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‘RHOBH’ Recap: Lisa Rinna Claps Back After Denise Richards Shares New Brandi Glanville Sex Claim

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Just when we thought the drama on ‘RHOBH’ couldn’t get any more insane, Denise Richards threw us a curveball during the Aug. 5 episode of the series.

After the ladies of The Real Housewives of Beverly Hills got Brandi Glanville‘s affair claim out in the open during a group dinner in Rome, Lisa Rinna met up with Denise Richards the next day and tried getting some answers about their alleged relationship. However, the story Denise gave Lisa didn’t really match up with what she had told the entire group just a few hours earlier.

“I’ve seen [Brandi] a couple times in my life. She wanted to do a podcast and I told her I was out of town, so she asked could she come up and interview all of the cast,” Denise, 49, told Lisa during a one-on-one chat over coffee in her hotel room. But when Lisa asked Denise how long Brandi stayed in Northern California, Denise’s story started getting confusing. “I don’t know, actually, maybe a day. I think she stayed overnight,” she said.

How do you not know whether or not someone stayed overnight in your bedroom? We digress. Lisa then asked Denise whether or not she’s called Brandi “saying, ‘What the **k are you doing?'”, but Denise said she’s “going to handle that through another way”, implying that she was going to take legal action.

“It’s not cool. … First of all, I do not have an open marriage and I have not cheated on my husband,” Denise said. And when Lisa wondered why Brandi would make up such a rumor, Denise was quick to say for “shock value.”

Lisa didn’t seem to buy it. Especially because after Denise said that, she then admitted to talked to Brandi about the other women just before Kyle Richards‘ charity event — which went completely against what she said the night before. When Teddi Mellencamp initially confronted Denise about the Wild Things actress bashing her to Brandi, Denise denied ever speaking to Brandi before or after Kyle’s party. Yet, here she was now telling Lisa that she did talk to Brandi around the time of the party.

“Anything that I’ve felt about Teddi, I’ve said to her face. I’m going to be super honest. Brandi said, ‘I want to let you know things that the group has been saying behind my back,'” Denise told Lisa. But the conversation didn’t go much further than that. Lisa seemed confused by what Denise was telling her, so they decided to focus on the day’s activities instead and put the drama behind them — at least for the time being.

Denise Richards & Lisa Rinna (Bravo)

While Lisa, Denise, Garcelle Beauvais and Erika Jayne drove Ferraris and went wine tasting, Kyle, Dorit Kemsley and Sutton Stracke went shopping at Dolce & Gabbana. Teddi probably napped because she was pregnant, but to be honest, we had no idea she was missing from the group activities until we started writing this paragraph.

Later that evening, everyone reunited for another group dinner, and it ended up being just as interesting as the one before it. It started with Erika telling the group that earlier in the day, Denise apologized “on Aaron’s behalf” for his behavior at Sutton’s event when he argued with the ladies. That then led to Kyle mentioning how much “anxiety” she had about the affair reveal.

She also insinuated that Denise may be “nervous”, but Denise said she wasn’t. Instead, Denise said she’s felt “unwelcomed” by the group, especially when she’s the “one in the hot seat”. Sutton then told the group that she told Denise she also heard the same rumor about her and Brandi (from a close friend who “wouldn’t lie”), but Denise said she was “laughing about it” when Sutton shared that information.

Denise then told the ladies that she met Brandi through a “mutual branding agent that represents her”. Denise claimed that Brandi really wanted to meet her, and she was “fine” with that, so they went out for drinks. Afterwards, Denise said that Brandi begged her to do her podcast “for about a month”, so she finally met up with Brandi in Northern California, where they did the interview. “And that was that,” Denise said.

She then told the ladies that the next time she spoke to Brandi “before” Kyle’s party, Brandi suspiciously “knew every single thing” that was “going on in the group”. (Denise previously said she never spoke to Brandi before or after Kyle’s party…) “She knew s*** that happened in Santa Barbara. She knew things, like, the little tiffs,” Denise continued, insinuating that someone else in the group was feeding Brandi information. “She knew stuff that I did not know. She shared a lot of personal stuff about a lot of people that are involved with this group, [but] I will not repeat it.”

However, after the ladies pushed her to say what she was hinting at, Denise finally confessed, “Brandi has said that she’s had sex with every single woman that she’s come in contact with, including some of the people from this group.” Dorit laughed, but Denise said, “I’m not joking.”

Kyle’s eyes then darted over to Lisa Rinna since they’re basically the only two people who’ve met Brandi before this season kicked off. “That would only be between you and me,” Kyle said to Lisa, before Lisa told the group, “I’ve never had sex with a woman.”

Kyle also said she “doesn’t believe” Brandi ever said such a thing. Lisa added, “I think it’s a little bit interesting that you’re saying that right now … I’ve never heard that.” Denise insisted she’s “not lying,” but Kyle said she’s “struggling” with believing it.

“She said the same thing about me,” Denise yelled back, and that’s when Kyle realized why Denise was probably making this new claim.

“If you’re trying to deflect, it’s not working,” Lisa said during her private confessional before clapping back at Denise. “I don’t think Brandi Glanville has ever said she’s had sex with me. I can be honest about that. I don’t think she’s ever said that, so don’t say that. Don’t even put that out there,” she yelled. The rest is “to be continued”.

Want more drama? New episodes of The Real Housewives of Beverly Hills air Wednesdays at 9pm on Bravo.

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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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