#Stream Barry on HBO

[beemovieerotica]

I'm begging everyone to watch this beautiful piece of satire in the face of the SAG-AFTRA strike---it is so on the nose, it's so much of what's going wrong with hollywood and streaming services and throwing away creators' blood sweat and tears because of "the algorithms"

[you2018]

everyone regardless of if theyve seen barry hbo (2018-2023) or not should be streaming the player (1992)

[bonobochick]

Reblogging just because and adding a few more ships... 😊 🫶🏼

Some ships to celebrate Valentine’s Day.  🎉 💗

urls:  Post 1 / Post 2 / Post 3

[disneytva]

Kiff and Barry go on a wild adventure outside of Table Town to save Halfway There Day!

Tim Heidecker (HBO Max "Our Flag Means Death", FX "What We Do In The Shadows") guest stars as Baby New Year.

“Kiff and Barry Save Halfway There Day” NOW available on Disney Channel and streaming July 23 on Disney+.

[sopranoentravesti]

Not directly inspired by anything except for *gestures vaguely at the surrounding shitshow* but I do think more people could stand to read this article by Dara Horn about Roald Dahl from 2021.

I’ve included text of the article as well, under the cut. And to head off the whining of those who will perceive this as an attack on their favorite children’s book writer or whatever: read the damn article. This isn’t about “cancelling,” someone for being bigoted (hell, if I boycotted books or plays because the author was virulently antisemitic, there would be precious little to read). It is about understanding a really dark part of human psychology that is at play in conspiratorial thinking— which of course is at the heart of antisemitism— that Roald Dahl capitalized on. Developing a more mature sense of morality, rather than indulging in the bloody politics of blame and vengeance is crucial.

There’s nothing quite like the realization that what you thought was an empowering work of art is actually a 200-page exercise in trolling. It took me more than 30 years to figure out that I’d been trolled by Roald Dahl.

Dahl, who dominated juvenile publishing when I was growing up, revealed himself late in his career to be a vicious antisemite, who thought “powerful American Jewish bankers” ran the US government. He told the New Statesman that “there is a trait in the Jewish character that does provoke animosity, maybe it’s a kind of lack of generosity towards non-Jews. I mean, there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason.” This was in 1983, the year in which Dahl published The Witches, his 13th novel for children.

Apparently, Dahl had been an antisemite his entire life, but it didn’t prevent him from being essentially canonized after his death in 1990, and it didn’t much affect my thoughts about him either. I had adored his books as a child, and I’ve never taken much interest in the now-obligatory grunt work of connecting artists’ personalities (often horrible) with their works (sometimes great). And although Dahl was not only an antisemite but also (and even more damningly these days) a misogynist and a racist, he hasn’t been canceled yet. Who doesn’t love Roald Dahl, or at least his stories?

Hollywood certainly does. The most recent Dahl adaptation, which began streaming on HBO Max this Halloween season, is called Roald Dahl’s The Witches (note the value of the authorial brand), directed and written by Robert Zemeckis, with the help of two younger Hollywood powerhouses, Kenya Barris and Guillermo del Toro. It stars the high wattage Octavia Spencer, perhaps best known for her Oscar-winning role in The Help, and A-lister Anne Hathaway, not to mention the voice of the comedian Chris Rock. In fact, this is the second big-budget version of The Witches, the first having been a 1990 film starring Anjelica Huston.

But The Witches was on my mind long before I’d heard about the new movie. It was one of my favorite books when I was a child, one I read repeatedly and pressed into the hands of friends. I was eager to share it with my own children and hesitated only because, as a child, I’d also found it somewhat terrifying. But when I read it aloud to my eight-year-old son last month, I discovered that it was far more terrifying than I remembered, and for entirely different reasons.

The key to Dahl’s success as a children’s author lay in how he pitted children against adults, making children into a beloved underdog class whose moral victory lay in vanquishing their powerful exploiters. His heroes are blameless boys and girls tortured by diabolically abusive adults, whom they destroy in outrageous revenge sequences of the sort even the most fortunate child occasionally fantasizes about. In James and the Giant Peach, for instance, the orphaned James, enslaved by his villainous aunts, squashes them to death with the titular fruit. In Matilda, a kindergartener uses magic powers to terrorize a school principal who routinely locks children in a nail-studded closet. In Charlie and the Chocolate Factory, the starving Charlie, living in the sort of poverty that would make Oliver Twist qualify as a one-percenter, inherits a fantastical candy factory—but only after a book-length morality play in which wealthy children and their entitled parents are absurdly tortured and maimed. In George’s Marvelous Medicine, a boy forced to care for his heartless grandmother concocts a potion that makes her shrink and disappear.

In short, Dahl is like a modern Charles Dickens, except instead of social justice and spiritual redemption, Dahl’s books offer only revenge. Kids, like all emotionally and morally stunted people, eat this stuff up. Dahl tapped into something primal and hideous in the human psyche: the desire of disenfranchised people to feel righteous precisely by demonizing others. As a kid, I bought this too. The sheer sadism of it went right over my head until I shared these books with my children and saw how I’d been punked. And The Witches was the worst.

The Witches is about a boy who is orphaned in the opening chapter—pity points are always crucial for Dahl—and then adopted by his loving Grandmamma, a kindly old lady who fills him in on a little-known scourge. Witches, she explains, are real. They are demons disguised as women, and their sole purpose is to entrap and destroy innocent children through their diabolical magic. One unfortunate boy, for example, went off with a witch and returned unharmed—but later hardened into a stone statue. After vanishing with a witch, a girl reappeared only in a landscape painting in her family’s home, changing positions whenever the family wasn’t watching and even aging as years passed. (That one haunted me for decades.) Other children are “disappeared” in ways worthy of an Argentine junta. Kids better watch out.

One summer on a beach vacation with Grandmamma, our hero wanders into a hotel conference room occupied by a group calling itself the “Royal Society for the Prevention of Cruelty to Children.” In fact, it is a coven of witches discussing their latest plan, a potion designed to turn children into mice. They discover the boy and immediately mouse-ify him, but now that our talking mouse hero knows where they keep their potions, he and Grandmamma hatch a clever plot to administer them to the witches themselves. Hijinks ensue, evil is vanquished, and although the narrator remains a mouse, he doesn’t mind. He and Grandmamma embark on a crusade to take out the witches of the world, and he never has to go to school again.

The book chimed perfectly with the stories of “stranger danger” that other 1980s children and I were constantly fed in state-mandated school curricula, but it made that threat delightfully preposterous—and manageable since all one had to do was believe that certain adults were actually demons with recognizable tells. It was a highly rewarding fantasy. After all, it was clear to me, as it was to every young reader, that even adults who didn’t molest children in shopping malls were nonetheless conspiring against us, making us do dehumanizing tasks like making beds and taking tests. The book was empowering. With its frisson of secret knowledge, it made us feel righteous and invincible. Unfortunately, revisiting it as an adult revealed that the book was cribbed from the Protocols of the Elders of Zion—and helped me understand, for perhaps the first time, antisemitism’s seductive appeal.

“Witches,” Grandmamma explains, “are not actually women at all . . . They are demons in human shape.” How do you spot one? Well, since they’re demons, they have toeless hooves instead of feet and claws instead of fingers, disguised by fashionable shoes and gloves. You can’t spot those, but you can spot their “larger nose-holes than ordinary people” (the better to smell you with, my dear). But the real tell, of course, is that witches are bald—which is why a witch always wears “a first-class wig,” which she puts “straight on her naked scalp.”

As I read this aloud to my enthralled son, it was hard to miss how much these witches resembled women in, say, Stamford Hill (the London version of Borough Park). It was also hard to miss how much they resembled caricatures from Der Stürmer or a medieval blood libel. Was I overinterpreting?

You be the judge: “Wherever you find people, you find witches,” Grandmamma tells her innocent grandchild. “There is a Secret Society of Witches in every country. . . . An English witch, for example, will know all the other witches in England.” If this was too subtle, Grandmamma clarifies: “Once a year, the witches of each separate country hold their own secret meeting. They all get together in one place to receive a lecture from The Grand High Witch of All the World.” The boy’s question about this fun fact is, at this point, predictable: “Is she rich?”

Grandmamma replies, “She’s rolling. Simply rolling in money. Rumour has it that there is a machine in her headquarters which is exactly like the machine the government uses to print the bank-notes you and I use.” The boy then asks, as any normal child would, “What about foreign money?” You already know the answer: “Those machines can make Chinese money if you want them to.” Here, the boy turns skeptical: “If nobody has ever seen the Grand High Witch, how can you be so sure she exists?” Grandmamma counters, “Nobody has seen the Devil, but we know he exists.” All of this isn’t merely true, we are told, but “the gospel truth” (the italics are Dahl’s). After all, Grandmamma “went to church every morning of the week and she said grace before every meal, and somebody who did that would never tell lies.” As Grandmamma warns her dear boy, “All you can do is cross your heart and pray to heaven.”

Alas, crossing his heart and praying to heaven doesn’t protect our hero from his encounter with the Elders of Witchdom, at which point Dahl drops all pretense. The Grand High Witch, we learn, “had a peculiar way of speaking. There was some sort of a foreign accent there, something harsh and guttural, and she seemed to have trouble pronouncing the letter w. As well as that, she did something funny with the letter r. She would roll it round and round her mouth.” The Grand High Witch, in her Yiddish accent, explains to her secret society how they will lure England’s children by buying high-end sweet shops and poisoning the candy, since “Money is not a prrroblem to us vitches as you know very well. I have brrrought with me six trrrunks stuffed full of Inklish bank-notes, all new and crrrisp” (italics mine).

Few children can resist the lure of witches. My son loved the book so much that he wanted to see the movie. Perhaps you are wondering: is the 2020 Hollywood version, whose creators unsurprisingly included plenty of Jews, antisemitic? The short answer is no, or not exactly, but that’s also the wrong question.

Adapting from a source this hideous was never going to be easy or entirely uncontroversial, and the new film has already been slammed for portraying limb differences as evil (instead of the claws mentioned in the book, the film’s witches are depicted with missing fingers). Despite that tone-deaf choice, it’s clear that the filmmakers were aware of the book’s larger problems. To their credit, they knew they had to fix something, and they went big: instead of contemporary England, Roald Dahl’s The Witches takes place in 1968 Alabama, and the protagonist and his grandmother are Black (Octavia Spencer’s Grandmamma is even a voodoo healer). Unlike the 1990 movie, the witches no longer have big noses and are, in fact, racially diverse. At first, this does seem poised to dilute some of the book’s inherent awfulness: when a Black witch attacked the protagonist in an early scene, I had high hopes for a story where “evil” was depicted solely through Marvel Universe methods of pancake makeup and special effects. But that scene proved to be half-hearted tokenism, since the rest of the film focuses almost entirely on, to use the current term, white-presenting witches—and most tellingly, what really distinguishes witches in this film is that they are rich. As we watch a flashback of the lily-white and fabulously dressed Anne Hathaway as the Grand High Witch attacking an impoverished Black child in a 1920s Alabama shantytown, Grandmamma tells us that “witches always prey on the poor.”

This class warfare idea is utterly absent from Dahl’s book, but it perhaps unintentionally provides a trendy update to his rather old-school racial antisemitism: the idea that a secret society of fantastically wealthy “global elites”—often, but not inevitably, Jews—prey on the poor. This means that bigotry against them, rather than being retrograde, is, in fact, a fresh and righteous way of “punching up.” Instead of just protecting innocent children, this new Grandmamma now also shares her truth to defend the downtrodden, like every righteous nutjob tweeting about the Rothschilds or George Soros. In the book, nothing much happens with the Grand High Witch’s counterfeit cash. But here Grandmamma commandeers it at the film’s triumphant end and hands out hundred-dollar bills to the hotel’s exploited Black employees.

If this sounds tedious, it is. Roald Dahl’s The Witches is wretched less because of the book’s wretched premise than because it is a conventionally lousy children’s movie, full of Hollywood pieties (in the climactic scene, Grandmamma actually lectures the Grand High Witch about the Power of Love), canned stereotypes and recycled animation. That doesn’t mean kids won’t love it, of course. As Hollywood knows well, everyone loves a good conspiracy theory—and that’s the problem.

My kids laughed their way through the movie’s animated mice and cookie-cutter triumphs, enjoying everything that conventional children’s stories do best—reinforce their audience’s expectations, vanquish villains, and make powerless people feel superior. Conspiracy theories make for great stories, but in an era when a nontrivial proportion of the American electorate apparently believes in the QAnon conspiracy theory that a secret cabal of satanic pedophiles preys on American children and the country, I couldn’t help feeling that this film was, at the very least, ill-timed.

It is so easy, after all, to believe in a conspiracy, so self-indulgent, so appealing—and, as I now finally understood, so much fun. Watching this mediocre and unremarkable movie left me shockingly ill at ease, precisely because it was so mediocre and unremarkable. My discomfort was compounded by the knowledge that the eight-year-old me would have loved it too, not knowing any better. Few children do. In the elaborate, magical long game of luring innocents into handing over their hearts, it turns out that the Grand High Witch was actually Roald Dahl.

[pavlikbuonarroti]

@ mouthwashing fans you guys should check out hbo barry starring and co-created by bill hader available to stream on hbo max and now tv and the piracy site of your choice. sound of the summer.

[nezoid]

HCA Nominations for:

• Tatiana Maslany (She-Hulk: Attorney at Law - Disney+) - Best Actress in a Streaming Comedy Series

• Aubrey Plaza (The White Lotus - HBO) - Best Supporting Actress in a Broadcast Network or Cable Drama Series

• Aubrey Plaza (Saturday Night Live - NBC) - Best Guest Actress in a Comedy Series

• Jenna Ortega (Wednesday - Netflix) - Best Actress in a Streaming Comedy Series

• Jenna Ortega (Saturday Night Live - NBC) - Best Guest Actress in a Comedy Series

• D'Arcy Carden (Barry - HBO) - Best Guest Actress in a Comedy Series

• Catherine Zeta-Jones (Wednesday - Netflix) - Best Guest Actress in a Comedy Series

• Christina Ricci (Wednesday - Netflix) - Best Supporting Actress in a Streaming Comedy Series

• Wednesday (Netflix) - Best Streaming Comedy Series

• Wednesday (Alfred Gough & Miles Millar, Wednesday's Child is Full of Woe - Netflix) - Best Writing in a Streaming Comedy Series

• Wednesday (Tim Burton, Wednesday's Child is Full of Woe - Netflix) - Best Directing in a Streaming Comedy Series

• Wednesday (Netflix) - Best Main Title Design

• Wednesday (Netflix) - Best Fantasy or Science Fiction Costumes

• She-Hulk: Attorney at Law (Disney+) - Best Stunts

• A League of Their Own (Prime Video) - Best Period Costumes

• The White Lotus - Mike White, Arrivederci (HBO) - The Best Writing in a Broadcast Network or Cable Drama Series

• The White Lotus (HBO) - Best Casting in a Drama Series

• The White Lotus: Unpacking The Episode (HBO) - Best Short Form Series

• The White Lotus (HBO) - Best Contemporary Costumes

[missanthropicprinciple]

It's time to tank most of my streaming subscriptions because as much as I love the 90s I don't want to pay for what is now basically cable tv. My plan is to go through each site and watch what I've been meaning to and then cancel, and just keep doing that one site at a time until I'm only paying for like 2. Plus I have free stuff like Tubi, Pluto, and PBS (because we donate).

N3tflix I'm gonna keep because that's how one of my oldest friends and I keep in touch on a weekly/bi-weekly basis.

I'll keep Britbox for now too because I like to have some comfort tv at my fingertips.

Dïsn3y+ is going because it's not worth it to me anymore. I have season 1 and 2 of Mandalorian on bluray and season 3 kinda sucked. I still love Moon Knight. They took down the Willow series after six months (still super pissed about that!!!). Other than that I'm going to see what's available on DVD/bluray and see if there's anything I'm into.

Apple TV+ only has Ted Lasso and Severance on there, plus the Tetris movie I might buy anyway. Once I re-watch some stuff I'll tank my subscription.

I just got Amazon prime so I could watch Good Omens and then I'll tank that too.

HBO MAX as Succession (now available on DVD) and Our Flag Means Death, plus I have to catch up on Barry.

Time to get cracking!

[greensparty]

BEST TV SHOWS OF 2023

There was a decline in the number of original TV shows produced in 2023 of only 481 from 633 in 2022. Oh no, only 481 original TV shows to watch, what will we do? Pardon the sarcasm but that’s still Peak TV in contrast with mostly broadcast network and cable TV shows of the pre-streaming era. While there was a lull in some TV shows due to the WGA and SAG strikes, there was some serious standouts. The highest-rated TV show of 2023 was NBC’s Sunday Night Football. Here are my picks:

Honorable Mentions:

Lucky Hank   AMC

Ahsoka  Disney+

Late Show with Stephen Colbert  CBS

Late Night with Seth Myers�� NBC

5. Saturday Night Live  NBC

Every year SNL makes my list, but 2023 was a year where I appreciated the cast and the writing more than ever!

4. Daisy Jones and the Six  Amazon Prime Video

While it was heavily influenced by Fleetwood Mac, this tale of a 70s band's rise and fall was truly a masterclass in peeling the onion of these characters!

3. The Mandalorian  Disney+

The greatest Star Wars TV show ever came back for season 3 after a few years of other Star Wars TV spin-offs to show them how it’s done!

2. Barry  HBO

The 4th and final season of Bill Hader’s dark comedy went out on a high note!

1. Beef  Netflix

The TV event of the year – hands down! Two strangers played by Steven Yuen and Ali Wong get into a road rage incident and it only escalates from there as they try to take down the other to avoid their own problems. Creator Lee Sung Jin has made the most bingeable show in a long time!

[unicausnews]

Reacher Season 4 confirms huge solid change as Christopher Rodriguez-Marquette replaces Jay Baruchel

Reacher Season 4 confirms huge solid change as Christopher Rodriguez-Marquette replaces Jay Baruchel Jun 27, 2025 07:52 PM IST Reacher Season 4 begins manufacturing with a casting twist, as Christopher Rodriguez-Marquette replaces Jay Baruchel in a key function.  Prime Video’s Reacher is formally in manufacturing for its much-anticipated fourth season. According to a Deadline report, the action-thriller has undergone a significant change in its casting lineup, with Christopher Rodriguez-Marquette stepping in to exchange Jay Baruchel, who exited the collection attributable to a private matter.  Alan Ritchson as Jack Reacher Production on Reacher Season 4 started earlier this month. The new chapter relies on Lee Child’s thirteenth Jack Reacher novel, Gone Tomorrow, and follows Jack Reacher as he turns into entangled in a harmful conspiracy after a lethal practice encounter. The collection continues to star Alan Ritchson because the title character, a nomadic ex-military police officer. Jay Baruchel exits, Christopher Rodriguez-Marquette joins in lead functionChristopher Rodriguez-Marquette will now play Jacob Merrick, a small-town police officer who performs a key half within the new storyline. Baruchel’s departure comes simply weeks after he was formally introduced as a part of the solid. Marquette is greatest identified for his function in HBO’s Barry, the place he performed Chris Lucado. His addition marks a big change within the upcoming season’s ensemble. Season 4 of Reacher has additionally launched a number of recent faces. Among the collection regulars are Sydelle Noel (GLOW) as Detective Tamara Green from the Philadelphia PD, Agnez Mo as Lila Hoth, and Anggun as Amisha Hoth. Kevin Corrigan joins the solid as Detective Docherty, Green’s accomplice. Additional new solid members and storyline particularsOther names confirmed for recurring visitor roles embody Kevin Weisman (Suits: LA), Marc Blucas (My Life with the Walter Boys), and Kathleen Robertson (The Expanse). Weisman performs investigative journalist Russell Plum, Blucas seems as U.S. Congressman John Samson, and Robertson takes on the function of Elsbeth Samson, his spouse. This new season adapts Gone Tomorrow, the place Reacher is pulled right into a high-stakes battle involving highly effective enemies. The storyline begins with a tense encounter on a practice that shortly escalates into a posh net of secrets and techniques, drawing Reacher into one more mission that exams his limits. Season 3 of the hit collection premiered in February 2025 and have become Prime Video’s most-watched returning present so far. With manufacturing now underway, followers can anticipate a return to Reacher’s trademark motion and intrigue—this time with a refreshed ensemble. ALSO READ: Prime Video will increase the variety of adverts whereas streaming within the US: Report FAQs:1. Who is changing Jay Baruchel in Reacher Season 4?Christopher Rodriguez-Marquette is changing Jay Baruchel within the function of Jacob Merrick. 2. What is Reacher Season 4 primarily based on?Season 4 is tailored from Lee Child’s thirteenth novel, Gone Tomorrow. 3. When did Reacher Season 4 start manufacturing?Production started in early June 2025. 4. Who are the brand new solid members in Season 4?New additions embody Sydelle Noel, Agnez Mo, Anggun, Kevin Corrigan, Kevin Weisman, Marc Blucas, and Kathleen Robertson. Stay linked with all of the glitz and glam from the world of leisure, proper from Hollywood gossip to Bollywood chit chat. Also do not miss out on music buzz, anime scoops and OTT motion. Stay linked with all of the glitz and glam from the world of leisure, proper from Hollywood gossip to Bollywood chit chat. Also do not miss out on music buzz, anime scoops and OTT motion. See Less Read More: https://news.unicaus.in/entertainment/hollywood/reacher-season-4-confirms-huge-solid-change-as-christopher-rodriguez-marquette-replaces-jay-baruchel/

[figtrad]

If you have to see 1 HBO Max Show in June 2025, stream these 1 now

You are reading See with us, So obviously you are a fan of cinema and TV. Have you ever dreamed of making it in Hollywood? If that is the case you have some similarities with Barry Berkman (Bill Hader), The hero's HBO Max Admiration BarryThe You can't have anything to do with him, though he is a former marine hitman who moved from one place to kill people for money. When the barity was appointed…

[gamistuff]

If you have to see 1 HBO Max Show in June 2025, stream these 1 now

You are reading See with us, So obviously you are a fan of cinema and TV. Have you ever dreamed of making it in Hollywood? If that is the case you have some similarities with Barry Berkman (Bill Hader), The hero's HBO Max Admiration BarryThe You can't have anything to do with him, though he is a former marine hitman who moved from one place to kill people for money. When the barity was appointed…

[vickiabelson]

Today LIVE! It’s been a while since I’ve sat down with a beloved guest, and longer still since I sat down with this beloved friend.  I so look forward to another opp with the fabulous, funny, and fun Emmy Winner, Alan Zweibel. 

An original Saturday Night Live writer, Alan has won five Emmy Awards for his work, including It’s Garry Shandling’s Show (which he co-created and produced), The Late Show with David Letterman, and Curb Your Enthusiasm.

A frequent guest on late-night talk shows, Alan’s theatrical contributions include his collaboration with Billy Crystal on the Tony Award-winning play 700 Sundays, Martin Short’s Broadway hit Fame Becomes Me, and six off-Broadway plays including Bunny Bunny – Gilda Radner: A Sort of Romantic Comedy, which he adapted from his best-selling book. 

All told, Alan has written eleven books including his cultural memoir titled Laugh Lines – My Life Helping Funny People Be Funnier, published by Abrams Books; the 2006 Thurber Prize winning novel The Other Shulman; the popular children’s book Our Tree Named Steve; and a parody of the Haggadah — For This We Left Egypt? which he wrote with Dave Barry and Adam Mansbach. He has also penned a best-selling e-book, From My Bottom Drawer. 

The co-writer of screenplays for the films Dragnet,  The Story of Us, and North, Alan, received an honorary PhD from the State University of New York. Because of the diversity of his body of work, the Writers Guild of America, East honored him with their Lifetime Achievement Award.

In addition to talk shows, Alan has appeared in episodes of Curb Your Enthusiasm and Law & Order and can be seen in the documentary The Last Laugh about humor and the Holocaust; Judd Apatow’s Zen Diaries of Garry Shandling (HBO), Gilbert about the life of Gilbert Gottfried, Remembering Gene Wilder (Netflix), and the Emmy nominated CNN documentary he executive produced titled Love, Gilda.  He is also an ensemble performer at New York’s Triad Theater in Celebrity Autobiography — and is a highly sought-after keynote speaker. 

Among his numerous awards, Alan also received an honorary doctorate in 2009 from the State University of New York.  And the following year, the Writers Guild of America East honored him with a Lifetime Achievement Award for the diversity of his body of work.

A devoted family man, the production he's most proud of is the one he co-created with his wife Robin, their three children, and five grandchildren.

Alan’s always a gas, in the good way, and I’m so ready to laugh. No one better to look to! 

Alan Zweibel on Game Changers With Vicki Abelson

Wednesday, 5/14/23, 5 pm PT, 8 pm ET

Streaming Live on my Facebook

facebook.com/vickiabelson

Daily by Toni Vincent & @peter_and_paul_ Cartoons

[disneytva]

Kiff and Barry go on a wild adventure outside of Table Town to save Halfway There Day!

Tim Heidecker (HBO Max "Our Flag Means Death", FX "What We Do In The Shadows") guest stars as Baby New Year.

“Kiff and Barry Save Halfway There Day” NOW available on Disney Channel and streaming July 23 on Disney+.

[celebsparkin]

Todo sobre 'Dune: Parte 2' y su expansión en el universo de Dune: fechas, tráilers y elenco destacado

La película 'Dune: Parte 2' anuncia su fecha de estreno en streaming en España para el 21 de mayo a través de Max, continuando la historia de Paul Atreides en Arrakis. La secuela enfrenta decisiones cruciales entre el amor y el destino del universo, con un elenco ampliado por nuevas caras destacadas de Hollywood. Además, ya está disponible en formato físico para coleccionistas. Por otro lado, 'Dune: Prophecy', una precuela que explora el origen de las Bene Gesserit, se estrenará en otoño de 2024 con una primera temporada de seis episodios en Max. La serie se sitúa 10.000 años antes de Paul Atreides, siguiendo a dos hermanas Harkonnen en su lucha por el futuro de la humanidad, con un elenco que incluye a Emily Watson, Olivia Williams, Travis Fimmel, Mark Strong, entre otros. En cuanto a la disponibilidad de 'Dune: Parte 2', la exitosa película de ciencia ficción de Denis Villeneuve, se puede ver en cines en España y en plataformas de streaming como Amazon, Rakuten, Youtube y Google Play, próximamente en formato físico y en HBO Max. Finalmente, en 'Dune: Parte 2', Florence Pugh interpreta a la Princesa Irulan, papel que estuvo inicialmente considerado para Emma Roberts, con otros cambios de casting como Austin Butler como Feyd-Rautha en lugar de Barry Keoghan. https://celebsparkinsider.com/todo-sobre-dune-parte-2-y-su-expansion-en-el-universo-de-dune-fechas-trailers-y-elenco-destacado/

[tvrundownusa]

tvrundown USA 2023.12.11

Monday, December 11th:

(exclusive): Candice Renoir (AcornTV, season 8 available, all 10 eps), "The Billion Dollar Goal" (Para+, soccer docuseries, all 3 parts)

(streaming weekly): Hidden Assets (AcornTV, season 2 finale), Midsomer Murders (AcornTV)

(broadcast specials): MasterChef Junior: "Home for the Holidays" (FOX, night 2/2, 2hrs), Barry Manilow's "A Very Barry Christmas" (NBC, concert highlights)

(hour 1): The Voice (NBC, 2hrs), Holiday Baking Championship (FOOD, 2hrs), The Price Is Right at Night (CBS)

(hour 2): The Voice (NBC, contd), Holiday Baking Championship (FOOD, contd), "Murder in Boston: Roots, Rampage, and Reckoning" (HBO, part 2), Big Brother Reindeer Games (CBS, All-Star holiday opener, 2hrs)

(hour 3): "30 Coins" (HBO, season 2 finale), American Dad! (TBS), POV (PBS, "How to Have an American Baby", 2hrs), Big Brother Reindeer Games (CBS, contd)

(hour 4 - latenight): Barmageddon (USA), The Big Bake (FOOD), The Daily Show (COM, guest host: Kal Pen), POV (PBS, contd)

[on hiatus, returning in January: Masters of Illusion (theCW) / . / World's Funniest Animals (theCW) ]