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Bachelorette Twist: Look Back at Clare Crawley’s Journey to Find Love

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Related: Tayshia Adams Replaces Clare Crawley on “The Bachelorette”

It’s almost time for the new season of The Bachelorette. And while Chris Harrison has repeatedly labeled past seasons as the “most dramatic” one yet, this one might actually take the title.

As Bachelor Nation is well aware, Clare Crawley was announced as the star of the 16th season of The Bachelorette back in March. However, the coronavirus pandemic delayed production of the show. While filming has since reportedly resumed, multiple sources tell E! News Crawley is being replaced by Tayshia Adams.

“The producers have told her that the season will still lead with Clare and her short-lived journey and will show Clare falling in love with one of her suitors,” the insider shares. “Clare will then conclude her journey and announce that Tayshia is the lead.”

While neither star has commented on the rumors, Crawley liked–and then unlinked–a fan’s social media post about Adams becoming the Bachelorette.

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Bachelor & Bachelorette Status Check: Find Out Who’s Still Together!

Over the years, fans have watched both Crawley’s and Adams’ journeys to find love unfold across the franchise. As viewers will recall, Adams first appeared on Colton Underwood‘s season of The Bachelor and was one of the final three women. She later went on to appear on Bachelor in Paradise, where she formed a connection with John Paul Jones. However, they ended up going their separate ways.

As for Crawley, she first appeared on Juan Pablo‘s season of The Bachelor and ended up being one of the final two women. She then went on to appear on two seasons of Bachelor in Paradise and later became a contestant on The Bachelor Winter Games. It was during her time on the latter show that Crawley met Benoit Beausejour-Savard. While their romance didn’t work out on the program, they reconnected after The Bachelor Winter Games and got engaged. However, they broke up a few months later.

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To look back at Crawley’s time on the show before she reportedly hands over the rose distribution duties, check out the gallery below.

The Bachelor: Season 18Fans met Crawley on Juan Pablo Galavis’ season of The Bachelor. The reality star was one of the final two contestants along with Nikki Ferrell. However, she was “shocked” after Galavis “chose to tell me something that no woman wants to hear” when the cameras weren’t rolling.
“That he doesn’t know me and some sexual thing I don’t want to repeat,” she said during the 2014 season. “It was insulting and it was offensive.”
Crawley slammed Galavis during the finale after he gave his final rose to Ferrell.
“I lost respect for you because I’ll tell you what: I thought I knew what kind of man you were, [but] what you just made me go through, I would never want my children having a father like you,” she said.
Bachelor in Paradise: Season 1Crawley’s journey to find love continued in 2014 when she appeared on the first season of Bachelor in Paradise. She quit the show in week five after having drama with Zack Kalter and learning that AshLee Frazier had called her “cuckoo” and brought up her past with Galavis. She also had a heart-to-heart with a raccoon.
Bachelor in Paradise: Season 2In 2015, Crawley appeared on the second season of Bachelor in Paradise. She left week three; however, the show made time for a catch-up call with the raccoon.
The Bachelor Winter GamesCrawley took another shot at love by appearing on the 2018 show The Bachelor Winter Games. She ended up forming a relationship with Benoit Beausejour-Savard. However, he left after she decided to pursue a romance with Christian Argue. It didn’t work out, and Crawley ended up leaving the show without love. She then reunited with Beausejour-Savard after the show wrapped, and he proposed during the finale.
The BreakupJust a few months after the proposal aired, Crawley and Beausejour-Savard called it quits.
“It’s with a heavy heart that we have mutually decided to end our relationship,” they said in part of a statement. “We think the world of each other, and we were both hoping we could make this work. I’m sorry that this may not be what you want to hear, but it’s our truth. Just know there are no negative feelings here, we are simply two people who believed in love, and were open enough to give it a chance.”
However, the two seem to be on good terms. Beausejour-Savard even said “she will be the best Bachelorette.”
The Bachelorette: Season 16In March 2020, Good Morning America announced that Crawley would star on The Bachelorette season 16. However, multiple sources now tell E! News Crawley is being replaced by Tayshia Adams.
“The producers have told her that the season will still lead with Clare and her short-lived journey and will show Clare falling in love with one of her suitors,” an insider shares. “Clare will then conclude her journey and announce that Tayshia is the lead.”

E! News has reached out to ABC for comment.

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Netflix is developing a live action ‘Assassin’s Creed’ show

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Netflix announced this morning that it’s partnering with Ubisoft to adapt the game publisher’s “Assassin’s Creed” franchise into a live action series.

The franchise jumps around in history, telling the story of a secret society of assassins with “genetic memory” and their centuries-long battle the knights templar. It has sold 155 million games worldwide and was also turned into a nearly incomprehensible 2016 film starring Michael Fassbender and Marion Cotillard, which underperformed at the box office.

The companies say that they’re currently looking for a showrunner. Jason Altman and Danielle Kreinik of Ubisoft’s film and television division will serve as executive producers. (In addition to working on adaptations of Ubisoft’s intellectual property, the publisher is also involved in the Apple TV+ industry comedy “Mythic Quest.”)

“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix’s vice president of original series Peter Friedlander in a statement. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”

It sounds like there could be follow-up shows as well, with the announcement saying that Netflix and Ubisoft will “tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live action, animated, and anime series.”

Netflix recently placed an eight-episode order for “Resident Evil,” another video game franchise that was previously adapted for the big screen. And it also had a big hit with its adaptation of “The Witcher,” which is based on a fantasy book series that was popularized via video games.

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Original Content podcast: ‘Lovecraft Country’ is gloriously bonkers

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As we tried to recap the first season of HBO’s “Lovecraft Country,” one thing became clear: The show is pretty nuts.

The story begins by sending Atticus “Tic” Freeman (Jonathan Majors), his friend Leti Lewis (Jurnee Smolett) and his uncle George (Courtney B. Vance) on a road trip across mid-’50s America in search of Tic’s missing father. You might assume that the search will occupy the entire season, or take even longer than that; instead, the initial storyline is wrapped up quickly.

And while there’s a story running through the whole season, most of the episodes are relatively self-contained, offering their own versions on various horror and science fiction tropes. There’s a haunted house episode, an Indiana Jones episode, a time travel episode and more.

The show isn’t perfect — the writing can be clunky, the special effects cheesy and cheap-looking. But at its best, it does an impressive job of mixing increasingly outlandish plots, creepy monsters (with plentiful gore) and a healthy dose of politics.

After all, “Lovecraft Country” (adapted form a book by Matt Ruff) is named after notoriously racist horror writer H.P. Lovecraft, but it focuses almost entirely on Black characters, making the case that old genres can be reinvigorated with diverse casts and a rethinking of political assumptions.

In addition to reviewing the show, the latest episode of the Original Content podcast also includes a discussion of Netflix earnings, the new season of “The Bachelorette” and the end of Quibi.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also follow us on Twitter or send us feedback directly. (Or suggest shows and movies for us to review!)

And if you’d like to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:36 Netflix discussion
3:18 “The Bachelorette”
6:30 Quibi
14:35 “Lovecraft Country” review
31:32 “Lovecraft Country” spoiler discussion

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The short, strange life of Quibi

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“All that is left now is to offer a profound apology for disappointing you and, ultimately, for letting you down,” Jeffrey Katzenberg and Meg Whitman wrote, closing out an open letter posted to Medium. “We cannot thank you enough for being there with us, and for us, every step of the way.”

With that, the founding executives confirmed the rumors and put Quibi to bed, a little more than six months after launching the service.

Starting a business is an impossibly difficult task under nearly any conditions, but even in a world that’s littered with high-profile failures, the streaming service’s swan song was remarkable for both its dramatically brief lifespan and the amount of money the company managed to raise (and spend) during that time.

A month ahead of its commercial launch, Quibi announced that it had raised another $750 million. That second round of funding brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

“We concluded a very successful second raise which will provide Quibi with a strong cash runway,” CFO Ambereen Toubassy told the press at the time. “This round of $750 million gives us tremendous flexibility and the financial wherewithal to build content and technology that consumers embrace.”

Quibi’s second funding round brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

From a financial perspective, Quibi had reason to be hopeful. Its fundraising ambitions were matched only by the aggressiveness with which it planned to spend that money. At the beginning of the year, Whitman touted the company’s plans to spend up to $100,000 per minute of programming — $6 million per hour. The executive proudly contrasted the jaw-dropping sum to the estimated $500 to $5,000 an hour spent by YouTube creators.

For Whitman and Katzenberg — best known for their respective reigns at HP and Disney — money was key to success in an already crowded marketplace. $1 billion was a drop in the bucket compared to the $17.3 billion Netflix was expected to spend on original content in 2020, but it was a start.

Following in the footsteps of Apple, who had also recently announced plans to spend $1 billion to launch its own fledgling streaming service, the company was enlisting A-List talent, from Steven Spielberg, Guillermo del Toro and Ridley Scott to Reese Witherspoon, Jennifer Lopez and LeBron James. If your name carried any sort of clout in Hollywood boardrooms, Quibi would happily cut you a check, seemingly regardless of content specifics.

Quibi’s strategy primarily defined itself by itself by its constraints. In hopes of attracting younger millennial and Gen Z, the company’s content would be not just mobile-first, but mobile-only. There would be no smart TV app, no Chromecast or AirPlay compatibility. Pricing, while low compared to the competition, was similarly off-putting. After a 90-day free trial, $4.99 got you an ad-supported subscription. And boy howdy, were there ads. Ads upon ads. Ads all the way down. Paying another $3 a month would make them go away.

Technological constraints and Terms of Service fine print forbade screen shots — a fundamental understanding of how content goes viral in 2020 (though, to be fair, one shared with other competing streaming services). Amusingly, the inability to share content led to videos like this one of director Sam Raimi’s perplexingly earnest “The Golden Arm.”

It features a built-on laugh track from viewers as Emmy winner Rachel Brosnahan lies in a hospital bed after refusing to remove a golden prosthetic. It’s an allegory, surely, but not one intentionally played for laughs. Many of the videos that did ultimately make the rounds on social media were regarded as a curiosity — strange artifacts from a nascent streaming service that made little sense on paper.

Most notable of all, however, were the “quick bites” that gave the service its confusingly pronounced name. Each program would be served in 5-10 minute chunks. The list included films acquired by the service, sliced up into “chapters.” Notably, the service didn’t actually purchase the content outright; instead, rights were set to revert to their creators after seven years. Meanwhile, after two years, content partners were able to “reassemble” the chunks back into a movie for distribution.

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