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‘Yellowstone’s Ian Bohen Teases Final Episodes Of Season 3 & More: They’ll ‘Dismantle Your Mind’

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Ryan is the ultimate right-hand man on ‘Yellowstone.’ HL spoke with Ian Bohen about the final episodes of the terrific third season, Ryan’s feelings about the bunkhouse changes, and more.

Yellowstone’s third season has put the Dutton ranch at risk more than ever before. The Duttons have become embroiled in the fight of their lives as they try to save their family’s land and legacy. Ryan has been by the Duttons’ side as they try to navigate this fight.

HollywoodLife talked EXCLUSIVELY with Ian Bohen about what lies ahead in season 3. He teased that the final episodes will have the “same level of thrill” as previous seasons, but they will be “different.” He also opened up about life in Montana and how this role is a “dream come true.”

Ian Bohen
Ryan with John Dutton and Colby. (Paramount Network)

There have been a lot of changes in the bunkhouse this season. How do you think Ryan feels about all the changes?
Ian Bohen: He’s a little bit flummoxed by the relationships that have come in and swept through. Obviously, Mia and Lloyd is something that just perplexes him to no end. I’m playing him but I watch the show and I watch Ryan and go, “God, that guy’s got to be fuming hot.” And then Teeter and Colby, that one he can enjoy because he can stir the pot and he can play with that one and make it fun. He touches all of the things that are happening and the little nuggets. I call him a designated hitter. He bats for every team and smacks things around, but he doesn’t have his own specific thing yet. I’m not sure he wants one or not.

There has been some romance in the bunkhouse. Is Ryan ever going to get some love?
Ian Bohen: We haven’t talked about that yet. It would be hard. We’re kind of running out of options at this point. I wouldn’t put anything past Taylor Sheridan to write some kind of shift. You can only sprinkle so much romance in a show like this, so it would have to serve a storyline or be more than just a romantic interest. It might have to be something like maybe a bad cowboy was sort of thrown into the ranch and was trying to seduce him to be a double agent spy. It would have to be something along those lines to make it important, but he’s probably not just going to get a lady for no reason.

Ryan has put his life on the line a number of times. Do you think that ever gets to Ryan? Or do you think he’s just one of those people that goes into every situation and knows what he’s getting into?
Ian Bohen: I think he does know what he’s getting into. Every opportunity, he wants to succeed and to show the people that he’s working with that he’s as good as them. In professions like this — law enforcement, livestock agents, people in the military — they constantly want the respect of their peers and the people that they’re working with, to show them that they’re willing to do whatever it takes. It’s very competitive in that sense. There’s never hesitation to take an opportunity to prove your valor and you’re not afraid to show that you’re willing to sacrifice for the people that you’re working with. He loves it and wants not recognition but the mutual respect of his peers and demand it of them as well. So he’s always going to rush headlong into things like this.

He’s gotten to work a lot with Kayce, and I’ve loved seeing their dynamic grow. Kayce has a much bigger role with the ranch and everything now. How do you feel about their dynamic and how that connection and trust is growing?
Ian Bohen: I have friends and we have a very similar relationship, and I presume that this is the same idea, sometimes we don’t have to lay it all out and say, “Hey, how are you feeling? What’s your life about?” You can just sit and sort of understand one another. It’s a comfortable bridge to sit on when you can’t be with your family, you have these two different worlds always pulling apart and you need a little area where you can just be at peace. I think Ryan offers that to a lot of different characters. It’s a very calm neutrality. The characters can enjoy that. We talk a lot about saying things when we’re working, and we’ll come up with ideas where we can actually sort of communicate, Luke [Grimes] and I. We feel like that’s what the characters are for one another. It’s a very peaceful, easy kind of jam, so I enjoy it. I’m trying to show that Ryan can be that kind of a person for all of the people in the bunkhouse. I think it’s coming along with Rip’s character where he used to get his butt kicked and cursed out all the time. Now it’s grown and that development is obviously interesting to me to play with. I think people like to watch it.

I like that there’s a stability about Ryan. There’s a stable factor to him that I really enjoy because we’re dealing with a lot of different characters here, and there’s just something that every time I see you in a scene or something I just feel at peace in a sense.
Ian Bohen: I appreciate that. But also what that does is that sets up the dismantling of that piece probably. I don’t know this for sure, but I would imagine once we get you feeling that way is when we turn it upside down and make something tragic out of it because we’ve got you. I wouldn’t be surprised if that becomes an unsettled dynamic, and he goes in a different direction. We always set it up, knock it down, set it up, knock it down. So I’m anticipating something like that happening over the next couple of years.

That’s the magic of Taylor Sheridan. We just found out Jamie was adopted. I just gasped when I saw that reveal.
Ian Bohen: When I read it, I did the same thing. We were all like, oh my gosh. And then your mind starts clicking. What does this mean? Where’s this going? In the last four episodes, you’ll see where that goes. You won’t be able to wait until the next season because you have to know what’s going to happen. It has been set up in a way where… you talk about gasp. It’s gnarly.

Ryan has worked a lot of people in the bunkhouse. He’s also worked with Jamie, Kayce, and John. As someone who has been around the Duttons, how do you think Ryan feels about that family as a whole?
Ian Bohen: We don’t know about his past. He doesn’t have a wife, so this is his surrogate family. I get to play with him wanting to participate in the drama that is sometimes violent and awful because that could be at least more exciting than nothing. He might be willing to take that, and he lives sort of vicariously through the relationships in the family without getting to be in it. I imagine there’s longing and remorse and regret about his family that he’s either lost or lost connection with. It’s like going to the movies, if you will. And then the movie ends and you have to go home to the bunkhouse. That does sound a little sad now that I hear it out loud, but that to me is how he deals with what’s going on in the family. He can watch the movie, but he can’t be in it.

With every season of Yellowstone, there’s always a lot of action. What can we expect in these final episodes? The Duttons have a lot going on with Roarke and Willa Hayes trying to take their land. There’s a lot of play here.
Ian Bohen: We’re obviously not allowed to give too much away, but what I can do to answer this question is tell you in the season that you just described, it’s so thrilling and so immediate, edge of your seat type of excitement that we can’t do that all the time consistently. We have to mutate it. You’re going to have the same level of thrill, but it’s going to be in a different way so much so that it will grab you intellectually, psychologically, and it will make you think about the future. It’s like the shot in The Shining where use zoom the camera out on the lens and you push the actual camera in. It looks like the wall is getting closer to you, and it’s like when you realize the person’s mind is blowing up. We’re going to do that and give you that same thrill without necessarily having a giant gun battle or kidnap torture scene. It’s going to dismantle your mind and get you ready for: what does this mean for later? It’s going to be the same but different, if that makes sense.

The show has been renewed for season 4. Is there anything you really want to touch upon with Ryan in future episodes?
Ian Bohen: You’re going to see things happen in the remaining episodes of this season that will let you know what those things are going to be. That will be shown, so then you’ll be able to go, oh, wow, I can get what he’s going to do.

Ian Bohen
Ian Bohen stars as Ryan on ‘Yellowstone.’ (Paramount Network)

Yellowstone is a very physical show with horseback riding and everything. Was that something that was familiar to you or were you a rookie?
Ian Bohen: I was fortunate that I grew up riding horses, and I was very comfortable on them. I was able let Taylor know that whatever he wanted to put in the script regarding horses and riding I can do that. It makes it so much easier for the production when they can plan how they’re going to do it. It becomes fun to do what you know how to do in cool ways.

The setting alone on Yellowstone is just absolutely stunning. I want to go to Montana now. What’s it been like embracing Montana and that way of life?
Ian Bohen: As a kid, all I wanted to be was a cowboy. I would set up a sawhorse or crates or boxes, throw blankets over them, and pretend that was my horse and create a world of gun-slinging and riding. That’s all I ever wanted to do and be. If you think hard enough about something, eventually it sort of manifests. So here I am… I’m looking out down this valley in Montana, and you go to work and go to the barn or the ranch and you’ve got the characters, and it’s literally a dream come true. There’s no shoe that drops. You just have to breathe it in and enjoy it and be peaceful and let yourself have the moment. And that’s every day. It is fantastic. It’s cold in the morning, it’s hot in the afternoon, and it’s cold at night. There’s different kinds of animals, the seasons change, and there’s a tempo in the way that the world moves around this area. You’re just kind of a little ingredient in it. You’re in the system. So if you’re aware of it and you listen to it, you become part of it. It feels very good. Come to Montana and hang out and just be in the world. It’s spectacular.

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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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