Brandi Glanville tells all on Denise Richards hookup on ‘RHOBH’

Brandi Glanville is finally telling her side of her alleged hookup with Denise Richards.

Glanville, a former cast member on “The Real Housewives of Beverly Hills,” appeared on Wednesday’s episode to say that she and Richards had a tryst that left her feeling disgusted and vulnerable.

The “Drinking and Tweeting” author, 47, said she and Richards, 48 — who is married to Aaron Phypers — “hit it off right away” when they first met but Richards “kind of put me in a situation where I was the cheater.” She then explained that cheating is a sensitive topic for her after ex-husband Eddie Cibrian infamously had affairs behind her back.

“I had been out with her and Aaron and like, I knew that they have an understanding,” Glanville began. “Like, she could be with girls if she wanted to. And as long as, you know, it wasn’t with a guy. The first night we met, something happened.”

Denise and Phypers tied the knot in September 2019 in front of “RHOBH” cameras.

“Denise and I went out and we had dinner,” Glanville explained as a flashback to a dinner scene between her and Denise played out.

The scene then cut between her talking to the women and her talking in a confessional saying: “We completely click. We get absolutely wasted. We go to the restroom and all of a sudden we’re making out. But she wasn’t with, like, Aaron at that time.”

“I was not expecting it,” she said in a confessional. “I was like, I’ll go with it. I’m wasted. You’re pretty. Let’s do this.”

Then, Glanville said, in April of last year “she invited me to go to her set in Northern California to do my podcast. She really wanted to hang out a lot. And she’s like, ‘Just come here’ and I was like, ‘OK. I’ll just go there.’ I went and I was going to get my room. But Denise said, ‘No, just stay here. It’s fine. I’ll get you like a rollaway bed. You can stay in the room with us. There’s plenty of room.’ Her middle daughter was there with a friend and we did the podcast. That first night the girls were sleeping in a room downstairs a the door and Denise had a room upstairs. There was no rollaway bed conveniently. And so I just slept in the bed with Denise.”

She said that nothing happened between them that first night, but the second night, “We got really drunk and we were just so f–ked up and — just like, we kind of hooked up. We hooked up.”

Cast member Teddi Mellencamp then asked if they just kissed, to which Glanville replied that they did “everything.”

Glanville added to the cameras that she is bisexual and open about it.

“I was uncomfortable,” she continued with her story. “The kids were downstairs and we were in the loft and there was no door. And I just couldn’t get into it. And the next day she just said to me, she’s like, ‘No matter what you do, you can’t tell Aaron. He will kill me.’”

“I’m like, ‘What the f—k is happening right now?’” she added.

In a confessional, she explained, “In the moment I was just like, I’m everything that I have always hated because my books are both about hating cheaters, not being cheaters, being loyal. I will never be the other woman. I would have never slept with Denise if I thought that Aaron was not OK with it. And he knew I was going out of town with her. He knew we’d made out before. There was no question in my mind that Aaron was OK with all of this.”

Denise denied in February that she and Phypers had an open marriage.

Cast member Kyle then asked what happened after she and Denise had their alleged rendezvous.

“It was kind of like I never really existed,” Glanville said. “But then she would text me and stay in touch to make sure that everything was kosher. I never wanted to see her in that way again. She made me believe that I did something wrong.

Rumors of Glanville and Denise’s affair began circulating in January, as Denise stopped filming with the rest of her cast following their confrontation during their cast trip in Rome.

Adding fuel to the fire, last month Glanville tweeted a photo of herself kissing a woman who appeared to be Denise.

This content was originally published here.

John Lewis: Good Trouble – newportFILM

FREE STREAMING IS SOLD OUT You can still rent this film to stream for $12 through by RSVP’ing (button to your right).  This is a great way to continue supporting newportFILM!  This is a virtual film streaming experience of JOHN LEWIS: GOOD TROUBLE, available through Sunday, July 26th at 11:59 PM EST.  A pre-recorded discussion …

This content was originally published here.

‘Archive’: Theo James on ‘Moon’ Connections, Unfinished ‘Divergent’ | Hollywood Reporter

James’ most notable role is that of Tobias “Four” Eaton in the Divergent series alongside Shailene Woodley, and the English actor is now reflecting on that experience including the scrapped fourth film that would’ve concluded the story.

“It was three books, and I don’t think I saw it as more than that in terms of films,” James shares. “There were some powerful elements to those films, but they also have their own weaknesses in terms of addressing a mass audience and everything that comes with that. That’s dangerous territory in some ways because, obviously, the broader the message, the less specific you are with the story and the vision you’re trying to tell. So, I still think it was good to do them, and that the glass was half full rather than half empty.”

In a recent conversation with THR, James elaborates on the immersive experience of shooting Archive, the many benefits of the human-operated robots on set and not being able to complete the Divergent series’ concluding fourth film. Archive writer-director, Gavin Rothery, also adds his thoughts on the development of the film’s practical robots and how his design work on Duncan Jones’ Moon paved the way for his directorial debut.

George from Archive was well ahead of us all by isolating himself with non-human entities and communicating via screens. Have you felt a bit like George these last few months?

Theo James: (Laughs.) Yes, in some ways. My sense of reality is slowly diminishing with the inability to do the regular things that one is able to do normally. But yeah, there’s a strange sense of isolation and pent-up nature which I think George has and I’m sharing at the moment. Like the rest of the world, I’m waiting for things to get better and to change, but it doesn’t seem to be happening in the way that we had predicted it.

Has lockdown given you a chance to pick up your music again?

James: Yeah, it has. I have a piano in the house, and my wife wants to kill me because of the amount of noise I’m making. I don’t know how good it is, but yeah, it’s allowed me to do those things that you think you don’t have time for normally during the day.

So I read that you’re the youngest of five children. Was this a situation where you started performing in order to get the attention of everybody else in the family?

James: Yeah, I think so. We had a madhouse of five kids, all our friends and fifty animals. You try and find your identity in some way through the others around you. And I think I found it to be an element of performance. It started with music, and then it ended up being acting.

So what got the ball rolling as far as your involvement with Archive?

James: Gavin has had this story for a long time, and he developed the story with Philip Herd, another producer, after they did a short together. And about three and a half years ago, they came to see me in a play I was doing in London. Then I read it, we started chatting about it and it went from there. It’s been a bit of a labor of love, and it’s taken a while to come to fruition. There were various initial derivations of it. At one point, we were going to shoot in Belgium. There were different iterations and forms of people involved, but the final one that shot in Budapest with the amazing Stacy Martin was the best iteration of it. It evolved week by week, really, from the script to the look. One thing that really impressed me when I initially was interested in doing it was that Gavin had built these robots visually. Three or four years ago, he had already rendered pictures of what they looked like in the movie. He was very specific with what he wanted to do, down to the finest detail, and that was really impressive to me. We didn’t end up using it, but one thing that stuck out in our conversation was a mug he had with the Archive insignia on it. He had been using it for the past year to make it feel lived-in like a cup of tea or coffee that George would use every day. It would be worn, battered and broken. So he was thinking in that minute detail, and that was part of what drew me to his idea and his vision.

[Writer’s note: At this point in the interview, I’ve included additional insight from writer-director Gavin Rothery.]

Yes, the robots were really well done. While I assumed someone was inside the J1 and J2 models, I kept questioning myself since they were so realistic.

James: Yeah, there was someone inside both of them. A big reference for Gavin was Douglas Trumbull’s Silent Running, a Bruce Dern movie from the ‘70s. It’s about a guy and his robots, essentially. I don’t think there were people inside them because they were more like remote controls, but Gavin wanted to make the robots feel as real and lived-in as possible. Metropolis was also a big reference for him. The idea of having someone in them was always a big part of the way he wanted to realize his movie. It was beautiful as an actor as well because you’re interacting with a human being essentially. They’re restricted by the movement of the suits, and at times, it would be pretty tough for those guys inside the suits because they were heavy and boiling hot. But they were able to react like an actor which was kind of amazing. As I’m sure you know, doing it with green screen can be tricky and a little bit soulless in a way. So it was a really good way to work.

Gavin Rothery: I always wanted to do practical robots as much as possible in Archive, because when I look back as a science fiction fan, the robots and droids that I love the most are always being driven by a human performance. I designed the robots alongside Calum Alexander Watt. I come from a concept art background, and he is a master character artist, so we teamed up. I did J1 and most of J2. Calum did J3 and a pass over J2’s head. It all came together quite quickly and as I tend to concept in 3D, I had designed the characters in full virtual space with a human mannequin inside them, so I could be comfortable that not too much would be lost in translation when the finished suit was made. The actual costumes were built with a heavy reliance on 3D printing. My concept models were segmented into parts, printed out and put back together again with a few tweaks here and there to get the articulation. I was really happy with the way that they came to screen with minimal changes. Although the 3D printing isn’t the toughest of materials, it got us through the shoot. My biggest worry was that one of the actors might fall over whilst they were wearing one of the suits. That would have been really bad as we only had one of each (actor and suit). I had the designs done a couple of years before we went into pre-production, so I could comfortably focus on other things when we got into the pre-shoot crunch. The 3D VFX work was all done very quickly towards the end of 2019, and we didn’t have the luxury of testing things out really; we just had to hold our breath and go for it. There were only a handful of CG shots of J2, and none of J1, but we did comprehensive photogrammetry coverage of the suits whilst we were shooting, so the digi-doubles came together without any real problems. All the VFX work had been carefully considered before it was started, so it wasn’t particularly risky in the conceptual sense. We just had to focus to hit the volume on the date to deliver the film.

I don’t know what your budget is, but the film looks better (and more expensive) than several recent sci-fi movies that likely had a bigger budget. Would the budget have gone up considerably if digital robots were required?

Rothery: Yes, the budget would have gone up a lot — easily outside of our scope. Our budget for the film was actually really tiny. Our shooting budget was on par with what we had for Moon. The VFX resource was bigger than we had for Moon, but still incredibly tight. We really had to pick our battles, and there was no wastage. It’s all on-screen. The whole thing is me expanding on what I achieved with Moon. I was just following my nose. I think this sort of thing helps when it all comes from the same mind. I knew what I wanted this film to look like whilst I was writing it, so for it to get all the way through the filmmaking process without things changing at all was incredibly satisfying.

The J1 and J2 robots definitely felt like genuine characters. As far as the back-and-forth dialogue with J2 on set, was an actor performing J2’s lines out of frame? 

James: So Stacy did the overdubs for J2 as well. That’s her character’s voice, but it hasn’t been realized at that point. It’s her speaking because the idea is that it’s an earlier iteration of J3. But the person inside the suit would speak the lines, and in post, Stacy’s lines were overdubbed so you’d have that semblance of Stacy’s character in that J2 model.

And in the scenes where you’re speaking with the legless J3 prototype, how was that achieved?

James: Stacy had green leggings so they could paint her legs out, and they built a rubber suit which she spent hours putting on every morning. Pieces of the suit were put on, and in post, any little blemishes were taken out to make it more robotic and smooth. Essentially, she was in a rubber outfit, but it was also really compelling because she pretty much looked like that when she was performing.

Since this was Gavin’s directorial debut, could you liken his passion for the material to a band making their first record, something they’ve spent their whole lives writing, in essence?

James: Yeah, I think you could. His attention to detail was really useful — like the song used when they danced together — to every facet of Geoge’s day-to-day mechanisms like his outfit, shoes and watch functionality. It all felt really real. I’ve done films in the past where there was a semblance of sci-fi but it was added on. It wasn’t dynamic in any way. But here, every piece of costume and furniture had a real place in his vision. He had specificity which made it really, really interesting, and sometimes, that can be constricting, but he was open in terms of emotionality and character. In terms of detail, he was very on it, and I really love that. The more detail you have as an actor, the more anchors you have to ground the performance in some semblance of reality. Taking on the idea of a robot builder and engineer in the future in Japan, you’re trying to find the links between yourself and the character, and sometimes, it’s harder than it would normally be with other characters. So the more grounding you have and the more detail you have, the better.

You had a great DP in Laurie Rose. When you know you’ve got someone like that overseeing camera and lighting, does that offer quite a bit of confidence to the set whether you realize it or not?

James: 100 percent, yeah. Pairing a first-time feature director with a really confident DP is always the best way. Obviously, you’ve gotta test their chemistry because they’ve gotta get on, share the same vision and have confidence in one another. Yeah, I think it’s important to pair an experienced DP with a first-time feature director — not that Gavin needed it exactly — but it helps inevitably as you can imagine. It helps bring general confidence to the set. Laurie’s aesthetic was also very aligned with Gavin’s. As you know from Gavin’s design work on Moon, he loves that retro sci-fi of Alien and those kind of archetypal movies that we love from that period. And Laurie was definitely in the same boat in terms of how to realize that. Also, Laurie shoots stuff with a real warmth in terms of color and the movement of camera. For a movie about robots, or non-humans, essentially, with mainly only two actors in it, myself and Stacy, it’s important that you can bring warmth because you need as much humanity in a story like this as possible.

Rothery: Laurie Rose is a wizard, and I love working with that man. He brings a lovely demeanor to the set and has such a personable way about him. He makes everything seem possible. We had minimal resources on Archive, and he had a minimal grip kit to work with. We had a Steadicam for a few days, a dolly and some track, a kit of six or seven lenses and some LED light panels. Apart from a few spot LEDs, the monitor screens and a single 10K to represent the sun, that was pretty much all we had to work with. We didn’t have enough lights to light the whole set, so every time we moved, we had to take the lights with us. Laurie pulled off some amazingly complicated setups with the small amount of kit that he had. I’m particularly fond of the alarm sequences and the transitions in and out of them — especially the part where George (James) is moving down the corridor with the cricket bat and he tells the house to kill the alarm. The lighting at that moment is just so perfect. And the number he did on the futuristic truck stop restaurant was just incredible. I’m telling you, the man’s a stone-cold genius. And every shot was a conversation. We spoke constantly about what was coming up next, and once the machine got moving, I felt we developed a fantastic rapport. He’s a fantastic chap to collaborate with.

As mentioned, Gavin worked on Duncan Jones’ Moon as a visual effects supervisor, graphic designer and stunt double for Sam Rockwell. Since I haven’t had the chance to go through each film with a fine-tooth comb, are there any Moon Easter eggs that were included for discovery via repeat viewings?

James: He did, yeah, but I’ll let Gavin tell you. He did that with relish, so he for sure puts lots of Easter eggs in there.

Rothery: Check out the patch on George’s (James) left shoulder, and then check out Sam’s (Rockwell) left shoulder patch in Moon. Also, J1 and J2 are GERTY’s cousins. They go to the Moon to hang out with him during the summer holidays. (Laughs.) It’s a different Sam each time, but they don’t seem to mind…

When a sci-fi film is set in the future, a cool car is often a prerequisite, and you guys certainly achieved that here.

James: Yeah, there’s that detail again. I’m fascinated with the era of angular cars. The ‘80s sports car had a very different look to what it is now. Now when we look at expensive cars, they mostly have smooth lines. This was a Lotus Esprit. I think it was a ‘78 or an ‘82; I can’t remember exactly. It’s that Blade Runner angularity that is really specific and quite unique. Gavin wanted to build the car, but in terms of budget, you don’t win every battle. But what we found was this great Lotus Esprit, which they morphed until it felt like it was unique and very much of this specific world.

You’ve been doing more voice work of late (e.g., Castlevania, The Dark Crystal: Age of Resistance). Do you find yourself performing those roles exactly as you would in live action, or do you add a little more emotion and infection to your voice than usual?

James: It’s interesting that you say that because that was a learning curve for me. When I started doing voice work, I approached it as I would in live-action, but in actuality, you need to add about 15 percent more. You’ve gotta give more inflection than you might necessarily do in reality. You just need a little more color and vocal data, as it were. So it was definitely a learning curve with me, and it was a little bit different. Each time I do it, I kind of feel like I’ve shitted it, but then you learn something new.

As far as your franchise work via the Divergent series, is it a glass-half-full situation or a glass-half-empty situation? In other words, is it more, “Hey, at least we got to make three huge movies,” or is it mostly, “Man, it’s a bummer we didn’t get to conclude the story”?

James: I think the former. It was three books, and I don’t think I saw it as more than that in terms of films. It was an interesting moment in time. There were some powerful elements to those films, but they also have their own weaknesses in terms of addressing a mass audience and everything that comes with that. That’s dangerous territory in some ways because, obviously, the broader the message, the less specific you are with the story and the vision you’re trying to tell. So, I still think it was good to do them, and that the glass was half full rather than half empty.

Archive is now available on Digital HD and VOD from Vertical Entertainment.

This content was originally published here.

Taylor Swift new album: ‘Folklore,’ will drop at midnight

Surprise! Taylor Swift announces new album, ‘Folklore,’ will release at midnight

Hannah Yasharoff USA TODAY
Published 8:56 AM EDT Jul 23, 2020

Less than a year after the release of her album “Lover,” Taylor Swift surprised fans Thursday with an announcement that her eighth studio album, “Folklore,” will be released at midnight EDT. 

“Most of the things I had planned this summer didn’t end up happening, but there is something I hadn’t planned on that DID happen,” Swift, 30, wrote in a series of Instagram posts Thursday morning. “And that thing is my 8th studio album, folklore. Surprise”

Swift fans are used to the singer dropping clues up to months in advance about her next musical endeavor, but she did away with the long buildup this time. Instead, the hints took place over the course of less than 10 minutes Thursday morning, while Swift posted nine separate Instagram photos to create a mosaic image of herself isolated in the woods before the album reveal came.

The entire 16-song album was written “in isolation,” she said, describing it as a project she “poured all of my whims, dreams, fears, and musings into.”

More Taylor Swift: A definitive ranking of her 30 best lyrics

A music video for the song “Cardigan” will release at the same time. Amid coronavirus shutdowns in the United States, Swift noted that the “entire shoot was overseen by a medical inspector, everyone wore masks, stayed away from each other, and I even did my own hair, makeup, and styling.” 

Swift’s self-titled debut album was released nearly 14 years ago. Since then, fans have followed the singer from a country music newbie to a world-famous pop star, averaging about one album every two years. 

Her latest album, 2019’s “Lover,” ushered in a new era of calm for Swift, who had dealt with a tumultuous past few years with tabloid headlines, record label dramas and other personal challenges that played out on the public stage. Her teases for “Folklore” hint at a similarly quiet, zen vibe. 

Taylor Swift’s ‘Lover’ Easter eggs: Which fan theories were right and which were way off?

“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time, but the times we’re living in keep reminding me that nothing is guaranteed,” Swift wrote. “My gut is telling me that if you make something you love, you should just put it out into the world. That’s the side of uncertainty I can get on board with.” 

The entire set list: 

Contributing: Maeve McDermott

This content was originally published here.

Frank Lampard: Chelsea boss tells Liverpool not to get ‘too arrogant’ after Premier League title | Football News | Sky Sports


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Chelsea boss Frank Lampard felt his side were always in the game against Liverpool but knows they must improve for their final match of the season against Wolves
Chelsea boss Frank Lampard felt his side were always in the game against Liverpool but knows they must improve for their final match of the season against Wolves

Chelsea manager Frank Lampard has warned Liverpool not to get “too arrogant” following a confrontation with Jurgen Klopp during his side’s 5-3 defeat at Anfield.

Liverpool were in no mood to allow Chelsea to spoil their Premier League trophy presentation party with an entertaining encounter entirely befitting the occasion.

But, amid a cacophony of pyrotechnics going off outside the ground, the air was considerably more heated in the technical area with Klopp and Lampard exchanging words after Mateo Kovacic launched into Sadio Mane from behind to halt the Senegal international’s brilliant run from the halfway line.

“Fair play to Liverpool Football Club, they’ve won the league, but also don’t get too arrogant with it.”

Frank Lampard

Lampard’s mood darkened further when Trent Alexander-Arnold whipped a signature free-kick around the wall and past Kepa Arrizabalaga to make it 2-0.

Reflecting on the incident, Lampard told Sky Sports: “For me, it wasn’t a foul from Kovacic, and there were a lot of things that weren’t going our way. But I’ve not got a problem with Jurgen Klopp. The way he’s managed this team has been fantastic.

“Fair play to Liverpool Football Club, they’ve won the league, but also don’t get too arrogant with it. That was my point, but it’s done. In match play, you can get emotional and that was it.”

In pictures: The face-off before the fireworks

Lampard: My players showed resilience and quality

Olivier Giroud gave Chelsea a foothold in the game before the interval

The Chelsea manager was finally given something to smile about in added time in the first half when Olivier Giroud forced the ball home to make it 3-1 after Alisson could only parry Willian’s close-range shot into the air.

Liverpool re-established their three-goal cushion through Roberto Firmino’s first Premier League goal at Anfield in 20 appearances stretching back to March 2019 – but Chelsea came again.

Lampard made a triple substitution and two had an immediate impact as Christian Pulisic’s low cross was side-footed home by Tammy Abraham, with Pulisic then roofing a shot to make it 4-3 as the party started early outside with fireworks going off behind the Kop.



FREE TO WATCH: Highlights from Liverpool’s win over Chelsea
FREE TO WATCH: Highlights from Liverpool’s win over Chelsea

“It was an extraordinary game,” Lampard added. “Even when you say they threatened to run away with it, I felt we were in it. I could feel that in the way we were playing.

“It was a turnover and a great strike. A non-foul and then another strike that goes into the top corner. On the third, it was terrible from us defending the corner.

“But other than that in match play, we were OK. The first goal gave us hope and the lads showed great character but they’re a fantastic team and we can’t afford to make those mistakes.

Christian Pulisic glides past two Liverpool players during a virtuoso display

“Some of the stuff I saw tonight from our team was resilience and quality. At 4-3, if we didn’t concede the fifth, I felt like we were coming. But it wasn’t to be.

“You can never be happy in defeat, but when you see the quality of the first two Liverpool goals, you understand what this place is and why they’re so successful at the moment.

“We’re building towards that, and we’re going to have to suck this in tonight as it’s where we want to get to one day.”

Sky Sports will be showing eight games on the final day of the season

Chelsea can secure Champions League football with a draw on the final day of the season against Wolves at Stamford Bridge given that third-placed United are facing Leicester in fifth at the King Power Stadium.

“It’s going to be huge. We know the situation,” continued Lampard. “It’s in our hands to get the right result against a very good Wolves team. We have to deal with the pressure of moments like this if we want to get to where we want to be.

“We’ll have to recover and then we’ll go on Sunday.”

Arsenal vs Watford – 4pm kick-off, Live on Sky Sports Premier League

Burnley vs Brighton – 4pm kick-off, Live on Sky Sports Arena

Chelsea vs Wolves – 4pm kick-off, Live on Sky Sports Football

Crystal Palace vs Tottenham – 4pm kick-off, Live on Sky Sports Action

Everton vs Bournemouth – 4pm kick-off, Live on Sky Sports Golf

Leicester vs Man Utd – 4pm kick-off, Live on Sky Sports Main Event

Man City vs Norwich – 4pm kick-off, Live on Sky Sports Pick and Sky One

Newcastle vs Liverpool – 4pm kick-off, Full Time highlights live on Sky Sports Digital

Southampton vs Sheffield United – 4pm kick-off, Live on Sky Sports Mix

West Ham vs Aston Villa – 4pm kick-off, Full Time highlights live on Sky Sports Digital

This content was originally published here.

Barca have already told Umtiti that he will leave this summer – BeSoccer

Barcelona will face a necessary renovation during next season and, for that reason, some important men will have to leave.

According to ‘Sport’, the first big player to leave the club will be the French CB Samuel Umtiti. The Frenchman has shone at Barca since his arrival from Lyon and settled alongside Piqué in the centre of defence very quickly.

His good performances and his quickness made his signing be considered as a bargain while leading analysts spoke of him as one of the best defenders in Europe at that time and ahead of the future.

However, Umtiti started getting injuries and his performance has plummeted. He hasn’t been the same again and when he has played, either because of his physical problems or lack of confidence, he has been light years away from that defender envied by all of Europe.

The reality ahead of next season is evident: he isn’t in Barcelona’s plans and they want to sell him and the player knows it. According to ‘Sport’, Italy is the country that has shown the most interest in the player and in which Umtiti, now without the physique of a few years ago, can perform best in.

According to this source, the team will give more importance to Lenglet, Araujo will be promoted to the first team and will they will go all out to get Eric García. Barca think that he will be the ideal replacement for Piqué when the defender decides to step aside.

This content was originally published here.

General Hospital Spoilers: New GH Episodes Return August 3 – Official Confirmation From Nathan Varni | Celeb Dirty Laundry

General Hospital (GH) spoilers reveal that new episodes are coming up – and they’re set to air sooner than fans might think! If you’ve been eager to see what’s next in Port Charles, the wait’s almost over. According to what a GH rep revealed to Soap Central, General Hospital’s set to deliver new episodes again starting Monday, August 3.

GH plans to pick back up with episode #14541, which will be the first new episode they’ve aired since Thursday, May 21. Once their originals ran out, General Hospital delivered plenty of Nurses Ball encores along with some classic theme weeks centered around Sonny Corinthos (Maurice Benard) and his kids.

Then, the show switched to more recent episodes in hopes of achieving a seamless transition to new ones. If this August 3 return airdate holds firm, GH will pull off their goal.

General Hospital has timed it so the May 21 episode will re-air on Friday, July 31. The following Monday should pick up where the drama left off and finally give fans some new story developments.

GH filmed some scenes before the shutdown that have yet to air, so that’s giving them a little head-start as they try to get new episodes ready ASAP. Even so, General Hospital will have to put a rush on things! This first episode back comes just two weeks after their scheduled restart date, so they’ll be cutting it close.

There’s also the matter of new safety protocols that might slow down filming initially. It’s an adjustment for everyone on set, but it’s all about proceeding with caution. Protecting the cast and crew is what’s most important.

However, soaps tend to be well-oiled machines that can pump content out quickly when necessary. Everyone at GH will work hard to deliver their new scenes ASAP!

Let’s hope August 3 sticks as the show’s first day back with a brand-new episode. It’ll certainly be exciting to see what’s ahead for all our favorite PC residents.

As other GH news becomes available, we’ll deliver more updates. General Hospital spoilers say some stunning moments are in store, so stay tuned for some hot action. CDL will have tons of other great General Hospital spoilers, updates and news to catch up on, so be sure to pop back in frequently.

UPDATE: Official Confirmation From Nathan Varni!

No longer involved but am happy to see #gh is going to return in a few weeks! I’ll be watching and I hope you will too! Let’s all tune in to show the world that we want this series and daytime dramas to continue airing for many more decades to come!! Pls support #gh ❤️ 8-3-20!!

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