Like all things in 2020, it appears the newest season of The Bachelorette is cursed! But what’s going on??
After months of production delays and a fan-demanded recasting of suitors, it appears producers made a big move after the first two weeks of filming began for Clare Crawley’s season: they reached out to “backup” contestants!
That’s right, Perezcious readers. For reasons unknown, Bachelor Nation producers reportedly contacted several men who were not initially cast to film the current season “out of the blue,” according to an Us Weekly source, suggesting that something had gone FULLY awry during filming.
Related: The Bachelor‘s Peter Weber & Kelley Flanagan Are Moving In Together!
The insider explained:
“Last weekend, producers reached out to backup Bachelorette contestants who had been vetted for Clare’s season but were ultimately not cast to film at La Quinta [Resort]. When producers reached back out, out of the blue, it was very apparent that something had happened with production.”
There have already been quite a few hurdles for production on the upcoming season. After shooting was put on hold indefinitely due to health and safety concerns, ABC revealed that Crawley would embark on her made-for-TV love journey in a single quarantined location amid the coronavirus pandemic. Robert Mills, VP of Alternative Series at ABC, explained in late June on On Air With Ryan Seacrest:
“We’re going to be in one location and everyone will be tested [for coronavirus] the week before. Maybe there’s some travel, maybe it’s just domestic, maybe it’s by bus. We’ll see. If things aren’t that safe, we’ll shoot it the same way where everybody is safe, they’re tested, they’re quarantined, and then you can have kissing and arguing and everything else.”
There was also some drama when the rose-seekers were originally announced: many fans expressed frustrations with the younger crowd that was chosen to compete for the 39-year-old hairstylist’s heart, so production swapped out some of the first group with a slightly older batch, 20 of whom are aged 30 or older.
But it appears another unknown issue has now come up. The source explained that the signs “obviously” pointed to something going wrong on set when the production team started “calling backup contestants and asking them to come to La Quinta within 24 hours.”
WITHIN 24 HOURS?? That’s a hunk emergency!
So… what the actual f**k is going on!?
Was there a fight between contestants? A fight between a contestant and producer? A COVID-19 outbreak? Did Garrett Yrigoyen show up and make everyone want to leave? Our minds are racing with theories.
We guess we’ll find out more deets as they come out. Until then… what do U think is going on over at the La Quinta Resort, Perezcious readers?
[Image via ABC/YouTube/WENN]
a smart but unfocused video game doc
Blast processing was a lie. It’s sad but true: Despite its evocative name—and a million playground arguments about how it allowed the Sega Genesis video game console to do what Ninten-didn’t in the early ’90s—the vaunted technology was really just a useful bit of computing speak, plucked out of the mouths of programmers and used by marketers as a bludgeon against the competition. With those buzz words, Sega managed to eclipse its main rival in the American video game market in the early 1990s, briefly toppling a company that was so ubiquitous Stateside that “Nintendo” is still sometimes used as a synonym for any video game, regardless of what system it operates on.
This era of upheaval, corporate rivalry, and, yes, a few outright lies to the public serves as the focus of Jonah Tulis and Blake J. Harris’ documentary Console Wars, which attempts, semi-successfully, to cover a time period when video game executives were happy to snipe bitterly at each other in front of Congress, or film a video of themselves blasting a rival company’s beloved mascot with a gun. Based off Harris’ 2014 book of the same name, the film uses archival footage, modern-day interviews, and plenty of original animation (intended to look vaguely video-game-like, to varying degrees of success) to illustrate a sometimes scattershot story of marketers at war in an industry that was rapidly evolving into a massive-money business. And, just like the games of the era, Console Wars is bright, engaging, and frequently so fast-moving and unfocused that it might give you a headache.
As in the book, Harris and Tulis adopt as a framework the rise of Sega Of America, and especially CEO and resident pitchman Tom Kalinske. Kalinske was heralded as the savior of toy company Mattel in the early ’80s, after reinvigorating the Barbie line of products and introducing He-Man to the world. That miracle worker reputation is exactly why Sega’s Japanese leadership approached him in 1990, in hopes of reviving their failing U.S. console games business after years of toiling fruitlessly in Nintendo’s wake. Still a charismatic and engaging speaker 30 years later, Kalinske and his team lay out for the cameras how—when faced with a competitor blatantly unafraid to use its massive market share to “encourage” retailers not to grant shelf space to rival products—they developed a high-volume marketing blitz designed to appeal to teens and paint Nintendo as a company solely for little kids. And if there’s no mention of “games” in that plan, that’s one of the savvier points Console Wars ends up making, amidst all its little digressions and tributaries: This was a battle of advertising, not software, and the advertisers and executives are its clear and obvious heroes.
Tulis and Harris make the natural decision to center their narrative on Team Sega. Sega Of America enter the story as heroic underdogs, exit it as cheerful-but-possibly-sabotaged failures, and—almost to a person—come off as far more likable than the various cigar-loving suits who ran Nintendo during the era in question. (The sole exceptions are Nintendo Power founder Gail Tilden and the company’s resident “game master,” Howard Phillips, who’s enthusiastically dorky in both the present-day interviews and archival footage of his bow-tied younger self.) But that same decision to center this as “the Sega story” also needlessly complicates Console Wars’ timeline. The effect is less “in media res” than “Oh shit, we forgot to tell you this part,” as when the movie suddenly jumps back, halfway through its runtime, to the infamous video game crash of 1983 (complete with obligatory mentions of the landfill-destined E.T. Atari game) in order to explain how Nintendo got to its position of eventual dominance. Similarly, the film struggles to incorporate the eventual winners of the Console Wars: Playstation manufacturer Sony, which sold nearly twice as many consoles in the mid-’90s as Nintendo and Sega combined. Tulis and Harris seem as blindsided by their intrusion into the narrative as Sony’s business competitors were back in the day.
Console Wars never quite settles on the story it’s trying to tell. Is it the one about billion-dollar companies poking at each other like immature children? A David-and-Goliath tale? (Albeit one in which both David and Goliath eventually find themselves getting kicked around the block by Crash Bandicoot?) A sly analysis of how savvy, aggressive marketing can hold far more sway over the minds of children than any blood-soaked Mortal Kombat match? Tulis and Harris don’t seem to have enough material to make a full film out of any of these ideas, and so they settle for a messy compromise that veers from corporate espionage to cringe comedy to attempts at uplift. (Their lack of focus extends to the film’s editing, which is often hyperactive to the point of distraction.)
What they do have, though, are interesting anecdotes, some fascinating characters, and a whole bunch of still-bizarre ads from an era when punk-adjacent “attitude” was slathered liberally over a billion-dollar industry by a bunch of people who spent large swaths of their lives living out of Comfort Inn suites and sweating in unattractive suits. It’s not for nothing that one of the most consistently entertaining talking head interviews comes from Jeff Goodby, the outside advertiser who crafted Sega’s revolutionary “Welcome To The Next Level” campaign (and who did as much to make “blast processing” a ubiquitous-if-meaningless phrase as anyone on Earth). Wry and unashamed, Goodby grasps the real truth: These marketing wars were always just another kind of very expensive game. Console Wars could use a little more of that clear-eyed honesty about the industry and era it’s trying to document.
21 Times Someone Royally Beefed It (And Accidentally Created Movie Magic)
These aren’t bloopers, and they’re not quite improv, either. These iconic movie moments are brought to you by pure, uncut goofups:
Jacob Elordi congratulates ex-girlfriend Zendaya on her Emmys win
Jacob Elordi has congratulated his Euphoria co-star and rumoured ex-girlfriend Zendaya on her impressive Emmys win.
The 24-year-old was named Outstanding Lead Actress in a Drama Series at the ceremony yesterday.
Elordi shared a photo on his Instagram Story of Zendaya as her character Rue and captioned it, “Congratulations captain @zendaya. Bravo.”
READ MORE: Jacob Elordi and Zendaya’s complete relationship timeline
The pair, who were rumoured to be dating, were last seen together in March this year at a flea market. They kept their relationship very private but were photographed on numerous occasions.
More recently, Elordi has been linked to Cindy Crawford’s daughter Kaia Gerber, after being photographed having dinner in Malibu and on holiday in Mexico.
“They’ve been inseparable for the last several weeks,” a source told E! News. “They’ve been going out to dinner at night and working out together at the gym during the day.”
READ MORE: Jacob Elordi and Kaia Gerber’s complete relationship timeline
Prior to that, Elordi previously was in a relationship with his Kissing Booth co-star Joey King from 2017 to 2018.
Zendaya made history for her Emmys win for being the youngest-ever Emmy winner in the category, and the first Black actor to score the gong since How To Get Away With Murder‘s Viola Davis in 2015. She beat Jennifer Aniston (The Morning Show), Sandra Oh (Killing Eve), Olivia Colman (The Crown) and Laura Linney (Ozark).
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