follows a couple at three stages of their relationship: young and passionate, middle-aged with kids and navigating retirement. It will ask big questions, like what makes a marriage last? Do people ever really change? And why, after 40 years, can't we pick a place for dinner without it being a whole thing? Beckerman (Late Show With David Letterman, The Knights of Prosperity) is writing the pilot and executive producing with Avanti Groupe's Claude Meunier and Luc Wiseman. It comes from 20th Century Fox TV. Thriller neXt, also from 20th, teams a brilliant, paranoid former tech CEO and a Homeland cybersecurity agent as they try to stop the world's first artificial intelligence crisis: the emergence of a rogue AI with the ability to continuously improve itself. The show will combine action and a layered examination of how technology has invaded our lives and transformed us in ways we don't yet understand. Coto, who has also worked on Dexter and American Horror Story, will write and executive produce. Requa and Ficarra will direct the pilot and executive produce along with their Zaftig Films partner Charlie Gogolak.

Viacom CEO Bob Bakish announced the plan, which follows Paramount CEO Jim Gianopulos saying in November that his studio had a multi-picture deal with the streaming service. Viacom is making good on its film and TV studio plans to produce movies for Netflix. Viacom CEO Bob Bakish, on an analyst call Tuesday, said Viacom's Nickelodeon Studios division will produce two original animated movies for Netflix based on The Loud House and the Rise of the Teenage Mutant Turtles properties. Bakish touted the movie deal as part of Nickelodeon and Viacom's broader efforts to tap into Nickelodeon's IP to continue producing new content for digital and linear platforms. Viacom already produces Pinky Malinky for Netflix, in addition to the reimagined live-action series Avatar: The Last Airbender, which recently started production. The Netflix movie deal also follows Paramount last month taking The Loud House Movie off its 2020 release calendar. The Loud House, currently in its third season, is Nickelodeon's No. 2 series among its targeted kids two to 11 demographic, behind only SpongeBob SquarePants at the network. The animated show revolves around Lincoln Loud, a boy growing up in a family with 10 sisters. Nickelodeon later this year will debut a new animated spinoff of The Loud House property, The Casagrandes. The Rise of the Teenage Mutant Ninja Turtles series recently returned to the Nickelodeon schedule. That popular 2D cartoon follows brothers Raph, Leo, Donnie and Mickey, along with their ally April O'Neil, as they unlock the mystical secrets of New York City. Bakish on the analyst call stressed the two projects were original movies, and not TV series, and would promote the existing Nickelodeon channel offerings. "This is both incremental business and powerful promotion for these two franchises," Bakish told investors. During a Viacom earnings call in November, Paramount Pictures CEO Jim Gianopulos first unveiled plans for a multi-picture deal with Netflix. The Viacom deal contrasts with Disney and Warner Bros. pulling their movies from Netflix to service their own future streaming services.

Mike Mignola, Duncan Fegredo and Richard Corben will feature in the July oversized hardcover. To celebrate the 25th anniversary of Mike Mignola’s signature creation — and take advantage of the attention directed toward the character’s return to cinema with Neil Marshall’s April reboot — Dark Horse Comics has announced Hellboy: 25 Years of Covers, a deluxe edition collecting art from Mignola, Richard Corben, Duncan Fegredo and other creators across the past quarter century. Featuring more than 150 covers, the deluxe hardcover will include all cover artwork from the primary Hellboy series — from the debut issue of 1994’s Seed of Destruction through the final issue of 2016’s Hellboy in Hell No. 10 — as well as cover art from multiple related projects, including Hellboy in Mexico, Hellboy: Krampusnacht and B.P.R.D.: The Devil You Know No. 15, the upcoming final issue of the long-running Hellboy spinoff, which features a Mignola Hellboy portrait. As an additional incentive to fans, 25 Years of Covers will also feature cover artwork for multiple upcoming projects, including some as-yet-unannounced, by Mignola, Fegredo and Paolo Rivera. Hellboy: 25 Years of Covers will be released July 3, months after the April 12 release of Marshall’s Hellboy, which returns the comic book hero to the big screen for the first time since 2008’s Hellboy II: The Golden Army. David Harbour takes the lead role in Marshall’s movie, with Mignola co-writing the script with Andrew Cosby, Christopher Golden and Aron Coleite.

Kelly Clarkson, Nick Jonas, Wanda Sykes, Gabriel Iglesias, Pitbull, Wang Leehom, Blake Shelton, Janelle Monae, Emma Roberts, Bebe Rexha, Charli XCX and Lizzo make up the voice cast for the animated film. Kelly Clarkson shared the trailer for UglyDolls when she visited The Ellen DeGeneres Show on Tuesday. Clarkson voices the main character Moxy, who travels with her UglyDoll friends to the town of Perfection, where everyone is perfect. The friends soon meet Lou (Nick Jonas), who recruits and trains dolls to become perfect in hopes that children will eventually take them. Wanda Sykes, Gabriel Iglesias, Pitbull, Wang Leehom, Blake Shelton, Janelle Monae, Emma Roberts, Bebe Rexha, Charli XCX and Lizzo round out the cast for the animated feature, which is based on the plush toy line by David Horvath and Sun-Min Kim. The trailer opens with shots of toys being made in a factory. "Every year millions of dolls are created, perfectly designed to bring joy to people everywhere," says a narrator. "But what happens to the dolls who aren't so perfect?" An imperfect doll is then disposed from the factory and lands in Uglyville. Viewers soon meet Uglyville resident Moxy, who dreams of escaping the town and moving to the "big world" where she can belong to the perfect kid. Moxy eventually recruits her friends to help her travel to the big world. The group make their way over a mountain and they stumble upon the Institute of Perfection. "Welcome to the Institute of Perfection, where only the best will meet their perfect human match," says Lou to a crowd of swooning fans. While many of the toys are given new career paths to help make them more attractive to potential kid owners, Moxy is seen as too ugly to be given a chance. "Do you honestly think your band of sock puppets stands a chance here?" Lou asks her. "It's probably better if you just go back where you belong." While some of Moxy's friends are ready to give up and return to Uglyville, she encourages everyone to embrace what makes them different. "Our flaws make us unique," she says. "Those are all worth fighting for. A montage of clips follow that show Moxy and her friends as they stand up to Lou and prove that they are just as worthy as the other toys. The STX film also features original songs performed by the star-studded cast. https://www.youtube.com/watch?v=VzbxSpBOJ6E

Tracker Name :Ncore.cc please help me , i really need so much ThaNks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks

thanks