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Love Alarm Season 2: Release Date, Cast, Plot And All Latest Updates For Fans.

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Love Alarm is a South Korean tv series. It is founded on the Daum webtoon of the same name by Chon Kye-young, and the very first season premiered on Netflix on August 22, 2019. But Love Alarm Season 2 is exactly what we here to discuss.

Love alarm not only deals with a love story, but also with information protection, gay rights, the extreme consequences of heartache, and smartphone invasion. The show proved to be a commercial success. It was ranked among Netflix’s top releases in 2019.

Upon claiming this much success, it was pretty obvious to be renewed for a second season. So using its official renewal here is everything we know about Love Alarm Season 2.

When Will Love Alarm Season 2 Release

The second run of this dama was set to launch on the streaming platform in August 2020, But the coming of the series got postponed due to Coronavirus.

It’s now revealed that the new season will arrive in the next year since this Netflix series is experiencing some after generation problems. The main reason for the problem is Coronavirus. Everything has been stopped, and the production houses were closed, but now things are getting into norma. So we have to wait for a long for the new season.

Love Alarm Season 2: Cast!!

The expected cast who can appear in the next season of Love Aram:

  • Jo-Jo played with Kim So-Hyun
  • Hwang Sun-oh, played by Song Kang
  • Lee Hee-young, played by Jung Ga-ram
  • Il-Sik, played by Shin Seung-ho
  • Park Gul-mi, played by Proceed Min-si
  • Kim Jang-go, played by Z.Hera
  • Cheong Duk Gu, played by Lee Jae-Seung

The plot of Love Alarm Season 2

The season two will bring adventure to the story of Love Alarm since Jo-jo knows what she wants. She must choose between Hwang Sun-oh, a handsome design, and his best buddy Lee Hye-Yeong. They both like her. The story revolves around a beautiful girl Jo-jo, whose entire life is altered when she gets involved in a love affair due to a relationship application, which goes viral.

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Chrissy Teigen Accidentally Just Revealed Baby #3’s Gender! Watch!

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This is EXACTLY the kind of gender reveal we would expect from Chrissy Teigen!

John Legend’s wife hopped on her Instagram Stories to give an update about her “high risk” pregnancy. In the update, she explained a bit further exactly what led her to be placed on bed rest — but she also let slip a very telling pronoun in the process!

Related: Ashley Tisdale Is Pregnant!

She shared:

“My placenta sucks. It’s always been kind of the bad part of my pregnancies with Luna. With Miles, it just stopped feeding him, it stopped taking care of him. I was stealing all his food because I was getting huge but he wasn’t getting big at all. He had to come out early and Luna had to come out early. I was induced both times. Anyways, it’s super weak. And it’s so weird ’cause the baby is really, really healthy and he’s big, he’s probably — oops!”

Yup. “HE.”

See the hilarious moment she realizes what she’s done (below)!

It’s a boy!

The Lip Sync Battle star quickly put a hand over her mouth, and confirmed the slip of tongue by saying:

“I am stupid…”

But not as dangerous as some gender reveals, as she laughingly pointed out later on Twitter.

Because this was an IG Story and not a Live, presumably the 34-year-old could have avoided posting that part of her message — but that’s just not Chrissy’s style. Instead, she left the post up with the text, “hahahahaha might as well tell you.” She was careful to avoid any gendered pronouns in the rest of her update, however. She continued:

“Anyway, so yeah it’s growing beautifully. Everything is good, I’m feeling good but my placenta is really, really weak and it’s causing me to really bleed a lot.”

We hope Chrissy has a peaceful, healthy rest of her pregnancy — and we’re so excited for Luna and Miles to have a new baby brother! Congratulations, Legends!

[Image via Chrissy Teigen/Instagram]

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2020 Emmys Show Review: Best and Worst of the Virtual Emmy Awards

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Ending on a Quibi success story is the only fitting way to say goodbye to the forgettable yet unforgivable Creative Arts webcasts.

Creative Arts Ceremony, Thursday — Scripted, Night Two

The Emmys are far from over. After four straight nights of ceremonies, we’ve only made it through four of the nine hours of Emmy distribution. One more Creative Arts telecast awaits on Saturday night — this one, a two-hour affair on FXX — as well as Sunday’s Primetime Emmy celebration at 8 p.m. ET on ABC. The latter of which has a new host, a new concept, and new talent, so we know that show, at least, will be different.

But Saturday needs to change, too. Be it leaning harder on Nicole Byer’s comic potential as host, giving further (and better) direction to presenters about spicing up their pre-taped introductions, or building more innovative pieces of media to highlight the hard work of those being honored, a longer ceremony cannot simply mean a longer version of what’s been happening at the Creative Arts Awards thus far.

They have, for all the reasons listed below and plenty more elsewhere, been very hard to watch.

Thursday offered the same highs and mostly lows as previous nights, so scroll down for more details. While that’s frustrating enough for anyone who’s had to sit through these first four nights (mainly, reporters and nominees), the real concern remains with the final two ceremonies. After Monday’s event, I mentioned that these super-fast, super-repetitive, super-perfunctory webcasts felt like trial runs for the real thing (aka the Primetime Emmys). That’s its own problem, considering how disrespectful such a perception can feel to those being honored, but looking back, I’m not even sure these ceremonies served as good practice.

Sunday’s telecast will lean heavily on being live — there will be live monologues, live bits, live introductions, and live acceptance speeches. And from a technical standpoint, the most difficult elements of Sunday’s broadcast have to be herding all those live feeds and timing the edits, rhythm, and general feeling of live virtual event.

None of these elements were part of the Creative Arts telecasts. The feeling evoked here isn’t likely to be felt come Sunday because so many of the basic building blocks have changed. So what was the point? What was the goal? What did the TV Academy hope to accomplish over these four both very fast and very long evenings? Yes, they announced the winners. That very essential function was taken care of, but I doubt anyone who didn’t snag a trophy will remember anything positive about these ceremonies. And the TV Academy is still starting from scratch this weekend.

So congratulations to Quibi. Congratulations to Forky. Congratulations to “Schitt’s Creek” (though I’m guessing PopTV will be none too happy if this is its biggest win). To everyone else, let’s look forward to the weekend. At least we don’t know what’s coming.

Creative Arts Ceremony, Wednesday — Scripted, Night One

Hmm… I wonder if that “Succession” win means something.

About midway through the third consecutive night of Creative Arts Emmy Awards, the HBO drama won for Outstanding Single-Camera Picture Editing for a Drama Series — the first category to crown a winner with all three of the top dramas in competition. It’s also the only category we’ve seen so far where “Succession” (18 total nominations), “Ozark” (also 18 nominations), and “The Mandalorian” (15 nominations) have competed together, so a win from the win-happy “Mandalorian” (it took home five trophies Wednesday) or even the victory-starved “Ozark” (its best bets are yet to come) could have spelled trouble for the presumptive favorite, HBO’s “Succession.”

Instead, the Emmy went to Bill Henry and Venya Bruk, which kept momentum in “Succession’s” favor… for now. Now, the category isn’t exactly a bellwether for Best Drama Series. In the last 10 years, the winners have only overlapped six times (and three of those were courtesy of “Game of Thrones,” a juggernaut). “The Mandalorian” could still pull an upset if other craft categories favor the Disney+ blockbuster (as they did “Game of Thrones”), but… none of this matters. I mean, it matters — to me, an Emmy prognosticator, and it will matter to the future winners and losers, but it certainly shouldn’t be what people are thinking about when watching individuals win television’s highest honor. This is supposed to be their moment, their time in the sun, their time to be recognized.

Yet, that’s pretty much all that came to my mind Wednesday night, as yet another Creative Arts ceremony rolled out online, the same intro played, and the same high-speed pace made another night of honors feel like another empty gesture.

From the obligatory Baby Yoda joke that Nicole Byer dropped at the top of the ceremony, to the dancing stormtroopers and masked Mandalorian accepting a Visual Effects Emmy via Zoom, Wednesday night’s Creative Arts ceremony was exactly the same as the prior nights, only this time, with “Star Wars”! Reruns plagued another abbreviated run time, as Kareem Abdul-Jabbar resurfaced to introduce the same ad for BLDPWR as they aired Monday, Byer’s Kia-sponsored bit on COVID-19 Emmy categories didn’t play as well as the first time, and the In Memoriam scroll got a very minor but critical update — Wilford Brimley’s name was spelled correctly this time, as we requested last night. (Credit to IndieWire’s Steve Greene for the initial spotting.)

The only significant changes were seen in the presenters and winners, and calling those “significant” is a real stretch. Jeffrey Dean Morgan and Hilarie Burton Morgan tried to plug their chill, AMC talk show with some chill, unrehearsed banter, but tying the fact that they don’t use visual effects on their show to introduce the awards for Best Visual Effects only emphasized their shameless plug over the Academy’s actual honor. Laverne Cox stumbled in the same fashion later in the show (although for a much more selfless program in the Netflix documentary “Disclosure”), but there have been far too many readings like the Morgans’ too-relaxed video over three nights — eventually, it just seems like the only reason the presenters are there is to plug their shows, rather than because they want to use their profile to bring attention to below-the-line artisans. (And overall, these virtual ceremonies have felt similarly uninterested in paying homage to craft.)

That tonal turn off was only amplified by another couple with nothing to plug: Bobby Cannavale and Rose Byrne kept things very casual, but they turned their flubbed lines into a cute montage and stayed so joyful throughout that the awards never felt secondary. If the whole show could follow their lead — making (apparent) off-the-cuff references to the art being honored while staying jubilant and innovative — then perhaps these nightly ceremonies would be worth watching. Instead, they remain rather useless, hence my wandering mind.

Again, I recognize (now) that no one is supposed to be watching every night of these, so those tuning in for the first time may have had a pleasant enough experience. But I suspect those tuning in for the first time were nominees (or industry professionals connected to those nominees), and their experience hinged more on whether Emmy voters delivered them a trophy than if Emmy producers delivered a quality program. Folks from “Watchmen” and “The Mandalorian” are probably pretty happy right now — as are Bill Henry and Venya Bruk from “Succession.” I just wish more people knew to be happy for them.

And if you really are interested in reading the tea leaves, head over to Libby Hill’s article. That’s where those thoughts belong.

Jeffrey Dean Morgan and Hilarie Burton Morgan

Courtesy of the Television Academy

Creative Arts Ceremony, Tuesday — Variety

Officially, the theme of Tuesday night’s Creative Arts Emmys was “Variety.” Unofficially, it was the opposite.

Repetition reigned on Night No. 2, as reruns of the prior evening plagued another uninspired virtual ceremony. First, the opening video montage of 2019-2020 television shows was the same as what opened Monday night’s event. OK, fine, using the same intro can work as a way of formalizing and uniting these five nights of awards. Host Nicole Byer even leaned into the similarities during her brief opening monologue, quipping, “I’m the same host, this is the same dress.” But then the same clip of Jimmy Kimmel joking about running out of toilet paper played twice — once when the show was up for an award, and then again during a montage of late night series that resumed production during the pandemic.

Later, Jeremy Pope rhymed “lighting” and “writing” while standing in the same place where Byer had rhymed the same two words minutes earlier. Then the same clip of Ernst & Young vote counters wearing yellow Breaking Bad hazmat suits played. Then the same advertisement for the Television Academy’s foundation ran. By the time the In Memoriam segment started, you didn’t have to go to last night’s video to know that yes, it was the same segment as before, highlighting the same random names, from the same lengthy scroll. (To clear up a bit of confusion, those names aren’t actually random. They’re all craft workers who passed away last year, and the other, non-highlighted names are actors and industry members likely to be given their due during the Primetime tribute.)

Spotting these repeated segments, lines, and clips signaled two things:

  1. No one was meant to watch every night of the Creative Arts Emmy Awards.
  2. These ceremonies are just for the winners — and not even all of the winners.

With so much repetition throughout an even shorter show (47 minutes), very low overall viewership (Tuesday clocked less than 1,000 viewers), and another big winner who couldn’t even record an acceptance speech (Lorne Michaels didn’t submit an acceptance speech for “SNL’s” fourth straight Variety Sketch win), Tuesday’s ceremony hammered home who the TV Academy’s intended audience is for these first few ceremonies: the winners. Everyone else is better off looking up the results elsewhere — you can definitely find better reactions via social media — because even sitting through history’s shortest awards show isn’t worth it when so little effort is put in to make the night feel special.

So let’s hear it for Robert Barnhart, the lighting designer who won for his work on the Super Bowl Halftime Show; his pre-taped acceptance speech was a quick, pointed spoof on the virtual Emmys, as Barnhart jogged into frame late, stood in front of a fake curtain, and said, “Even at home they gave me seats in the back row!” He then thanked his colleagues before music overwhelmed the rest of his speech, and Barnhart joked, “Are you really playing me off right now? How’d you get in here?” before it cut to the next award.

Kudos to Ryan Barger of “Last Week Tonight with John Oliver” for winning Outstanding Picture Editing — and for his extremely colorful backdrop filled with flowers, a not-so-hidden past Emmy, and an excellent miniature skeleton. Props to “Live in Front of a Studio Audience” technical director Eric Becker for telling everyone to “wear a damn mask” after a few musical notes from his piano. And respect to Jason Sherwood, a production design winner for The Oscars who used his speech to embarrass his best friend with earnest admiration.

Along with the more famous faces from “Live in Front of a Studio Audience” like Will Ferrell, Jimmy Kimmel, Justin Theroux, and Norman Lear, who all appeared for a funny acceptance of the Best Variety Special (Live) award, winners like these remind you what an honor it must be to win the most prestigious award your peers can offer. Winners like these are worth watching, and all the winners are worth acknowledging. It’s just a shame the show designed to do just that isn’t interested in courting repeat viewers, and it barely seems interested in entertaining the nightly ones.

One more note: Before the Primetime ceremony on Sunday, someone should fix Wilford Brimley’s name. The In Memoriam scroll spells it wrong, and it has for — you guessed it — two nights in a row.

Television Academy headquarters in North Hollywood, CA

Television Academy headquarters in North Hollywood, CA

IndieWire / Ben Travers

Creative Arts Ceremony, Monday — Reality and Non-Fiction

If you ever wondered what an awards show would look like without all the frivolous time fillers, wonder no more. The 2020 Emmys kicked off Monday night with its first of six virtual ceremonies, and this initial streamlined affair — with pre-taped intros, speeches, and other segments — featured no red carpet, no long walks to the stage, and no flustered, rambling, “Oh, I forgot to thank–” speeches.

It also wasn’t great.

To be fair, the Creative Arts Emmys usually aren’t charged with putting on a show. With so many categories, these ceremonies are primarily focused on getting all the awards handed out, and that’s about it. So finding a fitting way to honor this year’s TV craft achievements without two nights of free dinners and small parties was going to be tricky. The TV Academy could’ve just released the winners via a press release, a la the nominations, and they likely wouldn’t have faced much backlash outside the industry. There’s simply not a huge appetite to watch six nights of TV awards, so the choice to put together virtual, pre-taped, live-streaming ceremonies was a thoughtful gesture and significant investment (of time, production resources, and talent) by the TV Academy. They also offer the added bonus of serving as trial runs for the weekend’s grander festivities, where more people will be watching (one hopes) and more famous folks will be honored (for sure).

But that doesn’t mean it should feel like a trial run. To its credit, the Reality and Non-Fiction section of the Creative Arts Emmy Awards wrapped in less than an hour — an unthinkable feat for any prior awards show — when amiable host Nicole Byer gave her sign-off at 5:55 p.m. PT. But the rapid rate of announcements, combined with the flavorless pre-taped segments, only emphasized the idea that TV Academy technicians just wanted to make sure this whole virtual ceremony thing worked, more than it felt like an opportunity for winners to be singled out, heard, and appreciated.

Does that mean the next five nights are doomed? Not at all! Could there be more ambitious, organic, or otherwise compelling moments in store? You bet! So will viewers come back tomorrow night (and more importantly, tune in for Saturday’s longer FXX airing and Sunday’s big Primetime show)? Well, we’ll see. Here are a few first impressions of the weird debut — for those who missed it, and for those who are thinking about watching later on.

A Quick Ceremony, for Better or Worse

Whoever decided to cap these Creative Arts shows at an hour apiece deserves a medal for courage… if not foresight. Reading previews that claimed each of these first four ceremonies would be over and done in less than 60 minutes made my jaw drop, and few of my fellow viewers believed it was possible until we’d mowed through three-quarters of the categories in 45 minutes.

And yet, the speed ended up working against the special feeling these prestigious awards are supposed to evoke. Don’t get me wrong: A long awards show is tough to sit through, and a short awards show is usually a sign of exquisite planning (and a few lucky breaks). Finding the perfect length for all viewers is an errand so foolish critics should be banned from complaining about award show runtimes.

Still, it’s a big factor this year. The virtual world still can’t compare to the remarkable nature of live, in-person events, so virtual ceremonies are fighting an uphill battle when it comes to making these honors feel as significant as prior years’. Watching winner after winner fly by, with speeches starting as soon as the announcement screen slid away, I couldn’t help but think of past Emmy parties, when someone unknown was announced as the winner, the camera cut to their face, and the people watching stopped chatting or eating or making a cocktail to ask, “Wait, who just won?” That brief exchange usually took place as the recipient walked to the stage, and people would listen to the start of their speech once they understood who they were or, more likely, what they worked on.

The pace of this first virtual ceremony made me forget who won a few seconds after they left the screen. There was barely any time to process winners, let alone ask a friend who was just onscreen or what show they’d won for — and people working behind the scenes typically need a little extra time to be recognized because they’re not famous. I don’t know what the solution is; this could just be an adjustment required for virtual ceremonies, or an attention deficit issue on my end. Bringing in Byer more often could help, especially if she offered a fun fact on the previous winner or their show. Maybe producers could show an extra clip of the winner’s work? (I stand alone on an island whose population loves awards shows that show clips of the nominees.) But Night One went by too fast — longer awards shows are good, actually!

Nicole Byer Nails It

Big surprise, eh? The Emmy-nominated “Nailed It” host wasn’t onscreen that often during the first night (she’ll get more to do on Saturday’s FXX broadcast), but she clearly and concisely explained what was happening, threw in a few affable lines (“Honestly, if you don’t like me now, you won’t like me for the next four days”), and even made a sponsored segment from Kia about fake COVID awards feel more like a reminder of what matters right now than a misguided idea stretched way too thin. (Calling the “Stranger Things” kids “super-spreaders” for participating in “Carpool Karaoke” is always a good joke, though.) Looking forward to more!

In Memoriam Creates More Problems

With only 10 minutes left in the show, just when you thought you might escape an awards show without an awkward “In Memoriam” segment, bam — there it was. A long list of names scrolled down the screen, in no discernible order, as random craft artists were singled out with a picture and a credit for one of their shows. Some got the golden flash over their name that preceded a photo highlight, and some did not. Why? I honestly don’t know, but the segment managed to create the same controversy of so many past, in-person awards shows by choosing which deceased filmmakers got special treatment and which didn’t (much like when guests would applaud for one name more than another during past tributes). Here’s hoping this isn’t a recurring segment.

Some Things Never Change…

Despite acknowledgements that this year’s ceremony was going to be different, as well as promises that producers would lean into the shift to create more exciting changes, the bulk of entertainment from Night No. 1 came from the presenters’ introductions and the recipients’ speeches, and both were largely lacking in originality.

Jim Gaffigan kicked things off with a lengthy plug for his show. Kareem Abdul-Jabbar led into a video package on BLDPWR, an organization trying to support Black artists in the Entertainment industry — during a night when very few Black nominees actually won. The “American Factory” directors fell into the 4% of nominees who didn’t participate in pre-taping an acceptance speech, so of course they won.

Does all this sound familiar? It should. Awkward awards banter, talk-heavy video packages, and absent winners are all awards show staples, as are quickly recited “thank you” speeches and stilted “reading off a teleprompter” intros. Very few honorees tried to stand out, many looked tired or even annoyed to be recording themselves, and it led to a rather flat ceremony, since these people were its main building blocks.

The one reliable factor of entertainment? Mistakes. Despite six months to learn FaceTime, “Holy Moley” host Rob Riggle still left his hand on his phone’s camera when recording an introduction. When Eric Milano won back-to-back sound awards for “Apollo 11,” they aired the same pre-recorded acceptance speech twice, which meant hearing “Consider going vegan, and let’s get money out of politics!” two times in a row (which, fine — at least he said something unique). There were a few awkward pauses here, and a few obvious edits there, but that only goes to show how polished the whole endeavor felt — a stark contrast to the electricity of a live show. Here’s hoping the coming nights give producers better material to work with.

Viewership and Purpose

The Creative Arts Emmy Awards have never been designed as a mainstream draw, and this year’s ceremonies are no different. Yes, these are the first to air in their entirety, but they’re only available through the Emmys’ website (via a YouTube livestream). That should make them easily accessible for whoever wants to watch (namely, publicists, reporters, and nominees), but Night No. 1 didn’t even seem to attract those key audience demographics. At the 15-minute mark, 1,330 people were watching; at the 45-minute mark, viewers held steady at 1,341. To say those are far from gangbuster numbers misses the point, but it’s worth asking whether or not this version of a virtual ceremony is the best way to honor each winner. Sending out a press release, sharing the news on social media, relying on word of mouth from networks, colleagues, and friends — all of that still happened after the virtual ceremony aired, so it’s hard to say watching it live was anything but a bonus. Maybe it was. New Emmy winner Laura Karpman sure seems happy. But there’s still room for improvement. Bring on tomorrow night.

The Creative Arts Emmy Awards will be given out the week of September 14. The virtual ceremonies airing Monday – Thursday will be streaming via the Emmys livestream. Saturday’s last Creative Arts ceremony will air on FXX. The 72nd Annual Primetime Emmy Awards will take place virtually on Sunday, September 20. (See our awards calendar for a more detailed breakdown of important dates.) ABC is broadcasting the ceremony.

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Easy A Turns 10: See the Cast Then and Now

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You better knock, knock on wood.

Why? Well, because today, Sept. 17 marks the 10-year anniversary of the teen comedy Easy A.

The hit film starred Emma Stone as Olive Penderghast, a 17-year-old girl that lets a lie spiral out of control in order to increase her notoriety at school. Partially inspired by Nathaniel Hawthorne’s The Scarlett Letter, Stone’s Olive finds herself getting ostracized and decides to stitch a red A into provocative clothing.

Along the way, Olive becomes closer with her longtime crush, the school’s mascot “Woodchuck” Todd (played by Penn Badgley).

The cast also includes Amanda Bynes as Marianna Bryant, Dan Byrd as Brandon, Aly Michalka as Rhiannon Abernathy, Thomas Haden Church as Mr. Griffith and others.

Easy A was made on a budget of $8 million and made its world premiere at the 2010 Toronto International Film Festival. Six days later, it opened in theaters, making back double the budget by the end of the opening weekend.

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