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Machine Gun Kelly & Megan Fox Are Are ‘Glued To Each Other’ & ‘Very Passionate’, Says Randall Emmett

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Producer/director Randall Emmett is gushing over the intense passion that his film’s stars Megan Fox and Machine Gun Kelly have for each other. He says their chemistry is ‘second to none.’

Megan Fox and Machine Gun Kelly have movie producer Randall Emmett to thank for playing accidental cupid in their red hot romance. He cast them opposite each other in his directorial debut Midnight in the Switchgrass, and the pair has become one of the sexiest new couples of 2020. Randall, 49, says that when he and fiancee Lala Kent, 30, go out to dinner with Megan and MGK — real name Colson Baker — half the time the lovebirds don’t even realize anyone else exists outside of their own romantic world.

“Let me tell you the joke I make about our double dates, and they know I say this to their face: Going on a double date with Megan and Colson, it’s like an individual date and a double date,” Randall told Entertainment Tonight in an Aug. 6 interview. “The first half is very ‘double date.’ Everybody is conversing, we’re having fun, we’re laughing. The second half, they don’t even know our name. They’re just glued to each other!”

Randall explained that, “They’re very passionate about one another and very happy, and I mean, it’s really sweet to see that I had a little hand in that,” he explained. “The chemistry was second to none, but I just thought, I’m a great director! I didn’t know there were these undertones and all that, and now, we spend a lot of time with them since they’ve been together and it’s really sweet and beautiful, and I’m really happy for both of them.”

When Megan, 34, and Colson, 30, chose to do their first interview as a couple, they did it on Randall and Lala’s podcast Give Them Lala…and Randall on July 22. The Transformers star recalled how when she found out Colson would be her co-star, she knew they would had some kind of future together.

Megan revealed, “I was like, ‘Who is going to play this role?’ And he (Randall) was like, ‘Oh, we just got Machine Gun Kelly,’ and immediately, I was like, ‘Uh oh.’ Because I knew – I could feel that some wild s**t was going to happen to me from that meeting, but I wasn’t yet sure what. I just felt it like, deep in my soul – that something was going to come from that.”

The pair was so smitten as filming got underway, even though Megan was still married to actor Brian Austin Green, 47, at the time (he announced their split on May 18). “So then, we met on set, I knew right away that he was what I call a twin flame,” Megan explained. “Instead of a soul mate, a twin flame is actually where a soul has ascended into a high enough level that it can be split into two different bodies at the same time. So we’re actually two halves of the same soul, I think. And I said that to him almost immediately, because I felt it right away.”

While that might have come across too strong early on for some guys, MGK was all for it! He revealed on the podcast that he was crushing on Megan super hard as filming got underway. “I was waiting outside on my trailer steps, every day…to catch one glimpse of eye contact. She would have to get out of her car. There were like, five steps between the car and the trailer. And I would just sit there and hope.”

Colson’s “hopes” came true and by June 2020, he and Megan were out in the open as a proud and in love couple. The heat is still getting stronger, as Megan gushed in a mirror selfie with Colson on Aug. 5, “Achingly Beautiful Boy… My heart is yours.” MGK had first made the pair Instagram official on July 28 when he shared another mirror selfie shot of the couple and captioned it, “Waited for eternity to find you again.”

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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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