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  1. Marking the follow-up to 2015's 'No No No' Beirut have announced a new album, titled ‘Gallipoli’. It serves as the follow-up to 2015’s ‘No No No’ and marks Condon’s fifth full-length release as Beirut. The album takes its name from the Italian town of the same name, where Zach Condon wrote the title track. The album was recorded in New York City, Berlin, and Puglia. Announcing the news on their official website, Condon also described the recording process of the album. “Gallipoli started, in my mind, when I finally had my old Farfisa organ shipped to New York from my parent’s home in Santa Fe, NM,” he began. “I acquired the organ from my first job at the CCA; the local foreign film theater and gallery space. A traveling circus’ keyboard player (not a joke) had left it in the warehouse after certain keys and functions of the organ had broken down and stopped working,” he continued. “I spent the next three years writing every song I could possibly squeeze out of it.” Condon goes on to explain that during the writing and recording process, things in his personal life “were shifting wildly” and he found himself “traveling back and forth between New York and Berlin for longer periods of time.” He describes the studio sessions as a “flurry of 12 to 16 hour days in the studio, with day trips around the coastline and a steady diet of pizza, pasta and tear-inducing ghost peppers we bought from the chili-man in Lecce.” Then, he tells fans about the inspiration behind the album’s title track. “We stumbled into a medieval-fortressed island town of Gallipoli one night and followed a brass band procession fronted by priests carrying a statue of the town’s saint through the winding narrow streets behind what seemed like the entire town, before returning late to Sudestudio. The next day I wrote the song I ended up calling ‘Gallipoli’ entirely in one sitting, pausing only to eat.”
  2. Corey Taylor has stated multiple times that 2019 will be dedicated to Slipknot Slipknot have announced their first show of 2019, after promising fans a new album and a world tour next year. The newly announced show will see the band perform at the 2019 Iowa State Fair in their hometown of Des Moines. It marks the first time Slipknot has ever performed at the fair. “I’m gonna drive from my house directly to the stage just like I do when I come to the fair,” Slipnkot percussionist Shawn “Clown” Crahan told the Des Moines Register. “It makes no sense why we haven’t played here.” “This long into (Slipknot)? It’s fabulous,” he continued. He described how he would watch shows at the fair from behind the Grandstand fence marquee during the 1970s and ’80s, where acts like Iron Maiden and Metallica performed. “I was too young for some of ’em, a little scared to come by myself,” he said. “So I’d come down and act like I was doing things on the outside, but really just downloading the information.” “It’s not only work and commerce; there’s a lot of spirituality here for me, it’s gonna be a really good time to play the fair and walk out and enjoy the fair,” he added. The group will play on August 10, 2019 – a Saturday night. Tickets go on sale November 2. Meanwhile, Slipknot have teamed up with an Iowa-based company for ‘The Slaughterhouse’, a haunted house experience based on the band. Opening for the run-up to Halloween, creative director Ian Miller has shared a video tour of the attraction, which features a screaming corpse cut in two, creepy medical jars and ‘missing’ posters for the band’s members. Explaining how the nu-metal titans inspired the attraction, Miller says: “Work wasn’t easy but it was easy to get to the work. It mapped really quickly, we barely had to think about it. A lot of our scenes, they already cater to the lyrics and the presence and the energy that Slipknot embody. “
  3. Netflix has canceled “Luke Cage.” News of the cancellation comes four months after the superhero action drama from Marvel Television debuted its second season on the streaming service — and just days after Netflix pulled the plug on another Marvel show, “Iron Fist.” “Unfortunately, ‘Marvel’s Luke Cage’ will not return for a third season. Everyone at Marvel Television and Netflix is grateful to the dedicated showrunner, writers, cast and crew who brought Harlem’s Hero to life for the past two seasons, and to all the fans who have supported the series,” Netflix and Marvel Television said in a joint statement. A source said that talks for a third season had taken place, but that Netflix ultimately decided that one would not be feasible. With the move, Netflix severs further ties with Marvel as the producer prepares to shift gears toward providing content for parent company Disney’s yet to launch streaming services. Disney has already indicated that it will allow its licensing deals with Marvel to expire so that library content can be moved to Disney-owned services. That decision would not have any affect on series such as “Luke Cage,” which are produced by Disney for Netflix. “Luke Cage” was part of a five-series deal between Marvel and Netflix for a group of interconnected shows — “Daredevil,” “Jessica Jones,” “Luke Cage,” “Iron Fist,” and “Defenders.” Another series, “The Punisher,” was also later added to the mix.
  4. Due in part to continuing celebrations and special events commemorating the civil unrest that rocked France in May 1968 – a momentous occasion that left an indelible mark on the country – Wide is seeing great interest in its recently released restored version of “Mai 68, la Bell Ouvrage,” by Jean-Luc Magneron (father of Wide founder and CEO Loïc Magneron). The documentary, which originally screened at Cannes’ 1969 Directors’ Fortnight, has played at a number of events this year marking the 50th anniversary of the turmoil, which was marked by demonstrations, massive strikes by workers and students and the occupation of factories and universities. The film, described by Montagne as “a rare and unique testimony of [the events of] May 1968,” was showcased in April at La Cinémathèque in Paris as part of its 1969 Directors’ Fortnight retrospective. It also screened at New York’s Metrograph in June as part of the theater’s May ’68: The Struggle Continues series and unspools in November at La Citta Del Cinema in Rome. Wide’s lineup of restored classic films includes such works as Henry-Georges Clouzot’s “Manon”; Henry Decoin’s “Les Intrigantes”; Maurice Lehmann’s “Fric-Frac” and Jean Renoir’s “La Chienne” in addition to works by Alain Resnais, Claude Lelouch, Francois Reichenbach and Senegalese filmmaker Ousmane Sembene. In addition to its heritage film business, the leading independent sales company represents more than 20 first-run feature films a year and boasts a library of nearly 1,000 films and documentaries. Wide has closed a brace of deals for Darko Štante’s hard-hitting Slovenian drama “Consequences,” which screened in Toronto’s Discovery sidebar this year. The film, which stars Matej Zemljic as a troubled teenager, has sold to Epicentre in France, Salzgeber in Germany and Peccadillo in the U.K. The company recently acquired French thriller “Versus,” François Valla’s feature film debut; and Ecuadorian helmer Gabriela Calvache’s “La Mala Noche” (“The Longest Night”), likewise a first feature, which will screen at this year’s Ventana Sur market in Buenos Aires. In addition, Wide currently has three films in the running for the best foreign-language Oscar shortlist: Teemu Nikki’s “Euthanizer” for Finland; Gjorce Stavreski’s Macedonian title “Secret Ingredient”; and Blerta Zeqiri’s “The Marriage” for Kosovo.”
  5. @steffy101 The user has already got what he was looking for as far as I know..
  6. As Disney and Fox rework their future release slates in light of their impending deal, the Mouse House has removed an untitled Marvel Studios movie from their 2020 schedule. In addition to that move, Disney has also moved back Dwayne Johnson and Emily Blunt’s Jungle Cruise from 2019 to 2020. Fox also moved its own Death on the Nile, the Murder on the Orient Express sequel, from its original 2019 release date back to 2020. In additional moves, Fox shifted Brad Pitt’s sci-fi movie Ad Astra from January 2019 to late May, making it an official entry in always competitive summer blockbuster sweepstakes. Fox also moved the Kumail Nanjiani-Dave Bautista action-comedy Stuber from May to July. Fox and Disney, of course, are headed for one of the biggest show business acquisitions ever after a deal was struck for Disney to purchase Fox assets for a reported $71 billion. When it comes to Disney, there is perhaps no bigger property than the MCU, which thus far has grossed a total of $17.5 billion at the global box office. As reported by THR, Disney and Fox’s game of release date musical chairs has resulted in at least one future Marvel movie giving up its original date. The untitled film originally slated for release on July 31, 2020 has now been removed from the schedule with no new release date announced. Here is Disney's full release schedule for 2020, with Jungle Cruise more-or-less replacing the now-booted Marvel title: February 14, 2020: Untitled Disney Live Action March 6, 2020: Untitled Pixar Animation March 27, 2020: Mulan May 1, 2020: Untitled Marvel May 29, 2020: Maleficent 2 June 19, 2020: Untitled Pixar Animation July 24, 2020: Jungle Cruise October 9, 2020: Untitled Disney Live Action November 6, 2020: Untitled Marvel November 25, 2020: Untitled Disney Animation December 23, 2020: Untitled Disney Live Action 2.jpg It is not known what Marvel movie would have taken that summer 2020 release date, but Guardians of the Galaxy Vol. 3 would seem the most logical choice to have been targeted for that date. However, plans for that movie are now very much up in the air since James Gunn’s firing by Disney after the writer-director saw some of his old, offensive tweets dredged up by right-wing media provocateurs. No replacement director has been named for the third Guardians film, but it’s been rumored that Disney is seeking a female director to take over. Amid all the uncertainty over the director, the movie’s production start date has reportedly been shifted to 2021, so obviously it would not be ready for 2020. Meanwhile, Gunn has found a soft landing spot at Warner Bros. where he will reportedly go to work on Suicide Squad 2. Guardians star Dave Bautista has reportedly said that he would like to follow his former director over to WB and take on a role in the sequel to the 2016 film that starred Jared Leto, Will Smith and Margot Robbie. Disney in the meantime has a huge slate set for 2019, including the MCU entries Captain Marvel, Avengers 4 and Spider-Man: Far From Home. Plans beyond those three 2019 releases appear far from finalized, but it has been reported that Ryan Coogler will return to write and direct Black Panther 2. Doctor Strange 2 could also be a candidate to hit the fast track in order to be ready for 2020. Release Dates Captain Marvel (2019) release date: Mar 08, 2019 The Avengers 4 / Untitled Avengers Movie (2019) release date: May 03, 2019 Spider-Man: Far From Home (2019) release date: Jul 05, 2019
  7. Simon Kinberg's Dark Phoenix could become Disney's first X-Men movie. It's been almost one year since the Mouse House made their first bid to acquire 21st Century Fox's movie and TV assets, which includes world-renowned Hollywood studio 20th Century Fox. Of course, they spent several months following their initial offer in a bidding war with other entertainment companies out there, such as Comcast. But after making some concessions and upping their bid from $52.4 billion to $71.3 billion in cash and stock, Disney's Fox acquisition is almost complete. It was reported earlier this month that the Disney-Fox deal could close by the end of 2018, but then it was later revealed that it may actually end up closing in January 2019 - not too long after, but long enough to push the finalization into the new year. At that point, it's possible that several 20th Century Fox movies already in development may release under Walt Disney Studios' branding, or at least be distributed by the studio. And it looks like the first movie to do so will actually be an X-Men movie. THR reports that it's possible Dark Phoenix, which was recently delayed to June 2019 from its previously February 2019 release date, will be the first movie to release under Disney-owned Fox. Furthermore, it will also be the first X-Men movie to release post-acquisition. Interestingly, Robert Rodriguez's Alita: Battle Angel, which releases in February 2019, will still release as a Fox movie. It's unclear why that is, but it could possibly have something to do with the U.S. Justice Department's gun-jumping clause. 2.jpg It was previously reported that Walt Disney Studios was considering taking over development and distribution of Fox's Avatar and X-Men franchises. So, it will be interesting to see which studio's logo appears on the big screen when Dark Phoenix releases: Disney's castle logo or Marvel Studios' logo. Even though all of the Mouse House's movies are distributed by Walt Disney Studios, they only feature the flagship studio's logo if that film was made by them. But if X-Men is folded into Disney's main house, what does that mean for Marvel Studios and the Marvel Cinematic Universe? Perhaps there will be the Disney-owned Fox movies under Disney and then the MCU X-Men movies over at Marvel Studios. But that remains to be seen. As for Dark Phoenix being Disney's first Fox movie to release post-acquisition, it falls in line with what previous studios have done. For example, The Twilight Saga: Breaking Dawn - Part 2 released under Summit Entertainment in 2012... but as a "Lionsgate company". So, it makes sense that Disney may do the same thing: release Dark Phoenix as a 20th Century Fox movie, but as a Disney company, and then allow Marvel Studios to do what they want with the MCU. There's no reason why there can't be two X-Men franchises going at the same time. Release Dates X-Men: Dark Phoenix (2019) release date: Jun 07, 2019 New Mutants (2019) release date: Aug 02, 2019 Gambit (2020) release date: Mar 13, 2020
  8. Fox has solidified its Friday comedy block, picking up The Cool Kids for a full season following a solid start for the show. The network has ordered nine more episodes of the series, bringing its total to 22. That matches the order Fox gave Last Man Standing when it revived the former ABC series. "[Co-creator] Charlie Day has given us a show that delivers the goods — hilarious stories and impeccable timing and chemistry between its stars, David Alan Grier, Vicki Lawrence, Martin Mull and Leslie Jordan," said Fox Entertainment president Michael Thorn. "On top of that, it has the perfect lead-in with Tim Allen and Last Man Standing. The Cool Kids are just that, and we're thrilled they're going to be on Fox for a full season." The combination of Last Man Standing and The Cool Kids has been a strong one thus far, propelling Fox to three straight Friday-night wins among adults 18-49. Through its first three episodes, The Cool Kids is averaging a 1.2 rating in the 18-49 demo and 5.51 million viewers. Three days of delayed viewing bump those numbers up to 1.6 and just under 7 million viewers; multiplatform viewing of the first two episodes is averaging 8.75 million viewers to date. Day, Patrick Walsh and Nick Frenkel executive produce the series, which comes from 20th Century Fox TV, FX Productions and 3 Arts Entertainment. Paul Fruchbom co-created the show with Day and is a co-executive producer. The Cool Kids is the fifth first-year show to have its run extended, joining ABC's Single Parents, CBS' FBI and NBC's Manifest and New Amsterdam.
  9. ABC is keeping Station 19 around for a full season. The sophomore drama, a spinoff of Grey's Anatomy, has been picked up for a full season. The series, starring Jaina Lee Ortiz, was picked up for a 13-episode sophomore run and on Friday received an order for additional episodes. ABC, however, has not yet firmed up how many episodes that pickup is for. The Seattle-set firefighter drama, which bowed its freshman run midseason, returned this fall to a wave of series highs. Through its first two episodes of season two, Station 19 is averaging 7.9 million total viewers and a 1.8 in the all-important adults 18-49 demographic with three days of DVR. Following Scandal's conclusion last season, Station 19 has become increasingly important for ABC. The series is the natural heir apparent to follow Grey's Anatomy on Thursdays at 9 p.m., as the Disney-owned network looks to keep its Shonda Rhimes-produced "TGIT" lineup going after seeing the mega-producer depart for a massive $300 million Netflix deal. With the additional order, ABC will now have both Grey's and Station 19 going all season long, with short-order Rhimes-produced drama How to Get Away With Murder wrapping its run midseason. Ortiz leads a cast that also includes Jason George, new series regular Boris Kodjoe, Grey Damon, Barrett Doss, Alberto Frezza, Jay Hayden, Okieriete Onaodowan, Danielle Savre and Miguel Sandoval. The series, produced by ABC Studios, counts Stacy McKee as showrunner. Rhimes and Shondaland partner Betsy Beers exec produce alongside producing director Paris Barclay. Station 19 becomes the second sophomore drama to score a full-season pickup, joining Fox medical drama The Resident.
  10. Fantasy Island star Hervé Villechaize takes a struggling reporter on a wild night's ride in Sacha Gervasi's inspired-by-true-events HBO drama, starring Peter Dinklage and Jamie Dornan. Fifteen years before Sacha Gervasi chronicled the rise and fall of the Canadian heavy metal trio Anvil, he had a close encounter with another performer, one who had also slipped off the showbiz Scoville scale and into the realm of the cooled-off has-been. Gervasi was a journalist at the time, and the fallen star was Hervé Villechaize, known to millions as Tattoo on Fantasy Island. Their five days' worth of interviews in the summer of 1993, just a few days before the actor's suicide, have been fictionalized and condensed into a roving, nightlong conversation for My Dinner With Hervé. It's a passion project for both the writer-director and Peter Dinklage, who brings comic gusto, blowhard bluster and heartbreaking self-awareness to his portrayal of Villechaize — not to mention the distinctly nasal voice and thick Gallic accent. In this story of one man's final reckoning as life-changing event for a young reporter, he has a fine foil in Jamie Dornan, who subtly finds the edge in what might have been a flavorless straight-man role. The movie heightens the push-pull between the two men, each in his own way desperate. But it also formularizes the story into standard biopic territory and, like most all-nighters, it grows hazy and repetitive in the middle. Its final lessons in self-knowledge are neat enough that they wouldn't be out of place on an episode of Fantasy Island. To Gervasi's credit, though, he also embraces the inherent camp and schmaltz of a show that turned pure kitsch into primetime gold. When Danny Tate (Dornan) meets Villechaize in Los Angeles, it's the actor's first interview in a decade, and he's determined to make the most of it, even if that means brandishing a knife and tracking down the journo at his hotel hours after they've parted. Tate, for his part, is brandishing a one-month chip marking his newfound sobriety. Back on the job at glossy London magazine after a stint in rehab, he's in no position to turn down the assignment: To commemorate the 20th anniversary of The Man With the Golden Gun, the Bond movie that put Villechaize on the map, Tate's editor (a perfectly caustic Harriet Walter) wants a "funny little 500-word story" on "the most famous dwarf in the world." It's an add-on to the real purpose of his trip to L.A., a profile of Gore Vidal (a perfectly imperious Michael Elwyn). Over Tate's objections, the magazine insists that the Vidal piece be a hatchet job. Even so, he knows it's a career-saving opportunity that he can't pass up — and it's one that he promptly blows. Dornan captures the anxiety and flailing beneath Tate's not-quite-polished surface. His wife (Oona Chaplin) has cut him off, he's essentially reduced to groveling at work, and staying clean and sober is a precarious affair, especially with the well-stocked minibar in his hotel room. Villechaize, beneath his ostentatious slurping of oysters, his flourished (and declined) credit card and his self-mythologizing hyperbole — he calls the Fantasy Island pairing of him and Ricardo Montalban "one of the greatest onscreen partnerships of all time" — reads Tate like a book (or a screenplay logline). Knowing that he's being treated dismissively, the actor demands to be heard out, on his terms. He taunts the journalist relentlessly and perceptively, hitting every sore nerve. Swooping Tate up into a white stretch limo, he promises the real story beyond the well-worn PR shtick, along with a late-night tour of "my L.A." First stop, a strip club. The convo and the mutual antagonism play out over lap dances and midnight hot dogs at Pink's, with Villechaize's story unfolding via vivid flashbacks. It's an illuminating look behind the pop-culture novelty of his Hollywood career, beginning with his birth in war-torn Paris and his physician father's obsession with finding an experimental cure for the boy's rare form of dwarfism. Perhaps most illuminating is Hervé's youthful rebellion and determination: his success as a painter, complete with Parisian garret and affairs with his models, and his eventual departure for New York — "where the freaks go," and where he learns English from TV — before heading to the West Coast to stake his claim to Hollywood immortality. As good as Dinklage and Dornan (who gets to speak in his native Irish lilt) are, the clashing back-and-forth — between present and past, and between the two lead characters — begins to feel routine and mechanical. Villechaize and Tate's repeated standoffs, and the "stop this limo, I'm getting out" motif grow wearying. But when it zeros in on the absurdity of showbiz self-seriousness, the movie is often delightful. There's Villechaize's hilarious delivery of Macbeth's most famous speech, and the no less hilarious reaction of the William Morris agent (David Strathairn) who hears it at knifepoint. There's the fistfight with Billy Barty (Mark Povinelli), the image-conscious chairman of Little People of America, offended by Villechaize's hard-partying, headline-grabbing lifestyle. And there's the professional jealousy and passive-aggressive pissing matches between him and Montalban (Andy Garcia, in astutely deadpan high dudgeon), the exasperation of the show's high-powered producer, Aaron Spelling (Wallace Langham), the fame-hungry hangers-on, and the rays of true kindness from Villechaize's ultra-supportive dresser and eventual girlfriend, Kathy (a shimmering Mireille Enos in an underdeveloped role). At the helm for the fourth time, Gervasi delivers a far more satisfying feature than either of his previous narrative turns, Hitchcock and November Criminals. He doesn't avoid the lesson-y, the corny or the banal as he moves his central duo toward the drama's climactic scenes. But his affection for Villechaize, and the significance of their real-life encounter, are undiluted by the schematic setup. The parallels between the two characters, at different points on the career/life uncertainty spectrum, might be overemphasized, but each in his own way is stoic, and Villechaize's insights about the potential impact of their time together strike a deep chord. "Why hate yourself," he asks Tate, "when you can hate me instead?" Against the odds, Dornan makes Tate's ultimate acceptance of responsibility, in a phone call to his wife, truly affecting. Gervasi's screenplay, with its sure grasp of professional lingo, nonetheless pushes too hard at the story's emotional undercurrents. It doesn't help that Villechaize's on-the-nose summing-up of the lessons to be learned begins with the glaring anachronism "At the end of the day." One of the good things to be said about the '90s is that this inane phrase wasn't in widespread use. The observation that follows that tone-deaf introductory phrase is no better. But in Villechaize's final onscreen moments (which, in a sweet, two-pronged homage, includes a brief turn by Montalban's grandson Alex Montalban as an ardent fan), Dinklage says it all. His remarkable wordless reaction is at once sheepish, knowing, proud and embarrassed. Like a well-shot arrow, that instant of self-awareness pierces the uneven narrative, straight to the broken heart. Production companies: Filmrights, Daredevil Films, Civil Dawn Pictures, Metal on Metal, Estuary Films Distributor: HBO Cast: Peter Dinklage, Jamie Dornan, Mireille Enos, David Strathairn, Andy Garcia, Harriet Walter, Oona Chaplin, Daniel Mays, Mark Povinelli, Wallace Langham, Robert Curtis Brown, Mark Umbers, Michael Elwyn, Ashleigh Brewer Director: Sacha Gervasi Screenwriter: Sacha Gervasi Story by Sacha Gervasi, Sean Macaulay Producer: Nathalie Tanner Executive producers: Steven Zaillian, Richard Middleton, Ross Katz, Jessica de Rothschild, Sacha Gervasi, Peter Dinklage Director of photography: Maryse Alberti Production designer: Jeremy Reed Costume designer: Julie Weiss Editor: Carol Littleton Composer: David Norland Casting directors: Kate Ringsell, Carmen Cuba 106 minutes
  11. Matthew Broderick is heading to Netflix. The actor has been tapped to star in the streaming giant's postapocalyptic dramedy, Daybreak. The 10-episode series, based on the graphic novel of the same name by Brian Ralph, revolves around 17-year-old high school outcast Josh as he searches for his missing girlfriend Sam in postapocalyptic Glendale, California. Joined by a ragtag group of misfits — including a pyromaniac 12-year-old, Angelica, and Josh's former high school bully, Wesley, now turned pacifist samurai — Josh tries to stay alive among the horde of Mad Max-style gangs (evil jocks, cheerleaders turned Amazon warriors), zombie-like creatures called Ghoulies and everything else this brave new world throws at him. Broderick will play Principal Burr. Aron Eli Coleite (Netflix's forthcoming Locke & Key,CBS All Access' Star Trek: Discovery,NBC's Heroes) co-created the series and serves as showrunner. He exec produces alongside fellow co-creator Brad Peyton (Frontier, Rampage) and his ASAP Entertainment partner, Jeff Fierson. Daybreak will be the first series regular role for theater and film actor Broderick. The actor had signed on to star in Paramount TV's Bettyville,which has not yet landed at a network, and the delayed Katrina-focused season of FX anthology American Crime Story.His TV credits include Modern Family, Louie and 30 Rock.His feature credits include Manchester by the Sea, The Producers, Election and Rules Don't Apply. He's repped by CAA, Management 360 and Barry Tyerman.
  12. CBS has extended the orders for three more of its freshman series: comedy The Neighborhood and dramas Magnum P.I. and God Friended Me. Missing from the list is The Neighborhood's Monday-night companion, Happy Together. The network has not yet made a decision on the show, which stars Damon Wayans Jr. — whose deal to star in the series was the richest this season — and Amber Stevens West. The Murphy Brown revival is staying at 13 episodes, as was the plan when it was picked up. CBS declined to say how many additional episodes of each show it has ordered. Sources tell The Hollywood Reporter the pickups will likely be seven to nine episodes for each series. "Full season" in the past has meant 22 to 24 episodes, but that has changed in recent years as a number of shows, including This Is Us, Empire and this season's Manifest, opt for shorter runs. The Neighborhood has averaged 8.44 million viewers per week thus far, along with a 1.6 rating in Nielsen's live plus three-day metric. It's improved its time period by 14 percent year to year in viewers. God Friended Me has also given its Sunday timeslot a year-over-year bump with 10.21 million viewers (up 8 percent over Wisdom of the Crowd in 2017), along with 1.3 demo rating. Magnum comes in at 9.06 million viewers and a 1.4 in adults 18-49. Happy Together is the lowest-rated of CBS' freshman class at 5.94 million viewers and 1.1 in the 18-49 demo. The three shows join fellow rookie FBI in earning full-season pickups at CBS. ABC's Single Parents, Fox's The Cool Kids and NBC's Manifest and New Amsterdam have also earned full seasons.
  13. Dwayne Johnson and Emily Blunt's Jungle Cruise is sailing into a later release date. The Disney film will now open in the heart of summer movie season on July 24, 2020. The film previously had been scheduled for Oct. 10, 2019. Jungle Cruise is the only project with a title set for that date, though Warner Bros. has an untitled DC film and Sony has an untitled animated franchise movie currently slotted in that spot. The Shallows filmmaker Jaume Collet-Serra is helming Jungle Cruise, which is set in the early 20th century and takes place in the Amazon jungle. Johnson stars as a boat captain who takes a sister (Blunt) and brother (Jack Whitehall) on a journey to find a tree believed to have healing powers. Along the way, they must deal with wild animals and a competing German expedition. Paul Giamatti is also starring. Beau Flynn, John Davis and John Fox are producing, as are Johnson, Dany Garcia and Hiram Garcia. Scott Sheldon is co-producing. "Ladies and gentlemen and children of all ages. My partner in crime, Emily Blunt and I, lovingly invite you to join us for THE ADVENTURE OF A LIFETIME. All aboard," Johnson tweeted Friday. Jungle Cruise wrapped filming in September. Disney also undated an untitled Marvel movie, unsetting it from July 31, 2020. Little is known about Marvel Studios' plans beyond next summer's Avengers 4 and Spider-Man: Far From Home. Before he was fired as director of Guardians of the Galaxy Vol. 3, James Gunn had said that film would open in 2020, and there had been speculation the film would open in that date or a May 1, 2020 slot, however, Marvel Studios never officially dated the film.
  14. It remains unclear exactly what Marvel Studios is planning to do with Guardians of the Galaxy Vol. 3. Since writer-director James Gunn was fired by Disney this summer, the next installment in the space superhero series has seemingly run aground, with it being put on hold in August and a new rumor based on an issue of Production Weekly suggesting that production wouldn't begin for several years. It’s easy to see why Marvel might want to leave a third Guardians movie alone for awhile; the series has been so identified with Gunn that any future installment will raise the specter of his dismissal, and resurrect discussion over whether or not the studio made the right decision in dismissing him over years-old posts on social media. The idea of simply abandoning the series altogether has almost certainly been discussed, although likely swiftly discarded considering how successful earlier installments have been, and how beloved the characters are. But what if there was some way for Marvel to continue the movie series without all the baggage of the Guardians brand? By the end of Guardians of the Galaxy Vol. 2, there were multiple narrative threads left to play out — but none of them, curiously enough, necessitated a third Guardians movie, especially considering the existence of Avengers: Infinity War, which ties up the stories of Nebula, Gamora and Drax. (Star-Lord, for the most part, had his narrative wrapped up by Vol. 2, and there’s no real dangling threads for either Rocket or Groot, by design.) Instead, the movie seems primed to produce a number of spin-offs, should Marvel want to pursue them. The most obvious two spin-offs would be a Ravagers movie, featuring Sylvester Stallone’s Stakar Ogord who was reunited with his former teammates in a mid-credit sequence — former teammates who just so happened to be versions of the original comic book Guardians — and an Adam Warlock movie, centering around the being inside the cocoon glimpsed in another of the movie’s mid-credit sequences. Not only would either project ostensibly be a sequel to Guardians Vol. 2, closing the narrative loop set up in that movie and having the appeal to fans of the franchise for that reason, but both center around characters and concepts familiar to the Marvel comic book faithful. Similarly set up in existing movies, but left unexplored, is the Nova Corps. The police force of outer space, as introduced in 2014's Guardians of the Galaxy, was decimated according to Avengers: Infinity War — but that just creates a structure for the organization to be rebuilt in future movies, with an all-new cast to be assembled to do so. (Perhaps including Richard Rider, the first Nova of the comics.) Following Marvel comic book mythology, there’s also a couple of replacement superhero teams in the offing should Marvel Studios want to replace the Guardians outright. The Infinity Watch was a group of intergalactic heroes — including Drax and Gamora, notably — where each had one Infinity Stone to keep track of, to ensure that no-one like Thanos could abuse the infinite power ever again; it’s an idea that seems natural after the events of Avengers: Infinity War, and an obvious direction to take the space opera element of the Marvel Cinematic Universe. If it’s not already under consideration, it should be. Alternatively, there’s also the unfortunately named “Annihilators,” a group of more powerful alien heroes gathered together when the Guardians were presumed dead, with the view of being a more proactive force out to stop trouble before it gets too dangerous in the first place. The various members of that group haven’t shown up onscreen just yet — aside from the Silver Surfer, in the second Fox Fantastic Four movie — leaving them as a blank slate for filmmakers to build on. Even if Guardians of the Galaxy Vol. 3 never happens, seeds sown by the now-departed Gunn and the comic creators who came before him have ensured that there’s (literally) a galaxy of potential to be mined for further exploration. If Marvel Studios wants to live up to the name of its Cinematic Universe, there’s more than enough material to let them do so.