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Tiny Harris Reveals Tamar Braxton’s Doing ‘Much Better’ After Hospitalization: ‘She’s Been Writing Me’

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Tiny Harris expressed her support for Tamar Braxton after her hospitalization in this EXCLUSIVE new interview, and confessed she’s hoping to see her friend soon.

Tameka ‘Tiny’ Harris, 45, is the best friend Tamar Braxton, 43, could ask for. The T.I & Tiny: The Family Hustle star recently opened up about how Tamar is doing following her July 16 hospitalization. “She’s been writing me and she seems to be doing better, much better, and I’m just waiting to visit her now. When I get back to LA, hopefully I can go see her,” Tiny spilled EXCLUSIVELY on HollywoodLife‘s TVTalk. “I’m not going to rush her. I want her to be well and I want her to be ready to see everybody or see me but yeah, she’s doing much better though. I can say that,” Tiny sweetly added.

The Xscape songstress went on to address Tamar’s current situation, and if she should continue filming her family reality show, Braxton Family Values. “I only think it should go on if Tamar is willing and ready and she wants to do it. I don’t feel like it should be forced. If she’s not well, if she’s not happy,” she explained. “She should be able to live her life the way that she wants to live her life. I also feel like when you’re doing these shows you have to find a company that loves and respects you as people and a family first and when you find that I think you can find a good balance if you find someone that really cares about the well being of your family,” Tiny — who has starred on her own reality series with husband T.I., 39, and their blended family since 2011 — reasoned.

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First and foremost, Thank you. Thank you to each and every individual who has prayed for me, thought of me, sent me their love and has showered me with their support. In this present moment, it is my only responsibility to be real with myself and to be real with the ones who truly love me and care for my healing. I have without fail, shared with you my brightest days, and I know that sharing with you what has been my darkest will be the light for any man or woman who is feeling the same defeat I felt just only a week ago. Every one of us has a desire, whether small or big, to make it out of where we come from to an ideal future place that includes, freedom to be who we choose, security for our children and families, and fortune to share with the ones we love. We believe these things can co-exist with just being happy. I believed that, that as a black woman, as an artist, an influence, a personality I could shape my world, and with whom I believed to be my partners, they could help me share my world. Over the past 11 years there were promises made to protect and portray my story, with the authenticity and honesty I gave. I was betrayed, taken advantage of, overworked, and underpaid. I wrote a letter over 2 months ago asking to be freed from what I believed was excessive and unfair. I explained in personal detail the demise I was experiencing. My cry for help went totally ignored. However the demands persisted. It was my spirit, and my soul that was tainted the most. There are a few things I count on most to be, a good mother, a good daughter, a good partner, a good sister, and a good person. Who I was, begun to mean little to nothing, because it would only be how I was portrayed on television that would matter. It was witnessing the slow death of the woman I became, that discouraged my will to fight. I felt like I was no longer living, I was existing for the purpose of a corporations gain and ratings, and that killed me. Mental illness is real. We have to normalize acknowledging it and stop associating it with shame and humiliation. The pain that I have experienced over the past 11 years has slowly ate away at my spirit and my mental. (Swipe to finish )

“Sometimes we get into business with people that don’t know us and it’s all about the ratings and it’s all about what’s good for the network,” Tiny also said. Shortly after Tamar’s hospitalization, she issued a lengthy letter about what was happening in her personal life. Tamar wrote, “Over the past 11 years, there were promises made to protect and portray my story, with the authenticity and honesty I gave…I was betrayed, taken advantage of, overworked, and underpaid. I wrote a letter over 2 months ago, asking to be freed from what I believed was excessive and unfair. I explained in personal detail the demise I was experiencing.”

While Tamar did not specifically name WE tv in the note — the channel her reality show airs on — the network issued a statement shortly after. “As she focuses on her health and recovery at what is clearly a difficult and personal time, we will work with her representatives to honor her request to end all future work for the network,” the network penned. “We wish her nothing but the best…When the time is right, Tamar’s fans will relate to this honest portrait if her life, but — at this moment — we are joining with her fans and sending her strength and healing in the hope that she is getting the support and help she needs at this difficult time,” it also said.

Catch Tiny on The Mix, which drops new episodes live Tuesdays on Foxsoul.tv or download the FoxSoul app to watch!

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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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