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Is ‘1883' returning for season 2? Everything we know so far

Is ‘1883' returning for season 2? Everything we know so far

Business Upturn5 hours ago

By Aman Shukla Published on June 21, 2025, 17:30 IST Last updated June 21, 2025, 10:38 IST
The Yellowstone prequel 1883 took audiences by storm with its gripping tale of the Dutton family's treacherous journey across the American frontier in the late 19th century. Released in 2021, the miniseries, created by Taylor Sheridan, starred Tim McGraw, Faith Hill, Isabel May, and Sam Elliott, earning praise for its gritty storytelling and stellar performances. Fans have been clamoring for news about a potential 1883 Season 2, but is it happening? Here's everything we know so far about the future of this beloved Western drama. Has 1883 Season 2 Been Confirmed?
Straight up, there's no official word on 1883 Season 2. Taylor Sheridan, the genius behind the Yellowstone universe, called 1883 a '10-hour movie' with a proper ending, which kinda screams 'one and done.' Back in early 2022, Paramount+ teased 'more episodes,' getting everyone's hopes up, but then they pulled a U-turn. Instead, Sheridan's been pouring his energy into other spinoffs like 1923 and the upcoming 1944 . So, yeah, the odds aren't looking great for a second season. Potential Release Date for 1883 Season 2
Since 1883 Season 2 hasn't been greenlit, any release date is speculative. The first season went from announcement to release in about a year, so if Paramount gave the green light in 2025, we'd likely see production kick off by early 2026. Filming in those wild, open landscapes takes time, so we're talking late 2026 or early 2027 at the earliest. Patience, folks. What Could the Plot of 1883 Season 2 Be?
A second season could focus on James and Margaret Dutton's efforts to establish the Yellowstone Ranch in Montana, facing challenges like harsh winters, conflicts with local tribes, or rival settlers. Alternatively, the story could explore the next generation, with young John Dutton Sr. taking center stage. Elsa's narration could provide continuity, tying the season to the broader Yellowstone timeline.
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Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at BusinessUpturn.com

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Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs
Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs

Chicago Tribune

time40 minutes ago

  • Chicago Tribune

Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs

Talk about a perfect storm. On Wednesday, Giancarlo Guerrero's much-fêted debut as principal conductor and artistic director of the Grant Park Music Festival was dampened by relentless rain. Audiences scrunched under the Jay Pritzker Pavilion fringe, only to play musical chairs dodging the structure's many (and ever-changing) leaky spots. When they weren't doing that, seat shuffles and squabbles competed with the evening's violin concerto. But if Guerrero appeared unflappable onstage, it's because he's been there before. He made his sophomore appearance with the orchestra in 2014 under nearly identical circumstances, down to the solo string showcase and contemporary American opener. Despite the lousy weather, that appearance impressed festival musicians enough to fast-track Guerrero to the top of their director wishlist a decade later. While last week's storm never erupted into thunder, musical lightning struck twice here with yet another exuberant, water-resistant stand by Guerrero on Wednesday, followed by a masterful account of Mahler's Symphony No. 1 on Friday. Wednesday's concert included two harbor works: 'An American Port of Call,' by Virginia-based composer Adolphus Hailstork, and Leonard Bernstein's 'On the Waterfront' suite. Conducting with his pointer fingers rather than a baton, and sporting a new goatee, Guerrero led a sparky, whistle-clean run of Hailstork's eight-minute curtain raiser. But when the music dissipated into quietude — recalling a boat drifting far off from shore, surrounded only by blue horizon — Guerrero guided the music with expansive ease. Bernstein's 'Waterfront' benefited from the same balance of gusto and intuitive pacing. Patrick Walle's horn solo up top sounded suspended in time, before an increasingly feral orchestra jerked us back to street level. Amid the ferocity, the Grant Parkers always sounded whetted and clean, moving through the works' shifting meters with fearsome precision. In the final windup to the end, electric energy gave way to ringing, Mussorgskyan grandeur. Between the Hailstork and Bernstein, Jeremy Black returned to the festival as both concertmaster and featured soloist, offering up the Mendelssohn Violin Concerto. Even the brunt of the evening's downpour couldn't wash away the strong impression left by this filigree, soulful performance. Black's sound in the opening theme and balladic second movement was sugared but never treacly. Meanwhile, the Allegro molto vivace coasted along serenely, Black's bel canto phrasing and pristine intonation never betraying its finger-flying briskness. Promisingly, Guerrero's orchestral accompaniment was every bit as tasteful. Negotiating solo string balance in the park is always just that — a negotiation — but Guerrero hit the sweet spot of clarity and restraint. The orchestra was able to be a bit more gutsy under Friday's soloist, Pacho Flores. The Venezuelan trumpeter has a sparkling sound, which he dispatched with doting attention to phrase and line in Arturo Márquez's lively, if unseasonal, 'Concierto de Otoño' ('Autumn Concerto'). The work was specifically composed for Flores in 2018, taking unabashed advantage of not just the trumpeter's lyricism but his gatling-gun articulation, unflappable stamina and chameleon flexibility. (He traded four different horns across the 20-minute piece: C and D trumpets in the outer movements, then a flugelhorn and soprano cornet in the middle.) Flores also knows how to work a crowd. Rather than shooting to the stratosphere in his third-movement cadenza, he crawled to the bottom of his range — an amusing subversion of trumpet tropes. He then turned his bell directly at Guerrero and playfully pppththhed at him through his horn, prompting a teasing 'what gives?' shrug from the conductor. That said, it's hard to endorse Márquez's concerto beyond a mere virtuoso vehicle. The orchestral backing is often trite, cycling through the same progressions for what feels like minutes at a time. If the concerto's many flavors of theme-and-variation were engrossing at all, it was entirely thanks to Friday's soloist and orchestra, both playing with tempera-rich color and joie d'vivre. For pops-adjacent music under a more skillful hand, look to Flores himself. He opened and closed his appearance with two self-penned numbers: 'Morocota' (named for a $20 Venezuelan coin) and 'Lábios Vermelhos' ('Red Lips'). Originally recording both with guitar accompaniment for a 2017 Deutsche Grammophon release, Flores sang through his horn with a suave melodiousness that would have done the Rat Pack proud, with just a shimmer of vibrato where it counted. His lush orchestral arrangements would have been right at home in that milieu, too. At one point in 'Lábios Vermelhos,' section trumpets got in on the fun, with a sneering little interjection. Yet another short, Latin-inspired curtain raiser opened the concert: 'Baião n' Blues,' by Chicago composer Clarice Assad. A staple of the Carlos Kalmar years, Assad's inclusion in Guerrero's opening week bodes well for the new festival chief's attention to local composers. Ultimately, though, this performance had some of the same early-season jitters as last week's opener, with a scraggly opening and subdivision disagreement among the violins. 'Baião n' Blues' already isn't Assad's most compellingly structured piece, but a more honed performance might have made a better case. While Mahler sought to depict the world's natural beauty and bizarre juxtapositions in his music, he perhaps didn't anticipate contending with throbbing helicopters, the squeal of a coach's whistle, and hot rods sputtering down Lake Shore Drive on Friday. The Grant Park corps rose above the usual downtown backing track with a fresh, focused Mahler 1. Guerrero cued the unearthly, whistling first bars with an ambiguous gesture that invited the orchestra to melt in freely. Offstage trumpets were piped through the crown of the pavilion stage, sounding mysteriously heaven-sent. When the theme arrived in the cellos, Guerrero maintained their levity and grace throughout the movement — and, in fact, throughout much of the piece, bringing an aerodynamic lightness even to the symphony's final cadence. Because Grant Park 'does things a little differently,' per Guerrero, Friday's performance reinserted Mahler's discarded 'Blumine' movement. Through a complex change of hands, the only surviving manuscript copy of 'Blumine' ended up in in New Haven, Connecticut, where it was rediscovered as part of the Mahler renaissance of the 1960s. If 'Blumine' is heard at all, it's usually as a standalone piece, for good reason: It's arresting but nearly always out-of-place amid the lustiness of the rest of the symphony. Friday's performance gave the same impression — gauzy and subtle, but stopping short of the richness and emotional abandon that would make a better case for its inclusion. Elsewhere, other idiosyncratic touches intrigued and often convinced: more perky staccatos by oboist Alex Liedtke, orchestral accents like bitter twists of a knife in the funeral march, and a slower reading of the klezmer-band interludes. In all, it endorsed Guerrero's warhorse chops as enthusiastically as his new-music acumen. Rain or shine, Grant Park is looking like a fair place to be under his baton.

Nick Kyrgios takes dig at BBC and his potential on-air replacement: ‘Their loss more than mine'
Nick Kyrgios takes dig at BBC and his potential on-air replacement: ‘Their loss more than mine'

New York Post

time2 hours ago

  • New York Post

Nick Kyrgios takes dig at BBC and his potential on-air replacement: ‘Their loss more than mine'

Nick Kyrgios is apparently competitive on and off the tennis court. In an interview with The Guardian, Kyrgios ripped the BBC for not bringing him back as a commentator during this year's Wimbledon, taking a dig at his replacement in the process. 'I know I'm a great commentator,' Kyrgios said. 'All I've done for 20 years is play, study and breathe this sport. I also think tennis needs commentators who say things that not everyone says. 'It's unfortunate but it's probably their loss more than mine,' he continued. 'I understand they've got Chris Eubanks but he hasn't beaten the greatest of all time multiple times. When someone's beaten Federer, Nadal, Murray and Djokovic and has incredible insights, it's very strange you wouldn't want that person adding knowledge to tennis fans. Nick Kyrgios (AUS) hits a backhand against Karen Khachanov (not pictured) on day four of the Miami Open at Hard Rock Stadium in May. IMAGN IMAGES via Reuters Connect 'I'm sure our paths will cross again. I only ever want to add humour, some knowledge and some great atmosphere.' Eubanks, an American tennis player who is ranked No. 108 in the world, has not been officially named by the network as part of their Wimbledon coverage. The Australian Kyrgios was on BBC's airwaves in London during last year's Wimbledon after he sat out due to a wrist injury. The network faced significant blowback for hiring Kyrgios for their television coverage after he previously admitted to assaulting his ex-girlfriend. Nick Kyrgios of Australia looks on during a practice session ahead of The Championships – Wimbledon 2023 at All England Lawn Tennis and Croquet Club on July 02, 2023 in London, England. Getty Images Kyrgios, 30, has not played at Wimbledon since falling to Novak Djokovic in the 2022 final thanks to nagging injuries. He won't participate in this year's tournament after suffering yet another injury setback, this time a knee problem. 'Unfortunately, I won't make it back for grass season this year,' Kyrgios shared in an Instagram story earlier this month. 'This is just a bump in the road… I'm already working hard to get back stronger.'

Is ‘North Shore' returning for season 2? Everything we know so far
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Is ‘North Shore' returning for season 2? Everything we know so far

North Shore , the Aussie crime show, grabbed viewers with its juicy murder plot and sweet Sydney Harbour scenery. You've got Joanne Froggatt as Abigail Crawford, a tough UK Trade Minister, and John Bradley as Detective Max Drummond, a Brit cop teaming up with an Aussie partner to crack the case of Abigail's daughter Sophie's death. Since it dropped on Network 10 in Australia in May 2023 and hit ITVX in the UK in December 2024, fans are dying to know: Is Season 2 happening? Here's everything we know so far. Is North Shore Season 2 Happening? As of June 2025, Network 10 and Paramount+ haven't said yes or no to North Shore Season 2. There's a glimmer of hope, though. Back in August 2023, the Nilsen Report claimed filming was set to start in Sydney that October, with Beach Road Pictures, ITV Studios, and Screen Australia in the mix. But no one's followed up with hard news, so we're left hanging, wondering if it's a go or a bust. Season 1 pulled a 6.8/10 on IMDb, and fans loved Froggatt and Bradley's chemistry, plus the crime-meets-drama vibe. Some weren't stoked about slow pacing or side characters who didn't shine, which might weigh on the decision. Until we hear more, it's all guesswork. North Shore Season 2 Potential Release Date No Season 2 confirmation means no release date yet. If that October 2023 filming rumor panned out, they might've wrapped by early 2024. Going by how long Season 1 took, we could see new episodes by late 2025 or early 2026. North Shore Season 2 Potential Plot Season 1 dug into Sophie's murder, with Max and Aussie cop Meg Driscoll (Kirsty Sturgess) unraveling political dirt and dark secrets. It tied up the main case but left some questions. No official plot for Season 2 yet, but here's what might go down: New Case, Same Duo: Max and Meg, with their Brit-Aussie banter, could tackle another Sydney murder, maybe tied to some shady international deal. Old Clues: Season 1 dropped hints about dodgy businessman Lloyd Macklin and a mystery caller tipping off Max and Abigail. Those could spark a new mess. Real Feelings: Abigail's still hurting from her loss, and Max's got issues with his partner, Anna, which could add depth to a fresh case. Mike Bullen, who made Cold Feet , knows how to blend grit and heart, so expect any new season to pack a punch. Ahmedabad Plane Crash

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