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Why We Can’t Wait to Watch Both Tayshia Adams and Clare Crawley on The Bachelorette

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Related: Is Clare Crawley Quitting “The Bachelorette”?

If this year has proven anything, it’s that all plans are a joke.

Back in March, the production team of The Bachelorette planned to film a season starring Clare Crawley. They planned to start filming a couple of weeks after Clare was announced as the new star, and they planned for us to be able to watch it just a couple of months later. They had probably also planned on us all falling in love with then-contestant (and BFF of Tyler Cameron) Matt James, so he could be a shoe-in for the next Bachelor.

Then, a global pandemic hit, and filming had to be delayed indefinitely. The season couldn’t film in time to air when it normally would. Some of the planned contestants had to drop out. A massive civil rights movement gained traction and viewers began calling for the show to cast a Black Bachelor and fix its diversity problem, so Matt was announced as the next star without ever having appeared on the franchise before.

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A Brief History of Bachelor and Bachelorette Finales

Plans were then made to film The Bachelorette in quarantine, at a resort in Palm Springs. The cast and crew settled in for the long haul, planning to film a whole season with Clare. Two weeks in, Clare apparently found the love of her life, forcing yet another change of plans.

Sources tell E! News that there will be two Bachelorettes this season. Clare will begin and end her short but apparently successful journey to find love, and then Tayshia Adams, 29, will replace her in a true first for the franchise. (ABC and WBTV have not commented on the reports.)

This is all without even mentioning the mess that was Bachelor Peter Weber, who proposed to Hannah Ann Sluss, broke up with her over feelings for Madison Prewett, then broke up with her and got together with his fourth-place finisher, Kelley Flanagan, after the season had already concluded.

It has truly been a roller coaster year to be a fan of this franchise, and there were times when it was a ride we wanted to get off. But all signs now feel like they’re pointing in the right direction to the point where we’ve never been quite this excited to watch a new season of The Bachelorette.

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Clare herself was already a draw. At 39, she’s the oldest star of the franchise ever, and as much as we loved watching 24 year-old Hannah Brown hunt unsuccessfully for love, we truly could not wait to see what happened when a woman who was 15 years older got the same chance.

There was some side-eye to be given when Clare’s cast list was announced and only one contestant was definitively older than her, but we still had high hopes that she might find the perfect guy somewhere in that group, and apparently we were right. We couldn’t be more thrilled to hear that Clare found someone so great that she doesn’t even need to finish the rest of the season, because as much as we love drama, we love love more. Or at least we love it slightly more.

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Tayshia Adams to Replace Clare Crawley on The Bachelorette After Finding Love Early On: Sources

The addition of Tayshia as the new Bachelorette is just the icing on the cake. She’ll be the second Black female star of the franchise, and while we do have questions about her brief relationship with John Paul Jones on and after Bachelor in Paradise, she’s proven herself to be delightful on television, and was at the top of many lists of potential stars before Clare was chosen.

Not only is Tayshia perfect for the job, but a midseason switch is a fun surprise in and of itself. We’ve had five months to prepare to watch Clare’s season, and many of the guys who were cast had five months to do their research. A new Bachelorette is a twist for us all, a bright spot to look forward to in these strange times, proof that this franchise can continue to surprise and entertain us 18 years in.

We don’t know how Tayshia’s season will shake out, but we do know we’re more excited to find out than ever.

For a full list of Bachelor franchise firsts, scroll down!

The First BachelorAlex Michel headlined the first season of The Bachelor in 2002.
The First BacheloretteAfter coming in second on the first season of The Bachelor, Trista went on to headline the first season of The Bachelorette in 2003.
The First Bachelor WeddingTrista and Ryan Sutter said “I do” in front of millions viewers as part of a three-episode series in December 2003.
The First Bachelor BabyTrista and Ryan Sutter, the first couple to come out of The Bachelorette, were also the first Bachelor Nation couple to welcome a child in 2007.
The Two-Time BachelorBrad Womack headlined season 11 of The Bachelor in 2007, but didn’t propose to anybody. So, he came back to hand out the roses in season 15.
The First Single Mom BacheloretteAfter winning Brad Womack’s second season of The Bachelor (and later breaking up), Emily Maynard went on to hand out her own roses in 2012’s The Bachelorette season eight. Emily was the first single mother to star as The Bachelorette.
The Switcheroo Pt. 1Jason Mesnick proposed to and became engaged to Melissa Rycroft at the end of The Bachelor season 13 (2008)…until the finale when he asked for a second chance with Molly Malaney. They eventually wed.
The Two BachelorettesSeason 11 of The Bachelorette (2015) was the first to begin with two stars, Britt Nilsson and Kaitlyn Bristowe. It was up to the male contestants to decide which would be the one handing out roses.
Let’s Talk About SexKaitlyn Bristowe, star of The Bachelorette season 11 (2015), was one of the first to talk about sex on the show. She and Nick Viall had sex in week six after she invited him into her hotel room in Ireland.
The First Black BacheloretteIn 2017, Rachel Lindsay became the franchise’s first-ever Black lead as the star of The Bachelorette. In 2019 she married the winner of her season, Bryan Abasolo.
The Many Appearances of Nick ViallNick Viall is now synonymous with Bachelor Nation. He first appeared in The Bachelorette season 10 in 2014 and tried to win Andi Dorfman’s heart. He was runner-up. In 2015, he returned to the show to compete for Kaitlyn Bristowe’s love and made it to the finale. That didn’t work. So in 2016 he went to Bachelor in Paradise. When that didn’t work out, he was given his shot at handing out the roses as the star of The Bachelor season 21.
The Switcheroo Pt. 2At the end of The Bachelor season 22 (winter 2018), Arie Luyendyk Jr. made his choice: Becca Kufrin. But then he changed his mind. So, with cameras by his side, he broke up with Becca and informed her of his feelings for the show’s runner-up, Lauren Burnham. Arie and Lauren are still married.
Like a VirginSeason 23 (winter 2019) of The Bachelor introduced viewers to the show’s first virgin star, Colton Underwood. The virginity aspect was played up throughout his season. Colton was also the first Bachelor star to jump a fence. That happened after Cassie, who would go on to become his girlfriend, said she was leaving the competition.
Let’s Talk About Sex Pt. 2In season 15 of The Bachelorette (spring of 2019), Hannah Brown got candid about sex and relationships. It culminated in an argument with Luke Parker after he tried to sex shame her and repeatedly tried to cut her off while she explained her stance on sex.
The First Same-Sex CoupleDemi Burnett appeared on Bachelor in Paradise in the summer of 2019 and came out as bisexual. Her then-girlfriend Kristian Haggerty joined Demi on the series and they became the franchise’s first same-sex couple.
The First Black BachelorOn Friday, June 12, 2020 ABC announced Matt James would be the franchise’s first Black male lead of The Bachelor.
The First Mid-Season Star SwitchClare Crawley was announced as the season 16 Bachelorette in March 2020, and then waited all the way until July to begin filming, thanks to a global pandemic that delayed all productions. Then, a couple of weeks into filming her season, sources tell E! News that she fell so in love that she asked to quit, and will be replaced by Tayshia Adams in a true franchise first.

The Bachelorette will premiere later this fall.

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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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