‘The Summer I Turned Pretty' Season 3 Sets Episode Rollout: One Per Week Wednesdays After First Two Premiere
Prime Video has cleared up the buzz around The Summer I Turned Pretty Season 3 rollout.
The third and final season of Prime Video's young adult series, adapted from Jenny Han's best-selling trilogy, will premiere with two episodes followed by a new episode every week on Wednesdays until the series finale, which lands September 17.
More from Deadline
'The Summer I Turned Pretty' Season 3: Everything We Know So Far
'The Summer I Turned Pretty' Casts Isabella Briggs, Kristen Connolly, Five More
'We Were Liars' Stars Emily Alyn Lind And Shubham Maheshwari Talk Cady And Gat's Romance: "There Was Going To Be A Crack"
Season 3 will conclude Belly's (Lola Tung) love story between the Fisher brothers Jeremiah (Gavin Casalegno) and Conrad (Christopher Briney) in an expanded 11 episodes, one of which Han directed.Also returning for Season 3 are Sean Kaufman as Belly's older brother Steven and Rain Spencer as Belly's best friend Taylor Jewell. Jackie Chung portrays Belly and Steve's mother Laurel.
The first season arrived on Prime Video with all episodes dropping in a binge in the summer of 2022. Then, Season 2 premiered with its first three episodes before shifting to one per week in the summer of 2023.
RELATED:
As of the two trailers released for the show so far, viewers can expect lots of scenes of Belly and Jeremiah dating at Finch University, where they both go to college. Taylor Swift's 'Daylight' plays during the montages of them participating in the typical college lifestyle. Belly made the choice between brothers at the end of Season 2 after she had previously dated Conrad.
The fuller trailer teases a big event from Han's We'll Always Have Summer book — Belly and Jeremiah's wedding, but their announcement is met with much hesitation on the part of Belly's mom. In the teaser trailer, Belly and Jeremiah's lovey-dovey moments are interrupted by Conrad walking into the Cousins Beach house, a candy cane in his mouth, set to Taylor Swift's 'Red (Taylor's Version)'. So far the series posters have stressed all three primary colors, first yellow, then red and now blue.
Season Three is helmed by showrunners Jenny Han and Sarah Kucserka, with both also serving as executive producers alongside Karen Rosenfelt, Paul Lee, Hope Hartman, and Mads Hansen of wiip. The series is produced by Amazon MGM Studios and wiip.
RELATED:
Best of Deadline
Everything We Know About 'Margo's Got Money Troubles' So Far
TV Show Book Adaptations Arriving In 2025 So Far
Everything We Know About The 'We Were Liars' Show So Far
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Los Angeles Times
38 minutes ago
- Los Angeles Times
'Étoile' Stars Gideon Glick and Luke Kirby Reflect on Canceled Series, Dance Immersion, and Palladino Magic
Actors Gideon Glick and Luke Kirby of the Prime Video series 'Étoile' recently discussed the show's first season with Los Angeles Times moderator Matt Brennan. The Q&A, held on June 11 at the NeueHouse in Hollywood, covered various aspects of the series, which is set in New York City and Paris and follows two ballet companies swapping their star dancers to save their institutions. Glick and Kirby revealed they learned of the show's cancellation shortly before Glick received an award for the series. Both actors shared their introduction to the dance world for their roles; Glick, from musical theater, shadowed choreographers, while Kirby, with family ties to dance, took ballet classes, gaining appreciation for the art form's physicality and dedication. A significant part of the discussion focused on their collaboration with creators Amy Sherman-Palladino and Dan Palladino, with whom they previously worked on The Marvelous Mrs. Maisel. Glick likened the Palladinos' writing to Steven Sondheim, noting, 'It is all there and it's so well constructed and it's psychologically potent that for an actor it's pretty much a dream.' Kirby compared it to Shakespeare, explaining, 'You don't do the text, the text does you ... things are revealed in the writing in the moment.' Glick, who also worked in the 'Étoile' writer's room, described Amy Sherman-Palladino's creative bursts as 'being struck by lightning,' with dialogue 'spitting out almost word for word.' He also shared that his character, Tobias, was specifically written for him, an experience he called 'pretty life-changing' that expanded his ambitions to include writing. The actors also reflected on filming in Paris. Glick, who is hearing impaired, found the French accents challenging but noted, 'I did feel a little isolated and I felt it really helped me stay in Tobias's mind.' Kirby described the experience as 'just great to be in Paris,' highlighting the dedication of the French crew and the 'rare gift' of working with international talent. They reminisced about shooting pivotal romantic scenes, with Glick calling it 'the most magical day of shooting.' Kirby, recalling his scene, praised his co-star Lou de Laâge: 'Lou is exceptional and I was staggered by her, always staggered by her talent.' Finally, they touched upon the show's theme of art as a form of 'insanity' or 'ecstasy.' Glick described the creative process as sometimes 'manic,' akin to the Greek word 'ecstasis,' meaning 'to leave the body.' Kirby said, 'I think it's a shame if you've never been insane ... it's a great gift to know you have that option.' They concluded by expressing profound gratitude for the collaborative and enriching experience of making 'Étoile,' with Glick stating, 'It was one of the greatest artistic experiences of my life. Everybody was extraordinary.' Kirby added, 'I think it asserted the whisper that we all have within us. And to listen to the whisper, don't shut it down.'
Elle
an hour ago
- Elle
That ‘We Were Liars' Plot Twist Leaves a Major Question Unanswered
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Spoilers below. In an addendum published in the deluxe edition of E. Lockhart's 2014 bestseller We Were Liars, the author mentions The Sixth Sense as one of several inspirations for the memory loss that protagonist Cadence Sinclair endures throughout Lockhart's story. As it turns out: Cady does, indeed, see dead people. This revelation will come as little surprise to fans of the book. The plot twist is exactly what propelled We Were Liars to infamy amongst readers, especially BookTok acolytes, who pushed the title back onto the bestseller list during the pandemic. But for those watching the new Prime Video adaptation without this context, the finale is likely to land much harder. Episode 10, 'My Friends Are Lying in the Sun,' at last pulls the curtain away to reveal a horrible truth: There's a simple reason the Liars—Gat, Johnny, and Mirren—didn't call Cadence for months after the events of so-called Summer 16. They weren't alive to do so. Short answer: As Johnny later puts it, the Liars 'really didn't know how to do arson.' Long answer: By the end of the Summer 16 timeline, the Liars have uncovered enough family secrets, backstabs, and betrayals to convince them they can no longer willingly participate in the Sinclair legacy. They decide they want to make a statement. They want to prove the family's obsession with inheritance is fickle, cruel, and unjustified. They want to, literally, burn it all down. They decide to set Clairmont—the main house on Beechwood Island—ablaze. (It's worth mentioning that they are also a little drunk.) As they wipe the wood floors with gasoline and craft Molotov cocktails on the gleaming marble countertops, they execute a reckless plan. Gat takes up his position at the boat station. Mirren turns her mother's bedroom into a tinderbox, while Johnny tackles the attic and Cadence the downstairs. At midnight, they strike their matches, but both Johnny and Mirren get distracted: Johnny by a picture of their grandfather, Harris, and Mirren by a painting in her mother's bedroom. By the time they attempt to run out of their rooms, the smoke has become too thick for them to see where they're going. Meanwhile, Cady successfully escapes the house, only to go charging back when she hears her family's golden retrievers whining from inside. The Liars have forgotten that Cady's mother locked the dogs in Clairmont to keep them calm during the evening's planned fireworks. By the time Cady reaches the goldens, everything around her is burning. A falling wooden beam smacks her across the head—likely causing the injury that will trigger her memory loss—and she can only listen to the dogs' cries as they succumb to the smoke. (If I can go through life without ever having to watch a scene like this again, I'll be thankful.) The loss of the dogs is horror enough on its own. It's an unspeakable, avoidable mistake, a terrible act of negligence and a betrayal of the animals' trust and innocence. Remembering this tragedy in the Summer 17 timeline, Cady is overcome with grief, sobbing as the Liars hold her close. But it doesn't take her long to recall the rest, and somehow, it's worse. Not only did Cady forget to let the dogs out, but she wasted precious time stealing her grandmother's black pearls from Clairmont's clutches. Doing so means Gat doesn't see her when he comes sprinting inside the building, desperate to save his would-be step-cousins. Soon, Gat, Johnny, and Mirren are all trapped inside the smoke and fire, while Cady runs out onto the beach. 'We didn't even think about the gas line,' the ghost version of Gat says in the Summer 17 timeline. And so we watch in flashbacks as the house blows up, and the force of the explosion knocks Cady back into the ocean, likely compounding her brain injury and the resulting amnesia. Gat, Johnny, and Mirren all die in the blast. They are definitely not flesh-and-blood humans, but—as Johnny makes clear—neither are they figments of Cady's imagination. They seem to be ghosts, 'haunting' Cady because she is not yet at peace with their deaths, and neither are they. No one but her seems capable of seeing these spirit-Liars (at least until the final scene, when we learn Johnny appears before his mother, Carrie). Cady interacts with each Liar once more after learning their fates: with Johnny, who admits his own fear of hell but believes Cady will spend the rest of her life doing good things to earn a tier in heaven; with Mirren, who wishes they would have 'let themselves be messy sometimes' so that they 'actually could have seen each other'; and with Gat, who isn't sure if he's 'real' but knows he loves her still. The ghosts only finally disappear after all four Liars jump off the dock together one last time. Cady's grandfather, Harris, has eyed Cady as the next heir of the Sinclair empire. When she rejects his gift—her grandmother's black pearls—she thereby rejects his symbolic passing of the baton. Harris decides, then, to threaten her. He reveals that a Time reporter will soon arrive on the island to interview him about his legacy. If Cady does not accept her place in the Sinclair family tree, Harris claims he will tell the journalist what he knows about what happened that fateful night in Summer 16. Cady's relatives believe she was a tragic heroine, the sole survivor who attempted to save her cousins from a terrible (accidental) fire. Harris knows the truth: The 'arson, animal cruelty, and involuntary manslaughter' will characterize the rest of her life, should it become known to her family, her friends, and the general public. 'When the reporter comes on Saturday, you keep that in mind,' he tells her. But after bidding the ghost-Liars goodbye, Cady doesn't seem to care what comes next. When the reporter eventually asks for her take on the Sinclair story, Cady says she's 'just really not into fairytales anymore,' and runs off to steal her family's boat and flee the island. Her mother and aunts watch from afar, proud to see her breaking free. We Were Liars ends its first-season run not with a scene between Cady and her Liars but between Aunt Carrie and the ghost of her son, Johnny. As Carrie prepares to leave Beechwood at the end of the summer, she walks back inside her kitchen, only to find Johnny—or, rather, his presence—waiting for her. When she says she'd thought he'd 'left' by now, he replies, 'I don't think I can.' The screen then cuts to black. That leaves one major question unanswered. Forget whether or not the Liars are 'ghosts' or 'spirits' or hallucinations. We know they're dead. But if one of them 'can't leave' Beechwood, does that mean he's stuck forever? And if Johnny is stuck, are the other Liars stuck, too? With Cadence gone, can they 'pass on' without her? Or will Carrie take up the mantle as their sole witness? Such a cliffhanger is certainly set up as a lead-in for a potential We Were Liars season 2, which could draw material from Lockhart's prequel novel, Family of Liars. (That book indeed centers Carrie and her sisters as teenagers on Beechwood.) Still, there's no guarantee yet whether Prime Video will end up renewing the series. For now, Johnny will just have to wait.
Geek Tyrant
2 hours ago
- Geek Tyrant
Robert Kirkman Breaks Down INVIBCIBLE Season 3, Why Mark's Future Should Scare You, and Lessons Learned from THE WALKING DEAD — GeekTyrant
Robert Kirkman knows how to wreck a superhero emotionally and physically, and Invincible Season 3 is a showcase of that skill. As the second half of the season wrapped on Prime Video, fans were left reeling from the mental toll on Mark Grayson (Steven Yeun), his brutal battle with Conquest, and the growing realization that Mark may be heading down a darker path than anyone expected. In a recent interview with Deadline, Kirkman offered a candid breakdown of Mark's psychological spiral, his complicated relationship with his half-brother Oliver, and how experience from The Walking Dead helped shape a more structurally sound adaptation this time around. Mark's Crossroads Season 3 is all about what kind of man—and hero—Mark is becoming. One of the most telling dynamics this year is the brotherly bond (or fracture) between Mark and Oliver, the half-Viltrumite sibling he barely knows but is now responsible for mentoring. The tension between their moral codes becomes a mirror that Mark can't look away from. 'I think it's good to give Mark as many outside influences as possible,' Kirkman said. '...One of the results of interacting with his father was that he brought Oliver home. Oliver has the same dad but is from an alien world... For Mark, his feelings can sometimes be scary when he seemingly agrees with some of the crazy things that Oliver is saying.' That inner conflict is no small matter. As Kirkman explains, Oliver starts off saying 'harsh things that make you worry,' but by the end of the season, Mark finds himself more aligned with his brother than before. 'So, by the end of this season, you should be worried for where Mark is headed in Season 4 and beyond.' A Relentless Descent Mark's downward arc isn't just philosophical, it's paved in blood. From Powerplex to the Invincible War and finally to his knock-down, drag-out fight with Conquest, Kirkman makes clear that the exhaustion and trauma have layered onto Mark's conscience in ways that aren't going away. 'He is unsure of himself and fears that he could be on the path getting closer and closer to what Omni-Man was... Without having any time to process that or work through it... Conquest comes and does more damage that Mark feels responsible for,' Kirkman said. It's that spiral of grief, guilt, self-doubt, then rage that sets the stage for Season 4's more dangerous version of Mark. As Kirkman put it, 'We're trying to deal with what it would be like to have the burden of the responsibility of having this much power... and we're excited about how the show goes into some really dark places.' The Teenage Factor But this is still a coming-of-age story, and Mark's contradictions are intentional. 'He's a somewhat erratic character by design,' Kirkman noted. 'We're constantly pushing this character to make bold statements and then go against those statements... That's kind of the life that we all experienced as a teenager... and it's fun to see a character go through that same process while he's able to crush planets.' Walking Dead Wisdom If Invincible feels more structurally sound than The Walking Dead ever was. Kirkman says the experience of adapting a comic he hadn't finished yet taught him some hard lessons. 'There were times [on The Walking Dead] when it was like, 'Yeah, let's make that different. That'll be fun.' But then you get to Season 6–Season 9, and you have entire storylines from the comic that don't work anymore...' Now, with Invincible, Kirkman says they've done the opposite. 'There's a lot of decisions that were made on Invincible Season 1–Season 3... so that when we're going Season 5–Season 6... we know the track has been laid.' The Conquest Challenge Of course, making Invincible isn't just emotionally demanding, it's a logistical beast. The fight between Mark and Conquest in the finale was one of the toughest scenes yet to animate. Kirkman revealed: 'We had to get extra board artists to come in... Usually, you have four or five board artists... I think we had six or seven that were doing two to four-minute chunks... It was an all-hands-on-deck kind of effort.' That battle was a key point of escalation—and that escalation is something Kirkman is intentionally building season after season. 'We're trying to make the show an escalating show... so that when you watch the show, you get a sense of growth... and intensifying stakes.' The Role of Violence As for the show's signature blood-and-guts spectacle? Kirkman says the violence only works if it means something. 'I don't really think of the violence as are we going too far... I'm thinking, is this violence resulting in the correct emotions we're trying to elicit...?' he said. 'We're trying to push the emotional buttons... so that you have that feeling.' And while streaming gives them room to push boundaries, Kirkman points to The Boys as the trailblazer that lets Invincible fly under the radar. 'I get to watch that show and go, 'We can do anything.'' Where It's All Going Mark Grayson may have set out to be Earth's protector, but Season 3 leaves us with a much more complicated reality: he's not just battling villains anymore—he's fighting who he might become. And that, according to Kirkman, is exactly the point. 'By the end of this season, you should be worried for where Mark is headed in Season 4 and beyond.' If that's not a warning shot, nothing is.
