‘To All the Boys I’ve Loved Before’ Sequel Will Be First Film in Paramount-Netflix Deal

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Viacom CEO Bob Bakish, speaking at UBS’s media and communication conference on Monday, said that a sequel to Netflix’s teen-love hit “To All the Boys I’ve Loved Before” is in the works.

The project will be the first film as part of a multipicture deal that Viacom’s Paramount and Netflix signed in November, Bakish said via a livestream from the conference.

“We’re doing a sequel to ‘To All the Boys’ and we’re in conversations with them about other titles,” Bakish said.

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The first film was produced by Awesomeness TV, which was acquired by Viacom in July. Bakish said that according to Netflix the film “is one of the most-viewed films of all time on the platform” — making a sequel an almost foregone conclusion.

Netflix did not return TheWrap’s request for comment.

News of the sequel was not unexpected given the success of the original and the fact that there are three installments in Jenny Han’s book series on which “To All the Boys I’ve Loved Before” was based. That first book was followed by “P.S. I Still Love You,” and then “Always and Forever, Laura Jean.”

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Han and the film’s star Lana Condor said during the Vulture Festival in Los Angeles last month that everyone involved would love to do a sequel.

Condor stars as Lara Jean Covey, a high school junior whose sister sends out the deliberately never-to-be-sent to boys on whom she had a crush — sparking much drama as well as a budding romance with cool-kid crush Peter (played by Noah Centineo).

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Hulu Orders Horror Series ‘Light as a Feather’ From Kelsey Grammer and Awesomeness TV

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Hulu has given a straight-to-series order to horror show “Light as a Feather,” which counts “Cheers” and “Frasier” alum Kelsey Grammer among its many executive producers.

The 10-episode thriller comes from Awesomeness TV, Wattpad, and Grammer’s Gramnet.

Based on Zoe Aarsen’s story “Light as a Feather, Stiff as a Board,” which was originally published on Wattpad, the streaming version will highlight a slumber party gone wrong, as five girls begin dying off in the exact way the game predicts.

Production on the series is set to begin in June.

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Lee Fleming Jr. created the adaptation and will executive produce the show. Other executive producers include Awesomeness TV’s Jordan Levin, Shelley Zimmerman, Joe Davola and Brett Bouttier.

Tom Russo, Brian Sher and Stella Bulochnikov from Gramnet and Aron Levitz and Eric Lehrman from Wattpad also all earn executive producer credits on the upcoming Hulu series.

“‘Light as a Feather’ is a captivating and unique story, with supernatural twists and thrills that readers all over the world have fallen in love with,” said Levitz, the head of Wattpad Studios. “The story is another example of a Wattpad fan favorite that is perfect for adaptation and new life on another platform. We’re excited to be working with AwesomenessTV and Hulu to bring ‘Light as a Feather’ to a new audience in a new format, while also giving the story’s millions of current fans another way to enjoy the story they couldn’t put down.”

“When I first joined Wattpad, I set out to create something unique, exploring characters and a world where female empowerment, friendship, and supernatural forces come together,” added Aarsen. “Wattpad is a place where people come together and connect over stories, discussing every twist and cliffhanger, so it was the perfect platform for my story. Teen horror is my passion, so I can’t wait to be able to share ‘Light as a Feather’ with other horror aficionados on Hulu.”

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Jordan Levin Named CEO of Awesomeness TV

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Jordan Levin, the TV veteran who was a key member of the WB Network launch team, has been named CEO of Awesomeness TV, the digital content dynamo that is a joint venture of Comcast’s DreamWorks Animation, Hearst Corp. and Verizon. Levin’s move to Awesomeness comes on the heels of the departure of Awesomeness founder Brian… Read more »

Blumhouse’s Jason Blum Says Frugality Pays When It Comes to Making Horror Films

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M. Night Shyamalan’s “Split” topped the box office for three straight weekends earlier this year, grossing more than $112.5 million at the domestic box office on a $9 million budget. But winning big with small bets is par for the course for Jason Blum, the CEO of Blumhouse, which produced the film along with Universal.

During a Monday afternoon session at the Code Media conference at the Ritz-Carlton Laguna Niguel in Dana Point, California, Blum shared a little bit of the recipe behind his success, as Blumhouse has built a thriving business focusing on low-budget horror movies. The biggest key is keeping costs way down, but another is not being stuck on a theatrical release.

“We don’t decide how a movie will be distributed until it’s finished,” Blum said. “It might be on iTunes, it might be on 3,000 theaters, but we make that decision after the fact.”

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Blum also expects theatrical windowing — which prevents movies from being shown on home video or pay-TV platforms for months after their release — to narrow in the near future. And that doesn’t bother him at all.

“It makes no difference to me,” Blum said. “We can monetize the movie on their watch, on their TV.”

That’s despite the fact that Blumhouse movies that do make it to theaters, like “Split,” tend to reap an outsized share of their total revenue from the big screen.

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“Scary movies do much worse [in ancillary and video-on-demand revenue], most of the revenue comes in from theatrical,” Blum said.

While Blumhouse’s budget-conscious filmmaking has proven its success in theaters, it hasn’t translated as well to the smaller screen. Blum attributes that to a healthier TV ecosystem, boosted by Netflix and Amazon’s billions.

“When you go to a showrunner and say ‘you can do whatever you want for $500,000 an episode,’ he’ll come back and say ‘I can do whatever I want for $2 million an episode,’” Blum said.

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Blum said Amazon and Netflix haven’t honed in on Blumhouse’s low-budget horror feature turf yet, but their super-sized TV production budgets do mean they compete for actors.

“I don’t find that I’m chasing the same projects as them, but I’m chasing the same talent,” Blum said.

The good thing is, Blum said, high-priced talent isn’t necessary at all to make a hugely profitable horror movie.

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“With most other genres you need movie stars,” Blum said. “With horror, you just need a story.”

That’s why horror works so well for Blumhouse’s penny-pinching strategy, which the CEO repeatedly returned to as the key to his success.

“We’ve done best with movies that have been kicking around and everyone said no [to],” Blum said. “It’s not that we’re great risk takers, we’re doing it for much less money than anyone would do, so we can try weird stuff.”

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One of Blum’s few regrets — he didn’t land the rights to seven-time Golden Globes winner and Best Picture favorite “La La Land,” even though Blumhouse produced director Damien Chazelle’s previous film, “Whiplash.” Blum said a blown-off lunch appointment may have played a big role — and he’s still not over it.

“I’m actually going to New York for the Oscars because I can’t take it,” Blum said.

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