Ed Sheeran has blamed his toilet trouble at a recent concert on misjudging the amount of water he drank before going on stage. The Thinking Out Loud singer performed in Cardiff, Wales on Saturday (23Jun18) - but had to leave the stage twice to relieve himself during the gig. Ed has now explained why he was caught short. "So I was there, I was playing, I was singing - but it was getting worse and worse and worse; you know when you start sweating?" he told British MC Big Narstie on his new U.K. TV chat show. "The problem is, because I play the show solo, I can't just be like ‘Hey band, start playing!’ So I literally had to put the guitar down and be like, 'Talk among yourselves.' Usually, (with) the adrenaline and all the water you drink, you sweat out. But I drank so much water before the show." Some fans expressed disappointment in the singer-songwriter for legging it off stage, as he halted his song Photograph to take one break. However, most were sympathetic to his bladder emergency, and Ed told Narstie and co-host Mo Gilligan that dashing to the toilet was better than the alternative. "You know when you gotta go, you gotta go," he said. "I thought interrupting a show to be like, 'I'm going off stage' is far better than a picture in the paper the next day." Although the 27-year-old has never halted a gig to go to the loo before, in 2015 he told Australia's Nova FM radio he had accidentally soiled his pants on stage - but carried on performing. Big Narstie's interview with Ed will air on U.K. network Channel 4 on Friday.

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The Munich-based production outfit is best known for its TV dramas and for crowd-pleasing German films, including 'Oktoberfest' and 'Guys and Balls.' German mini-major Constantin Film has acquired Hager Moss Film, a Munich-based production outfit best known for its television dramas. Founded in 1989 by producers Kirsten Hager and Eric Moss, Hager Moss Film has produced more than 70 TV movies and feature films, including Pepe Danquart's acclaimed documentary To The Limit, which was nominated for a German Film Award and European Film Award in 2008. Among its more successful features have been the soccer-set rom-com Guys and Balls (2007) from Sherry Hormann, and Johannes Brunner's crime drama Oktoberfest (2005). But TV is the main focus at Hager Moss, which has produced dozens of TV movies and episodes of the hit crime proceedural Tatort. The deal, announced Wednesday, is a further sign that Constantin wants to grow its small-screen business. Constantin, best known internationally for its blockbuster Resident Evil franchise, has expanded into high-end TV of late with series such as Shadowhunters: The Mortal Instruments and the upcoming German-language Perfume, both of which air on Netflix internationally. Hager Moss will continue to operate as a stand-alone shingle within Constantin.

Peyton Reed's sequel stars Paul Rudd as the titular Marvel superhero, along with Evangeline Lilly, Michael Douglas and franchise newcomer Michelle Pfeiffer. It's hard to say which is the most lightweight, evanescent and inconsequential of the bunch — Ant-Man, the Wasp or Ant-Man and the Wasp. But while pondering this conundrum for two hours, it becomes increasingly difficult not to notice that this latest entry in the unstoppable Marvel Studios takeover of the world is probably the most amusing film the company has made since the Kevin Feige reign began a decade ago. With a domestic haul of “only” $180 million in 2015, the original Ant-Man stands as the company's second-lowest grosser during that period, so Black Panther and Avengers: Infinity War will not feel threatened. But young summer audiences will nonetheless delight in the goofy, low-stakes nonsense the mostly engaging characters generate. Black Panther instantly became a landmark by placing black characters and culture front-and-center in such a mass audience attraction. Now it seems as though Ant-Man has exerted a strong influence of its own by demonstrating that actors of a certain age can once again play characters decades younger. Having passed 70, Michael Douglas, submitting to the miracle of digital facelifting, three years ago paved the way with his entirely convincing turn as the fortysomething downsizing genius Dr. Hank Pym. Michelle Pfeiffer and Laurence Fishburne clearly took note and told their agents, "Hell, get me some of that stuff, too." And here they are, looking (part of the time) as ready as ever for their close-ups. Trying to slip these wispy little insect characters into a world dominated by the likes of Thor, Thanos, Iron Man, Hulk, Drax and so many bulging others was always a long-shot challenge, so it was a smart move to push a disarming sense of humor to the forefront in this series. Star Paul Rudd is the only returning writer from the original's team of four, and replacing the departed ones are four more — Chris McKenna and Erik Sommers (The Lego Batman Movie, Jumanji: Welcome to the Jungle) along with Andrew Barrer (Haunt) and Gabriel Ferrari — whose marching orders were clearly to come up with as many jokes and gags as possible for returning director Peyton Reed to spin into the action. The result is an effects-laden goofball comedy in which anything goes and nothing matters. Not that this is an entirely plot-free extravaganza or just an excuse for comic riffs. But the filmmakers are so cavalier about the idea that any of this is supposed to make any sense that there's a certain liberation in not burdening two human-brained insects with the fate of the entire universe. If the filmmakers don't pretend to take the proceedings too seriously, you don't have to either. It's refreshing to feel that the little corner of the universe known as San Francisco hasn't yet come to Thanos' attention. All that really matters is for good-natured goofball Scott Lang (Rudd) to serve out the remaining three days of his house arrest without lapsing back into his superhero guise. Given all the hubbub in the household, you can bet it won't be easy. Scott is under strict orders not to re-enter the Quantum Realm, but this is like telling Eve not to eat the apple — especially since the Realm's pioneer explorer, Dr. Hank Pym (Douglas), believes his beloved ex-wife Janet (Pfeiffer), the original Wasp, remains in limbo there, and Hank and Janet's daughter Hope (Evangeline Lilly) is also a quantum physicist keen to help out. Part of the film's antic comedy grows out of Scott's slippery maneuvers to elude the authorities on this score, and another part of it rests in the sort of flippant attitude that allows one character to snort to a scientist, “Do you guys just put the word 'quantum' in front of everything?” But even more of the mirth springs from the fact that, in this installment especially, size matters. A lot. Part of the minute lead characters' effectiveness stems from their minuscule stature and consequent near-invisibility, hence their ability to zip around mostly unnoticed. But now they can get really large on a whim as well, and so instantaneously that the filmmakers' decision to essentially dispense with justification and explanations becomes part of the romp's charm. But the main benefit of this devil-may-care attitude is the running gag relating to the size of Dr. Pym's top-secret lab headquarters. Since size-changing is the central given of this series, why not then logically extend it to a building, specifically the one where all the secrets are kept? Possessing this edifice becomes the prime concern of bad guy Sonny (an amusing Walton Goggins), and the sight of the building repeatedly being reduced from the size of a city block to that of a suitcase that can be stolen and carried around provides a droll kick, both for its own comedy value and for the way it intermittently pushes the silliness to the level of quasi-inspiration. By Marvel standards, the film is reductionist in every way and what's at stake couldn't be further than what lies in the balance at the conclusion of the studio's mega-recent blockbuster, Avengers: Infinity War. But therein lies most of its modest charm. Almost by necessity, it takes the low road, but its underdog status is embraced, even exulted in. Rudd does more than anyone to set the mood by walking a tonal balance beam with a seriousness shot through with an irrepressible edge of goofy insubordination. While the sincere grownups in the room are played by Lilly, Douglas and Fishburne, the latter as a brainy former academic colleague of Pym's, counterbalancing them with antic comic relief are Scott's former small-time criminal cohorts (Michael Pena, Tip 'T.I.' Harris, David Dastmalchiam) trying to make a move into the security business. Given that there's really nothing that the filmmakers could have done to disguise the truth of the matter, which is that Ant-Man really is a pipsqueak compared to the A-cast of Marvel superheroes, Marvel has done a pretty good job with its B team. After the heavy lifting involved in the studio's most recent blockbusters, Black Panther and Avengers: Infinity War, Ant-Man lays out a welcome picnic. Opens: July 6 (Disney) Production: Marvel Studios Cast: Paul Rudd, Evangeline Lilly, Michael Pena, Walton Goggins, Bobby Cannavale, Judy Greer, Tip 'T.I.' Harris, David Dastmalchian, Hannah John-Kamen, Abby Ryder, Randall Park, Michelle Pfeiffer, Laurence Fishburne, Michael Douglas Director: Peyton Reed Screenwriters: Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barber, Gabriel Ferrari Producers: Kevin Feige, Stephen Broussard Executive producers: Louis D'Esposito, Victoria Alonso, Charles Newirth, Stan Lee Director of photography: Dante Spinotti Production designer: Shepherd Frankel Costume designer: Louise Frogley Editors: Dan Lebental, Craig Wood Music: Christophe Beck Visual effects supervisor: Stephane Ceretti Casting: Sarah Halley Finn PG-13 rating, 112 minutes

Chinese authorities have issued rules on actors’ pay for film productions in China, in a tax-evasion clampdown widely seen as a direct response to the recent controversy over actress Fan Bingbing and her alleged use of “yin-yang contracts” to hide income. According to the official Xinhua news agency, a notice jointly issued Wednesday by various top government agencies – including the propaganda department, the Communist Party’s central committee, the culture ministry, the tax authority, and the state radio, TV and film bureau – states that performers’ pay must not exceed 40% of a production’s total cost. Pay to the leading cast members must be capped at 70% of total payments to cast. The percentages, which are the same as those in guidelines issued by the China Alliance of Radio Film and Television last year, apply not only to film productions but also television and audiovisual programs available on the Internet. In addition to payments, the authorities also call for tighter scrutiny of celebrities’ participation in variety and reality shows to ensure that the payments are reasonable. Popular reality shows such as “Where Are We Going, Dad?”, which features celebrity father-and-son teams, have been reportedly paying exorbitant fees to talent. “Strict monitoring of payments and contracts for film, television and online productions is a must. We must also step up our forces in fighting tax evasion and unhealthy competitions,” the official notice said. It also criticized excessive bidding wars for talent. Earlier this month, the State Authority of Taxation announced an industry-wide tax probe after Fan, one of China’s biggest stars, allegedly signed two different contracts – one declared, one secret – to hide a massive payment. Photos of the alleged contracts were leaked on social media by TV anchor Cui Yongyuan. Fan has denied the allegations.

Disney has agreed to sell off 21st Century Fox’s 22 regional sports networks to secure Justice Department approval of its acquisition of major 21st Century Fox assets. The DOJ’s sign off on the $71.3 billion transaction on Wednesday gives Disney a big leg up over rival Comcast in the battle to acquire the major portion of Rupert Murdoch’s TV and film empire. The Justice Department on Wednesday filed a complaint in federal court seeking to block Disney from acquiring 22 regional sports networks but announced a settlement agreement with Disney that calls for the divestitures. Anti-trust chief Makan Delrahim and other DOJ officials argued that Disney’s ownership of the national sports powerhouse ESPN created anti-competitive conflicts if it were to also acquire Fox’s regional channels, which serve some 61 million subscribers around the country. “American consumers have benefitted from head-to-head competition between Disney and Fox’s cable sports programming that ultimately has prevented cable television subscription prices from rising even higher,” said Delrahim, assistant attorney general and head of the Justice Department’s Antitrust Division. “Today’s settlement will ensure that sports programming competition is preserved in the local markets where Disney and Fox compete for cable and satellite distribution.” The settlement agreement still needs to be approved by a federal judge but that is a pro forma step. Disney now has more ammunition to make its case of Fox shareholders and board members that it’s bid is the better bet, given Comcast’s recent track record in getting big acquisitions through the regulatory review process. At the same time, Fox board members have a fiduciary responsibility to consider competing offers if they are significantly higher or more compelling than Disney’s deal. In the jousting between Disney and Comcast that began last fall when Murdoch surprised the industry by putting most of his empire on the block, the Fox board has consistently favored the offers from Disney. Disney last week raised its bid to $71.3 billion in cash and stock, topping Comcast’s latest all-cash offer of $65 billion, or $35 a share fielded on June 13. Comcast is expected to respond with yet another offer, amid reports it is reaching out to potential acquisition partners if the bidding should climb as high as $90 billion. Analysts have speculated the Fox assets could fetch as much as $42-$43 a share. In a statement, Disney said the Justice Department settlement called for the company to have 90 days from the closing of the Fox deal to sell off the RSNs. “The parties have worked diligently since announcing the acquisition last December to provide the DOJ the information that it needed for its investigation of the transaction,” Disney said. “We are pleased that the DOJ concluded that, with the exception of the proposed acquisition of the Fox Sports Regional Networks, the transaction will not harm competition, and that we were able to resolve the limited potential concerns to position us to move forward with this exciting opportunity that will enable us to create even more compelling consumer experiences. ” It’s expected that Disney will seek a third-party buyer rather than structure a new agreement with Fox to take the RSNs out of the Disney sale. The “New Fox” entity that will house the remaining 21st Century Fox assets that are not part of the Disney sale will be focused on Fox Broadcasting, Fox News and Fox Sports, but sources indicated there was little interest in retaining the RSNs. The Fox RSNs cover a wide swath of the U.S., ranging from YES Network that is home to the New York Yankees to channels serving Los Angeles, Atlanta, Miami and a slew of Midwestern markets. Regional sports networks have long been hugely profitable because as the home of local pro sports teams, they were must-haves for many MVPD subscribers, allowing them to command hefty carriage fees. But the RSN business model is now under extreme pressure as the pay TV industry shifts to smaller bundles at lower price points. A spokesman for Fox declined to comment. A rep for Comcast could not immediately be reached for comment.

GLOW is a women's wrestling comedy set in 1985 and yet the show's female-centric storylines set amid a Hollywood backdrop resonate deeply in 2018. Liz Flahive and Carly Mensch set out to create the Netflix series well before the #MeToo era, but the co-showrunners say they felt "emboldened" to push their storylines further after the news broke about Harvey Weinstein in October of 2017. When the second season of the Alison Brie and Betty Gilpin-starring comedy returns on Friday, the strong yet flawed 15-woman ensemble — plus Marc Maron, who plays their director-coach — will be grappling with the power dynamics and gender politics that come with trying to create a TV show. The first season ended with GLOW, akathe Gorgeous Ladies of Wrestling, successfully launching its pilot and the actresses-turned-wrestlers landing a slot on the broadcast schedule. While the critically acclaimed first season of GLOW confronted the harassment women of the time period faced, the second season leans even harder on the perils that come with fame and success, as Ruth (Brie) finds herself in a compromising position with their network boss and Debbie (Gilpin) asserts herself at work while going through a divorce at home. Below, Flahive and Mensch speak with THR about the timely themes of season two, the "rarified" air of their female-dominated set, and their goal to move further away from the original syndicated series on which they took inspiration in order to make another loud and flashy stamp on the world. Betty Gilpin has described GLOW as a Trojan horse for truth and female stories — what are you trying to smuggle in with season two? Liz Flahive: I feel like we’re a little past the sneaking-in-things phase. (Laughs.) Although, I love that quote. On it’s face and in its experience, breezy is a great world. GLOW is fun, it’s not supposed to feel soapbox-y and then, ideally, that allows you to feel punched in the stomach with emotion when something feels much deeper than you might have anticipated when watching a show about women’s wrestling. Maybe that’s the way we’re sneaky — you don’t expect it to hit you in certain ways that we intend it to hit you. Carly Mensch: GLOW is very overtly about power and how a small amount of fame can change you and how women sometimes struggle in the workplace. I think we’re not hiding any of the major things we’re taking on this season. You researched the real GLOW (Gorgeous Ladies of Wrestling) series of the '80s for season one, but then created your own world. How much inspiration did you take from the journey of the real series when you started to map out season two? Flahive: Very little in that there was a lot of information we frankly don’t have and couldn’t have if we were creating our own version. What we took was really just the landscape of creating a local show that was syndicated to market and a show-within-the-show that felt like there are not that many rules. You have that feeling when you watch the original GLOW. It’s so many things: it’s sketches and songs and wrestling and weird skits and satire all at once, with indeterminate lengths. That was the freedom of GLOW — you weren't really sure what it was or how they did it, but you were intrigued and entertained. We held onto that feeling for season two. How involved was Jenji Kohan (Orange Is the New Black) in the season two stories? Mensch: Last year, we got to give her an episode to write ["This Is One of Those Moments"], but this year she was a little too busy because she was launching yet another show, American Princess on Lifetime. But she’s deeply involved in the script phase. She reads every script, gives us notes, chimes in on outlines and sits in every single editing session. She has strong opinions in editing and they’re super helpful. She takes a backseat when it goes into production, but when it’s in the script and editing phases she’s fully in it with us, too. This season will explore the sexuality of more than one character. Was the addition of new wrestler Yolanda (played by Shakira Barrera) in response to viewers wanting more queer characters after season one? Mensch: We felt it was something that was missing on our show and were excited to have. We had so many characters the first season that we barely had time to get through everyone that we even wanted. So with season two, we wanted it. We were excited about a storyline Yolanda has with one of the other women. We also were excited about this idea of replaceability. We knew we were adding a character to replace Cherry Bang (Sydelle Noel) and that we were going to explore how it feels to have someone take your character. It was our own self-checking. It’s a group of now 15 women, it feels like their sexuality is going to be all over the map in terms of how to represent. Who to tell that story through is really just the question. The harassment the women deal with is a theme throughout season two. Unlike other shows that are reacting to it, GLOW takes place in a time that precedes the #MeToo era. How much of the ugly side of Hollywood and TV did you always want to show and what did you add in as a direct response to what was going on in our culture? Flahive: We had talked prior to the Harvey Weinstein news breaking about wanting to do something about sexual harassment, because we have the girls in an environment now where they were part of the network, the network was run by men and there was a new power dynamic we could introduce if we wanted to. We were definitely emboldened to go further with our story once the Weinstein news broke, but showing that side was always in the foundation for us, given the story that we were telling of actresses in 1985. Mensch: We started this season as we always do, talking about characters and what needed to happen this season and what journey we could send them on. It felt like we started with: What can happen to Ruth this season and how can she respond? Then we also tend to start our seasons by asking: What can we do with Ruth and Debbie to get to core things in their relationship? Ruth and Debbie will also be fighting to have each of their voices heard once GLOW the series gets off the ground. Did those storylines spark discussions on your female-dominated set? Flahive: I remember having a conversation with some women recently who are producers in a mid-career moment and who are wanting to produce studio comedies. They were saying things like, “When I talk to a studio about my contract and needing childcare so I can stay around and produce their movie for 16 hours a day, that conversation drops somewhere and it’s just easier for them to hire a man." So as much as we are very steeped in 1985 on GLOW, I like having that conversation with people. Carly and I are living in a world where all of our executive producers are women, our network executives are mostly women and gay men. We are breathing very rarified air, but the conversations we’re having with our peers, there’s a ways to go and I feel like that was definitely something we illustrated this season. Did you funnel some of those horror stories into your GLOW director Sam Sylvia (Marc Maron)? Mensch: We try to approach all characters as if they are human beings and maybe sometimes Sam is an asshole, but that stems from things, whether it be insecurity or arrogance. We never wanted him to just be an unlikable asshole. We build characters from real places and grounded emotions that we can write and explore. Sam has a journey to go on in season two. The wrestling gets more complicated and yet the actresses are still doing their own stunts. What transformations have you witnessed from your stars after two rounds of this show? Mensch: We’re just so proud of them. You ask 14 actors to go through this thing and you assume some will like it and some will not like it, and that the wrestling would be a part of the show that would be met with a world of dread. Instead, we’ve watched people learn this thing that seems… I mean, it’s crazy! They can do things this season that they couldn’t do the first season. I think we’re just astonished. We always come to set when there’s wrestling going on because your mind is blown with what they can do and how we’ve built the wrestling around what they can do. It’s transformed them at least with physical confidence. We’ve heard stories with the women where they’ve felt one way before the wrestling and how they feel now. We’re always hearing those stories and feeding them back into the show. Betty [Gilpin] talks very articulately about how it’s changed the relationship with her body. The women again had wrestling training for a month with former WWE wrestler Chavo Guerrero Jr. Since the stunts were bigger, how did their physical skills impact the story and what does original GLOW star and consultant Ursula Hayden lend this season? Mensch: We try to build solely around what the women can do when it comes to the wrestling. We like to see where the story goes with the character and then see what we need, so we try not to lean on Ursula unless we need something cleared up. We really like knowing that we’re building our own world and we don’t want to rely on the original scenarios. We invite Ursula to set and she is fully a part of the show as a contributor. Flahive: We don't lean on her for that stuff [about where the women were at this point in the show]. She’ll give us details here and there but because we are inspired by this show and not basing it off what actually happened, Ursula will give us something like a great detail of one thing that happened during her time with GLOW. The original syndicated series had four years — and 104 episodes — before being canceled. Will you model the future of GLOWafter them, or are you charting a new path? Mensch: We are charting a new path. The more seasons we go on, the further we go from the original and that’s based on the fact that we created very different characters and now we follow our characters. The 10-episode second season of GLOW bows on Netflix June 29.

https://youtu.be/rI054ow6KJk Nicolas Cage wants bloody vengeance in the trailer for Panos Cosmatos' Mandy. The Oscar-winning Cage has spent much of the past several years appearing in forgettable direct-to-DVD or low-budget fare, with exceptions like David Gordon Green's acclaimed drama Joe. However, the actor (in)famous for his gonzo performance style could be on the verge of a comeback. In addition to playing (okay, voicing) the Man of Steel in Teen Titans Go! To The Movies, Cage is starring in this year's midnight-movie-in-the-making, Mandy. Directed and written by Cosmatos (Beyond the Black Rainbow) with music video/video shorts filmmaker Aaron Stewart-Ahn (This is Why We Fight), Mandy earned raves from critics following its premiere at this year's Sundance Film Festival. The film now has an official trailer that aims to demonstrate just what it is about this action/horror/thriller that has cinephiles buzzing. Set in 1983, Mandy stars Cage and Andrea Riseborough (Black Mirror's extra-disturbing episode "Crocodile") as Red Miller and Mandy Bloom, a couple living in the wilderness near the Shadow Mountains in California. When Mandy is targeted by the unhinged cult leader Jeremiah Sand (Linus Roache), their quiet existence is shattered and Red begins (as the synopsis phrases it) "a spiraling, surreal, bloody rampage of all out, mind-altering vengeance". For more, watch the Mandy trailer in the space above. As mentioned, the critical response to Mandy at Sundance was almost unanimously positive (case in point: the film is at 97% Fresh on Rotten Tomatoes after 29 reviews). Critics generally seem to agree that with Mandy, Cage has finally found a project that matches his psychologically off-the-wall and emotionally explosive acting methods. By and large, the Mandy trailer succeeds in leaving a similar impression, after but a couple minutes of actual footage. If nothing else, Mandy has Nicolas Winding Refn levels of style to spare, if the trailer is anything to go by. On a sadder note, the film is also noteworthy for being one of the last movies scored by Jóhann Jóhannsson (Sicario, Arrival), prior to the composer's shocking death earlier this year. Mandy certainly won't be everyone's cup of tea, but for those film buffs who have been waiting for Cage to go, well, full-blown Nicolas Cage for awhile, this one seems like a must-watch. Mandy begins playing in select theaters, On Demand, and Digital HD later this year on Friday, September 14.

https://youtu.be/TIwccgV2whM Josh Brolin tries to teach his son the art of hunting in the trailer for Jody Hill's Netflix comedy The Legacy of a Whitetail Deer Hunter. It's been quite the summer movie season for Brolin already, between his roles as Thanos in Avengers: Infinity War and Cable in Deadpool 2. The actor will return to the big screen yet again this week in the sequel Sicario: Day of the Soldado, before he appears in Hill's comedy next month. Suffice it to say, Brolin is having a moment at the box office. Directed and cowritten by Hill with his Eastbound & Down and Vice Principals collaborators Danny McBride and John Carcieri, Legacy of a Whitetail Deer Hunter stars Brolin as Buck Ferguson: a hunter famous for his TV show and for hunting (what else?) whitetail deer. Accompanied by his trusted cameraman Don (McBride), Buck sets out to film a special episode for his show, wherein he will teach and bond with his estranged son Jaden (Montana Jordan) over the art of hunting. However, as one would probably expect, things don't exactly go according to Buck's plan. Netflix has released an official trailer for Legacy of a Whitetail Deer Hunter that effectively sets the offbeat tone for the film, while also teasing the mishaps to come over the course of Buck, Jaden, and Don's hunting expedition. Further, the trailer footage offers a blend of off-kilter comedy and heartfelt sincerity that should be familiar to fans of Hill, Carcieri, and McBride's previous HBO TV shows together, in particular. You can watch the trailer in the space above, then check out the Legacy of a Whitetail Deer Hunter poster, below (courtesy of Collider). Based on the trailer, Legacy of a Whitetail Deer Hunter will be relatively gentler than Hill's previous TV shows and films (Observe & Report), when it comes to taking satirical jabs at modern working-class American culture. The film similarly comes off as far less crude and rude in its humor than Hill and McBride's previous collaborations together. If so, that might be disappointing news to the pair's fans who prefer their work when it's on the wilder and more unhinged side. Legacy of a Whitetail Deer Hunter is set to premiere on Netflix during the Fourth of July holiday frame. Two very different franchise movies will be opening in theaters during that same period of time, in the forms of the horror film prequel The First Purge and Marvel Studios' sequel Ant-Man & The Wasp. Suffice it to say, those movies probably won't be impacted much by filmgoers staying home to watch Brolin and company's antics in the woods, instead. The Legacy of a Whitetail Deer Hunter premieres Friday, July 6 on Netflix.

Dwayne Johnson has confirmed a December 13, 2019 release date for Jumanji 3. Last year's Jumanji: Welcome to the Jungle (a soft reboot set in the same universe as the 1995 Jumanji movie) was an unexpected smash success that grossed $961 million at the global box office. Critics were similarly pleased by the film, which changes the eponymous board game into a video game. As such, it was a no-brainer when Sony announced that it would be developing a third installment in the family-friendly action/adventure series. Johnson and his Welcome to the Jungle costars (Kevin Hart, Karen Gillan, Jack Black) are already lined up to return in Jumanji 3, along with director Jake Kasdan, and cowriters Jeff Pinkner and Scott Rosenberg. Back at CinemaCon in April, Sony head Tom Rothman confirmed that the film is being targeted for a Christmas 2019 release, much like Welcome to the Jungle hit theaters during last year's winter holiday season. Now, the sequel has a launch date firmly set in stone. With Jumanji 3 now officially on the table, December 2019 is very crowded, as far as film releases go. The third Jumanji will hit theaters a week before Star Wars: Episode IX and the Wicked movie musical arrive on the scene, along with Kenneth Branagh's Death on the Nile adaptation. Sony is still holding onto that December 18 release date for its live-action Masters of the Universe reboot, but it seems reasonable to assume the studio will ultimately move the fantasy adventure elsewhere (rather than pit it against its own Jumanji sequel). Welcome to the Jungle, Star Wars: The Last Jedi, and Hugh Jackman's musical The Greatest Showman all became massive hits at the box office last December, despite being released in theaters over the same week. As such, there ought to be room for Jumanji 3, Episode IX, Wicked, and even Death on the Nile to thrive commercially when next year's winter holidays roll around. It's highly doubtful that the Jumaji franchise will emerge victorious in its second show-down with Star Wars (as far as overall box office returns go), but Jumanji 3 might well give J.J. Abrams' trilogy conclusion a run for its money, based on what happened last time.

Jared Leto is set to star in Sony's Morbius the Living Vampire. With so many comic book movies hitting theaters on a yearly basis, every studio is trying to create a universe of their own and find actors who can lead these hopeful franchises. While the Marvel Cinematic Universe still reigns supreme, it's received an extra shot of superpowers with Sony sharing Spider-Man. That deal doesn't bring everything under the MCU umbrella though, and Sony's adamant to pump out more Marvel-related projects. Venom kicks off their spinoff universe this year, but they've got much more planned. One of the projects that has been the subject of discussion is a movie centered around Dr. Michael Morbius, a scientist who becomes a vampire after trying to cure his own disease. There hasn't been much news on the possible project, though, but now it is taking a major step forward. THR reports Suicide Squad star Jared Leto is heading over to Marvel and will star in Morbius the Living Vampire. Not only will the Oscar-winner double up on superhero movie roles, but his latest project already has a director. Daniel Espinosa is going to direct the project, after previously helming Life for the studio. Sony securing both Leto and Espinosa is a major step forward for Morbius and could make this a fast-tracked project. The script for Morbius is written by Burk Sharpless and Matt Sazama. The duo most recently tackled Lost in Space for Netflix. Espinosa was previously in the running to direct Suicide Squad 2 (a project that also would've had Leto attached), but it will be with Morbius that he finally gets to venture into the comic book movie world. Leto meanwhile is no stranger thanks to his work as the Joker, but it looks like this movie will take precedence over the rumored Joker standalone movie. The Morbius movie does not yet have a release date, but it may just be a matter of time. Variety reports it is likely to start filming this year, making a 2019 release date very possible. Just how quickly Sony moves on this remains to be seen. They still need to launch Venom in October, so the response to that could dictate whether or not Morbius continues its quick development. But, with Leto reportedly having a hand in the director search, now that the two biggest pieces are in place, we could see the film actually start to move even quicker. Leto's band 30 Seconds to Mars finishes its tour in September and with no pressing film projects on Leto's schedule, he's certainly free to start on Morbius the Living Vampire this fall. As more details come in, we'll be sure to share the news.

https://youtu.be/MWE4x1vmHZ4 The Assassination Nation red band trailer - full of blood, gore and disturbing images - is definitely not for everybody. Instead of focusing on the celebrity factor, the red band teaser highlights the film’s central themes, all of which are controversial but entirely relevant to modern America. Written and directed by Sam Levinson, the son of filmmaker Barry Levinson (Rain Man), Assassination Nation first premiered in January at the Sundance Film Festival. Overall, critics delivered polarizing reviews about the thriller's narrative featuring the moral destruction of a small town, and how the residents turn violent after an embarrassing data hack. Australian actress Odessa Young is featured in the lead role, and she’s supported by Suki Waterhouse, Bella Thorne, and Pennywise himself, Bill Skarsgård. Assassination Nation was co-produced by David S. Goyer, who wrote the Blade trilogy and collaborated with Christopher Nolan for The Dark Knight trilogy. Today, NEON released Assassination Nation's explosive first teaser on YouTube, and it comes with “a few trigger warnings.” Along with its new red band teaser, Assassination Nation also released its first poster, too, and it’s already got people buzzing. Take a look at the red band trailer above, and the poster below. After the opening narration teases the storyline, complete with some well-timed profanity, the red band trailer sets the narrative mood with an unnerving visual: a bike-riding child staring directly at the camera wearing a red, white, and blue mask. The image itself bears a striking resemblance to The Purge’s franchise aesthetic, and the trailer’s visuals as a whole are blunt, and to the point. With America-themed graphics placed over provocative sequences, the Assassination Nation clip essentially warns viewers about what they can expect, and there’s indeed plenty to process. Much-discussed concepts like “Fragile Male Egos” and “Toxic Masculinity” are emphasized, but there’s an inherent darkness to the trailer given the most obvious themes are blood and death. Meanwhile, the Assassination Nation Twitter account not only hyped the trailer and first image, but actually teased America itself with three emojis, all of which are representative of the film’s primary (and satirical) themes: consumption, America, and love. The red band trailer suggests that Assassination Trailer is “100 percent a true story,” but given its visual connection to an abstract yet well-known filmmaker like Jean-Luc Godard - known for his big fonts, bold colors, and big ideas - audiences can probably expect a heavy dose of visual hyperbole. Based on early reactions, it seems that Sam Levinson’s film will undoubtedly have a polarizing effect after its wide theatrical release on September 21.

Henry Cavill does not have a magical beard in Mission: Impossible - Fallout, whatever the latest viral meme about the actor's facial hair may suggest. Cavill’s presence in the latest Mission: Impossible film, Fallout, has already inspired feverish anticipation and immense industry buzz. On top of giving the Man of Steel star a major role in another popular franchise, it gave the world to Cavill’s mustache. It’s no ordinary mustache, of course: this is the one that caused so much havoc in Justice League’s reshoots thanks to a contract clash with Paramount that ensured he kept his facial fuzz intact for the entire shoot. Cue millions of dollars in CGI to conceal the mustache and many a new Superman meme. His role in Mission: Impossible 6 has created another conversation online recently, with a shot in the trailer of Cavill getting pumped for a fight with a quick shake of his fists - a punch reload - getting much attention. Now the scene has started creating conversation thanks to a gif of the trailer scene (first shred by Twitter user Michael Chu) that seems to show Cavill spontaneously growing a beard with a flick of his wrists. A weird visual trick, it's all the funnier in light of the problems Warner Bros. had keeping hair off the actor's face. However, it really is just a trick of the light - and frame rate. While the effect is definitely uncanny, this is really a result of it being a gif. The viral image is of a pretty low frame rate, which thanks to a change of lighting creates the illusion of instant follicle growth. It can be much more clearly seen in the high-res Mission: Impossible 6 trailer how the overhead light creates shadow across Cavill’s face. It’s a series of illusions combined with good timing, which definitely doesn't take away from how well timed the switch is in the gif. The attention on Henry Cavill and his facial hair is entirely accidental, and in some ways distracts from the real spectacle of Mission: Impossible - Fallout. The franchise is best known for Tom Cruise's increasingly crazy stunts, and this time he and returning director Christopher McQuarrie have upped the ante, with a real-life helicopter chase (also involving Cavill) and a HALO jump. Time will tell if they live up to Cavill's mustache.

Top Gun 2 is currently casting the key role of Goose's son Riot, and Nicholas Hoult, Glen Powell and Miles Teller are reportedly all vying for the part. A recent character breakdown revealed that the Top Gun sequel, officially titled Top Gun: Maverick, will include the grown son of Anthony Edwards' "Goose" Bradshaw, the wingman of Maverick who of course died in the original Top Gun. The sequel sees Tom Cruise's Maverick taking on the role of flight instructor and becoming a mentor to a new generation of hot shot Navy pilots. Released in 1986, the original Top Gun catapulted Cruise to super-stardom while grossing $176 million at the domestic box office (which translates to $436 million if adjusted for ticket price inflation). After years of rumors about a potential sequel, last year Cruise officially announced that Top Gun 2 was on, with Tron: Legacy helmer Joseph Kosinski later being named to direct. Earlier this year, Cruise marked the official start of production on the long-awaited sequel to one of his biggest hits. With Top Gun: Maverick now officially underway, Paramount and Cruise have accelerated the process of locking down the movie's cast. One key role yet to be filled is that of "Riot" Wrigley, the son of "Goose" Bradshaw, who seeks to become a fighter pilot like his father and winds up under the wing of his dad's former wingman Maverick. As reported by THR, Nicholas Hoult, Glen Powell and Miles Teller are the three actors currently vying for the role of Riot, with at least one round of testing reportedly taking place in Clearwater, Florida where Cruise lives. Dylan O'Brien and Austin Butler were also in the running at an earlier point. The previous casting breakdown that broke the news of Goose's son being in the movie described the character this way: Supporting Male (20-29) Goose’s son. All-American good looks. Rode a football scholarship to an Ivy League degree. He is in love with Sugar. He distrusts Maverick and dislikes what he stands for, although they have a lot of similarities. Eventually, comes to respect Maverick and uses his techniques. He is forced to eject in enemy territory and Maverick comes to save him. Riot's distrust of Maverick is certainly tied to the fact that his father died while flying with the loose cannon pilot. Goose's death provided a key moment in the original Top Gun, as guilt over the incident nearly drove Maverick to quit the Top Gun program. That guilt was the thing Maverick had to overcome in order to rise up in the third act and ultimately triumph. It seems as though the conflict between Riot and Maverick will be at the center of Top Gun 2, and a lot of that conflict will be born of the fact that the two men are a lot more similar than they care to admit. Riot definitely sounds like a plum role, so it's no surprise to see three actors with solid track records vying for the part. Who among the trio of Hoult, Powell and Teller will ultimately be chosen to take a ride into the danger zone with Tom Cruise in Top Gun 2? That will likely be revealed in the not-too-distant future. But will the winning actor get to take his shirt off and play beach volleyball with Cruise?

San Diego Comic Con attendees will have the opportunity to watch the first episode of Hulu’s horror series Castle Rock ahead of its official release on the streaming service. Produced by J.J. Abrams, Castle Rock is based on the works of horror master Stephen King, taking its name from the fictional town of Castle Rock in Maine. Unlike other adaptations of King’s works, the series intertwines characters and themes from King’s mythology, many of which can be spotted in the teasers. Castle Rock is set to debut on Hulu on July 25th, but with San Diego Comic Con fast approaching, the production team is seizing the opportunity and will give a special treat to those attending their panel. According to Deadline, the first episode of Castle Rock will be shown during Hulu's panel in Ballroom 20. Producer J.J Abrams will not be in attendance as he is currently working on Star Wars Episode IX in the UK, but stars Sissy Spacek and Bill Skarsgård (among others) will be there. Deadline adds that Stephen King himself won’t attend either, but there’s a chance that Abrams will appear via video The Castle Rock experience will not end there and will go beyond the walls of Ballroom 20. For those who cannot attend the panel, Hulu is developing an immersive “experience” outside the convention (near the Hard Rock Café), very much like other TV series have done before, most notably The Walking Dead. Deadline reports that Hulu is aiming to make the Castle Rock experience “one of the biggest and baddest, in the best way”. Castle Rock is the home of many of Stephen King’s stories, such as The Body, Cujo, and The Dead Zone, and has been referenced in a number of books, including IT, Gerald’s Game, and Doctor Sleep. As mentioned above, the series brings together characters and elements from King’s mythology, and among the books that served as inspiration are Salem’s Lot, The Shining, Needful Things, and Dreamcatcher. Though some plot details are still a mystery, the series will explore the troubled lives of the residents of Castle Rock. When attorney Henry Deaver (Andre Holland) returns to his hometown to represent a prisoner (played by Bill Skarsgård) locked up in Shawshank’s State Penitentiary, dark (and creepy) things start happening. It’s not strange that Hulu decided to show the first episode at San Diego Comic Con, as this has been a common move from networks and studios in recent years. By itself, Castle Rock is on its way to become a favorite among Stephen King fans (who will surely have a lot of Easter eggs and details to catch), but bringing the experience beyond the screen and outside the convention for everyone to enjoy can elevate it to another level – and likely gain some viewers as well. Castle Rock debuts on Hulu on July 25.

[This story contains spoilers for the season two finale of HBO's Westworld, "The Passenger," and speculation about season three.] The violent delights contained within season two of Westworld had violent ends indeed, as a litany of characters were killed off in gruesome fashion — though some deaths are more permanent than others. For instance, every human who died in the season finale will most assuredly stay dead when season three resumes — with the exception of Charlotte Hale (Tessa Thompson), and anyone else who is similarly resurrected via host technology. As for the hosts, some of them are likely to remain offline for good — except for the ones who are lucky enough to be in the vicinity of a certain pair of scientists. As the show stands at the precipice of an all-new status quo change, and with so many lives still hanging in the balance, here's a helpful round-up of the characters who lived and died in the season finale… as well as the characters who are currently hovering somewhere between the living and the dead. Dolores Played by: Evan Rachel Wood, then Tessa Thompson, then Wood again Status: Briefly dead, now very alive The Download: The leader of the host revolution escaped the park thanks to assists from both Bernard and Charlotte Hale, albeit unintentional on the latter person's behalf. Now, Dolores is out in the real world, with a Hale doppelgänger at her disposal; a handy thing to have indeed, especially for someone who still has an eye on mass-vengeance against humanity, with a faux Delos board leader in tow. Bernard Played by: Jeffrey Wright Status: Briefly dead, now very alive The Download: In the finale, it's revealed that Bernard destroyed all of Delos' digital consciousness back-ups, which buys him a one-way ticket out of the park. First, however, he has to withstand a bullet to the face from Dolores; it's only fair, considering he killed her first. Both of them are now alive thanks to resurrecting each other (it's a little less confusing in practice than it sounds in writing), and both of them remain at odds, as Bernard pledges to stop Dolores from inflicting wide-scale harm against humankind. Charlotte Played by: Tessa Thompson Status: Dead, with a twist The Download: The real Charlotte Hale is dead, shot in the head by a fake Charlotte Hale. As part of his plan to destroy Delos' project, Bernard created a new synthetic body in the form of Charlotte, which he then infused with Dolores' control unit. Dolores, wearing a veritable Hale mask, then killed Hale and used her new likeness to sneak out of the park. Now, Dolores still has the Hale clone in tow, though it's unclear who is kicking around in Hale's body these days. It's an exciting prospect for fans of Tessa Thompson, who's sure to have an intense arc in season three. Teddy Played by: James Marsden Status: Alive, but gone The Download: After ending his own life in the penultimate episode of the season, Teddy's control unit was salvaged and subsequently installed in "The Sublime," the digital world that now houses so many of the hosts' souls. It's a happy ending for Teddy, but a sad turn for the viewer, as it's likely the end for Teddy's time on the show… until Dolores concocts a new Marsden-esque host to call her own, of course. Akecheta Played by: Zahn McClarnon Status: Alive, but gone The Download: As with Teddy, the Ghost Nation leader successfully led his people to the Sublime, where he reunited with his long lost love Kohana (Julia Jones). Until we see the Sublime again, we're not likely to cross paths with Akecheta anytime soon. Maeve Played by: Thandie Newton Status: Dead, for now The Download: Maeve sacrificed her own life in order to buy time while her daughter raced into the Sublime. Mission accomplished, but at the expense of Maeve's own mortal form. The finale heavily implies Maeve's imminent resurrection, however, thanks to the help of her friends Felix and Sylvester. Hector and Armistice Played by: Rodrigo Santoro and Ingrid Bolso Berdal Status: Dead, for now The Download: Also killed during the battle at the Valley Beyond, and much like Maeve, their wounds seem easy enough to recover from given the right pair of scientists working on the case. Clementine Played by: Angela Sarafyan Status: Dead, for now The Download: Another example of a host who might be able to survive their demise during the battle at the Valley Beyond. With that said, Clementine's control unit has been through so much stress, it's not impossible that she's beyond repair. Felix and Sylvester Played by: Leonardo Nam and Ptolemy Slocum Status: Alive The Download: Against all odds, these two lab techs are still alive. What's more, they will be instrumental in bringing at least Maeve back online, if not a few of the other fallen hosts. Let it be known: Felix and Sylvester are the true MVPs of Westworld. Lee Sizemore Played by: Simon Quarterman Status: Dead The Download: He entered the second season as the worst character on the show. Somehow, along the way, Sizemore became one of the most relatable and empathetic figures within the park. It's fitting, then, that his redemption comes at the expense of his own life, as Sizemore sacrificed himself in order for Maeve and friends to make it to the Valley Beyond. Elsie Hughes Played by: Shannon Woodward Status: Dead… for now? The Download: Another human soul, tragically lost in the battle between man and hostkind. Elsie tried to blackmail Charlotte, which ended up being a fatal mistake, as the head of the Delos board answered Else's gambit with two bullets to the chest. While Elsie is decidedly dead, it's not hard to imagine Shannon Woodward somehow returning to the series, especially given what we know about how Bernard came into existence: born from Dolores' memories of Arnold. Could Bernard bring life to a new host, based on Elsie? Start your campaigns now! Karl Strand and Antoine Costa Played by: Gustaf Skargård and Fares Fares Status: Dead The Download: Don't bother with the write-in campaigns to save Strand and Costa. Those guys are super dead, shot to death by "Halores," their corpses left to rot inside the Forge. Ashley Stubbs Played by: Luke Hemsworth Status: Alive, but wait a minute The Download: Since the start of the series, fans wondered if the park's head of security was secretly a host. The finale seemingly confirmed the theory, as Stubbs tells Halores all about his core drives and past association with the park. Congratulations to whoever had "Stubbs is a host" on your finale Bingo card. You get a cupcake! Robert Ford Played by: Anthony Hopkins Status: Dead, for real… probably. The Download: The man who brought the park online has finally shutdown, thanks to Bernard pulling the plug back in the penultimate episode. While Bernard plotted with Ford in the finale, it turns out the man was nothing more than a figment of the imagination. Ford is actually dead and gone now… but since we have yet to see a season of Westworld without Hopkins in place, we'll believe Ford's truly dead when we see it. And even then, we probably won't believe it. The Man in Black Played by: Ed Harris, occasionally Jimmi Simpson Status: Are you sitting down for this one? The Download: The Man in Black is seen near the end of the finale in bad shape, awaiting extraction alongside the rest of the park's survivors. That's not a trick; that's his final point in the show's main timeline. Then comes the post-credits scene, which takes place at some point in the far future. In that timeline, the real Man in Black is most likely dead and has been for some time, while a new version of the character (ala the host-human James Delos hybrid) has been left to wander the park on an eternal loop. This future, artificial version of the Man in Black is a new take on the character (the Man in Black was not a host this entire time, in other words), and one who will be explored further on down the road. Emily Played by: Katja Herbers Status: Are you still sitting down? The Download: The Man in Black killed Emily in the penultimate episode of the season; so what are we to make of the woman we see in the post-credits scene? Whoever that is, it's not the Man in Black's actual daughter. Given the future setting of the scene, the real Emily is long dead at that point, making this some sort of host who has been left to continually test the Man in Black on his many ill-fated loops. Logan Played by: Ben Barnes Status: Dead, but still employed The Download: Logan died of an overdose many years earlier, but the system that watches over the Delos project, not to mention the lives of the hosts who now dwell in the Sublime, seemingly loves taking on Logan's likeness. In other words, if you're a Ben Barnes fan, take heart: plenty of reason to expect he'll have more to do in the future of the series.

The new five-year agreement will commence Oct. 4, 2019, while NBCUniversal renews its deal to keep 'RAW.' It’s official. Fox will be the new home of WWE SmackDown Live, the network announced Tuesday. The new five-year agreement will commence Oct. 4, 2019, and will give Fox two hours of live event programming 52 weeks each year. As The Hollywood Reporter previously reported, the new deal is worth $205 million annually, and $1.025 billion over the life of the pact. Also on Tuesday, NBC announced that is has closed a new five-year pact to keep the Monday night showcase Raw on USA Network. Sources previously told THR that deal is worth $265 million annually, a big premium over the current pact, which is worth about $150 million annually for both properties. Currently both programs air on NBCUniversal’s USA. "At Fox we are thrilled to welcome WWE to the Fox Sports family and bring SmackDown Live to broadcast television," said Eric Shanks, president and COO at Fox Sports. "We are huge fans and know that together Fox Sports will be the leader in live events for the foreseeable future." Added Vince McMahon, WWE chairman and CEO: "Fox and WWE are a perfect match. Moving SmackDown Live to broadcast TV and having the ability to leverage Fox’s extensive portfolio of world-class sporting events will expand the reach of our flagship programming." The new agreement for Monday Night Raw also will commence in October 2019 and continues the wrestling federation and the network's nearly three decade-long relationship. It's unclear how WWE will navigate future cross-promotional opportunities; having both programs on the same network is certainly advantageous from a marketing perspective. As McMahon noted in his statement, Fox's promise to cross-promote WWE across its sports rights portfolio including Major League Baseball and, next season, Thursday Night Football, was a big factor in the WWE executive's decision to pact with Fox (though the NFL reserves the right to approve all marketing and advertising during its telecasts). NBCU sources say the company made a strategic decision to focus its efforts on Raw, which is a three-hour show and notches slightly higher ratings than SmackDown. "Monday Night Raw and USA Network have dominated Monday nights during a truly historic run," said Chris McCumber, president, entertainment networks for NBCUniversal Cable Entertainment. "Our partnership with WWE is one of the strongest and most successful in the business, and together we’ll take Raw to even greater heights." Added McMahon: "We look forward to continuing our long-standing partnership with NBCUniversal and USA Network. Monday Night Raw has been synonymous with USA Network and we are excited about what the future holds for WWE’s flagship program."

Sources say Freeform wanted more money from SVOD partner Hulu for a potential third season amid clashes between star Bella Thorne and showrunner I. Marlene King. Freeform is calling it a day with Famous in Love. The Disney-owned younger-skewing cable network has opted to cancel the Bella Thorne starrer from Pretty Little Liars showrunner I. Marlene King after two seasons. The show's May 30 season-ender now serves as the series finale. Sources tell The Hollywood Reporter that Freeform initially wanted to do a third season of the expensive series from producers Warner Horizon Scripted Television but asked streaming partner Hulu — which has SVOD rights to the drama — for a larger contribution. Sources say Hulu has yet to receive a formal proposal from Freeform to save Famous in Love, which saw its same-day viewership sink. Season two averaged 254,000 total viewers, down from 330,000 in its freshman run. Sources also say news of the cancellation was considered a relief for many members of the production. Star Thorne and showrunner King are said to have clashed on multiple occasions, with the actress exhibiting what sources described as "diva-like behavior" on set. Sources note Thorne actively wanted off of Famous in Love, with the actress and social media star having refused to participate in Freeform-organized live-tweets during its second season. King, meanwhile, continues to be Freeform's go-to showrunner after having delivered the cabler's signature hit in Pretty Little Liars. Freeform this year picked up spinoff Pretty Little Liars: The Perfectionists, which will continue its relationship with King for the eighth straight year (including PLL spinoff Ravenswood). Freeform's current scripted roster includes critical hits Grown-ish and The Bold Type, in addition to Cloak and Dagger, The Fosters spinoff Good Trouble, Alone Together, Siren and Kenya Barris' upcoming Besties. The decision to cancel Famous in Love comes weeks after Freeform was forced to cancel Shadowhunters after producer Constantin Film lost its output deal with Netflix that ultimately helped finance the pricey genre drama. Without Netflix's financial backing, Constantin had sought a greater cash infusion from Freeform, which sources say was unable to keep the series going. Shadowhunters will conclude next spring with the second half of its third season and an additional two-hour series finale for a total of 12 episodes.

As Marvel Studios continues to diversify its line-up, studio boss Kevin Feige has revealed that there are finally plans afoot to increase the studio’s LGBTQ+ footprint in upcoming releases. Talking to The Playlist, Feige was asked whether Marvel was working on offering audiences an out queer character in the MCU, and responded, “Yes.” Pressed to elaborate, he said the characters — yes, multiple — were “both ones you’ve seen and ones you haven’t seen.” (As Playlistpointed out, the “one you’ve seen” probably refers to Thor: Ragnarok’s Valkyrie, who was outed by actress Tessa Thompson while promoting the movie last year; in the movie itself, it's not a subject touched upon.) Whether or not this will really come to anything remains to be seen. Certainly, the timing of the comments can’t be overlooked; with a question as direct as “When are we getting a Gay, Bi, LGBTQ, out character in the MCU? Is it even in the works?” it would’ve been nothing short of a PR disaster for Feige to say anything other than “yes” in the middle of Pride Month. His comments, however, are vague and reminiscent of his many comments in response to questions about a Black Widow movie for the past eight years, which have all been variations on “it’s coming soon, maybe, keep watching.” With that kind of response and a loyal audience, you can avoid having to do something for quite some time. (Though, in Black Widow's case, the movie does finally have some real movement, with a writer on the project and the hunt on for a female director.) Historically, Marvel has had a difficult history with gay and lesbian characters in its comic book universe. The first out gay characters in Marvel’s comic book output were two would-be rapists in 1980’s Rampaging Hulk No. 23, who threatened Bruce Banner with dialogue like, “What’s your name, sweet cheeks, and where are you from? I like to know a fella, first?” The writer of that particular story was Jim Shooter, who’d go on to become Marvel’s editor-in-chief for much of the 1980s, and reportedly instituted a “no gays in the Marvel Universe” policy. Whether or not that policy was more than an urban myth, it’s a fact that the character who would become Marvel’s first openly gay hero — Northstar, of Canadian super team Alpha Flight, who declared “I am gay!” in the 106th issue of the series — took more than a decade to come out of the closet. According to creator John Byrne, Northstar was intended to be gay from his debut in 1979’s Uncanny X-Men No. 120, but he didn’t come out until 1992; in the meantime, a 1986-87 plot line that was originally intended to not only have Northstar reveal his sexuality but also reveal that he had AIDS was nixed by Marvel’s editors (including Shooter), being rewritten before its climax so that the character was instead an elf who had a magical elvish allergy to the real world. In recent years, under the eyes of editors-in-chief Joe Quesada and Axel Alonso, Marvel’s comic book output has become, thankfully, significantly more friendly towards LGBTQ characters, with series like Angela: Queen of Her, America and Iceman putting openly queer characters in lead roles, while members of the Runaways, X-Men, Defenders and other supergroups had characters come out of the closet. 2012's Astonishing X-Men No. 51 even featured the wedding between Northstar and his boyfriend Kyle; it wasn't comics' first gay wedding, or even superhero comics' first — DC's The Authority beat them by a decade, as Apollo and Midnighter got married in 2002's No. 29 — but it was a much-hyped moment for the company nonetheless. This, potentially, offers up a number of LGBTQ characters for Marvel Studios to choose from when offering up the “ones [audiences] haven’t seen” — but it’s worth remembering that a number of characters who are canonically queer in comics have already shown up in the MCU and been quietly closeted onscreen, from Agents of SHIELD’s Victoria Hand to Thor: Ragnarok’s Korg — and Valkyrie, for that matter. Notably, this year's Black Panther cut a scene featuring flirtation between two Dora Milaje warriors who are in a relationship in comic book source material. All of which is to say to those excited about Feige’s comments: Yes, more LGBTQ representation will be a great thing… but wait until it actually happens before celebrating too much.

Charter Communications is stepping up its original programming activity with a series order for the former NBC drama pilot “L.A.’s Finest,” starring Gabrielle Union and Jessica Alba. The Sony Pictures TV production, exec produced by Jerry Bruckheimer, is the first series to be greenlit by Charter, which recruited TV veteran Katherine Pope in January to spearhead the Spectrum Original Content initiative. “Charter is excited to partner with top producers Sony, Bruckheimer and the rest of the incredible team behind and in front of the camera on our first Spectrum Original Content endeavor,” said Pope, who is Charter’s senior VP and head of original content. “Our content partnerships offer us a great opportunity to provide Spectrum customers with the dynamic, authentic and unique programming that drives value for their Spectrum subscription.” “L.A.’s Finest” was developed this past development season for NBC. Union plays a police detective with a complicated past who relocates to Los Angeles from Miami and finds a odd-couple partner in Alba. Union’s role is a revival of the Syd Burnett character she played in the 2003 Sony-released actioner “Bad Boys II.” Ernie Hudson, Zack Gilford, Duane Martin, and Ryan McPartlin round out the cast. Brandon Margolis and Brandon Sonnier, both alums of Sony TV’s NBC drama “The Blacklist,” penned the “L.A.’s Finest” pilot and will exec produce and serve as showrunners along with co-showrunner Pam Veasey. Union, Alba, Bruckheimer, producer of the “Bad Boys” film franchise, Doug Belgrad, Bruckheimer TV’s Jonathan Littman and KristieAnne Reed, Jeff Gaspin, and Jeff Morrone are also exec producers. Marianne and Cormac Wibberley and Ron Shelton created the Syd Burnett character. “Charter has a strong passion for the project and we could not be more excited. Immediately we knew this innovative new platform was absolutely the right home for ‘L.A.’s Finest,’ ” said Jeff Frost, president of Sony Pictures Television. Charter has been cutting deals with cable programmers and now Sony Pictures TV that call for collaborations on original series designed to debut as exclusives for Charter subscribers. Charter is the nation’s third-largest MVPD behind DirecTV and Comcast, with about 16.4 million video subscribers in New York, Los Angeles and other major markets.

“Westworld” wrapped up its second season on Sunday, with the HBO series coming up short of the numbers it delivered in Season 1. Sunday’s finale nabbed 1.6 million viewers and a 0.6 rating in adults 18-49 in the Nielsen Live+Same Day ratings. That is even with the episode that aired last week, but down approximately 30% in total viewers and 40% in the demo from the Season 1 finale in 2016, which drew 2.2 million viewers and a 1.0 rating. Furthermore, Season 2 of the show has averaged a 0.6 rating and 1.6 million viewers per episode in Live+Same Day. That is down approximately 14% in total viewers and 23% in the key demo from Season 1, which averaged 1.8 million viewers and a 0.8 rating. Of course, HBO has frequently touted the fact that “Westworld” sees the lion’s share of its viewership in multi-platform and delayed viewing. HBO estimates that Season 2 of the show will average 10 million viewers per episode when the final numbers are calculated. Those numbers are definitely nothing to scoff at, especially for a premium cable show. Still, HBO previously said that Season 1 of the show averaged 13.2 million viewers per episode, meaning its multi-platform decline is in line with the fall off it has seen in the live ratings. Much of the cast from Season 1 returned for Season 2, including Evan Rachel Wood, Thandie Newton, Ed Harris, Jimmi Simpson, Jeffrey Wright, James Marsden, and Tessa Thompson. New cast members this season included Gustaf Skarsgård, Jonathan Tucker, Fares Fares, Katja Herbers, Peter Mullan, Rinko Kikuchi, and Kiki Sukezane. The first season was also nominated for 22 Emmys, ultimately winning five. “Westworld” was created for television by Jonathan Nolan and Lisa Joy, who serve as executive producers with J.J. Abrams, Richard J. Lewis, Roberto Patino, Athena Wickham and Ben Stephenson. Kilter Films and Bad Robot Productions produce in association with Warner Bros. Television.

Stock of MoviePass parent company, Helios and Matheson Analytics, declined 15% on Tuesday to close at an all-time low of 25 cents a share amid Wall Street’s continuing uncertainty over the service. Tuesday’s decline coincided with AMC Theatres launching its new monthly $19.95 movie subscription plan to allow customers to see up to three movies a week. The world’s largest exhibitor claims an “overwhelmingly positive response” to the plan. Helios stock has been declining since last October, when it traded at $38.86 a share after it lowered its monthly subscription fee from $50 to $9.95. The company is losing money because it pays movie theaters full price for the tickets its customers buy. MoviePass has more than 3 million subscribers and allows customers the chance to see a movie a day for a monthly fee of $9.99. But Wall Street has been losing faith in whether MoviePass can survive by selling data about its customers. The issue took a major hit after a May 8 filing with the Securities and Exchange Commission that revealed it had $15.5 million in available cash at the end of April, plus $27.9 million on deposit with merchants while monthly expenses totaled $21.7 million. Helios and Matheson launched a $164 million bond sale last week, announcing that it had reached an agreement with institutional investors to issue convertible notes for that amount, as well as 20,500 shares of preferred stock. It also told its members over the weekend that it would be instituting “peak pricing” under which subscribers will have to pay a “small additional fee” depending on the level of demand. It did not disclose when that would take place or the actual size of the fee. It also announced that MoviePass members on any plan will soon be able to access RealD 3D, IMAX 2D or 3D, and other Premium Large Format showings of any film for an additional upgrade fee. “These features are being tested currently and will slowly roll out to all our members over the next several weeks,” Moviepass said.

Frequent collaborators Mark Wahlberg and Peter Berg will work together once again, this time teaming up for the Netflix movie Wonderland. The Wahlberg-Berg duo first came together in 2013 for Lone Survivor, a grueling war movie based on the experiences of real-life soldier and survivor Marcus Luttrell. Since then, the actor-director team has established a brand of sorts with a string of action-packed movies inspired by the exploits of real world heroes. Wahlberg and Berg's second collaboration along these lines was the 2016 thriller Deepwater Horizon, about the infamous 2010 oil rig explosion that led to the biggest oil spill in U.S. history. The duo came back later in 2016 with Patriots Day, a dramatization of the hunt for the Boston Marathon bombers. Wahlberg and Berg's next movie Mile 22, coming later in 2018, sees the duo moving away from stories inspired by true events for an action thriller starring Wahlberg as an elite intelligence officer on a dangerous mission. As reported by Variety, Wahlberg and Berg have now lined up their next project, signing on with Netflix for Wonderland, an adaptation of the book Robert B. Parker’s Wonderland by Ace Atkins. Sean O'Keefe is working on an adaptation of the novel, one of a series of 48 books about the detective Spenser, who was first created by the late author Robert B. Parker. Many will remember the character of Spenser from the TV series Spenser: For Hire starring Robert Urich. Variety reports Wahlberg pursued Wonderland to fill the gap after Warner Bros. pushed back The Six Billion Dollar Man upon losing director Damian Szifron due to creative differences. There had been talk that Berg himself would jump aboard Six Billion Dollar Man as director but instead, Berg and Wahlberg will next bring their services to Netflix for the first of what could conceivably be a series of films built around the Spenser character. Meanwhile, the delayed Six Billion Dollar Man is not expected to hit screens until 2020 at the earliest. After teaming up for a successful series of films built around real-life situations, it seems Wahlberg and Berg are searching around for a genuine action franchise they can work on together. Wahlberg has indeed already talked about Mile 22 getting a sequel, so he clearly has hopes the movie will be a hit and the character will carry on. Wonderland could have franchise-launching potential too, given the sheer number of Spenser stories that could be mined for follow-ups. The Six Billion Dollar Man unfortunately doesn't look like a very sure bet for Wahlberg right now, if indeed he had hopes of spinning the property into a franchise along the lines of Matt Damon's Bourne films or Tom Cruise's Mission: Impossible movies.

BlacKkKlansman reveals a brand new poster in anticipation of the new Spike Lee Joint. The film, based on the remarkable true story by Ron Stallworth, saw its world premiere earlier this year at the Cannes Film Festival, where it took home the Grand Prix award, and a Prize of the Ecumenical Jury Special Mention. BlacKkKlansman’s origins lie in a book first published in 2014. Black Klansman, written by Stallworth, recounts the true story of a police officer who infiltrated the Ku Klux Klan back in 1979. The writer, now retired from the force, kept his story a secret until 2014, but it wasn’t long before it was optioned for a film, which soon signed on prolific filmmaker and auteur Spike Lee to co-produce, direct, and co-write the script. The newly released movie poster for BlacKkKlansman features stars Adam Driver and John David Washington - who happens to be Denzel Washington’s son - standing before a white triangle reminiscent of a klan member’s hood. The simple tagline “Infiltrate Hate” aligns with the essential focus of the film, and additional credits illuminate the involvement of Get Out’s Jordan Peele, who co-produces the film alongside Jason Blum and his production company Blumhouse. Driver and Washington both feature prominently in the BlacKkKlansman trailer which dropped in May, playing the roles of Stallworth and his partner detective Flip Zimmerman, who attends face-to-face meetings with the Klan in Stallworth’s stead. This trailer also revealed actor Topher Grace, who plays white supremacist and former Grand Wizard of the KKK David Duke, hoodwinked by Stallworth in a phone call pretending to be an eager new convert to the cause. The relationship between Stallworth and Zimmerman seems effectively clarified in the poster as well, with Washington holding binoculars, demonstrating his practical coordination of the investigation from afar. Stallworth broke color barriers as a rookie officer in the Colorado Springs Police Department, and his extraordinary and ultimately successful undercover infiltration into the KKK sounds like an inspired basis for a summer film. Despite the apparently serious subject matter, the true story foundation, and the current era in which it’s presented, the trailer hints at an experimental and entertaining hook - BlacKkKlansman seems to combine the accessible nature of a buddy cop film with an insightful exploration of historic racism, a topic consistently relevant in our present day.

Jurassic World 3 promises to finally unleash the dinosaurs on the real world. In the ensuing battle between mankind and nature, it should be the prehistoric creatures that reign supreme. Jurassic World: Fallen Kingdom completely changed the Jurassic franchise, finally delivering on the promise of its title; in the film's ending, the dinosaurs were released out into the Californian night just as dino-DNA was transported for further experimentation. As Dr. Ian Malcolm warned, "Welcome to Jurassic World". This didn't just wrap up Jurassic World 2's questions about Mother Nature's dominance, but also set up where the franchise is going with Jurassic World 3. Our kingdom, as we know it, is indeed beginning to fall, and as we head into the third movie in the trilogy a full evolutionary war looks set to break out. What's more, this is a war that the dinosaurs should win. THE HUMANS ARE THE REAL VILLAINS OF JURASSIC WORLD Throughout all of the Jurassic movies, the humans have been the bad guys, but it's particularly evident in the Jurassic World reboot. Despite everything that's gone before, humans still can't resist dabbling in genetics and cloning in order to create hybrid dinosaurs. Not only that, but they seem surprised when those hybrids don't turn out exactly as they'd expect. Advancements in science and technology are all well and good, but humans seem unable to grasp that such knowledge and power needs to be reined in. Way back in Jurassic Park, John Hammond successfully brought dinosaurs back to life in order to create a theme park where humans could visit the creatures and marvel at their spectacular glory. The problem is, dinosaurs were never meant to be tamed. It's bad enough that we cage lions, tigers, and other magnificent beasts, but dinosaurs? Some of these are ferocious, giant predators and, as we've seen multiple times, they are capable of killing with just one bite. Jurassic World saw Hammond's dream theme park now fully open and operational. Was it ethical to have cloned and caged all these animals for profit and human satisfaction? No, but it seemed as though maybe the world was now satisfied; maybe humans had done all the scientific processes needed to bring dinosaurs back to life and now it was time to sit back and appreciate their spectacle. Humans are never satisfied, though, and advancements continued to be made. Next came Owen Grady hand-rearing a group of raptors, taming them to respond to his clicks and calls. Added to that, we also had the first cloned dinosaur, the Indominus Rex. Bigger, more fearsome and powerful than its base genome, the T-Rex, the I-Rex was designed by Dr. Henry Wu with the intention of weaponizing the species; she killed multiple times for sport and was intelligent enough to purposefully evade capture. You can look at the Indominous Rex as a deadly, violent predator, or you can realize that this is a creature that should never have been created in the first place. Who are we, as humans, to mess around with genetics, science, and cloning, and then bemoan the consequences when they don't go our way? We see exactly the same scenario play out in Jurassic World: Fallen Kingdom, with the creation of the Indoraptor. It seems Dr. Wu has learned nothing from his earlier experiments and continues to play God, creating a prototype that is pure killing machine, lacking in the necessary DNA needed from Blue to make her more empathetic. In Fallen Kingdom, Wu's dream of weaponizing dinosaurs is approaching a reality; after evacuating Isla Nublar, InGen is now looking to sell dinosaurs to the highest bidder, to people who have no idea how to care for them, just so they can turn a profit and continue to clone more and more of the Indoraptors. This doesn't go to plan thanks to a batch of rebels: Blue's T-Rex blood transfusion has clouded the gene pool, Owen lets the Stygimoloch escape, and human clone Maisie sets the rest of the dinosaurs free. The fall of the kingdom has begun. And now it's time for payback. JURASSIC WAR IS COMING - AND THE DINOSAURS SHOULD WIN From the outset, Jurassic World: Fallen Kingdom warns of the consequences of the human's actions against the dinosaurs. At a congressional hearing to decide whether the creatures should be saved from extinction, Ian Malcolm says that in bringing the dinosaurs back from extinction, we have opened up the doors to death. To save them a second time is to cheat nature, and if the humans choose to do that, they risk unleashing chaos. Malcolm wants nature to take its course while Claire, Owen, Zia and Franklin believe the only humane option is to save the dinosaurs. Our heroes represent compassion, mirrored in the brachiosaurus' death, and Blue's high-level intelligence - but they're clearly in a minority. In Jurassic World 2, we become aware just how far humans are willing to push the boundaries of ethics, life, and death. Not only is there another hybrid creation in the Indoraptor, there's also a human clone, Maisie, created from the DNA of Benjamin Lockwood's dead daughter and raised, unknowingly, as his granddaughter. It is Maisie who ultimately releases all of the dinosaurs into the great outdoors, showing further the unpredictability of artificial creation. She can identify with them and embodies the question of life rights. With the dinosaurs escaping into the night, a new era begins to dawn, where humans and dinosaurs must either learn to live harmoniously side-by-side, or fight it out to the death. With most dinosaurs natural instinct being to kill humans, and humans being obsessed with pushing boundaries of science and nature, there can only be one outcome; this is now an evolutionary war. In the Jurassic World movies, humans have already shown they hold little regard for nature or the laws of the land. By bringing the dinosaurs back for the second time, they've exerted their power over the creation of life, but also shown what little regard they have for death. Dinosaurs went extinct for a reason; an evolutionary process that was not ever meant to be reversed. What's going to happen now that the dinosaurs are entering urbanized areas? The carnivore breeds will act ruthlessly; just look at the damage one T-Rex did to San Diego in The Lost World: Jurassic Park. Then there's the constant threat of development. There are no hybrid dinosaurs in Jurassic World 3, but there's still the notion of weaponizing the dinosaurs and turning them into war machines. It's a clear good/bad divide set up, and returning the animals to dominance - as Malcolm warns - is the most satisfying solution. Humanity brought the dinosaurs back, with no thought to whether it was right to do so. It stands to reason, then, that a species that is older and more powerful than our own should reign on earth long after we have gone. In Jurassic World 3, if the dinosaurs fight back it's no more than humans deserve.