‘Bluff City Law’ Will Not Receive Full Season Order at NBC

“Bluff City Law” will wrap up its first season after the NBC drama airs its initial 10 episodes.

While not an official cancellation, the move clearly does not bode well for the freshman series getting a second season. The show has aired four episodes to date, with the fifth set to air this coming Monday. In the Live+3 ratings through Oct. 13, the series is averaging just a 0.9 rating in adults 18-49 and 6.3 million viewers. That data does not include the most recent episode, which aired on Oct. 14.

“Bluff City Law” focuses on lawyer Sydney Strait (Caitlin McGee), who used to work at her father Elijah’s (Jimmy Smits) celebrated Memphis law firm until their tumultuous relationship got in the way. After barely speaking to him for years, Sydney is suddenly thrust back into the family fold when her philanthropist mother passes away unexpectedly. In the wake of her loss, hoping to reconnect with the daughter he loves, Elijah asks Sydney to rejoin his firm.

It also stars Scott Shepherd, Barry Sloane, Michael Luwoye, MaameYaa Boafo, Stony Blyden and Jayne Atkinson. Georgaris created the series and executive produces along with Michael Aguliar and David Janollari. Universal Television produces in association with David Janollari Entertainment.

The news comes just two days after NBC announced that it would pull freshman comedy “Sunnyside” off the air, with the remaining episodes to run on the NBC App, NBC.com and other digital platforms. The “Sunnyside” episode that aired on Thursday night was the last to air on NBC, with the final revival season of “Will & Grace” due to take its timeslot beginning Oct. 24.

Commercial Appeal first reported the “Bluff City Law” news.

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The Sneaky Way ‘Modern Love’ Connects All Of Its Love Stories

Spoilers ahead for Modern Love Season 1. In the Season 1 finale of Amazon’s Modern Love — "The Race Grows Sweeter Near Its Final Lap" — a grieving widow named Margot goes for a run after delivering her husband’s eulogy. She met her husband while on a run, which lends the scene of her jogging through Manhattan in a black pantsuit a sense of poignance. It also confirms what fans of the series, based on the New York Times column of the same name, have always known: that the love stories it depicts are no more atomistic than our own. They are the invisible stories that Margot runs past without knowing it on one of the saddest rainy days of her life. "The rainstorm, that piece of electricity in the sky, connects them all in a very special way," showrunner John Carney explained in a press release. These brief intersections also provide additional context for the relationships explored throughout the season.

Episode 1 – "When the Doorman is Your Main Man"

In the series opener, Maggie (Cristin Milioti) leans on Guzmin (Laurentiu Possa), the doorman in her building, when she finds out she’s unexpectedly pregnant. In the series finale, we catch an extra glimpse of what that support looked like when Guzmin follows Maggie to an early doctor’s appointment on the same overcast day of Margot’s husband’s funeral. "I promise you I am here for no reason," he assures her in a heartfelt declaration. "You do whatever you need to do. Nothing will change me or any people who really love you. I’m just here with the umbrella."

Episode 2 – "When Cupid is a Prying Journalist"

In their early-season episode, journalist Julie (Catherine Keener) urges young app developer Joshua (Dev Patel) not to give up on a lost love, a mistake she made when she was his age. In the finale, Julie and Joshua run into each other again, and we learn that after rekindling the relationship, Joshua is still with Emma. Meanwhile, after leaving her husband, Julie is dating again. When they run into each other, she’s on a date she met using Joshua’s app.

Episode 3 – "Take Me as I am, Whoever I Am"

We only catch a glimpse of Anne Hathaway’s Lexi, a woman with bi-polar disorder, riding her bike down the street. It’s impossible to place the moment chronology, but the scene reads optimistic: she’s smiling in a pink coat.

Episode 4 – "Rallying to Keep the Game Alive"

In this episode based on a column written by the wife of actor Denis Leary, a couple (played by Tina Fey and John Slattery) learning to play tennis finds that their progress on the court mirrors the health of their marriage. In the finale, we see them squeezing in another rally even as the rain starts to drizzle down — a snapshot of commitment.

Episode 5 – "At the Hospital, an Interlude of Clarity"

On the same day as Kenji’s funeral, we see the meet-cute that led Yasmine (Sofia Boutella) and Rob (John Gallagher Jr.) to the emergency room adventure from the fifth episode. Rob has just been stood up. He’s actually fleeing the restaurant when the rain forces him under the same awning that Yasmine, as gregarious as she is beautiful, decides to duck under. When she strikes up a conversation, he tells her his tale of stood-up woe. To his surprise, Yasmine suggests that she fill in for his missing date — or, as she calls it, an act of "universe recalibration."

Episode 6 – "So He Looked Like Dad. It Was Just Dinner, Right?"

We don’t learn much about Madeleine (Julia Garner), whose romantic life is dominated by self-described "daddy issues" in the sixth episode. She kisses a boy below a park bridge, looking happy, but it’s unclear where this moment fits (it’s possibly the same nameless boy she slept with?).

Episode 7 – "Hers Was a World of One"

The series finale dives deeper into an early moment shared between a gay couple (Andrew Scott and Brandon Kyle Goodman) and Karla (Olivia Cooke), the woman experiencing homelessness whose baby they adopt. In their dedicated episode, the trio is full of uncertainty — three very different people working to understand and trust each other with this new life they’re all related to. The finale, though, reveals the audience never had much to worry about. When Karla arrives to stay at their apartment in the weeks leading up to the birth, she asks a friend to wait for her, just in case the couple don’t seem like the loving parents she envisioned for her baby. Within moments, as the couple warmly bickers over baby prep in the background, we see her go to the window and wave off her getaway car, sure in her decision before they hardly know each other at all.

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NO PRESENTS

SHOPPERS hoping to nab Christmas bargains in Sainsbury’s, Smyths and Morrisons’ toy sales have been left furious over “half-empty shelves” and poor stock.

Some angry customers have taken to social media to vent their fury, saying they’ve been left unable to get the toys they wanted.

All three toy sales went live this week, promising up to half price off and buy one get one free deals.

The Sainsbury’s sale includes popular brands like Hot Wheels, Hatchimal and Playmobil, while Morrisons boasts Lego and Baby Born.

Smyths’ shoppers can buy cut-price toys including Fisher-Price and Barbie.

But some customers say they've walked out of stores empty handed and expressed their disappointment online.

Writing to Sainsbury's on Facebook, one shopper said: "Nothing in Rayleigh in Essex shelves empty."

Another said: "I didn’t get what I want. Seen it on pictures but didn’t have them at my local store."

Someone else posted: "Shelves are half empty already!"

While on Morrisons' Facebook, one customer posted: "Dundee selection is poor last year there was loads this year there is only about five items."








Someone else said: "Four items in the Worthing branch. Very little advertising despite raising it with someone via messenger on the Morrison page and them saying it was now active… clearly some stores are not doing it fully."

Another person posted: "There was nothing in Belper store I went yesterday"

On Smyths' social media, a customer said: "Been today and I don’t think there was much in the sale."

Another posted: "I was on the website at half one this morning looking, it’s only a few items."

We've contacted Sainsbury's and Morrisons regarding the tweets and we'll update this article if we hear back.

Smyths Toys said: "We are currently running our half price sale in-store and online while stock lasts on selected lines."

There was chaos for Sainsbury's shoppers this week as customers tried to find a £50 Dyson deal in stores.

If you do manage to find a bargain, you might want to keep hold of it for years to come as here's ten classic toys that could now be worth up to £2,110.

How many retro toys do YOU remember? Take a look back for ultimate nostalgic fun.

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How practising mindfulness could help you overcome your fears

Mindfulness – long-hailed as a way to calm anxiety and panic attacks – could be the secret to overcoming and rationalising our fears, according to a new study. 

It’s a simple fact of life that we’re all afraid of something. From spiders and public speaking to heights and flying, the severity of your fears (or, in extreme cases, phobias) can determine how much they influence your life.

In the past, there’s been one tried and tested way to overcome fear: exposure therapy. Any therapist will tell you that exposing yourself to the scenarios you fear the most (gradually, and in a safe environment, of course) can allow your brain to learn that the causes of your fears are not as threatening as you expected at first, and therefore change your emotional response over time.

But now, thanks to new research, we may have another tool to add to our belt when it comes to fighting our fears.

According to a new study led by a team of researchers at Massachusetts General Hospital, practicing mindfulness could help us to react to fears in a more rational way and “extinguish fearful associations”. Essentially, by practicing mindfulness, we could retrain our brains to react to our fears in a more rational and “present” way – meaning we’re calmer, less emotional, and, most importantly, no longer scared stiff.

Mindfulness – a meditation technique in which you focus your awareness on the present moment by acknowledging, but not analysing or acting on, your feelings, thoughts and bodily sensations – has long been touted as a method to help people suffering with anxiety and panic attacks, but this new study has revealed it’s potential to gradually change the way our brain responds to feelings of fear.

“Mindfulness training may improve emotion regulation by changing the way our brain responds to what we’re afraid of and reminding us that it is no longer threatening,” said Gunes Sevinc PhD, one of the paper’s authors.

In order to conduct the study, the team of researchers used MRI brain scans and a series of fear-conditioning tasks to look at how changes in the brain associated with abilities such as attention and memory changed after mindfulness meditation training.

As part of the study, the group of participants were split in two, with 42 people taking part in an eight-week mindfulness program, and the other 25 took part in an “exercise-based stress management control group”, where they learned more about the impact of stress and did some light exercise. The researchers found that the participants who learnt how to properly practice and implement mindfulness were able to better recall a “safety memory” which helped them in the process of overcoming their fear. 

“Fear and anxiety have a habitual component to them – the memory of something that provoked fear in the past will trigger a habitual fear response when we are reminded of the event, even if there is no direct threat at the present,” explained Sara Lazar, PhD, the study’s senior author.

“The data indicates that mindfulness can help us recognise that some fear reactions are disproportional to the threat, and thus reduces the fear response to those stimuli,” she continued. “Mindfulness can also enhance our ability to remember this new, less fearful reaction, and break the anxiety habit.”

Images: Getty

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Kylie Jenner Cashes In On Rise and Shine With Merch

Kylie Jenneris seeing money signs.

When Kylie released her tour of the Kylie Cosmetics office, nobody could’ve predicted that it would’ve made headlines for showcasing her musical talents. But here we are, a week later and nobody, and we mean nobody, on social media can escape it. Her somewhat catchy tune has been pasted all over social media and turned into remixes, alarm tones and memes, with even Miley Cyrus and Ariana Grande poking fun at the moment.

And now the 22-year-old is getting the last laugh, because she’s created her very own merch around it. On her KylieShop website, hoodies with “Rise and Shine” emblazoned across the sleeves, in addition to a photo of her face inside a sun à la The Teletubbies, are for sale for $65. The sweatshirts that are perfect for sweater weather are available in black and white and are sure to sell out. 

Although it looks like Stormi won’t be wearing the hoodie anytime soon. The tot prefers her father, Travis Scott‘s, music over her moms. On Instagram, Kylie shared a video of Stormi dancing to the “Riiise and Shiiine” remix, but quickly asked for her dads music instead. 

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Kylie isn’t taking it heart though. In fact, Kylie adores how close Stormi is to her dad. “She is obsessed with her dad, though,” Jenner told fans during a Snapchat Q&A last year. “They have this crazy connection and she’s definitely a daddy’s girl. It’s cute to watch. When dad’s around, [it’s like] I’m not even there.”

In Stormi’s defense she is a die-hard fan of La Flame. On Kylie and Travis’ Instagram Story they are always showing off how Stormi dances it out to her dads music. 

Watch a brand new episode of Keeping Up With the Kardashians Sunday at 9 p.m., only on E!

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The woman who was cheated of DNA glory goes deeper for Pamela Rabe

It can be mesmerising to see the beauty of what is known, rather unimaginatively, as Photo 51. The photo – resembling a monochrome, mandala-like artwork – was crucial to the discovery of the structure of DNA. It is also a pivot around which Anna Ziegler’s 2008 play Photograph 51 revolves.

“Photograph 51”, taken by Dr Rosalind Franklin in 1952.Credit:The New York Times

At one point the central character, English scientist Dr Rosalind Franklin, stands with the photo in front of her face, staring into its mysteries and potential revelations. Well might we all: as Pamela Rabe notes, this photo is about the secret of life – and the play, which Rabe is directing for the Melbourne Theatre Company, explores that secret at both the scientific and more personal, philosophical level.

The photo, taken in 1952 as part of Franklin’s investigations, is an X-ray "diffraction image” of crystallised DNA. It was vital evidence to identify the structure of DNA – but, in what remains a controversy, Photo 51 was shown without Franklin’s knowledge to another scientist.

The 1962 Nobel prize for medicine went to James Watson, Francis Crick and Rosalind Franklin’s colleague, Maurice Wilkins – the man who had shared the photo. The three men – and the play tells us a lot about men of those days – used the image to develop their prize-winning chemical model of DNA while Franklin, with quiet, professional dedication, had unknowingly persevered with her own meticulous work on the problem.

Franklin died of ovarian cancer in 1958 when she was 37 – five years after Crick, Watson and Wilkins published their findings in Nature, and four years before they received the Nobel. In the play, these men and two others convene with Franklin to discuss “her place in history”. In one unbroken, energetic act, the play slips between locations and scenes; our imaginations conjure the worlds evoked by the words, especially Franklin’s.

Ziegler’s play draws dramatic, thrill-of-the-chase energy from the scientific controversy, but it is a deeply layered and intense work that explores many aspects of human connection. Joy, tragedy and how we interact with each other – what we say, what we withhold, how we are interpreted – are at the heart of this vigorously scripted piece of theatre. As with Photo 51 itself, it is hard to look away; we look more deeply into the centre of the characters – and ourselves – as we experience Ziegler’s carefully crafted dialogue.

Pamela Rabe and Nadine Garner during a break in rehearsals. Credit:Eddie Jim

Nadine Garner plays Franklin. On one hand, she says, we can look at the story through the prism of feminism. Franklin was young and Jewish; she was uncompromising, rigorously professional, dedicated; she was not one for small talk. But she understood creativity, beauty and working collaboratively. Told that she cannot come to the workplace canteen because it is men-only and she wouldn’t enjoy the conversation because "they tend just to talk about work”, she responds: "But those are precisely the conversations I need to have. Scientists make discoveries over lunch.”

The male characters interpret her with various inflections: "She takes everything so seriously,” they say; or "I wonder how she would look if she took off her glasses and did something novel with her hair”; or "I mean, she could possibly be attractive if she took even the mildest interest in her clothes. But appearances aside, she is not … engaging.”

Dr Rosalind Franklin.Credit:Vittorio Luzzati/The New York Times

During her research, Garner came across an interview in which Franklin’s sister was asked what the scientist’s career and legacy might have been like had she been a man. The thoughtful answer was this: to imagine, instead, what her career and legacy might have been like had she lived into her 70s or 80s. What might she have discovered and given to the world, as a scientist?

"It is a play about a lot of things,” Garner says. "Life and death and what the meaning of pursuing something single-mindedly is all about, and the cost of that, whether it is science or art. Your life will come to an end and you have to be at peace with the choices you have made.”

This is borne out towards the end of the play when Franklin is told the other scientists have "won” the race to decipher DNA, the secret of life, while she has "lost”.

"Lost?” she says. "No … We all won. The world won, didn’t it?”

Garner points to the many different accounts of Franklin’s life – nuances about her being playful, loving life and nature, especially mountaineering, and her love of children, art and games.

"I think that strict lens that was trained on women of that era … meant that she was seen as gruff and a little bit of a difficult person," Garner says.

I think at times she was quite single-minded and maybe a little brash – but not in a way that would have been noted in a man.

I think at times she was quite single-minded and maybe a little brash – but not in a way that would have been noted in a man.

"And that was the language used around assertive women at the time. I think at times she was quite single-minded and maybe a little brash – but not in a way that would have been noted in a man or a male colleague. There was obviously a clinical, very scientific mind at work that didn’t enjoy distraction and didn’t partake in menial chit chat or niceties – but overall she was a very holistically accomplished person.”

Garner has noted in the play how many times Franklin asks "why?”. "Her spirit is always one of inquiry.” Likewise, as an actor, Garner has resolved to enter the words of the text, make it her own and bring out what is true to the piece.

Truth, of course, has both an emotional dimension and a more tangible one. At one point in the drama, Franklin is asked what it is she wants. Her response is exquisite and full of feeling, perhaps the emotional centre of the play, even if it is only in her head (her actual response is “I don’t know.”)

A more literal truth can be seen on a board at the back of the MTC rehearsal room, where visiting scientists were brought in to talk to the cast. On the board are DNA diagrams. The scientists, Rabe says, explained much about the culture of the scientific community that Franklin and her colleagues inhabited; one where a tension between the theorists and the experimentalists still exists. On one side, the big blue-sky thinkers bringing strands of information together, on the other those doing the grunt work of calculations, tests, endless provings and disprovings.

Rabe says interest in Franklin emerged after Watson (the man with whom the photo was shared) wrote The Double Helix: A Personal Account of the Discovery of the Structure of DNA (1968) and portrayed Franklin in a way “that provoked a whole lot of people to come out of the woodwork to claim her and demand a re-examination”.

But Ziegler, Rabe says, doesn’t lionise any characters – including Franklin – nor make anyone a villain. From the get-go as director, she has emphasised how the characters believe they are doing the right thing.

“Some are more focused on the science and some are more focused on a ‘race’. Those methodologies butt up against each other. But every one of those people has redeeming features, has frustrating features. I don’t want the answers to seem cut and dried on a platter, as Anna Ziegler does not. This is an investigation of flawed, remembered and forgotten history.”

Photograph 51 is at Fairfax Studio, Melbourne Arts Centre, November 1 – December 14. mtc.com.au

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Off Broadway Review: ‘Little Shop of Horrors’

With its strains of kitschy doo-wop and its sci-fi B-movie inspirations, the quaint 1982 musical “Little Shop of Horrors” hardly seems a thing of modern-day revivalism, even despite its touches of S&M. Yet this year alone, not only is there an Off Broadway production of the blackly comic “Little Shop” featuring Jonathan Groff of Netflix’s “Mindhunter,” but there’s also a stripped-down take on the show at the Pasadena Playhouse, with “Pose” star MJ Rodriguez as the first trans Audrey. Why all the “Horror” now?

As the new Off Broadway staging makes clear, the reasons to restage “Little Shop” are a score that’s timelessly sweet and soulful, and a story that’s teasingly kinky yet weirdly old fashioned. You know: Boy meets girl, boy meets plant, plant eats girl’s boyfriend… You get the picture.

Groff and his Audrey, Tammy Blanchard (who won an Emmy for “Life with Judy Garland: Me and My Shadows”), are both subtle comic presences and supple, dramatic vocalists, ensuring that in this new production there’s something lovely at work, something devoid of the usual camp, schmaltz and quirk of “Little Shop.” Without the big, stagey “New Yawk” accents and broad interactions of yore, the humor comes more naturally, and neither Groff nor Blanchard have to chase the laughs.

The same qualities define their vocal spins on the “Little Shop” songbook. When Blanchard touches on the epic crescendos of “Suddenly Seymour” and her softer soliloquy “Somewhere That’s Green,” there’s a shushing jazziness to her tender vocals that conveys the deeper hurt of physical harassment. In that respect, Blanchard (who can also belt out the big notes) is just a few steps away from Billie Holiday’s pained and nuanced expressiveness.

And Groff, a Tony nominee for “Spring Awakening” and “Hamilton,” sings his own role with sweetness and light as his guideposts. This doesn’t mean that he lays off on the angst and desire needed for his paean to a plant (“Grow for Me”), or the rat-tat-tat rhythms of personal success in “Call Back in the Morning.” He just makes like Sinatra and takes it all nice and easy.

Even the chorus of street-corner singers named after 60s girl groups, Chiffon (Joy Woods), Crystal (Salome Smith) and Ronette (Ari Groover) — women who know where the bodies are buried, literally — take to tunes like “Ya Never Know” with soulful assurance to go along with the booming brassiness. As a result, the musical’s more delicate melodies come through clearer, dearer and more quietly passionate than any previous, happily hammy outing.

Besides, if you’re looking for grand moments, there’s Kingsley Leggs’ growling and deeply funky take on the plant from another planet, Audrey II, and on R&B barnstormers such as “Feed Me (Git It) and “Suppertime.” And then there’s Christian Borle.

A Tony winner for “Something Rotten!” and “Peter and the Starcatcher,” the actor goes into comic overdrive while playing several peripheral characters. The over-the-top standout: the leather jacketed, pompadoured dentist, Orin. As the sadistic boyfriend who brutalizes Audrey, Borle paints a portrait of evil that’s hard to laugh at. But as the mean tooth fairy in a bloodied smock, snicker-singing the likes of “Dentist!” and “Now (It’s Just the Gas),” Borle makes for a harder-edged counterpoint to the subtler and softer charms of Groff and Blanchard.

Directed at a quick clip by Michael Mayer, this “Little Shop” is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this “Little Shop” the intimacy of home viewing.

Off Broadway Review: 'Little Shop of Horrors'

Westside Theatre/Upstairs, 270 seats, $179 top. Opened Oct. 17, 2019. Reviewed Oct. 12. Running time: 2 HOURS.

Production:A Tom Kirdahy, Robert Ahrens, Hunter Arnold, Mickey Liddell, Caiola Productions, Curt Cronin, John Joseph, DDM Productions, Desantis-Baugh Productions, Elizabeth Dewberry & Ali Ahmet Kocabiyik, Wendy Federman, Roy Furman, Deborah Green, Kayla Greenspan, Marguerite Hoffman, Sally Cade Holmes, Latitude Link, Seriff Productions, Silva Theatrical Group and Eric Gelb/Oliver Roth production of a musical in two acts with book and lyrics by Howard Ashman and music by Alan Menken, based on the film ‘Little Shop of Horrors’ by Roger Corman and screenplay by Charles Griffith.

Creative:Directed by Michael Mayer. Choreography by Ellenore Scott. Music supervision, arrangements and orchestrations by Will Van Dyke. Scenic Design, Julian Crouch; Costume Design, Tom Broecker; Lighting Design, Bradley King; Sound Design, Jessica Paz; Wigs, Hair & Makeup Design, Tommy Kurzman; Puppet Design, Nicholas Mahon; Original Puppet Design, Martin P. Robinson; Puppets, Monkey Boys Productions.

Cast:Tammy Blanchard, Jonathan Groff, Christian Borle, Tom Alan Robbins, Kingsley Leggs, Ari Groover, Salome Smith Joy Woods,  Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin, Chris Dwan.

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Why ‘Looking For Alaska’ Fans Will Likely Be Waiting A *Really* Long Time For Season 2

Considering the book it’s based on had such a definitive ending, it’s unlikely that Looking for Alaska will return for Season 2 — especially since it’s being billed as a limited series. The show follows John Green’s 2005 novel closely, and by the time the credits roll, its story feels resolved. However, for those enamored with the mild-mannered Miles Halter (aka Pudge) and his ragtag, prank-pulling group of friends, not all hope is lost. Big Little Lies Season 1 was based on Liane Moriarty’s 2014 novel, and yet still — after much contention — managed to find a way to expand the story into Season 2. The same can be said for Hulu’s adaptation of The Handmaid’s Tale, which covered the entirety of Margaret Atwood’s original book in Season 1 but recently finished its third season (Season 4 premieres in 2020). And it seems like Green is open to the idea of continuing the show.

"I would not be super-interested in participating [in a second season]. (I also think it’s very unlikely)," the author wrote during a 2018 Reddit AMA. "But one shouldn’t say never. Who knows. Maybe Season 2 would be the story of Pudge joining a ninth tier English soccer team called AFC Wimbledon that’s just beginning to work their way up through the leagues in what will within nine years be the greatest comeback story in the history of sports."

If Looking for Alaska does return, it could be a long wait until it actually makes it to screen. According to Variety, Paramount purchased the film rights to the book shortly after its release in 2005, meaning that it took over a decade to bring the project into fruition. Gossip Girl and O.C. creator Josh Schwartz was originally attached to write and direct, and though he did ultimately helm the TV version, there were several roadblocks along the way.

For some reason, the initial project was shelved, as were all future attempts at a film adaptation. "[Alaska] bounced around various studios as a feature film before it became an eight-episode series. It was probably not ever really a studio movie," Schwartz told the New York Post. "It wasn’t particularly high-concept [since] it dealt with weighty themes and had a mystery at its core that intentionally could never be solved. It was a tricky adaptation."

After the movie lay idle for some time, actor Sarah Polley was tapped in June 2014 to write and direct. One year later, it was announced that Rebecca Thomas (Stranger Things) would actually direct. Again, that didn’t work out.

According to a 2016 MTV News article, Green wrote in a series of now-deleted tweets that Paramount hadn’t been returning his calls. "They’ve tried to make a movie a bunch of times, but it’s always fallen apart for one reason or another," Green said on his webseries, Vlogbrothers. "And at this point, I’m not involved in the project in any way. I’m not gonna lie, it definitely bums me out."

Fast forward to May 2018, when Deadline announced that Looking for Alaska was moving forward as a collaboration between Paramount and Fake Empire (Josh Schwartz and Stephanie Savage’s production company) — just as a show instead of a movie. Fortunately, Green appears to have been quite involved. "I spoke to Kristine and Charlie on the phone yesterday and it was really special to have a conversation with the people who will become Miles and Alaska," he wrote on Instagram in October 2018. "I’m so grateful to them and to everyone involved with the Looking for Alaska series. It’s all starting to feel very real!"

Schwartz confirmed Green’s involvement in an interview with TV Guide, saying, "John has been an incredible partner in this…. Very generously he reads all the material, he watches all the cuts, he gives his thoughts. And he’s very generous — both with his time and also with allowing us to make this adaptation in the way that we feel is best for this medium."

If Looking for Alaska comes back for Season 2, hopefully it won’t take as long as the first time around. And if not, it’s probably better that the series exists as a finite piece of work. After all, Pudge doesn’t seem like he’d be a very good soccer player.

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Scariest thing about Halloween is plastic waste, say charities

An estimated 2,000 tonnes of plastic waste – equivalent to 83m bottles – will be generated from throwaway Halloween clothing sold by leading retailers in the UK this year research suggests.

An investigation by Hubbub, an environmental charity, into the seasonal outfits available from 19 supermarkets and retailers – including Aldi, Argos, Asos, Amazon, Boden, John Lewis, M&S, Next, and Tesco – found that 83% of the material used was polluting oil-based plastic likely to end up in landfill.

Among 324 separate textile items, the most common plastic polymer found was polyester, which accounted for 69% of all materials, while cotton made up only 10%.

Hubbub has teamed up with the Fairyland Trust, a family nature charity, to urge consumers to choose more environmentally friendly options.

Chris Rose, of the Fairyland Trust, said: “The scariest thing about Halloween now is plastic. More costumes are being bought each year as the number of people participating in Halloween increases. Consumers can take action to avoid buying new plastic and still dress up for Halloween by buying from charity shops or re-using costumes, or making their own from non-plastic materials.”

There are also calls for manufacturers and retailers to rethink their product ranges for seasonal celebrations. As well as costumes, consumers are tempted with plastic-based accessories including synthetic wigs, hats, masks, buckets, party decorations, glittery makeup and even outfits for dogs.

The research found that more than 30 million people in the UK dress up for Halloween and more than 90% of families consider buying costumes. Seven million outfits are thrown away each year, and only a tiny proportion are recycled.

Hubbub and The Fairyland Trust are also calling for better and more consistent labelling on such clothing as many consumers do not realise that materials such as polyester are plastic. A 2017 study found that less than 1% of material used to produce clothing is recycled into new clothing.

Trewin Restorick, the chief executive of Hubbub, said: “These findings are horrifying. However, the total plastic waste footprint of Halloween will be even higher once you take into account other Halloween plastic such as party kits and decorations, much of which are also plastic, or food packaging.”

David Bolton, a policy adviser on retail products at the British Retail Consortium, said: “Retailers are working hard to reduce unnecessary plastic use; however, the materials used for children’s costumes are chosen for safety. Retailers take child safety extremely seriously and this is why we support the current choice of materials.”

The Guardian approached several of the companies named in the report for comment. A spokesperson for M&S said: “All M&S kidswear is designed to be hand-me-down quality, including fancy dress costumes which can be reworn, passed on to friends and family or ‘shwopped’ through our partnership with Oxfam. Across our business we’re tackling plastic usage by reducing, reusing and recycling.”

A Tesco spokesperson said: “We’ve removed more than 4,000 tonnes of plastic from 8,000 products so far and have made clear that there is no place for materials that are not recyclable. In our Halloween range we have moved to alternative materials wherever possible, such as fabric trick or treat buckets and sustainably sourced paper-based tableware.”

Amazon declined to comment.

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Dwayne ‘The Rock’ Johnson Jokes His Dog Is a ‘Spoiled Movie Star’ in BTS Hobbs & Shaw Video

Dwayne “The Rock” Johnson gave his dog Hobbs a cameo in his recent film Hobbs & Shaw — and the spotlight may have gone to his head.

In an adorable behind the scenes clip, which has been shared exclusively with PEOPLE to celebrate the digital and DVD release of the film, Johnson, 47, opens up about how his adorable French bulldog enjoyed his time on set.

“Today we’re on the set of Hobbs and Shaw and it’s a very special day because we have the biggest star of the movie, Hobbs himself,” Johnson says while holding his pooch in his arms.

Of course, given his name, it seems only natural that Hobbs have his time in the spotlight.

“This is my real bulldog Hobbs named after my character,” he adds, revealing that his dog did have one demand before agreeing to make a cameo.

“I talked to Hobbs, I said, ‘You want to be in the movie?’ He was like, ‘Yeah, I’ll be in the movie — but just make sure you give me a lot of buffalo,’ ” the actor jokes. “He loves buffalo. That’s why he’s got all these muscles. He’s a spoiled movie star.”

Dwayne  The Rock  Johnson and his dog

Showing just how much of a dedicated doggy daddy he is, Johnson shares that he actually had to come in on his off day to help shoot Hobbs’ scene.

“There’s a lot of love for this guy when I come in on my day off to be the dog wrangler. But you know, what a day. I’m very, very proud of him,” he says. “Hobbs was a real pro. He was disciplined, unlike his owner. He was professional, unlike his owner. And he listened to the director, unlike his owner.”

Continuing to praise his pooch, Johnson adds: “He’s steadfast, he knows what he wants, but deep down inside he’s just an awesome dog with a big ole heart. And at the end of the day, just like the character Hobbs, he’s a bad ass son a b—”

“I don’t believe in nepotism, but I always believe in taking care of the family,” he jokes, riffing on one of the important themes in the Fast and Furious universe.

In fact, Hobbs’ cameo was a long time coming.

Back in 2016, Johnson joked that his dog really wanted to show off his acting chops in Baywatch.

Posting a photograph of himself and Hobbs on the beach, Johnson explained that his dog wasn’t so happy with him.

“Me: ‘Look like a beach bad ass for the picture.’ Hobbs: ‘You didn’t cast me in #BAYWATCH so go f*ck yourself,’ ” Johnson jokingly captioned the shot, as he imagined a conversation between the pair.

Hobbs & Shaw is currently available on Digital and will be released on 4K Ultra HD, Blu-ray and DVD on November 5.

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