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‘A Life of Color’ and’The Year The Earth Changed’ at David Attenborough



'A Life of Color' and'The Year The Earth Changed' at David Attenborough

Nothing in this world is more soothing than turning on a nature documentary and listening to David Attenborough’s calm, steady voice. This 94-year-old presenter, an insubstantial narrator, has become so ubiquitous that it feels weird to see a natural document without confidence as if trying to put on a shoe before realizing it was on the wrong foot. In fact, this month Attenborough’s Voice is producing two separate productions: Apple TV Plus’ documentary “The Year the Year the Earth Changed” (April 16) and Netflix’s “Life in Color” (April 22). . In both cases, he equally urgently emphasizes wonders and warnings, proving why he became an authority in the natural world.

“Life in Color” primarily focuses on the nature of wildlife and the location of wildlife around the world. Attenborough appears on the screen from time to time to admire one or two of the primary color parakeets, gently explaining the series, guiding viewers to capture three episodes of stunning scenes captured with a camera specially designed for this production to capture as much detail as possible. “Life in Color” is for anyone who appreciates a documentary of nature dazzling with the dignity on display. As lively as animal subjects, it’s easy to discern awe like in Attenborough’s voice that accurately describes what we’re seeing.

In contrast, “The Year Earth Changed” is much clearer about the role of mankind in the natural world. Directed by Tom Beard, the film recalls the last year of pandemic blockade by showing all the ways nature has flourished as human activity suddenly slowed down. A 48-minute documentary confirming human quarantine in a variety of locations for a month, two months, six months, a month, two months, six months, and a year. Make a compelling example of how much you can save. By adjusting our actions to coexist more peacefully with the animal kingdom

Beard and his various camera team members show turtles have full access to the beach for the first time in decades, penguins return to chicks in a short time without considering human herds, and dormant luxury safari sites are nocturnal. A fertile feeding ground for leopards that can abandon their hunting habits. Realizing how badly humans treat our surroundings every day, and how destructive it can be to everything else that lives there, is more than surprising and a bit depressing. Attenborough didn’t produce “The Year the Earth Changed,” but knocked him out to convey that message, so the team behind the documentary knows exactly what it’s doing.

Over the years, Attenborough and the projects he chose to participate have expressed awe of nature with increasingly terrifying warnings of man-made decline. Especially in 2016’s’Planet Earth II’, it has become inevitable. It is the sequel to’Planet Earth’ that changes the game. (Attenborough wrote and performed a narration for both. It says all about how Attenborough became synonymous with “Planet Earth.” There are two ways to cast Sigourney Weaver as the narrator for the first series of American broadcasts. It has not been repeated for the second time. .)

When “Planet Earth II” added certain “Cities” episodes, the decision to make it possible to capture life from all over the world as well as to make viewers understand how deadly climate change can be when it shows the incredible power of the production. , But how much damage has already been done. In one particularly terrible scene, the “city” shows exactly how terrible a turtle can be when humans drive the beach and build a highway next to it. It shows the fateful procession of babies navigating their busy streets. At the end of that episode and the series that followed, Attenborough chose a blunt conclusion. “The potential to see animals thrive in our city can be achieved globally,” he argues. “More than half of us now live in an urban environment. It is up to us that we decide to build a house for others.”

Attenborough became even more evident in 2020 with a movie that lent far more than an audio commentary. For Netflix, Attenborough produced “Life on Our Planet” as a “Witness Statement” after observing every corner of the Earth for decades. Then, in 93, Attenborough releases the film in Chernobyl. The remnants of the world ruined by man are scattered around him. “The natural world is fading,” he speaks directly to the camera and his rapping audience. “Evidence is everywhere. It happened in my life. I saw it with my own eyes.” Here Attenborough summarizes his worldview and mission in a concise sentence summarizing all of his recent projects.[This is] A story of how we made our biggest mistake-how can we correct it if we act now.”

Attenborough, who has spent his life making this conclusion, has become the unparalleled authority on the most pressing issues of climate change. Perhaps more importantly, in debates too often lost in hysterical denials of facts, he made himself an accessible and reliable voice of reason. His soft voice provides both comfort and quality assurance, so many can tune in to the show starring Attenborough. And even if they weren’t looking for a lesson on the value of conservation, Attenborough found a way to give him the patience, gravity, and undeniable expertise that made him unignorable.

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‘Love, Victor’ Season 2 Captures Parents’ Struggle to Accept Gay Son



'Love, Victor' Season 2 Captures Parents' Struggle to Accept Gay Son

Spoiler warning: Don’t read if you haven’t seen season 2 of “Love, Victor” streaming on Hulu right now.

The second season of ‘Love, Victor’ (a spin-off series on the 2018 groundbreaking feature ‘Love, Simon’) begins where Atlanta teenager Victor Salazar (Michael Cimino) tells his parents he’s gay, where the first stops. Start. . After waiting a year, audiences will finally see how Armando (James Martinez) and Isabel (Ana Ortiz) react to their son’s announcement.

no scary – No tears or screams, no accusations or rejections. But at first, neither parent accepts who Victor is. Armando at least awkwardly asks about his girlfriend (i.e. an attempt to convince him that Victor can be with a girl) and wonders out loud when he decides he’s gay.

But Isabel remains silent. When Victor finally asks her to say something, she whitens.

“Well, I think I should get some rest,” she said, barely listening. “And we can talk about it tomorrow.”

When the episode ended 10 weeks later, Victor and Isabel still hadn’t talked about it. As the season begins, Armando attends a meeting of the local chapter of the LGBTQIA+ alliance support group led by Simon’s father Jack (Josh Duhamel), working to understand his son, while Isabel tries to accept the fact that Victor is gay. really struggling for

Co-showrunner Brian Tanen said, “It’s dishonest when he comes out and everything goes well. “In 2021, parents just want to hug their children and say that everything will be fine. But our job on this show was to tell a different opening story than what Simon had in the movie.” – Simon’s parents understood and embraced him almost immediately.

“Love, Victor” shows a different course, which is a bit more subtle. When Victor begins his first same-sex relationship with boyfriend Benji (George Sheer), Isabel doesn’t spend time with Benji, not to mention flinching and admitting that she’s dating her son.

Ortiz said about Isabel’s arc in season 2, “It’s going to sound a little weird, but I was actually a little excited when they told me,” Ortiz says. “It was really exciting to play. It was really different.”

In the stories that usually come up, a mother is someone who understands and is committed to her LGBTQIA+ children. Ortiz played the role perfectly as Hilda Suarez, fiercely protecting her young gay son Justin (Mark Indelicato) in ABC’s beloved telenovela “Ugly Betty.” So she enjoyed the twist.

“I thought Continuously” Ortiz says about the difference between Hilda and Isabel. “They are two sides of the same coin, right? Hilda will fight anyone who sees Justin in the eye. Isabel, on the other hand, thinks people are too clingy to her, her family, and to thinking of her as a mother. ‘How can you raise a gay son? If it were me, I wouldn’t make him gay. ‘ I’ve heard quite a bit from people in my community. ‘I do not know, no — Say he can’t be gay. Tell her you can’t do that. ‘”

Ortiz saw these dynamics at work within his family. She conveys how her late cousin Freddy devoted herself to her paternal grandmother Ramona, even though for a long time Ramona could not accept the fact that Freddy was gay. That dynamism helped inform Ortiz’s understanding of why it took Isabelle so long to support Victor.

“She’s not a monster,” Ortiz says. “She loves her son and loves her family. The road that got me in was to think about Freddie and Ramona and how much we all loved her in spite of its flaws. She was still there for Freddy, but there was always a little thing until it wasn’t there. Until the light changes.”

Ana Ortiz as Victor’s mother Isabel and George Sear as Victor’s boyfriend Benji in “Love, Victor”
Courtesy of Michael Desmond/Hulu

The “Love, Victor” writers also mined personal experiences that come to their parents as they craft Isabel’s journey this season. Postpone a difficult conversation with Victor to another day with Isabel’s initial reaction.

“The idea that there is no answer to people who don’t accept the idea that their parents are coming out right away is something we hear over and over,” Tanen says. “The idea that the parents are just hesitant and don’t want to say one side or the other is a bit shocking for A and B doesn’t want to say anything negative, but they are traveling.”

One of the biggest stubbornnesses between Victor and Isabel is Victor’s refusal to tell his brother Adrian (Mateo Fernandez) that he is gay. This is a development that stemmed from a small argument when “Love, Victor” first moved out of their home. From Disney Plus to Hulu Before Season 1

Tanen said this move helped the show, allowing Season 2 to portray the sex life of Victor and Benji in a rare, candid way, but decided that “Love, Victor” couldn’t be on a more “family-friendly” Disney Plus. “It sparked an interesting conversation in the writer’s room about whether LGBT issues are inherently more adult.”

“They are in some ways a discussion of sexuality, and sexuality is more of an adult subject,” he continues. “We wanted Isabel to think about whether it’s okay to have these conversations with the kids. Of course it is. This is a conversation about people. are.”

When Adrian learns that Victor is gay, he accepts it without thinking again, and Isabel faces the biggest obstacle between her and Victor: a lifelong commitment to the Catholic Church. Early in season 2, Isabel also asks her bride about Victor. He advises her to help her son get back to Jesus, that is, stop homosexuality.

“When Victor agrees to be reluctant to come out, she doesn’t want to hear it,” Tanen says. “Looking at her face, she wants the bride to turn her around on this matter. Her heart and mind are elsewhere.”

Later, when Adrian tells Isabel that the bride hinted that Victor’s soul is in danger, there is the same light switch moment Ortiz’s grandmother had with Ortiz’s cousin Freddy, and she marched into the bride’s room to announce him. do.

“I was brought up to believe in a lot of ugly things, Dad,” she says. “It seems like it will take me to forget the rest of my life, but I will.”

Ortiz liked the scene, but said the director had to keep reminding her to reverse her reaction. “My instinct is, ‘Free me!'” she said with a laugh. “But that’s not Isabel. She still conquers a lot more about it.” (Still, Tanen remembers “people clapping” after the scene ended while she was reading the table for the episode.)

Tanen, who’s been writing Ortiz’s scenes after “Ugly Betty,” wrote the second episode of the season, in which Isabel finally tells Victor the desperate story he wants to hear: “I accept you, Victor. I love every part of you.”

That kind of happy ending doesn’t reflect every parent’s reaction to their child’s sexuality, but Tanen says it fits the larger mandate for “Love, Victor” to avoid the trauma of coming out.

“We want to feel inspired and uplifted at the heart of the show,” he says. “It can be an emotion in a writer’s room when people recall their journey, but it can also be incredibly cathartic. And it’s also a chance to make some wishes come true. Even if it’s not perfect, it’s an opportunity to rewrite history to show the LGBT audience, ‘This is the way to go.'”

Even telling queer stories in place empathy can lead to unexpected places.

“It is now a little easier to talk to someone in the family. [homophobic] Look,” she says. “Before I go to dinner and have a screaming argument. Now I think we can talk to them and take a closer look at them from their side.”

“I think it’s really important to have those conversations. “Now everyone is so angry. I mean, the world is upside down. But when it comes to family, when it’s a loved one… You can keep these conversations calm. And you can watch the show with them and say, ‘Now we can talk about it.’”

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‘Catch up on Kardashian’ is over, but the marathon continues at E!



'Catch up on Kardashian' is over, but the marathon continues at E!

After 20 seasons, the Kardashian-Jenner family signed “Keeping Up With the Kardashians,” with the series finale airing Thursday night heralding the end of the reality TV era. But that’s good news. Dolls: Long after the family moves to Hulu, fans can watch the “KUWTK” marathon on E!

E! reserves the rights to the juggernaut franchise Variety I found out that the NBCUniversal cable company owns the “Keeping Up” library and can continue to air episodes even if the family is deeply involved in their new contract with Hulu.

In addition to being able to air on E!, seasons 1 through 19 will continue to stream on Peacock and Hulu, with season 20 available on both services in 2022 under existing streaming deals.

Throughout the original run of “KUWTK,” the reality show was able to binge on Hulu. Hulu’s high engagement among its consumer base has proven to be a good synergy and is part of the reason families are moving to Disney-owned streaming services.

Kardashian-Jenners is expected to bring new shows to Hulu and Disney’s Star international streaming service starting later this year, but details about the content, format, or number of projects have not been announced. Announced in December 2020, the deal was set up with the families of Kris, Kim, Kourtney, Khloe, Kendall and Kylie.

“Keeping Up” aired in 2007 and revolutionized reality TV, popular culture, and celebrity definition. The flagship show ran 20 seasons and 9 spin-offs, featuring 440 episodes and approximately 20,000 hours of footage for a total of 38 seasons. E!’s smash hit “KUWTK” was a major player on Cabler in its final season, and as the series aired in 90 and 20 countries, it garnered an impressive audience and major advertising dollars not only domestically but also worldwide. other languages.

Last deal the Kardashian-Jenners made with E! Networks and families have commented on the sizable salary, but it was reported at $100 million in 2017. Hulu trading terms were not disclosed.

Although it cost the family quite a bit, E!’s return on investment has been worthwhile not only for its fresh content, but also from its well-received iterations, even if it’s already aired multiple times. The marathon in “Keeping Up” has been a staple of E!, filling a lot of airtime almost every day.

E! Although they haven’t made any programming announcements about how the “Keeping Up” iteration will fit into their future schedule, the show’s immense success and deep-rooted fan base will likely allow cable producers to take advantage of franchise ownership for years to come. will come

Actually the series is over, but E! There’s more Kardashians content to catch up with. Before the family officially leaves for Hulu, Andy Cohen will be reuniting with the family for the first time. June 17th at 8pm and June 20th at 9pm Part 2 special broadcast

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Rearview Reflections: Looking back on this week’s big media/tech news



Rearview Reflections: Looking back on this week's big media/tech news

With media/tech headlines flooding your inbox every day, the VIP+ team is here to extract the biggest messages and see why they matter.. Below, our keen analysts have picked one development to heat up the week.

Andrew Wallenstein, Chief Media Analyst

Media buying giant GroupM Revised plan announcement For the advertising business after 2021, from earlier this week, depending on how strongly the US economy is rebounding from the slowdown caused by COVID-19. Advertising spend this year is now expected to grow by nearly 15% over 2019, more than make up for the 5.6% decline in ad spend in 2020.

It’s no surprise that the digital dollar is growing faster than anything else in advertising. The first-quarter results of top tech companies were clear evidence that a surge was coming. But just because digital is growing strong doesn’t mean there are more difficult stories on TV. The leading market is holding up well despite TV viewership declining in Q2.

According to MoffettNathanson, linear TV is seeing healthy demand despite a double-digit decline in overall viewership in the second quarter. And with the same companies that have always dominated traditional TV, the streaming expansion from Peacock to HBO Max is accelerating advertisers’ interest in the thriving connected TV market with tech players including Roku and YouTube.

When it comes to premium video right now, everyone seems to be a winner amid the streaming boom. But it cannot last forever.

Kaare Eriksen, Information Editor

Roblox Corp., which owns and operates the popular online gaming platform and the game creation system that bears its name, has now found itself in front of a similar crosshair. Aim for Twitch 2020 year.

National Association of Music Publishers file a lawsuit They claim at least $200 million over Roblox for widespread unauthorized use of songs across platforms without paying composers or copyright holders. Roblox took a step on the defensive, stating that NMPA doesn’t fully understand how the platform works, that it already has a music filtering system in place, and that there are clearly stated community guidelines in place.

Popular online platforms within the gaming space have provided a golden opportunity for cross-sectoral collaboration across the pandemic. In response to NMPA, Roblox virtual concert With artists like Lil Nas X, we take our relationship with the music industry seriously.

Unlike Twitch, which chose to delete the archived stream video that caused the DMCA takedown advice Frustrated with users starting to spy on their streams to prevent unlicensed music from playing, Roblox seems willing to hold the spot for the time being. However, as online gaming platforms continue to double as space for other forms of media to thrive, it shows that there are serious financial hurdles to overcome.

Kevin Tran, Media Analyst

Facebook’s upcoming smartwatch will feature two cameras that can capture content that can be shared across multiple platforms, including Instagram and The Verge. Declaration early this week. Watches not confirmed on Facebook Declaration by The Information is in development in February, but the details about the camera are new.

The Facebook smartwatch can be a tough sell for many. In addition to some consumers who are afraid of how their Facebook watch handles data, there will be many current Facebook and Instagram users who find little useful for posting content captured from their watch to social platforms.

The company is wondering how many consumers will pay for a smartwatch, but just because the venture doesn’t pay off quickly doesn’t necessarily mean it’s giving up hardware push.

Facebook purchased In 2014, the Oculus was released for about $2 billion, and the VR company’s first commercial product, the Oculus Rift, went unsold. Until March 2016. Also lower the price It indicates that in January and July 2017, Rift’s sales were initially dissatisfied with how they were doing. Fast forward to Q1 of the year and Facebook produce Non-advertising revenue is $732 million, mostly from sales of Oculus.

The hardware helps generate another revenue stream in addition to Facebook ads. But these moves will eventually help companies get to a position where they are far less dependent on tech companies like Apple or Google to reach their users, and it will take some time to get there.

Gavin Bridge, Senior Media Analyst

NBCU’s streaming service Peacock is finally here Available from Samsung sThis service is a belatedly a big step towards full deployment to connected TVs and devices. In fact, it’s always been disconcerting that Peacock launched last July without a deal with the three most popular platforms in the US. Roku, Samsung and Fire TVs — And now, almost a year later, there have been no deals on Fire TV devices from Samsung and Amazon.

Given that other services were launched at that time Most recent rebranding of Discovery + and Paramount + — Peacock’s slowdown from day one, which applies to all devices, is even more confusing.

One possibility is that as COVID-19 delayed production of the show, slated for its first year of service, and more importantly, the Olympics were postponed, Peacock’s management took the time to sign the deal.

A distribution deal with Fire TV is likely to be available when the Olympics take place next month. With Peacock’s growing number of free users and paid subscribers, we hope that NBCU will be confident enough. Provides deeper user statistics Peacock’s quarterly revenue outperforms “people who have ever signed up”

Heidi Chung, Media Analyst / Correspondent

Netflix is ​​moving into retail. The streaming giant is officially online retail store Selling exclusives from some of the most loved shows and movies.

This makes sense and is a very smart way for companies to take advantage of new revenue streams. As you already know, it’s a surprise for rival Disney. To be honest, Netflix needs all the help it can get to rise to the top line, as streaming competition is fiercer than ever.

Netflix was tough. First quarter. Sales grew 24% more than last year, but the number of closely watched subscribers fell far short of expectations. The company plans to continue to spend a lot of money on content. To be precise, $17 billion. Retail is a tough business, but even if it only has incremental value, it could be the business Netflix needs.

The main question is whether fans of the Netflix original are as loyal as fans of the Disney franchise. Merchandise games are only as good as their fanbase, and this new venture for Netflix will be a true test of loyalty.

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