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Hello there.. Welcome to this beautiful community.. Cheers!

The LG V35 ThinQ has received its regulatory certifications in both the US and Russia. The existence of the upcoming LG V30 variant was first revealed last month, with more recent information going on to confirm its design and the fact that it will be the exclusive LG offering that is coming to AT&T this summer. And, indicative of the smartphone’s nearing launch, the LG V35 ThinQ has now visited both the FCC and the EEC. Going by the model number “LM-V350EM,” the upcoming smartphone's FCC listing in the US shows that it will support a number of 2G, 3G, and 4G LTE bands, just like most 2018 smartphones. In addition, NFC support is also confirmed to be present alongside wireless charging tech. Regarding the Russian EEC certificate, no device details are revealed other than the model name, but it certainly suggests that the smartphone will not be a US exclusive. Until now, it was understood that LG was developing the device for AT&T’s customers specifically as an alternative to the recently-launched LG G7 ThinQ which the carrier chose not to launch. Because of this, and the fact that the company recently released the LG V30S ThinQ, the V35 ThinQ was understood to be a US-market exclusive. However, it now appears LG has some international plans for the smartphone, suggesting the brand could be preparing for a later-than-usual LG V40 launch. If this is the case it wouldn’t exactly be surprising – the company has confirmed that it will introduce new products when it deems them necessary and will also extend product cycles by introducing different variants. LG is yet to announce the device officially or reveal any details in regards to its release date but, in terms of specifications, the LG V35 ThinQ is expected to boast a 6-inch OLED display with an 18:9 aspect ratio. Additionally, Qualcomm’s Snapdragon 845 could be present alongside 6GB of RAM.

Site is now launched and Freeleech for all torrents now

Due to forum (invision) update, users who have a different email address compared to their main account were auto unlinked due to new security update, users who have the same email on their forum account as their main ...are unaffected �� Please post here with your username to main forum account ( if its different ) I will message users on main torrent site with any additional instructions ================================================== ========================= Those who have 2 forum accounts can be merged Others who don't have an extra forum account that links ...will have their old account renamed...they then need to re-login as normal ( this will create a new forum account that links with main account) ..then i will merge the old account with the new But in doing so only downside is u need to re-add your avatars/sigs etc ; All previous posts and likes will be preserved

Google Translation: In response to suggestions from some members, we have fine-tuned the donation awards, added short-term donations to VIPs, etc. For details, please refer to the donation addition page: Code: https://hdhome.org/donate.php

BitTorrent is without a doubt one of the more recognizable technology brands of the century. It, therefore, comes a surprise that BitTorrent Inc. has changed its name to Rainberry. According to the company, it's strictly a "corporate decision," but a more detailed motivation is lacking. Founded by BitTorrent inventor Bram Cohen, BitTorrent Inc. is best known for its torrent client uTorrent, from which it made millions over the years. Unlike most file-sharing startups the company was well funded from the start. Venture capital firm Accel was one of the early investors, in a fund that also included Facebook and Dropbox. However, over the past decade, BitTorrent Inc. didn’t transform into a multi-billion dollar business. The company tried various new products, services, and business models, but none surpassed the early success it had with uTorrent. In recent years things got even worse. The company was nearly destroyed due to questionable management practices, according to Cohen. However, it appears that the waters have calmed down now under new leadership. Instead of reinventing the wheel, the company vowed to refocus its efforts on what has proven to work, uTorrent. A new browser-based version of the popular client was released recently, and that appears to be one of the main focuses going forward. There is something fresh though – BitTorrent Inc. has a new name. While it hasn’t been published anywhere, the company formerly known as BitTorrent Inc. is now Rainberry Inc. “Rainberry Inc is the official name of the company; it was changed right around the start of 2017,” Rainberry’s Chief Product Officer Jordy Berson informs TorrentFreak. He stresses that it’s purely a corporate decision and that none of the existing product brands will change. “The best way to probably think of it is that it’s not unlike how Alphabet Inc is the official name of the company most people know as Google,” Berson adds. It’s not uncommon for businesses to change their name, but it remains a bit of a mystery what the motivation was here. There must be a good reason why Rainberry is preferred over BitTorrent, especially since the latter is a brand that millions of people know. While BitTorrent Rainberry Inc. doesn’t owe the public a full explanation, it’s notable how the name change was kept under the radar. Rainberry has no corporate website and is not mentioned on the official BitTorrent.com or uTorrent.com websites, for example. In addition, all Rainberry employees still list BitTorrent Inc. as their employer while Rainberry doesn’t appear to even exist on Linkedin. The Rainberry name is pretty unique as well. A quick Google search only brings up a few mentions. This includes a job listing for “Rainberry Inc f/k/a BitTorrent Inc” but also a company named “Rainberry Acquisition” that was formed two months ago, coincidentally in San Francisco as well… Source: Torrentfreak.com

Marvel Studios has plans to bring Kamala Khan into the MCU after Captain Marvel. Now that Avengers: Infinity War is out worldwide, fans are quickly turning their attention towards the future. While Ant-Man and The Wasp is next on the docket and will have connections to Avengers 4, it appears that Brie Larson's Captain Marvel is vital to the franchise's future. Fans are already excited for the project considering it's Marvel's first female-led film, and the cast it has assembled so far has plenty of promise. While there's certainly interest in Captain Marvel's film, her introduction opens up the door for so much more. One of the more recent fan-favorite creations on the comic side is Kamala Khan, aka Ms Marvel. She became a superhero after being inspired by Captain Marvel, thus taking on her previous moniker in the comics. Unfortunately, she's not slated to appear in 2019's Captain Marvel film, but Marvel's already planning to bring her into the fold at some point down the line. Kevin Feige spoke with BBC (via @StaarksHeart) as part of Avengers: Infinity War's promotional campaign, and they asked him what chances Marvel's Muslim hero had to make it into the MCU. Not only does Feige indicate there's a strong chance audiences will see her, but the implication is that it MCU fans won't have to wait too long for it to happen. This is just the latest example of Marvel Studios being forward thinking when it comes to expanding their shared universe. It would've been nearly impossible to include Kamala in Captain Marvel, especially since it is set in the '90s. While Carol's whereabouts in the years following her solo movie remains unclear, her eventual arrival back on Earth will be a big deal. Captain Marvel set photos already show Carol suited up on Earth, so it could be possible that she's almost an urban myth or legend in the years that follow. But, once she makes her grand return to help save the universe, a new generation of fans could form, of which one might be Kamala Khan. Although unconfirmed, it's possible that fans could see Ms Marvel on the big screen as soon as Captain Marvel 2, should a sequel happen, of course. But, there's one other aspect of her character that raises some questions. In the comics, Kamala is granted her many abilities after going through Terrigenesis, since she is an Inhuman. Even though Agents of S.H.I.E.L.D. has dealt with Inhumans, the movies have yet to acknowledge the species. ABC even just canceled their Inhumans show after one season. While it's unlikely that Inhumans will be a part of the MCU going forward, it's still possible Kamala could be used to help introduce the Inhumans on the movie side of the MCU - unless they change her origin altogether, which has happened before for other characters. However it play out, Kamala Khan fans can rest assured that she is on her way after Captain Marvel.

FOX renews both Family Guy and Bob's Burgers for new seasons. In the lead-up to this year's upfronts, all the major broadcast networks have been canceling (and picking up) TV shows at an alarming rate. FOX has been one of the most active networks when it comes to cancellations, having canned shows such as Lucifer and Brooklyn Nine-Nine. (However, NBC eventually picked up Brooklyn Nine-Nine for season 6.) Still, FOX's fall lineup won't be entirely filled with new shows. Two stalwarts of FOX's animation line-up will remain on the schedule for the 2018-2019 season. Although neither renewal is particularly that surprising, it's at least nice to know that FOX won't have a completely clean slate for the upcoming season. Deadline reports that FOX has renewed Family Guy for season 16 and Bob's Burgers for season 9. As of this writing, Gotham, Lethal Weapon, Ghosted, and L.A. to Vegas are still on the bubble. Gotham has a reasonably good shot but the rest, especially Lethal Weapon, might be on the way out, which will give FOX room to add several new shows in the coming season. As for the two animated comedies, Bob's Burgers's renewal is a bit of a gift. The series has a loyal fan base and gets lots of critical acclaim, but that doesn't always show in the ratings. On the other hand, it would've been shocking if Family Guy wasn't picked up for another season. Family Guy is one of the network's flagship programs alongside The Simpsons, which has already been renewed for season 30. Family Guy has been around for a long time, but it would need to at least double it's current season count to even come close to surpassing The Simpsons, but it's certainly possible going forward. The Simpsons will run out of steam... eventually. It might not happen any time soon, especially since the series just surpassed a new TV record, but it seems that Family Guy has become as much of a staple for FOX as their other animated comedy series. This is, of course, all speculation and about events of a possibly distant future. For now, Family Guy and Bob's Burgers will continue on FOX this coming fall season, which should be great news for fans who might have been worried considering the stream of cancellations that have come from the broadcast network over the past few days leading into next week's upfronts.

Christopher Nolan says that each movie in The Dark Knight Trilogy belongs to a different genre. While Nolan's breakthrough in the movie business came in 2000 with his mind-bending crime thriller Memento, the Oscar-nominated filmmaker truly established himself as a force to be reckoned with the release his Batman movies. It all started in 2005 with Batman Begins, starring Christian Bale as Bruce Wayne opposite Liam Neeson as Ra's al Guhl. Nolan then followed the film up with 2008's mega-blockbuster The Dark Knight, co-starring Heath Ledger as the Joker, which earned the late performer a posthumous Best Supporting Actor Oscar. Wrapping up the Batman trilogy in 2012 is Nolan's The Dark Knight Rises, which brought Batman a new adversary with Bane (Tom Hardy), as well as an uneasy ally in Selina Kyle/Catwoman (Anne Hathaway). And it seems, each of those movies were fundamentally different according to Nolan. RELATED: CHRISTOPHER NOLAN SAYS HEATH LEDGER WAS 'TERRIFYING' AS THE JOKER Christopher Nolan briefly discussed his career, especially The Dark Knight Trilogy, at the annual Cannes Film Festival this weekend. According to Total Film, Nolan said that he viewed each of his three Batman films as being part of different genres: Batman Begins is "a heroes journey," The Dark Knight is a "crime film," and The Dark Knight Rises is "a war film." The Dark Knight Rises released six years ago, yet there's still quite a bit to discuss about the movie as well as the films that preceded it, especially with regard to thought-provoking observations from the person responsible for making the films. Sure, in broad strokes, it easy to pinpoint the Dark Knight Trilogy as a trio of films in the superhero genre, but clearly, they're not just superhero movies. While all three films are connected by characters and themes, what Nolan says makes sense. Breaking things down, it's easy to see how Batman Begins truly is "a hero's journey," a la the works of Joseph Campbell, as Batman/Bruce Wayne discovers who he is and embraces his destiny. Meanwhile, the crime story in The Dark Knight escalates in tension as the hero and the villain find themselves on a collision course that is fully realized in the climactic final act (like Heat, which Nolan has acknowledged before). Lastly, given the destruction and the way society crumbles in The Dark Knight Rises, as well as the threat of annihilation via the hand of Bane (and Marion Cotillard's Talia al Guhl), it's quite evident that war is one of the focal points of Nolan's third and final Batman film. Nolan's observations about his Batman films come at an interesting time, considering The Dark Knight celebrates its 10th anniversary this July. And, while films like Avengers: Infinity War have since shattered the box office records set by The Dark Knight, there's no question that it's a landmark film that set a standard upon which all other superhero films will be judged. With any luck, Nolan will reveal more of this thoughts about The Dark Knight Trilogy in the coming months.

Star Wars: The Last Jedi writer-director Rian Johnson shares his thoughts on Solo: A Star Wars Story following the film's premiere this week. Johnson, of course, is the creative force behind the eighth film in the mainline Skywalker saga, which released only a few months ago. And, while Johnson no longer has any input regarding core Star Wars saga, he's not done with Lucasfilm's galaxy far, far away just yet; he's now working on an entire new Star Wars trilogy apart from Skywalker storyline. Of course, one of the benefits of being part of the Star Wars family, especially in a creative position, is being (somewhat) privy to what's going on with other Star Wars films, including the anthology films like Rogue One: A Star Wars Story and Solo: A Star Wars Story. In February, Johnson praised Solo's first trailer, and he even let on that he'd already seen much if not all of the film. But now that Solo has officially premiered, Johnson has had the opportunity to experience the film on the big screen - and he loves what he's seen. RELATED: WORK HAS BEGUN ON RIAN JOHNSON'S NEW STAR WARS TRILOGY According to EW, Johnson has penned his thoughts in an Instagram story. Taking on the big question of whether star Alden Ehrenreich makes the character of Han Solo his own, Johnson says, "[Ehrenreich is] not doing a Harrison Ford impersonation, but he brings his own charm and swagger to the character." Johnson also noted the "big surprise" was Phoebe Waller-Bridge, saying her voice portrayal of Lando Calrissian's droid sidekick L3 “has a few of the funniest moments I’ve ever seen in a Star Wars movie.” On the whole, Johnson called Solo a "super fun" film. Johnson's enthusiasm should come as good news to Star Wars fans, especially in light of the film's troubled production, in which co-directors Phil Lord and Christopher Miller were fired and replaced with Oscar-winning filmmaker Ron Howard. While it shouldn't come as a huge surprise that a member of the Star Wars family is supporting the latest effort in the Star Wars universe (even Johnson wrote that he doubts people would take his thoughts on the film seriously), there's still encouragement in that he has come out in praise of the movie instead of saying nothing at all (thus leading people to draw their own conclusions). Lucky for Johnson, he's not alone in his thoughts about the film; Mark Hamill also praised Solo and the movie's first reactions have been mostly positive thus far. Solo: A Star Wars Story's true quality, however, will be determined when the film's review embargo lifts and, again, when the movie opens worldwide later this month. While critics were largely impressed with The Last Jedi, fans were split and took issue with some of Johnson's creative decisions. No matter what fans think of Solo, though, the film's release is bound to take the intense fan focus off of Johnson and place it on Ehrenreich, Donald Glover, and the rest of Solo's cast and crew.

It is probably safe to say that Spotify did not get the reaction it expected on Thursday when the company announced a new policy against “hate content” and “hateful conduct” regarding the artists it chooses to promote — and then announced, via a simultaneously published interview, that the first artist to be targeted by this policy will be R. Kelly (and, hours later, rapper XXXTentacion). The streaming giant may have expected to be hailed for its woke-ness and its solidarity with #MeToo, which called Spotify out — along with RCA Records, Ticketmaster, Apple Music and a North Carolina venue, all of which promote or host the artist’s work — last week when it joined the #MuteRKelly movement. After all, who could argue with a policy that prohibits “hate content” — defined as content that “expressly and principally promotes, advocates, or incites hatred or violence against a group or individual based on characteristics, including, race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability” (which would seemingly rule out several presidential campaign speeches) — or declining to promote artists who engage in “hateful conduct” — “something that is especially harmful or hateful (for example, violence against children and sexual violence)”? What more suitable artists to target with such a move? Over the past two decades, Kelly has been accused multiple times of sexual misconduct against young and underaged women; he reportedly married protégé Aaliyah when she was 15 (later annulled); he was acquitted of child pornography charges in 2008 despite a video that the prosecution claims shows him having sex with and urinating on an underaged woman; and he was recently accused of running an “abusive sex cult” in which young women are essentially held prisoner and not allowed to eat or go to the bathroom for long periods of time. XXXTentacion stands accused of multiple felonies, including assaulting a pregnant woman and witness tampering. And what more effective statement of disapproval for Spotify than its playlists, which in recent years have become a coveted avenue of promotion for all artists, the most popular of which — Rap Caviar, from which XXXTentacion’s music was removed yesterday — is regularly cited as one of the most effective ways to break a hip-hop song? The move represents a way for the company to flex its moral power by effectively shunning an artist without taking the bolder and far more problematic move of censoring them, as Spotify did last summer with white-supremacist music that was posted on its platform. As anyone who’s been paying attention knows, the announcement hasn’t quite worked out the way that Spotify may have hoped. Through a combination of apparent naivete and hubris and, to put it mildly, clumsy messaging, the company has managed to do the near-impossible: Get people to defend R. Kelly. “This [policy statement] feels much too undefined, it raises more questions than it answers,” says Charis Kubrin, a professor in the Department of Criminology, Law and Society at the University of California, Irvine, who has written extensively on whether rappers’ lyrics can be used against them in a court of law. “It was obviously led by R. Kelly, but it seems as if they started with him rather than putting the policy in place first and then deciding who would [be penalized]. He’s the poster child for this, and he hasn’t been convicted of anything.” “I thought it was very vague — how do you define that as a policy?,” says Lecia Brooks, outreach director of the Southern Poverty Law, one of the groups with which Spotify is working to define hateful content. “It is unfortunate that that the announcement speaks to [just] hate, when there are many other concerns to be raised. They’re trying to hold artists accountable, but who would ascertain what constitutes a credible accusation [of hateful behavior]? It’s dangerous and it has real implications.” The outcry was swift and furious, with multiple artists, executives and fans lambasting the company for its vaguely defined policy. Spokespeople for the two artists were quick to reply as well: Kelly’s rep provided an arguably technically accurate if debatable statement noting that the singer “has never has been accused of hate, and the lyrics he writes express love and desire. … Mr. Kelly for 30 years has sung songs about his love and passion for women … Spotify has the right to promote whatever music it chooses, and in this case its actions are without merit”; XXXTentacion’s rep responded with a list of other prominent artists accused — but not all convicted — of serious offenses. The vague nature of its criteria makes the enforcement of this policy — which the company has stated is the first step in an evolving process — subjective at best. The statement of policy is less than 400 words long and relies on generalities like “we want our editorial decisions – what we choose to program – to reflect our values.” It also states no system of policing content or behavior beyond content monitoring, “expert partners” and “Your Help,” the latter via an online form. The company also says it has created a monitoring tool called Spotify AudioWatch to help it screen for and flag hate content. Jonathan Prince, Spotify’s vp/head of content and marketplace policy, told Billboard: “When we look at promotion, we look at issues around hateful conduct, where you have an artist or another creator who has done something off-platform that is so particularly out of line with our values, egregious, in a way that it becomes something that we don’t want to associate ourselves with. So we’ve decided that in some circumstances, we may choose to not work with that artist or their content in the same way — to not program it, to not playlist it, to not do artist marketing campaigns with that artist.” “Transparency is good, but I’m not sure this is transparency,” Kubrin says. “They’re not systematizing the process: It seems all based on their own judgment, but who’s making those calls? What role are they playing? You have to roll something like this out so carefully, and they haven’t done that.” A spokeperson for Spotify said that an internal committee makes those decisions, in consultation with the organizations listed in the policy announcement as helping it to define hateful content (including The Southern Poverty Law Center, The Anti-Defamation League, Color of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate). The rep added that in some cases the inquiry is escalated, but declined to provide further details or grant requests for interviews on the matter with company executives. “Spotify is taking on a difficult task in attempting to remove speech that promotes ‘hate,’” says Nora Pelizzari of the National Coalition Against Censorship. “People do not agree on the definition of the term: some will believe Spotify has gone too far, others will pressure it to go farther. The inclusion of ‘hateful conduct’ in the policy just adds another layer of subjectivity that undermines the policy’s enforceability in any sort of equitable way. Who is the judge and should we insist on morally pure artists? How pure is pure enough? These are complicated questions that this policy doesn’t seem to quite answer.” To keep the matter in perspective, the conversation is not really about censorship: The two artists’ music remains available on the platform; the music and artists Spotify and any other streaming platform promotes are its own choice, subject to its own criteria; there is no First Amendment component directly associated with this matter. (The American Civil Liberties Union (ACLU) declined to comment.) But the company’s failure to anticipate the optics of its move — the first two artists penalized by the new policy are black men who stand accused but not convicted of serious crimes — has sent a shockingly bad message at a time when the largest music-streaming company in the world, which went public on the New York Stock Exchange just weeks ago, needs it least. “Intentionally or not, it’s really just rap and R&B that are being singled out,” says Kubrin. “What stereotypes are they relying on? How does race and gender come into it? We’ve done studies where we’ll take the same set of violent lyrics and tell randomly selected people they’re from different music genres, including country, folk, rap. When people think the lyrics are coming from rap, they’re considered much more threatening. It’s concerning whenever people try to police art.” “It’s a laudable goal,”Brooks concludes, “it just needs to be more systematic.” Even at a glance, the inconsistencies in the policy are quickly apparent on a platform that includes music by at least one convicted murderer (Phil Spector), another who married not just a 13-year-old girl but one who was also his first cousin (Jerry Lee Lewis), another who is synonymous with spousal abuse (the late Ike Turner) and a song with upwards of 70 million plays (Derek & the Dominos’ 1970 hit “Layla”) that was co-written by a man who has been in a mental institution for 35 years after murdering his mother (Jim Gordon). Shunning is nothing new in the age of #MeToo, and while visions of “A Tale of Two Cities” occasionally pop up during these lightning-quick rushes to judgement, much of it is long overdue. And if it has inspired two disparate but related incidents that happened in the past two days — singer Jessie Reyez publicly accusing producer Detail of sexual abuse, and Rep. Maxine Waters shouting down condescending, mansplaining men on the floor of Congress — then it’s a move for the better. But any attempt to systematize morality — particularly one as vaguely defined as Spotify’s — is a slippery slope. “I’m guessing there are artists on [Spotify’s platform] who have committed very serious crimes, the probability that R. Kelly is even in the top five of that list seems slim,” says Kubrin. “This certainly is not censorship, but it’s a move in that direction.”

CBS is sticking with its new midseason drama series Instinct starring Alan Cumming, which has been renewed for a second season. Instinct has been a so-so ratings performer, averaging a 1.1 adults 18-49 most recent rating and 0.6-0.7 Live+same day in the past few airings. But has been in line with its fellow Sunday CBS shows in the 25-54 demo. And the series made history as the first broadcast drama with an openly gay lead character, played by Cumming. Based on the James Patterson novel, Instinct stars Alan Cumming as a former CIA operative who is lured back to his old life when the NYPD needs his help to stop a serial killer. Bojana Novakovic, Daniel Ings, Naveen Andrews and Sharon Leal also star. Instinct is produced by CBS Television Studios. Cumming and Patterson executive produce with Michael Rauch, Marc Webb, Alex Kurtzman and Heather Kadin (Secret Hideout), Bill Robinson and Leopoldo Gout.

For the first time this year, CBS comedy Life In Pieces was left on the bubble for renewal. After some lengthy and difficult negotiations between the network and series producer 20th Century Fox TV, the comedy has been picked up for a fourth season. The family comedy has delivered solid ratings in its third season, though, while two other Thursday series, Mom and S.W.A.T., have improved their time periods vs. last season, Life In Pieces has not. Still, LIP is well received and features a very strong ensemble cast. It also is the fourth highest-rated and most watched CBS comedy series behind The Big Bang Theory, Young Sheldon and Mom, likely helped by its Thursday location. Created by Justin Adler, Life in Pieces, from 20th TV and Kapital Entertainment, is a comedy about one big happy family and their sometimes awkward, often hilarious and ultimately beautiful milestone moments as told by its various members. It stars Dianne Wiest, James Brolin, Zoe Lister-Jones, Colin Hanks, Angelique Cabral, Thomas Sadoski, Betsy Brandt, Dan Bakkedahl, Niall Cunningham, Holly J. Barrett, Giselle Eisenberg and Hunter King. Adler executive produces with Aaron Kaplan, Jeff Morton and Brad Copeland.

As if there was any doubt, Marvel’s Inhumans Season 2 is not happening. ABC made the show’s cancellation official yesterday as all the networks prepare to unveil their new Fall 2018-19 schedules in the coming weeks, and Marvel’s third ABC superhero series did not make the cut. The series had a weird road to the network, as Marvel Studios was initially developing an Inhumans movie before the TV arm of Marvel decided to forge ahead with a serialized adaptation of the comic book. This came in the wake of Marvel Studios president Kevin Feige’s split from Marvel CEO Ike Perlmutter, who no longer oversees the Marvel movies but still has control over the television side of things, so this all felt a little bit personal. Regardless, Marvel TV—headed up by Jeph Loeb—forged ahead with an ambitious take on Inhumans which saw them teaming up with the folks at IMAX to co-produce the series and premiere the first two episodes on IMAX screens across the country. While well-intentioned, this idea fell a bit flat as the IMAX-shot series couldn’t really be appreciated visually on television screens, and it felt as though the show’s directors hadn’t really taken proper advantage of the IMAX cameras—it just looked like a regular TV show. Then there was the content of the show, which was definitely rushed into production to meet a debut date and didn’t get to benefit from significant development time. Scott Buck, former Dexter showrunner and the showrunner behind the first season of Marvel’s Netflix series Iron Fist, took the reins, but reviews for the show were savage and viewership dwindled as the eight-episode first season ran its course. ABC and Marvel were conspicuously quiet during the show’s run, perhaps realizing this was a show that simply wasn’t working, and there was no Season 2 announcement when the season wrapped up in November. So this cancellation news was pretty much a foregone conclusion, but if there was any doubt, Inhumans is dead. There’s still no word on whether ABC will renew Marvel’s other broadcast series, Agents of S.H.I.E.L.D., but that decision is expected to come over the next couple of days. While enjoying a creative upswing, the series has dropped to its lowest ratings ever in its fifth season. If S.H.I.E.L.D. does get cancelled, it’ll be interesting to see if Marvel TV attempts another broadcast series, or if they’ll focus their efforts on cable and streaming. While S.H.I.E.L.D. has been on the brink of cancellation for years and Agent Carter only lasted two seasons, Marvel’s Netflix shows are still churning along and recently Marvel has expanded its purview to Hulu (The Runaways) and now to Freeform with the upcoming Cloak and Dagger.

After years of will they-won’t they, CBS last season finally did a celebrity installment of its summer reality staple Big Brother. The experiment went well, and now the network has ordered a second installment. CBS would not specify whether it would air during the regular 2018-19 season but that is the assumption. Launched as a counter-programming to the Winter Olympics on NBC, Celebrity Big Brother did the job — keeping the lights on for CBS against the highly-rated Olympic Games. The voyeuristic show also made a lot of noise, spawning a slew of headlines, mostly based on comments house guest Omarosa made about her tenure in the White House. Celebrity Big Brother comes from Endemol Shine North America.

‘Man With A Plan’ Renewed For Season 3 By CBS, No Word Yet On ‘Kevin Can Wait’ & ‘Superior Donuts’ CBS will be bringing back Monday comedy Man with a Plan starring Matt LeBlanc. The network had not been expected to bring back all of its Monday comedies as it is looking to improve its shaky ratings performance on the night. Still up in the air is the fate of Kevin Can Wait and Superior Donuts, with at least one probably not coming back. Man With a Plan has held steady, ranking as CBS’ second highest rated and most watched series behind Kevin Can Wait on Monday. Man with a Plan also is fully owned by CBS, it comes from CBS TV . Studios, vs. 50-50 ownership in Kevin Can Wait, which comes from Sony TV. And, with Kevin Can Wait’s ratings sliding throughout the season following the female lead recasting debacle, in the final stretch the two comedies’ ratings have been on par. Man With A Plan stars LeBlanc as Adam, an an old-school guy confronting the modern challenges of parenting, marriage and family. Adam’s self-assured wife, Andi (Liza Snyder), has gone back to work, forcing him to deal with the startling discovery that his three school-age “little angels” are maniacs, all the while trying to run a contracting business with his troublemaker brother, Don (Kevin Nealon). Stacy Keach, Grace Kaufman, Matthew MacCann, Hala Finley and Matt Cook also star. LeBlanc executive produces with Jeff and Jackie Filgo, Michael Rotenberg, Troy ien and Gregg Mettler.

As usual, the renewal of veteran crime drama Criminal Minds came down to the wire with CBS and lead studio ABC Studios going back and forth on terms. Making things less complicated this time was the fact that all Criminal Minds veteran cast members already had deals for next season. Also as usual, CBS is not confirming the size of the order or any other details. There had been speculation that the network may renew Criminal Minds for a final 13-episode season but for now, that is just speculation. We will get a better sense when CBS releases its schedule on Wednesday morning. After a long run at 9 PM, Criminal Minds moved to 10 PM this season. It has improved the time period and is doing well in delayed viewing. The crime drama ended its 13th season on a cliffhanger, I hear with the blessing of CBS. A cancellation would’ve robbed its loyal fans of a proper ending and would’ve deprived the series of hitting the 300th episode milestone, ending its run with 299. Now Criminal Minds‘ Season 14 premiere will also mark the show’s 300th episode, giving it an extra promotional juice. Criminal Minds revolves around an elite team of FBI profilers who analyze the country’s most twisted criminal minds, anticipating their next moves before they strike again. Joe Mantegna stars as David Rossi, along with Paget Brewster as Emily Prentiss, Matthew Gray Gubler as Dr. Spencer Reid, A.J. Cook as Jennifer “JJ” Jareau, Aisha Tyler as Dr. Tara Lewis, Kirsten Vangsness as Penelope Garcia, Adam Rodriguez as Luke Alvez and Daniel Henney as Matt Simmons. ABC Studios produces in association with CBS Television Studios. Long-time showrunner Erica Messer, Mark Gordon and Breen Frazier executive produce. Jeff Davis was the series creator.

CBS has made the call on Monday drama Scorpion, opting not to renew the high-octane drama for a fifth season. After a high-flying start as a breakout hit when it first launched in the Monday 9 PM slot, Scorpion found itself heavily on the bubble for return for the second year in a row. It has struggled in the Monday 10 PM time period, and is one of the least watched CBS scripted series currently on the air in Live+same day. CBS had been expected to do some major cleanup on Mondays where it’s seen its ratings fortunes falter. Scorpion is the first official cancellation on the night, it likely won’t be the last. Remaining on the bubble are two other CBS drama series, Code Black and Elementary. It is unclear whether the network will impose formal cancellation on Wisdom of the Crowd which is presumed dead. Scorpion centered on eccentric genius Walter O’Brien (Elyes Gabel) and his team of brilliant misfits who are the last line of defense against complex, high-tech threats of the modern age. Robert Patrick, Katharine McPhee, Eddie Kaye Thomas, Jadyn Wong, Ari Stidham and Riley B. Smith also star. The series from CBS Television Studios, was executive produced by Alex Kurtzman, Roberto Orci, Nick Santora, Nicholas Wootton, Justin Lin, Heather Kadin, Scooter Braun and Walter O’Brien.

Paramount Pictures is reviving the G.I. Joe franchise, albeit in a very different kind of way. While the studio tried to launch a G.I. Joe movie series with 2009’s G.I. Joe: The Rise of Cobra, the fairly expensive film failed to make much of a splash with only $307 million worldwide. The studio opted to retool their approach with the sequel, bringing in Franchise Viagra himself Dwayne Johnson to star in G.I. Joe: Retaliation, which was a little bit cheaper and made a little bit more money. A G.I. Joe 3 has been in development ever since, but thus far nothing has come of it—likely in part due to Johnson’s crazy busy schedule. Now, THR reports that Paramount is forging ahead without Johnson and is basically rebooting the franchise once more as a Snake Eyes movie is now in active development. The studio has set The Huntsman: Winter’s War and Beauty and the Beast (2017) co-writer Evan Spiliotopoulos to write the script for the Snake Eyes movie, which will revolve around the popular G.I. Joe character who’s basically a deadly ninja. In G.I. Joe lore Snake Eyes never speaks, which could be a bt of a problem for a lead role in a feature film, but perhaps Spiliotopoulos has a unique take on the character that’ll make it work. The screenwriter also recently boarded Netflix’s Bright 2. Darth Maul himself Ray Park played the role of Snake Eyes in the previous two G.I. Joe movies, but it’s more likely the studio sets a name actor to fill the part in this redo. Paramount has been working with Hasbro to figure out a way to revive this lucrative property, perhaps as part of a cinematic universe with other popular properties like Micronauts and Rom. Indeed, earlier this year the studio set Fate of the Furious filmmaker F. Gary Gray to spearhead a M.A.S.K. movie. But these projects have been in development so long that I’m at a “I’ll believe it when I see it” stage. It’s all well and good to work on these, but it’s another thing to actually make them. If this Snake Eyes movie does get made, however, who would you like to see fill the lead role?

Seth MacFarlane’s “Family Guy” has been renewed for a 16th season at Fox. The half-hour animated raunchy family comedy from creator, executive producer and star MacFarlane stars the voice talent of Alex Borstein, Seth Green, Mila Kunis and Mike Henry. The 16th season will also mark the 20th anniversary of the series. The 15th season featured a special limited commercial interruption event episode and its 300th episode, and averaged 2.55 million total live viewers and a rating of 1.15 in the 18-49 demo. When looking at live+7, the series averages 10.6 multi-platform viewers and a 1.8 in the demo. “Family Guy” is a 20th Century Fox Television production. Rich Appel and Alec Sulkin serve as executive producers and showrunners, while Steve Callaghan, Danny Smith and Kara Vallow are executive producers alongside MacFarlane. MacFarlane’s other Fox series, “The Orville,” was previously renewed, as was “9-1-1,” “Empire,” “Star,” “The Resident,” “The Gifted” and “The Simpsons.” Fox also revived “Last Man Standing” for next year. “Bob’s Burgers” has also been renewed for a ninth season at the network. The animated comedy centering on the Belcher family stars the voice talents of H. Jon Benjamin, John Roberts, Kristen Schaal, Eugene Mirman, Dan Mintz and Larry Murphy. Loren Bouchard created the series and acts as executive producer and writer on it, alongside executive producer Jim Dauterive. The series hails is a co-production between 20th Century Fox Television and Bento Box Entertainment. “Bob’s Burgers” won the Emmy for animated series in 2017. The eighth season averaged 2.37 million total live viewers and a 1.08 rating in the 18-49 demo. In live+7 the series sees 8.1 million total viewers and a 1.4 in the demo. Both series are currently in production on their new seasons.

“Avengers: Infinity War” has topped the $500 million mark at the North American box office in only its 15th day — the second-fastest movie to achieve that milestone. Disney-Marvel’s superhero tentpole grossed $16 million on Friday at 4,474 locations to reach $502 million. Only 2015’s “Star Wars: The Force Awakens” hit the half-billion dollar mark faster, needing just 10 days to do so. “Avengers: Infinity War” is dominating domestic moviegoing and should finish its third weekend with about $60 million, making it the fourth-highest grossing third frame of all time. The opening of Melissa McCarthy’s comedy “Life of the Party” is heading for around $18.5 million at 3,656 sites, followed by the launch of Gabrielle Union’s thriller “Breaking In” at about $15 million at 2,537 venues. “Avengers: Infinity War” set the all-time record for biggest domestic opening weekend with $257.7 million on April 27 to April 29, then fell 56% to $114.8 million on May 4 to May 6. It’s projected to decline only 48% this weekend. Only “Star Wars: The Force Awakens” ($90.2 million), “Avatar” ($68.5 million), and “Black Panther” ($66.3 million) finished above the $60 million domestic mark in their third frames. Should estimates hold, “Avengers: Infinity War” will wind up the weekend at $546 million — eighth on the all-time domestic list, ahead of the lifetime total of “The Dark Knight” at $534.9 million. “Life of the Party,” a PG-13 title from Warner Bros.’ New Line, should see its best performance on Mother’s Day on Sunday following a promotional push to get mothers and daughters to hit theaters. McCarthy plays a mom who joins her daughter (played by Molly Gordon) in college after getting divorced. McCarthy’s spouse, Ben Falcone, directed from a script he co-wrote with McCarthy. Universal’s “Breaking In,” directed by James McTeigue, is performing in line with estimates, which had been in the $14 million to $17 million range. Union portrays a single mom who has to protect her two children (played by Seth Carr and Ajiona Alexus) after her father’s Malibu mansion is invaded by burglars. “Life of the Party” has earned a 42% on Rotten Tomatoes, while “Breaking In” carries a 29% rating. The second weekend of Lionsgate-Pantelion’s comedy “Overboard” was heading for fourth place with about $8 million, followed by Paramount’s sixth weekend of “A Quiet Place” with $6 million. “A Quiet Place” will wind up the weekend with nearly $170 million domestically. “Avengers: Infinity War” has already taken in more than $800 million overseas with a robust opening expected this weekend in China. First-day grosses on Friday hit $76 million.

Marion Cotillard stars as an irresponsible party-girl mother in this debut from French director Vanessa Filho. The title character in Angel Face (Gueule d’ange) could be either the thirtysomething, nearly always broke wild child who’s into reckless partying, heavy drinking and careless hook-ups, or her cute-as-a-button eight-year-old daughter, who is also not afraid of a good time — or even a stiff drink. In more ways than one, this good-looking first film from French director Vanessa Filho, set on the sunny French Riviera, recalls last year’s equally sunny-yet-dark The Florida Project as it charts the relationship of an irresponsible mother and her young offspring living on the fringes of society in a haze of intoxicants and irresponsibility. There are also a few differences. Angel Face bows at Cannes in Un Certain Regard and not in the Directors’ Fortnight, like Sean Baker’s film. And the actress playing the mother isn't some lucky unknown plucked off Instagram but a bona fide, Oscar-winning star: Marion Cotillard, whose glittering presence should help this debut get noticed, despite its shortcomings. Single mom Marlene (Cotillard) always looks flawless, if your idea of flawless is that slightly trashy and disheveled party-girl look that includes sequined cocktail dresses, glowing skin, glittery makeup and sleek blond hair that’s just a shade or two too light to be natural. Not knowing anything else, little Elli (newcomer Ayline Aksoy-Etaix) is used to her mother’s routine. Yes, she might stumble into the apartment at four in the morning, too zonked to set the alarm clock for the next day. And yes, the “children’s police” — i.e., child protection services — might come calling again at any moment. Filho, who penned the screenplay with Diasteme (Sand Castles, French Blood) and Francois Pirot (who co-wrote Joachim Lafosse’s early films), economically sketches, in the early going, the dire situation Elli finds herself in because of her mother’s behavior. When Marlene decides to serenade her latest husband (Stephane Rideau) at her fifth wedding, for example, she chooses a song about being cheated on. Perhaps that could be forgiven but what to make of the fact she thinks nothing of a quickie with some random dude in the kitchen during her own nuptials? Quite quickly, it becomes clear Marlene is a woman in a kind of pathological state of oblivion about what’s appropriate behavior and how she can construct and maintain healthy relationships with others. Things get so bad that Elli one day finds herself on her own when her mom doesn’t come back from yet another party. It's here that she runs into and then desperately tries to cling to a former diver with a heart defect, Julio (Alban Lenoir, from French Blood), who lives in a dingy trailer in a gorgeous seaside location. The film’s point-of-view now stays with the young girl, who has secretly started drinking as well, probably to dull the pain caused by the absence of any kind of caring adult in her life. But Filho never explicitly addresses the psychology of either character, staying in observational, in-the-moment mode instead of providing any kind of emotional insight or backstory. It’s a gamble that only partially pays off. Cotillard, looking like one of the most glamorous white-trash fantasy figures in the history of the movies, has a hypnotic quality that will make you follow her character whatever she says or does. We might not know how she makes what little money she has or how she ended up in her situation, but she’s always completely believable and even, up to a point, strangely sympathetic as a born hedonist who can only live in the moment — and who is probably always too drunk to spell trustworthiness and dependability correctly, much less put these fundamental principles of parenting into practice. Aksoy-Etaix’s acting, on the other hand, is natural in the more low-key scenes but feels affected when big emotions are required (a shouting match in Julio’s trailer is especially painful). And Elli’s addiction to the alcohol she keeps stealing from unattended wine glasses and stray bottles of bourbon also remains more of a gimmick than something that feels psychologically credible. Unlike the mother-daughter dynamics that were so clearly conveyed in The Florida Project, here something Elli does in the final act doesn't quite have the dramatic impact it should because it feels untethered to any understanding of how the feelings of the gamine toward her mother have evolved. Another problem is the character of Julio, who, while well-acted, feels too much like a movie creation. Angel Face— actually Marlene’s nickname for Elli — does look gorgeous, with The Artist cinematographer Guillaume Schiffman opting for a loose, sun-dappled style that suggests how the world might seem like your oyster if you’re always on something. Costume designer Ariane Daurat certainly had a ball and the no-doubt large makeup crew must have had their hands full with the constant need for bright blues and pinks, all that glitter and all those spangles. Production companies: Windy Production, Moana Films, Mars Films Cast: Marion Cotillard, Alban Lenoir, Ayline Aksoy-Etaix, Stephane Rideau, Amelie Daure, Mario Magelhaes, Joel Boudjelta Director: Vanessa Filho Screenplay: Vanessa Filho, Diasteme, Francois Pirot Producers: Carole Lambert, Marc Missonier Director of photography: Guillaume Schiffman Production designer: Nicolas Migot Costume designer: Ariane Daurat Editor: Sophie Reine Music: Audrey Ismael, Olivier Coursier Sales: Playtime Venue: Cannes Film Festival (Un Certain Regard) In French No rating, 108 minutes

IMAX and Saudi Arabia’s General Culture Authority have signed a non-binding agreement to jointly seek opportunities to identify and develop local IMAX-format films in the kingdom. Under the non-exclusive pact, unveiled Saturday, the partners will seek opportunities to help Saudi studios and directors release films with cross-border appeal and potentially tap into the IMAX global distribution platform to export their films to non-Arabic markets. IMAX has successfully implemented this approach in markets such as China and India, where it remasters and distributes local-language blockbusters both in-country and to its wider global network. The agreement is part of the Saudi culture authority’s efforts to develop a dynamic and sustainable film industry in Saudi Arabia. “I expect to have 20 to 30 theaters there in three to five years there, which would be our biggest territory in the Middle East,” IMAX CEO Rich Gelfond told Variety earlier, on Friday. But he cautioned that “people are talking about the opportunity in Saudi [Arabia], and it’s a great one, but it’s not going to be a China-sized opportunity.” On April 30, IMAX opened its first commercial multiplex theater together with VOX Cinemas in Riyadh, with its debut timed to the release of Marvel’s “Avengers: Infinity War.” IMAX has built a substantial footprint in the Middle East with 20 theaters in operation in many of the region’s top-performing screens and another 12 in backlog. IMAX will also explore the establishment of a film-technology lab to train and work with Saudi filmmakers on IMAX-format documentaries and Arabic-language films that showcase the kingdom’s geography, culture and heritage, as well as the filmmakers themselves.

"Avengers: Infinity War" became the second-fastest film in box office history to gross $500 million domestically after its third Friday in theaters, when it grossed $16 million to bring its U.S. total to $502 million and its worldwide total to over $1.3 billion. "Infinity War" hit the half-billion domestic mark after 15 days in theaters, one day faster than "Star Wars: The Last Jedi" and five days slower than "Star Wars: The Force Awakens." "Avengers" also passed the global run of "The Last Jedi" on Friday thanks to a robust opening day in China, where strong pre-sales pushed the film to a $76 million start. "Infinity War" will look to break the Marvel opening weekend record in China, which is held by "Avengers: Age of Ultron" with $156 million. Back in the U.S., Industry estimates currently project the Marvel film to finish its third weekend with $60 million, a 48 percent drop from its $114 million haul last weekend. That would bring the domestic total by Sunday's end to $548 million. Behind "Infinity War" is Warner Bros./New Line's "Life of the Party," which, after making $4.9 million on opening night, is in danger of becoming the worst opening weekend for lead star Melissa McCarthy with an estimated $18 million from 3,656 screens against a $32 million budget. That's down 24 percent from her previous career low, "The Boss," which opened to $23.6 million in 2016 and, like "Life of the Party," was directed by McCarthy's husband, Ben Falcone. Also like "The Boss," "Life of the Party" has been tepidly received by audiences, earning a 42 percent score on Rotten Tomatoes and a B on CinemaScore. 63 percent of opening night crowds were over the age of 35, with the 18-35 demo giving the film a B+ on CinemaScore while viewers under 18 gave the PG-13 comedy an A-. Warner Bros.' will hope to raise opening weekend figures on Sunday, as their marketing campaign for the film has targeted mothers and daughters in the hope that they will spend Mother's Day going to see the film together. In third is Universal's Will Packer thriller "Breaking In," which made $4.5 million on opening night from 2,537 screens and is estimated to hit tracker expectations with $14.9 million. While less than "Life of the Party," this Gabrielle Union- fronted film is in a better financial position, holding a production budget of just $6 million. Critics, as they have with many past films produced by Packer, gave the film negative reviews with a 29 percent Rotten Tomatoes score. But Packer and Union's fans were more positive, giving the film a B on CinemaScore. Pantelion/MGM's "Overboard" will take fourth in its second weekend, dropping 44 percent from its $14.7 million opening for an $8.3 million weekend total. Paramount's "A Quiet Place" completes the top five with an estimated $6.1 million in its sixth weekend.