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Funimation, as part of its expansion push under Sony Pictures Television’s ownership, acquired Manga Entertainment, a London-based distributor of anime titles in the U.K. and Ireland. Terms of the deal were not disclosed. Funimation will merge Manga’s business with the Funimation U.K. home entertainment business and will begin distributing many shows in the Manga catalog […] | 5/29/19 | 5/22/19

We can only imagine how hard it must be to make a television show about sex and keep a straight face, so it's no surprise there are a plethora of outtakes for Netflix's Sex Education. The streaming service's UK and Ireland Twitter shared a collection of these bloopers Thursday, and while the video


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Other Links From | 4/19/19

“Game of Thrones” showrunners David Benioff and D.B. Weiss will receive the Founders Award at this year’s International Emmy Awards in November.

The Founders Award is given annually to those whose “creative accomplishments have contributed in some way to the quality of global television production.” The HBO fantasy epic has almost exclusively filmed aboard in locations Northern Ireland (mostly in Belfast), Croatia, Iceland and Morocco. The series airs in over 207 countries.

“The International Academy does us all a great honor. From cast to crew to locations, the ‘Game of Thrones’ effort was truly international, and this award rightly belongs to all the people who worked so hard for so many years to bring the show to life,” Benioff and Weiss said in a statement Monday.

Also Read: 'Game of Thrones' Writers 'Tried to Keep More of the Time Logic Rather Than Jet Packs' for Season 8

“David and D.B. are absolute game changers, visionary storytellers who have created, with their first foray into television, a record breaking global cultural phenomenon with an international following like no other,” Bruce L. Paisner, president & CEO, International Academy of Television Arts & Sciences, added. “We look forward to honoring their extraordinary talent and the ‘Game of Thrones’ legacy, with our Founders Award.”

Also Read: 'Game of Thrones': HBO Reveals Length of Series Finale Episode

The International Emmy Awards will be held Monday, Nov. 25, in New York City.

“Game of Thrones” is heading into its eighth and final season, which will premiere April 14. The series finale is slated for May 19.

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Acorn Media Enterprises announced Monday that it will be co-producing a new original series in partnership with all3media for its niche streaming service Acorn TV, which specializes in British content.

The co-production agreement will see “Blood,” a Company Pictures drama in association with Element Pictures and all3media international for Virgin Media Television, Ireland, make its North American debut on the streaming service as an Acorn TV Original Series in the U.S. and Canada.

The new six-part thriller is part of Acorn TVs increased efforts in producing original content for its streaming platform. The company’s growing slate of co-produced original series include “Love, Lies & Records,” “Striking Out,” and Agatha Christie’s “The Witness for the Prosecution.” In April, the company also acquired exclusive digital and home video rights from DCD Rights for Season 2 of the critically-acclaimed mystery series “Jack Irish.”

Also Read: AT&T CEO Randall Stephenson: Netflix Is 'Walmart' of SVOD, HBO Is 'Tiffany'

The increased focus on exclusive content comes as the streamer faces growing competition in the U.S. from rival service Britbox. Launched in March 2017, Britbox, which is the product of a joint partnership between BBC Worldwide and U.K. broadcaster ITV, has already accumulated over 400,000 subscribers. While this still puts the company behind Acorn TV’s growing subscriber count, which hit 450,000 at the start of 2017, it is a sign of significant growth for the service that had just 250,000 subs at the end of February. In an effort to continue this growth, Britbox is also increasing its focus on original content.

In February, Britbox President Soumya Sriraman announced plans to increase investment in both original and acquired British programming and make a change in its marketing investment to increase awareness of the service.

Outside of the U.S. and Canada, “Blood,” which was commissioned by Virgin Media Television, will not be exclusive to Acorn TV. Virgin Media Television in Ireland will have the global premiere for the show which is expected to take place this Autumn, and Channel 5 has signed a pre-sale deal with all3media international which sees the broadcaster launching the series on linear in the U.K.

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You may surprised to learn just how many rousing rock songs, pop anthems and radio-friendly singles have tragic, even heartbreaking backstories behind their lyrics and their sometimes upbeat music. All music comes from an emotional place and some kernel of truth and personal experience for the songwriter, but these particular songs all have their roots in some real life tragedy or story. These are the heartbreaking true stories behind hit songs:

“Jeremy” by Pearl Jam

From the moment people saw the song’s harrowing music video, Pearl Jam’s “Jeremy” has always been a song associated with gun violence and teen suicide. But after decades of rock radio play, the real Jeremy Wade Delle’s story has faded into the background. Delle was a 16-year-old student at Richardson High School near Dallas who left to get an admittance slip but returned with a gun. “Miss, I got what I really went for,” he said before putting the gun in his mouth and pulling the trigger, killing himself in front of a classroom of 30 students. Eddie Vedder read a paragraph in a newspaper and said he wrote “Jeremy” based on Delle’s story, but also of a student in his own high school in San Diego who shot up a classroom but did not injure anyone.

“Circus” by Eric Clapton

Two Eric Clapton songs address the tragic death of his 4-year old song in Conor. While “Tears in Heaven,” perhaps better known, addresses the bond between father and son and the hope of reconnecting in the afterlife, “Circus” is Clapton reflecting on his last day with his son at an American circus. His son told him he liked seeing a clown brandishing a knife, a lyric that made it into the final track. “I was paying tribute to this night with him and also seeing him as being the circus of my life,” Clapton said in a 1998 BBC interview. “You know – that particular part of my life has now left town.”

“The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot

The SS Edmund Fitzgerald was the largest freighter in the Great Lakes until it sank on November 10, 1975 in Lake Superior, killing all 29 crew members aboard. Gordon Lightfoot immortalized the tragedy in his song the following year. Lightfoot was inspired by a Newsweek article about the tragedy. However, he took some artistic license in the story, for instance, singing that the ship was headed for Cleveland when it was actually headed to Detroit.

“Smoke on the Water” by Deep Purple

It might be a stoner anthem nowadays, but the lyrics on Deep Purple’s “Smoke on a Water” are scarily literal. Frank Zappa and Mothers of Invention were playing a gig at a Montreaux casino in Switzerland when 90 minutes into the show, someone fired a flare gun that started a blaze. Claude Nobs, who organizes the Montreaux Jazz Festival, remembers pulling kids out of the water as described in the song, saying that onlookers would’ve just thought Zappa had an especially pyrotechnic end to his show.

“Oblivion” by Grimes

“Oblivion” is a buoyant, dreamy synth pop anthem as sung by Grimes in her high soprano tone, but the lyrics paint a picture of sexual assault. “Someone can break your neck/coming up behind you and you never have a clue,” she sings. But Grimes, a.k.a. Claire Boucher, wrote the song based on her own harrowing attack. “I was assaulted and I had a really hard time engaging in any types of relationship with men, because I was just so terrified of men for a while,” she told Spin in 2012. “I took one of the most shattering experiences of my life and turned it into something I can build a career on and that allows me to travel the world. I play it live every night.”

“Rehab” by Amy Winehouse

“They tried to make me go to rehab, and I said no no no,” Amy Winehouse sings on her hit single “Rehab.” Sadly, her manager said this was a real conversation he had with Winehouse, driving her into the middle of nowhere until she admitted she had a problem. He had gotten frequent late night phone calls from Winehouse and noticed she was uncomfortable at her own grandmother’s funeral. But once she got home to her father, her manager said her tune changed and that she was really just a heartbroken person becoming a woman. “The irony is she went off and wrote a song about that particular day, and it turned her into the biggest star in the world,” her manager wrote after her death. “It took everyone a long time to catch onto the fact that ‘Rehab’ is actually serious. She said no, and died five years later.”

“The Magdalene Laundries” by Joni Mitchell

“I’d just turn 27 when they sent me to the sisters for the way a man looked at me,” Joni Mitchell sings in her song “The Magdalene Laundries.” The narrative folk song is based on a terrifying history of systematic abuse on women in Ireland at the Magdalene laundries, or Magdalene asylums. Starting in the 18th Century and moving until as late as the 1970s, an estimated 30,000 women were housed under Roman Catholic orders and by nuns for “fallen women,” a term that encompassed everything from prostitutes to women who had been sexually assaulted or given birth out of wedlock. The terrors of these institutions came to light when in the ’90s a mass grave of 133 women was uncovered. Peter Mullan would make a film “The Magdalene Sisters” about the asylums, and Sinead O’Conner was even held in one when she was young.

“I Don’t Like Mondays” by The Boomtown Rats

The grand, operatic single “I Don’t Like Mondays” by The Boomtown Rats tells the grim story of a young girl who committed a school shooting and, when asked by reporters why she committed this atrocity, gave as her rationale simply, “I don’t like Mondays.” “Daddy doesn’t understand it, he always said she was good as gold,” Bob Geldof sings. In 1979, 16-year-old Brenda Ann Spencer opened fire on a group of school children from her house in San Diego, killing a school principal and janitor and wounding eight students. In addition to her chilling line, Snopes informs that Spencer told reporters and police negotiators, “This livens up the day.” “There was no reason for it, and it was just a lot of fun.” She pleaded guilty to two counts of murder and was sentenced to 25 years to life in prison. | 9/12/18

Paul Greengrass is the master of the moment, of a muscular and immersive style of filmmaking that plunges us into the thick of the action. But “22 July,” the Greengrass film that premiered at the Venice Film Festival on Wednesday, is a movie not about the moment, but about the aftermath.

Make no mistake, “22 July” is also immersive and visceral. But in its slow move from action to consequences, from terror to something close to healing, it feels new from the veteran British director.

This might be the first Greengrass movie that doesn’t just make you flinch, it makes you cry.

Also Read: Director Paul Greengrass Tackles Norway's Deadliest Terrorist Attack in '22 July' Trailer (Video)

The film is based on the attacks carried out in Norway in July 2011: A far-right, anti-Muslim zealot named Anders Behring Breivik detonated a bomb near a government building in Oslo, and 90 minutes later went to a camp on the island of Utøya and killed more than 60 people, many of them teenagers. It was Norway’s most violent day since World War II, and it has already been the subject of a Norwegian film, the similarly titled “U – July 22” by Erik Poppe.

Poppe’s film never leaves the island, focusing on characters who rarely glimpse the shooter. Greengrass takes a less focused, more all-encompassing approach, which partly plays into his strengths and partly finds him reaching for new ones.

The director may have achieved his greatest commercial success with his three Jason Bourne movies – 2004’s “The Bourne Supremacy,” 2007’s “The Bourne Ultimatum” and 2016’s “Jason Bourne” – which set new standards for kinetic action filmmaking and are set in a destabilized world where order has been shattered.

But he’s also made a string of gripping films detailing some of the events that have shattered our own world in recent years: the Sept. 11 attacks in “United 93,” Somalian piracy in “Captain Phillips” and the U.S. invasion of Iraq in “Green Zone,” all of them examples of an urgent filmmaking approach that was honed on nonfiction television dramas and blossomed with 2002’s “Bloody Sunday,” about British military violence in Northern Ireland in 1972.

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Breivik’s preparations are dealt with quickly, intercut with the lives of some of those who will become his victims, particularly the kids on the island. We’re quickly into the attacks, which are as harrowing and chaotic as you’d expect – but within the first 45 minutes of this nearly two-and-a-half-hour film, the killing has stopped and Breivik has surrendered to the police without resisting.

And that’s when Greengrass begins to explore a complex question: What happens now? What happens to the killer, who wants to turn his trial into a showcase for ideas he thinks will rid Europe of immigrants and end “enforced multi-culturalism?” To his lawyer, a family man compelled by duty to mount a defense of the indefensible? To Norway itself, which failed to notice warning signs that might have prevented the attacks? And above all, what happens to the families who lost children on the island, and to the teens who survived, terribly injured physically or emotionally or both?

This is where Greengrass takes his time, following several strands simultaneously. Some are more engrossing than others; the government investigation into what went wrong is a bureaucratic detour in a largely emotional journey.

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But the film slowly zeroes in on two disturbing stories that slowly come together: the relationship between Breivik (the thoroughly creepy Anders Danielsen Lie) and his attorney (Jon Oigarden) as the trial nears, and the agonizingly slow recovery of Viljar (Jonas Strang Gravli) a teenage boy who miraculously survives despite multiple gunshot wounds, one that leaves bullet fragments perilously close to his brain stem.

It culminates in an unlikely arena that turns out to be the real center of this movie: the courtroom, where Viljar works up the resolve to confront his would-be killer. Using the hand-held style that has long been his trademark, Greengrass makes a young man’s five-minute speech as riveting as a “Bourne” fight scene; the action is internal, conveyed in glances rather than punches, but it nonetheless hits hard.

“22 July” is not always easy to watch – if the shootings don’t get you, the brain surgery might – but there are enough grace notes sprinkled through the telling to make this a genuinely affecting film even in the rare moments when the momentum flags or the choices give us pause. (All of the Norwegian characters speak a lightly-accented English, an artistic choice that seems both entirely justifiable and somehow beneath Greengrass.)

But for the most part, Greengrass is in total command with this chronicle of a horrific event and its lengthy, painful aftermath. This gifted director has immersed us in the moment in past films, but this time he’s in it for the long haul.

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History unveiled the return date for its hit drama “Vikings” on Friday during its presentation at Comic-Con, where the cable channel also debuted the trailer for Season 5’s back end. Couldn’t make it to San Diego this year? No sweat — TheWrap‘s got you covered.

“Vikings” will be back Wednesday, Nov. 28 at 9 p.m. ET/PT on History. Those will be “days for rejoicing,” per the above sneak peek video. (Though after you watch the dark trailer, perhaps it’s a not-so-much on that whole “rejoicing” thing.)

And don’t worry, this war isn’t the end for the barbaric civilization: The 20-episode sixth season of “Vikings” is currently in production in Ireland.

Also Read: 'Vikings' Lands Early Season 6 Renewal From History

For now though, in the midseason finale, the divide between the Lothbrok family climaxes with Ragnar’s sons battling each other to rule the world, per History. The long-awaited face-off ends with a strategic victory going to Ivar the Boneless (Alex Høgh Andersen) who vows vengeance on his betrayers with a direct target on Lagertha’s (Katheryn Winnick) back.

Last seen in an unstable state and losing her appearance as a fierce Viking warrior, Lagertha is hopeful she will regain her spot in Kattegat as its rightful leader.

Season 5 returns with the arrival of a legendary Viking, the famous Duke Rollo (Clive Standen), who causes further upheaval in a Kattegat still reeling from Ivar the Boneless becoming its King. As Bjorn (Alexander Ludwig) and Lagertha flee Ivar’s murderous forces with Bishop Heahmund (Jonathan Rhys Meyers), Ivar’s tyrannical reign over Scandinavia ushers in a new Dark Age, the likes of which have never been seen. Ultimately, Ivar’s reign will not go unchallenged by the sons of Ragnar and old enemies will become allies to defeat the despot who has declared himself a God on earth. Meanwhile in Iceland, Floki (GustafSkarsgård) battles the elements, and his own settlers’ desire for revenge, to forge a Viking colony on the beautiful and desolate landscape.

Also Read: 'Vikings' Season 5 Trailer Promises Jonathan Rhys Meyers, Bloody Heads (Video)

“Vikings” hails from Michael Hirst, who executive produces alongside Morgan O’Sullivan, James Flynn of TM Productions, Sheila Hockin, John Weber of Take 5 Productions, Sherry Marsh and Alan Gasmer.

Arturo Interian is executive producer for History.

“Vikings” is an international Irish/Canadian co-production by TM Productions and Take 5 Productions. MGM Television serves as the worldwide distributor outside of Ireland and Canada. “Vikings” is produced in association with Corus Entertainment.

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