While we don’t know much about this project, Netflix had me at Russo brothers and heist.
Roots remake series#
I went crazy over the Netflix series Lupin. I am also a sucker for a good heist flick or series. Especially the Gray Man because it will have some of my other favorite stars in it like Chris Evans and Ryan Gosling. I am already looking forward to his upcoming films. I need to keep my inner middle-aged thotiana happy and she likes Rege-Jean. This will be Page’s second time working with the Russo brothers, after they directed him in Chris Evans’ and Ryan Gosling’s upcoming film The Gray Man. “We are very happy to continue to fulfill that pledge by supporting this new film from Noah Hawley and Regé-Jean Page.” “AGBO was originally founded to allow us to collaborate with artists we greatly respect and admire,” Larocca said in a statement to both outlets. Hawley will also produce via his 26 Keys production company, in partnership with AGBO’s Joe and Anthony Russo and Mike Larocca, the outlets reported. The flick will be produced by Noah Hawley’s 26 Keys production company and the Russo brothers are also attached. While he hasn’t yet been offered the role of Bond it has been announced that Rege will be starring in a heist thriller for Netflix. A lot of Rege’s fans got their panties in bunch (I wasn’t one of them), but the woman was revealed as a friend and his Mortal Engines costar, Menik Gooneratne. Rege was at the Emmys a couple of weeks ago, with a woman as his date. Rege was busy this summer working on The Gray Man and Dungeons and Dragons, both of which have wrapped filming. Married middle-aged thotianas were getting their husbands to cast him in their movies. There were calls for him to be the first Black James Bond. “Roots” would have had to draw a bigger number, say 10 million viewers, on Monday night to better argue that people were excited to watch Kunta Kinte’s journey to freedom - again.Since’s Rege-Jean Page breakout role in Bridgerton last winter, all eyes have been on him. The new version also aroused controversy, as some black artists were reluctant to participate in another Hollywood-backed slave narrative.īut we live in an age of hyperbole, when even the most mediocre projects are routinely praised as “brilliant” in the Hollywood trades and even the smallest audience is considered a “triumph.” Spinmeisters will do their job and find several ways to make the “Roots” ratings seem as “robust” as possible (they are already touting the fact that 8.5 million watched over Monday’s three telecasts), and the audience may well grow as the series reaches its conclusion Thursday night.
It was a different world then, with many fewer channels, but a project like “Roots” can only draw that kind of lightning once. It was never going to make the same impact as the original 1977 ABC series, a phenomenon that drew an average of 31.5 million viewers over eight nights. The difference between the two shows is that “Hatfields & McCoys” was a new story and “Roots,” though spun as “a classic re-imagined,” was essentially a remake. That hypnotically brutal saga drew 14.3 million viewers on its third and final night - still the record for basic cable.
It’s a totally respectable number, but fell far short of the spectacular performance of “Hatfields & McCoys,” another Memorial Day miniseries that premiered only on History in 2012.
(Among viewers 18 to 49, it was only watched by 1.8 million viewers.) The four-part miniseries debuted on four outlets (History, Lifetime, A&E and LMN) on Memorial Day and drew 5.3 million viewers, based on Nielsen Fast Nationals. Despite an avalanche of hype, screenings and round-table discussions targeted at Emmy voters, “ Roots” is so far only a modest success.
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