The Vampire Diaries, Ian Somerhalder and The Originals’ Joseph Morgan have been nominated for a Teen Choice Award presented by FOX. Be sure to vote for them here!



If you’re a big fan of xXx: Return of Xander Cage, then you’re in luck, because there’s going to be another installment coming your way with all of the cast!

On Sunday (June 11), D.J. Caruso, the director of the 2017 film, took to Twitter to tease that the next installment of the xXx trilogy — which stars Vin Diesel in the title role — will feature Nina Dobrev, Deepika Padukone and more Xander Cage alums.

The announcement came after Ruby Rose, who played Adele Wolf in xXx: Return of Xander Cage, posted a teaser message on Instagram on Friday hinting at her involvement in the upcoming movie.

“And while I’m here I can’t forget my training for Adele in xXx… but… more new exciting news on that soon ;),” Rose captioned a picture of herself hanging out with giant weapons in the desert.

A fan then asked Caruso on Twitter whether or not this meant fans would soon be getting an update on another film from the franchise. Caruso replied, “Yes meetings next week. Honing in on story and start dates.”

To make fans even more happy Caruso shared a few more details. On Twitter user asked specifically about Nina Dobrev coming back for the sequel, and the director quickly replied, “oh yes.”

Another fan wrote, “Hey sir, What’s the movie’s title? and did you replace any co-star in the sequel or that all are brought back?”

While Caruso didn’t share the movie’s title, he did make all of our movie dreams come true by addressing the casting question. “All coming back,” he wrote keeping it short, but sweet.

This means Diesel, Dobrev, Rose, Padukone, Kris Wu and more are all going to be coming back for more action, assuming they are all available for filming.

Diesel previously told Variety that Paramount was looking to make a fourth installment in the franchise.

“Well, it’s funny. I was in the middle of an interview and Brad Grey — who runs Paramount — calls me and says, ‘Will everybody come back to work in May?’ I’m like – everyone’s in interviews right now!” Diesel told Variety back in January.

And while I'm here I can't forget my training for Adele in xXx… but… more new exciting news on that soon 😉

Een bericht gedeeld door Ruby Rose (@rubyrose) op

[People’s Choice Blog]



A day after the presidential election, a writer on “The Originals” turned in a script that featured a female character getting beat up by a man.

There were reasons for this: It was a memory — a flashback to centuries earlier. They were wearing period garb. “The Originals” is a supernatural show, and yes, demons can be awful, even the ones searching for redemption.

“But he beat her up,” said executive producer Julie Plec. “We realized at that moment they can’t be together anymore. And we killed a love story on that day. One that people who watch the show are probably rooting for. Narratively we were going down this path, but my conscience can’t advocate that kind of violence.”

A lot of things changed for storytellers in light of a Donald Trump presidency, but the depiction of females — and violence against women — especially became more relevant for filmmakers and showrunners in light of what had just happened. Plec was one of several producers discussing the impact of Trump on TV at an ATX Television Festival panel.

“If the day-to-day culture is saying it’s OK to not be inclusive or tolerant, that it’s OK to be bigoted, then it’s your responsibility to double down and make it OK in storytelling to be inclusive and tolerant,” Plec said. “The weight of that is always hanging, but in a good way.”

Plec noted that Hulu’s “The Handmaid’s Tale,” about a post-United States society where women are completely oppressed, took on a much more urgent meaning once Trump was elected.

“I watch it and think, if Hillary [Clinton] were president, this would be a very entertaining and intelligent show,” she said. “Donald Trump is president, and I want to vomit. It’s so harrowing in the context of the reality we live in. The speculative fiction feels so presently of today in a way that it absolutely wouldn’t have if Hillary were president.”

Similarly, Plec last season was developing The CW pilot “Rise,” about a homegrown coup, in which a Clinton or Obama-like president is overthrown and replaced by a somewhat fascist leader.

“When we were developing in a Hillary future it was smart, riveting fun entertainment,” Plec said. “When the election happened it suddenly felt too close to home, uncomfortable, too political. In the span of two weeks, we went from high priority at the network to not getting ordered at all. Nobody said it was because Trump is president. The ripple effect of the content was instant… Instead of it feeling delicious and a speculative fiction adventure, it felt preachy and too political for some.”

Beau Willimon (“House of Cards”) said his new series, Hulu’s futuristic Mars drama “The First,” was conceived in a very different climate. “It takes place 15 years in the future, and you have to speculate what the world will look like 15, 20 years from now. Prior to November 8, 2016, what that world looked like was perhaps a lot different.”

As for “The Originals,” Plec explained that the villain in question is a character who is constantly battling the fight between trying to be the most moral upstanding creature and yet has a very deep, dark place borne out of being a creature of the night for thousands of years, and has worked so hard to overcome it.”

But in an episode that just aired, “his subconscious took control over his consciousness and he exposed that really dark side.” Female characters trying to help tame the bad boy is a staple of romance stories, but Plec noted, “in the context of the election, and all of us as women being particularly put off by what we saw as a misogyny, a sexism and a bullying that we watched on live TV, it just felt like that old chestnut was suddenly uncomfortable.”

On “The Originals,” she added, “we had witnessed was a woman getting beaten up by a man that we loved. We just drew a line for ourselves not to demonize the character who did it, and yet not to make excuses for it either… There are a lot of things you do in a supernatural universe that can toe the line and cross the line. This moment in time and this feeling that we had, we just felt dirty. And we wanted to do something about it.”

Plec said the Trump victory awakened her to embracing and mobilizing more powerful depictions of women. “It just felt like such a defeat for women,” Plec said of Trump’s win. “And I had to mourn that just as other women I know, politics be damned.”

[Indiewire.com]



The Originals’ fourth season is coming to a close and TV Line says that its fifth season could set the doors open for another spinoff;

Warning: This article contains a major spoiler from The Originals‘ upcoming fourth season finale. Proceed at your own risk!

Hope Mikaelson is about to hit another growth spurt.
Though neither The CW nor Warner Bros. TV are commenting, sources confirm to TVLine that The Originals is bracing for a significant time jump, setting the stage for a much older Hope — think late teens — to be introduced in Season 5. The time jump could arrive as soon as the June 23 season finale (The CW, 8/7c); casting for the “new” role, currently being portrayed by the phenomenal Summer Fontana, is now underway.

We also hear there’s potential for adult Hope to snag her own spinoff, though neither The CW nor Warner Bros. TV would comment on that either. Of course, if Hope does end up at the center of a third series in the Vampire Diaries universe, it would be sort of like a prophecy coming to fruition — albeit one foretold by executive producer Julie Plec.
“I think there are future shows down the line that can be spawned out of this world and could tell good stories,” Plec told TVLine back in March while discussing the letter Klaus sent to Caroline in the series finale of The Vampire Diaries. “It’s a hope for the future if nothing else.”

As for what else the future might hold for Hope, Plec reminded TVLine that “the idea of [Caroline and Alaric’s] school as a safe haven for young supernatural beings certainly has a lot of relevance for Hope,” leading many viewers — including the one currently typing this — to believe that Hope will relocate from New Orleans to Mystic Falls by the end of the season.



[Spoilers for The Originals follow. Read at your own risk!]

Sometimes you have to dig deep for spoilers on your favorite show, but sometimes they’re accidentally dropped right in your lap, which was the case today for fans of The Originals.
While talking about the end of The Vampire Diaries with Entertainment Weekly at the ATX Television Festival, Julie Plec let it slip that Hope Mikaelson (Summer Fontana) might be Mystic Falls-bound. “Alaric (Matt Davis) and Caroline (Candice King) are running the Salvatore School for the Young and Gifted where Hope Mikael– sh** never mind. Keep watching…”
It’s no surprise that Hope might end up at the Salvatore magic school, given that The Originals has made a point multiple times this season that Hope is lonely without other children around and doesn’t have a great handle on her powers yet. Alaric pretty much gave her an engraved invitation to become a student during his crossover earlier this year.

We’ve also had our suspicions that Season 5 of The Originals could include this magic school storyline (and Caroline Forbes by extension) given how well it fits into the spinoff’s existing plot.

[TV Guide]



The Originals has -finally- been renewed for a fifth season, TV Line confirms;

The CW has opted to extend the Mikaelsons’ stay in New Orleans, renewing The Originals for a fifth season.

As previously reported, Michael Narducci will not return as showrunner for Season 5. Instead, series creator — and former Vampire Diaries showrunner — Julie Plec will call the shots. Leslie Morgenstern (TVD) will also executive-produce.

The Originals follows, as its title suggests, the world’s first family of vampires — plus a few hybrids and witches thrown in for good measure. Now midway through its fourth season, the show is pitting its heroes against their most powerful foe yet, a mysterious entity known as The Hollow.

Thus far this season The Originals is averaging 980,000 total viewers and a 0.3 rating, up in audience versus Season 3 but down a tick in the demo (where it matches the recently axed Frequency and No Tomorrow and bests Reign and Crazy Ex-Girlfriend).



The 8th episode of The Originals “Voodoo In My Blood” airs May 12th on The CW. Here’s the official description and the preview

THE VAMPIRE DIARIES’ MATT DAVIS GUEST STARS – After being summoned by the ancestors, Hayley (Phoebe Tonkin) and Klaus (Joseph Morgan) travel to the ancestral world and come face to face with Davina (guest star Danielle Campbell), Klaus’ former foe and the one person who holds the secrets to The Hollow’s demise. Meanwhile, old wounds are re-opened when Elijah (Daniel Gillies) and Marcel (Charles Michael Davis) are forced into an uneasy alliance. Together, they meet with Alaric (guest star Matt Davis) who has tracked down a crucial artifact that could help in their fight against The Hollow.



Carina MacKenzie confirmed that Matt Davis’ Alaric Saltzman will make another appearance on The Originals besides 408.



Last season, Joseph Morgan, who plays the deposed king of New Orleans Klaus, made his directorial debut on The Originals. Now, it’s time for Charles Michael Davis, who stars on the CW drama as Marcel, Klaus’ surrogate son and current ruler of the city, to do the same.

Davis stepped behind the camera for Friday’s episode, an intense hour in which Freya (Riley Voelkel) traps Klaus, Hayley (Phoebe Tonkin), and their daughter Hope (Summer Fontana) in the compound for their own safety. Ahead of the episode, EW hopped on the phone with Davis to talk about how he prepared to take on this new role on the show, discovered his directing style, and his favorite parts of the episode.

ENTERTAINMENT WEEKLY: So let’s start from the beginning: How did it come about that you were going to direct an episode this season?
CHARLES MICHAEL DAVIS:
It all started from finding out that Paul Wesley had directed [on The Vampire Diaries] and just chatting with Paul. This was when I first moved to Atlanta. So this was season 1 of when we were shooting and they were still in season 4. But it just sparked the idea and I just started asking around. People told me the best way is to shadow and to show up at meetings and soon enough people will start talking about your episode and, “I can’t wait to be a part of your episode.”

I shadowed for about two seasons, two years, and I would fly back to L.A. from Atlanta to sit in the writers’ room for two or three days. Later in the year, I’d fly back and sit in with the editors for about three days. Then I even came back and sat in on a sound mixing session, and then I would also follow directors around on set. I would go on the set of Containment and go onto the set of Vampire Diaries and see how certain directors operated. Then we got to talking about it, and they gave [Joseph Morgan] an episode in season 3, and he did very well. So, it opened up the door for me and Daniel [Gillies].

Which directors did you shadow on The Originals, The Vampire Diaries, and Containment?
Chris Grismer, I shadowed on all three, and I shadowed Michael A. Allowitz. I shadowed Matt Hastings a lot because he was our creative director and always on set. And Jeff Hunt, it was great to get his process.

What did you learn from shadowing these directors? Did you learn something new about your show after seeing it from a different perspective?
Yeah, I talked to the [directors of photography], too, and learned from their perspective about what the rules of the show were. That was the most interesting thing. It helped me because there were particular camera moves or certain lighting setups that we would stay very close to. So it made my choices for me. But before, there’s this phase when it seems like this big daunting task. Then, when you learn the rules, it’s like the rules of soccer: Here’s the field, you just can’t use your hands, you can kick the ball forward, and don’t go off sides. You’re like, “Oh I can handle that. I can work with that.”

Each director was different. Jeff Hunt, he was the Steadicam operator, so he had this very lyrical and smooth movement of how he liked to connect his shots. He taught me a lot about transition. Matt Hastings, he loved suspense so he taught me a lot of suspense, and he loved insert shots. So, he taught me the value of insert shots. Grismer had a very free-flowing style because he had so much experience that he was just very calm in the pocket no matter what was going on. He kind of showed me that you could also creatively come up with something or trust your actors. But what they all taught me is that they have their particular styles. So I knew I would be ready when I could come in and say, “This is my style. This is what I like,” as opposed to, “This is what we should do. This is what so-and-so did.” They were all fully realized as directors with their own style. Hunt even joked around that they called certain transitions, [where] you knew you were going to fade into black or go behind something, his trademark. I was like, “Oh, that’s really cool. I gotta figure out what my trademark is.”

And, did you figure out what it was?
Yeah, I did. I took a look back at some of the things I’d done and shot, and I loved rhythm. I also loved to move the camera with a certain flow and a pace, and I also leaned more towards the sentimental undercurrent. So I was really glad Carina [Adly Mackenzie] was writing my episode, because she loves a really good Act 6 — like, she just wants tears flowing by the time we get to Act 5 or 6. And I like sound transitions, so I had her work in some audio transitions.

It’s interesting that you mentioned rhythm, because the last time we spoke, you said you were taking ballet classes and djembe drumming lessons. Did those skills inform your directing?
Oh yeah, very much so. I’m still obsessed with rhythm. I was just chatting with a painter and I said, “What exactly does it mean when a painting is lyrical?” And I’m here in New York studying Shakespeare. So rhythm was everything for me. Alejandro Iñàrritu, in an interview, said directing is all about rhythm. If you’ve got good rhythm, you can be a good director. So I put a lot of weight into that. When I went back into editing my episode, I was very aware of the rhythm of when you get into a scene, how many seconds before you cut, how fast certain actors talked. We even paired sort of the older characters who speak a little bit slower with younger characters so that the scenes could move forward with a certain rhythm. It was a very, very conscious thing and something I still explore to this day.

What did you think would be the most challenging part of the episode when you first read the script?
Oh, all of it. I actually texted Carina afterwards and I said, “You’re joking, right?” I said, “For one, the script is really long, and two, there’s fire elements and there’s death and there’s new characters.” I was like, logistically, I can’t even wrap my head around [it]. I go, “Is there lighting everywhere? Is there rain everywhere? You guys realize this is my first episode?” She goes, “Oh no, Charles, I’m not holding back. I love this episode.” I was like, “So, you’re serious, this is my episode?” Then from there, I knew we would have to pare some things down and maybe remove some scenes and then work with the producers about how we were going to shoot this, logistically. I knew that time and money were also constraints.

How did you learn to handle to those fire elements and other big effects?
Preparation, that’s what a lot of people told me: as long as you’re prepared and you have an idea of what you want to do. So, I walked the sets and I imagined it in my mind. We have a great, great crew of people in their departments. They’re all true artists, so they really stepped up and they had a lot of suggestions about how we could do something, how we could make it work. [For example], the logistics of, is there a makeshift altar out in the cemetery? No? Then, what are we going to make this out of? I don’t know. But, Bill [Eigenbrodt], can you help me out? And he did, and he made it work for the camera and he knew we would probably want to shoot in this direction. Things started to fall in place. But, like I said, the script and the show itself already set the rules. It was just my job to fit everything in like it was a puzzle, like a little Tetris design just to make it work and keep that in mind and keep communicating it to everyone, like, “I only need this for the shot. I know we got fire and we got wind, but all I need for you to do is stand up and then we’re out of the shot and we can move on.” Just turning it into sizable pieces that we could really digest.

As you mentioned before, Joseph directed for the first time last season. Did you get any advice from him?
Yeah, he said, the politics will probably amaze you most of all, because you don’t really prepare for the politics of it. I got to really discover what that really meant. You know, different departments, by nature, are at odds with each other. So, it was about making decisions and moving forward. He also said the best advice he got from someone was, “Make a decision — any decision — even if it’s the wrong decision. You just don’t want to be standing there looking like a fool,” because then the crew loses confidence in you and the whole thing just goes to s—. After he said that I was like, “Okay, so where are we going? You wanna go? Are you going to walk out? I’m going to go grab my—” And he goes, “Charles, make a decision — any decision — even if it’s the bad one.” I just go, “Right, okay.”

What was it like directing your fellow actors?
It was great because they treated me like a director. They really trusted me. They looked to me in a way that was very open and receptive to direction. They cared for my opinion. They didn’t fight me at all or anything like that. And I would just go up and whisper in their ear. I would just make a few little suggestions here and there, but I would always speak to them very intimately. When I liked something, I mean, everybody knew I liked it. I would just cheer. My job was also to be everyone’s biggest cheerleader. So when the cameraman really hit a moving shot in two takes, you know, I was there yelling, “F— yeah! Way to go Ian [Forsyth]!”

When Yusuf [Gatewood] does this thing where he sets the skull down and turns it and he starts to chant up to the sky, I was just like, “That is an iconic shot. Hopefully that shot will be forever remembered. I will always seek to recreate that shot in anything I ever do again.” I didn’t even direct him. I was about to yell cut because I thought he wasn’t going to turn the skull forward, but he did it in this beautiful rhythm. So, I actually got to talk to him as if I was a fan, which I am. I really got to express that through direction.

Part of this episode involves Freya trapping Klaus, Hayley, and Hope in the compound for their own protection. How did you approach that storyline? Did you try to go for something more claustrophobic, for example?
I just had to look at it in comparison to the other plotlines to see what the other characters were going through. I had to find their arc. First Klaus discovers he’s going to be grounded and then he tries to deal with that frustration, and then it all comes boiling out between him and Hayley. But, it’s nice because now you see a different side of Hayley and Klaus’ relationship. I wanted people to really see that they’re really good parents and maybe that they could actually work together and be together. And the actors are really intelligent. So, they knew how to bring out those levels. It was nice because it was all on the stage and it was all in one room and it grew in its intensity. Yeah, that was one of my favorite ones to shoot.

Tune in for an all new episode tonight! We’re desperate for a fifth season. <3





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