Arrested Development Season 5 is now live on Netflix

” I’ve made a huge mistake .”

It may have been a while since you’ve heard GOB’s famous catch phrase, but there’s more where that came from.

Arrested Development Season 5 dropped today on Netflix. Creator Mitch Hurwitz promised that this season would be more in keeping with the original three seasons of Arrested Development, which aired from 2003 to 2006. But that might not be the only thing keeping spectators from reliving the pleasure of the original seasons.

Here’s how the tale goes 😛 TAGEND

When the original three seasons aired on Fox in the early aughts, the display failed to get enough viewership and the series was cancelled. However, a cult following emerged that merely grew stronger as the reveal was picked up by various streaming services.

Netflix signed a deal in 2013 to bring back Arrested Development for a fourth season, ten years after the series premiere aired on Fox.

While it was a valiant effort, the creators struggled to get the large band of cast members, many of whom had risen to new levels of renown, in a single location at once. This induced for a disjointed and confounding season 4, with each episode dedicated to a different character’s story. In short, it wasn’t the Arrested Development we had expended 10 years loving.

Hurwitz went back to the drawing board on season four recently,’ remixing’ the edits to transform the season into something more cohesive.

And today, Season 5 lands on Netflix.

But even with the remix, the series still faces a huge publicity problem.

About a week ago, the cast of Arrested Development sat down with The New York Times for an interview as part of the show’s press tour. In the interview, the casting is asked about accusations against Jeffrey Tambor( George Bluth Sr .) on the situate of Transparent, as well as an incident where Tambor admitted to lashing out at Jessica Walter( Lucille Bluth) in a Hollywood Reporter interview.

If you haven’t read the interview, I suggest you do so now.

As Jessica Walter explains through tears that she’s never been treated in sixty years of working the route that Tambor treated her, her male costars( most notably Jason Bateman) went on to defend Tambor and excuse his behavior. Needless to say, this created a huge backlash and drove Netflix to cancel all appearances on the cast’s UK press tour.

Bateman, alongside Tony Hale and David Cross, later apologized for what they said in the interview.

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Lost in Space is coming back for a second season

Netflix today announced that it will release a second season of Lost in Space, the big-budget sci-fi program that debuted in April.

The series is a revamp of the original depict from the 1960 s. Season One, which included 10 episodes, follows the Robinson family on their journey from Earth to Alpha Centauri. Along the way, they stumble across extraterrestrial life and a wide array of life-or-death situations.

Many of the elements from the original reveal have been reimagined , not least of which being the role of Mr. Smith going to Parker Posey, who plays the delightfully wicked villain.

We reviewed the show on the Original Content podcast in this episode, and struggled to find any meaningful flaws.

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Barack and Michelle Obama sign production deal with Netflix

Another( very) big deal for Netflix: Former U.S. President Barack Obama and Michelle Obama have reached an agreement to produce cinemas and series for the streaming service.

The New York Times first reported in March that the Obamas were in” advanced negotiations “ with Netflix. The goal, supposedly, was less about criticizing the Trump administration or promoting any specific political message and more about highlighting inspirational stories.

Netflix’s official announcement builds it sound like that continues to be what the Obamas have in mind, with Chief Content Officer Ted Sarandos describing them as” uniquely positioned to discover and highlighting narratives of people who make a difference in their communities and strive to change the world for the very best .”

The Obamas have formed a company called Higher Ground Productions to make this content.

The financial terms of the deal were not disclosed, but Netflix has deep pockets and has shown a willingness to write very large checks. It says the Obamas might render” scripted series, unscripted series, docu-series, documentaries and features” — so basically any kind of audiovisual content.

In a statement, Mr. Obama said 😛 TAGEND

One of the simple elation of our time in public service was getting to meet so many fascinating people from all walkings of life, and to help them share their experiences with a wider audience. That’s why Michelle and I are so excited to partner with Netflix- we hope to cultivate and curate the talented, inspiring, creative voices who are able to promote greater empathy and understanding between peoples, and help them share their narratives with the entire world.

Michelle Obama’s memoir Becoming is scheduled for publication in November, while Barack Obama is expected to release a new memoir under the same bargain. He’s maintained a relatively low profile since leaving office, but he did make a recent appearance as the first guest on David Letterman’s Netflix interview show My Next Guest Needs No Introduction .

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13 Reasons Why: season 2 review Netflix’s teen saga struggles to find purpose second time out

The lead is now a ghost( of plot devices past ), and though it still tackles big issues, the structure of this high-school teen drama has crumbled

When Hannah Baker killed herself, she left behind a box of cassette tapes explaining why she’d done it. That was the first series of 13 Reasons Why, accommodated from the book by Jay Asher.

Originally destined to become a movie, Netflix get hold of it and gave it the Netflix stretching. It did attempt to explore important matters- not only suicide but rape, self-harm, bully, high-school sexism- sensibly and seriously, even if any messages to emerge came across as simplistic and a little bit preachy: be nice to people, be a real friend, otherwise bad shit goes down. It meandered, but the cassettes and the 13 reasons in 13 episodes gave it a structure of sorts. The performances, especially from Katherine Langford and Dylan Minnette as Hannah and her friend Clay, were good.

The second series continues to explore the same big issues sensitively, as well as taking on board some of the criticism and controversy the first made( it now comes with a public service announcement, delivered by the actors, links to relevant resources, plus the parents- Clay’s especially- are more well informed what their kids is passing through ). And that’s about all that’s good about series two.

It’s a few months later, and there’s a civil lawsuit going on against the school for failing to protect Hannah. There’s a lot of dragging through the same stuff all over again. But this time without the framework of the tapes and the reasons. The trial, of which there isn’t much, perhaps provides the crumbliest of structures, and some photos are turned up that depict Hannah wasn’t alone in suffering bully and abuse. But if the first series meandered, then this circles aimlessly with its head to the ground.

Some of the acting remains decent, though Langford, the stand-out in the first season , now has to do hers as a ghost. The ghost of Hannah. The ghost of a lame device past.

I’ve only watched three episodes. But that was enough. It’s like being locked in a room with a bunch of self-obsessed teens, occasionally telling things like” the truth can free you if you let it” or” sometimes it seems that no matter what you do people see you the style they want to “.

I know teens are only concerned with what others think of them. I know if I was one I might connect better with this( it would be interesting to hear from them ). I know the issues are very real, very important and, in fact, deadly serious. But they deserve a better vehicle. As drama this is pointless, cumbersome, baggy, poorly written, ponderous and boring. That’s less than half of the 13 reasons why you shouldn’t bother.

In the UK the Samaritans can be contacted on 116 123. In the US, the National Suicide Prevention Lifeline is 1-800-273-8255. In Australia, the crisis support service Lifeline is on 13 11 14. Other international suicide helplines can be found at www.befrienders.org .

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Netflix exec says 85 percent of new spending will go towards original content

In case you had any doubts that original content is a big priority at Netflix, Chief Content Officer Ted Sarandos estimated that 85 percent of the company’s total spending is going to new demonstrates and movies.

That’s according to Variety, which reported on Sarandos’ remarks today at MoffettNathanson’s Media& Communications Summit 2018 in New York. He also said Netflix has a 470 originals scheduled to premiere between now and the end of the year, bringing the total up to around 1,000.

It’s probably not astonishing that the service is prioritizing originals. After all, Netflix seems to be highlighting a new one every time I open it up, and challengers like Apple, Amazon and Hulu are ramping up their own spending.

But the depth of Netflix’s library, which is achieved by licensing content from others, has always seemed like a strength — in fact, a recent analyse found that licensed content makes 80 percent of Netflix viewing in the United States.

Part of the context here is that many of the studios that have sold their contents to Netflix in the past are now either saving it for their own streaming services or looking to raise the prices.

And while movies account for one-third of viewing on Netflix, Sarandos pointed to new, big budget titles as one region where it no longer builds sense for the streaming service to spend a ton of fund — because if you really want to catch the latest blockbuster, you probably already assured it in theaters.

“We said, perhaps we are capable of put the billion dollars we’d put in an output deal into original cinemas ,” he said.

Sarandos also find an opportunity to develop more unscripted content like Queer Eye , and to sign big deals with high-profile showrunners like Shonda Rhimes and Ryan Murphy.

Netflix had previously projected that it would spend$ 7 billion to$ 8 billion on content this year. And just today, Netflix announced that it’s renewing Lost in Space for a second season( we were fans of season one) and picked up 10 After Midnight , a horror anthology series from Shape of Water director Guillermo del Toro.

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Bafta TV awards: BBC sees off Netflix with surprise win for Peaky Blinders

Three Girls, This Country and Murdered For Being Different among BBCs winners while streaming service took only one

The Crown and Netflix fought at the Bafta Television awardings as the BBC’s Peaky Blinders took a surprise win in the best drama category and the big-spending streaming service managed merely one major award despite leading the nominations.

Peaky Blinders watched off competition from Channel 4′ s profane comic book adaptation Objective of the F *** ing World and BBC’s Line of Duty, which along with The Crown was tipped to take the award.

Molly
Molly Windsor with her leading actress award and Sean Bean with his leading performer Bafta. Photo: David Fisher/ Bafta/ Rex/ Shutterstock

Claire Foy again missed out in the lead actress category as Molly Windsor won for her performance in Three Girls. Sean Bean won lead actor for his role in the BBC’s Broken, beating Jack Rowan( Born To Kill ), Joe Cole( Hang The DJ: Black Mirror) and Tim Pigott-Smith, who received a posthumous nomination for his performance in King Charles III.

Netflix’s only win came in the best supporting actress category, where Vanessa Kirby followed up her nomination last year with a win. Anna Friel( Broken ), Julie Hesmondhalgh( Broadchurch) and Liv Hill( Three Girls) were also nominated.

Comedian and presenter Sue Perkins hosted the event and poked fun at The Crown’s gender pay disagreement.” I don’t want to ignore the elephant in the room but on such an occasion I think it would be crass to discuss my fee ,” she said.” But let me say I’ll just be putting in half the effort .”

She also turned a joke about Love Island into one about the Windrush Generation.” If you haven’t seen[ Love Island ], it’s about a group of people who are sent home from an island they love, that couldn’t happen in real life .”

There was also room for a gag about Harvey Weinstein and his alleged sexual assaults.” The fantastic Jodie Whittaker became the first female Doctor Who ,” she told.” For me Jodie was the perfect option because if this year has taught us one thing it’s that if anyone can fight off ogres it’s actors .”

Several wins dedicated their awards to real-life people they portray. Brian F O’Byrne dedicated his win in the best supporting actor category, for Little Boy Blue, to the parents of Rhys Jones, the Liverpool school boy who was murdered in 2007.

The cast of Three Girls praised the social workers and the officers who risked their jobs, while accepting their awarding for the drama, which told the real story of abused and sexually exploited school girls from Rochdale. Murdered For Being Different also won in the single drama category and told the story of Sophie Lancaster who died in 2007 after being attacked by a gang.

It was not a successful night for diverse nominees. All the winners in the acting categories were white and none of the depicts with majority black or minority ethnic castings were successful.

In comedy, This Country backed up its nominations with a win for best comedy while its star Daisy May Cooper took home the award for best female performance in a slapstick program. Toby Jones was a popular winner in the male performance in a comedy program category for his role in Mackenzie Crooks’ The Detectorists. It was his first ever Bafta win.

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Original Content podcast: Netflix successfully reinvents Lost in Space

Lost in Space started off as a’ 60 s TV series, get rebooted in the 1990 s as a feature film and has now been brought up-to-date by Netflix.

On the latest episode of the Original Content podcast, we review the first season of the new show, which detects the Robinson family once again sent into space, facing constant peril on an alien planet while also getting assistance from a robot that’s fond of shouting,” Danger, Will Robinson !”

Many of the classic components have been updated in some manner — perhaps the most effective change was casting Parker Posey as the villainous Dr. Smith. The new Lost in Space seems more serious and character-driven than its predecessors, but at the same period, it remains aimed at a family audience.

We also discuss our thoughts on the film version of Ready Player One , AT& T’s plans for a $15 -per-month streaming service, ESPN’s new move into streaming and Amazon’s in-development series based on The Peripheral by William Gibson.( At one point in the episode, Jordan tells Battlestar Galactica isn’t available on Prime Video, but for the record: It is .)

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of selection. If you like the display, please let us know by leaving a review on Apple. You also can send us feedback immediately.

https://embed.simplecast.com/9c8709c0?color=f5f5f5

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Netflix nears a $150B market cap as its subscribers continue to balloon

Just last one-quarter Netflix passed a $100 billion market cap — and we might already be talking about it as a $150 billion company before too long with yet another big fiscal quarter that sent its stock soaring.

Netflix, again, beat out some expectations Wall Street held for the first quarter and provided a pretty good outlook for the next one-quarter as well, where it said it expected to add around 6.2 million new subscribers. In the first one-quarter, Netflix added 7.41 million new subscribers — around 2 million of them domestic and the rest internationally. The company continued to see some pretty strong streaming revenue growth, which was up around 43% year-over-year in the first quarter this year, to around $3.6 billion.

With all this, Netflix now has nearly 119 million paid streaming memberships — and it wasn’t all that long when Netflix eventually told just over two years ago that it would begin opening up in hundreds of new countries internationally. The company’s shares are up around 6% in extended trading, sending its market cap up north of $140 billion. And all this subscriber growth, too, comes before we’re find a new tie-up with Comcast’s cable subscriptions that may end up driving that even more. As usual, Netflix expects to lose a ton of fund and says it expects between -$ 3 billion to -$ 4 billion in free cash flow, but that’s usually not what investors are looking for.

One of the big questions Netflix still has right now is what kind of price tag it will carry as a tack-on to a Comcast subscription. Earlier the coming week, the companies announced that Comcast would bundle Netflix in to its cable subscriptions, offering yet another entry phase for Netflix to ferret up potential consumers that haven’t quite cut the cord yet but still might be interested in Netflix’s content. Netflix normally carries a price tag of around $13.99, but the companies have not told what its cost will be as part of a cable bundle yet.

Following Netflix’s last earnings report — which it, as you might expect, included some blowout subscriber numbers — the company rocketed past a market cap of $100 billion. Since then it’s only been an upward trend for Netflix, which prior to its first-quarter report was worth more than $130 billion. Despite increasing spend on original content, that subscriber number is still largely where it gets its market value because it’s a forward predictor of its revenue.

Netflix late last year said it expected to spend between$ 7 billion and$ 8 billion on original content this year, a number that seems to periodically get an upward revision and is still a dramatic step up from 2017. The company in its report today said it expected to spend between $7.5 billion and$ 8 billion on original content, and expects that marketing and content expend to weight toward the second half of 2018.

But it has to continue to invest in original content because it is a way to attract new subscribers, and also because it’s content that it can more easily distribute across different geographies and itself has control of the rights and what happens to it. It relies on indicates like Stranger Things or Altered Carbon to bring in new users, which then hopefully stick around and eventually help recoup the cost of those shows — and then the cycle starts anew.

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Wondery wants to become Hollywoods podcast dream factory

When Hernan Lopez, the former chief executive of Fox International, started the podcast network Wondery approximately two years ago with a seed investment from his former boss at Fox Networks Group, podcasting was still emerging as a media platform.

Now, with voice ascendant, and podcasting proving to be a breeding ground for new narrations that other storytelling mediums can latch onto — the move into the reinvention of radio for the 21 st century seems prescient.

It’s not just Fox that is now backing the podcast business; new investors led by storied venture capital and private equity investor Alan Patricof’s Greycroft Partners are going aboard with a$ 5 million commitment to expand the scope of Wondery’s wonder factory. Additional investors include Lerer Hippeau Ventures and Advancit Capital — the investment vehicle for Shari Redstone( daughter of billionaire media mogul Sumner Redstone ).

Previous investors BAM Ventures, Watertower Ventures, Fox Networks Group and BDMI also participated in the round.

According to The Hollywood Reporter, Wondery intends to add new shows to its stable, including American Innovations , Dr. Death and I, Survivor , and has optioned Sward and Scale and Tides of History as projects for movies and television.

While traditional media companies are being forced to join forces and combine assets to protect their marketplace from new competitors like Facebook, Apple, Amazon, Hulu and Netflix coming from the tech industry, new media platforms like podcasting are opening up opportunities for all kinds of studios to emerge.

I believe there’s a huge opportunity in audio ,” Lopez says.” There isn’t anywhere close to enough quality audio content being produced .”

On average, the modern customer listens to four hours of audio per day, according to Lopez. Even though the majority of members of that is music, an increasing number of Americans are turning to podcasts as a new kind of amusement. And podcasts are beginning to attract more ad dollars.

” In the podcast world the ads seem to work. They’re native, they’re integrated into the proves. The listeners are greeting ,” tells Wondery’s chief executive. That in itself would be a welcome change for media companies hungry for new ways to maintain their ad-supported business models.

Netflix, Amazon and Hulu have developed a generation of consumers on subscription models that shun advertising altogether — but podcasts still hold out promise, says Lopez.

Demographics are another key reason that advertisers are moving to podcasts, he says, and Comscore research( funded by Wondery) seems to back up his assertions.

According to Comscore, nearly one in five Americans aged 18 -4 9 said they’d listened to podcasts at least once a month — a number that increases when it’s restricted to the highly coveted demographic of men between the ages of 18 and 34, while nearly one in three men 18 -3 4 do so. Podcast listeners are also more likely to have a college degree, stimulate more than $100,000 and be early adopters of electronics, consumer goods and entertainment.

Advertisers are beginning to take notice, with $119 million spent on podcast advertising in 2016 and an estimated $220 million spent on podcast ads last year( according to estimated figures in a survey underwritten by major podcast networks ).

Some of Wondery’s podcasts have already racked up impressive numbers. Dirty John has been dowloaded more than 20 million times; American History Tellers has been downloaded more than 3 million times; and Business Wars more than 2 million times, says Lopez.

Wondery is also bucking the media trend of serving up micro-content to audiences.

” We don’t produce much micro-content — if any ,” says Lopez.” The narratives that we tend to gravitate towards tend to work better in long-form. We have to keep their attention for as long as possible .”

Lopez’s Wondery isn’t the only company to rake in money from institutional investors for constructing a podcasting empire.

On the other side of the country in the borough of Brooklyn stands Gimlet Media, the $20 million monarch of the podcast marketplace these days. Gimlet created from a slew of investors, including WPP, Betaworks, Stripes Group, Lowercase Capital, LionTree Parters, Emerson Collective, Cross Culture Ventures and music administrator turned investor Troy Carter.

Success among podcasts is also translating into alternatives in other formats. As The New York Times noted yesterday, podcasts are get” the Hollywood therapy .”

Wondery’s own “Dirty John” is being was transformed into a series for two networks — true crime narratives on Oxygen and as the basis for a scripted series on Bravo. Meanwhile,” Welcome to Night Vale ,”” Alice Isn’t Dead ,”” Up and Vanished” and “Crimetown” are all being turned into series by different production companies.

“In the last year or so, podcasts have been the thing , ” Matt Tarses, the creator of “Alex, Inc.”( a new ABC show based off of Gimlet Media’s ” Startup ” podcast) told The New York Times.

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Stub it out: Netflix criticised for too many smoking scenes

Anti-smoking group observes streaming giants depicts feature twice as many cigarettes and tobacco incidents as traditional Tv channels

Netflix has been singled out for criticism by an anti-smoking organisation, which released research that claims the streaming giant’s original programs have more than twice as many scenes featuring smoking as its rivals.

Truth Initiative, a US public health organisation, identified the 14 most popular proves with spectators aged 15 -2 4 across broadcast and cable providers. It received Netflix presents featured a total of 319″ tobacco incidents”( a definition that covers implied utilize of a tobacco product ), with Stranger Things top of the list for 182 scenes featuring cigarettes.

AMC’s The Walking Dead was the next highest, featuring 94 scenes showing tobacco use, according to the research. Other Netflix depicts on the list were Orange Is the New Black( 45 ), House of Cards( 41 ), Fuller House( 22 ), and docu-series Attaining a Murderer( 20 ).

David
Police action … David Harbour as Hopper in Stranger Things. Photograph: Courtesy of Netflix

” While streaming amusement is more popular than ever, we’re glad that smoking is not ,” a Netflix spokesman said to Variety.” We’re interested to find out more about the study .”

Robin Koval, CEO and chairwoman of Truth Initiative, said the rise of streaming channels had led to” a pervasive re-emergence of smoking across screens that is glamourising and renormalising a deadly habit to millions of impressionable young people “.

Smoking has caused ethical problems for Netflix series in the past. During filming for the second season of The Crown, performer Vanessa Kirby discussed whether or not it would be morally right to prove scenes of Princess Margaret smoking while heavily pregnant.” We decided not to do it, and I didn’t know what to do with my hands ,” Kirby told Vanity Fair.” I poured myself a large whisky. I was like, this is the only style .”

In 2011, researchers looked at the effects of considering smoking on screen had on smokers’ brain patterns. The finding, reported in the Journal of Neuroscience, was based on brain scans of smokers and non-smokers taken while they watched actors puff on a cigarette. The resulting scans revealed that specific parts of the brain went into action, but only if the person or persons was a smoker.

” When a smoker ensure person smoking, their brain seems to simulate the movements they would stimulate if the latter are having a cigarette themselves ,” said Todd Heatherton at the Centre for Social Brain Sciences at Dartmouth College in New Hampshire.

Film-makers have also been criticised for their depiction of smoking on screen. In 2015, research by the Centre for Disease Control and Prevention( CDC) detected 47% of that year’s films rated PG-1 3 had at least one occurrence of smoking or tobacco consumption. The CDC singled out the Walt Disney Company and 21 st Century Fox for having made over half( 56%) of the youth-rated movies in which tobacco appeared.

The Motion Picture Association of America responded to criticism that too many of our own member were glamourising smoking in movies aimed at infants, by claiming its film-makers were protected by the first amendment, which safeguards free speech.

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