Mum who spent three years disappointed with 'blue' B&Q cabinet peels off film to discover real colour

A MUM who spent three years disappointed with her "blue" cabinet was left stunned after peeling off its protective film to discover the real colour.

Kayleigh Greer had no idea the B&Q drawer unit was actually the colour she had wanted – but just hadn't realised she was supposed to pull off the blue film to uncover it.



The 35-year-old had even asked if the store had any other colours, but accepted she was stuck with the "blue" one.

She brought the cabinet home in the summer of 2016, irked that it didn't match her and husband Darren's grey and silver bedroom.

But they stuck with it and three years later, while the mum-of-three was doing a deep clean, were staggered to find the cabinet has been grey all along.

Kayleigh, of Stevenage, Hertfordshire, said: “I never had any suspicions the blue colour was a protective film.

“I knew there was white tape along the top of each drawer which I thought was protection and would eventually need pulling off.

“Then I was deep cleaning the bedroom the other day and I was down near the cabinet vacuuming and I thought ‘while I’m down here, I may as well finally peel off the tape’.


“But as I started to peel, I noticed the blue film had lifted and I panicked and thought I had ruined unit.

“But I just kept peeling and it kept coming off. Underneath it was a really nice grey. It looks amazing."

I never had any suspicions the blue colour was a protective film

After pulling the film off the entire unit, Kayleigh went downstairs with the blue plastic heaped in her arms – much to the shock of Darren, 48.

The dad, who had been looking after their boys Taylor, eight, Greyson, 17 months, and Felix, 16 weeks, rushed upstairs to see what Kayleigh had done.

Kayleigh said: “Darren was downstairs with the kids and I came down with all this blue film scrunched up in my arms.

“He asked me where it had come from and when I told him it had come from the cabinet he burst out laughing before rushing upstairs to see what I’d done.

“He thinks it’s amazing. He prefers the cabinet now to before."

While the revelation came as a bit of a shock, Kayleigh says it’s like they’ve got a brand new unit "without spending a penny" – which now matches their other furniture.


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Comcast Finally Strikes a Deal to Offer HBO Max to Xfinity Cable Subscribers

HBO Max launched today, bringing a new option to the crowded offering of streaming services. Though the new endeavor from WarnerMedia had already struck deals with a variety of cable providers, streaming services, and various devices to offer access to HBO Max, there was one huge holdout: Comcast. Thankfully, that changed today with a last minute deal that now allows Xfinity customers to access HBO Max through their Xfinity cable services and gives current HBO subscribers access for free.

Comcast and WarnerMedia announced the HBO Max deal in an official press release today, just in time for subscribers to get access to the streaming service on launch day. Comcast customers with Xfinity X1 and Flex services will be able to download the HBO Max app through their cable boxes sometime in the future, but they’re still working on the logistics of making that happen. Meanwhile, Comcast customers who already subscribe to HBO will be able to access HBO Max immediately through their preferred devices by way of their Xfinity subscription, just like many other streaming apps with ties to cable packages.

Rebecca Heap, Senior Vice President, Video and Entertainment at Comcast Cable said in a statement:

“X1 and Flex bring our customers an unmatched depth and breadth of live, on demand and streaming entertainment, and we look forward to partnering with WarnerMedia to integrate the HBO Max app on our platforms alongside close to 200 other streaming services – all searchable with the award-winning Xfinity Voice Remote.”

Meanwhile, Rich Warren, president of Warner Media Distribution, added:

“We’re thrilled to cap off the excitement of today’s launch by adding Comcast’s Xfinity to our roster of distributors who are now offering HBO Max to their customers. This deal marks another important step in the distribution of HBO Max and provides millions of Xfinity customers with access to the product.”

As a current Comcast subscriber, I was prepared to end my HBO subscription through Xfinity and potentially my cable service altogether if they didn’t figure out a deal to offer HBO Max. Thankfully, I don’t have to worry about that anymore, and I’m glad it’s so easy for me to get access this way, even if it took until the last possible minute for a deal to come together.

HBO Max joins the likes of Netflix, Amazon Prime Video, Amazon Music, HBO, YouTube, EPIX, STARZ, Pandora and many other services that are accessible through Xfinity platforms. Customers with X1 Xfinity and Flex also have early access to NBCUniversal’s new Peacock streaming service before it’s available to everyone in July.

So if you have an HBO subscription through Comcast, get signed up and start watching a bunch of new streaming content, including the surprise availability of the Harry Potter franchise, which previously wasn’t going to be available right away on the service.

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HBO Max Conjures Up All 'Harry Potter' Films to Stream on Launch Day

Harry Potter weekends are back, baby. HBO Max has worked its magic and summoned all eight Harry Potter films to stream the day of its Wednesday launch. Warner Media has been trying to buy back the streaming rights to the Harry Potter franchise from Universal, which has owned the exclusive rights to stream the series since 2016, and on the day of the HBO Max launch, was able to accio the Harry Potter films back the company to which they belong.

TV Line reports that HBO Max has added all eight original Harry Potter films to its library, just in time for its anticipated Wednesday launch. Every Harry Potter film from The Sorceror’s Stone to The Deathly Hallows Part II will be available to stream on HBO Max — but bad news for Fantastic Beasts fans (if you exist): the second Fantastic Beasts movie, 2018’s The Crimes of Grindelwald is only available on “HBO Max via the HBO service.”

The Harry Potter films used to be a staple of ABC Family, and then Freeform, reruns, with the Disney-owned cable network playing the magical films in “Harry Potter Weekends” for months straight. But since Freeform lost the rights to air the franchise in 2018, we’ve been bereft of our favorite boy wizard, and typical streaming deal complications kept Harry Potter off the air and off many streaming platforms. The streaming rights to the Harry Potter series have been in question since Universal struck a deal in 2016 to secure the exclusive on-air and digital rights to all Wizarding World films.

Warner Media has been actively trying to buy back those rights for years, in what industry analyst Matthew Ball called a “big, costly, and important move” as the company prepared to launch its new streaming service HBO Max, which would have to compete with streaming giants like Netflix, Hulu, Amazon Prime, and the intimidating fellow newcomer Disney+, which has all of the Disney, Marvel, and Star Wars films in its arsenal.

WarnerMedia has all the Warner Bros. archive at its disposal, yes, and the coveted (and costly) streaming rights to Friends, but Harry Potter is probably the only franchise that can stand up to Marvel and Star Wars combined. Because of that, HBO Max content chief Kevin Reilly told Business Insider that getting the Harry Potter films for HBO Max was a “high on our priority list.” And it seems they were able to pull it off at the last minute.

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'Out' Trailer: Disney+ Debuts Heartwarming LGBTQ Pixar SparkShorts Film

Pixar has been steadily churning out animated shorts through its SparkShorts program, an initiative dedicated to cultivating new talent through short films, that has allowed Pixar animators to experiment with more than the 3D animation the studio is known for. Everything from hand-drawn animation to new styles of CG animation are on display in the shorts, which first debuted theatrically and on YouTube last year before moving to Disney+. And Disney+ has kept the program alive, steadily releasing new shorts that remind us of the magic of Pixar shorts.

Out Trailer

Out is a new Pixar SparkShorts short film that broaches the uncomfortable subject of coming out to one’s parents. In a beautiful, warm hand-drawn animation style that resembles that of a children’s coloring book, the Out trailer follows a man named Greg who chats with his dog Jim while holding a framed photo of himself and his boyfriend, Manuel. Greg is talking his way through coming out to his parents, when the doorbell rings and his parents arrive to help move him out of his house. But in a panic, he leaves the picture frame to be discovered by his mom, in a cliffhanger ending for the trailer. The trailer is sweet and short (what else can you be, while teasing a Pixar short film?) and even features a cameo from Toy Story character Wheezy (check out the penguin in Jim the dog’s mouth).

Pixar’s SparkShorts was launched in 2019, with the three inaugural short films getting a theatrical and YouTube debut before getting added to Disney+ upon the platform’s November 2019 launch. The first three shorts, Float,Purl, Smash and Grab, were soon joined by Kitbull,Windand Loopwhich debuted on Disney+ in the following months. The program is meant to further the informal practice of Pixar shorts as a medium for rising Pixar animators to experiment with new technologies and hone their storytelling skills, which were then shown before Pixar theatrical releases. But those Pixar shorts were soon replaced by Disney or Simpsons shorts, with the beloved experimental Pixar shorts moving online.

“The SparkShorts program is designed to discover new storytellers, explore new storytelling techniques, and experiment with new production workflows,” President of Pixar Animation Studios Jim Morris said in a statement when the program was launched in January 2019. “These films are unlike anything we’ve ever done at Pixar, providing an opportunity to unlock the potential of individual artists and their inventive filmmaking approaches on a smaller scale than our normal fare.”

You can watch Out on Disney+ now.

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'The Simpsons' Aspect Ratio Problem on Disney+ Will Finally Get Fixed on May 28

When Disney+ launched last fall, one of the more appealing pieces of the streaming service’s library of content was access to every single episode of The Simpsons (with one major exception). However, that ended up being a disappointment because a bunch of The Simpsons episodes that were originally broadcast in the 4:3 full screen aspect ratio (before high-definition, widescreen televisions came along), had been zoomed and cropped to fill a 16:19 widescreen format.

The Simpsons aspect ratio problem resulted poor image quality and even the loss of some visual gags, and after outcry from fans, Disney+ vowed to fix the issue by the end of this month. Thankfully, that moment is nearly upon, and Disney+ has confirmed that the first 19 seasons and part of the 20th season of The Simpsons will be restored to their proper aspect ratio starting on May 28.

Here’s the official announcement from Disney+ and The Simpsons showrunner Al Jean:

— Disney+ (@disneyplus) May 20, 2020

The reason this fix only applies to the first 19 seasons and some of the 20th season is because halfway through that season, The Simpsons started broadcasting in a widescreen high-definition format. So every episode after that was made for the 16:9 aspect ratio. It’s a shame it took this long to make this adjustment, especially when FX Now already had the entire library of The Simpsons presented in the correct aspect ratio. But at least it’s getting done.

When Disney+ announced they’d be fixing The Simpsons aspect ratio problem, they also teased “new features and additional viewing options,” so maybe we’ll get some of the episode commentaries that were previously available when The Simpsons was available to watch over on FX Now.

One new addition to the Simpsons library on Disney+ will be a theatrical short film that was released back in 2012:

— Disney+ (@disneyplus) May 20, 2020

The Longest Daycare was attached to screenings of Ice Age: Continental Drift in the summer of 2012, and it went on to be nominated for an Academy Award for Best Animated Short Film. Funnily enough, it ended up losing to Disney’s short film Paperman. You can start watching it on May 29.

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Film Academy is considering postponing 2021 Oscars

Film Academy ‘is considering postponing 2021 Oscars’ amid ongoing pandemic… and movies that debuted on a streaming service will be eligible for a gong for the first time

  • The 93rd Academy Awards are set to take place on February 28 2021  
  • Last month, Academy President David Rubin said it was too soon to know how the 2021 Oscars could change
  • Traditionally the Academy of Motion Picture Arts and Sciences requires at least a seven-day run in LA theaters for movies to be eligible for a gong  
  • But picture houses in America’s second city have been closed since mid-March, with no date set for them to reopen 
  • For the first time, and only this year, movies that debuted on a streaming service without a theatrical run will be eligible  
  • Here’s how to help people impacted by Covid-19

The Film Academy is considering postponing the 2021 Oscars amid the ongoing pandemic, after rules were relaxed to allow streamed films to be considered.

The 93rd Academy Awards were set to take place on February 28 2021. 

But multiple sources have claimed that the ABC telecast of the Oscars will be moved to a different date, yet there is currently no definitive plan in place.

Up in the air:  The Film Academy ‘is considering postponing 2021 Oscars’ amid the ongoing pandemic… (Brad Pitt pictured with his Oscar in February)

‘It’s likely they’ll be postponed. The details have yet to be fully discussed or even formally proposed’, a source told Variety on the condition of anonymity.

Another source said that the ceremony date remains unchanged.

For the first time, and only for this year, movies that debuted on a streaming service without a theatrical run will be eligible for a gong. 

When new rules were announced in April because of COVID-19 severely affecting the movie industry and movie-goers, Academy President David Rubin said it was too soon to know how the 2021 Oscars could change.

Things have to change: For the first time, and only this year, movies that debuted on a streaming service without a theatrical run will be eligible for an award

Hollywood’s biggest night: Steve Martin and Chris Rock are pictured at the last Academy Awards in February 

‘It’s impossible to know what the landscape will be,’ he told Variety. ‘We know we want to celebrate film but we do not know exactly what form it will take.’ 

Last month it was announced that movies that skip the big screen will be allowed to contend for Oscars this year, the Academy said in a significant rule change forced by the coronavirus pandemic.

Traditionally the Academy of Motion Picture Arts and Sciences requires at least a seven-day run in Los Angeles theaters for movies to be eligible for Hollywood’s biggest prize.

Making it happen: Last month it was announced that movies that skip the big screen will be allowed to contend for Oscars this year as long as they had a planned theatrical release (Ellen DeGeneres is seen at the 2014 event)

But picture houses in America’s second city have been closed since mid-March, with no date set for them to reopen.

‘Until further notice, and for the 93rd Awards year only, films that had a previously planned theatrical release but are initially made available on a commercial streaming… platform may qualify,’ the Academy said in a statement.

Debate has raged in recent years over Oscar contenders produced by streaming giants such as Netflix, including last year’s ‘The Irishman’ and 2018’s ‘Roma.’

Until now, the films have been shown at theaters for brief windows before moving online, in order to remain eligible.

‘It’s impossible to know what the landscape will be,’ Academy president David Rubin told Variety last month. ‘We know we want to celebrate film but we do not know exactly what form it will take.’ Jimmy Kimmel is pictured at the awards in 2018

The Academy, seen as the apex body of the Hollywood film industry, insisted that its commitment to viewing ‘the magic of movies’ at a theater is ‘unchanged and unwavering.’

‘Nonetheless, the historically tragic COVID-19 pandemic necessitates this temporary exception to our awards eligibility rules,’ added President David Rubin and CEO Dawn Hudson.

Once theaters reopen, the Academy will set a date from which the rule change will no longer apply, and standard theatrical qualifying requirements will return.

But films released at theaters in major cities outside Los Angeles will also become eligible.

Under other new rules agreed by governors during an April 28 video call meeting, sound mixing and sound editing Oscars will be merged.

Allowances will be made for scrapped film festivals that serve as qualifying events for movies in certain categories.

With the pandemic threatening to wreak havoc on Hollywood’s award season, industry bodies have been scrambling to adapt to the closure of theaters and postponement of major titles.

In March the Golden Globes became the first to relax entry rules, allowing films that had planned ‘a bona fide theatrical release’ to compete even if the release was later scrapped. 

Major US movie theaters say they do not plan on reopening until the summer, with some exceptions in states like Georgia and Texas that have already allowed theaters to reopen. 

The Screen Actor’s Guild Awards are reportedly also changing their rules to consider honouring films that did not premiere in theaters.

According to an email sent to studios on Thursday, films that were originally scheduled to be released in theaters that were forced to debut digitally due to the coronavirus pandemic will now be eligible for nomination.

The 2021 awards season has been thrown into chaos due to the coronavirus pandemic, with the Academy Awards reportedly set to be delayed by four months to allow for a wider range of releases.

In the email obtained by Variety, SAG are planning to follow temporary new criteria recently set by the Academy of Motion Picture Arts and Sciences. 

Once theaters reopen, the Academy will set a date from which the rule change will no longer apply, and standard theatrical qualifying requirements will return. Reese Witherspoon is seen in 2006

This would allow for films that were streamed or released for purchase on a Video On Demand (VOD) service before being played in theaters to be considered for awards.

The email said: ‘We are still revising our film release criteria but will be following the Academy’s rule change to allow titles with a planned theatrical release to be eligible if streamed or released on VOD first.

‘Full language will be announced in June along with the rest of our rules.’ 

It’s also thought that past requirements that studios provide a DVD copy for SAG members to view when considering nominations will also be relaxed, with ‘digital screeners now permitted during the pre-nom voting phase.’ 

The SAGs are one of the more recent ceremonies to appear in Hollywood’s annual awards season, with its first ceremony taking place in 1995.

Nominations for the awards come from two committees, one for film and one for television, each with 2100 members of the union selected at random each year.

The full group of members, which can be in the hundreds of thousands, are then asked to vote for each award.  

Big changes: The Screen Actor’s Guild Awards are reportedly changing their rules to consider honouring films that did not premiere in theaters

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'Hannah Gadsby: Douglas' Trailer: The Stand-Up Comedian Returns to Netflix After the Success of 'Nanette'

Two years ago, Australian comedian Hannah Gadsby took the world by storm with her Netflix stand-up special Nanette, an unconventional mixture of comedy and tragedy which earned rave reviews and scored Gadsby an Emmy for Outstanding Writing and a Peabody Award to boot. Now she’s heading back to the streaming service with Hannah Gadsby: Douglas, a new special which directly addresses Nanette‘s success and continues to explore other humorous corners of Gadsby’s brain. Watch the trailer below.

Hannah Gadsby: Douglas Trailer

Nanette was intended to be a mic-drop finale for Gadsby’s decade-plus-long stand-up career. But her atypical structuring, give-no-fucks attitude, and heartbreakingly real stories in that show resonated with audiences in a huge way, and catapulted her to a level of fame she’d never before attained. So she changed her plans, and wrote and previewed a new special in March of last year before filming it for Netflix as a follow-up. (It’s called Douglas, and it’s named after her dog, which you can see some homages to on the stage around and behind her in the trailer.)

Trailers can be deceptive – especially for comedy, and especially for comedians with styles like Gadsby’s, which aren’t always best suited for quick bursts of jokes that can be easily digested in two minutes. Nanette was more of a slow burn (a weird thing to say about a comedy special, but true nonetheless), and an early review of the Douglas preview in Australia paints a promising picture for this special as an equally complex experimentation with form and content:

The tension Gadsby so expertly deconstructed and created during Nanette is less baked into the show’s format, although Douglas does see her explore some personal revelations – which I won’t disclose here – with empathy, wit and some extremely relatable metaphors.

But at its core Douglas is about names and labels, and how they can mean a lot, or very little. They can shape the world, be oppressive and belittling or even a little bit liberating, whether it’s pedants questioning Nanette’s classification as ‘comedy’, living in a world categorized and named by long-dead men or, perhaps, a medical diagnosis.

Hannah Gadsby: Douglas premieres on Netflix on May 26, 2020.

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'One Punch Man' is a Hilarious Anime Parody of Superhero Stories

(Welcome to Ani-time Ani-where, a regular column dedicated to helping the uninitiated understand and appreciate the world of anime.)

The term “superhero fatigue” is usually brought up and discussed when a new superhero movie hits theaters. Now that we have no superhero movies (or movies of any kind!) coming out for the next few months, many people are starting to miss having a big, bombastic action movie starring people with superpowers. In the meantime, you can always turn to anime to provide enough exhilarating fun to forget that you’re staring at your TV and not the silver screen.

This brings us to One Punch Man, one of the few shows of the last decade that managed to cross over to the mainstream, or at least as close to it as an anime goes. Just like its titular hero, One Punch Man the anime comes from an unlikely origin story. It is based on a webcomic from a no-name manga author that goes only by the moniker ONE. The story follows a young, bald, average-looking man called Saitama. He’s trained so hard that he’s become the strongest being in the universe, a man capable of defeating anyone or anything with just one punch (hey, that’s the title of the show!). Though he’s a superhero for fun, Saitama no longer finds any joy in doing what he does, his only wish is to face someone that can challenge him.                         

We’ve covered some heavy-handed shows in this column, so if what you need is a good laugh, don’t look any further, because One Punch Man offers all the thrills of a high-budget Marvel movie, but with an absurd amount of laughs not really found in the genre. 

What Makes It Great

It is often said that with anime you need to watch 3 episodes of a show before deciding whether to commit to it or drop it, but in the case of One Punch Man all you need is half the first episode. From its opening scene, the show takes what we know about both the superhero and the shonen genres, and turns it on its head. When a monster starts attacking a city and heroes get defeated, our only hope is a single hero named Saitama. He looks nothing like Superman, Iron Man, or even Goku. Indeed, he’s an average-looking guy, not really tall, talks with an awkward and not very commanding voice, and very much unlike Goku — he’s bald. Yet he moves at incredible speed to save a little girl, and also completely obliterates the monster with a single punch. But instead of throwing his fist up in the air to celebrate his victory, he falls to his knees and screams “Damn it!” because, once again, he only needed one punch to kill his enemy. 

There are tons of tropes and clichés normally found in superhero and shonen stories that One Punch Man subverts and pokes fun at, and it all starts with this one scene and this one guy who has grown so powerful he no longer finds any joy in life. It’s pretty much like the end of an RPG video game where you find that nothing can kill you and the game is no longer challenging, presented with a fair amount of Looney Tunes-like antics and physics. 

You would be forgiven for thinking such a concept is pretty limited and would get tired really fast. But despite knowing how every battle will end up, One Punch Man finds a way to subvert expectations and find new ways to make an indestructible guy kill monsters fun. This is mostly done by using Saitama as a plot device to help the show’s ensemble cast grow and develop. From characters who are inspired by seeing Saitama’s incredible feats of strength, or those who think he’s a fraud because there’s no way a guy can get that powerful with such a simple routine. There’s also the show’s focus on the mundane life of Saitama. Because he’s a hero for fun, his biggest worries are not what the villains are up to, or how to save the world, but how to pay rent and whether or not he can make it in time to the big sale at the supermarket, and the show manages to make the lack of tension work because it’s constantly providing laughs. 

Then there’s the animation. You know how shows like Gundam try to comment on the horrors of war, but end up making the robot fight scenes look so cool you end up wanting more despite how traumatic they are for the child pilots? One Punch Man goes the opposite direction. It uses a bit of an unconventional team of animators, grabbing freelancers from a variety of backgrounds that are masters of their different crafts to give us incredibly epic action scenes while constantly cutting away to Saitama looking superbly bored. That way it comments on how, where every other person on the planet would look at a fight scene like this and think “wow that is so cool” Saitama finds no joy in it because there is no challenge or difficulty. As Jacob Chapman said in his review of the first season finale for Anime News Network, it’s like if you take the nonsensical way every young kid tries to describe the big battle in a superhero movie, and turn it into reality. 

What It Brings to the Conversation

Though not incredibly deep by any stretch of the imagination (this is still very much a comedy, after all), One Punch Man does try to comment on heroism and what exactly makes a hero. During much of the first season, we see Saitama fight against incredible opponents and save citizens of various cities, only for the people to either credit someone else with saving them, or outright think Saitama cheated somehow. He pretty much takes a Batman in The Dark Knight approach and agrees to take all the blame, as long as people don’t lose hope in heroes.

That being said, the show also has something to say about a world where superheroes are organized. Unlike My Hero Academia where the vast majority of people have superpowers, here it is regular people with out of the ordinary skills, people with cybernetic augmentations, and a handful of superhumans that become heroes. But the way they are organized, with a ranking based on tests and popularity, means that certain heroes gang up on newcomers to prevent them from going up in the charts, which is not very heroic. Likewise, season two, though underwhelming animation-wise, does offer the closest the show has to an antihero. We are introduced to a guy named Garou, which essentially acts as the Vegeta to Saitama’s Goku, and wants to destroy heroes because he’s always seen monsters and villains as the underdogs, and the heroes as bullies. The show doesn’t spend too much time with this, but it’s an interesting subversion of superhero tropes, and of course, it comes with fantastically funny visual gags. 

Why Non-Anime Fans Should Check It Out

Like My Hero Academia, you don’t have to know a lot about anime to get into One Punch Man, as its parodying of the superhero genre is universal enough that anyone can get into it. The jokes land incredibly well and the animation is gorgeous and hype-building. That being said, be warned that the show sadly does suffer from outdated racial and queer stereotypes that are completely out of place, but past that is a world full of epic fights, and one man who can’t catch a break.

Watch This If You Like: My Hero Academia, Kick-Ass, Deadpool

One Punch Man is now streaming on Netflix and Hulu.

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Netflix's Live-Action 'Cowboy Bebop' Has Already Started Planning Season 2

Netflix’s live-action Cowboy Bebop has had a rocky road to the small screen, with production shutdowns due to injuries sustained by star John Cho and now the ongoing coronavirus (COVID-19) pandemic. But that hasn’t stopped writer and executive producer Jeff Pinkner (Lost, Fringe) from keeping his eye on the yet-unconfirmed second season. The live-action adaptation of Shinichir? Watanabe’s classic space opera anime hasn’t even finished production of its first season, but Pinkner has revealed that he’s already begun plans for Cowboy Bebop season 2.

The forced shutterings of productions all across the world have fans worrying whether we’ll ever see some of the most anticipated movies and TV shows. But that’s one thing we won’t apparently have to worry about with Netflix’s Cowboy Bebop. Writer and executive producer Jeff Pinkner confirmed that he and his team have aready started planning season 2, despite the first season’s frequently-halted production.

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Shudder's Streaming 'Creepshow' TV Series Will Air on AMC Next Month

If you’re a horror fan, you really should subscribe to the Shudder streaming service. But you don’t need to be a subscriber to check out their latest headlining original show. Creepshow, the series revival of the classic George Romero and Stephen King horror anthology film from 1982, will soon air on the AMC network. And by soon, I mean next month.

Creepshow has proven to be a major success for Shudder and AMC wants a piece of that action. The network, which owns Shudder and has a close working relationship with Creepshow showrunner Greg Nicotero (he’s an executive producer on the Walking Dead franchise) will air all six episodes of the show next month, starting on Monday, May 4 at 9:00 P.M. ET. Two episodes will air back-to-back each week each week, with the final two arriving on May 18. And since each episode consists of two 20-minute horror stories, that’s a whole lot of Creepshow.

Says Sarah Barnett, president of AMC Networks’ Entertainment Group and AMC Studios:

Creepshow was a phenomenal success in its first season on Shudder. As we continue to experiment with show sharing across our portfolio of defining brands at AMC Networks, it felt like a no brainer to give fans of Greg Nicotero’s masterful zombie work on The Walking Dead Universe a chance to see this, his passion project. Greg’s Creepshow is a brilliant homage to the original classic horror film and we couldn’t happier to air it on AMC, or more grateful to our colleagues at Shudder.”

Like any horror anthology series, Creepshow can be hit-and-miss. But the hits are straight-up home runs, with an eclectic collection of filmmakers and actors working wonders in a low-budget playground where practical effects are king and gore is allowed to lubricate just about every single set (something I was able to witness firsthand). I do wonder if traditional television will the do the series a disservice, as one of the benefits of streaming is that you can immediately follow up one of the weaker segments with a much stronger follow-up. But I’m also happy to see a gory throwback like this getting prime real estate on a major cable network.

What’s left unsaid here is whether or not this move is part of a plan on AMC’s part to fill their schedule as the COVID-19 pandemic wreaks havoc on film and television production. The Walking Dead will not be able to conclude its current season and even season 2 of Creepshow has been shut down. Still, if this gets more eyeballs on Shudder, a service I have literally been talking about for years…well, that’s a minor silver lining.

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