Kevin Costner’s ‘The Gray House‘ To Open Monte-Carlo TV Festival The 63rd Monte-Carlo Television Festival, which takes place 14-18 June, has added a touch of star power. The Kevin Costner-produced civil war spy drama The Gray House will be this year’s World Premiere Screening. The limited series, which Costner’s Territory Pictures and Morgan Freeman’s Revelations
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Watching Chicago Fire has always felt nostalgic, even in the beginning. The pacing, the dialogue, and the often unrealistic (but still highly entertaining) storylines are reminiscent of the daytime soap operas that you might remember from spending sick days off school at your grandma’s house. To be clear, that’s the highest compliment a show could
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That was a philosophical debate that was long in coming. Stuart and Nina wrestled with a question that plagues many professional couples in dangerous jobs on FBI Season 6 Episode 9. In their case, the problem is on steroids, as there’s an infant son involved as well. And, just to ratchet things up a bit more,
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A sneak peek of Netflix’s 100 Years Of Solitude has been released. The hugely anticipated series adaptation of the Gabriel García Marquez novel bows on the streamer later this year. The multi-generational tale follows the Buendía family and tells the story of the founding of the mythical town of Macondo. The Spanish-language series was filmed
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SPOILER ALERT: This article contains details of the first episode of HBO‘s limited series The Sympathizer, which premiered on April 14. “All right, see you stateside,” says Robert Downey Jr’s Claude quips with some gallows humor to Hoa Xuande’s The Captain near the end of the first episode of HBO’s The Sympathizer as communist North
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Star and executive producer David Oyelowo and Lawmen: Bass Reeves creator, showrunner and executive producer Chad Feehan said Reeves’ family values were what made him stand out. Oyelowo plays Reeves, a U.S. Marshal after the abolition of slavery. “The way in for a global audience should be not just appealing to the sensibility of people
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For decades, Hollywood has struggled with the concept of the reboot. Not merely the “remake,” which was a fairly common occurrence ever since Hollywood figured out how to upgrade the technology of The Wizard of Oz (1910) and re-film The Wizard of Oz (1939) — now with sound and color! — but specifically, the reboot.  As in upgrading
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