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Eli Brown Reveals His ‘F**k It List’ Role Is ‘So Not Me’: I Wanted To Do ‘Something Different’



Eli Brown opened up about his new role in Netflix’s ‘The F**k It List’, his thoughts on the ‘gray area’ of social media & being cast in the ‘Gossip Girl’ re-boot in this EXCLUSIVE new interview!

Eli Brown is back on the screen in Netflix’s The F**k It List in arguably his best performance to date — and it turns out his character Brett Blackmore couldn’t be more opposite of the real-life Eli. “I think what attracted me to the project was it was so opposite my upbringing. It wasn’t one of those — sometimes you get scripts and you’re like, ‘oh this is so me and I relate to this character and I want to portray this,'” the 20-year-old said to HollywoodLife in an EXCLUSIVE new interview. “This was the opposite, it just like — so not me. I wanted to do something different,” he explained.

In the film, Eli’s character Brett is a high school senior who is the definition of over-achiever, gaining admission to seven out of eight Ivy League schools (notably, he was waitlisted at his first choice — Harvard). After a school prank takes a very wrong turn, Brett’s parents — brilliantly played by Jerry O’Connell and Natalie Zea — try to turn the situation around. “[Jerry] is so, so funny. At times, it was almost hard to get through a scene because I couldn’t contain myself,” the Eugene, Oregon native reflected, particularly referencing a hilarious moment when Jerry’s character runs into a swimming pool fully clothed. “Jerry has this way of being really consistent but making it really fresh every time, and keeping you on your toes and making you laugh. He and Natalie Zea have a great chemistry that was amazing to watch,” Eli told us.

Eli Brown
Eli Brown in Netflix’s ‘The F***k It List’, streaming now. (Netflix)

As a result of the prank, Eli’s Brett finds himself going viral on social media — and while the character becomes somewhat of an inspirational figure to Gen Z, Eli also recognizes the “gray area” when it comes to the online world. “As with anything, too much is where it gets kind of unhealthy. I think if you can mediate your usage or really just be conscious of just how much you’re taking in and use it for those things of spreading positive information or whatever, then I’m all behind social media,” the Pretty Little Liars: The Perfectionists alum explained. “I think it’s a great too, but I think that’s where there’s that gray area where all of a sudden you’re spending way too much time on it and there’s these really negative pockets and corners of the internet that are not kind. I just see a lot of people getting completely sucked in by it all the time…that’s my biggest problem with it — sucks everyone in but it doesn’t give anything,” he said.

Eli Brown
Eli Brown in Netflix’s ‘The F**k It List’. (Netflix)

Beyond The F**k It List, Eli was also recently announced to be one of the lead cast members on HBO Max’s re-boot of Gossip Girl — and even shared a little teaser about who he’ll be playing! “My character comes from a very wealthy family, but he uses his wealth for good as a humanitarian and from what I’ve read so far he seems like a genuine, decent good guy. I don’t know anything else!” he shared, revealing he’s used his time in quarantine to check out episodes of the original CW series. “When I got the role — I did go back and watch part of the first season while I was up in Oregon, but now I’m back in LA and I don’t have TV or wifi so I got cut off!” he laughed.

It turns out that Eli’s 17-year-old sister was a big ran of the original Gossip Girl, and we’re already counting her as the #1 fan of the re-boot. “My sister watched it and she also watched Pretty Little Liars, which is funny. So I saw some scenes here and there in passing,” Eli said, also opening up about his experience on the PLL spinoff. “The people we were working with, the cast and crew [were the highlight],” he gushed. “Everybody was great. I still see most of them regularly. It was so fun,” he said of his experience on the drama, which shot just hours away from his hometown in Portland, Oregon.

Eli Brown
Eli Brown as Brett in ‘The F**k It List’. (Netflix)

“I would drive home every weekend and see my friends and family and have some of moms cooking and be grounded again then head back up and shoot the show,” he told us. “I would constantly go back and forth, it was great. And Portland is really cool, I loved living up there,” the now Los Angeles-based actor said.

As for his own ‘f**k it list,’ it turns out Eli is definitely feeling that quarantine travel bug. “I wanna travel more…Right now I would travel anywhere,” he revealed, also sharing that he’s learned some Italian in quarantine! Catch The F**k It List streaming now on Netflix.

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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