‘Lovecraft Country’ Top Rising Show, ‘Lucifer’ Top Binge on TV Time Charts

HBO’s “Lovecraft Country” was the top rising show, while Netflix’s “Lucifer” was the top binge on the TV Time charts for the week ended Aug. 23.

The horror drama series “Lovecraft Country,” a Jordan Peele/J.J. Abrams collaboration based on the 2016 novel, debuted Aug. 16. In the series, Atticus Black joins his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America in search of his missing father.

Season five of top binge “Lucifer” hit Netflix Aug. 21. The fantasy series, which follows Lucifer’s exploits on Earth, also took the No. 2 spot on the “Shows on the Rise” chart.

No. 3 rising show “Teenage Bounty Hunters,” which debuted on Netflix Aug. 14, follows 16-year-old fraternal twin sisters Sterling and Blair. Rebelling against their buttoned-up Southern community, they team up with veteran bounty hunter Bowser Jenkins and dive into the world of bail-skipping baddies and suburban secrets while trying to navigate high school drama.

“The Umbrella Academy,” the second season of which hit screens July 31, dropped to No. 2 on the binge chart after three weeks at No. 1. The series, based on the comic books of the same name, follows a group of superheroes adopted at birth by a mysterious billionaire who face the end of the world. As season two begins, the time jump scatters the siblings in time in and around Dallas over a three-year period starting in 1960.

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TV Time is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by more than 1 million consumers every day, according to the service. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program. The network displayed is the network where the show first aired (e.g. “Friends” on NBC).

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 Top Binge Shows Week Ended Aug. 23 by Share of Binges:

  1. “Lucifer” (Netflix) — 9.31%
  2. “The Umbrella Academy” (Netflix) — 3.39%
  3. “Modern Family” (ABC) — 2.15%
  4. “The Office” U.S. (NBC) — 1.39%
  5. “Friends” (NBC) — 1.37%
  6. “One Piece” (Fuji TV) — 1.21%
  7. “Grey’s Anatomy” (ABC) — 1.18%
  8. “Brooklyn Nine-Nine” (NBC) — 1.04%
  9. “Good Girls” (NBC) — 0.98%
  10. “The Rain” (Netflix) — 0.98%

 

Top “Shows on the Rise” Week Ended Aug. 23 by Rise Ratio:

  1. “Lovecraft Country” (HBO) — 99.9%
  2. “Lucifer” (Netflix) — 84%
  3. “Teenage Bounty Hunters” (Netflix) — 62.5%
  4. “Dirty John” (Bravo) — 42.5%
  5. “Glow Up: Britain’s Next Make-Up Star” (BBC Three) — 39.4%
  6. “It’s Okay to Not Be Okay” (TVN) — 32.6%
  7. “The Legend of Korra” (Nickelodeon) — 29.9%
  8. “One Tree Hill” (The CW) — 24.4%
  9. “3%” (Netflix) — 23.3%
  10. “The Crown” (Netflix) — 15.7%

HBO Max Orders Three J.J. Abrams Bad Robot Productions, Including ‘Shining’-Based ‘Overlook’

HBO Max has given production commitments for three new one-hour dramas from J.J. Abrams and Katie McGrath’s Bad Robot Productions and Warner Bros. Television Group. It marks the first new Bad Robot–produced television projects for HBO Max under the exclusive content collaboration partnership formed by Bad Robot with HBO Max parent company WarnerMedia in fall 2019.

The first series, “Duster,” is to be co-written by J.J. Abrams and LaToya Morgan. Set in the 1970s Southwest, it follows the life of a gutsy getaway driver for a growing crime syndicate. Morgan is currently a writer on “The Walking Dead.” Previously, she was a co-executive producer and writer of AMC’s “Into the Badlands” and “Turn: Washington’s Spies,” and was a writer for NBC’s “Parenthood” and Showtime’s “Shameless.”

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The second series, “Overlook,” is a horror-thriller show inspired by and featuring iconic characters from Stephen King’s The Shining. “Overlook” explores the untold, terrifying stories of the famous haunted hotel in American fiction. The project reunites Bad Robot, King and WBTV, who previously collaborated on the acclaimed psychological-horror series “Castle Rock” for Hulu.

The third will be a major series based on DC characters in the “Justice League Dark” Universe, with details to be revealed soon.

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“What an amazing start to our association with the wildly imaginative Bad Robot team under J.J. and Katie,” Kevin Reilly, chief content officer of HBO Max, and president of TNT, TBS and truTV, said in a statement. “What could be better than an original J.J. idea and then Warner Bros. letting them loose on iconic I.P. from Stephen King and the DC Universe and to provide more must-have programming on HBO Max.”

All of the Bad Robot series for HBO Max will be executive produced by J.J. Abrams and its head of television Ben Stephenson. Rachel Rusch Rich, Bad Robot EVP of television, will serve as a co-executive producer. Warner Bros. International Television Distribution will be the global distributor for the programs.

Star Wars: Episode IX — The Rise of Skywalker

BLU-RAY REVIEW: 

Street Date 3/31/20;
Disney/Lucasfilm;
Sci-Fi;
Box Office $515.2 million;
$29.99 DVD, $39.99 Blu-ray, $39.99 UHD BD;
Rated ‘PG-13’ for sci-fi violence and action.
Stars Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels, Naomi Ackie, Domhnall Gleeson, Richard E. Grant, Lupita Nyong’o, Keri Russell, Joonas Suotamo, Kelly Marie Tran, Ian McDiarmid, Carrie Fisher, Mark Hamill, Billy Dee Williams.

In the wake of divisive fan response to Disney’s approach to “Star Wars” since its purchase of Lucasfilm, the studio turned to J.J. Abrams to deliver a final chapter to the nine-episode trilogy of trilogies that has been dubbed “The Skywalker Saga.”

Watching Rise of Skywalker, however, it quickly becomes evident that the studio and the creative team in place to make these new “Star Wars” films had no firm plans in place for the overarching story they were trying to tell, let alone connecting them to the previous six chapters.

The resulting concluding chapter, while a fun, entertaining, grand-scale adventure filled with franchise references for fans to enjoy, still comes across as a bit of a disjointed mess, picking and choosing which story threads from the previous films to carry through (if not outright retconning them) as if on a whim, while introducing vast and sometimes bizarre new ones that don’t stand up to too much scrutiny (or, worse, require fans to turn to myriad tie-in books to explain it). While the “Star Wars” franchise has never been a stranger to these kinds of strained plot mechanics, the rumored behind-the-scenes troubles at Lucasfilm have made the seams of Rise of Skywalker especially noticeable, and the accompanying plot developments rather jarring.

So there are two ways to look at Rise of Skywalker — it’s fine for what it is, and there’s plenty to like in it, but it’s also a reminder of what could have been.

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Instead of flowing from the natural plot implications of the previous episode, The Last Jedi (which, contrary to the vocal complaints of a few haters, were abundant enough to fuel a decent third act, as evidenced by the earlier script drafts floating around the Internet), the new film decides to drop a plot nuke right at the beginning: Emperor Palpatine (Ian McDiarmid) never really died and has been manipulating things the whole time. Leia’s Resistance, still recovering from the previous film, then turns its focus on fighting Palpatine, sending Rey (Daisy Ridley), Finn (John Boyega), Poe (Oscar Isaac), Chewbacca, C-3PO and BB-8 on a mission to find a device containing the location of the Emperor’s hidden base. Meanwhile, Kylo Ren (Adam Driver) wants to eliminate Rey in exchange for the Emperor’s powers. Be prepared for some big reveals.

While reintroducing the Emperor, who was the underlying threat for the first six movies, is as good enough a reveal as any for how the Empire returned in the guise of The First Order for these films, its sudden inclusion in the third film without any clues planted in the previous two just calls attention to the lack of planning. For example, a properly planned trilogy with Palpatine as the hidden villain wouldn’t have bothered to make Snoke an actual person in the second chapter when the hologram form he displayed in the first movie serves as the perfect cover, a la The Wizard of Oz.

There’s also the fact that the Emperor’s return smacks of similarity to storylines from the “expanded universe” of “Star Wars” books, comics and video games that the studio and Abrams had very publicly said were no longer canon. If the end result is just going to borrow ideas from them anyway, why not adapt them outright? The problem with trying to replace them with something new usually means that if whatever you replace them with isn’t better, fans aren’t going to be too happy.

The big wrinkle in the plan, of course, was the unfortunate death of Carrie Fisher after the filming of Last Jedi. With Leia poised to play a significant role in Episode IX, original story plans were scrapped, and a new screenplay was constructed to build scenes around unused footage of Fisher shot by Abrams for 2015’s The Force Awakens. The obvious limitations of this had a ripple effect on the rest of the story, while Abrams’ presence in the director’s chair was meant to assure fans that the saga was in good hands, given how much of a box office hit Force Awakens turned out to be.

Of course, the dirty little secret that many fans didn’t want to admit about The Force Awakens when it first came out was how, as a shallow remake of the original 1977 movie, it wasn’t a very meaty beginning for a new trilogy meant to continue the larger story. For all its faults, Rian Johnson’s The Last Jedi at least tried to be about more than the sum of its parts, while re-framing the franchise for a new generation.

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Abrams’ return to Rise of Skywalker means the film, at the very least, benefits from his strengths of striking visuals and dynamic action. There are some great scenes in the film that will make fans smile, and truth be told, it’s a more enjoyable viewing experience than Force Awakens simply for being bold enough in its own right and not just wholly remaking an earlier film. However, when adding Rise of Skywalker to the context of Abrams’ whole career, it’s clear he talks a better game than he delivers.

This is readily on display in the two-hour The Skywalker Legacy behind-the-scenes documentary included with the film’s home video presentation. The program is a masterstroke in editing as it contrasts scenes being filmed for Rise of Skywalker with similar scenes from the original trilogy, complete with new and archival interviews with the same actors discussing their roles and the saga in general. It’s a fascinating piece filled with wonderful nostalgia, but also serves to highlight what a lesser copy these new films have been to those of the George Lucas era.

Speaking of which, for a film meant to conclude a nine-chapter saga, Abrams’ films are rather devoid of references to the prequels, despite where revisiting them would make more sense for the story. But, really, who can blame him for focusing almost all the screentime on the new characters he created for this new trilogy, since he was given the chance to do so? In Rise of Skywalker, Abrams even introduces a new little droid called D-O that looks like it was made from a desk lamp, which he himself voices as the droid comments on the scene going on, as if telling the audience how they’re supposed to feel about it (literally saying “sad” or “happy,” etc.).

In addition to the visual candy, the film’s most reliable highlight, as usual, is the score by John Williams, who does his level best to inject depth into the proceedings through his music. His efforts are the focus of an 11-minute digital exclusive featurette, but there’s also a segment about his work in the feature-length documentary. In his cameo as an alien bartender, Williams is surrounded by mementos of the first 51 of his Oscar-nominated scores. His 52nd nomination came via Rise of Skywalker itself.

The remaining extras are all behind-the-scenes featurettes, the best of which is “Warwick & Son,” a five-and-a-half-minute look at actor Warwick Davis’ previous roles in the franchise and how he was joined by his son for a cameo in Rise of Skywalker.

Other featurettes include a 14-minute look at filming a speeder chase, a six-minute video about creating an alien celebration in the deserts of Jordan, a five-and-a-half video about the creation of D-O, and an eight-minute look at the puppetry and makeup effects used to create the film’s creatures.

Vudu offers a couple of additional videos: a three-minute “Legacy” trailer and an eight-minute “End of the Saga” featurette.

It’s a bit disappointing that there were no deleted scenes included, given how much the filmmakers have been discussing in promotional interviews all that was cut from the film, but don’t be surprised if those and additional extras, like an audio commentary track, are one day included in an expanded home video release.

 

‘Star Wars: The Rise of Skywalker’ Available Digitally March 17, on Disc March 31

The sci-fi/fantasy blockbuster Star Wars: The Rise of Skywalker will be available through digital retailers March 17, and on Blu-ray, DVD and 4K Ultra HD Blu-ray March 31 from Lucasfilm and Disney.

The film is “Episode IX” in the nine-film Skywalker saga and the concluding chapter of the sequel trilogy that began with 2015’s The Force Awakens and continued in 2017’s The Last Jedi.

The story finds Rey (Daisy Ridley) leading a mission to uncover ancient secrets to help the remnants of the resistance fight the resurrected Emperor Palpatine (Ian McDiarmid), who has promised great power to Kylo Ren (Adam Driver) to rule the galaxy.

The cast also includes John Boyega as Finn, Oscar Isaac as Poe, Anthony Daniels as C-3PO, Naomi Ackie as Jannah, Domhnall Gleeson as General Hux, Richard E. Grant as General Pryde, Lupita Nyong’o as Maz Kanata, Keri Russell as Zorii Bliss, Joonas Suotamo as Chewbacca, Kelly Marie Tran as Rose Tico, Billy Dee Williams as Lando Calrissian, Mark Hamill as Luke Skywalker, and Carrie Fisher as General Leia.

The appearance of Fisher, who died in 2016, was achieved using unused footage from the earlier films.

Directed by J.J. Abrams, The Rise of Skywalker earned more than $513 million at the domestic box office and just over $1 billion worldwide.

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Bonus material includes the feature-length making-of documentary “The Skywalker Legacy.” Additional extras include the featurettes “Pasaana Pursuit: Creating the Speeder Chase,” a look at one of the film’s key action scenes; “Aliens in the Desert,” a look at creating the desert world of Pasaana; “D-O: Key to the Past,” which focuses on the film’s new droid character; “Warwick & Son,” about actor Warwick Davis returning to play an Ewok; and “Cast of Creatures,” in which the team the created the record 584 creatures and droids for the film reveal the puppetry, makeup, prosthetics and digital magic that bring them to life.

Exclusive to the film’s digital version will be “The Maestro’s Finale,” a featurette about composer John Williams, who reflects on his body of work for the “Star Wars” saga.

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The “Star Wars” saga was created by George Lucas, who directed the original film that was released in 1977 and has since come to be known as Episode IV: A New Hope. The original trilogy consisted of 1980’s The Empire Strikes Back and 1983’s Return of the Jedi. Lucas also directed the prequel trilogy, beginning in 1999 with Episode I: The Phantom Menace and continuing with 2002’s Attack of the Clones and 2005’s Revenge of the Sith.

A nine-film 4K Ultra HD Blu-ray “Saga Collection” boxed set will be available exclusively through Best Buy. Individual 4K Ultra HD Blu-ray Disc releases also are slated for each film.

WarnerMedia Gets Director J.J. Abrams for Reported $500 Million

Director J.J. Abrams and his production company Bad Robot have decided to hang their shingle under the WarnerMedia banner.

After months of entertaining bids from all the big SVOD players, including Netflix, Apple TV and Comcast, among others, the 53-year-old “Star Wars,” “Star Trek” and “Mission: Impossible” director opted to stay with Warner Bros. in an exclusive production deal reportedly worth upwards of $500 million.

Abrams and co-CEO Katie McGrath, along with AT&T COO and CEO WarnerMedia John Stankey, Sept. 12 announced a “strategic relationship” to create original projects for television, theatrical motion pictures, games and digital platforms.

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The wide-ranging agreement commences immediately and initially runs through 2024; per company practice, financial terms were not disclosed.

“We are extremely excited about the potential to deliver remarkable and memorable stories and characters across multiple platforms to audiences around the world,” Stankey said in a statement. J.J., Katie and all of Bad Robot bring extraordinary vision, exquisite filmmaking, and exemplary industry leadership to this endeavor and our company.”

Stankey credited Warner Bros. Television Group president/COO Peter Roth’s longstanding relationship with Abrams and Katie for helping cement the deal.

​This new agreement builds on a highly successful, 13-year relationship between Abrams and Warner Bros. that began in 2006 when Bad Robot entered into an exclusive overall deal for television with Warner Bros. Television Group (WBTVG). Bad Robot and WBTVG subsequently renewed the television component in 2012 and 2015.

As part of the collaboration, Bad Robot will continue to develop and produce new television projects — including dramas and comedies, longform/event series, digital content and more — for all platforms, including premium/pay and basic cable networks, on-demand/streaming services, and the broadcast networks.

These include WarnerMedia-affiliated networks and platforms such as HBO, HBO Max and more, as well as external outlets.

Bad Robot’s series will continue to be produced in association with Warner Bros. Television, Warner Horizon Scripted Television or WBTVG’s digital studio Blue Ribbon Content, with Warner Bros. International Television Distribution distributing the shows around the globe.

Under terms of the new agreement, Abrams and Bad Robot will also develop original theatrical films for the divisions of the Warner Bros. Pictures Group, including Warner Bros. Pictures and New Line Cinema.

Bad Robot will honor existing obligations to Paramount Pictures and Abrams is directing and producing the release of The Rise of Skywalker, the final installment of the Star Wars Skywalker saga.

In 2018, Bad Robot formed a video game development division Bad Robot Games, in association with Tencent and Warner Bros. Interactive Entertainment, and the companies will continue to work together on the creation of new large and indie consumer games for mobile, PC and console.

During its creative collaboration with WBTVG, Bad Robot has produced a number of acclaimed hit series, including “Fringe” (co-created by Abrams) for Fox and “Person of Interest” for CBS, both of which reached the 100-episode milestone, “Westworld” for HBO, plus “Castle Rock” and the event series “11.22.63” for Hulu, among others.

Current series produced by Bad Robot include the upcoming “Demimonde” (to be created by Abrams) and “Lovecraft Country” for HBO, plus “Lisey’s Story,” “Little Voice” and “My Glory Was I Had Such Friends” for Apple TV+.

Prior to its association with WBTVG, Bad Robot produced the long-running hit series “Alias” (created by Abrams) and “Lost” (co-created by Abrams) for ABC. Abrams previously co-created the hit series “Felicity” for The WB Network.

‘Star Wars’ Director J.J. Abrams Reportedly Close to Mega Deal with WarnerMedia

One of the reasons Netflix claims it doesn’t pursue live sports programming is fiscal common sense. Chief Content Officer Ted Sarandos argues he doesn’t want to become embroiled in vanity battles over escalating rights fees lavished by networks on MLB, the NBA and NFL for access.

Observers say that’s an odd reason, considering the SVOD pioneer has pushed content spending into the professional sports stratosphere. Netflix recently signed TV producers Ryan Murphy (“Glee,” “American Horror Story”) and Shonda Rimes(“Grey’s Anatomy,” “Scandal”) to record-breaking content deals valued at $300 million and $100 million, respectively.

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Warner Bros. TV shelled out a reported $400 million for producer Greg Berlanti (”Dawson’s Creek,” “You,” “Riverdale”).

And Apple inked deals with Oprah, Jennifer Aniston, Steven Spielberg and Reese Witherspoon, among others.

Now, Warner’s corporate umbrella, WarnerMedia, is reportedly close to signing director J.J. Abrams (Star Wars, “Westworld”) to an exclusive deal worth $500 million. An amount pushed by losing suitors Apple, Comcast and Netflix, among others.

WarnerMedia is swinging for the fences in part because it is backed by telco parent AT&T’s mushrooming debt spending ($171 billion) seeking a creative backstop for a pending branded SVOD service as well as leverage against the November OTT launch of Disney+.

WarnerMedia also recently signed smaller deals with Ava DuVernay (“When They See Us”), Mindy Kaling (“The Mindy Project”) and is reportedly close to re-signing Chuck Lorre (“Big Bang Theory,” “Two and a Half Men”) to another long-term production deal.

“With more streaming services competing for available content, we expect more [production] consolidation [i.e. spending] to occur over the next few years,” Wedbush Securities media analyst Michael Pachter wrote in a note.

Georgia Gov. Kemp Attempts to Mollify Hollywood After Signing Anti-Abortion Law

After scuttling a planned May 22 visit to Hollywood studios in Los Angeles, Georgia Gov. Brian Kemp the next day visited local production facilities to thank them for doing business in the Peach state.

Thanks to lucrative tax incentives, film and TV productions employ more than 5,000 people in Georgia, reportedly generating a $9.5 billion fiscal economic impact in 2017, including $2.7 billion in direct spending.

The state trailed only Canada as primary production home for the 100 top-grossing domestic films in 2017. It was home to more than 455 productions in 2018, according to the governor’s office.

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The PR tour was in response to growing backlash following Kemp’s May 7 signature of an anti-abortion “heartbeat bill” that prohibits a woman from terminating a pregnancy after six weeks — a time period before many women even know they’re pregnant.

Georgia currently bans abortions after 20 weeks of pregnancy. The bill, which goes into effect in 2020, would also allow authorities to investigate women who miscarry.

While initial reaction in Hollywood was limited compared to a previous attempt by Georgia lawmakers to ban same-sex marriage, producers, directors and actors are beginning to speak up.

Actress/activist Alyssa Milano got the ball rolling on social media, delivering a letter to Kemp signed by 50 celebrities who vowed to boycott the state if the bill was signed into law.

Actor Jason Bateman said he would no longer work in the state, which is the production location (Lake Lanier) to his Netflix original series, “Ozark,” among others.

Producers of Amazon Prime Video original series “The Power” reportedly have stopped scouting the state for locations in response to the bill.

“We feel we have to stand up for a woman’s right to choose what happens to her body, and so while this is not a decision we have taken lightly, we feel strongly that it is the right one at this point in time,” Jane Featherstone and Naomi De Pear, said in a statement.

Kristen Wiig and her creative team behind Bridesmaids confirmed to CNN that production of her new comedy, Barb and Star Go to Vista Del Mar, had pulled out of Georgia in response to the bill.

CNN reported that Christine Vachon, CEO of Killer Films; David Simon, creator of “The Wire” and “The Deuce”; and Mark Duplass of Duplass Brothers Productions have all said they will not film in Georgia.

Separately, directors J.J. Abrams and Jordon Peele issued a statement in support of “women in Georgia,” adding that they would donate episodic fees of their new series, “Lovecraft Country,” to the ACLU of Georgia and Fair Fight Georgia, an organization seeking to reform state elections.

Kris Bagwell, who runs EUE Screen Gems in Atlanta, told The Atlanta Journal-Constitution he recently lost a Netflix movie that would have brought about 300 jobs.

“The passage of this law threatens to destroy a significant portion of 11 years of goodwill between Georgia and the national film and television production industry,” Bagwell said. “Isn’t the first rule of job creation ‘Don’t shoot the jobs you already created?’”

Kemp, in response, contends he’s keeping a campaign promise to stop abortions.

“We value and protect innocent life in Georgia — even though that makes C-list celebrities squawk,” the governor told a recent GOP convention in Savannah.

Paramount Releasing ‘Overlord’ on Home Video in February

Paramount Home Media Distribution will released the action-thriller Overlord digitally Feb. 5, and on Blu-ray, DVD and 4K Ultra HD Blu-ray Feb. 19.

Produced by J.J. Abrams and directed by Julius Avery, Overlord stars Jovan Adepo, Wyatt Russell, Pilou Asbaek, John Magaro, Bokeem Woodbine and Mathilde Ollivier in the story of a team of American paratroopers who encounter Nazi super-soldiers.

The Blu-ray and digital versions include nearly an hour of behind the scenes featurettes.

Both the 4K Ultra HD and Blu-ray combo packs include access to a digital copy of the film. The film also boasts Dolby Atmos audio mixed specifically for home entertainment. The 4K Ultra HD disc and digital releases feature Dolby Vision HDR.

Paramount Releasing ‘Cloverfield Paradox’ on Disc Feb. 5

Paramount Home Media Distribution will release The Cloverfield Paradox on Blu-ray and DVD Feb. 5, 2019 (order date Dec. 25).

The third film in producer J.J. Abrams’ “Cloverfield” franchise, follows a group of scientists orbiting Earth on the brink of a devastating energy war as they prepare to test a device that could provide unlimited power at the risk of trapping them in an alternate reality. The cast includes Daniel Brühl, Elizabeth Debicki, Aksel Hennie, Gugu Mbatha-Raw, Chris O’Dowd, John Ortiz, David Oyelowo and Ziyi Zhang.

The Cloverfield Paradox debuted on Netflix following Super Bowl LII in February.

Disc extras include the featurettes “Things Are Not as They Appear: The Making of The Cloverfield Paradox” and Shepard Team: The Cast.”

The film will also be available as part of the new Cloverfield 3-Movie Collection on Blu-ray and DVD.

First Season of ‘Castle Rock’ Available for Digital Download Oct. 15, on Disc Jan. 8

The first season of Hulu original series “Castle Rock” will be available for digital purchase Oct. 15, and on Blu-ray, DVD and 4K Ultra HD Blu-ray Jan. 8 from Warner Bros. Home Entertainment.

The psychological horror series is based on the works of Stephen King and brings together elements from several of his books to follow the story of an attorney (André Holland) who is embroiled in a mystery in the fictional town of Castle Rock, Maine. The first season consists of 10 episodes.

Bill Skarsgård, Sissy Spacek, Melanie Lynskey, Jane Levy and Terry O’Quinn also star. The series is executive produced by King, J.J. Abrams, Sam Shaw, Dustin Thomason, Ben Stephenson, Mark Lafferty and Liz Glotzer.

Extras include behind-the-scenes featurettes for each episode, plus new featurettes “Blood on the Page” and “A Clockwork of Horror: Merging the styles of Stephen King & J.J. Abrams.”