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‘Yellowstone’ Recap: Multiple Duttons May Be Dead After Game-Changing Season 3 Finale



‘Yellowstone’ will never be the same after the season 3 finale. After a direct hit on the family that includes an explosion and a shoot-out, the fates of all the Duttons are on the line.

The Yellowstone season 3 finale is going to change everything. In the opening minutes of the finale, Jamie talks with his biological father. Jamie asks his Garret whether or not he has any brothers and sisters. He’s trying to find out more about his “real family.” Jamie’s biological father reveals why he killed his mother, who was a drug addict. Garret says he knew that Jamie only had one chance in this life, and it was without her in it. Garret killed Jamie’s mom and gave up his life for his son.

Garret probes Jamie with questions as well. He asks Jamie if John loves him. Jamie tells his father that he was raised to run the ranch. “I built it into what it is today,” Jamie says. Garret believes Jamie should take Yellowstone away from John. It’s not a ranch, it’s an empire. If Jamie wants the empire, he has to kill its king. Jamie tells Garret that he’s not a killer, but Garret knows that’s a lie. “Of course you’ve killed. You’re a Randall, and killing is our only gift,” he says.

Kevin Costner and Kelly Reilly in the ‘Yellowstone’ season 3 finale. (Paramount Network)

Meanwhile, Monica admits to Kayce that she never sees him anymore. Monica and Tate moved to the ranch to be closer to Kayce, but now he’s never here. He opens up about his new livestock commissioner gig, and he likes it. He didn’t think he would ever like the path he’s now on.

Rip gets back from his late-night excursion with the rest of the bunkhouse. Beth doesn’t beat around the bush and asks Rip who he killed now. “Don’t ask me that, Beth,” he says. She keeps on pressing. She doesn’t want secrets, but he doesn’t think she wants to know some of the things he has to do sometimes. Beth refuses to let up and asks for a number. Rip is honest and has no idea anymore. Beth is well aware of how Rip and her father fight their battles. She’s the same way.

Beth and John arrive to meet with Jamie, Lanelle, Roarke, Willa, Rainwater, and Angela to discuss the airport. Roarke reveals the FAA has approved the airport. As the meeting continues, texts begin to come in on everyone’s phones. Willa has been accused of workplace harassment. “Take that you f**king b*tch,” Beth whispers to Willa, who quickly leaves the meeting.

Beth believes she’s power of attorney over the land, but she’s actually not. Jamie tells her that she filed the documents in Utah, and they don’t apply in Montana. Jamie is actually the legal authority for Yellowstone and approves the sale of the track for the airport. John is pissed. Jamie explains that he doesn’t sell the land, it will be condemned. John will get paid a fraction of what it’s worth, and he will lose millions on attorney fees. John asks Jamie to not condemn the land. Jamie says that’s not his call, it’s Lanelle’s call. Lanelle says it’s not about a choice now, just about options.

Kevin Costner, Kelly Reilly, and Cole Hauser in the ‘Yellowstone’ season 3 finale.

Rainwater and Angela bring up environmental impact since the airport is beside the river that feeds the oldest national park. Angela tells the room this will be the basis of their class-action lawsuit because this airport impacts native and park lands. Rainwater asks John to join their cause. “This land is mine, and no one can sell it but me,” John declares. Roarke taunts John, but John isn’t having it. Roarke may think he’s winning this game, but he doesn’t know the rules. When John walks out of the room, he makes it clear that he’s disappointed with Jamie. Lanelle believes that Jamie is doing all of this for his family, but he reveals that he’s doing this for himself and himself only.

On their way back from the meeting, Angela stresses to Rainwater that he has an opportunity to free the land from John and make it look like everyone else did it. She believes it is his duty to protect their land and preserve their way of life. Rainwater wants to beat them all by their own laws. Angela says that their enemies break their own rules and only hold others accountable. She explains that there are rules for slaves and masters. She believes that he’s following slave rules. However, if he wants to follow the master rules, then Rainwater would kill John and get their land back.

Meanwhile, Willa refuses to tolerate the Duttons going after her career. She won’t stand for it. On his way home, John comes across a woman and her kid on the side of the road. They have a flat tire. He stops to help.

Rip has his mother’s grave dug up and opens up her coffin. He talks to his dead mother and reveals that he’s met somebody that he wants to spend the rest of his life with. He wants Beth to wear his mom’s ring, so he delicately takes the ring off his dead mother’s hand so he can give it to Beth.

Beth is cleaning out her office when her assistant walks into the room with a package for her. Beth says it’s not hers, but the assistant says it’s addressed to her. The assistant opens it up and finds another box. Beth tries to tell her not to open that box, but it’s too late. A massive explosion goes off that breaks the windows and stops the cars in the streets. Is Beth dead?! It would be hard for anyone to survive an explosion like that.

Kevin Costner
John Dutton’s life is on the line after the season 3 finale. (Paramount Network)

Kayce’s on the phone with Monica at his office when he hears shots ring out. The shooter comes into Kayce’s office and starts shooting. Kayce pulls out his gun and barricades himself against his desk. Monica is screaming for Kayce on the phone as she listens to the shoot-out. Is another Dutton down?! John is still helping the woman change her tire when a van drives up and asks if he’s John Dutton. When John says yes, the back of the van opens up and someone opens fire on John. John is shot multiple times, as well as the woman! Someone put out quite the hit on the Duttons.

As for Rip, he calls Jamie and says he can’t get in touch with anyone. Jamie tells Rip not to call him anymore. Jamie has chosen his side, and it’s not with the Duttons. A frustrated Rip gets off the phone with Jamie and sees a dying horse in a field. He shoos the vulture away. He hates killing horses, but he knows that he has to put the animal out of its misery. Rip shoots the horse and walks away. He sees more vultures circling something else in the distance.

John Dutton has managed to survive getting shot multiple times. He lies bleeding on the side of the road though. He pulls out his phone from his jacket and realizes the phone stopped a bullet that definitely would have killed him. But he’s not out of the woods yet.

All three Duttons are in very vulnerable situations at the end of season 3. Who is responsible for these hits? They are all in jeopardy, but we really need to worry about Beth and Kayce. Their fates are truly unknown at this point. If one or both of them dies, it would change Yellowstone forever. Yellowstone will return for season 4.

Source : Hollywood Life Read More

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Netflix is developing a live action ‘Assassin’s Creed’ show



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



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



“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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