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Viewing: Blog Posts Tagged with: tv, Most Recent at Top [Help]
Results 1 - 25 of 849
1. Nickelodeon’s ’90s Nostalgia Block ‘The Splat’ Launches Tonight

The last time these shows aired, memes, emojis, and GIFs were barely dreams in the dotcom industry's internetworked brain.

0 Comments on Nickelodeon’s ’90s Nostalgia Block ‘The Splat’ Launches Tonight as of 10/5/2015 7:04:00 PM
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2. ICYMI: First Official Footage of Marvel’s Jessica Jones Revealed!

In two weeks, we’ll be getting some quality time with the cast of Netflix’s next Marvel Defenders series, Jessica Jones, at New York Comic Con.  The followup to the incredibly lauded Daredevil, the series will focus on the titular metahuman, portrayed by Krysten Ritter, as she attempts to salvage her life as a detective after a brief […]

1 Comments on ICYMI: First Official Footage of Marvel’s Jessica Jones Revealed!, last added: 9/29/2015
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3. New “Heroes: Reborn” Trailer Features Character Death

She’s dead, Jim! Back in 2006, when the first season of the NBC superhero drama Heroes was debuting to rave reviews and mass audience acclaim, the show managed to turn its tagline, “Save the Cheerleader, Save the World,” into a meme.  It was incredibly prolific, albeit a little nonsensical– describing the show perfectly. It looks like the […]

2 Comments on New “Heroes: Reborn” Trailer Features Character Death, last added: 9/22/2015
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4. Infographic: The Diversity Gap in the Emmys, 2015

Not only are we living in a Golden Age of television, it also feels in many ways like we are living in a Golden Age of diverse television. While TV may still be more segregated than we’d like it to be, both in front of and behind the camera, 2014-2015 saw the emergence of several critically and commercially successful shows with lead characters of color.

A few years ago, we published an infographic and study exploring the diversity gap in the Emmys and on television. Today we’ve updated that infographic and tried to answer the question: Has the Diversity Gap in Television decreased?

Emmy Awards Infographic 2015
The Diversity Gap in the Emmy Awards (click for larger image)

The Good:
Last night Viola Davis made Emmys history by becoming the first woman of color to win an Emmy Award for Lead Actress in a Drama Series!

Viola Davis Emmy Award
Viola Davis accepts her Emmy Award.

In the most moving moment of the night, she directly addressed the discrimination that people of color face in Hollywood, saying:

The only thing that separates women of color from anyone else is opportunity. You cannot win an Emmy for roles that are simply not there.

The 2015 Emmy nominees were an exceptionally diverse crowd by Hollywood standards and happily Viola Davis was not the only talented person of color to go home with an Emmy in hand. Actors Regina King (Supporting Actress, Limited Series or Movie), Reg E. Cathey (Guest Actor, Drama), and Uzo Aduba (Best Supporting Actress, Drama) all went home with Emmys in hand. This also makes 2015 the first year that women of color won Emmys in the Drama category for both Best Lead Actress and Best Supporting Actress.

Uzo Aduba accepts her second Emmy Award.
Uzo Aduba accepts her second Emmy Award (image from Hollywood Reporter).

Last night also saw several women honored in the directing category, an area usually dominated by men. Jill Soloway took home the Emmy for Best Director for a Comedy Series for Transparent, making her the third woman in a row to win this category. Lisa Cholodenko also took home a Directing Emmy for her work on the Limited Series Olive Kitteridge. In other words, two out of four Best Directing Emmys this year went to women.

The Bad
While last night saw some groundbreaking firsts, it’s not time for Hollywood to pat itself on the back just yet. Despite this year’s big win for Viola Davis, it’s important to remember that in the last 25 years, only one person of color has ever won in each of the four Lead Acting categories. There were no people of color nominated this year in the categories of Lead Actor in a Drama Series, Lead Actress in a Comedy Series or Supporting Actor in a Drama Series.

In addition, it’s worth noting that all of the people of color nominated in Acting categories this year were African American, with the exception of Louis C.K. (who is half Mexican). Asian, Latino, Middle Eastern, and Native actors still don’t have enough roles, leading or supporting, to be represented in any meaningful way at the Emmys. When Hollywood’s definition of “diversity” is reduced to Black or White, everyone still loses.

When it comes to gender representation, things are improving but some categories haven’t budged. 96% of winners in the Best Director of a Drama Series are still men, although one woman (Lesli Linka Glatter, Homeland) was at least nominated this year.

What Remains to Be Seen
It was clear this year that diversity was on people’s minds, and some big wins proved that it was on people’s ballots, too. But a good year, or even a few good years, are just a drop in the bucket when it comes to boosting opportunities and visibility of people of color and women in Hollywood. It may feel like progress is being made, but looking at our 2012 and 2015 infographics back to back, we can track whether that’s actually the case:

The Diversity Gap in the Emmy Awards, 2012
The Diversity Gap in the Emmy Awards, 2012
Emmy Awards Infographic 2015
The Diversity Gap in the Emmy Awards, 2015

In some categories we do see improvement, but in most categories the percentage of winners who are people of color has actually decreased as the total number of years we track increases. While some people may dismiss this as a numbers game, it demonstrates an important point about diversity: it requires a conscious effort to change the status quo. If you do nothing, the numbers actually get worse.

Host Andy Samberg hit on this point in his opening monologue by congratulating Hollywood on such a diverse list of nominees:

The big story this year, of course, is diversity. This is the most diverse group of nominees in Emmy history, so congratulations Hollywood. You did it. Yeah, racism is over. Don’t fact check that.

Racism isn’t over and neither is sexism, but let’s hope that we’re moving into an age where both issues are treated by Hollywood as more than just a punchline.

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5. Doctor Who: Season 9

Looking forward to the new season of Doctor Who tonight.

Apparently though, the previous Doctor hasn't been completely forgotten.

Bow ties still cool
How about you?

What show(s) are you looking forward to in TV's Fall season?

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6. Nickelodeon Will Resuscitate Its ’90s Cartoons With The Splat

In October, Nickelodeon unveils a new programming block dedicated to '90s standouts like "The Ren & Stimpy Show," "Doug," "Hey Arnold!" and "Rugrats."

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7. Get to Know this Year’s Women and POC Emmy Nominees

Television, like other media, has a terrible diversity problem, and unfortunately, last year’s Emmys weren’t very diverse.

However, there were some great and  popular diverse offerings during the 2014-2015 television season, like black-ish, Jane the Virgin, Fresh Off the Boat and Empire. 

This year, we can only hope that the talent of more diverse actors, women directors and writers gets the recognition it deserves.

Without further ado, here are this year’s Women and POC Emmy nominees!

Lead Actress in a Drama Series

Taraji P. Henson (IMBD)

Taraji P. Henson (Empire) starred in the movie Baby Boy. She has also been in many other TV shows including Boston Legal and Person of Interest.

Viola Davis (How to Get Away With Murder) got her start in theater. In 2011, she was nominated for the Academy Award for Best Actress for her role as Aibileen Clark in The Help.

Best Director for a Comedy Series

Louis C.K. ( Louie) is a comedian who got his start writing for other comedians like David Letterman, Conan O’Brien and Chris Rock. He is the creator and director of Louie, which he also stars in.

Phil Lord (The Last Man on Earth) is one half of the team known for directing and writing films like Cloudy with a Chance of Meatballs and The Lego Movie, with Christopher Miller.

Phil Lord (IMBD)

They met at Dartmouth College.

Jill Soloway was inspired to create Transparent after her father came out as transgender. She directed the film Afternoon Delight and wrote for the show Six Feet Under.

Outstanding Writing in a Comedy Series

Jill Soloway (Transparent)

Outstanding Writing in a Drama Series

Semi Chellas (Mad Men) is known for her work on Restless Spirits. She is nominated with Matthew Weiner for her work on Mad Men.

Good luck to all of the nominees! Who do you hope takes home a trophy?


0 Comments on Get to Know this Year’s Women and POC Emmy Nominees as of 9/15/2015 1:45:00 PM
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8. ‘Disney’s Adventures of the Gummi Bears’ Turns 30 Years Old Today

The trailblazing "Gummi Bears" proved that Disney could produce quality TV animation.

0 Comments on ‘Disney’s Adventures of the Gummi Bears’ Turns 30 Years Old Today as of 9/14/2015 11:39:00 AM
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9. Season 2 of Comedy Central’s ‘TripTank’ Will Debut on September 25

The raunchy Comedy Central series is returning for 10 new episodes.

0 Comments on Season 2 of Comedy Central’s ‘TripTank’ Will Debut on September 25 as of 9/2/2015 2:47:00 PM
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10. Nick Greenlights A Weiner: ‘Pinky Malinky’

The "social-media influenced comedy" will debut in 2016.

0 Comments on Nick Greenlights A Weiner: ‘Pinky Malinky’ as of 8/19/2015 4:14:00 PM
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11. The Perils of Biopics: Life in Squares and Testament of Youth

The universe has conspired to turn my research work this summer into mass culture — while I've been toiling away on a fellowship that has me investigating Virginia Woolf's reading in the 1930s and the literary culture of the decade, the mini-series Life in Squares, about the Bloomsbury group and Woolf's family, played on the BBC and the film Testament of Youth, based on Vera Brittain's 1933 memoir of her experiences during World War One, played in cinemas.

I've now seen both and have mixed feelings about them, though I enjoyed watching each. Life in Squares offers some good acting and excellent production design, though it never really adds up to much; Testament of Youth is powerful and well constructed, even as it falls into some clichés of the WWI movie genre, and it's well worth seeing for its lead performance. 

The two productions got me thinking about what we want from biographical movies and tv shows, how we evaluate them, and how they're almost always destined to fail. (Of course, "what we want" is a rhetorical flourish, a bit of fiction that would more accurately be expressed as "what I think, on reflection, that I want, at least now, and what I imagine, which is to say guess, what somebody other than myself might want". For the sake of brevity, I shall continue occasionally to use the phrase "what we want".)

Testament of Youth is easier to discuss in this context, partly because it's a single feature film based (mostly) on one text and not a three-part mini-series depicting the lives of people about whom there are shelves and shelves of books. Though the filmmakers clearly read some of the biographies of Vera Brittain, as well as her diaries, and occasionally incorporate (or at least allude to) some of this material, the structure of the film of Testament of Youth is pretty much the structure of the book, even though the screenplay takes some massive liberties. (I expect the 1979 mini-series was able to be more faithful, since it had more time, but I haven't gotten around to watching it on YouTube, which is pretty much the only place it seems still to be available, never having been released on DVD.)

For any 2-hour movie of Brittain's memoir, massive liberties are unavoidable, and overall I think the filmmakers found good choices for ways to streamline an unwieldy text — 650 pages or so, with countless characters who constantly bounce from one locale to another.

I should admit here that I don't much like Brittain's book. Some of the war parts are compelling, and it's certainly important as a historical document, but it seems to me at least twice as long as it needs to be, and Brittain simplified the main characters to such an extent that I find it hard to care about any of them. For instance, when Roland, the great love of her life, dies, it's all supposed to be terribly sad and devastating and I just thought, "Finally! No more of that insipid pining and those godawful letters back and forth and that hideous poetry!" (Which is not to say that I wanted more of the slog of the first 100+ pages of the book with all the details of Oxford University's entrance exams.) Someone could create an abridgement of Testament of Youth, maybe reducing the book to 150 or 200 pages, and it would be vastly more interesting and compelling, because there really is some excellent material buried amidst it all. Concision was not among Brittain's writerly skills.

I am not the right reader for Testament of Youth, however. None of us are, really. The book became a bestseller for a number of reasons, but one of them was that readers could fill in its thin parts with their own memories, experiences, and griefs. What the film of Testament of Youth achieves is to evoke some semblance of the emotion that was, I expect, present in the book for its first readers, most of whom would have had memories of the war years, and many of whom would have suffered similar losses as those described by Brittain — losses both of loved ones and of a certain, more innocent, worldview.

The deaths in the film were, for me at least, far more powerful than the deaths in the book. One reason is the change in medium: the move from the words on a page to actors embodying roles. Deaths in books can be hugely powerful, of course (see A Little Life for a recent example), but Brittain's ability as a writer was not up to the task, at least in a way that would transfer beyond the experiences of people for whom the First World War was still an event that had defined important portions of their lives. The characters in the film are less idealized than in the book, more human. The screenplay by Juliette Towhidi creates situations, moments, and dialogue that allow the characters to live a bit more than they do in Brittain's narrative, where the characters are more asserted by the writer than dramatized. The acting by the men is generally good, and Taron Egerton is especially effective as Brittain's brother Edward. (Kit Harrington struggles a bit in the role of Roland, but it's a nearly impossible role, since its primary requirement is for the actor to make poetic mooning somehow alluring.) But I think the real reason this film of Testament of Youth ultimately succeeds at evoking some emotion and making us care about what we watch is that Alicia Vikander is a truly extraordinary actor. Her portrayal of Brittain manages to convey the important overall arc of the character: from naive, idealistic girl to war-hardened woman shattered not only by the events of the war but also by the deaths of all the men she most loved.

Life in Squares might have been saved by its performances as well, given the talent of the actors in the show, but they never get a chance to do much. Writer Amanda Coe tries hard to give focus to the story she wants to tell, but she was unfortunately undone by the limitations of time — three episodes of not quite an hour in length is simply too little for what Coe and the other filmmakers attempt, and the result is mostly thin and unaffecting. Coe does some great things with the material, but there's just not much for the actors to work with, because the scenes move forward so quickly that there's no chance to build up anything. It's a real waste, unfortunately, because the lead actors in the first two episodes, James Norton (as Duncan Grant) and Phoebe Fox (as Vanessa Bell), capture some of the energy, attraction, and personality of young Bloomsbury in ways I've never seen before. The mise-en-scene is important, too, and marvelously rendered, giving a sense of the physical world through careful attention to the detail of sets, props, and, especially, costumes. But it's a mise-en-scene in service to ... well, not much.

For anyone who doesn't know the intricacies of the personal relationships among the "Bloomsberries", Life in Squares must be terribly confusing, especially given the choice to have two sets of actors play the main characters: a younger group and an older one, with the older group seen in quick flashbacks in the first two episodes, then dominant in the third, which is set in the 1930s. (The BBC has a helpful guide to the characters on their website.) With so many people coming and going through the show, and only a handful of characters given more than a few lines, it's difficult even for a knowledgeable viewer to know who is who.

The best decision the show makes is to focus primarily on Vanessa Bell, a fascinating person who has too often been invisible in the pop culture shadow of her sister, Virginia Woolf, but who was really much more at the core of the Bloomsbury group than either Virginia or Leonard Woolf. Her life also exemplified the ideals and aspirations of the group — she was an artist, had an open marriage to Clive Bell (with whom she had two children), and had a child with Duncan Grant, who preferred sex with men but for whom Vanessa was about as close as a person can get to what might be thought of as a soul mate. Their lives included mistakes, prejudices, jealousies, and great grief, but nonetheless seem to me to have been quite beautiful.

The problem Life in Squares fails to solve is the problem of showing entire lives over a long period of time. This was a problem Virginia Woolf knew well, and tackled again and again in her novels. But the problem of narrative time in a movie is very different from the problem of narrative time in a novel, because cinema's relationship to time is different from that of prose narratives, as lots of filmmakers and film theorists have known (Deleuze's second Cinema book is subtitled "The Time-Image"). This is one of the big perils of biopics, since they seek to show the progression of a life, and yet cinema is usually at its best when taking a more focused, less expansive view. Some wonderful films have covered entire lives — Citizen Kane comes to mind, as does 32 Short Films About Glenn Gould — but most history-minded movies that take on such a large expanse end up feeling thin, especially if they try to tell the story in a fairly conventional way, as Life in Squares does. (For comparison: The Imitation Game can thrive in its utterly conventional, audience-pleasing form because its narrative is relentlessly straightforward and the history is simplified to fit the linear movement of the plot and the characters' desires. Life in Squares doesn't simplify the historical figures or events nearly so much, but it also doesn't find a form that fits what it seeks to depict.)

Actually, the problem for Life in Squares is that it can't decide quite what approach it wants to take — will it be fragmentary and impressionistic, or will it try to string events together in a more linear structure? Linear becomes impossible because there's just so much material, and thus the show has to skip over all sorts of things, but it still retains an urge for linearity that sinks it. (How much better it would have been to, for instance, show us just three days in the lives of the characters. Or to take a page from Four Weddings and a Funeral and base it on the weddings of Vanessa, Virginia, and Angelica and the days of the deaths of of Thoby Stephen, Lytton Strachey, Julian Bell, and Virginia. Or base it on particular art works. Or ... well, there are any number of possibilities.) Coe structures the story around the love lives of the characters, but there's too much else that she wants to throw in, and it all ends up a muddle that, sadly, too often domesticates people who, in reality, very much did not want to be domesticated.

What's worse, Life in Squares ultimately fails to show anything much of what's important about Vanessa Bell, Duncan Grant, and the people around them — their contributions to culture. We see paintings around, we see the artists working now and then, and there are a few brief moments when we hear talk of books (Woolf's first novel, The Voyage Out, is, if I remember correctly, the only one we actually see, though there's some brief mention of The Years being a bestseller in the third episode). If not for the significant contributions to art, literature, and politics (hello there John Maynard Keynes, who gets maybe three lines in the whole show), these would not be especially noteworthy people, nor would there be much historical record of them. But more importantly, it's impossible to think of these people without their contributions to art, literature, and politics, because they lived for art, literature, and politics. (Well, Vanessa Bell and Duncan Grant were less politically inclined than many of the others, but that's relative — the first biography of Leonard Woolf, for instance, was a political study.) Life in Squares does an admirable job of showing the truly radical sexual politics of the group, but it subordinates everything else to the personal relationships, which of course makes for easier drama, even if that drama is, as here, unfulfilling. But what it looks like and feels like and sounds like to devote your life to the things the Bloomsbury Group devoted their life to ... that isn't really here in a meaningful way.

(Is there a movie about a writer that gives a real sense of the writing life? Nothing comes immediately to mind. For artists, yes — Mr. Turner, Vincent & Theo — but the making of art is itself visual action. Carrington, which could almost be Life in Squares Episode 2.5, was better because it focused very closely on its two protagonists and allowed Lytton Strachey to talk to Carrington about books and Carrington to work on, and discuss, her art. It's still pretty flat as a movie, but it's earnest and Jonathan Pryce and Emma Thompson are quite good in their roles.)

Which brings me back to the original question: What do we want from biopics? Why was I excited to see a new film of Testament of Youth and a mini-series about the Bloomsbury Group? Why, even now, given all I've said especially about Life in Squares, am I glad these exist?

Partly, there's a sense of validation. It's a powerful feeling when mass culture recognizes the perhaps strange or esoteric thing you yourself obsess over. I watched the first episode of Life in Squares with a friend who only knows Virginia Woolf's name because he's seen her books around my house. He was bored by the show, but seemed amused by my ability to expound on the various relationships and histories of the characters flitting across the screen (and indistinguishable to him) — and in that moment, suddenly all of the work I've done this summer (not to mention the past twenty years of sometimes casually, sometimes obsessively reading in and around Woolf and her circle) felt somehow less ... hermetic. This, I could say, is something the wider world cares about, too, at least a little, at least superficially, at least...

It's possible that Life in Squares was a more fulfilling experience for me than for most viewers who know less about the characters and era. Not only could I figure out who was who, but I could also fill in the blanks that the show didn't have time or ability to dramatize. In that way, the show was, for me, pointillistic: my mind's eye filled in the space between the dots and extrapolated form from the individual moments of color.

Knowledge of the book of Testament of Youth is not necessarily helpful for the movie, because the film takes so many (mostly necessary) liberties that it's likely the knowledgeable viewer will become distracted by thinking about where the book and movie diverge. Both Testament and Life in Squares suffer from common problems of biopics, particularly name-dropping and random, obligatory cameos. Characters in Life in Squares constantly have to say each other's names because there are so many of them and they're all so quickly dealt with. Large historical moments must of course be alluded to in dialogue. And then important people must at least show up — there's a pointless moment with Vita Sackville-West in Life in Squares, for instance, and the presence of Winifred Holtby in Testament of Youth is only explicable because Holtby was so important in Brittain's life; but she gets so little time in the movie that she feels like she's been airdropped in at the last moment, and the portentousness of her announcing herself is never really dealt with. This brings me back, as ever, to the wonder that is Mr. Turner — director/writer Mike Leigh in that film and in his other historical movie, Topsy Turvy, avoids this sort of thing, because he knows that a movie is not a history book, and that what matters is not so much who people are as what they do and how they behave with each other.

What do we want to be accurate in our biopics ... and why? Does it matter if three minor characters are melded into one? Does it matter if chronologies are rearranged or simplified? Does it matter if people are put into places where they never were? "Well, it depends..." you say. Depends on what, though? I want to say that it depends on the ultimate goal, the effect, the meaning.

For me, the only changes that feel like betrayals are ones that distort the personality of characters I care about. Both Testament of Youth and Life in Squares do pretty well on that count, which is why, for all my grumbling, I was overall able to enjoy them and feel not great animosity toward them. I wish that the makers of each had been more imaginative, certainly — Life in Squares needed more imagination in order to come alive and feel vital, while Testament falls into too many clichés of the WWI story (plenty of which are directly from Brittain's text, which is why circumventing them requires significant imagination) and adds a couple of credibility-straining coincidences (particularly with Edward in France). If the Vera Brittain of the movie is a bit less naive and jingoistic at first than the real Vera Brittain was as a girl and the textual Vera Brittain is in the book, there is still a strong sense of her development in the film and, especially, in Vikander's performance, which begins with idealistic energy and ends with something far more profound.

In the end, I suppose what I want from biopics is a sense of the ordinary moments of extraordinary lives and the emotional realities of worlds gone by. This is something that drama in general can give us, and that cinema can give us especially well, with the camera-eye's ability to zoom and focus and linger and look. I got a sense of all that now and then in Life in Squares, especially when it calmed down and didn't try to squeeze so much in — I got a sense (imaginary, of course, but real in the way only the imaginary can be) of why everybody who ever met him seems to have fallen in love with Duncan Grant, and why Vanessa Bell was such a bedrock of the group, and what, in some way, it maybe felt like to wander those rooms and landscapes when they were not museums but just the places these people lived.

Testament of Youth offers a bit more, and also shows some other virtues of the historical or biographical film — it enlivened the material for me, and I returned to the book with a certain new appreciation, a new ability to find my way into it, to care about it and to imagine how its first readers cared about it.

The cinema fell upon its prey with immense rapacity, and to this moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. The eye says: 'Here is Anna Karenina.' A voluptuous lady in black velvet wearing pearls comes before us. But the brain says: 'That is no more Anna Karenina than it is Queen Victoria.' For the brain knows Anna almost entirely by the inside of her mind -- her charm, her passion, her despair. All the emphasis is laid by the cinema upon her teeth, her pearls, and her velvet. Then 'Anna falls in love with Vronsky' -- that is to say, the lady in black velvet falls into the arms of a gentleman in uniform, and they kiss with enormous succulence, great deliberation, and infinite gesticulation on a sofa in an extremely well-appointed library, while a gardener incidentally mows the lawn. So we lurch and lumber through the most famous novels of the world. So we spell them out in words of one syllable written, too, in the scrawl of an illiterate schoolboy. A kiss is love. A broken cup is jealousy. A grin is happiness. Death is a hearse. None of these things has the least connection with the novel that Tolstoy wrote, and it is only when we give up trying to connect the pictures with the book that we guess from some accidental scene -- like the gardener mowing the lawn -- what the cinema might do if is were left to its own devices. 
—Virginia Woolf, "The Cinema", 1926

Vanessa Bell by Duncan Grant

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12. ‘Regular Show: The Movie’ Gets A Trailer

"Regular Show: The Movie" will debut on digital platforms and DVD before it airs on Cartoon Network.

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13. Phil Lord and Chris Miller Create Pilot for ‘Son Of Zorn’ Series

A barbarian warrior would rather wage animated war than work a real-world office job in the forthcoming animated/live-action comedy, 'Son of Zorn.'

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14. New Footage: Disney XD’s ‘Guardians of the Galaxy’ Series

A series of mini-shorts will debut on Disney XD tomorrow.

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15. C. H. Greenblatt ‘Not Thrilled’ With Nick’s Treatment of ‘Harvey Beaks’

New episodes of "Harvey Beaks" were pulled from the network's summer schedule with no warning to the staff.

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16. ‘Over the Garden Wall,’ Steven Universe,’ and ‘Wander Over Yonder’ Score First Emmy Noms

Some popular animated programs are being recognized for the first time this year.

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17. ‘Mobile Suit Gundam: Iron-Blooded Orphans’ Takes Flight in New Teaser

In October, Sunrise will spin off the storied mecha anime franchise when "Iron-Blood Orphans" touches down in Japan.

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18. Nelvana, Sony Team Up For ‘Hotel Transylvania’ TV Series

Sony Pictures Animation and Nelvana's 'Hotel Transylvania' animated television series is scheduled for an early 2017 launch.

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19. ‘Dream Defenders’ Brings International Exposure to Singapore’s Tiny Island Productions

Tiny Island founder David Kwok talks about Discovery Family Channel's pick-up of "Dream Defenders."

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20. ‘Adventure Time,’ ‘Uncle Grandpa’ Among Cartoon Network Renewals

Five Cartoon Network shows have earned season renewals.

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21. First Look at Disney’s ‘Pickle & Peanut’

It's a buddy comedy with a pickle and a peanut.

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22. Viacom is Floundering Creatively — Here’s Why

Viacom, the parent company of Nick, MTV, and Comedy Central, insists it's still relevant. No one else thinks so.

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23. ‘The Simpsons’ Will Soon Start Selling Real-Life Duff Beer

Fox, which once considered selling "Simpsons"-branded beer "detrimental to children," has changed its tune.

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24. Disney’s ‘Pickle & Peanut’ Star Attacks Cartoon Brew Commenters

Johnny Pemberton used a crude sexual insult to describe commenters of this site.

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25. Nelvana, Sony Team Up For ‘Hotel Transylvania’ TV Series

Mavis and company will arrive on TV in 2017.

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