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Chris Mann Teams With Kathryn Dean & Intell For Hilarious Social Distancing PSA ‘Mo People, Mo Problems’



To remind you that the pandemic is not over, Chris Mann has recruited Kathryn Dean and rapper iNTeLL for an epic parody of the Notorious B.I.G.’s ‘Mo Money Mo Problems.’

If there’s a way to win quarantine, it’s…probably by following the CDC’s recommended guidelines for stopping the spread of COVID-19. However, if there’s a silver medal for “winning the lockdown,” it belongs to Chris Mann. The singer and former contestant on The Voice has made the most of his time during the pandemic by releasing COVID-themed parody videos. His latest arrives today, Aug. 13, and it’s a fantastic rendition of The Notorious B.I.G.’s “Mo Money Mo Problems.” Appropriately titled “Mo People Mo Problems,” Chris gets vocalist Kathryn Dean to sing the hook, and rapper iNTell (son of the Wu-Tang Clan‘s U-God) to drop a verse about how it’s still not safe to get within six-feet of all your friends.

“Once my videos started going viral, I wanted to make sure there was a responsible, relevant, and, of course, funny message woven into the parody,” Chris tells HollywoodLife. “When I saw so many people out there acting like this pandemic was over, I was like ‘helllllll no! The more people we see, the more cases we’ll have! Wait, I feel a rap coming on about this……ha!’ Then I quickly re-wrote the lyrics to ‘Mo Money, Mo Problems’ into ‘Mo People, Mo Problems.’ “

Chris Mann

“Sometimes, hearing a message in a funny way gets through to people better than harping on them,” adds Chris. “It was the first time I’d done a rap as a parody, and it was a challenge, for sure. I wanted to match Mase and Biggie’s rhyme scheme as closely as I could. It was really fun to break down their rhythmic patterns and flow.

Of course, even if Chris could match Mase and Biggie, beat for beat, he’d still need a powerful voice to deliver the hook. Enter Kathryn Dean, aka KD. The singer – known for her 2014 smash hit “Told You So” — recently released “Friends (Don’t Wanna Be)” earlier, and she’s been making use of her time in quarantine by working on a docuseries called Chart Breakers. Set for a release sometime this fall, the series is about redefining the face of pop music and follows artists on the brink of their career and will feature appearances from chart veterans like Grammy winner 88-Keys, Sandy Vee and Method Man.

“I had heard about an amazing new artist named Kathryn Dean, and we’ve been looking for something to collaborate on,” Chris tells HollywoodLife, adding that he had seen her funny GIFs on Giphy and knew that she would “sound phenomenal on the chorus.” KD also brought iNTeLL onto the project. “Once iNTeLL started rapping, I was like, ‘Ohhhhhh, THAT’s what real rappers sound like!” I was just having fun, but my swag level is low A.F. compared to him.’

Kathryn Dean

“I met KD while working on the Chart Breakers series, and we hit it off right away and knew we wanted to do a music collaboration,” iNTeLL tells HollywoodLife. “She introduced me to Chris, and they invited me to join the parody they had started working on. Not only was it a great creative process working together, but I felt it was important to encourage people to do their part to fight this pandemic.”

The video also features two special cameos – by both Chris and iNTeLL’s kids! “My son Hugo made a cameo in the video-my days consist of juggling making videos and music and keeping my 3-year-old son entertained. It’s a lot. It became easier to just include him in the process than keep him isolated, or in front of the T.V. He definitely steals the scenes and is the star…which, of course, I resent. (kidding.)”


While the video is cute and the song is immensely catchy, at the heart of “Mo People Mo Problem” is a message: the pandemic is still going on, so now’s not the time to party with friends. “Don’t give up on social distancing and masks!” says Chris. “The cases are still rising. We are all tired of this, but we gotta work together to keep it under control. Stay inside (or out at the pool with your social bubble) and just blast music and drink Aperol and enjoy this insane time. And stop going out!”

Source : Hollywood Life Read More

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



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



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



“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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