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Jennifer Garner Cries In Hilarious Clip After Watching ‘The Office’ Finale With Her Kids: ‘We’re Sensitive’

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It took months worth of viewing, but Jennifer Garner and her three kids finally made it through watching every episode of ‘The Office.’ Jen was so emotional by the finale that she was weeping.

Bless her heart! Jennifer Garner is just the cutest, proving that she can be so emotionally moved after watching all nine seasons of The Office that she broke down in tears. The 48-year-old and her three kids Violet, 14, Seraphina, 11, and Sam, 8, by ex-husband Ben Affleck started watching an episode a day of the former NBC sitcom at the beginning of quarantine in March, and now that they’re done, she’s missing her TV family from Dunder Mifflin so much. Since she’s an absolutely creative goddess with her Instagram account, Jennifer showed a video of herself having all the feels at their marathon viewing of the beloved show coming to an end.

“My kids and I have been…” she began telling the camera with red eyes. Jen was seen wearing a Dunder Mifflin t-shirt in honor of the fictional paper sales company featured on the show. She even stood in front of a multicolored message board with “Thank you Dunder Mifflin” written on it, so the Elektra star and her kids had turned into major The Office mega-fans.

The video then turned into slow-motion, showing Jennifer in different stages of sobbing (which she later explained the slow-mo turned out to be an accident). She then set it to a narration once she got all of her emotions out of her system. “You’ll never guess what show my kids and I watched an episode a day throughout quarantine and guess what, we finished it! And guess what, it gave me some really big feelings,” Jen explained in the sweetest voice about how moved she appeared in the vid.

Jennifer Garner and Kids
Jennifer Garner and her kids Violet, Samuel and Serapina go for a walk with son Sam’s pet cat in a stroller in Los Angeles amid quarantine on Apr. 1, 2020. Photo credit: MEGA.

“Oh bless your heart. Oh look who needed a big cry and maybe a shower would have been helpful,” she jokingly continued while describing herself in the weepy video. “But its just nice to know that you can still feel so much passion about something, right? So thank you. If you’ve ever heard of the show The Office, you should try it. It’s wonderful,” she concluded. One of her daughters could be heard off camera saying Jim’s phrase while mocking Dwight, “Bears beets Battlestar Galactica,” which Jen smiled and repeated back to the camera once the video returned to normal speed.

“My kids and I have spent months piled on the couch working our way through ‘How to Behave as Grownups,’ aka #TheOffice. Apparently we are sensitive people–the finale hit us pretty hard. When I realized I’d accidentally shot my farewell testimonial in slo-mo I realized: your Monday might need this, too,” Jennifer wrote in the caption, along with the hashtags, #thankyoucastandcrew #pleasecomeoverweloveyou #icantwithfinales.”

'The Office' cast
The cast of ‘The Office’ attend the 58TH annual Emmy Awards at L.A.’s Shrine auditorium on August 27, 2006. Photo credit: MEGA.

Jen had fans and celebrity pals loving her honesty over feeling so at a loss after she had completed watching The Office‘s nine season run, which aired on NBC from 2005-2013. Actress Zoe Saldana left hearts and applause emojis in the comments, while Kimberly Williams Paisley told her friend, “Oh my LORD this is the best thing EVER. Thank you. #theofficeforever #slowmobeatsbattlestargalactica.”

Probably the best comment came from Pam Beesley herself, as The Office star Jenna Fischer told Jen, “Oh Lady!! This is the sweetest and most wonderful post!! Sending you lots of love and if you want to start over @angelakinsey and I are re-watching for the podcast. We are in the middle of Season 3 and have major feelings about lots of moments (Art Show, Dwight comforting Pam…).” Sounds like a great way for Jen to get back into her emotions about the show while hearing the stars discuss it.

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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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