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FREEFORM BUILDS ON SUCCESS WITH NEW SERIES ANNOUNCEMENTS

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Freeform President Tom Ascheim and Executive Vice President of Programming and Development Karey Burke will unveil today the new and returning projects for The Walt Disney Company’s young adult cable network at the combined Disney|ABC Television’s presentation for the national advertising community at Lincoln Center’s David Geffen Hall.
Freeform continues to dominate the young adult landscape in cable with the No. 1 comedy (“grown-ish”) and the No. 1 new drama (“Siren”) with young women (18-34 and 12-34). Also claiming the title of No. 1 most social cable network for the 7th year in a row and the No. 1 network in digital viewing, Freeform is delivering on its new tagline “A Little Forward.”
The recently re-branded network continues to build its roster of quality programming that speaks to the young adult consumer who has embraced its authenticity, evident in recent multi-platform hits “grown-ish,” “Siren” and the critically acclaimed “The Bold Type.” In addition to strong female representation on-screen, the network champions and has built an impressive, inclusive roster behind the scenes. Half of Freeform’s episodic directors are female, diverse, or LGBTQ, 60% of series writers are female or diverse, and every original series on the network has a female producer. The network also boasts placement as No. 1 in digital viewing, No. 5 entertainment network and the most social cable network for the seventh year in a row.

“In the past year, our commitment to quality has been reflected back to us with a rousing chorus of critical and fan acclaim,” says Ascheim. “Our young adult audience is the most important and influential generation in America and we want to be right there with them every step of the way.” Adds Burke, “We like changing the narrative at Freeform and are proud that our original programming resonates so strongly with this audience. We are grateful to all of our series creators who share our focus on challenging the status quo and telling stories with meaning.”

NEW SERIES PROGRAMMING

“BESTIES”
“Besties,” a half-hour multi camera comedy from co-creators Kenya Barris and Ranada Shepard has been ordered to series by Freeform following the enormous success of Barris’s breakout coming-of-age show, “grown-ish,” the No. 1 cable comedy season-to-date (women 18-34.) This multi-cam sitcom explores friendship, identity, race, and class as two lifelong best friends use each other to get through some of the toughest challenges that they will ever face – figuring out who they are and who they want to be. Kenya Barris and Ranada Shepard are executive producers; the series is produced by ABC Signature Studios.

“PRETTY LITTLE LIARS: THE PERFECTIONISTS”
                                                                    
I. Marlene King will expand the universe of “Pretty Little Liars” for Freeform with a 10-episode series order for “Pretty Little Liars: The Perfectionists,” featuring returning fan favorites Sasha Pieterse as Alison and Janel Parrish as Mona and starring Sofia Carson (Disney’s “Descendants”) as Ava. The drama also welcomes Sydney Park (“The Walking Dead”) as Caitlin, newcomer Eli Brown as Dylan, Graeme Thomas King (“The Widow”) as Jeremy, Kelly Rutherford (“Gossip Girl”) as Claire, and Hayley Erin (“General Hospital”) in an undisclosed role. In Beacon Heights, a seemingly perfect town, a group of three college friends struggle with the stress of being overachievers. In the aftermath of the town’s first murder, each Perfectionist hides behind a secret, a lie and an alibi. Like its predecessor, “Pretty Little Liars,” which was No. 1 on the New York Times bestseller list, “The Perfectionists” is also based on a popular book series penned by Sara Shepard. “Pretty Little Liars: The Perfectionists” is produced by Alloy Entertainment and Long Lake Media, in association with Warner Horizon Scripted Television. I. Marlene King (“Pretty Little Liars,” “Famous in Love”) wrote the pilot and serves as executive producer on the series with Charlie Craig (“Pretty Little Liars,” “The 100”), Lisa Cochran-Neilan (“Pretty Little Liars,” “Famous in Love”), Leslie Morgenstein (“Pretty Little Liars,” “The Vampire Diaries”) and Gina Girolamo (“The 100,” “The Originals”). The pilot was directed and executive produced by Elizabeth Allen Rosenbaum (“Relationship Status”).

RETURNING SERIES PROGRAMMING

“SIREN”

Following the news of “Siren’s” premiere as the No.
1 new cable drama with young women (18-34 and 12-34), Freeform announced a second season pickup for the mermaid thriller, whose season one finale airs Thursday, May 24th. The network also added six more episodes to next season’s order, up from ten this season.  “Siren” is an epic tale about the coastal town of Bristol Cove, known for its legend of once being home to mermaids. The arrival of a mysterious girl, Ryn (Eline Powell), wreaks havoc on the small fishing town as she proves the folklore true. Using their resources, marine biologists Ben (Alex Roe) and Maddie (Fola Evans-Akingbola) must work together to find out who and what drove this primal hunter of the deep sea to land and if there are more like her. Xander (Ian Verdun) is a deep-sea fisherman looking to uncover the truth and Helen (Rena Owen), the town eccentric, knows more than she lets on. Eric Wald and Dean White co-created the story and serve as executive producers along with showrunner and executive producer Emily Whitesell. Brad Luff, Nate Hopper and RD Robb are also attached as executive producers.

 

HOLIDAY PROGRAMMING

The network will expand its holiday dominance with over 1000 hours of themed programming kicking off with “31 Nights of Halloween” on Oct. 1, an increase of the annual “13 Nights of Halloween.” The network also introduced Freeform Santa (“Shadowhunters” star Isaiah Mustafa) and November’s “Kick Off to Christmas.” Then the iconic “25 Days of Christmas” returns to the entire Disney|ABC Television on DEC. 1, the only major media network to offer a unified holiday programming initiative. During last year’s “25 Days of Christmas,” Freeform led the television group with 80MM unique viewers, accounting for more than half of the 151MM total unique viewers across all channels.

 

From the executive producers of the “Disney’s Fairy Tale Weddings” series, Ann Lewis Roberts, Simon Lythgoe and Jenny Daly, “Decorating Disney: Halloween” will be part of “31 Days of Halloween.” This behind-the-scenes special will reveal all the tricks and treats behind the transformation of the Walt Disney World and Disneyland resorts into the scariest, yet still magical, places on Earth!

Freeform will continue the spooktacular festivities with a celebration for one of the most beloved Halloween movies with the “Hocus Pocus 25th Anniversary Extravaganza.”
Two Freeform original holiday films, “Life Size 2” and “Sleeping Together,” will also be part of the holiday lineup. In the former, Tyra Banks, who will also executive produce, reprises her iconic role as a doll that comes to life; but in the sequel, Eve has grown up. This time she’s magically awakened to help a young woman learn to live and love again. Along the way, Eve experiences the ups and downs of real life in an edgy, fun, modern Christmas movie.

“Sleeping Together” is an unexpected and whimsical holiday rom-com about two insomniac strangers plagued by exhaustion. After a brief meeting, they discover that they can only fall asleep if they are sleeping next to each other. What seems like an odd coincidence, and frankly a disruption to their lives, might be more meaningful than they’d like to admit.

PILOTS

Freeform also announced last week a pilot order for “Everything’s Gonna Be Okay,” from critically acclaimed writer and comedian Josh Thomas. The pilot introduces Nicholas, a typical 25-year-old still living at home with his single dad and two teenage half-sisters, who is not particularly helpful in raising his siblings, one of which has autism. However, when their dad becomes terminally ill, the girls have to cope not only with a devastating loss but with the realization that Nicholas is the one who will have to hold it all together. Thomas created the concept and wrote and stars in the pilot with David Martin, Jon Thoday, and Richard Allen-Turner serving as executive producers for Avalon Television. Stephanie Swedlove and Kevin Whyte also serve as executive producers. Produced by Avalon Television and Freeform Studios, it will be distributed internationally by Avalon Distribution

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Sweetpea

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Sweetpea is a new dark comedy series created by Kristie Swain and adapted from a novel series by CJ Skuse. The series stars the ethereal goddess that is Ella Purnell (Fallout, Yellowjackets) using her actual English accent! 

Purnell plays a young woman whose name is not actually Sweetpea, though she is very much a wallflower. Though even Wallflower might have too much gravitas, Rhiannon (Purnell) is treated by those around her like a weed. She is stepped on and ignored by everyone except her dad and pet chihuahua. Many have argued that Purnell is just ‘too pretty’ to be that abjectly ignored by everyone. However, Purnell is an amazing actress who plays the washed-out, doe-eyed, shrinking ‘sweetpea’ so convincingly. 

Rhiannon was bullied heavily in school which led to her developing trichotillomania (a hair-pulling disorder) which ultimately caused bald patches on her scalp. She still keeps an unconvincing brunette wig in a drawer in her bedroom. Rhiannon’s dad is constantly encouraging Rhiannon to stand up for herself. Unfortunately (light spoiler!) Rhiannon’s Dad dies from his illness in the first episode, leaving her alone in the world. 

Rhiannon returns home to the large empty house she once shared with her dad. After yet another tragic incident Rhiannon looks at her life, her thirst for revenge is obvious. Particularly against her main school bully Julia Blenkingsopp (Nicôle Lecky).

Rhiannon sees Julia as having a perfect life and didn’t peak in high school “like bullies are supposed to do!”. When Rhiannon returned to work as an admin assistant for a local paper, not only did none of her colleagues notice her absence but they didn’t acknowledge her return. The only person who appears to talk to her is her boss Norman played by Jeremy Swift (Ted Lasso) who condescendingly calls her “sweetpea” and demands tea. 

Rhiannon’s mental state declines enough for her to finally confront Julia in a club. Julia and her friends laugh at Rhiannon which brings memories of school back and anxiously tugging at her hair. This leads Rhiannon to commit a horrifying yet liberating crime when leaving the club leading to a whole new way of expressing herself.

What I Liked:

I enjoyed watching Rhiannon’s confidence grow throughout the series. Purnell herself spoke about the production of subtlety added makeup to subconsciously influence the change in her. Rhiannon transformed from a shrinking girl to a hip-swaying, go-getting career woman. Yet its clear there is a lot of mental turmoil within Rhiannon. Purnell (2024) jokes that she actually “got kinda jacked”  due to the tension she held in her body whilst suppressing Rhiannon’s rage. Purnell also comments on how freeing it was to let it all out which Rhiannon does many times and is just as satisfying for the audience!

Initially, I found every character rather one-dimensional and stale compared to Purnell. However, as the show progresses most characters become multifaceted, particularly Julia. The narrative of the show really makes you question your own morals and sense of justice. You find yourself making excuses for Rhiannon and almost cheering her on when you really, really shouldn’t.

I also enjoyed how the show explores the victim complex. Is Rhiannon really a victim or has she taken on this mantle and lived her life accordingly? Sweetpea expertly plays with the shades of grey in the ideas of what makes someone a bully and what makes someone a victim. 

Sweetpea fits in perfectly in the genre of British black comedy. Scenes like when Rhiannon is clearing out her chest freezer and then climbs in herself to see if it could potentially fit a body. The door of the freezer almost closes on her but she catches it just in time. This scene perfectly captures just what kind of character Rhiannon is.

I also liked how the character’s houses were used as metaphors for their lives. The home Rhiannon shared with her father is messy and cozy yet in desperate need of TLC and repair much like Rhiannon herself. You can tell it’s a well-loved home with a long history much like Rhiannon and her father’s relationship. In stark contrast to Julia’s fiercely stylish and minimalistic home which she shares with her fiancé. It’s sleek and modern yet ultimately empty with little sign of love. 

The opening credits and music choices are also fire.

What Could Be Improved:

Like many others, I didn’t quite believe someone as beautiful as Purnell would be completely ignored by the general public. It did look at times like they were relying on drab clothing and too light foundation to make her look mousey. However, as stated, Purnell’s performance does save it.

The main ‘love triangle’ (if could even call it that) was a bit forced. Calam Lynch’s portrayal of Rhiannon’s colleague ‘AJ’ was a bit too enamored with Rhiannon with no real build-up. However, I found myself really enjoying Jon Pointing’s portrayal of ‘Craig’ and wishing his arc had been explored more. 

I really wanted the show to lean more into the exploration of ‘abuser’ and the ‘abused’ and take it to a deeper level. Maybe in series 2?

All in all, I enjoyed this traverse through Sweetpea’s world. I am interested to see where they go with it in the future.

Three and a half stars.

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Is This the Scariest Movie Ever?

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It’s been called the scariest movie ever. Or the grimmest, bleakest, and most brutal. The post-apocalyptic drama; Threads, has only been aired three times, its premiere in 1984 (appropriate year), 1985, and 2024 for its 40th anniversary. Threads has also been made available on streaming services. The anniversary has stirred up memories from its initial release which has been dubbed ‘the night Britain did not sleep!’

Threads is a BBC-produced TV movie which explores what would happen if a nuclear bomb was dropped on the English city of Sheffield.

The film is structured like a documentary; with a voiceover speaking to the audience in a clipped, received pronunciation BBC English. The narrator speaks over what is possibly stock footage of a spider weaving its web, or its threads. The narrator explains how in urban society everything connects and how we all rely on one another’s skills to survive. Ominously the narrator points out how fragile these threads are.

THREAD 1 – FAMILY

The film then cuts to our two leads Ruth (Karen Meagher) and Jimmy (Reece Dinsdale). These two young lovebirds are in a car over looking the Sheffield countryside. A fighter jet flies overhead as Ruth remarks how “peaceful” it is. We follow Ruth Beckett and Jimmy Kemp as they navigate an unplanned pregnancy.

The film plays like a ‘kitchen sink drama’. I have heard ‘kitchen sink’ described as an ‘anti-Hollywood’ where everyone has their natural teeth and skin texture. The film looks similar to a British soap opera. 

Whilst the narrative at this point just skirts around somewhat boring, it is clear something is playing out globally in the background. We see it on newspaper covers and hear snippets on radios and TVs. There is a situation unfolding in the Middle East with tensions building between the Soviets and the USA. Troops are mobilized and more importantly, nuclear warheads are moved. 

And then it happens.

THREAD 2- SECURITY

At almost 50 minutes in, the bomb finally drops. The literal bomb that is. The omnipresent narrator tells us it is 8.30 am in the UK meaning it is 3.30 am in Washington DC; Western response will be at its slowest. 

The bomb scene is incredibly powerful. This is where the ‘kitchen sink’ realism really comes into its own. It looks like any other British high street but people are running around screaming looking for shelter amidst the blaring siren. Children are being scooped up from their prams and the panic is palpable. Infamously one businesswoman is staring up at the blooming mushroom cloud rising above the city, the camera pans to see urine running down her trouser leg and pooling at her 80’s white heels.

There is constant screaming as buildings explode, windows smash, and curtains catch fire.

Text informs us that 210 megatons in total fell on the UK with an estimated 2.5 – 9 million casualties.

THREAD 3 – SOCIETY

Ruth exits her parents’ destroyed house to look for Jimmy. In her old neighborhood she is greeted by a horrendous sight. The whole street looks like that of The Blitz; with dead pets and both parents and children looking for each other. A shell-shocked woman covered in ash asks Ruth; “have you seen our Mandy?” she is proffering what looks to be a child’s coat, as if Mandy forgot her coat when going outside to play. A charred corpse with perfect white intact teeth (probably dentures) is embedded into a building. A staring woman is clutching the burnt remains of her infant.

After this, the horrific scenes come thick and fast. 

Food has become the new currency and food stores are protected by force. It is here we see the figure who has haunted many viewers nightmares. The armed traffic warden with the bandaged face. Played by an extra who actually was a traffic warden in real life!

Hospitals are overrun with the injured. The harried staff are using sheets as bandages and table salt to disinfect contaminated water. Doctors resorting to amputation with no anesthetic. 

THREAD 4 – CHILDREN

Ruth gives birth to a healthy child. A little girl named Jane. Ruth gives birth alone in a barn and has to bite through the umbilical cord. Later, on Christmas Day no less, a group of survivors gathers around a fire in the barn looking like a macabre nativity scene.

 But what sort of world has Ruth brought her daughter into? We are told it is ten years later and society has returned to medieval times with the nuclear winter and UV damage affecting the crops. Jane does not call Ruth ‘mum’ only ‘Ruth’ and has no reaction when Ruth finally dies. Are the people in this society so profoundly broken by the sheer amount of loss and trauma that they can no longer form familial bonds? Has that thread been cut? 

There is clearly little regard for human life anymore. Jane walks past three corpses hanging in the foreground paying them no attention. Is this a mass suicide or an execution? The corpses are also bare. Have people stolen their clothes to protect themselves from the harsh nuclear winter? Images such as these, shown for mere seconds can tell you so much about the situation. 

THREAD 5 – LANGUAGE

In the second half of the film, there is barely any dialogue. Any words spoken by Jane and her peers are some strange form of pidgin English. Many fans have argued that language would not degrade that quickly. However, these children have been brought up by deeply traumatized parents (if they had parents at all). People barely speak anymore and death and disease are extremely common. Is it any surprise that mankind has been brought down to its most basic level? Or is this the cognitive effects of growing up around high levels of radiation? 

Many fans comment how Threads gives no hope. But there appears to be a rudimentary school system-cum-workhouse with Jane and her peers watching an old educational video. Although the last scene definitely takes away from the tepid hope we are shown.

SO IS IT SCARY?

Well….as I had heard about the film through cultural osmosis I knew what to expect. I appreciate that during the 80’s, living in the fog of the Cold War, a nuclear holocaust was looking more and more likely. Having a film at that time showing exactly what it would look like if it were to happen in a typical British city would be horrifying. 

With the film being set up as a documentary speaking to some unknown in the future, it is interesting when you are watching from the future. Before COVID I would think it was so unrealistic; the way a lot of people didn’t take the crisis seriously until they were practically underneath the bomb. Now I know differently. Everything is fine until it’s not and we don’t tend to tackle a crisis until it is right on our doorstep. Like Mr Kemp with his trousers down on the loo as the bomb went off, we are so ill-prepared. And all the systems (or threads) in place that you thought would protect you, such as the government, are just ill-equipped.

It is an extremely well-done film especially when I learned the budget was £400,000 (about 1.2 million today). The acting is superb and I can see why it’s such an iconic film. In today’s current climate Threads is more relevant than ever. Would highly recommend it.

Five Stars.

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Nobody Wants This on Netflix

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Rating 8 10

Nobody Wants This, Netflix’s 2024 rom-com series, strikes a rare balance between familiar genre tropes and genuine originality. A surprising hit, it uses its single season to dive into the messiness of modern romance and human connection with a witty yet sincere approach that lingers after each episode.

At its heart, Nobody Wants This is a deep dive into everyday chaos, capturing life’s unfiltered messes in an unexpectedly heartfelt way. The show centers on two vastly different individuals brought together by chance, forced into a string of awkward encounters and life-defining moments. It’s a refreshing twist on classic rom-com setups, letting its characters face the consequences of their choices in a realistic way. Watching them stumble, adapt, and connect is like watching a slice of real life—raw, funny, and unexpectedly moving.

The writing shines with sharp, clever dialogue that feels both authentic and emotionally rich. Conversations capture not just how people speak but how they connect, creating exchanges that feel ripped straight from real life. Moments of verbal sparring and raw emotion are as delightful as the iconic banter of rom-coms like When Harry Met Sally, yet the story stays grounded, playing with the unpredictability of genuine connection. The direction adds another layer, framing everyday moments—like missed calls and clumsy first dates—with a cinematic flair that highlights the beauty in life’s chaos.

The chemistry between the lead actors is palpable, and their performances are infused with an authenticity that makes their characters’ flaws endearing. They grow with each episode, making the journey feel impactful and rewarding. The supporting cast adds even more depth, complementing the storyline without overshadowing the central romance.

Beyond romance, Nobody Wants This explores themes of self-discovery and connection, capturing the unpredictability of finding oneself—and perhaps someone else—in the chaos of life. Without giving too much away, the season finale is both heart-wrenching and uplifting, striking a perfect balance between realism and hope. It’s a conclusion that feels genuine, giving viewers a satisfying emotional payoff.

In a world where rom-coms can often feel formulaic, Nobody Wants This brings new life to the genre. It celebrates love’s imperfections, the inevitability of mistakes, and the connections that emerge in spite of it all. This series is more than entertainment; it resonates deeply, leaving viewers laughing, crying, and rooting for its characters.

As Roger Ebert once said, “Movies are like a machine that generates empathy.” While Nobody Wants This is a series, it achieves this empathy with grace, proving that even the simplest stories can have a profound impact.

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