ColorCreative Management Expands Team, Re-ups Ashley Calloway, Adds Jordan Moncada As New Manager

As a talent and literary manager at ColorCreative, Moncada is focused on representing multi-hyphenates that tell authentic stories and are passionate about making a larger impact on the world outside of the entertainment industry. Prior to that, she worked in digital production at Maker Studios. Before her stint at Rise, Moncada worked at Universal Pictures, assisting then-President Jimmy Horowitz. She comes to ColorCreative after five years at Rise Management, where she was promoted to manager in 2019.
Prior to joining ColorCreative Management, Calloway was an Account Manager at Studio71 where she executed high value brand campaigns for digital and traditional talent; brands included Disney, Amazon, Fox and more. Calloway also spent 3 ½ years working at Creative Artists Agency for high level agents in TV Unscripted, TV Scripted Packaging and Talent.
EXCLUSIVE: Issa Rae and Deniese Davis' ColorCreative Management is expanding its team, re-upping manager Ashley Calloway and adding former Rise Management's Jordan Moncada as a talent and literary manager to the growing entertainment firm. The re-up and staff addition were announced Monday by Talitha Watkins, President & Head of ColorCreative.
"Together with Ashley and Jordan we look forward to building with a distinguished roster of multi-talented creators."” /> "We are excited to be growing the ColorCreative team," said Watkins.
ColorCreative clients include Affion Crockett (Peacock TV’s Mirror II Society); Executive Chef/Entrepreneur, Alisa Reynolds (My2CentsLA); entrepreneur, Angelica Nwandu, founder and owner of the TheShadeRoom and writer of the upcoming Hoorae feature film, Juju; writer Anne Sundell who has a blind script deal at Sony Pictures Television; Camille Corbett, writer (Netflix’s Dad Stop Embarrassing Me); Chelsea Devantez, head writer for Jon Stewart’s new current affairs series on Apple TV+; 2020 Apple Music Award winning director, Child ("Fight For You” by HER); DJ and entrepreneur Derrick "D-Nice" Jones, creator of the uber popular, Club Quarantine on Instagram Livestream; actress DeWanda Wise (Netflix’s She’s Got To Have It/Universal Pictures Jurassic World), director, Lawrence Lamont (IDFWU Big Sean); producer Lyn Sisson-Talbert (Netflix’s Jingle Jangle), writer Nick Bouier writer/actor/director/producer/comedian, Robert Townsend; author Shayla Lawson (This is Major: Notes on Diana Ross, Dark Girls, and Being Dope (Harper Collins); director Storm Saulter (Sprinter), showrunner Syreeta Singleton of the upcoming HBO Max series, Rap Sh*t; writer Terry Dawson, creator of web series A Whole New Irving; Playwright and screenwriter, Tori Sampson (Amazon Prime’s Hunters), director/writer/rapper/performer/producer, TT The Artist, producer and director of Netflix documentary, Dark City Beneath The Beat; actor/comedian/host/producer/Wayne Brady (Let’s Make a Deal); Winter Dunn producer of the motion picture Jezebel (Netflix).
Under Watkins’ leadership, a string of multi-hyphenate creators have been brought in to support the vision of ColorCreative and the changes it is looking to bring to Hollywood by way of creative content. Their roster ranges from established producers, creators and showrunners to the next generation voices. The expansion is the latest since Watkins took over as President of the company in October 2020, beginning with staff, and bringing in an eclectic group of strong women of color to help expand their roster.

The Montaner Family Docuseries Set As First Project From Lex Borrero, Tommy Mottola & Range’s Ntertain

Sara Escobar, creative director, wife of Mau Montaner
Ntertain was founded earlier this month as a new entertainment and media company focusing on the creation, development, and production of premier content leaning in on Latin talent, brands and culture.” />
The unscripted docu-series will give an exclusive look inside Latin music's influential family, the Montaners, who have social media audience of over 150 million and over eight billion video content views. Ntertain, the recently launched multimedia company from Neon16’s Lex Borrero, music mogul Tommy Mottola and Range Media Partners, has identified the first original series to go into production, Los Montaner.
Actress, singer, songwriter, Evaluna Montaner
The series will film globally, as the crew follows the daily life of the Montaner family. Borrero will executive produce the series, with Range Media Partners co-financing the project, handling global sales of the series.
Actress, model, and TV host, Stefi Roitman, fiance of Ricky Montaner
Multiple Latin Grammy nominee & Lifetime Achievement Award recipient Ricardo Montaner
Camilo Echeverry, Evaluna’s husband and Latin Grammy Award winning singer, songwriter.
Award-winning recording artist and member of Mau y Ricky, Ricky Montaner
Featured on Los Montaner are:
Award-winning recording artist and member of Mau y Ricky, Mau Montaner
Marlene Rodriguez, Ricardo’s wife, and filmmaker

‘Power’ Director Rob Hardy Inks First-Look Deal With Lionsgate & Courtney Kemp’s End of Episode

The Miller co-authored publication was adapted into the 2019 BET movie, Angrily Ever After, which the writer and exec EP’d. As well as her role as Rainforest’s Head of Development, former Ebony and Jet Editor-in-chief Miller has authored five books, including The Angry Black Woman’s Guide to Life.
For the books, Kemp signed a hefty new overall deal with Lionsgate back in late 2018.” />
"Rob is a brilliant director and a tremendous creative force,” Kemp told Deadline. “It is my great pleasure to have the opportunity to continue our collaboration, and I look forward to a bright future together bringing more series to the screen, with BIPOC representation both on camera and behind the scenes,” the Power Book II: Ghost showrunner and EP added.
In addition to his work on the Power spinoffs, such as the upcoming Power Book III: Raising Kanan opener airing later this year, Hardy has been behind the camera on an array of projects such as the CW’s All-American pilot, BET's Quad, ABC’s How to Get Away with Murder, Fox’s Prodigal Son, CBS’ Evil, ABC’s Black-ish and Showtime’s now concluded Shameless. On the big screen, the Verve repped filmmaker has been an executive producer on No Good Deed, Think Like a Man, Stomp the Yard and directed The Gospel and Pandora’s Box.
Meigs. Along with Verve, Hardy is represented by manager Adam Robinson and Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller & Gellman attorney John V.
The deal also sees Hardy and his Rainforest Entertainment producing partner Mitzi Miller develop and oversee original shows for the studio and Kemp’s shingle. Under the provisions of the multi-year agreement the Ghost Season 1 finale helmer will direct more of the evolving Powerverse, along with other Lionsgate shows.
“Lionsgate, Starz and End of Episode truly champion their talent and diverse stories, which makes this partnership so exciting. Mitzi and I can’t wait to develop and bring more engaging and entertaining premium series to television audiences." "I’m thrilled to partner with Lionsgate in directing other series from their robust television portfolio as well as continuing to expand the world of Power" said NAACP Image Awards nominee Hardy.
His keen artistic vision and expertise helped bring some of the most riveting episodes and performances to the Power Universe,” Lionsgate Television Group Chairman Kevin Beggs stated today. "Rob is an incredibly talented director and an absolute pleasure to work with. “We look forward to expanding our relationship with him and his producing partner Mitzi, and working together on more great and bold television content."
EXCLUSIVE: Director Rob Hardy is cranking up the power with a new first-look deal with Lionsgate and Power creator Courtney Kemp’s End of Episode Productions.

Disney Studio Marketing Executives Anastasia Ali & Jan Coleman Promoted To VP

She joined Disney in 2013 as an MBA intern and was part of the Studio Marketing rotational program for rising executives. She previously worked on the campaigns for the $1.3 billion-grossing Marvel movie Black Panther, Will Smith's highest-grossing movie Aladdin at $1.05 billion and this year's Oscar-nominated Pixar pic Soul. Ali works closely with all aspects of the marketing group to develop and lead strategic marketing objectives for select theatrical films, as well as select films and series for Disney+.
EXCLUSIVE: We have learned that Anastasia Ali has been promoted to VP Marketing at Disney Studios Content and Jan Coleman has been upped to VP Global Marketing Partnerships, Promotions & Multicultural.
Ali has an MBA from UCLA Anderson School of Management and a BA from Brown University. She also worked in celebrity brand management, where she brokered deals with Toyota, P&G, the United Negro College Fund and the Ministry of Tourism of Trinidad and Tobago. Prior to joining Disney, Ali produced content for a global audience on digital and cable platforms including BET.com’s groundbreaking web series Buppies and TV One's first scripted show Love That Girl! which was nominated for four NAACP Image Awards and won the Visionary Award from the National Association for Multiculturalism in Communications. She is a first-generation American who is both Afro-Latina and Indo-Caribbean.
She is also focused on creating culturally relevant marketing partnerships with brands that authentically speak to multicultural consumers. This includes co-branded marketing campaigns and activations, placement integrations, global licensing and sponsorships of large-scale events. As VP of Global Marketing Partnerships, Promotions & Multicultural for the Walt Disney Studios, Coleman oversees creating, strategizing and negotiating multi-platform brand partnerships across the studio's multiple film brands: Disney, Pixar, Walt Disney Animation Studios, Lucasfilm, 20th Century and Disney+.
She co-founded Disney’s Black Employee Resource Group, The Bond, and along with Coleman co-founded rePRESENT, Studio Marketing’s center of excellence, focused on scaling multicultural marketing competencies and developing diverse talent.
“I am so grateful for the hard work, passion, and creativity that Jan and Anastasia have put into so many of our campaigns, and especially their dedication to authentically reaching our multicultural consumers. They are excellent leaders and I couldn’t be more excited for our road ahead as we embark on campaigns for an incredible slate of theatrical and streaming projects," said Disney Studios Content President of Marketing Asad Ayaz.
During her tenure at Disney, she launched and managed partnerships with brands such as Porsche, Bose, Sonos, MAC Cosmetics, P&G’s My Black is Beautiful, HP, Vizio, Whirlpool, Ancestry and Blue Apron. Coleman most recently worked on the promotional campaign for Soul.
Prior to Warner Bros, Coleman held positions at 20th Century Fox in Publicity and Promotional Partnerships, and MGM where she worked on the first global Visa integration and placement of BMW for the Bond film Tomorrow Never Dies. She also serves on the board of Kids in the Spotlight, a nonprofit organization that provides a platform for foster care youth to tell their stories through film.” /> Before joining Disney in 2011, Coleman worked on the Harry Potter Franchise Development team at Warner Bros, maximizing the breadth of the franchise across the studio's movie, television, interactive, digital and consumer products businesses including the opening of the Wizarding World of Harry Potter.

MTV Movie & TV Awards Nominations: ‘Emily In Paris’, ‘WandaVision’ & ‘RuPaul’s Drag Race’ Lead Nominations

BEST PERFORMANCE IN A SHOW
Acapulco Shore
Guest Judge Dominique Jackson Legendary – Law Roach vs.
T.J. Lavin – The Challenge
RuPaul’s Drag Race
Antonia Gentry – Ginny & Georgia
Ashley Park – Emily in Paris
Agatha WandaVision – Wanda vs.
Victoria Pedretti – The Haunting of Bly Manor
The Challenge
The Masked Singer
BEST PERFORMANCE IN A MOVIE
Elliot Page – The Umbrella Academy
Geordie Shore
Gal Gadot – Wonder Woman 1984
Jodie Comer & Sandra Oh – Killing Eve
Queer Eye
Evil Lives Here
Watch What Happens Live with Andy Cohen
MOST FRIGHTENED PERFORMANCE
Regé-Jean Page & Phoebe Dynevor – Bridgerton
RuPaul’s Drag Race UK” />
Kids Say the Darndest Things
Love & Hip Hop: Atlanta
Rickey Thompson
Catfish: The TV Show
Selena + Chef
Zendaya – Malcolm & Marie
BEST DUO
Nick Cannon Presents: Wild ‘N Out
Anthony Mackie – The Falcon and the Winter Soldier
Tiffany Haddish – Kids Say the Darndest Things
Judas and the Black Messiah
Below Deck Mediterranean
Elisabeth Moss – The Invisible Man
Paul Mescal – Normal People
Emily in Paris – Emily Cooper (Lily Collins) & Mindy Chen (Ashley Park)
Cardi Tries
The Real Housewives of Salt Lake City
RuPaul's Drag Race leads the unscripted nominations with a total of nine noms. The long-running drag race series is up for best competition series, best reality cast and best host among other categories.
Maitreyi Ramakrishnan & Jaren Lewison – Never Have I Ever
BEST COMEDIC PERFORMANCE
Chase Stokes & Madelyn Cline – Outer Banks
Nicholas Hoult – The Great
Annie Murphy – Schitt’s Creek
Sacha Baron Cohen – The Trial of the Chicago 7
BEST SHOW
Tamisha Iman Untucked: RuPaul's Drag Race – Kandy Muse vs.
Emma Corrin – The Crown
BEST FIGHT
Love & Hip Hop: Atlanta
BEST REALITY CAST
The Falcon and the Winter Soldier – Falcon (Anthony Mackie) & Winter Soldier (Sebastian Stan)
A Little Late with Lilly Singh
Tiger King: Murder, Mayhem and Madness
Nailed It!
Steppenwolf Zack Snyder’s Justice League – Final Fight vs.
Promising Young Woman
Simona Brown – Behind Her Eyes
RuPaul – RuPaul’s Drag Race
The Boys
Ex On The Beach
Lily Collins & Lucas Bravo – Emily in Paris
BEST MOVIE
The Mandalorian – Din Djarin (Pedro Pascal) & Grogu
Nicole Byer – Nailed It!
VH1 Family Reunion: Love & Hip Hop Edition
Fans can begin voting for their favorites today through April 30 at vote.mtv.com. Host, presenters and additional details for the 2021 MTV Movie & TV Awards will be revealed at a later date. MTV's Movie & TV Awards: Unscripted will air Monday, May 17, and celebrate the year's most notable reality shows.
Ewan McGregor – Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
Chadwick Boseman – Ma Rainey’s Black Bottom
BEST VILLAIN
Jersey Shore Family Vacation
The Breakfast Club
Vince Vaughn – Freaky
Impractical Jokers
BEST INTERNATIONAL REALITY SERIES
To All the Boys: Always and Forever
Black Ink Crew New York
The Real Housewives of Atlanta
Kim Kardashian West Keeping Up With The Kardashians – Kourtney Kardashian vs.
Cobra Kai
Bling Empire
Jalaiah Harmon
Anya Taylor-Joy – The Queen’s Gambit
Michaela Coel – I May Destroy You
Love Is Blind
MTV has unveiled the nominees for its live MTV Movie & TV Awards ceremony on Sunday, May 16.
RuPaul’s Drag Race
Ready to Love
Red Table Talk
BEST DATING SHOW
BEST HERO
WandaVision
Daniel Kaluuya – Judas and the Black Messiah
BEST HOST
Cobra Kai – Finale House Fight
Jack Quaid – The Boys
Selling Sunset – Chrishell Stause vs. Christine Quinn
Legendary
Soul
Floor Is Lava
BREAKTHROUGH PERFORMANCE
Carey Mulligan – Promising Young Woman
Regé-Jean Page – Bridgerton
BEST COMEDY / GAME SHOW
BREAKTHROUGH SOCIAL STAR
BEST REAL-LIFE MYSTERY OR CRIME SERIES
Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
Love Island (ITV)
Kathryn Hahn – WandaVision
Issa Rae – Insecure
BEST COMPETITION SERIES
Teresa Giudice The Real Housewives of New Jersey – Jackie Goldschneider vs.
Other notable nominees for the annual awards show are Chadwick Boseman, who received a posthumous nomination for his work in Ma Rainey's Black Bottom, first-time nominees including Carey Mulligan, Anya Taylor-Joy and Michaela Coel.
Bling Empire
Making The Cut
The Circle
Giancarlo Esposito – The Mandalorian
See the full list of nominations, including Unscripted nominees, below.
The MTV Movie & TV Awards will be executive produced by Den of Thieves co-founder Jesse Ignjatovic and Barb Bialkowski on behalf of Den of Thieves.
BEST KISS
Fixer Upper: Welcome Home
Bridgerton
Eric Andre – Bad Trip
Addison Rae
Unsolved Mysteries
Emily in Paris
Pedro Pascal – The Mandalorian
Charli D'Amelio
The Daily Show with Trevor Noah
Elizabeth Olsen – WandaVision
Rob Dyrdek – Ridiculousness
Netflix's Emily in Paris and Amazon's The Boys follow behind with four nominations a piece – both are also up for best show. Other nominees on the scripted side include Bridgerton, The Mandalorian and Borat Subsequent Moviefilm. Disney+'s WandaVision leads the scripted nominations with five noms for categories including best show, best performance in a show and best villain.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) – Final Funhouse Fight
Jersey Shore Family Vacation
Barb & Star Go To Vista Del Mar – Star (Kristen Wiig) & Barb (Annie Mumolo)
Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
BEST NEW UNSCRIPTED SERIES (brought to you by SONIC® Drive-In)
BEST LIFESTYLE SHOW
Stormfront The Boys – Starlight, Queen Maeve, Kimiko vs.
90 Day Fiancé
Teyonah Parris – WandaVision
BEST FIGHT
Aya Cash – The Boys
Bretman Rock
Deliciousness
Jason Sudeikis – Ted Lasso
Ridiculousness
The Bachelorette
Leslie Jones – Coming 2 America
Jurnee Smollett – Lovecraft Country
Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – Borat Sagdiyev (Sacha Baron Cohen) & Tutar Sagdiyev (Maria Bakalova)
BEST DOCU-REALITY SHOW
Night Stalker: The Hunt for a Serial Killer
COMPLETE LIST OF NOMINEES, UNSCRIPTED:
¡Nailed it! México
BEST TALK / TOPICAL SHOW
90 Day Fiancé

Edgar Ramírez To Star In ‘Florida Man’ Netflix Hourlong Series From Donald Todd & Aggregate

Todd, who will serve as showrunner, executive produces with Aggregate's Bateman and Costigan. The project stems from Aggregate's first-look deal with Netflix.
The series is not related to limited series Florida Man starring Joel Edgerton, which is in development at Anonymous Content. It based on Tom Cooper’s novel, with Graham Gordy writing.
2020 Netflix Pilots & Series Orders
Aggregate Films is behind Netflix's Emmy and SAG-winning Ozark, starring Bateman, HBO’s Emmy-nominated The Outsider, A Teacher, FX on Hulu’s  most viewed launch of 2020. At Apple, the company has upcoming series Lessons in Chemistry from Susannah Grant, starring Brie Larson. Aggregate's feature slate includes Netflix’s upcoming romantic comedy Your Place or Mine, co-produced with Reese Witherspoon’s Hello Sunshine (Witherspoon will also star) as well as the film Here Comes the Flood, which Bateman will direct from a script by Simon Kinberg.” />
Todd created the Christina Applegate-starring ABC comedy series Samantha Who?, which won an Emmy and a People’s Choice Award. He also has worked on NBC's This Is Us, ABC's Ugly Betty and Fox's Sleepy Hollow.
Ramírez is a two-time Golden Globe nominee for his performances as Carlos the Jackal in Carlos and as Gianni Versace in American Crime Story. He is repped by CAA, Impression Entertainment and Hirsch Wallerstein Hayum. Ramírez stars opposite Jennifer Garner in Netflix's movie Yes Day, which was estimated to be seen by 53 million households in the first four weeks. He recently starred opposite Nicole Kidman and Hugh Grant in HBO’s high-rated and award-winning limited series The Undoing. He soon will begin production on Borderlands and next will star in Disney’s Jungle Cruise and Universal’s The 355.
The series is described as a wild odyssey into a sunny place for shady people in the spirit of Body Heat and Elmore Leonard’s Out of Sight. In Florida Man, created by Todd, when a struggling ex-cop (Ramírez) is forced to return to his home state of Florida to find a Philly mobster’s runaway girlfriend, what should be a quick gig becomes a spiraling journey into buried family secrets and an increasingly futile attempt to do the right thing in a place where so much is wrong.
Netflix has given a formal eight-episode series order to Florida Man. Edgar Ramírez, star of the streamer's popular movie Yes Day, will headline the hourlong series from veteran TV writer producer Donald Todd and Jason Bateman & Michael Costigan's Aggregate Films.

Facebook Looks To Make Audio More Social With Podcast Integration, Clubhouse Rival And New Soundbites Format

Live Audio Rooms will be made available to the 1.8 billion Facebook users who take part in groups on the platform. Twitter and Reddit are also making moves in audio. The offering is an answer to services like Clubhouse, the live audio app that was recently valued at $4 billion in a fundraising round.
Eventually, all of the new audio material circulating on Facebook will be centralized in a hub, which the company says will facilitate sharing among users.” />
"Audio seamlessly fits within our busy lives, allows us to be inspired by new ideas, and talk with other like-minded people without pressure," Simo wrote in the post. "But we know there are more social experiences to create to help people say what they want to say, discover new voices they haven’t heard before, or exchange ideas at the speed of sound."
Simo said it will be a vessel for "short-form, creative audio clips for capturing anecdotes, jokes, moments of inspiration, poems, and many other things we haven’t yet imagined." Soundbites, which will start being tested over the next few months, is described as a brand-new format.
Facebook is making a major push into audio, integrating podcasts, establishing a live chat answer to Clubhouse and launching a new format called Soundbites.
The goal is to make audio a key element in the experience of Facebook's 2.8 billion monthly active users. The initiatives were highlighted by CEO Mark Zuckerberg in an interview on social chat site Discord, and then further explained in a blog post by Fidji Simo, head of the Facebook app.
The company wanted to take advantage of that surge by allowing users to play podcasts through the main platform instead of leaving. The integration is also aimed at enabling podcast creators to more easily connect with listeners via Facebook. More than 170 million people are already connected to hundreds of thousands of podcast pages on Facebook, Simo noted, and 35 million are members of podcast fan groups.

March On Broadway Organizers Call For Action From Producer Scott Rudin, Actors’ Equity And The Broadway League

Scott Rudin to be removed from the Broadway League – If he is not removed from the Broadway League, we want restoration. We want Scott to publicly choose 20 BIPOC run theatres and donate a LARGE SUM of money to them. "1.
"The Demands:
Topping the list of demands is a call for the Broadway League – the trade organization of theater owners and producers – to remove Rudin from its ranks, or, as an alternative, for Rudin to donate a "large sum of money" to 20 BIPOC-run theaters.
“We do not want this to be actors vs the union," said organizers Nattalyee Randall and Courtney Daniels in a statement, "we DO want the union to do its job and keep us safe."
Over the past weekend, Rudin announced that he would "step back" from active participation in his theater productions, which include Broadway's To Kill a Mockingbird, The Book of Mormon, West Side Story and the upcoming The Music Man, in response to a Hollywood Reporter article on allegations of workplace abuse. The Music Man costar Sutton Foster yesterday called Rudin's decision a "positive outcome."
See the full list of demands below.
"4. Achieve greater inclusion for trans, nonbinary, and gender-nonconforming artists.
Also over the weekend, Equity called on Rudin to release employees from non-disclosure agreements, a move subsequently supported by the Time's Up Foundation.” />
ET in Manhattan's Columbus Circle. Speakers scheduled to address participants include actors Eden Espinosa (Wicked), Ryan Vasquez (Hamilton, Waitress), Diamond Essence White (Dear Evan Hansen), Ashley De La Rosa (Mean Girls), Jaime Cepero (Smash) and actor Brandon Michael Nase, who founded Broadway for Racial Justice, among others. The protest march is set to begin Thursday, April 22 at 1 p.m.
We also want efforts to improve diversity within the council. We want visibility on how the national council votes for policies. "5.
Deadline has reached out to Actors' Equity and the Broadway League. Rudin's office had no comment.
The statement released by the March on Broadway organizers today lists the following:
"2. A full list of organizations that AEA is working with to help Black, Indigenous, and POC feel safer.
"6. We want to achieve greater inclusion for artists with visible and nonvisible differing abilities."
In addition, organizers said, the activists are calling on Equity to disclose a list of organizations that the union "is working with to help Black, Indigenous, and POC feel safer," and a "full report of how the 2020 Equity dues were spent and what percentage is being spent to help conversations around diversity."
The organizers of this week's March on Broadway: Broadway Fights Back event protesting racism and inequality in the theater industry have released a list of six demands, including calls for action involving stage and film producer Scott Rudin, Actors' Equity Association and the Broadway League.
A full report of how the 2020 Equity dues were spent and what percentage is being spent to help conversations around diversity. "3.

French Artist JR Teams With Imagine Documentaries & Impact Partners For ‘Paper & Glue’

"It’s the first documentary about my work that takes you inside my process and reveals the way my projects impact communities,” said JR.
Using unexpected canvasses, JR's intention is to give a global voice to everyday people through a genre-blending combination of public art, photography and large-format spectacle. EXCLUSIVE: Imagine Documentaries and Impact Partners have partnered on the feature documentary Paper & Glue. It is directed by renowned French artist JR about a very personal subject: his own artwork.
JR co-directed the Academy Award-nominated documentary Faces Places. Imagine’s Brian Grazer and Ron Howard are exec producers with Impact Partners' Jenny Raskin, Geralyn White Dreyfous and Lauren Haber. Paper & Glue is produced by Imagine Documentaries’ Sara Bernstein and Justin Wilkes, Dallas Brennan Rexer, and Marc Azoulay.
The film will make its debut at one of the spring festivals, and I hear that will likely be at the Tribeca Film Festival in June.
JR’s process in creating this film has been uniquely open and spirited – his optimism is infectious and much needed in the world right now.” Said Impact’s Jenny Raskin: "Collaborating with JR, Imagine Documentaries and the entire team behind Paper & Glue has been an uplifting experience at every step.
From early illicit graffiti videos captured on Paris rooftops at night to a monumental portrait set on the U.S.-Mexico border wall to a current collaboration in a California supermax prison, Paper & Glue uses the power of collaborative art to uplift communities and inspire self-expression. Told through JR’s first-person accounts, the film uses his vast personal archives to revisit and reveal rare behind-the-scenes moments in his life and work over the past 20 years. Interwoven into these emotional, reflective moments are dynamic, present-day, verité scenes of new work being created and new collaborations being forged.
Imagine’s Meredith Kaulfers is co-executive producer, along with Paula Froehle, Steve Cohen and Nina & David Fialkow.” /> The film is produced in association with Time Studio and Shark Island Institute, with Lynne Benioff and Marc Benioff executive producing for Time and Ian Darling executive producing for Shark Island Institute. Also executive producing are Jim & Susan Swartz, Patty Quillin and Regina K Scully.
In many ways, this film is the largest canvas he’s worked on to date and a timely opportunity to share the healing power of art with a global audience.” Said Imagine Documentaries president Justin Wilkes: “JR’s larger-than-life installations unite, inspire and empower all who come in contact with them.

Morrissey’s Manager Puts ‘The Simpsons’ On Blast For Spoofing British Singer: “It Only Serves To Insult The Artist”

"Morrissey has never made a 'cash grab' hasn't sued any people for their attacks, has never stopped performing great shows, and is still a serious vegan and supporter for animal rights," Katsis wrote. "By suggesting all of the above in this episode…the Simpson's hypocritical approach to their storyline says it all."
See the full Facebook post below.
The Simpsons recently struck a chord with former Smiths frontman Morrissey, whose manager Peter Katsis chewed out the long-running Fox animation show for "trying to capitalize on cheap controversy and expounding on vicious rumors."
While The Simpsons character may even look like the British rocker, the episode even features Morrissey-esque songs written by Flight of the Conchords' Bret McKenzie and Tim Long. Late Sunday evening Katsis shared a lengthy post on the singer's official Facebook page responding to the show's "Panic on the Streets of Springfield" episode. The episode, which aired on Sunday saw Lisa Simpson create an imaginary friend named Quilloughby who leads the band The Snuffs. Voiced by Benedict Cumberbatch, Quilloughby is a "depressed British singer from the 1980s" who may resemble the former frontman of The Smiths.
Katsis expressed even more dismay with the final depictions of the Morrissey-inspired character and defended the real singer from the cartoon.
Displeased with The Simpsons episode, Katsis continued to blast its depiction of Morrissey:
https://www.facebook.com/Morrissey/posts/304857347667167″ />
Far from what she envisioned, Quilloughby has gained weight, become greedy and has developed a penchant for racist and problematic comments. Though "Panic on the Streets of Springfield" kicks off with Lisa going out on the town with her new imaginary friend, it closes with Lisa seeing the real Quilloughby on stage.
"Poking fun at subjects is one thing. Even worse- calling the Morrissey character out for being a racist, without pointing out any specific instances, offers nothing. Other shows like SNL still do a great job at finding ways to inspire great satire," the post read. "But when a show stoops so low to use harshly hateful tactics like showing the Morrissey character with his belly hanging out of his shirt (when he has never looked like that at any point in his career) makes you wonder who the real hurtful, racist group is here. It only serves to insult the artist."

AnnaSophia Robb & Emory Cohen Set For Netflix Thriller ‘Rebel Ridge’

EXCLUSIVE: AnnaSophia Robb and Emory Cohen are the latest to join the cast of Rebel Ridge, the Netflix high-velocity thriller from writer and director Jeremy Saulnier. They join previously announced stars John Boyega, Don Johnson, James Badge Dale, Zsane Jhe, and James Cromwell.
His reps are ICM Partners, Harvest Talent Management, and Jackoway Austen Tyerman. Cohen, whose credits include The Place Beyond The Pines and Netflix's The OA, and will soon be seen in the dark comedy, Big Gold Brick, and Justin Chon's Blue Bayou.
 ” />
Anish Savjani, Neil Kopp, Vincent Savino, and Jeremy Saulnier are producing the project with Macon Blair and Louise Lovegrove serving as executive producers. The pic explores systemic American injustice in the context of bone-breaking action, ever-coiling suspense, and pitch-black humor.
Robb recently appeared in two critically acclaimed miniseries, The Act and Little Fires Everywhere, both on Hulu. Robb is repped by CAA, Untitled and Schreck Rose Dapello Adams Berlin & Dunham. Death, as well as Eytan Rockaway's Meyer Lansky biopic, Lansky. She'll next co-star in the Peacock limited series, Dr.

An Oscar Night Prayer: Lord, Grant Us Health, Security And Lots Of Joaquin Phoenix

I’m not especially religious. But, as they say, there are no atheists in foxholes. So I’d like to offer a short prayer for the much-delayed, Covid-weary 93rd Oscar ceremony, set for a week from tonight.
Amen.” />
More particularly, we pray that the many nominees and hangers-on who are flying here from around the globe will have observed their 10-day quarantine in strictest isolation, with no thought of slipping out for a pedicure or cocktails on Sunset. We don’t want to spread any Movieland variants.
Dear Lord, whoever and wherever You may be,
These films are very dour. Let someone be funny (and not wholly consumed by the show's Covid-safe narrative).
Feel free to join, amend, or delete, as the spirit moves you:
We implore you, Dear Lord, let the show be brief. Can the Oscars survive a minute over three? One hour was too much for the SAG Awards.
Please, Lord, let the Derek Chauvin jury deliberate for a while. We’ll have enough drama without an Oscar-week verdict.
Let no one mention Georgia voting laws. Hold that fight for Monday morning, after we've dealt with the ratings.
We humbly beg that Sunday’s Oscar show may come off without a hitch, which would a first, but it can’t hurt to ask.
Let the authorities secure Union Station, whatever complications that may cause on surrounding streets, never mind the police over-time budget.
I could listen to him talk about baby cows and his own scoundrel behavior forever and ever. But please, Lord, in Your infinite wisdom and mercy, grant Joaquin Phoenix a waiver from any time limits.

‘Lord Of The Rings’ Online Role-Playing Game Canceled By Amazon

Stalled contract negotiations have led to the cancellation by Amazon of an online role-playing game based on the Lord of the Rings series.
Amazon is heavily invested in the Lord of the Rings. It is now producing a TV show based on the books and films franchise, and has reportedly invested $465 million in its first season. That follows the $250 million used to secure the rights.” />
An Amazon spokesperson confirmed that to Bloomberg. “We have been unable to secure terms to proceed with this title at this time.”
Amazon's video game division has nixed the game, according to Bloomberg. The game had been announced in 2019 and has been in development at Amazon Game Studios in partnership with China's Leyou Technologies Holdings, which was bought by Tencent Holdings in December.
“We love the Lord of the Rings IP, and are disappointed that we won’t be bringing this game to customers,” said the Amazon statement. The snafu marks the latest setback for Amazon's game division, which has struggled, Bloomberg reported. The Amazon team working on the game will be moved to other projects.
That purchase resulted in a dispute between Amazon and Tencent, Bloomberg said, leading to the cancellation of the game.

Akua Njeri On Watching Personal Black Panther Tragedy Unfold In Best Pic Nominated ‘Judas And The Black Messiah,’ & Why She Doesn’t Believe Turncoat William O’Neal’s Suicide

DEADLINE: William O’Neal was exposed as the FBI’s inside source who helped set up the killing of your fiancé Chairman Fred Hampton, and eventually killed himself. Why did you go to his wake?
It was also important that other groups and organizations that were very present in the ‘60s and were shown during this film were not disrespected. This was a powerful piece. As much truth as possible, based on facts. Also, how William O’Neal was portrayed. It was a great group effort, I think and myself and Chairman Fred Hampton Jr were very happy to be the only cultural experts and consultants on the film. NJERI: It was important that the politics of the Black Panther Party were not compromised. I think that was done in the movie and a lot of people were amazed at how well Dominique captured me and how well Daniel captured Chairman Fred.
We see you being thrown around like a rag doll as the father of your child is killed. What was the toughest thing about raising a child in such chaos, hardship and grief? Soon, you became a mother. DEADLINE: We watch you, incredibly pregnant, have to go through this ordeal.
Njeri and the son she gave birth to shortly after, Fred Hampton Jr, are the flame keepers of Chairman Fred's memory, and they placed their faith in King and co-producers Ryan Coogler and Charles King to relive Hampton's live as a revolutionary. Back on December 4, 1969, Akua Njeri was Deborah Johnson, a 19-year old who was more than eight months pregnant with the child of her fiance Fred Hampton, the Chairman of the Chicago Chapter of the Black Panther Party. Here, Njeri explains why it was important to the legacies of Hampton Sr, and the Black Panthers, even though it meant seeing that painful night reenacted. Through the Shaka King-directed Judas and the Black Messiah, the tragic events of that evening are detailed in a gory scene in which FBI and local law enforcement agents burst through the door where they and 10 others slept. The film is up for six Oscars: Best Picture, Best Original Screenplay and Best Song, Cinematography, and Best Supporting Actor for its leads Daniel Kaluuya (Fred Hampton) and LaKeith Stanfield (O'Neal). They tossed aside the heavily pregnant Johnson (played by Dominique Fishback), and then gunned down  Hampton (who'd been slipped a sedative by confidante/FBI informant William O'Neal) as part of the FBI Cointel program.
NJERI: Yes.
Shocking. How complex was it to have to relive that moment in your life, that betrayal by an FBI informant? DEADLINE: You lives through O’Neal's betrayal of your fiance. I didn’t realized he had committed suicide until it was dropped in there are the end. What was it like to see it dramatized?
People would say, ‘y’all are not that important. The police considered this slave catching, and it’s hard for people to accept that, when for your whole life it has been drummed into your head that you can pull yourself up by your bootstraps and everybody is equal and we can all sit around and sing Kumbaya. I remember during the days of the Black Panther Party, we would tell people that the government waged war on the Black community, and that the number one threat identified by the FBI director J Edgar Hoover to the US security, was the Black Panther Party. His file began when he started organizing for recreational facilities where Black children couldn’t even go to the swimming pool, out in Maywood. Which is not the reality. This was before he got involved in the Black Panther Party. The government recognized his organizing skills, even at a young age. NJERI: The home Chairman Fred grew up in, the Hampton House we are engaged in a campaign to make a museum, his parents’ phone was tapped when he was 13 or 14 years old. Even the idea of this policing was brought about by slave catchers. Why would the US government want to wipe out the Black Panther party?' Then, when the documentation came from the government itself, people said, ‘Oh, I didn’t know that.’ And as much as we talked about and exposed it in the Black Panther newspaper, of incidents happening all over the country in attacks on our offices, massive arrests and destruction of any kind of donations that we got regarding our programs for medical care, social programs, breakfasts, medical programs, free shoes and clothing, people still didn’t want to believe the government would do that.
What is the most gratifying thing that came out of trusting these filmmakers and seeing your story told in a major studio films like this? DEADLINE: We briefly see Fred Hampton Sr in The Trial of the Chicago 7, and so his memory is preserved in two Best Picture Oscar nominated films, and we got to know his organizational skills and ability to unite people.
I had big plans. Because it didn’t look like O’Neal. There was a story of how, in a cocaine-induced high, he was very paranoid that somebody was going to get him. I don’t know if he was given a new identity or what, but I never believed that was O’Neal. NJERI: I really went to show my disrespect for O’Neal’s collaboration with the State in the assassination, providing them with a diagram of our apartment where Chairman Fred slept. And he ran out in the Eisenhower Expressway and got hit by a car and was killed. But when I got up to the casket and viewed him, I was frozen. I repeated to a member of the Black Panther Party who came up beside me, I said, that’s not him, that’s not him. I was going to spit in O’Neal’s face, and turn the casket over, among other things I had planned.
DEADLINE: As the filmmakers shaped the characters and narrative, what were your biggest concerns they needed to get right?
But I am very well pleased with the end product.” /> And I hope that those nominated for the movie win all the awards they can, for the sake of their careers.
NJERI: The Black Panther Party, which is chaired by Fred Hampton Jr, our committee met and discussed it. He had met Ryan Coogler previously, at a flea market, and they had some discussion about everything but the movie because it wasn’t in the mix yet. It went to one or two in the morning, and I learned a lot from Daniel who he was. We had a meeting at the Hampton House, which we are trying to save as a museum. It really clicked well and we went for doing the movie. It wasn’t always smooth sailing. Chairman Fred Jr asked someone to tour the worst neighborhood in Chicago, and they did. I met Ryan and Daniel, Dominique, Shaka and everybody and we had a seven hour meeting. They went to an area in K-Town in Chicago. But for the most part, we were very pleased with the movie, with the outcome. We had a lot of debates, arguments, fights. They convinced us they were here to learn, and not to tell us who the Black Panther Party was, or who we were. As are many people. They had never been to Chicago that I knew, and went at 2AM and it just happened to be at a time when people were killed.
DEADLINE: It is hard for many to imagine that the targeted assassination of Fred Hampton in Judas and the Black Messiah could happen to an American citizen. What made you say yes to bringing that tragic night to the forefront?
And I said to him, 'you’re doing a damn great job, but I just can’t hug you. He was O’Neal, with his mannerisms, the things he did. I’m really proud of the movie and that I was able to be part of it. Because you are Bill.' But he brought it, he really brought it. It’s always difficult, because I just don’t talk about it or watch it, I relive it, at some point. It was just so damn powerful. I still, today, haven’t watched the movie all the way through. Those attacks continue today. NJERI: Before watching it onscreen, I watched LaKeith Stanfield in action. It’s bringing up a lot of emotions, but this movie is an opportunity for people to have real discussion about the government and its relationship and its attack on the Black Panther Party, and that legacy. I’ll get up and pretend I have to go to the bathroom, to get a break. I think all the actors did a magnificent job, in bringing that portrayal to audiences today, right now.
Billie Holliday, where, rather than try to stop the lynching of Black people, the FBI instead focused on tormenting Holliday to stop her from singing Strange Fruit. Why the law enforcement obsession on Fred Hampton? DEADLINE: You see the twisted obsessions of law enforcement in Judas and the Black Messiah and another awards contender film The United States Vs.
DEADLINE: You believe that, as opposed to the suicide theory?
It’s a lot of shaking up the old guard. Not only on the job, but they would come around and we would have discussions with them so they could become more familiar with the real story. NJERI: The whole crew, they were willing to listen and to learn, even the actors. And not just accept the words of politicians or quote unquote activists. There still is a lot of misinformation out there but I think the movie is so powerful it keeps the conversation going and it challenges people to question everything they see and read, to try and find some truth in what’s being projected. Even aside from that, it’s moving a lot of people to doing some kind of action. It has given people an option, to be able to speak with their own voices, in their own communities. Not necessarily old guard meaning old people; I’m talking about questioning young leaders who are popping up, salaried, and taking over the movement, and our ability to speak for ourselves. I think it’s created a great debate and a lot of discussion and conversation about what is going on.
And my being the mother of this baby, and our son being the child of two revolutionaries. The doctor reminded me, ‘No, Mother, you wanted a natural birth, which I went through and was glad I did. I would have those talks with him, whether or not he could respond, even as a baby. NJERI: I guess I told myself in my head I had a responsibility to take care of our son. I knew that I would have to combat a whole lot of misinformation and lies about the Black Panther Party and untruths. And it was very difficult through that process, down to the birth. I wanted to give him the best possible information he could have so he could better navigate the world, and his life, being who he was. I said to the doctor that I wanted natural childbirth, though my fear of seeing blood might kind of overwhelm me. As our child grew and developed, and even before he could talk or walk or even sit up, I would tell him about his father and the Black Panther Party, how it started, and everything I could get my hands on.

‘News Of The World’ Composer James Newton Howard On Crafting An Oscar-Nominated Score To “Tell A Story Of Healing And Redemption”

And we would hand over the scene completely to sound effects, which I think is a really smart way of doing it. HOWARD: For every film composer, that's always a calculation and a negotiation, if you will. I'm a firm believer that the thing that makes a film’s score particularly successful is when it's not episodic and you feel like it’s able to seamlessly tell the story from one scene to the next. I always feel like Tom Hanks' character in that moment sees the chief, and he just feels embarrassed almost to have been caught so ill-equipped with this girl in the middle of the desert, and then he sees that it's not going to be a hostile encounter but, in fact, they are being gifted a horse by these people who had everything taken away from them already. The ideal situation is when sound effects and music sort of, I don’t mean to get poetic about it, but really do a dance together. And in that situation, I knew the whole opening, where they’re dying of thirst, I could really be ridiculously spare and do almost something that sounded like a dried-up skeleton. I don't know that I did that, but that's certainly what I tried to do. And then of course, as the Kiowa nation people appear, it starts off in a very ambient, rather abstract way. The emotion of that scene does become overwhelming but it's a slow and careful transition from one situation to the next. Because sound effects are central to every movie. I just increased the orchestration as the dust storm came, and then Paul and I agreed that at a certain point in the dust storm the music would fade away. You know, it was just so harsh and minimal.
DEADLINE: What part of your work on the News of the World score are you the most proud of?
HOWARD: I feel that I did a good job of telling the same story that Paul wanted me to tell. I felt that music did that.” /> Paul wanted to tell a story of healing and redemption as these two characters try to fit in to a world that is completely destroyed.
How did you accomplish that musically? DEADLINE: While the broken consort becomes grander as the movie goes on, it seems like the consort gets a little bit more cohesive throughout, culminating in the ending credits theme, which is very grand.
How did you do that while battling with the raging sound of the dust storm? There was so much emotion that got evoked throughout that scene, in the score specifically. It’s very minimal, but then it grows at the end as it transitions into Johanna meeting the Kiowa tribe. DEADLINE: My favorite part of the score was during the dust storm.
And then there was a moment if you recall, where Kidd and the Johanna traveled to Dallas, which was the beginnings of a big bustling city that is complete with tons of activity and commerce and lots of people. Basically, the theme you hear was a theme to accompany them while they were on the road to Dallas. So, I wrote it up. And there was another scene where he decides to go back to Johanna at that wonderful moment of clarity after he's visited his late wife's grave. Not that there was much romance in this movie, but I was always looking for an opportunity to write a big Western theme as I was working on the movie, but there really wasn't a spot do that in the first act. And I thought, aha, here's my opportunity to write my first big scene. NEWTON HOWARD: Well, because my favorite genre or type of movie to do is a big, epic outdoor romance adventure. And then he comes to the correct understanding of what he has to do. He gets on his horse, he goes streaking across the New Mexico desert. And that really became like a road trip. It's a great moment and I wrote it fairly large thematic piece for that whole scene.
We put a group of those people in the middle of the room and then surrounded them with a traditional large orchestra, and I think what we ended up with was this fragile core with a very self-assured surrounding. These look somewhat like traditional string instruments, but there's a technique to play them that is quite different. You can feel them slowly drawing the bow across the strings, rather than digging in with a bow into the string. The way I approached it was I took the group of musicians who specialized in playing what we call ancient instruments that would include the cello d’amores, viola da gambas, and gut-string fiddles. I know that sounds a little bit technical, but it really gives you this wonderful droning, kind of journeying sound. And I think in this case, we executed it pretty effectively. NEWTON HOWARD: The broken consort was indeed a concept that Paul came up with.
Newton Howard, along with director Paul Greengrass and editor Billy Goldenberg, decided to start the score with the idea of a “broken consort” of musicians to represent the broken nature of the world and main characters. “This may be a big Western, with big characters and landscapes,” Newton Howard says, “but it’s a much more introspective movie.” The story follows Captain Kidd (Tom Hanks), who agrees to deliver a girl, Johanna (Helena Zengel), to her only living relatives, after she was taken by the Kiowa people. James Newton Howard is no stranger to the Western. Here, Newton Howard describes his approach to writing a score to track a healing journey. He composed the scores for Wyatt Earp and Hidalgo, but the music for News of the World required a different touch.
DEADLINE: Paul Greengrass wrote about the two of you and the editor, Billy Goldenberg, agreeing that the score should be as if “a consort of players broken by years of civil war and division and hatred had finally reformed.” How did you go about achieving that?

‘Fuller House’ Star John Stamos Talks About Olsen Twins Absence From The Reboot

The show, which updated the late '80s to mid-'90s sitcom, had most of the original cast back. But the twins opted not to reprise their joint role as Michelle Tanner in the follow-up
Stamos also said the finale of Fuller House was particularly emotional because the original show never had a "farewell" episode.
Ashley reportedly said, “I have not been in front of a camera since I was 17, and I don’t feel comfortable acting.” Producer Bob Boyett told People that producers were told before the Netflix update bowed in 2016 that the twins weren't comfortable.
“When we did the original series, we got canceled, and we knew like a week before, and we were just doing a regular last show. We never really did the final show. So, it was pretty emotional.”” />
John Stamos said he was "disappointed" that twins Mary-Kate and Ashley Olsen didn't make a cameo appearance in the Netflix series "Fuller House."
“I remember Lori [Loughlin] saying to me, ‘They won two or three CFDA [Fashion] Awards.’ That’s like winning two or three Oscars,” he said. “If you won three Oscars, would you come back and do this? I was like, ‘Eh, maybe not.’”
Cohen asked, “Were you surprised that the Olsens never made an appearance on the show, or you knew when they said ‘We’re not doing it’ that they weren’t doing it?”
“Mary-Kate said, ‘It would have to be me because Ash doesn’t want to do it. But the timing is so bad for us,’” Boyett said.
Stamos, who played Jesse Katsopolis on the show, made his remarks on Andy Cohen's Watch What Happens Live. The show was done remotely with Stamos.
Stamos allowed that the cast was “disappointed, but we understood.
The Olsens, who have built a large career as entrepreneurs, have rarely appeared in front of a camera.

SAG-AFTRA Board Approves Diversity Action Plan & More Dues Relief During Pandemic

The board also approved the the fiscal year 2022 budget, and a Finance/Executive Committee recommendation to extend the dues relief program for the upcoming May dues period. In their finance report, national secretary-treasurer Camryn Manheim and chief financial officer Arianna Ozzanto said that the fiscal year 2021 actuals have performed better than planned, and confirmed that the union’s application for a government PPP loan had been recently approved and funded.
He also highlighted several upcoming innovations the union is planning, including the launch of a dedicated Producer’s Portal, which will make it easier to hire SAG-AFTRA members, and provided updates on recent initiatives like the online enrollment tool, digital claims tracker, and online cast clearance portal. He also spoke about the addition of the Micro-Budget and Influencer agreement application process to the SAG-AFTRA website, and detailed the success of SAG-AFTRA’s Labor, Innovation & Technology Summit, which took place in February.
The plan also establishes diversity committees serving the Middle Eastern and North African (MENA) and Latino communities; directs the creation and distribution of an inclusive practices guide for broadcast journalists; strengthens partnerships with organizations conducting diversity and inclusion research, and recommends campaigns to promote the union’s Low Budget contracts and their diversity incentives. profiles.
In the wake of last week's Stop the Hate summit, SAG-AFTRA’s national board has approved a Diversity Action Plan that includes provisions for implicit bias training for its national and local board members.
The board, meeting virtually on Saturday, also adopted a new membership rule – Rule 7 – that explicitly prohibits harassment and abuse, including sexual harassment, intimidation, and retaliation for the filing of complaints, and makes violations subject to disciplinary action.
The board also approved several local constitutional amendments, and established a puppeteers committee and podcast committee.” /> Damon and Crabtree-Ireland also reported on the upcoming SAG-AFTRA Convention and on recommendations relating to a number of governance matters: in addition to the new Rule 7, the national board approved the submission of a proposed constitutional amendment to extend the statute of limitations on member disciplinary charges relating to sexual harassment, abuse, and assault – from six months to ten years.
Rebecca Damon, the union’s executive vice president Rebecca Damon, who is also chair of the Innovation and New Technology Committee, reported on February’s 2021 Labor Innovation & Technology summit, co-sponsored by SAG-AFTRA and the AFL-CIO, that explored the impact of technology on the guild’s members.
He also announced the approval of the advertising industry’s Safety Protocols Agreement, which will codifies existing safety protocols for commercials producers.
In his report to the board, White gave an update on projects to prevent sexual harassment, including the development of the sexual harassment reporting app and the next phase of the union's intimacy coordinators project. Thanking Carteris and the union's Government Affairs and Public Policy team for their legislative advocacy, White noted several successful initiatives, including the CARES Act, American Rescue Plan, tax reforms and incentives, and digital image rights.
That agreement, which expires on April 30, is expected to take up the issue of whether or not casts and crews will have to be vaccinated in order to report for work. Duncan Crabtree-Ireland, the union’s chief operating officer & general counsel, reported on the upcoming re-negotiation of the Return to Work Agreement with management’s AMPTP and other industry unions.

SAG-AFTRA Panel Explores Efforts To Combat Hate Against Asian Americans


“But collective action aggregating the power of our individual members makes achieving real change truly possible." "Taking action to stop the hate starts with each of us," said David White, the union’s national executive director.
White also provided an update of the union’s operations, gains in member services, member education and engagement, and reported on how the union has maintained core functions during the pandemic, and the resilience of members and staff over the past year.

Casting Professionals Banned From Holding SAG-AFTRA Office


“Stop The Hate week has been all about taking action to support and protect our members from diverse communities, many of whom are under direct threat and facing violent attacks,” said SAG-AFTRA president Gabrielle Carteris. “The action plan approved by our national board advances concrete actions to stem the tide of hate.”
The national board also authorized a fourth-month extension of the National Code of Fair Practice for Network Television Broadcasting contract, and approved a number of proposals for bargaining.
Now deemed to be “management” personnel, casting professionals will also be barred from serving as members of SAG-AFTRA negotiating committees, and as delegates to the union’s biennial conventions. As reported here last night, the board also approved a resolution that was passed overwhelmingly at the union's 2019 Convention that bans casting professionals who are also actors from running for elected office at SAG-AFTRA.
He also highlighted the FAIR Act (Free Artists from Industry Restrictions), a California bill that would prohibit the use of unfair and outdated contract provisions that hold actors and recording artists off the market and unable to work for unreasonably long periods of time.

With Hollywood’s Return-To-Work Agreement Up For Renegotiation, Vaccinations Could Be On The Table


In her President’s Report, Carteris gave an update on the union’s ongoing legislative work; its continued efforts to combat sexual harassment; and its diversity and inclusion efforts, including a report on the union’s stunt diversity task force. She also noted that she and White will appear with Stacey Abrams, founder of Fair Fight Action, to discuss voting rights in a virtual conversation on April 21.

‘Godzilla Vs Kong’ Nears $400M Worldwide; ‘Detective Conan: The Scarlet Bullet’ Wins Weekend Round – International Box Office

MISC UPDATED CUMES/NOTABLE
In China, the Adam Wingard-directed GVK has become the highest grossing pic of the Monsterverse. In like-for-like overseas plays and at today’s exchange rates, GVK continues to track ahead of Kong: Skull Island (+7%), Godzilla: King Of The Monsters (+45%) and Godzilla (+96%). The cume there is now estimated at $177.1M through Sunday. In IMAX, GVK has hit $35M worldwide with China at $22M.
2, followed by No. 2 behind the start of Chernobyl. Thailand held No. Australia, as well as a number of smaller markets, will release next weekend. Russia led play again, adding $1.9M and landing No. After its debut last session, the international box office cume is now $19.2M. 1 in the sophomore session and has grossed $862K to date. Elsewhere, WB/New Line’s Mortal Kombat was game for $5.7M from 6,128 screens in 28 offshore markets. Mexico debuted this session with $725K at No. 1 starts in Indonesia ($666K) and Spain ($578K). It’s still tracking ahead of GVK and has a $9.6M cume so far.

The last was Detective Conan: The Fist Of Blue Sapphire which grossed nearly $90M in the home market. Directed by Tomoka Nagaoka, the latest story of the boy detective was originally due to be released in April 2020, but was delayed by the pandemic. Up to 2020, a new Detective Conan movie had been released every year.
The gross there is now $13.5M, with good word of mouth and midweek business amid holidays. Meanwhile, Sony’s Peter Rabbit 2: The Runaway keeps hopping along in Australia, regaining the No. The full weekend, which reflects early release versus the rest of the world, was $2.4M for an offshore cume of $14.7M. 1 spot in its 4th session with $2.2M.
Promising Young Woman (UNI): $343K intl weekend (15 UPI markets); $1.5M intl cume/$7.8M global
The Japan IMAX opening on The Scarlet Bullet was $1.2M from 38 screens for a $32K per-screen average. This is the 3rd best debut for IMAX in the market during the pandemic era and the 4th best for a local title ever. This despite emergency measures enacted in some areas last weekend owing to Covid, and Osaka seeing spikes in the past several days. It is further the 8th biggest IMAX debut of all time in the market, overtaking Rogue One and The Force Awakens. Following the recent success of Demon Slayer The Movie: Mugen Train (which releases in North America next Friday), Japan has been on a hot streak of late, notably with IMAX screens.
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This is the biggest Taiwanese film released during the pandemic. The local cume is $8.6M on the Sony-distributed title. In notable local performances, Taiwan romantic drama Man In Love, a remake of the 2014 Korean film, has held the top spot for three weeks in a row in the market.
Refresh for latest…: Warner Bros/Legendary’s Godzilla Vs Kong is approaching the $400M global mark, as it topped $300M at the international box office this weekend. After overtaking Tenet as the No. 1 grossing movie of the pandemic era domestically last weekend, GVK has also now surpassed that film to boast the same honors for a Hollywood title internationally and globally. Adding $12.2M from 41 overseas markets (a good -49% hold), the monsters have cumed an estimated $309.7M offshore for $390.2M worldwide through Sunday.
Nobody (UNI): $1.38M intl weekend (13 markets); $15.5M intl cume/$34.5M global
While it has dominated global play over the past few weeks, GVK this session ceded the top spot to Toho’s Detective Conan: The Scarlet Bullet. 1 in China with an estimated RMB 109.6M ($16.8M). Numbers for Japan will be updated on Monday, but in the meantime, The Scarlet Bullet was No. The 24th movie in the long-running anime franchise bowed in Japan and China as well as a handful of other markets, and our sources are estimating a $35M-$38M opening weekend. The film is carrying an 8.6 on Maoyan, but a lower 6.1 from reviews site Douban.
Tom & Jerry (WB): $2.3M intl weekend; $62.8M intl cume/$105.4M global

Oscar-Nominated Costume Designer Alexandra Byrne On ‘Emma’: It’s About “Individuality And Spontaneity And The Character”

“The combination of the fashion plate and looking at the original garments lets you understand them as clothes rather than costumes.” Based on the Jane Austen novel of the same name, and starring Anya Taylor-Joy in the eponymous role, Emma follows Emma Woodhouse, a young woman who spends her time meddling in the romantic lives of those around her. “The reason I like this period is that it’s the beginning of fashion plates being published for women,” Byrne says. Here, Byrne digs into her fresh, personality-focused approach to a well-loved period story. In preparation for Autumn de Wilde’s Emma, costume designer Alexandra Byrne spent her time researching her favorite time period for clothing.
DEADLINE: Looking back at that, what do you think is the biggest thing you've learned since then that really helped your work on Emma?
DEADLINE: How did you get involved with Emma?
So, it's a very different research process. Whereas now we work at completely the other end of that scale, where through the Internet, we're inundated with images, a lot of which are inaccurate. So, it reminded me when I was doing Emma, that sometimes you just have to trust your instinct and not overwork things. But actually, what I found interesting was when I was working with Persuasion, it was my first film and I was working with the energy and confidence of total naivete of not knowing what I was doing. BYRNE: Some, but actually it was more of a personal kind of inspiration. I was very aware that when I worked on Persuasion, it was pre-Internet, and I remembered how hard it was to find the research and to find image reference.
DEADLINE: One of my favorite costumes in the movie is definitely a Bill Nighy robe that seems to almost blend into the chair.
I think that side of it has become inherent and a process and a way of working in an understanding of fabric. And sometimes it's good to just realize that you do know what you're doing. It's only when you revisit things that you realize how much you’ve learned and how much experience you’ve accrued on the way. So I'm more experienced and I have a wider range of storytelling. You don't have a career ladder that you measure where you've got to. I think for everybody who freelances it’s quite the interesting thing about the job is that there is no career structure. BYRNE: I suppose I see the job of a costume designer is to help the director tell the story they want to tell. Most of the time, I suddenly go into a project thinking, How is this going to work?
Researching that, I spent a lot of time at the V&A [museum in London] looking through their archives and their original pieces. And I found this dressing robe that I'd never seen before that had the built-in waistcoat and the robe all made in the same fabric. I think it was, it was a very individual and inspired period for clothes.” /> BYRNE: So that actually was a really interesting thing because the inspiration from that did come from Persuasion. So there goes the answer to your first question about what I learned from Persuasion that carries through to Emma, but the reason I like this period is that it is the beginning of fashion plates being published for women. And that was really the beginning of the images playing a crucial part in securing the definition of fashion as a kind of cosmopolitan phenomenon, but then to dovetail with that in terms of research, there are a lot of garments that still exist in the museum. I got the feeling that you could show a fashion plate to 10 different households in that period. So, the combination of the fashion plate to looking at the original garments, to understand them as clothes, rather than costumes, it’s a bit like somebody in 200 years’ time looking at copies of Vogue and thinking that's how we all live. You begin to understand the individuality and spontaneity and the character, and that there are no sewing machines, everything is handmade, fabrics are much lighter weight than we imagined. And I mean, just understand the spirit. And, and you'd get 10 very, very different looks because the end garment is a combination of the sewing skills or somebody's taste and their finances as to what they would actually make. And I just thought it was such an amazing garment that I wanted to reuse that idea in this film.
How much inspiration do you think you took from that into Emma? DEADLINE: You mentioned your past work on a different Jane Eyre movie, Persuasion.
I really like her writing and Autumn had a very particular view, or way she wanted to tell the story for Emma. We had lunch and she told me she was doing this film and she told me her ideas and it started there. It's a very exciting pitch. And it was very clear from my first meeting that she loves clothes, she loves color, she loves fabric. What attracted me to the film was my very first film that I designed was a Jane Austen. And I worked very hard on research and in order to start the process and I just thought that it would be great to work with them. So that's obviously very attractive and she wants to know all about the period. ALEXANDRA BYRNE: I met Autumn [de Wilde] when I was in L.A., I think at the tail end of publicity for Mary Queen of Scots.

Dr. Drew’s Nomination For L.A. Homeless Services Commission Draws Outrage

He has claimed that the primary drivers of L.A. County's homeless crisis is rooted in the lack of services for the treatment of mental illness and drug addiction, not in the lack of housing. Pinsky, age 62, has expressed surprise that his nomination has proved so controversial, given his longtime work in the mental health and addiction fields.
His nomination by Los Angeles County Supervisor Kathryn Barger has drawn outage and incredulity, since Pinsky, a television celebrity and addiction medication specialist, has been outspoken in his belief that California has mishandled the homelessness crisis. Some homeless advocates went so far as to believe the all-too-real nomination was a joke.
His appointment is scheduled to be discussed at a Tuesday meeting of the Board of Supervisors. The commission that would have Pinsky has authority on budgets, funding, planning and programming policy for the homeless.
He once termed Covid-19 a "press-induced panic" before backing down and apologizing. Pinsky is no stranger to controversy, even beyond his television appearances.
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"Something is dreadfully wrong and people are dying," said Pinsky, who lives in Pasadena. That doesn’t mean that’s all that’s out there." "That's my biggest concern, and when I go out and talk to homeless people, I encounter my patients, almost exclusively.
He added, "I don’t think most people in the public understand what is really needed and the depths of services that are required" to solve homelessness, he said.
"Even on a surface level, why are you (appointing) a celebrity doctor — and I use the term 'doctor' loosely — that has recent activity with being a COVID denier?"
Opponents countered that he would promote harmful views. Barger said Pinsky would bring a "fresh perspective" to the commission.
Mark Horvath, founder of nonprofit Invisible People, questioned the nomination.
Dr. Drew Pinsky has been nominated for a spot on the Los Angeles Homeless Services Authority, a commission of city and county elected officials.

Alma Wahlberg Dies: Mother To Mark And Donnie Wahlberg Was 78

No information on survivors or a memorial was immediately available.
 
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Wahlberg in 1965. They had nine children and she also worked as a bank clerk and nurse’s aide. Alma Wahlberg grew up in the Dorchester area of Boston and married Donald E. Alma and Donald divorced in 1982, and Donald died in 2008.
“I love you, miss you, thank you and will celebrate you, today and always.” “It’s time to rest peacefully, mom,” Donnie, 51, wrote in a long post alongside a video obituary.
She was 78 and her death was confirmed Sunday on social media by her sons, although her date of death was not clarified. Alma Wahlberg, mother to actors Mark and Donnie Wahlberg and a regular on the A&E reality series Wahlburgers, has died from an undisclosed illness.
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She became a public figure as a regular on the family's reality show, Wahlburgers, which ran for 10 seasons from 2014 to 2019. Alma was a greeter and hostess at her sons’ restaurants, including Paul’s Alma Nove, which was named after her. She was featured in 27 episodes of the show, which focused on the family's restaurant business.
Rest in peace,” Mark, 49, wrote on Instagram with a photo of his mother in healthier times. “My angel.

Charles “Chuck” Geschke Dies: Co-Founder of Adobe Inc., Which Developed The PDF, Was 81

Survivors include wife Nan Geschke. No memorial plans have been announced.” />
“This is a huge loss for the entire Adobe community and the technology industry, for whom he has been a guide and hero for decades,” Adobe CEO Shantanu Narayen wrote in an email to the company’s employees.
His death was confirmed by the company but no cause was given. developed the ubiquitous Portable Document Format technology, or PDFs, died Friday at age 81 in Los Altos, Calif. Charles “Chuck” Geschke, whose software company Adobe Inc.
That's where he met Warnock, and in 1982, they founded Adobe, developing software together. After earning a doctorate from Carnegie Mellon University, Geschke began working at Xerox Palo Alto Research Center.
In a strange footnote to his life, Geschke survived a 1992 kidnapping, according to a San Jose Mercury News report.
“As co-founders of Adobe, Chuck and John Warnock developed groundbreaking software that has revolutionized how people create and communicate,” Narayen said. Chuck instilled a relentless drive for innovation in the company, resulting in some of the most transformative software inventions, including the ubiquitous PDF, Acrobat, Illustrator, Premiere Pro and Photoshop.” “Their first product was Adobe PostScript, an innovative technology that provided a radical new way to print text and images on paper and sparked the desktop publishing revolution.
In 2009, President Barack Obama awarded Geschke and Warnock the National Medal of Technology.
Eventually, a suspect was nabbed with $650,000 in ransom money and led police to the hideout where Geschke was held. Two men seized Geschke, then 52, at gunpoint when he arrived at work one morning, and took him to Hollister, Calif., where he was held for four days.

UPDATE: Time’s Up Joins Actors’ Equity Calls On Broadway Producer Scott Rudin To Release Employees From NDAs

https://twitter.com/ActorsEquity/status/1383456096673689605″ />
We hope that Scott Rudin will also release his staff from any nondisclosure agreements they may have signed as a condition of employment. “We salute the courage of those who came forward.
The Equity statement was issued shortly after Rudin announced today that he would relinquish "active participation" in his Broadway productions to "others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows."
Doing so is critical to truly creating workplaces where every employee feels safe and respected across all industries.” That’s why Time's Up demands Scott Rudin release his former staff from any nondisclosure agreements. We still don’t know the full extent of what occurred. “No one should have to endure the kind of abhorrent mistreatment that has been reported and live under fear of retaliation.
Some members of Equity have been calling upon the union to place Rudin on the "Do Not Work" list, and have spread word on Instagram of a March on Broadway this Wednesday to protest Rudin as well as social justice issues related to the Broadway industry.
EARLIER: Actors' Equity Association is calling on producer Scott Rudin, who "stepped back" from his Broadway productions today in response to allegations of workplace abuse, to release employees from nondisclosure agreements.
For far too long, this abusive behavior has been a stepping stone to success in Hollywood and on Broadway — but those days are over. “First and foremost, we owe a debt of gratitude to the brave employees who came forward with allegations of workplace bullying and harassment against Scott Rudin.
Earlier this week, Equity, along with SAG-AFTRA and American Federation of Musicians Local 802, issued a joint statement condemning harassment, bullying and toxic environments and pledging "to hold accountable those who violate human and legal norms of fair, respectful and dignified conduct in the workplace." The statement did not specifically name Rudin.
It is not the end of our work to ensure a workplace safe for everyone in the industry as we work toward reopening.” "This is an important step in creating truly safe and harassment-free theatrical workplaces on Broadway and beyond.
UPDATE: Tina Schen, president and CEO of the Time's Up Foundation, added her voice today to those calling for producer Scott Rudin to release employees from prior non-disclosure agreements.
“Since news reports emerged about Scott Rudin, we have had many private conversations with our sibling unions and the Broadway League," said Equity President Kate Shindle and Executive Director Mary McColl. "We have heard from hundreds of members that these allegations are inexcusable, and everyone deserves a safe workplace whether they are a union member or not.

‘Godzilla Vs. Kong’ Leading Quiet Weekend At The B.O. As Town Grapples With Arclight & Cinerama Dome Closures


Sony's third Friday of The Unholy did an estimated $590K, -16% from a week ago, on 2,057 theaters (+207) for an estimated 3-day in third place of $2.1M, -13%, and a running total of $9.6M.
https://www.instagram.com/p/CNkvASinugv/
Looking ahead to the social media buzz on Mortal Kombat next weekend, as we first told you, the red-band trailer scored a massive 116M views, the second-best for a trailer drop of that type after Warner Bros.' James Gunn R-rated The Suicide Squad. RelishMix is spotting a lot of heat here on this videogame feature adaptation reboot.
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Activity on the meter is strong for fresh materials, given a shortened runway of six weeks. The film has an added advantage of the momentum of Warners releases in the social quadrangulated cross-promotion across Warner Pictures 54.7M, HBO Max 2.5M, Warner Games 1.1M and New Line Cinema social at 355K feeding the movie’s social network at 328K," reports the analytics corp. "Intermixed with trailers and clips from previous Mortal Kombat movies, TV series, game play materials, plus picture-in-picture posting over more than 10 years — and views for the top ten videos at 452M on top of the social media universe specific to this film at 141.2M, the general awareness for the brand is exceptional.
generated over $905M, and that local chain fueled 11% of that number. Conversations with sources this past week believe these theaters will come back, it's just a matter of who, when and whether it's Decurion in some shape or form in the end as a minority partner. In 2019, L.A. It's where an indie film from a budding filmmaker can debut, and ultimately crossover and shine and make a long-term career of it. Seriously, studios can't live without that money, plus the Hollywood Arclight and Cinerama Dome are launch-point theaters. Also, this week's news of Arclight/Pacific Theaters shuttering is a huge dent to the L.A. theatrical marketplace.
25 and is clocking north of 206K views on YouTube. In regards to notable materials on social, RelishMix applauds the fan reaction trailer which dropped on Feb.
He counts 2.2M fans across Facebook, Instagram and Twitter. In regards to the social media star in the cast, that's Joe Taslim who plays Bi-Han/Sub-zero in the film.
Kong is still in charge with $2.075M on Friday, -47% from a week ago, at 3,001 theaters and a current running total of $74.9M. SATURDAY AM UPDATE:  With no new wide releases, and New Line's Mortal Kombat pushed to next weekend, Warner Bros./Legendary's Godzilla vs. The three-day is expected to be $7.1M, -49%, with a new domestic take EOD Sunday near $80M.
Even though Godzilla vs. Really, Cuomo, that's gotta stop. I mean, New York City is still at 25% capacity. to wake up. Kong lit the domestic box office on fire over Easter weekend, we're still in a holding pattern here, waiting for the domestic B.O.
In regards to Netflix, despite their purchases of the Paris and American Cinematheque, they have no yearnings to own a greater theater and stray beyond their wheelhouse of streaming. Everything out there is pure speculation and not solid, as Arclight/Pacific/Decurion has gone radio silent in their lease negotiations. But all of this is a gut check to the motion picture industry: If you want to truly mess around with theatrical windows and do audacious things like play day-and-date on streaming, this is what happens. Movie theaters close down, especially as they try to resuscitate themselves after a year of lockdown. In regards to those kicking the tires, I can tell you it's not Alamo (which is contending with bankruptcy), AMC, or Netflix.
Disney's Raya and the Last Dragon at 1,945 theaters in weekend 7 did $471K yesterday, -18%, for an anticipated 3-day of $1.69M, -23%, for a total of $37.4M.
Warner Bros. Tom & Jerry looks to rank 5th for the weekend with around $1 million, -17%, and a cume of $42.5M.
Kong is a good lead-up to Mortal Combat, plus positive chatter about the Snyder cut of Justice League in the HBO Max ecosystem too." In regards to chatter, RelishMix adds, "Super fan expectations are high and they're calling out references to characters and other incarnations of the franchise — and how Godzilla vs.
is Universal's R-rated Bob Odenkirk action movie Nobody, with a fourth Friday of $720K, -3%, on its way to a great 3-day hold, -2%, with $2.6M and a total by tomorrow of $19.1M. In second place this weekend at the B.O.
Fan chatter debates whose team they are on, from Godzilla and flipping over to Kong and back — plus, in ripped videos from the film, fans debate the fight scenes as proof of who truly rules the world." In regards to GvK, RelishMix updates that on social media, "The main studio owned trailer of the two videos posted on Youtube for the film has hit 86M views and up 10.5M since opening on March 31st, and has a continuously strong viral reposting rate of 48:1.
GvK will be on HBO Max for another two weeks, and then it's exclusive to movie theaters for another month. As we mentioned previously, the fourthquel is on PVOD in Canada, given the numbers of cinemas which are closed there.

Scott Rudin To “Step Back” From Broadway Productions In Response To Abusive Behavior Allegations

Rudin's workplace behavior and ill treatment of assistants dating back decades was recently brought to the fore in a Hollywood Reporter article, in which four former employees spoke of intimidation, bullying and, in at least one instance, physical violence during their times in the Rudin office.
My roles will be filled by others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows. “After a period of reflection," he continued, "I’ve made the decision to step back from active participation on our Broadway productions, effective immediately.
I do not want any controversy associated with me to interrupt Broadway’s well deserved return, or specifically, the return of the 1500 people working on these shows.” “My passionate hope and expectation is that Broadway will reopen successfully very soon, and that the many talented artists associated with it will once again begin to thrive and share their artistry with the world.
In his first public statement to the press – despite repeated requests this week from Deadline and other publications – Rudin said in today's three-paragraph email, “Much has been written about my history of troubling interactions with colleagues, and I am profoundly sorry for the pain my behavior caused to individuals, directly and indirectly.”
The shows, as with all Broadway productions, are currently suspended due to the Covid pandemic shutdown. Rudin's statement did not indicate that he would officially resign or cease participation in his productions altogether.
I do not want any controversy associated with me to interrupt Broadway’s well deserved return, or specifically, the return of the 1500 people working on these shows."” /> My passionate hope and expectation is that Broadway will reopen successfully very soon, and that the many talented artists associated with it will once again begin to thrive and share their artistry with the world.
Deadline has obtained the statement, initially released exclusively to The Washington Post. Read it in full below.
star Karen Olivo announced in a widely viewed Instagram video that she would not return to that production (which is not produced by Rudin) when Broadway reopens as a way of protesting the industry's silence over Rudin's behavior and other longtime injustices. Rudin's response follows what might now be viewed as the turning point in the Broadway community's refusal to tolerate or stay silent on the mistreatment of employees by producers and other industry leaders: Earlier this week, as Deadline reported, Moulin Rouge!
The announcement of the march has been shared on Instagram and other social media, though it's unclear as of yet what impact Rudin's statement will have on the plans. And this coming week, a grassroots "March on Broadway" protest is planned for Wednesday, April 21, beginning at Columbus Circle, then making stops at the Winter Garden Theater, home of the $17 million Music Man production, Actors' Equity offices, and Rudin's office.
In a statement released this morning, Rudin said he was "profoundly sorry for the pain my behavior caused to individuals, directly and indirectly,” and that he would "step back from active participation on our Broadway productions, effective immediately."
"After a period of reflection, I’ve made the decision to step back from active par-ticipation on our Broadway productions, effective immediately. My roles will be filled by others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows.
https://www.instagram.com/p/CNsU6l-DhGj/
Also this week, three theatrical unions – SAG-AFTRA, Actors’ Equity Association and American Federation of Musicians Local 802 – issued a statement condemning harassment, bullying and toxic environments and pledging "to hold accountable those who violate human and legal norms of fair, respectful and dignified conduct in the workplace." The statement did not specifically name Rudin, but the timing of its release left no doubt.
Here is Rudin's statement in full:
Among Rudin's current Broadway productions are Aaron Sorkin's hit adaptation of To Kill A Mockingbird, Ivo van Hove’s reimagining of West Side Story, the long-running The Book of Mormon and the upcoming The Music Man starring Hugh Jackman and Sutton Foster.
Producer Scott Rudin will "step back" from active involvement in his Broadway shows in response to allegations of abusive and bullying treatment of employees stretching back for years, Deadline has confirmed.
I am now taking steps that I should have taken years ago to ad-dress this behavior. Much has been written about my history of troubling interactions with colleagues, and I am profoundly sorry for the pain my behavior caused to individuals, directly and indirectly.
Rudin's announcement did not address his film production work, including next month's Netflix premiere of The Woman in the Window starring Amy Adams.

Nick Springer Dies: Gold Medal-Winning Paralympic Athlete And Team USA Member Was 35

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His mother, Nancy Springer predeceased him. Survivors include father Gary and partner, Elizabeth, sister Oliva and husband Kevin, and one-year-old nephew, Jackson, in addition to many aunts, uncles, cousins and friends.
After contracting Meningococcal Meningitis at age 14, Springer had both legs amputated above the knees and both arms to mid-forearm.
He traveled the US and internationally, speaking to health officials, education organizations, and others about the need for meningitis vaccination, as well as his journey of survival and just plain living and enjoying life. Springer graduated in May, 2010 from Eckerd College in St. Petersburg, FL and had spent the last few years consulting with Novartis, as well as the international pharmaceutical company GSK.
At the 2012 London Paralympics, Nick and Team USA took the bronze after falling to arch-rival Canada by one point in the semi-final game.
Donations in Nick Springer's honor can be sent to the Wheelchair Sports Federation.
He was also a spokesperson for the National Meningitis Association (of which his mother was a co-founder) and Honorary Chairman of the NMA’s annual gala, “Give Kids A Shot.”
Nick Springer, a Paralympics medalist for Team USA and son of entertainment publicist Gary Springer, died at age 35 on Wednesday, April 14. No cause of death was given, but his demise was described as "sudden."
A gifted public speaker, Springer used humor, charm and his personal stories to persuade audiences about the power of sports in disabilities. He was also a champion for vaccinations against Meningococcal Meningitis, becoming instrumental in passing legislation to support vaccinations against the virus.
Undaunted, Springer began playing sled hockey before he was fully finished with rehab, and at age 16, segued into Quadriplegic Wheelchair Rugby (“Murderball’) which, as a leading member of Team USA, brought him five international gold medals, including at the 2008 Beijing Olympics.

The Long Road To Oscar: The Journey Of Each Best Picture Nominee

 
That music included such kitschy throwback anthems as Paris Hilton’s “Love is Blind”, Britney Spears’ “Toxic” and “Angel of the Morning” by Juice Newton.
Promising Young Woman
Few Best Picture nominees have had a longer road than The Trial of the Chicago 7. But, perhaps surprisingly, Aaron Sorkin credits Donald Trump for breaking the film’s 14-year log-jam.
“He had to continue to do this or else he faced dire consequences.” “He felt he didn’t have a choice,” Stanfield says.
But first, Fennell crafted her script alongside a mental soundtrack. Key to getting the film made was both casting Carey Mulligan in the lead role of Cassie, and the early backing Fennell found in Margot Robbie and Josey McNamara’s production company LuckyChap.
The idea for Minari initially came to Chung in 2013, when his daughter was born and his family moved to Los Angeles. He found he had the desire to tell a more personal story about what it was like to be a father, but it wasn’t until 2018 that he started to put this down on paper.
“The amount of several-hundred-dollar books that I bought,” King recalls, “just because this history isn’t widely covered. It’s intentionally kept from us.” The story of William O’Neal, an African American career criminal blackmailed by the FBI in 1969 into infiltrating the court of charismatic Black Panther Chairman Fred Hampton, is not well documented, and bringing it to the screen came at a great price to director Shaka King—literally. It took a lot of hunting through out-of-print books to piece together a story that is still riddled with question marks.
“He would have rallies, there would be a protester or two, and Trump would get nostalgic about the old days, when we would carry that guy out on a stretcher. That is what made Steven [Spielberg] say, ‘The time to make this movie is now.’”
After so much struggle, says Marder, the six Oscar nominations for his film feel like "the greatest gift." The team he eventually assembled, he says, deepen his connection to a dream he'd held for so many years. "After going through this process that I’ve been through on this movie, and feeling it, living it, and dealing with all the hurt it put me through along the way, these guys are the people that put their faith in me—real faith—and put their everything into this movie without any proof of concept. They really walked the walk, and that was amazing to me." —Joe Utichi The film arrived for its world premiere at the Toronto Film Festival in 2019 without a distributor, but before the festival was over Amazon Studios prevailed in a fierce bidding war, setting the film on its final course toward Oscar night. To see these guys recognized, it just fills my heart.
“I think he really left a lot of space for us to imbue our own things,” Yeun says of playing the lead role of Jacob. “I appreciated that Isaac didn’t really express to me his worry about it. If anything, he really always supported me through my fears about approaching a character I think a lot of Asian Americans and specifically Korean Americans have an idea of what is on their minds.”
Mulligan also found herself instantly drawn. That’s what I want to do.’” “And I couldn’t describe what it was… What have you not done that you want to do?” she says. “For ages before this film came along, people were like, ‘What part do you want? When this came along I was like, ‘Oh, it’s that.
“It was all over LA, it was wherever we could beg, borrow and steal places,” she says. “Thank God that it was such a kick-bollock-scramble and we had such a short shooting time, because I think if we’d had any longer I’d have been forced to think about the enormity of it and how terrified I was.” —Antonia Blyth On a small budget, a heavily-pregnant Fennell decamped from her native London to LA for a lightning-fast 23-day shoot.
“I’m still not interested in a posthumous credit arbitration,” he says. Of course, it’s no small wonder that Netflix hopped aboard; after all, they’ve gone out of their way to silence doubters by backing strong work from top flight directors in the past, greenlighting projects traditional studios have considered too risky to back. “I’m still not interested in the idea of the villainous position of [Orson] Welles.” It had been a passion project for Jack Fincher, who died in 2003, and yet the younger Fincher admits that what drew him to the tale was not the debate about the authorship of Citizen Kane which lies at the heart of the film. That was the case with Mank, which had been in the ether since as far back as Fincher’s feature debut, Alien3, as a script developed by his father.
“That play has been staged in many countries, and I was surprised and profoundly moved to see that everywhere, the response of the audience was always the same. “For years I was dreaming about making that film. I would say it was a profound desire,” he says. Partly what drove him was the response to the play. They were always waiting for us after every performance, just to share their own stories.”
Judas and the Black Messiah
Each of this year’s Best Picture nominees has survived a journey to cross the finish line, before earning the Academy’s consideration. Here’s how they came together.
“The film adaptation was the opportunity to try to find a translation of this confusion, but in a very cinematic way.” —Antonia Blyth Zeller says.
Sound of Metal
They were Abbie Hoffman, played by the Oscar-nominated Sacha Baron Cohen, and Eddie Redmayne’s Tom Hayden.
“It probably came out because it’s something that I find incredibly troubling and I wanted to talk about.” Writer and first-time director Emerald Fennell came up with the idea for this twisty tale of a woman avenging sexual assault before the #MeToo movement began in earnest. It came up “like a hairball” she says.
“This is a story that has always been with me and in my mind and in my heart,” he says. “The work of it was interesting in trying to birth it into a film — to get it away from my own personal experiences and memory toward something that works as a film.”
“Something could be done, only thanks to the cinema, something that was not possible on stage,” he says, “and it was to experience subjectively what it means to lose your bearings.” He plotted to constantly discombobulate the viewer with a subtly shifting environment. “Step-by-step, as subtle as possible, always in the background, things are changing.” Zeller felt that the medium of film would bring even more dimension to the story.
Minari
He knew that it was not an easy task to take. He’s 83 now. He was so determined he re-named his lead character Anthony. Zeller knew he wanted Anthony Hopkins in the lead role, but as a first-time director, it was a long shot. “I think he’s really humble and brave. “He was amazingly generous,” Zeller says. Trying to do something he hasn’t done yet, trying to be pure emotion and this vulnerability, it was something that he hasn’t explored yet, cinematically talking.” “The face I had in mind was Anthony’s.” Fortunately, upon meeting Zeller, Hopkins was intrigued by the role and agreed.
Chloé Zhao’s The Rider, the director’s second feature, struck her as exactly the kind of indie spirited production she wanted to be involved in. Zhao had cast a real young cowboy, recovering from a traumatic brain injury, to fictionalize his own story on camera, an approach that blended documentary with narrative fiction in ways that sparked McDormand to track Zhao down. Frances McDormand was at the Toronto Film Festival promoting Three Billboards when she saw a film that stopped her in her tracks.
I said, ‘Great, I’m in.’ I left his house, called my father and asked who the Chicago 7 were.” Back in 2006, Sorkin was summoned by Spielberg. “He told me he wanted to make a movie about the Chicago 7.
—Dino-Ray Ramos With the recent surge of violence against Asians, this film feels more important than ever. “I hope that what we are putting forward with this film is that we are not an issue. We are human beings first and foremost,” Chung says.
The screenplay was however loosely based on Chung’s life—something that gave him “a lot of apprehension about whether I was doing some kind of injustice to my parents.” But ultimately, his cast and crew eased those concerns as the project took on its own resonance.
McDormand and producer Peter Spears had identified a non-fiction book, Jessica Bruder’s Nomadland, that seemed like the perfect fit of director, star, and material, and Zhao got to work crafting a fictional lead—McDormand’s Fern— from the real stories about people who had given up settlement for life on the road. A few months later, at the Independent Spirit Awards, they each received prizes for their respective films, and used their speeches to announce how excited they were to work together.
But it was at a dinner in London that the latter helped Sorkin find the movie’s core. Sorkin then wrote 32 drafts for Spielberg and Paul Greengrass. Sorkin told Greengrass, “There are these two guys, brothers basically, who plainly can’t stand each other and one thinks the other is harming the cause.” And Greengrass said, “Write about the brothers.”
“I had this idea: If it was another actress, what would happen?” With Olivia Colman as Anthony’s daughter Anne, Zeller added another dementia-inspired twist by suddenly switching Colman for Olivia Williams.
This is the director, after all, who snuck Fight Club’s anti-corporate ideals past Rupert Murdoch, and woke the world up to the lawlessness of Silicon Valley’s club of billionaires with The Social Network. Trust David Fincher to turn to Netflix to finally deliver Mank, his long-gestating project that was so much about the glory days of Old Hollywood that it would be shot in black and white, using production techniques of the 1930s, and with sound design that echoed the movie palaces of the era. Where better for a provocateur to indulge in cinema history than at a streamer that has been accused of plotting its death?
If proof were ever needed that making movies is no walk in the park, Sound of Metal could be the perfect exemplar. Director Darius Marder nurtured the story he pulled together with Derek Cianfrance, with whom he'd worked on the screenplay for The Place Beyond the Pines, for more than a decade, shaping the screenplay with his brother Abraham Marder. And as he did, the film's tale about a heavy metal drummer who struggles with hearing loss took on a life of its own, itself shaped by the deaf community Marder consulted to ensure authenticity and representation.
Mank
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“He was a grown man; he knew what he was doing. Instead, what drew him was the aspect of the story that was about change. But he’d happily written and disappeared into the wings many, many times before, and on this one, he didn’t. I want this one on my headstone.’” —Joe Utichi “[Herman J. That was interesting to me. Mankiewicz] could sign a contract,” Fincher says. I was fascinated by the notion of a guy who is on record so many times decrying the shallowness and hopelessness of cinema finally saying, ‘Wait a minute.
Indeed, Daniel Kaluuya was surprised in his research for the role of Hampton. “When I saw the date when he was born and the date he was assassinated, I was like, ‘That can’t be right.’ Not only did they assassinate him at 21, he’d made it to Chairman by 21, and that blew my mind.”
The Trial of the Chicago 7
Others still had seen no alternative in an increasingly suffocating economy. Some had hit the road by choice. Into the script she incorporated many of the book’s real characters, charging them all to play themselves in the resulting film, to tell their life stories for the camera. And with a nimble shoot that slipped in and out of the Nomad communities with little fanfare, Zhao was very often able to place McDormand in that world without alerting the real Nomads to the Oscar winner in their midst. As chance would have it, Zhao had already been building her own RV when the project beckoned.
Playwright Florian Zeller’s The Father enjoyed several award-winning runs on the stage before it made its evolution to film, but first-time feature film director Zeller had long been imagining moving his unnerving story of a man sliding into dementia to the big screen.
The story follows a Korean American family that uproots from metropolitan Los Angeles to a small Arkansas town where they start a farm. In January 2020, Lee Isaac Chung premiered Minari, his first feature since 2012. Fast forward to 2021 and six Oscar nominations later, and the film’s shine has not dulled at all in the year since its debut. Kim and Noel Kate Cho, the drama provides a stunning portrait of the American dream, and immediately garnered buzz at the Park City festival. Starring Steven Yeun, Yeri Han, Yuh-Jung Youn, Alan S.
“I feel like Emerald had an incredibly clever approach in luring us, especially those of us who grew up in the ’90s, into nostalgic territory,” Robbie says. LuckyChap were smitten with the results.
Nomadland
 
And among the many finance wobbles in the development process, the project was on the eve of shooting when the money fell out yet again. But the path wasn't easy. "What Darius was offering was a unique experience," says Ahmed. However, with the support of Caviar's Sacha Ben Harroche and Bert Hamelinck, who say their niche is in producing work nobody else wants to touch, Sound of Metal did make it into production, and the experience of shooting it transformed all who took part. Actors came and went before he found Riz Ahmed and Paul Raci, who are both nominated alongside him, as well as Olivia Cooke and Mathieu Almaric for key roles. "You have to learn to play the drums in seven months, you have to learn American Sign Language, you have to do something that’s emotionally going to ask you to dig deeper than anything you’ve done before. It was like, 'Where do I sign?' That’s what I was looking for."
He based his performance on O’Neal’s revelation that he felt “bad” and “angry” about Hampton’s fate. A slightly harder job went to Lakeith Stanfield, who found only a 1989 TV interview with O’Neal, some court transcripts and a few anecdotal remarks from people who knew him. “It was so hidden by the FBI,” he says.
The Father
“He’d read the script a million times… Sometimes we could accommodate. was on set nearly 90% of the time,” King says. There would be things in the moment that he hadn’t considered that he would now be confronted with and it would really push us to change course. Sometimes it made scenes better.”—Damon Wise Sometimes we couldn’t. But it’s very different reading something and then being on set watching it unfold. King next had to negotiate with Fred Hampton’s son and widow. “Fred Hampton Jr.
—Joe Utichi But even the professional actors in Nomadland’s cast didn’t get away with hiding behind characters entirely. McDormand’s real life crept into the Fern Zhao constructed, and co-star David Strathairn blurred the lines between art and life to such a degree that his own son, Tay, was cast to play his son in the film.
Sorkin didn’t consider directing until Spielberg told him to stop rewriting and just do it. Then, Paramount, Cross Creek and finally Netflix got the film out during the pandemic. And Sorkin believes it was destiny. “Screenplays are never really finished, they’re confiscated,” he says.
“When it is I’ll transcribe it, and it takes not very long. The real bulk of the work is done entirely in my head, entirely with music.” “I don’t write at all until the end when it’s done,” she says.
The last thing Steven said when I left his house in 2006 was, ‘It would be great if we could release this before the election.’ He was talking about the 2008 election, but he didn’t specify. “Chicago 7 has never played to an audience,” he says. “I under- stand why and can live with it. So, I feel like I delivered the picture right on time.” —Mike Fleming Jr.

Friday Ratings: Once Again, ‘Shark Tank’ Is The Victor

Continuing the pattern of recent weeks, it was Shark Tank and the WWE Friday Night SmackDown in the top two demo positions for a rather torporous Friday evening.
At NBC, The Blacklist maintained at an 0.3, while its trailing Dateline came in with an 0.4.
The CW saw a new episode and repeat for Whose Line is it Anyway? Both tallied an 0.1, with the evening-closing Penn & Teller: Fool Us at an 0.1.” />
The soon-to-depart MacGyver came in with an 0.4, with Magnum P.I. Blue Bloods had the night's largest audience at 6.6 million Elsewhere, CBS saw its crime drama lineup perform strongly. (0.5) and Blue Bloods (0.6) building the CBS crime drama momentum later in the evening.
Later in the ABC evening, a new 20/20 was at 0.5, winning the newsmag wars on the night. ABC's Shark Tank came in at an 0.6, down slightly, while the WWE SmackDown scored an 0.5 to take the place slot.

Actors’ Equity Calls On Broadway Producer Scott Rudin To Release Employees From NDAs

We hope that Scott Rudin will also release his staff from any nondisclosure agreements they may have signed as a condition of employment. “We salute the courage of those who came forward.
Actors' Equity Association is calling on producer Scott Rudin, who "stepped back" from his Broadway productions today in response to allegations of workplace abuse, to release employees from nondisclosure agreements.
Earlier this week, Equity, along with SAG-AFTRA and American Federation of Musicians Local 802, issued a joint statement condemning harassment, bullying and toxic environments and pledging "to hold accountable those who violate human and legal norms of fair, respectful and dignified conduct in the workplace." The statement did not specifically name Rudin.
"We have heard from hundreds of members that these allegations are inexcusable, and everyone deserves a safe workplace whether they are a union member or not. “Since news reports emerged about Scott Rudin, we have had many private conversations with our sibling unions and the Broadway League," said Equity President Kate Shindle and Executive Director Mary McColl.
It is not the end of our work to ensure a workplace safe for everyone in the industry as we work toward reopening.” "This is an important step in creating truly safe and harassment-free theatrical workplaces on Broadway and beyond.
The Equity statement was issued shortly after Rudin announced today that he would relinquish "active participation" in his Broadway productions to "others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows."
Some members of Equity have been calling upon the union to place Rudin on the "Do Not Work" list, and have spread word on Instagram of a March on Broadway this Wednesday to protest Rudin as well as social justice issues related to the Broadway industry.
https://twitter.com/ActorsEquity/status/1383456096673689605″ />

‘Jeopardy!’ Will Give Sportscaster Joe Buck A Shot At Hosting

Guest hosts so far have included Katie Couric, Dr. Mehmet Oz, Ken Jennings and the longtime executive producer of the program, Mike Richards. Scheduled but not yet appearing are Anderson Cooper, Bill Whitaker, Mayim Bialik, Savannah Guthrie and Dr. Sanjay Gupta.” />
Most of the host have had one to two week appearances. No reports indicate how long Joe Buck's tryout will last.
Fox sportscaster Joe Buck will guest host a stint at Jeopardy! The Hall of Fame broadcaster will see his episodes air in the mid-summer, according to reports.
Buck has called the World Series for Fox since 1996, and has also been the Fox voice of the NFL since 2002. His tryout follows that of Green Bay Packers quarterback Aaron Rodgers, who took over the show earlier as one of the rotating hosts since the death of longtime host Alex Trebek.
hosting. Buck is not expected to miss any of his sportscasts during his Jeopardy!