The Fuller House season 3 premiere has been set for a very special date on Netflix

The Fuller House season 3 premiere has been set for a very special date on Netflix

Today in a press release, we learned that Netflix has set a Fuller House season 3 premiere date. It’s not just any old date either. The Fuller House season 3 premiere will fall on Friday, September 22, which marks the 30th anniversary of the original Full House airing. Yup, the premiere of season one of the show took place on September 22, 1987. The episodes will be split into two parts this time around. After the Fuller House season 3 premiere, the next eight episodes will air each week. Then the second nine episodes will air sometime in December.

In the spinoff series, Fuller House, the adventures that began in 1987 on Full House continue, with veterinarian D.J. Tanner-Fuller (Candace Cameron-Bure) recently widowed and living in San Francisco. D.J.’s younger sister/aspiring musician Stephanie Tanner (Jodie Sweetin) and D.J.’s lifelong best friend/fellow single mother Kimmy Gibbler (Andrea Barber), along with Kimmy’s feisty teenage daughter Ramona, all move in to help take care of D.J.’s three boys — the rebellious 12-year-old Jackson, neurotic 7-year-old Max and her newborn baby, Tommy Jr.

Fuller House stars Candace Cameron Bure as D.J. Tanner-Fuller, Jodie Sweetin as Stephanie Tanner, Andrea Barber as Kimmy Gibbler, Juan Pablo Di Pace as Fernando, Soni Nicole Bringas as Romona, Michael Campion as Jackson, Elias Harger as Max, Dashiell and Fox Messitt Twins as Baby Tommy, Scott Weinger as Steve Hale, John Brotherton as Matt Harmon, and Ashley Liao as Lola.

Bob Boyett and Jeff Franklin serve as executive producers. Fuller House is produced by Miller-Boyett Productions and Jeff Franklin Productions in association with Warner Horizon Television for Netflix.

Are you guys excited for the Fuller House season 3 premiere on Friday, September 22? What did you think of seasons 1 and 2? We want to hear from you? Leave your thoughts in the comments below or tweet them to us @ComingSoonnet.

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E3 2017
First off, I would like to apologize for coming out with this E3 2017 episode so late. Post-E3 time is always a hectic time so it took me a while to edit this episode. Not to mention I initially wanted to wait until the video version of the podcast was up, but that is going to take some time. So subscribe to Nerd Reactor on YouTube to be notified when the full video version is up!

Anyway, for the first time in Game & Talk history, all three of the co-hosts Joey Ferris, Alan Plummer, and Chris Del Castillo come together in person to bring a great and long episode of Game & Talk to you, the listeners! We’re also joined by Konrad Janusz-Vaernes of the Commonwealth Realm who flew all the way from Norway to be in LA. E3 2017 was the first show in a long time to be open to the public, so naturally we, the press, have some concerns we would like to address.

Obviously, we talk about some games as well that were shown off at the big conferences EA, Microsoft, Bethesda, Ubisoft, Sony, and Nintendo in that order. We also give our opinions on our favorite games that were playable on the show floor (unfortunately for me, Metroid Prime 4 did not count), including but not limited to Super Mario OdysseyDragonball Fighter Z, and Wolfenstein II: The New Colossus.

We would like to thank Nerd Report for letting us use their studio to record the audio and video. Check them out for some additional news in the geek and nerd culture scene!

SoundCloud link is below, we’re also available on iTunes and Google Play. What was your favorite game shown off at E3? Did you get to go to E3 this year? If so, how was it? Sound off in the comments!

WARNING: Strong Language

Check out our E3 2017 coverage here.

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Han Solo Lucasfilm Alden Ehrenreich
Trouble has been brewing on the set of Lucasfilm’s upcoming untitled Han Solo film. Directors Chris Miller and Phil Lord, who helmed 21 Jump Street and The LEGO Movie, departed from the project. Alleged reports have said that the two were fired due to their different style of filmmaking which did not please Kathleen Kennedy and Lucasfilm. Therefore, notable director Ron Howard has stepped in to finish the rest of the project.

But that’s not all. Now there are new reports that Lucasfilm wasn’t pleased with Alden Ehrenreich’s performance, the actor who’s playing young Han Solo. Gasp!

THR has a detailed report of the Han Solo set drama, and it has revealed an editor being fired and an acting coach being hired for Ehrenreich late in the game. That does not sound good at all.

“Lucasfilm replaced editor Chris Dickens (Macbeth) with Oscar-winner Pietro Scalia…”

Furthermore, it continues on with this: “…not entirely satisfied with the performance that the directors were eliciting from Rules Don’t Apply star Alden Ehrenreich, Lucasfilm decided to bring in an acting coach. (Hiring a coach is not unusual; hiring one that late in production is.)”

There are many fans who had concerns about Ehrenreich’s acting. Here’s a clip featuring his acting chops below. To be fair, he’s playing an actor who is struggling with a scene with Ralph Fiennes.

And hiring a coach, later on, seems to confirm their worries.

Not to mention, one actor that many fans have been campaigning for is Anthony Ingruber.

Check out Ingruber’s Harrison Ford impression:

Ingruber even played a young version of Ford’s character in Blake Lively’s The Age of Adaline. However, would he have been able to capture the spirit of Han Solo, or merely just be an impersonator? Either way, the casting is already done with Ehrenreich as young Han Solo.

Turning Things Around

With trouble surrounding the set, will Lucasfilm be able to deliver a solid film once it’s released on May 25, 2018? Here’s hoping that Ron Howard will be able to turn it around.

Rogue One: A Star Wars Story had some trouble behind the scenes. But the film grossed over $1 billion worldwide at the box office and was a hit with critics with a fresh rating of 85% on Rotten Tomatoes. Director Gareth Edwards was flexible with help, so maybe Kathleen Kennedy and Lucasfilm can work their magic.

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Coming from a Switch Player interview with Senior Designer Mike Wikan...

“When I came on board, the Engine group was significantly behind schedule and there was no way to create gameplay demonstrables in an effective fashion. I was told, quite literally, by leadership that designers would design the game on paper, then hand it off to engineering and art to create it. In my opinion that was insanity.

When Nintendo arrived suddenly, wanting to see demonstrables of all the games that the teams were working on, only our FPS had demonstrable real-time scriptable content. Nintendo liked what they saw and proposed we adapt that game and viewpoint, but restart it as a Metroid game. The moral of the story is that if you see a problem, work to solve it; don’t assume someone else will take that responsibility on.”

Now that's pretty insane when you think about it. Metroid Prime only exists because of a FPS prototype Retro was toying wtih. If Retro didn't have that FPS engine to show off, Nintendo would have never asked them to adapt it to the Metroid series. We almost missed out one of Nintendo's most beloved franchise entries!





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We've also learned that League of Evil should be hitting Switch sometime next month. The 3DS version isn't as far along, so that will be launching at a later date.





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Well, here's the closest we're getting to preorders in the states so far. Best Buy has a page where you can get notified of incoming stock. Might as well sign up and hope for the best! Check it out right here.





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Sissy Spacek and Jane Levy will headline Castle Rock. Sissy Spacek previously starred in Carrie.

Sissy Spacek and Jane Levy are headed to Castle Rock

Hulu has made two additions to the cast of its upcoming Castle RockDeadline reports that both Jane Levy and Sissy Spacek are set to join previously announced star Andre Holland for the Stephen King anthology series. The Evil Dead star will play Jackie, Castle Rock’s death-obsessed historian, while the Academy Award winner — who previously headlined the King adaptation Carrie — will play Ruth Deaver, the estranged adoptive mother of Holland’s Henry Deaver, a death row attorney.

RELATED: JJ Abrams and Stephen King Invite You to Castle Rock

A psychological-horror series set in the Stephen King multiverse, Castle Rock combines the mythological scale and intimate character storytelling of King’s best-loved works, weaving an epic saga of darkness and light, played out on a few square miles of Maine woodland. The fictional Maine town of Castle Rock has figured prominently in King’s literary career: “Cujo,” “The Dark Half,” “IT” and “Needful Things,” as well as novella “The Body” and numerous short stories such as “Rita Hayworth and Shawshank Redemption” are either set there or contain references to Castle Rock. As a series, Castle Rock aims to explores various themes and worlds,  uniting the entire King canon, while brushing up against some of his most iconic and beloved stories.

The Castle Rock series reunites Hulu, King, Bad Robot and Warner Bros. Television, which previously collaborated on event series 11.22.63, based on King’s novel. The series will stream exclusively in the U.S. on Hulu and Warner Bros. Worldwide Television Distribution will distribute globally.

Castle Rock is based on characters and situations created by Stephen King. Sam Shaw & Dustin Thomason developed the project for television and serve as executive producers along with J.J. Abrams, Ben Stephenson and Liz Glotzer. The series is from Bad Robot Productions in association with Warner Bros. Television.

(Photo by Earl Gibson III / Getty Images / Jason LaVeris / FilmMagic)

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Michael Bross Edge of Nowhere

By Dan Moore

Composer Michael Bross has become somewhat of a veteran in the video game soundtrack world, scoring such titles as “Return of the Phantom,” “Ripper,” and the “Ratchet & Clank” & “Oddworld” series to name a few. Having been in the business for over 20 years now, his diverse palate of sounds has made him a valuable asset in the niche world. One of his most recent games being Insomniac Games’ action-adventure title “Edge of Nowhere.”

The game follows Victor Howard as he is searching for his fiancé, Ava Thorne, whom is part of a lost expedition in Antarctica. Victor’s rescue mission takes a sudden turn as he ventures deeper into a dark monstrous world where reality twists around him and desperate to find the one he loves, must encounter disturbing creatures as he further descends into madness.

With Michael’s soundtrack for the game getting released just a few weeks ago, we decided to speak with him about the creative process for scoring the game. Read the full interview below:

You scored Insomniac’s first VR title Edge of Nowhere. Were they more hands on with the score because it was a new venture for them or did they give you more creative freedom?

They did give high-level input and communicated some ideas for the direction of music, but they were also open to letting me explore ideas of my own. Since I’ve already worked with Insomniac on the Ratchet & Clank series, we’ve built enough rapport where they trusted me to do that and to find a unique musical voice for the game. It’s one of the many reasons why I appreciate working and collaborating with them.

Was there any difference in scoring a VR game versus a regular game? If so, what was it?

Yes, there are differences in how the music itself can be mixed and presented in the game. With VR, we have an opportunity to make the music more immersive in a way where it envelops the player, not just in a horizontal space but also in a vertical sense. A true surround format, really. We could think this might be distracting, but it’s not and can feel more natural when done right. It also allows for other audio elements, like voice and sound effects, to have more room in the sonic landscape.

Edge of Nowhere is based on H.P. Lovecraft’s 1931 novel At the Mountains of Madness. Did you read the book before starting work on the game to get inspiration or were you familiar with the book already?

I wasn’t familiar with the story before beginning work and only got to know it at the start of the project. It was a source of inspiration obviously for the game and indirectly for the music, too.

But it was a springboard for me to also get inspiration from real-life stories of expeditions and shipwrecks in the 19th and 20th century that I researched. That period of human history is really fascinating, as it was still a time where there were parts of Earth that were still unexplored and unknown.

Did you begin scoring the Edge of Nowhere after it was fully done or did you get to look at storyboards/materials before?

No, the game was still in development. That’s how it works on all games I’ve been involved with. There’s not really much time for a team to finish and then wait for a composer to start working on music. I was creating the score as the game was being built. What I looked at initially was concept art, storyboards and also in-progress game levels, which I had the chance to play. There were also a number of meetings with the creative director and audio lead to discuss story and gameplay and how music was related to those. But the game was very much undergoing an iterative process for most of my composing timeline.

What is your favorite track on the Edge of Nowhere album and why?

I like various tracks for different reasons, but one that I feel turned out well was the Main Theme Ending, which is a variation on the Main Theme track itself. The end version is simplified and there’s a lingering, haunting element to it that I like.

What were some of the biggest differences in scoring Edge of Nowhere opposed to Ratchet & Clank?

The Ratchet & Clank series requires a score that is epic but also laced with humor. So, there’s a lot of play between those two sides. It also has this fairy tale influence, but futuristic. It covers a range of emotions but there’s lightness to it.

On the other hand, Edge of Nowhere is a game with a darker tone. There’s the loneliness of traversing through a hostile, unforgiving Antarctic landscape. There’s the unraveling sanity of Victor, the main character. There’s an intriguing mystery that the player is constantly wrapped in which is combined with horror. It’s a darker, serious story which coaxes the need for a music score that’s aligned to that.

You have been scoring video games for over 20 years now. How has the industry changed since you first began?

It’s changed quite a bit. Video games, when I started, were a niche. The technology was also limited in terms of expression from a music and sound standpoint. Today, those limits don’t exist for me, and for developers themselves, the tools are available so that anyone, even on a very small budget, can make a great experience if they have the talent and desire to do it. It’s a great time to be working on games.

What would be your dream game to score?

Probably a game like Journey. Or something along the lines of Limbo.

What’s next for you?

I’m working on projects with Oculus right now. Also, I’m exploring the idea of taking some of the music I’ve composed for games and performing it in a live setting. Stay tuned to see what comes out of that!

You can learn more about Michael Bross here.

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Likewize just hit us up announcing that he will be performing on a string of northeast Warped Tour shows starting on July 7th in Camden, NJ.

During the Warped Tour, he will be at his sponsors, American Villain Apparel’s tent most of the day. He will be handing out 20,000 copies and download cards for the new American Villain compilation, which features the new single  “Never Say Die” featuring Jahred from (hed) PE. The song will also be featured on Underground Hustlin’ Volume 61 hosted by Anybody Killa.

He is scheduled to perform daily at 4:20pm. Here are the dates he is scheduled to perform at:

7/7 Camden, NJ – BB&T Pavilion
7/8 Wantagh, NY – Nikon Theater
7/9 Hartford, CT – Xfinity Theater
7/10 Scranton,PA – Pavilion at Montage Mountain
7/13 Darien Center, NY – Darien Lake Amphitheater
7/14 Burgettstown, PA – KeyBank Pavilion
7/15 Holmdel, NJ – PNC Bank Arts Center
7/16 Columbia, MD – Merriweather Post Pavilion
7/18 Cuyahoga Falls, OH – Blossom Music Center
7/19 Cincinnati, OH – Riverbend Music Center
7/20 Noblesville, IN – Klipsch Music Center

In August, he will be headlining the 607 Family Gathering in Lowman, NY on Friday night (8/11) and hosting a surprise after party on Saturday night (8/12).





from Faygoluvers http://ift.tt/2sKgqCt

Having been rumored and speculated ever since last year’s NES Classic, the Super NES Classic has been officially announced by Nintendo today and will launch on September 29 for $79.99. Much like the NES Classic, this is a smaller version of the Super NES that comes pre-installed with 21 games as opposed to the NES Classic’s 30 pre-installed games. Don’t let that number get you down though, because included int he package are some of the best games the system has to offer:

  • Contra III: The Alien Wars
  • Donkey Kong Country
  • EarthBound
  • Final Fantasy III
  • F-ZERO
  • Kirby Super Star
  • Kirby’s Dream Course
  • The Legend of Zelda: A Link to the Past
  • Mega Man X
  • Secret of Mana
  • Star Fox
  • Star Fox 2
  • Street Fighter® II Turbo: Hyper Fighting
  • Super Castlevania IV
  • Super Ghouls ’n Ghosts
  • Super Mario Kart
  • Super Mario RPG: Legend of the Seven Stars
  • Super Mario World
  • Super Metroid
  • Super Punch-Out!!
  • Yoshi’s Island

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