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Fuller House Is Finally Here! from Fuller House Is Here: Behind-the-Scenes Pics from the Netflix Revival

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Ready for some nostalgia? You got it, dude! We were shocked that Fuller House ever happened in the first place, so consider us straight up flabbergasted that the Netflix hit is already filming season 2.

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Fuller House Theme Song - Everywhere You Look

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Fuller House Official Theme Song, Everywhere You Look performed by Carly Rae Jepsen.

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NEW Fuller House Behind The Scenes Sneak Peek!

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8 Best TV Show Reboots & Reunions of 2015►►https://youtu.be/stKdyqkVqS4 More Celebrity News ►► http://bit.ly/SubClevverNews So whoever says "you can't go back home," listen closely, because I just have one message for you: The months turned to weeks and the weeks have turned to only days until the house gets a little bit fuller.

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Netflix's 'Full House' reboot is mawkish, hammy, regressive - and everything fans will want.

Nostalgia's taint has deluded viewers of a certain generation into believing that, with its hammy child performances, overplayed catchphrases and perfunctory hugs, Full House was a good TV show, rather than a show that pandered to the absolute basest of family-friendly instincts. "They don't make shows like this anymore," fans often claim. But how does Netflix's rebooted Fuller House look in a world in which shows such as Fresh Off the Boat, The Goldbergs, The Middle, Black-ish and Modern Family all deliver family values, cute kids and life lessons along with quality and diversity of perspective?

To me, it looks even more egregious, but people likely to disagree really ought not to bother reading reviews anyway. What? You're reading a review to see if Fuller House recaptures the magic of the original? It absolutely does, if you remember that Voldemort practiced magic, too.

Think of Fuller House as a perverse play on Gus Van Sant's Psycho, only with Full House creator Jeff Franklin Xeroxing his own sitcom. Where high aspirations left Van Sant doomed to the perception of failure, Franklin and company are likely to succeed, because Fuller House is a mawkish, grating, broadly played chip off the Full House block.

It's doubtful that there will be a more painful 2016 TV episode than the Fuller House pilot, which takes an inexcusable 35 minutes to establish a plot that is just an inversion of the original Full House premise. Candace Cameron's D.J. is a newly widowed mother of a 13-year-old son (Michael Campion's Jackson), a 7-year-old son (Elias Harger's Max) and a baby (Dashiell and Fox Messitt as Tommy). Worried about how to cope, she enlists the help of prodigal sister Stephanie (Jodie Sweetin) and best bud Kimmy Gibbler (Andrea Barber), a newly divorced mother of a 13-year-old girl (Soni Nicole Bringas' Ramona).

It's such a clean flip of the Full House formula that it's amazing the amount of bending over backwards it takes to justify the plot, even if that's secondary to slavish celebration of the original. One after another, Fuller House cast members appear onscreen and are greeted by extensive howling, wailing, teeth-gnashing cheers from what sounds like a rabid audience. It doesn't feel entirely inappropriate that John Stamos, Bob Saget, David Coulier and Lori Loughlin would get to bask in episode-halting applause, but when Scott Weinger and Blake and Dylan Tuomy-Wilhoit get nearly equal treatment, there's a sense that either the creators or the audience are messing with us, or messing with any kind of narrative momentum.

Also, it's one thing for a studio audience to engage in this sort of worship, but the Fuller House editors are determined to let us experience this rapture in paint-drying real time. It's when the main characters make reference to the absent Michelle (holdouts Mary-Kate and Ashley Olsen) and then turn and stare at the camera for no less than 13 seconds that you recognize how secondary storytelling is to fan service when it comes to Fuller House.

The Fuller House premiere is almost non-stop references to the original series, filling-in-the-gaps exposition and then a climactic homage to the Full House pilot that includes both clips from that series and reenactment. It has no desire to live as its own thing and it's a trend that continues in the early episodes. The second episode doesn't include any Full House clips, but it mentions and restages an allegedly classic scene. The third episode doesn't use clips or restage, but it features a retelling of the plot of an old episode and several nods and references. As part of a weaning process, those next episodes only include cameos by Stamos and Coulier, delivered with the exact level of subtlety that brought the Harlem Globetrotters to Gilligan's Island. At some point, D.J. needs a babysitter and Joey and Mr. Woodchuck fly in from Las Vegas and you realize how little effort has been put into making this anything less than ridiculous.

I've seen six Fuller House episodes and, to their credit, the last three are endeavoring to cut at least the most literal cords to Full House, to be their own show. There are still references to Full House and in-jokes about the stars' outside projects, including multiple reminders that Dancing With the Stars veteran Cameron Bure is a terrific dancer, but the former castmembers aren't contriving reasons to drop in and the direct mimeographing of plotlines has either stopped or become soft enough that this sporadic viewer of Full House was no longer jarred by their obviousness.

It thus becomes possible to finally look at Fuller House as its own thing, and the point that's instantly noticeable is that there's an intellectual flaw behind the plot inversion that nobody thought to care about. Full House was, no matter its quality, about upsetting gender expectations. It premiered in 1987, the same year as Three Men and a Baby and My Two Dads. There was something in the water. The idea of unmarried men thrust into paternal roles, specifically raising young women, was the next step beyond the '60s, '70s and early-'80s comedies in which professional women or single women raised children hilariously, as TV looked to reflect society and get distance from the Leave It To Beaver nuclear family sitcom model. It wasn't revolutionary, but it was progressive and zeitgeist-y.

Fuller House, then, is almost inherently regressive and follows no particular demographic or societal trend in dedicating episode after episode to teaching female characters who have or had careers and outside lives to re-concentrate on domesticity and motherhood. The forced male nurturing of Full House was about inclusiveness and stepping forward, but this is stepping back, even if you embrace the girl-power heart to this unholy Tanner-Gibbler trinity.

There's also something either unseemly or unsettling about copying and calling back so consciously to Full House, while also sexualizing the main female characters of Fuller House. This hasn't suddenly become an adult franchise, but it's apparently impossible not to make repeated references to Sweetin's chest and it will surely be up to Full House fans to decide if knowing that Kimmy is a demon in the sack is something that they're prepared for. [Eventually, if Fuller House lasts long enough, Kimmy is going to hook up with Jesse, Danny or Joey and that will be the end of the show. You've been warned. Brace yourself. That's where childhood ends.]

Cameron Bure and Sweetin grew up in the multicamera sitcom format, and they're both absolute pros when it comes to hitting punchlines, which stands as absolutely the most positive thing I will say about Fuller House. Kimmy Gibbler was always an acquired taste that I never acquired, so let's just say that Kimmy's character and Barber's performance have not been adjusted or modulated in their new capacity as series lead, so if her particular brand of strained wackiness amused you and if repetition of the word "Gibbler" never ceased to be funny for you, it'll still in play here.

Much of the success of Full House hinged on those mugging kids, who somehow got the same roars of approval every time they repeated their hackneyed catchphrases, even as they grew. So although my critical instinct would be to say that little Elias Harger, screaming every allegedly cute line of dialogue and very nearly addressing the camera, was irksomely precocious and distracting, he was probably doing exactly what the creators wanted and darned if he doesn't say "Holy Chalupas!" in each and every episode hoping to get his own "How rude!" or "You got it, dude." Campion and Bringas aren't quite as loud as Harger, but they also are playing to the back row. It's never a good idea to criticize baby actors, but it's an indisputable truth that Full House was blessed by how expressive Mary-Kate and Ashley Olsen were; Fuller House has not been similarly blessed when it comes to the Messitt twins.

Hugs were a unit of currency on Full House, and Fuller House tries for that as well, with the fifth episode coming closest to earning its sentimentality. But little else in Fuller House actually needs to be earned, at least not in the present tense. The hard work was done 20-plus years ago. The appetite for this show from the studio audience is such that the laziest of puns, misused slang or winks-and-nods is guaranteed full marks and with the writers knowing they can leave a child talking to a pen of puppies for three scenes and it isn't even necessary to write words to get a consistent response. Probably moreso than with any of the other recent television reboots, every reaction to Fuller House from both the studio audience and probably the home audience will be nigh on Pavlovian, and it's a study in how little needs to be done to produce drool.

In one episode, a friend from Stephanie's wild-and-crazy DJ days (not to be confused with her sister's D.J. days) shows up at the house, looks around and wonders, "This is a cult, isn't it?" Stephanie quickly replies, "It's not a cult. It's a family."

If you side with Stephanie, you're in the cult anyway and this review is irrelevant and you'll probably love Fuller House.

If you side with the friend, Netflix's reassembly of the Full House cult is everything you may have feared - but it wasn't made for you (or me), anyway.

Cast: Candace Cameron Bure, Jodie Sweetin, Andrea Barber, Michael Campion, Elias Harger, Soni Nicole Bringas
Creator: Jeff Franklin
Premiere date: Friday, Feb. 26 (Netflix).

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Nostalgia's taint has deluded viewers of a certain generation into believing that, with its hammy child performances, overplayed catchphrases and perfunctory hugs, Full House was a good TV show, rather than a show that pandered to the absolute basest of family-friendly instincts. "They don't make shows like this anymore," fans often claim.

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Discusses revamp of theme song

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Following her turn as Frenchy in Fox's Grease: Live, Carly Rae Jepsen is taking a different sort of step onto the small screen. Alongside producer Butch Walker, best known for his work with Taylor Swift and Pink, the Canadian pop star has recorded the theme song for Netflix's Full House reboot, Fuller House, debuting on the streaming service in full on February 26th.

The 30-year-old recorded her cover of the original Full House theme in late 2015, putting aside time in the promo schedule for her third album, , to hit the studio with Walker and Jesse Frederick, the song's writer and performer. Frederick penned the upbeat jingle, initially titled "Everywhere You Look," in 1987 with Bennett Salvay, with whom he also wrote and recorded the theme songs for Perfect Strangers, Step by Step and Family Matters. The tune, an upbeat, optimistic embodiment of the late-Eighties opening-credits aesthetic, captured the spirit of the nuclear family's gradual dissolution on television as the century rolled into its final decade: "Whatever happened to predictability?/The milkman, the paperboy, evening TV."

Taking a break from her current Gimmie Love Tour, Jepsen explained how the gig came about and why the original show had such a strong impact on her.

What are your memories of the original Full House?
Full House is essentially my childhood. It was my favorite TV show growing up. I can remember being on a camping trip with my parents and asking them what time it was, how much further 'til we get there kind of thing, and they said, "Three more Full Houses!" I understand what that means: two-and-a-half hours. So I was offered this and wondering if it could fit into my schedule; I had a lot going on at the time. I remember my team thinking, "I don't think you're going to have time to do this." It was casually mentioned in one of those phone calls, and I said, "What? We have to make time for this! I'll come in the middle of the night, whatever it is." When I found out that Butch Walker was part of it too, that sealed the deal for me, because obviously I admire what he's done and heard such great things that I was dying to get in the room and combine two things I was very curious about.

I heard a sneak preview and it's very you. Did they give you guidance or did you have free rein with your version?
I was lucky enough to go in with the original writer. I was really excited, too, because they were doing a cover versus trying to make a song that seems like it. You want to be true to the original. I was trying to mimic along the lines of what Butch Walker has done and make it work, and they were like, "Just try it once the way you would do it." And they were like, "That's way better." I learn that more and more as I take on new projects: If you try too hard to do something unnatural, it's never going to feel right. You have to let yourself let loose and be.

"It was casually mentioned in one of those phone calls, and I said, 'What? We have to make time for this!'"

Did Jesse's presence add more pressure for you to nail it?
I think it would have had I known he was going to be there, but it was a surprise. I showed up, and there I was, and there wasn't enough time to be nervous. It was probably a blessing in disguise. And he was very encouraging and supportive and lovely! [With] Grease, it's the same thing I felt when I heard Didi Conn was going to be a part of it, the original Frenchy. In fact, what it ended up doing was boosting my confidence because she was so lovely and complimentary and just supportive of any time I did something different. She was into it, and it made me feel like I was finally finding my footing having her close by.

Have you seen any of the episodes of Fuller House?
No, not yet. I've seen a poster for it, but I haven't seen any trailers or things like that. Either way, I feel like there's an amazing concept already, and I'm looking forward to watching the storylines. I told my girlfriends we're going to have to have a popcorn night and really enjoy it from start to finish.

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Carly Rae Jepsen Talks 'Fuller House' Theme Song

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Following her turn as Frenchy in Fox's Grease: Live, Carly Rae Jepsen is taking a different sort of step onto the small screen. Alongside producer Butch Walker, best known for his work with Taylor Swift and Pink, the Canadian pop star has recorded the theme song for Netflix's Full House reboot, Fuller House, debuting on the streaming service in full on February 26th.

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WHAT IT'S ABOUT D.J. Tanner-Fuller (Candace Cameron Bure) is a veterinarian and mother of three boys - Jackson (Michael Campion), 12; Max (Elias Harger), 7; and baby Tommy (twins Dashiell and Fox Messitt). She's also widowed. That sobering reality pervades the Girard Street house, which dad Danny (Bob Saget) has put up for sale. D.J. needs help, and a little love, which she gets when (almost) the whole gang turns up, including: sister Stephanie (Jodie Sweetin), bestie Kimmy Gibbler (Andrea Barber), Joey (Dave Coulier), Rebecca (Lori Loughlin) and of course Jesse (John Stamos). Meanwhile, D.J.'s prayers are about to be answered.

MY SAY It may be best not to ask critics about the enduring appeal of "Full House." When that ABC hit left the air in May 1995, scarcely any appreciations ran in newspapers. Nonbelievers from the beginning anyway, they were on to other infinitely cooler things, and so were the networks - then preoccupied with a newer, edgier type of comedy that spoke to The Way Young Adults Live Now. "Friends" was hot. "Full House" was not.

With its atavistic heart and soul - and corn-fed values straight out of "The Brady Bunch" - "Full House" was roadkill on primetime's superhighway. Goodbye, good riddance, and onward to a glorious TV future! Or at least onward to "Grace Under Fire."

You now know the punchline - "Fuller House" arrives as the most anticipated reboot since TV's current reboot frenzy began, and is even one of the major arrivals of 2016. Appraisals are irrelevant: This will be a hit, if only because old friendships must be rekindled, along with emotions too deep for words - even if those words are "cut it OUT!," and "You got it, dude."

Of those emotions and their wellspring, a generation - now in its 30s - literally grew up with the "Full House" security blanket. A hyperbaric chamber of good vibes and good feelings, every episode began with the smallest of challenges, and ended with the biggest of group hugs. The kids were cute and dad, or dads - JesseJoeyDanny - even cuter. No one ever got hurt. Lessons were always learned. Love was invariably dispensed along with hugs. The series was in fact stalked by a distant and never-quite-forgotten tragedy even before it began - the death of Danny Tanner's wife - but each episode represented a small triumph over that. Fans - true-blue fans - never stopped loving "Full House."

That's "Fuller House's" enormous advantage, also its enormous challenge. Bring back something this beloved only at your own risk. The opener, "Our Very First Show, Again," scores a direct hit on lingering doubts. It's one big Easter egg filled with lots of smaller Easter eggs. Gibbler's still Gibbler, D.J. still "Deej." When someone says Michelle - Mary-Kate and Ashley Olsen, of course - couldn't make it back to San Francisco because of her fashion career, the entire cast turns to the studio audience, and affects a mock frown. The audience roars.

Otherwise, it's back to the house on Girard Street, that place where everyone knows everyone's name - and what everyone says before they even say it. Joey: "Before we eat, I've got something important to say . . . Damn, we all look good, especially me." Or D.J., going to a line Dan might've used - maybe even did, with modifications - 29 years ago: "I have three boys who count on me for everything. My husband died doing what he loved - fighting fires and helping people. He'd want me to be strong."

D.J. will be strong, you can count on that, but she needs a helping hand, or hands. You can count on that, too.

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The opener's a reunion show, but also a reset button. The girls, now women, move in with D.J. A generational shift takes place, and sitcom history repeats itself. Think of "Fuller House" as "Full House 2.0." Same premise, same vibe, mostly same cast.

Mostly, not all, and that real risk presents itself soon enough. In subsequent episodes (a total of six for review), Danny, Rebecca, Joey and Jesse disappear, or turn up sporadically. "Fuller House" is the D.J., Stephanie and Kimmy show. They may be all grown up, still full of the same old whimsical charm. But they have a franchise to carry on by themselves now. My hunch: They can.

BOTTOM LINE A winner, strictly for fans.

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WHAT IT'S ABOUT D.J. Tanner-Fuller (Candace Cameron Bure) is a veterinarian and mother of three boys - Jackson (Michael Campion), 12; Max (Elias Harger), 7; and baby Tommy (twins Dashiell and Fox Messitt). She's also widowed. That sobering reality pervades the Girard Street house, which dad Danny (Bob Saget) has put up for sale.

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Created by Jeff Franklin. With Candace Cameron Bure, Jodie Sweetin, Andrea Barber, Michael Campion. In a continuation of Full House (1987), D.J. Fuller is a mother of three young boys and is a recent widow. D.J.'s sister Stephanie, her best friend Kimmy and Kimmy's teenage daughter all move in to help raise her sons.

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John Franklin interview

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Two decades after " Full House" went off the air, creator Jeff Franklin brought the beloved family sitcom back with a reboot in Netflix's " Fuller House."

Turns out, there was still an appetite for the Tanner family. The first season of the modern-day revival pulled in an average audience of 7.33 million viewers in the 18-49 demographic in the first three days in which it was available, according to measurement company Symphony Advanced Media.

" Fuller House " follows the all-grown-up Tanner sisters, D.J. (Candace Cameron Bure) and Stephanie (Jodie Sweetin), who live together in their San Francisco childhood home with D.J.'s three children, her best childhood friend Kimmy Gibbler (Andrea Barber) and her 13-year-old daughter, following a similar storyline to that of the original series with Stephanie and Kimmy moving in with the widowed D.J. to help her raise her children.

The first season left off with many cliffhangers - D.J.'s love triangle, tension between Kimmy and Fernando (Juan Pablo Di Pace) and even tension between the kids - and Franklin promises those storylines will be touched upon in the new season, especially D.J.'s love life.

"The D.J. triangle takes an unexpected turn in the beginning of the season," Franklin says. "We come back and find out both Steve and Matt have gotten into other relationships while waiting for D.J. to make up her mind, so that's how it starts. There are a couple twists and turns and things happen, it's a pretty interesting storyline that we have there."

Here, Franklin talks to Variety more about what to expect in Season 2, which launches Friday, Dec. 9 on Netflix...
What do you think has garnered "Fuller House" such huge success in its first season?
Well, " Full House " has been on the air now for 29 years. It has become an incredible success in syndication. We have literally hundreds of millions of fans all over the world. I think that they have been so loyal to the show. The ratings in syndication have been incredible. I always suspected that there would be incredible interest in seeing these characters again.
I know that you are quite close with the cast and have remained close with them since the wrap of "Full House." When you came up with the idea for "Fuller House," did any of the actors weigh in?
John Stamos and I had lunch one day and we were talking about how at that point, back in 2007, we talked about how sitcoms that the whole family could watch together had seemingly disappeared...The kinds of shows that we had loved growing up and that we had worked on, including "Full House" had just sort of disappeared. And we were thinking about ideas to bring a family show back, and we sort of looked at each other and said, "Well, why don't we bring 'Full House' back?" And that's sort of how it started. And then I wanted to focus on the three girls, all grown up with kids of their own. The first thing I did was go to Candace and Jodie and make sure that they were interested in this because if they weren't, then there was really no point in pursuing it. They thought it was a great idea, and were on board and so that began a six-year process of trying to get this show set up.
What has it been like working with a new cast of kids?
We think we have gotten extremely lucky again. I really think we have a big group of special kids. The first season was figuring out who our actors were as people, sort of making the characters the actors. In Season 2, we sort of know who they are now and have hit our stride with writing for our kids. Elias [Harger] in particular is a really special kid. He brings so much comedy to the show. They are all great, but Elias is in a world on his own. I can't believe we found another great group of kids. The show has been so lucky.
What can you tease about Kimmy and Fernando, and the kids' storylines coming up in Season 2?

Kimmy and Fernando, the first season it was really sort of rebuilding the trust between them and their relationship, and then in Season 2, we take them much further and learn a whole lot of new things about their relationship. So Kimmy and Fernando will definitely be together in Season 2. Jackson makes some more progress with Lola. Ramona gets her first kiss, Max even meets a fun special little girl, and Stephanie gets involved with a Gibbler.
Will we be seeing the return of any other original characters from "Full House" in the new season?
We will see some fun faces from the past. Gia will make an appearance - Stephanie's trouble-making friend from her childhood, she's coming back. There is a high school reunion episode where we will see Nelson and Viper and Kathy Santoni again. Also, New Kids in the Block are in an episode. They are the Beach Boys of "Fuller House" - they were always Candace and Andrea's favorite band when they were growing up, so they were so happy to have their favorite band come on the show and play. There are a lot of fun faces from the past and some new characters, as well.
You've gotten this question many times, but can we expect any appearance from the Olsen twins?
Well, not in Season 2, but I'm not sure about future seasons. The door is still open and I'm sure we will ask and keep trying. Hopefully one of these days, that will happen. It's something we would all like to see.
Have you received any response from fans or other cast members that they feel there is some sort of void without Michelle's (Mary-Kate and Ashley Olsen) presence in the house at all?
Well, we're used to it by now. The show has been really well received so I think that the fans have made their peace with the fact that Michelle is not a big part of the series, although we certainly refer to her now and then. We miss the Olsen twins and miss the character of Michelle, but there is so much going on in the series, I think it's something that we would like to see, but I don't think it's critical to the success of the series.

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Jeff Franklin Talks 'Fuller House' Season 2, Returning Characters and the Olsen Twins

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Two decades after " Full House" went off the air, creator Jeff Franklin brought the beloved family sitcom back with a reboot in Netflix's " Fuller House." Turns out, there was still an appetite for the Tanner family.

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Recently widowed D.J. Tanner-Fuller gets help from her sister Stephanie and best friend Kimmy when the women move in with their families to help D.J. raise her children in this spin-off series.

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Fuller House Season 1 show reviews & Metacritic score: The Tanner family returns with D.J. Tanner-Fuller (Candace Cameron Bure) recently widowed and working as a veterinarian in San Francisco. Her sister Stephanie T...