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Ryan Breaux: 5 Things To Know About Frank Ocean’s Younger Brother Who Died In Car Crash

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Frank Ocean’s brother Ryan Breaux has sadly died after a fatal car crash in Thousand Oaks, CA on Sunday, Aug. 2.

Our hearts go out to Frank Ocean, 32, who lost his younger brother Ryan Breaux in a car crash this past weekend. Ryan and friend Ezekial “Zeek” Bishop were both killed in the fatal accident during the early morning hours of Sunday, Aug. 2. The crash took place around 1:30 a.m. near the intersection of Skelton Canyon and Westlake Boulevard in Thousand Oaks, California, according to a police report obtained by HollywoodLife. The vehicle collided with a tree, according to the report, which split the car in half as it proceeded to become engulfed in flames. While police have yet to name the victims of the crash, their school (Oaks Christian School) gave an official statement to HollywoodLife and confirmed their identities. Both Ryan and Zeek were pronounced dead on the scene.

Following Ryan’s death, Oaks Christian School released the following statement to HollywoodLife: “It is with much sadness that Oaks Christian confirms the loss of two graduates from our Class of 2019. As the media has already reported Ezekial “Zeek” Bishop and Ryan Moore Breaux lost their lives in a car accident in Westlake Village early Sunday morning. The school community, through faculty, staff and leadership, has reached out to the families of both Zeke and Ryan to express our heartache and grief, pray with them and embrace them with love and compassion. We ask that our community join us in lifting these families up in prayer as they grieve the loss of these very special two young men.”

A memorial was held on Sunday night (Aug. 2) for Ryan and Zeek in Westlake Village, according to CBS Los Angeles. As seen in a photo from the vigil, friends, who were pictured wearing face masks, gathered near the crash site. Pictured alongside a tree were bouquets of flowers and a single balloon. Learn more about Ryan, who lost his life way too soon, below.

1. He’s Frank Ocean’s brother. Frank’s mom Katonya Breaux was parent to Frank (nee Christopher Edwin Breaux), Ryan and their sister Ashley “Nikkii” Ellison. All three siblings hail from Long Beach, California. Frank broke into the music scene with his 2011 mixtape Nostalgia, Ultra, followed by his first album Channel Orange in 2012. The critically-acclaimed project won Best Urban Contemporary Album at the 2013 GRAMMY Awards, as well earning nominations for Album of the Year and Record of the Year with “Thinkin Bout You.” More recently, Frank dropped a beautiful cover of “Moon River.”

Frank Ocean
Frank Ocean. (AP Images)

2. Ryan’s friends mourned him on social media. Friends of Ryan flocked to his most recent social media post, which shows him inside a car. “S– crazy bro, rest easy,” user @58robbie sadly wrote, while Pamela Anderson and Tommy Lee‘s son Brandon, 24, wrote “You gave us all love and laughter brother. Love you forever. I hope I get to see you again one day.” Others added, “You’ll be missed lil bro,” and “Rest In Peace Ryan.” Ryan’s close friend Paris Brosnan, 19, son of Pierce Brosnan, also posted an emotional tribute to his own page. “To my brother, who was talented beyond belief, possessed a heart of gold, had an energy that was infectious, a smile & laugh that lifted everyone’s spirit, and was a loyal and authentic friend to anyone he knew. You were just getting started and ready to show the world who you were,” Paris penned.

“You were a leader and you had a whole army of loyal soldiers behind you. Thank you for being there for me when I needed you most, thank you for all the wild nights, thank you for your music and all the late night studio sessions with Fray, thank you for blessing us ALL with your presence on this earth,” the model added, concluding, “I will carry you in my heart always. Until I see you again brother. Ryan Breaux forever & Zeek Bishop forever.”

3. Fans believe Frank’s song “Orion” is about Ryan. While Frank has not confirmed Ryan inspired the sweet tune, the lyrics speak about remembering when someone close to him was born. “I remember when you were born/Ohh, how happy I was/cause If it didn’t go as I planned it,” Frank croons on his 2011 mixtape Lonny Breaux. “At least you’d double my chances… But promise big bro one thing, That you won’t go wasting time/ won’t go wasting time/ (no) that you won’t go wasting time/ Won’t go wasting time/Don’t go wasting it,” he also sings.

4. He was his brother’s biggest fan. In a 2017 interview with Billboard, Frank and Ryan’s mother Katonya gushed about Ryan’s love for Frank and his music. “I would definitely.. so… well, maybe Ryan,” she spilled when asked if she was his biggest fan. “Ryan will put those songs on repeat 50 times a day. I would definitely say Ryan, and I’m number two,” she sweetly added.

5. He had a close relationship with his mom. “It’s interesting because I’m a different mom to Ryan than I was with Chris [Frank Ocean]. I was young–I was 21 when I had Chris,” Katonya also said to Billboard. “I would just say to treat them as humans and to understand. When we get caught up in the moment, we want them to hurry and sit up, or hurry up and talk, but the time goes by so fast so you really want to savor every moment. I know it sounds so trite, but it takes having a child and then having them become an adult to really realize how quickly it goes by,” she added.

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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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