‘X-Men’ Star Alexandra Shipp Signs With CAA

She continues to be represented by LINK Entertainment and Goodman, Genow, Schenkman, Smelkinson & Christopher.” />
Shipp recently wrapped filming Lin-Manuel Miranda and Netflix's Tick, Tick… BOOM!, she is the female lead opposite Andrew Garfield and Vanessa Hudgens, for Netflix. She is best known for her role as ‘Storm’ in Twentieth Century Fox’s X-Men franchise films Apocalypse and Dark Phoenix, and her role in the critically acclaimed film Love, Simon from Greg Berlanti.
Shipp can currently be seen in Nancy Meyers’ Father Of The Bride Part 3 (Ish) on Netflix. She will next be seen in David Sandberg’s Kung Fury II opposite Michael Fassbender, and Lionsgate’s Silk Road with Jason Clarke and Nick Robinson.
EXCLUSIVE: CAA has signed actress Alexandra Shipp.
Her other credits include Warner Bros’ Shaft, Jexi for CBS Films, and Netflix’s All The Bright Places, which premiered last year.
Shipp additionally played the title role in the Lifetime biopic Aaliyah: Princess Of R&B. In 2018, Shipp was named the recipient of the annual Women In Film “Face of the Future Award®” in recognition of her extraordinary acting achievement; honored at the 2018 Women In Film Crystal + Lucy Awards®, and received the “Raising Star Award” at the 2018 Napa Valley Film Festival.

‘Euphoria’: Second Of Two Special Episodes To Premiere Early On HBO Max

You can watch a trailer for the second special episode above.” />
The second of two special episodes of the Emmy-winning HBO drama series Euphoria will get an early premiere on HBO Max. The episode, titled "F*ck Anyone Who's Not A Sea Blob,” will stream on HBO Max beginning Friday, January 22 at 9 PM ET/6 PM PT ahead of its premiere on HBO Sunday, January 24 at 9 PM ET/PT.
It was the No. 1 most social program on premium cable throughout that weekend, according to Nielsen Social. The first special episode, "Trouble Don't Last Always,” debuted December 6 on HBO and had an early streaming premiere on HBO Max starting December 4.
Levinson also serves as executive producer alongside Kevin Turen, Ravi Nandan, Zendaya, Drake, Future the Prince, Hadas Mozes Lichtenstein, Ron Leshem, Daphna Levin, Tmira Yardeni, Mirit Toovi, Yoram Mokady and Gary Lennon. Will Greenfield serves as a co-executive producer. Euphoria is written by Levinson based on the Israeli series of the same name created by Ron Leshem and Daphna Levin, from HOT. The series is produced in partnership with A24.
Euphoria was honored with three Primetime Emmys this year, including Outstanding Lead Actress In A Drama Series for Zendaya, along with Outstanding Contemporary Makeup (Non-Prosthetic) and Outstanding Original Music and Lyrics for Laberinth.
Both special episodes were produced under COVID-19 guidelines. Schafer serves as co-executive producer on the second special episode, which she co-wrote with Levinson. Directed by Euphoria creator Sam Levinson, the second special episode follows Jules, played by Hunter Schafer, over the Christmas holiday as she reflects on the year.

‘Snowpiercer’ Renewed For Season 3 By TNT Ahead Of Season 2 Debut

25 premiere of sci-fi thriller's second season. TNT has ordered a third season of Snowpiercer ahead of the Jan.
The renewal cements Snowpiercer's status as TNT's only remaining ongoing original scripted series, with Animal Kingdom and Claws coming to an end.
While Layton battles Wilford for the soul of Snowpiercer, Melanie leads the charge on a shocking new discovery that could change the fate of humanity. While she’s out there, it’s revealed that Alexandra (Rowan Blanchard), Melanie’s daughter, who she thought had died, is alive and has become Wilford’s dedicated protegee. Discovering Mr. In season two, an entirely new power struggle emerges, causing a dangerous rift as people are divided between their loyalty to Layton and to Mr. At the end of Snowpiercer season one, the survivors of the revolution are trying to pick up the pieces and maintain a fragile peace amongst the now merged classes with Layton (Daveed Diggs) emerging as the train’s leader. Wilford, who has a new train, new technology and a game plan that keeps everyone guessing. Wilford (Sean Bean) is alive and headed their way on a rival train, Melanie (Jennifer Connelly) risks going outside to prevent him from invading Snowpiercer.
The first season of Snowpiercer launched in May with 3.3 million Live+Same Day total viewers across TNT and TBS to rank as the #1 new cable drama series of 2020. The series, which logged TNT’s most watched premiere since The Alienist in 2018,  has reached 32 million viewers to date across TNT’s linear and digital platforms. Season one is now available to stream on HBO Max.
Snowpiercer season two stars Jennifer Connelly, Daveed Diggs, Sean Bean, Rowan Blanchard, Alison Wright, Mickey Sumner, Iddo Goldberg, Katie McGuinness, Lena Hall, Annalise Basso, Sam Otto, Roberto Urbina, Sheila Vand, and Steven Ogg. The show is produced by Tomorrow Studios, along with CJ Entertainment. Snowpiercer is executive produced by Graeme Manson, Marty Adelstein and Becky Clements, Matthew O’Connor, Ben Rosenblatt and Scott Derrickson, and the original film’s producers, including Bong Joon Ho, Miky Lee, Jinnie Choi, Park Chan-wook, Lee Tae-hun and Dooho Choi. ITV Studios handles international distribution.” />

A+E Networks Pays Tribute To Jennifer Bulvanoski, VP Of Distribution

"The A+E Networks family’s heartfelt thoughts and prayers go out to Jen’s family, including her daughter and son, Macy and Riley; their father, Travis; and her mother, Jane."
https://www.facebook.com/michellevitulli/posts/10159004793710750″ />
A statement released by A+E said: "A+E Networks grieves the deep loss of one of their family. A beautiful person who was a bright star in our lives, Jennifer Bulvanoski, passed away last week following a year-long illness."
She served as Vice President of Distribution and made significant contributions to Distribution and Digital Content Licensing. A+E Networks paid tribute to Jennifer Bulvanoski, who died on January 11 after an illness.
Jen will be greatly missed." They added, "Jen was a cherished teammate and a dearly beloved friend for so many of her colleagues at the company. An exceptional executive whose warmth, humor and vibrancy were contagious. Her contributions at A+E Networks, and more specifically to Distribution and Digital Content Licensing, where she served as Vice President of Distribution, will live on for years to come.
She was a remarkable and loving mother, beloved daughter, and cherished friend. It is not often that life brings us someone as special as Jen. Her warmth, kindness, humor, determination and enthusiastic spirit made its mark on those who knew her and her smile will continue to be unforgettable. There are simply no words to adequately express our sorrow." Jen fought valiantly for several months after being diagnosed with a serious illness earlier last year. In a post, a group of friends writes: "It is with heavy hearts that we share news of the passing of our beloved friend, Jennifer Bulvanoski on January 11, 2021. Friends of Bulvanoski also honored her on Facebook.

SAG-AFTRA Board Finds “Probable Cause” To Expel Donald Trump, Pending Trial, On Charges He Violated Union’s Constitution

Capitol in an attempt to subvert democracy. The day after the riot, which left five dead and temporarily halted the final counting of the Electoral College votes, SAG-AFTRA issued a statement that “condemns in the strongest terms yesterday’s attack on America’s foundational principles. Rioters, emboldened and encouraged by a sitting president and his enablers who have peddled baseless conspiracy theories, stormed the U.S. The disgraceful scenes coming out of the nation’s capital have undermined America’s institutions and its standing in the world. As a union and a democratic organization, we are appalled by this attack on the values we hold most sacred. This poison attacks the diverse membership of our union and the labor movement.” Displays of the Confederate flag and other symbols of white supremacy and hate were meant to subjugate and terrorize people of color and those of certain faiths.
Meeting in special session, the national board of directors voted overwhelmingly to find “probable cause” that Trump, who has been a member for over 30 years, has "violated the union’s Constitution," and ordered the matter to be heard by SAG-AFTRA’s Disciplinary Committee. SAG-AFTRA took a major step Tuesday towards kicking Donald Trump out of the union.
The charges cite Trump’s role in inciting the attack on the U.S. Capitol on January 6, and his “sustaining a reckless campaign of misinformation aimed at discrediting and ultimately threatening the safety of journalists, many of whom are SAG-AFTRA members.”
In accordance with federal labor law and the SAG-AFTRA Constitution, disciplinary action can only be taken if the charged member is found guilty after a hearing before the Disciplinary Committee. The union noted that members of the committee did not participate in today’s probable cause review, and that as charging parties, neither Carteris nor White will take any role in decision-making on this disciplinary matter.
SAG-AFTRA, which represents thousands of broadcast journalists across the country, said that reports of intimidation and physical assaults against journalists “have escalated throughout Trump’s presidency.”
His small-screen credits as himself include All My Children (1992), The Fresh Prince of Bel-Air (1994), The Nanny (1996), Suddenly Susan (1997), The Drew Carey Show (1997), NightMan (1997), Spin City (1998), Sex and the City (1999), The Job (2001) and Days of Our Lives (2005). In addition to his starring role on reality TV hit The Apprentice and Celebrity Apprentice (2004-17), over the years he’s also appeared as himself in numerous films and TV shows.
If found guilty by the committee, possible penalties include reprimand, censure, fines, suspension from the rights and privileges of membership, or expulsion.
“They were provoked by the president and other powerful people." “The mob was fed lies,” he said on the Senate floor. But earlier today, even Senate Majority Leader Mitch McConnell blamed Trump for provoking the rioters.
A letter from the union is being sent to Trump today notifying him of today's action, and providing notice of the charges against him. If the committee votes to expel him, that ruling will still have to be approved by a two-thirds vote of the national board. The process of expelling him could take three to six weeks, depending on the committee's verdict — and possibly longer if Trump requests an extension of the upcoming hearing.
“Our most important role as a union is the protection of our members,” said White. The board’s resolution addresses this effort to undermine freedom of the press and reaffirms the principles on which our democratic society rests, and which we must all work to protect and preserve.” “The unfortunate truth is, this individual’s words and actions over the past four years have presented actual harm to our broadcast journalist members.
Films in which he’s appeared as himself include Ghosts Can’t Do It (1989), Home Alone 2: Lost in New York (1992), Across the Sea of Time (1995), Eddie (1996), Celebrity (1998), Zoolander (2001), Two Weeks Notice (2002) and Marmalade (2004).
Article XIV of the SAG-AFTRA Constitution states that members may be suspended or expelled for “engaging in actions antagonistic to the interests or integrity of the union.” The union, which is non-partisan and does not endorse or donate to political candidates or parties, has criticized Trump in the past for calling the news media “the enemy of the American people.”
According to a financial disclosure report he filed in August, Trump receives a $90,776 pension for the acting work he performed on SAG-covered shows and an $8,724 pension for his AFTRA-covered work. If he’s expelled, his pension wouldn’t be affected, nor would he be prevented from working in SAG-AFTRA’s jurisdiction.” />
“There’s a straight line from his wanton disregard for the truth to the attacks on journalists perpetrated by his followers.” “Donald Trump attacked the values that this union holds most sacred – democracy, truth, respect for our fellow Americans of all races and faiths, and the sanctity of the free press,” Carteris said.
The former star of The Apprentice – and soon-to-be former president – has been a member of the union and its forerunners, SAG and AFTRA, since 1989. The two unions merged in 2012.
The breaking point for the union's leaders, however, came on January 6 when Trump exhorted a crowd of angry supporters to march on the U.S. Capitol and to “fight like hell. And if you don’t fight like hell, you’re not going to have a country anymore.” The violent insurrection that ensued led the House of Representatives to impeach Trump for the second time, accusing the president of having “willfully made statements that, in context, encouraged — and foreseeably resulted in — lawless action at the Capitol.” During that now-famous speech, however, Trump also told the crowd: "I know that everyone here will soon be marching over to the Capitol building to peacefully and patriotically make your voices heard."
The charges were initiated by David White, the union’s national executive director, at the request of SAG-AFTRA president Gabrielle Carteris, who have requested the imposition of the most severe penalty available to the union: his expulsion from membership.

Doug Schoen Joins Newsmax TV As Analyst

Doug Schoen, a Democratic political strategist and pollster, has joined Newsmax TV as an analyst.
Newsmax CEO Chris Ruddy has defended the network's coverage as one that captures all points of view. Since the election, the right-leaning outlet has seen its viewership climb, as it has been a platform for defenders of President Donald Trump to advance unfounded claims of election fraud.
Smartmatic is also considering legal action against Fox News and One America News Network. In December, Newsmax aired a clarification about election systems company Smartmatic, after the company fired off a legal threat and demanded repeated retractions after on-air personalities and guests floated claims that its software was rigged and that it had ties to the Venezuelan government and George Soros.
Newsmax also has trumpeted its ratings gains, particularly for its 7 PM ET show Greg Kelly Reports, as coming at the expense of Fox News, which drew the ire of Trump when it called Arizona for Biden on election night.
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Newsmax CEO Chris Ruddy said in a statement, "Doug is a Democrat who plays it fair and square and calls it as he sees it. Since our founding over two decades ago, Newsmax has striven to give our readers and viewers 'both sides' and we're now lucky to have one of the very best joining our roster."
Schoen will be a regular on the outlet, giving analysis on Joe Biden's administration.
Schoen was a contributor to Fox News and frequent columnist for Newsmax magazine. He also was a top adviser to Bill Clinton's 1996 reelection campaign and later to Michael Bloomberg for his mayoral runs. He founded the political consultancy Penn, Schoen & Berland with Mark Penn and Michael Berland, and worked on the campaigns of Jay Rockefeller and Evan Bayhm two centrist Democrats, and Richard Shelby, a Republican.

‘This Is Us’ To Air Repeat Instead Of Original Episode Tonight Due To Covid-Related Production Delays

https://twitter.com/Dan_Fogelman/status/1351571173780328449″ />
This Is Us fans who are hoping to find out what happened to Kevin after the ominous car crash teaser at the end of last week's episode will have to wait a bit longer.
19, before giving fans something to look forward to. Sorry!" "But the next few are big ones, and we are close, so we hope you'll hang in there with us. "No new episode of This Is Us tonight – Covid-related production delays in LA have forced us to delay a few weeks," series creator/executive producer announced on Twitter this morning, Jan.
The acclaimed NBC family drama, which yesterday landed three Critics Choice TV nominations, for the series and stars Sterling K. Brown and Justin Hartley, resumed filming yesterday, Jan. 18.
For This Is Us, the delay is believed to be about a week and a half. Because of the massive surge of coronavirus cases in Los Angeles County, This Is Us was one of many Los Angeles-based series whose return from a holiday hiatus was delayed, so other shows also may not be able to deliver a new episode in time for air this month.
Feb. 26, with a fresh episode slated for Feb. It will air repeats tonight, Jan 19, and next Tuesday, Jan. 2.

Josh Duhamel In Early Talks To Take Over For Armie Hammer in Jennifer Lopez’s ‘Shotgun Wedding’

After the salacious news broke about Hammer last week, The Social Network and Rebecca actor responded "I’m not responding to these bullshit claims but in light of the vicious and spurious online attacks against me, I cannot in good conscience now leave my children for 4 months to shoot a film in the Dominican Republic. Lionsgate is supporting me in this and I’m grateful to them for that.”
Mandeville’s Todd Lieberman and David Hoberman, who produced Lionsgate’s hit film Wonder, are also producing with Nuyorican Productions’ Lopez, Elaine Goldsmith-Thomas and Benny Medina. Ryan Reynolds is also executive producing along with George Dewey. James Myers and Scott O’Brien are overseeing the production for Lionsgate. Alex Young is overseeing the production and executive producing for Mandeville Films, and Courtney Baxter for Nuyorican Productions.
Lionsgate is releasing, and if Duhamel can commit, the pic's cameras can roll next month. And if that wasn’t enough of a threat to the celebration, suddenly everyone’s lives are in danger when the entire party is taken hostage. Jason Moore directs from a screenplay by Mark Hammer and Liz Meriwether. Shotgun Wedding follows Darcy (Lopez) and Tom (who Duhamel would play), who gather their lovable but very opinionated families for the ultimate destination wedding just as the couple begin to get cold feet.
The actor's feature credits include Love, Simon, Transformers: The Last Knight, Transformers: Dark of the Moon, Transformers: Revenge of the Fallen, Transformers, and Win a Date With Ted Hamilton!. Duhamel next appears in the Netflix series Jupiter's Legacy which he is the lead of. For 106 episodes, Duhamel played Danny McCoy on NBC's Las Vegas.” />
Prior to Hammer's response last week, a spokesperson for the production said, “Given the imminent start date of Shotgun Wedding, Armie has requested to step away from the film and we support him in his decision.”
The news comes less than a week after Hammer exited the project after a social media controversy entailing some sexual messages he allegedly sent out. Deadline has confirmed that Transformers actor Josh Duhamel is in early talks to take over Armie Hammer's role in the Jennifer Lopez action comedy Shotgun Wedding.

Tubi Says Streaming Rose 58% In 2020, With Half Of Viewers Younger Than 35

The coronavirus pandemic has boosted streaming across the board, accelerating the shift in viewing away from legacy TV.
Along with viewership stats, the annual report outlined a case study on regional grocer WinnDixie, which found that nearly four out of five of the Tubi households it reached were incremental to those of its linear campaign.
Ad approaches in streaming are still evolving, but in general the experience aims for shorter ad loads and targeting that is superior to "spray and pray" linear blitzes. Early tests of Tubi’s ad tech tools show a 366% reduction in "over-frequency" of spots and 20% efficiency in increasing reach.
NBCUniversal, Amazon and others have launched new platforms, Pluto has become a key asset for ViacomCBS and Crackle is on a profitable course under its new owners.” /> AVOD has boomed recently, though, with the $65 billion annual TV advertising business suddenly more in play than ever before. When Tubi launched as a startup several years ago, it was among a small cluster of ad-supported streaming services in a marketplace heavily tilted toward subscription services like Netflix and Hulu.
The growth and demographic profile of Tubi are noteworthy for advertisers, the company said. Facing headwinds at its still-lucrative traditional linear networks, the company has positioned Tubi as a complement to its legacy portfolio and a way for brands to expand their reach. Fox closed its $440 million acquisition of the streaming outfit last year.
Half of all viewers of the free, ad-supported platform were younger than 35 years old, the company added in its year-end audience report. Black, Hispanic and Asian audiences made up 39% of Tubi's total base of 33 million monthly active users.
Fox-owned streaming service Tubi said total viewing hit 2.5 billion hours in 2020, up 58% from 2019.
In addition to a sizable library of film and TV titles, Tubi has increasingly been used as a platform for Fox unscripted originals like The Masked Singer, which stream after their broadcast network premieres.

‘The Walled City’: Elliott San Adapting Ryan Graudin YA Novel For SK Global

SK Global executives on the feature project are John Penotti and Xian Li. Matt Reeves’ 6th and Idaho will also produce.
The novel, which is in the spirit of Maze Runner, but based in Chinese Mythology, follows teens Mei Yee and Dai, who live in the Walled City, a lawless labyrinth run by crime lords and overrun by street gangs. Teens there traffic drugs or work in brothels–or, like Jin, hide under the radar. But when Dai offers Jin a chance to find her lost sister, Mei Yee, she begins a breathtaking race against the clock to escape the Walled City itself.
San is repped by UTA and managed by Pacific View.” />
Back in October 2019, San sold his untitled spec competitively to New Line with Mary Lee of A-Major Media and John Cho producing, as we first reported. The project was billed as a mind-bending genre tale that centers around an Asian-American protagonist.
EXCLUSIVE: We have learned first that SK Global has set screenwriter Elliott San to adapt Ryan Graudin's Little, Brown Books YA novel The Walled City for Crazy Rich Asians producer SK Global.
After two years spent regaining his health, he found himself at a bit of a crossroads, but continued to pursue his love of screenwriting and returned to Los Angeles. He sold his original feature script, an erotic thriller entitled An Affair to Die For when his trajectory took a sharp turn and he was suddenly diagnosed with leukemia. Affair to Die dropped on Netflix back in 2019. Faced with getting a bone marrow transplant, San returned to his hometown of Chicago to undergo the procedure. San is a native of Libertyville, Illinois.

Mike Pence Not Scheduled To Attend Donald Trump Send Off Ceremony But Will Make It To Joe Biden And Kamala Harris Swearing In

Pence's schedule includes attendance at the Capitol, where Biden and Harris will be sworn in at noon ET.
He declined to attend Biden's inaugural or even congratulate him on his victory. 20. 7 video that a new administration would be coming in on Jan. The closest he came to conceding the race is when he acknowledged in a Jan. Trump's sendoff ceremony, to be held at Joint Base Andrews, will be unusual for a departing president.
Trump will be the first president since Andrew Johnson in 1869 to skip a successor's inauguration.” /> Normally, the departing president invites the president-elect to the White House for a morning tea, and they ride together to the inauguration, a symbol of the peaceful transfer of power.
Pence was presiding at the Senate when rioters stormed the Capitol, some screaming threats about the vice president because he did not maneuver to overturn electoral results so that Trump could win the election. Earlier in the day, Trump is scheduled to depart Joint Base Andrews with a morning ceremony, but CNN and other outlets reported that Pence is not scheduled to be there.
Vice President Mike Pence plans to attend the swearing in ceremony on Wednesday of Joe Biden and Kamala Harris, but is not expected to be present at a sendoff ceremony planned earlier in the day for Donald Trump.

Netflix Beats Q4 Subscriber And Revenue Forecasts, Sees Cash-Rich Future

Programming highlights for Netflix in the quarter include the fourth season of The Crown, the debut of The Queen’s Gambit and original movies like The Christmas Chronicles 2 and Oscar hopefuls like Mank.” />
Netflix stock has sagged almost 7% in 2021 to date, but it rose 4% today to finish at $501.77 and rocketed after hours. It surged more than 60% in 2020 amid a broad advance by tech stocks during the onset of Covid-19.
In the third quarter, it had signed up just 2.2 million subscribers, a sharp drop from the boom in the first half of 2020 due to the most severe lockdowns of the coronavirus pandemic.
Revenue hit $6.6 billion, just a shade ahead of expectations. Earnings per share fell short of expectations at $1.19 a share. It had projected adding 6 million total subscribers in the fourth quarter.
The streaming leader also said it expects to be cash-flow positive in every year beyond 2021 and expects this year to be break-even. If that comes to pass, it will mean less dependence on the debt market, which has raised concerns from some on Wall Street despite the company's weed-like growth.
It was the first hike in two years and comes as Netflix faces mounting competition domestically. A price increase for Netflix subscriptions in the U.S. was announced in the fourth quarter and has just taken effect, boosting the monthly rate of the most popular plan to $14 a month from $13.
In terms of financials, Netflix had projected fourth-quarter revenue of $6.6 billion and earnings per share of $1.35. Wall Street's consensus expectation from analysts was very similar, except for a $1.39 outlook on earnings.
Netflix remains well ahead of fast-rising Disney+, which reached 86.8 million global subscribers in December, but it faces more competition than ever. Parents of new streaming rivals like Disney+, HBO Max, Apple TV+, Peacock and Discovery+ will soon also report their quarterly financials and shed some light on their progress.
Netflix beat forecasts for subscriber growth and total revenue in the fourth quarter, adding 8.5 million subscribers to reach a global total of 203.7 million.

Gov. Andrew Cuomo Won’t Attend Inauguration; “My Place Is In New York” Given Protest Risk At State Capitol

Cuomo said that despite NY's gains against Covid, three new, more infectious strains identified in the U.K., South African and Brazil are worrisome. "Any of these strains could be a second wave," he said.” />
After myself and seven other governors called on the Trump Administration to release more doses, HHS Secretary Alex Azar said that relief was on the way. “We are in a footrace with the virus, and we will lose unless we dramatically increase the number of doses getting to New Yorkers. Because you are not bound by commitments that Moderna made as part of Operation Warp Speed, I am requesting that the State of New York be permitted to directly purchase doses from you,” said the letter to Pfizer chief executive Albert Bourla. To date, however, the federal government has not acted on that promise — in fact, New York will receive just 250,000 doses this week, 50,000 fewer than the week prior.
New York Governor Andrew Cuomo said he had planned to attend Joe Biden’s inauguration but won’t now, preferring to stay close in case of demonstrations at the state Capitol building in Albany.
The federal administration essentially opened up a floodgate while cutting our supply — leading to confusion, frustration, and dashed hopes.” “Shifting guidance from the Centers for Disease Control and Prevention drove the number of New Yorkers eligible and prioritized for the vaccine from 5 million to 7 million practically overnight.
In welcome news, he said the Covid-19 positivity rate in New York is falling – Manhattan is a very contained 3.48% — and hospitalizations slowing. But he slammed outgoing Health and Human Services Secretary Alex Azar for promising but not delivering more doses after the federal government “created expectations” by expanding vaccine eligibility to anyone 65 or over.
But clamor for the vaccine is rising – after the Federal government expanded eligibility, but without shipping more doses — so he’s asked NY-based Pfizer if the state could purchase them directly. At a press briefing Monday, Cuomo also said New York’s Covid-19 cases are falling after a holiday surge.
Capitol building on Jan. Authorities in all 50 states are on high alert for possible unrest on Inauguration Day Wednesday by pro-Trump demonstrators following the violent insurrection at the U.S. 6 to disrupt the electoral count.
They “created a wave of expectation. He asked the CEO of pharma giant Pfizer, which happens to be based in New York, to sell the state doses directly. If you look at what are getting, it has not gone up,” Cuomo said. They said there would be more supply to meet the wave they were creating, and now they did a total 180 on whether or not there will be more allocation.
There is talk about demonstrations at state Capitols, and advisories … We have made preparations here with the state police. I will not be going. “If there’s a possible situation here at the Capitol, I want to be at the Capitol. I think my place is to stay in New York State,” he said. “I was planning to go to the inauguration. It’s going to be a great day.” I sent my best wishes to President-elect Biden…

Riz Ahmed’s Productive Year: The “Tremendous Gift” Of ‘Sound Of Metal’, ‘Mogul Mowgli’ & New Album ‘The Long Goodbye’

AHMED: The Long Goodbye was directed by Aneil Karia who’s one of our brightest new talents, I think, in Britain as a filmmaker. I’m interested in hybridity as a person, but also now more and more as a performer. Mogul Mowgli allowed me to put all my toys in one box, take the music—both rap music and Qawwali music— my British and Pakistani heritage, my Urdu and English, and put it into a film. And that’s what The Long Goodbye was about. I’m interested in that idea. It was a chance to take the spoken word, rap, film, some of my, I guess, more social political opinions, but also personal feelings and put them all in one place.” />
And not just because of the technical aspects, but also because Darius’s writing always has a way of plumbing such emotional depth. You see that in Blue Valentine as well. You see that in The Place Beyond the Pines. So, you have to meet his words with that energy. He’s baring his soul, opening a bit of a vein. AHMED: I moved to New York and just told myself, “This is what I’m going to do.” I’d drum for two and-a-half hours a day, sign for a couple of hours a day, and work on the script with Darius. It was one of those projects where you’re like, “All right, this is all in.” You can’t really dial this in.
DEADLINE: How long did you train for it?
AHMED: It was just a brilliant script. Of course, when I started down the road, there was some stuff to not love, alongside all the stuff to love. I loved the idea of that. I loved the script, met Darius, loved him, and he told me this whole idea of learning the drums and learning sign language. My agents sent it to me. It’s pretty straightforward, really.
The whole thing was similar in a way [to Sound of Metal], in that it was a very long period of gestation with a very concentrated burst of crystalizing the idea and then executing it. It wasn’t really fully clear to us, even though we had a script. That’s not what this film is.” That was February. AHMED: No. Actually, the one other thing that I was doing while I was in New York is that I was intermittently meeting up with Bassam [Tariq], and we’d talk about it. Like, what is this film? When I wrapped on Sound of Metal at the end of October, I went back to London, collapsed for a bit, and then we flew out to Pakistan, because we were going to make the film partly in Pakistan. So, we just banged out a new script at the end of February and shot the film in April. We went there, met some people, filmed some interesting stuff, and when we came back, I was like, “Actually, I don’t think this is right. What are we going to do?
Our identities are made, and often we make art as an attempt to immortalize those identities, and I guess there’s something just so kind of humbling about living with death by your side, right? RIZ AHMED: Well, the ideas I’ve been really interested in recently, and I guess the ones I’ve been grappling with throughout my whole career—my whole life, really—are the ideas about how art and identity interact. And I guess nothing really poses the question about the role of art, or the limitations and possibilities of identity, like mortality does. So out of choice and out of circumstance, it has been just an area that I’ve either been interested in or been forced to be interested in, or to try and engage in. The shadow of mortality is something that just throws both of those concepts into sharper relief. Because it can take these lofty illusions of artistic endeavor or personal identity and just dash them.
I found myself getting much more emotional communicating in ASL at times than I did speaking about things. It was a big challenge. Communication, when you’re not hiding behind words, can often be more connected. I often say that Jeremy Stone, my sign instructor, taught me the meaning of listening, taught me the meaning of communication. Jeremy warned me of this—he said that deaf people think of hearing people as emotionally repressed, because they hide behind words. It was quite grueling in many ways, but, by the end of the process, I’m able to look back and say, “It was just a tremendous gift.” Learning the drums, learning sign language—it just opened me up in different ways as a person, as an actor. It expanded and it enriched me, particularly being able to be immersed in some way in deaf culture, building those relationships. It’s something you do with your whole body, your attention, your energy. Listening isn’t something you just do in your ears.
DEADLINE: What appealed to you about Sound of Metal? It’s a very challenging, physical role, not just in terms of playing the drums, but in terms of sign language too.
DEADLINE: Do you keep the door open for those bigger projects? Could you return to the Star Wars universe?  
You learn all kinds of things. And then the other side is, will I learn and grow from it? Is it trying, in some way, to contribute to stretching the boundaries of genre, or people’s expectations of it, and rearranging their mental furniture? You learn about different kinds of filmmaking. That’s one side. And going from doing films like Shifty, to stuff like Rogue One, you absolutely learn. You learn about how to do a marathon rather than a sprint. AHMED: The way I think about is, does it stretch me, and does it stretch culture in some way?
DEADLINE: Your recent choices turned out to be quite prescient this year: both Sound of Metal and Mogul Mowgli feature characters whose lives change when they are forced to face their mortality.
That’s true of any project, but what was interesting about Mogul Mowgli was the weight loss. You may or may not notice it, but basically, I’m playing a guy who is fit and healthy and ready to go on tour who is suddenly barely able to walk. AHMED: With both projects, there was a lot of emotional stuff to mine. I lost 10 kilos in three weeks for that film. We didn’t make a big thing of it and show lots of closeups of my ribcage, although you do start making out some of the weight loss, I think, towards the end, when my character argues with his family.
DEADLINE: Was it a very demanding experience?
It just makes you realize how much we live in our bodies. If you deprive your body of nutrition, to a certain extent, your mind goes to some absolutely bat-s–t crazy places. Because it does take you emotionally to some really dark places. I wouldn’t advise anyone to attempt that. It’s crazy, actually. It was an almost micro-budget film—we were like, “F— it, let’s just do it.” I don’t think I’d attempt that again. I read about other actors going on that journey, and, obviously, it’s an emotional journey to go on with that kind of weight loss, but I didn’t realize that other people do it in five months with nutritionists and stuff. That was part of the big challenge there, and it was really intense.
DEADLINE: Did you go straight from that to Mogul Mowgli?
In a year that has stymied many of his peers, Riz Ahmed has been incredibly prolific, with two 2020 feature releases—Darius Marder's Sound of Metal and Bassam Tariq's Mogul Mowgli—as well as an album, The Long Goodbye, which came with a powerful short imagining life in a racist, post-Brexit Britain. If The Long Goodbye is a showcase for the sometime musician's eloquent wordplay, the two movies offer some of his finest acting work yet, as a heavy metal drummer coming to terms with his sudden deafness in Sound of Metal and as a rapper struck down by an autoimmune disease in Mogul Mowgli.
I think part of the terror and the joy of life as an actor is you have to surrender a little bit to the waves. AHMED: I haven’t had any conversations with anyone about it directly, but… I try and keep the door open to everything. I try and leave the door open to everything. And you never know which direction they’re going to take you.
Why do they interest you? DEADLINE: How do you balance indie movies with franchise movies?
How did you fit that in with your work schedule? DEADLINE: Were you doing other things at that time?
What would you like to say about that project? DEADLINE: You also released an album and a short film this year, The Long Goodbye.
AHMED: It was seven or eight months, from February until September [2018], I think.

Garth Brooks To Perform At Joe Biden and Kamala Harris’ Swearing-In Ceremony

We're all together in this one, but truly I think the word unity, the word love, the word that we belong to each other. New starts. "New beginnings. "There's a common theme in every presidential election," Brooks said. … It's going to dwarf both of those." We can't just take extreme left and extreme right, because there's a silent majority in the middle.
Think about what the mark you're going to leave on this planet as a human being, and with the children that you raise, and then make your decision." Think about your family. "It was disturbing. …The fact that we do make choices very much on the spur of the moment. I deal in music. That is what music is all about, and all that passion, guided, misguided as it is, I think that you saw the human race at a time that, for me as a person, seemed to reflect some other country's deadline, if that makes any sense. But it's here, and all I can do is beg and plead for everybody to take that second, that moment, take a breath and think about it. Try to remember that we are the human race, so I'm always going to find sunny sides in there. I deal in raw emotion. It was sad.
He did not say what music selection he would be singing, but said that it would probably not be We Shall Be Free because he sang it at the Obama event in 2009.
"I might be the only Republican at this place, but it's about reaching across and loving one another," he said.” />
Garth Brooks will perform at Joe Biden and Kamala Harris' swearing-in ceremony on Wednesday, joining Jennifer Lopez and Lady Gaga among the entertainers on the bill.
"So I think what happened was we saw people in the heat of the moment, and we've seen it on television before, but I'm with you. I felt like it was in some other country, but it was here. And now we deal with it, take responsibility, we claim it, and now we do our best to make sure something like that doesn't happen again."
Brooks will be performing for a vastly scaled back in-person audience than there was for the Obama 2009 inaugural events. But he called the opportunity to perform an "honor." He'll be seen by a viewership stretching across TV networks and online platforms.
Five people were killed. Brooks will be performing on the same stage that, just two weeks earlier, was the scene of a riot among pro-Trump demonstrators who, convinced that the election was stolen from him, stormed the Capitol.
Brooks, a Republican, said that incoming First Lady Jill Biden asked him over the weekend to perform.
"In our household, this is not a political statement, this is a statement of unity," Brooks said in a virtual press conference.
Brooks performed at a Lincoln Memorial inaugural concert in 2009, and told reporters that he was asked to perform for Donald Trump's inauguration in 2017 but had a prescheduled tour date.
To reporters, Brooks stressed the desire for unity amid deep distrust in politics, saying, "I'm so tired of being divided." The selection of Brooks signaled a desire among Biden's inauguration team to feature a performer with a substantial fan base across the partisan divide.

‘Canvas’ Director Frank E. Abney III Talks First Time Seeing Himself On Screen, Crafting “Therapeutic” Animated Short & His Mission In Transitioning To Features

Below, the up-and-coming helmer reflects on the years-long process of bringing Canvas to the screen, and the kinds of projects he wants to take on, going forward.
But I wanted to do something that was, again, something that we don’t usually see in animation, and also something to tie in with his journey in the story of being withdrawn, and broken down by loss. But also, he’s able to lift himself out of this chair to greet his wife. Also, with the main character, the grandfather, being bound by a wheelchair, I could have gone another route, having him walking and talking, and everything. So, I wanted to create characters that represent me. [At the same time], in the film later on, when we’re suspended in that kind of dream sequence, he’s being lifted in spirit.
DEADLINE: How did you go about integrating 2D elements into the short?
DEADLINE: How did the film land at Netflix?
What inspired you to bring the worlds of 2D and 3D animation together? DEADLINE: What were your earliest thoughts, as far as how you wanted the film to look?
Whether it's sci-fi, or any other genre, it has to be rooted in something true to our humanity. I love character and character-based stories, so digging more into character and bringing something honest to the screen that can make you think, and take you somewhere through a lived experience [is the goal].” /> ABNEY: As a director I want to make films that center on character and real experiences.
DEADLINE: Can you tell us a bit about your trajectory in the world of animation, and how it led you to direct Canvas?
ABNEY: Creating any project right now, I’ve been really trying to focus on making sure I’m creating something to represent my culture and where I come from, characters that look like me. We don’t see a whole lot of that in animation, so I wanted to make sure that I honor my responsibility, as a Black artist in this field.
It allowed me to take some of that and release some of this burden, and just shake it off, and kind of reinspire myself through that. In terms of it leading to Canvas, there was a period of my life some years ago where I was in a rough space, trying to navigate the industry and questioning my part in it, and around that time, I was spending time with family. Kids have this carefree spirit about them, and watching my niece—how she navigated a room, free of all the burdens of the world—was really inspiring.
For the overall look, I love live-action films, and there’s a lot of reference that I pulled from live-action, in terms how of we handle the camera, and just the look of it, as well. I wanted to take some techniques, and some of the visual language in lighting, and transfer that into animation, so I linked up with DP Morgan Cooper. He’s from the live-action side of things, so we just talked about the camera, and lighting, and how he can handle that, and it was really beneficial for bringing something unique to Canvas.
For Abney, creating Canvas was not only a form of therapy, allowing him to process a profound life experience. It was also an opportunity to amplify the voices of Black artists in animation, both on screen and behind the scenes.
DEADLINE: What were the highlights of your experience with Canvas?
Animation, and just creating in general, it’s been my voice. That’s why I always encourage my students, or just people on social media to create, especially during this time, because it really is therapeutic. ABNEY: Yeah. It’s been my way of taking in everything from the world and expressing how I interpret that.
After working at Pixar for seven years—his last credit as an animator being Pete Docter and Kemp Powers’ Soul—Abney found in the short the opportunity to transition to Netflix, cementing his relationship with the streamer, with an animated feature he's currently directing for it.
DEADLINE: Was there a learning curve in tackling your first major short? What were the biggest challenges of the process?
DEADLINE: I know you’re currently directing an animated feature for Netflix. What can you tell us about your ambitions going forward, as a feature director?
And how long did it take to bring the short to fruition? DEADLINE: How big was your crew?
[By the time] we finished, I had two, and so that was another aspect of navigating trying to create this film, was wanting to be present at home. ABNEY: I'd say the biggest challenge was trying to navigate working on this film while everyone was working [elsewhere] full-time. I would wait until the kids go to sleep and then I would work on this, whether it was a few hours or 30 minutes—any bit of progress I can get. And when I started the film, I didn't have any kids. I was working full-time, as well, so it was all off-hours.
FRANK E. ABNEY III: As a kid growing up, I always loved to draw. I was always watching cartoons and movies, and I was captivated by the magic of animation, seeing these characters come to life that are made from your hand. My mom tells me I’ve been drawing since I was around two.
The canvas texture, I added as an effect afterward, to have that quality, like it was on a canvas. ABNEY: It was all done digitally, using 2D animation software. That was something that I wanted to do early on, just as a tie-in to the grandfather being a painter.
During that time, I was also around my grandfather, and he was very quiet and withdrawn. And I was wondering, what’s the backstory of that, as well? So, just having these experiences with my mom and grandfather, and my own experience with loss, and my experience with my niece all allowed Canvas to start to take shape.
So, that was my way of paying respect to 2D animation, by incorporating it into Canvas. Also, going back to that feeling that I’d had about that magical something, in seeing drawings come to life, I chose to use that medium for those sequences where it is either a memory, or some kind of dreamlike state—where it’s just something magical. As far as the 2D aspect, that was what I fell in love with, when I got into animation.
I was surprised, with her being so young, and then after, when I'm showing it again, how she turned back and looked at me with her eyes bright, just this excitement. That's always going to be a part of me, wanting to make family proud, and I always have this image in my head of seeing my two-year-old daughter watch it, and how she was so engaged. ABNEY: I'd say it starts at home, seeing how my family reacts to it. So, that was a major highlight for me, just my kids being able to enjoy something that I made.
ABNEY: It was around 30 artists. I went to friends, and then I went to social media, people online whose work I admired, and just reached out so we could try and get it started. [But] we grew some in the post-production process, and we had a lot of very talented musicians in, scoring the film. The film actually took around five to six years to make. There was the conception of the idea, and then there was a little bit of a pause, trying to work out how to do this, and start off getting some visuals together, so I can be able to recruit other artists. It was really slow going in the beginning, but then after we started releasing artwork and getting more interest, it started to pick up.
Through that loss, I was watching my mom and how she navigated [it], and I always questioned if there was something there that she may have lost, in the loss of my father. So, I was reinspired and invigorated to create something, but I wanted it to be something special. I learned, getting into this business, the power in creating stuff that’s personal to us, as artists, and with that, I wanted to pull from this loss that I experienced, and my whole family experienced.
ABNEY: When I initially released the characters—I believe on Twitter and Instagram—just early design work, showing the models and what I was up to, I got a message [from] Netflix, just really showing support for what I was doing. I knew in the beginning, with the work that Netflix was doing, that I thought it would be a really good partnership, if that came to be, and then it ended up working out. So, I kept in touch over the years, just to keep them informed about the short.
DEADLINE: The idea of finding ways to create art, even in the midst of great pain, feels particularly timely right now.
Emerging from a moment when Abney found himself stuck in a “creative rut,” the film centers on a wheelchair-bound grandfather who lives in solitude, following the loss of his beloved wife. In the aftermath, the one-time artist must summon the strength to return to his work as a painter, reconnecting with his family, and also with his one true love, on the canvas of his latest piece.
That was the first time I really saw myself. I didn’t know I wanted to be an animator at that time, but that really launched everything for me, in terms of wanting to pursue this as a career. But what made me actually want to do it was The Lion King. I lost my dad when I was five years old, and I didn’t know why at the time, but I would watch it every single day after school, no exaggeration. That was the first time I really connected with a story on a deep level, because seeing Simba losing his father, and having those fears of oncoming responsibilities as an adult, that was me.
Abney III channeled the pain of a major loss early in his life into a work of art. With his first large-scale, animated short, Canvas, director Frank E.

Netflix Earnings Preview: How Will Streaming Leader Fare Amid Rising Competition?

They have dipped 6% to start the year, ending last Friday at $497.98, a good amount below the 52-week high of $575.37 established last July. as sources of concern. Investors have lately hit the "pause" button on Netflix shares. For years, the company had abundant running room as a pioneer, but now customers have a burgeoning array of choices, and other services are loading up with prestige titles, some of which are popular library titles taken back from Netflix. While bulls clearly outweigh bears on Netflix, many skeptics point to its recent price hikes and flattening growth in the U.S.
“We prefer Disney for two reasons,” Bazinet wrote in a note to clients. Second, we suspect Netflix may have some hiccups over the next few quarters as price hikes potentially dampen quarterly net adds, tactically disappointing the Street. Disney, on the other hand, is apt to keep prices relatively stable.” “First, as a late entrant, we think Disney has a quicker and easier path to sub growth over the next three years.
One media veteran, Citibank analyst Jason Bazinet, recently recommended Disney as a better vehicle for streaming investment than Netflix. He maintains a "neutral" rating on Netflix shares and last week boosted his price target to $580 from $450.
Disney has estimated similar numbers by then with Disney+, but churn and revenue per user are at inferior levels to Netflix thus far. HBO Max, meanwhile, is eyeing 75 million to 90 million subscribers by 2025, about two-thirds of them in the U.S.
The company's investment in local original programming around the world also offers a "long runway" for continued addition of subscribers. Morgan Stanley's Benjamin Swinburne reiterated his "overweight" rating on Netflix shares, with a $12 month price target of $650. In a note to clients, he highlighted "ample free cash flow generation in 2022 and beyond" as well as a surge of more than 70 original feature films, which should reinforce pricing power.
As the global kingpin with 14 years of streaming under its belt, Netflix comes into earnings day with 195 million subscribers, more than double the count for fast-rising Disney+ and other competitors. That is just half the rate of improvement in late-2019, when the company posted a 6% rise from the third to the fourth quarters. The company projects it will add 6 million total subscribers in the fourth quarter, reaching 201 million. That would be an improvement over the 2.2 million it added in the third quarter and would be up 3% on a sequential basis.
Doug Anmuth of J.P. Morgan also reiterated his "overweight" rating, with a $628 price target. “Netflix is a key beneficiary and driver of the ongoing disruption of linear TV, with the company’s content performing well globally and driving a virtuous circle of strong subscriber growth, more revenue, and growing profit,” he wrote in a research note. “We expect Netflix to continue benefiting from the global proliferation of Internet-connected devices and increasing consumer preference for on-demand video consumption over the Internet, with Netflix approaching 300 million global paid subs by 2024.”
Noted Netflix bear Michael Pachter of Wedbush Securities recently issued a surprisingly upbeat assessment, at least by his usual standards. His 12-month price target is $235, with a rating of "underperform." He said the company could be "on a path to sustainable free cash flow," but he still sees its shares as overvalued.
"We expect that lead to be sustained for the foreseeable future."” /> He also noted the movie push to put more than one marquee new movie on the platform each week, which he called an "ambitious and costly goal." Nevertheless, global expertise and a big head start managing originals and library fare have "resulted in the company maintaining its content quantity lead over its competitors," he conceded.
Netflix will report fourth-quarter earnings Tuesday afternoon, closing the book on a coronavirus-altered 2020 and setting the tone for a more competitive marketplace in 2021.
The streaming leader has recently been the first entertainment company to report quarterly results, kicking off each weeks-long earnings season. Parents of new streaming rivals like Disney+, HBO Max, Apple TV+, Peacock and Discovery+ will soon also report numbers and shed some light on their progress.
The most popular U.S. subscription plan went to $14 a month from $13. While Pachter expects only 5 million new subscribers in the fourth quarter, well below company guidance, he says revenue should meet expectations due to price hikes.
Programming highlights in the quarter include the fourth season of The Crown, the debut of left-field hit The Queen's Gambit and original movies like The Christmas Chronicles 2 and Oscar hopefuls like Mank. As to financial results, Netflix projects fourth-quarter revenue of $6.6 billion and earnings per share of $1.35.
The company added 26 million subscribers in the first half of last year, nearly as many new customers as it signed on in all of 2019. Many Wall Street analysts have estimates slightly north of the company's guidance, despite a "pull-forward" of subscribers during Covid-19 earlier in 2020.

Sen. Josh Hawley Book Dropped By Simon & Schuster Lands At Conservative Regnery Publishing

Journal, Spence wrote, "We’re proud to publish Mr. In a column published in The Wall St. Hawley does. We ask only if his book is well-crafted and has something true and worthwhile to say. We don’t have to agree with everything—or anything—Mr. Hawley’s book, which his original publisher has made more important than ever. Today, Regnery president and publisher Thomas Spence called Simon & Schuster's decision an example of blacklisting. The answer is yes."
Spence, whose company publishes books by Ann Coulter, Sarah Palin and Ted Cruz, wrote, "Reasonable people can disagree whether [Hawley's] act was noble or cynical, courageous or rash, but no one can reasonably argue that he intended to incite that afternoon’s invasion of the Capitol by a lawless mob."
Simon & Schuster had planned on releasing the book in June, but reversed course after, the company said, "witnessing the disturbing, deadly insurrection…"
 ” />
7, with the publisher citing Hawley's "role in what became a dangerous threat." Hawley, who was photographed giving a clenched fist salute to Capitol protestors shortly before the gathering turned violent, was dropped by Simon & Schuster on Jan.
Both Orwell's 1984 and the First Amendment address governmental control of speech. Hawley called Simon & Schuster's decision "Orwellian" and "an assault on the First Amendment," descriptions that were factually inaccurate.
Josh Hawley's upcoming book The Tyranny of Big Tech that was dropped by Simon & Schuster after the Jan. 6 siege on the Capitol. The Missouri Republican had repeatedly supported and gave voice to President Donald Trump's disinformation campaign about vote tampering and election results leading up to the deadly attack. Conservative publishing house Regnery has picked up Sen.

‘American Masters’ Filmmakers On Historical Importance & Overlooked Contributions Of Black Performers – Guest Column

When Lena Horne, the first African-American signed to a Hollywood studio contract, insisted it include a clause that said she would not play the role of a Black domestic worker, she was using her art to reshape societal expectations about Black people. Tyson imbued these characters with dignity and authenticity that was unparalleled in its depiction of humanity and described her work in Sounder as “the first Black-positive film which shows us as human beings and says something about the unity of the Black family.” Similarly, other artists like Abbey Lincoln, Nina Simone and Pam Grier made cultural work that wrestled deeply with issues of representation and communicated the hopes and dreams of Black people in ways that transformed audiences. What people see in theaters, on TV and in films is another uniquely powerful cultural force that shapes how Americans see each other, ourselves and the world. Cicely Tyson took this further by forging an entire career made of carefully selected roles like Rebecca Morgan in Sounder (1972), where she played a Depression-era poor Black mother for which she was nominated for an Academy Award, and the title role in The Autobiography of Miss Jane Pittman (1974), where she plays a character who begins her life as a slave and lives to see the end of segregation as a 110-year-old woman. This revolutionary act was as transformative for Black audiences, as it was for the more general audience that had grown accustomed to stereotypical representations of Black people in movies.
When the words of ‘America’ and ‘Nobody Knows de Trouble I Seen’ rang out over that great gathering, there was a hush on the sea of uplifted faces, Black and white, and a new baptism of liberty, equality, and fraternity.” Singing to a nation that had literally denied her the stage, Anderson created an altogether new one that became hallowed ground for the civil rights movement and inspired one of its leading architects. The impression she left on young Martin Luther King would become clear when he cited her performance five years later in his first public speech at a high school speaking contest he won. Another performer at the March on Washington was Marian Anderson, the pioneering contralto, who, on being barred by the Daughters of the American Revolution from performing at Constitution Hall because of her skin color, then performed on the steps of the Lincoln Memorial on Easter Sunday in 1939. That was not the first time Martin had stood on those steps inspired by a singer. The speech was entitled “The Negro and The Constitution,” and a section was devoted to Anderson’s performance. Among the 75,000 in attendance for the free concert that day was a 10 -year-old Martin Luther King Jr., who heard Anderson perform her opening soul-stirring rendition of “America (My Country Tis of Thee)”, a stunning choice given the circumstances of her performance. “She sang as never before, with tears in her eyes.
In the words of writer-filmmaker Toni Cade Bambera, cultural work “makes the revolution irresistible,” and we believe this work is vital for our present precarious times. Let us turn toward culture to bind our nation’s wounds and do the everyday work of healing.” /> All of these examples demonstrate how culture helps us conjure new possibilities to practice freedom above and beyond what our individual horizons and collective circumstances allow us to see.
As the late American hero Congressman John Lewis said: “Without the arts, without music, without drama, without photography, the Civil Rights movement would have been like a bird without wings.” The singer, songwriter and scholar Bernice Johnson Reagon, an original member of the Freedom Singers, whose tours were planned and funded by the Student Nonviolent Coordinating Committee (SNCC), sang songs to politically awaken the masses and to educate the Black community about their rights. One of their popular Civil Rights songs, “Ain’t Gonna Let Nobody Turn Me Around,” prods people to continue fighting for their freedoms. Keep on a-walking, keep on a-talking. “Ain’t gonna let nobody, turn me around. Ain’t gonna let nobody, turn me around. Gonna build a brand new world.” Reagon described how singing these kinds of songs “not only pulled us together, but became our articulate collective testimony to all who stood within the sound.” Turn me around, turn me around. These and other Black women have stoked citizen engagement and encouraged everyday people to reimagine what is possible and helped make arts and culture essential to the Black freedom struggle.
So close was their relationship that when Mahalia famously yelled at the 1963 March on Washington, “Tell them about the dream, Martin!” it inspired Dr. These Black female entertainers exerted influence not only on their audiences, but also over important political figures. at his speaking events, opening for him, and prepared crowds to receive his words. Mahalia Jackson, perhaps the greatest gospel singer of all time, often accompanied Rev. King to ad-lib the most memorable section of that speech. Martin Luther King Jr.
Focusing on Lena Horne, Abbey Lincoln, Nina Simone, Diahann Carroll, Cicely Tyson and Pam Grier, the docu — also executive produced by Alicia Keys — airs tonight on PBS in honor of Martin Luther King Jr. Richen, Mandefro and Schwartz Delgado wrote this guest column for Deadline. Editor's note: Yoruba Richen is the director and Mehret Mandefro and Lacey Schwartz Delgado are executive producers of American Masters: How It Feels to Be Free, a documentary that looks at the historical importance and overlooked contributions of Black performers. Day.
They sought to inspire Americans to see one another beyond stereotypes and showed Black audiences how to see themselves unencumbered by the burden of racism. We have made it the focus of our work to help bring to light the overlooked contributions of artists like Lena Horne, Nina Simone, Mahalia Jackson, Bernice Johnson Reagon and Marian Anderson, who advanced civil rights through the roles they played, the songs they sang and the influence they exerted over the political process and leaders. As we honor Martin Luther King Jr. this weekend and the nation prepares to inaugurate our 46th president, let us remember the Black women our Vice President-elect Kamala Harris described as “too often overlooked, but so often prove that they are the backbone of our democracy.” Specifically, let’s consider the all-too-often overlooked Black female performers, who have long used their art to challenge representations about Black people at a time when America was awakening to a new consciousness about what it means to be free.
Both representations were equally important in filling voids in the cultural landscape for Black people to be portrayed in more complicated and real ways. Nina Simone’s 1972 performance of “To Be Young, Gifted and Black” to four Black children on Sesame Street, while wearing an African gown, was a clear expression of her desire to use the song as a way “to make Black children all over the world feel good about themselves forever." Where Simone was using her music to say something positive to Black children, Diahann Carroll’s performance as a single mother of six on welfare in the film Claudine (1974) was a critique of the welfare system and communicated to those in power that the ways in which welfare administrators policed Black households was unjust. For Black audiences that long existed largely outside of any mainstream gaze, these artists performed for them and to them in ways that changed the way Black people saw themselves.

Maria Bartiromo, Brian Kilmeade and Trey Gowdy Among Rotating Hosts For New 7 PM Fox News Opinion Show

Fox News topped other cable networks in viewership last year, but CNN has seen gains post election. In the first week of January, CNN topped primetime with an average of 4.18 million viewers, to 3.78 million for MSNBC and 3.19 million for Fox News. Back in October, Fox News said that they were planning new formats "as appropriate after the election." But since election day, much has been made of the growth of Newsmax's viewership, particularly in the 7 PM hour, as Greg Kelly Reports was a platform for pro-Trump guests to advance unfounded claims of election fraud.
Bartiromo, a fixture on Fox Business and Fox News' Sunday Morning Futures, has featured guests on her show such as Sidney Powell and Rudy Giuliani, two of the highest profile figures advancing conspiracy theories post election. Smartmatic has threatened legal action against Fox News, Newsmax and One America News Network. In December, Bartiromo, along with Lou Dobbs and Jeanine Pirro's shows, telecast what amounted to a fact check of claims that had been made on their programs about Smartmatic, the election systems company.
Maria Bartiromo, Brian Kilmeade and Trey Gowdy are among the list of rotating hosts who will anchor Fox News Primetime, set for its debut in the 7 PM hour as part of a plan to fill the slot with opinion programming.
Also planned among the rotating hosts will be Katie Pavlich, Rachel Campos-Duffy and Mark Steyn. Gowdy, Pavlich and Campos-Duffy are regular contributors to the network; Steyn is a regular guest.
A permanent host will fill the 7 PM hour at some later date, but Kilmeade will launch the show with tonight's telecast. Last week, Fox News announced that the newscast The Story with Martha MacCallum would be moved to 3 PM.
The Times was the first to report on the rotating hosts. Bartiromo has defended her show, telling the Los Angeles Times last month, “This is the sitting president of the United States, and his attorneys, which up until recently included Powell, have a right for their side to be heard and state their case.” The Times was the first to report the news about her selection as one of the rotating hosts, something that would put her as a lead in to Fox News's primetime opinion hosts, Tucker Carlson, Sean Hannity and Laura Ingraham.
 ” />

Disneyland Paris Reopening Delayed Until April, Possibly Longer

In a statement posted to Twitter, the company wrote:
France stood on the verge of 3 million infections on Monday, according to Johns Hopkins University. That makes it the 6th most-infected country in the world. The country, which has seen just over 70,000 deaths due to the pandemic, went under a 6 p.m.-6 a.m. curfew this weekend due to fears about the spread of B.1.17, the UK variant of the virus thought to be 50% more transmissible than the more common form of Covid-19.
At Disney, Parks and Resorts has traditionally made up about a third of the company’s revenue, with the division seeing sales fall 61% in fourth-quarter 2020 from the year earlier. Theme parks have been among the very hardest hit entertainment segment in the pandemic era along with movie theaters and live events.
Disneyland Paris announced on Monday that the park's reopening would be delayed until at least April 2. The park, which closed for a second time on October 29, had planned to reopen on February 13. The park was previously closed from March-July 2020, reopened, and then closed down again in April 2020.
If conditions permit, we will reopen Disneyland Paris on the 2nd of April, 2021 and will welcome reservations from that date forward. Given the current context our plans continue to evolve, but please know that we will make every effort to provide updates as soon as it is possible.
Due to the prevailing conditions in Europe, Disneyland Paris will not reopen on the 13th of February as initially planned.
Disneyland shut down its annual pass program this month citing “continuing uncertainty” created by the pandemic. A parking lot at the latter park has been turned into a mass vaccination site. Other Disney parks that remain closed include Hong Kong Disneyland and the original Disneyland in Anaheim.
The new start date will pertain, "if conditions permit," according to the statement. The company then noted that in "the current context our plans continue to evolve" with the ebb and flow of the pandemic.

Walt Disney World in Orlando remains open, with Covid-related precautions in place. Ditto Shanghai Disneyland.” />
Walt Disney said in November that it would terminate a total of 32,000 employees, mainly in its Parks, Experiences and Resorts division — including 28,000 already announced — in the first half of its fiscal 2021, meaning by March.

Juno Films Acquires Sundance Doc ‘The Most Beautiful Boy In The World’

In 1971 at the London premiere of Death in Venice, the director proclaimed his Tadzio as “the world's most beautiful boy.” Fifty years after the premiere, Andrésen takes us on a remarkable journey made of personal memories, cinema history, stardust and tragic events in what could be his last attempt for him to get his life on track.
The new film follows Andrésen, who was thrust to international stardom at the age of fifteen based on his iconic looks, as he wistfully reflects on his stardom. In 1969, Visconti traveled throughout Europe looking for the perfect boy to personify absolute beauty in the film, and a year later discovered Andrésen, a shy Swedish teenager whom he brought to international fame overnight and led to spend a short but intense part of his turbulent youth between the Lido in Venice, London, the Cannes Film Festival and the so-distant Japan.
and Canadian rights to the documentary The Most Beautiful Boy in the World, the Kristina Lindstom and Kristian Petri film set to premiere in the World Documentary Competition at this year’s Sundance Film Festival. Juno Films has acquired U.S.
The deal was negotiated by Elizabeth Sheldon, founding partner and Chief Executive Officer of Juno Films. Film Boutique recently announced that they have acquired Worldwide Sales Rights.
Produced by Stina Gardell's Stockholm-based Mantaray Film, the film follows former child star Björn Andrésen who played Tadzio in Luchino Visconti's 1971 film adaptation of Thomas Mann’s Death in Venice. Juno Films will release the film in theaters in May 2021.
“We filmed The Most Beautiful Boy in the World during five years in Stockholm, Copenhagen, Paris, Budapest, Venice, and Tokyo, following in Björn's footsteps,” says director Kristian Petri. This film lets us listen to the boy's own story. He, who was made into an image by others, an icon, a fantasy, which took over his young life.” Co-director Kristina Lindstrom adds “It is a story about obsession with beauty, about desire and sacrifice, about a boy whose life was changed forever when the film director Luchino Visconti declared him to be the, ‘World’s most beautiful boy.’ Who was this boy and what happened to him?
 ” />

Joe Biden’s Inauguration United We Serve Concert Lineup Includes Diane Warren, Chesca, Andra Day And Yo-Yo Ma

The AAPI Inaugural Ball will feature Michelle Kwan, Kal Penn, John Cho, Kumail Nanjiani and Chloe Bennet, with performances by Japanese Breakfast, Ari Afsar and Raja Kumar. Pramila Jayapal, Rep. Also appearing will be Neera Tanden, nominated to be the next director of the Office of Management and Budget, along with Rep. Raja Krishnamoorthi. Ami Bera, Rep. Andy Kim and Rep.
They include the AAPI Inaugural Ball: Breaking Barriers, celebrating the Asian American and Pacific Islander communities; We Are One, celebrating Black Americans; and Latino Inaugural 2021: Inheritance, Resilience, and Promise. Biden's inaugural committee also announced an additional slate of programming for Tuesday night, including three events highlighting diversity.
Joe Biden's inauguration concerts continue tonight with one tied to the Martin Luther King Jr. holiday, with a lineup that includes Yo-Yo Ma, Andra Day and Bebe Winans.
Also on the bill for the concert, called United We Serve: A Celebration of the National MLK Day of Service, are Aloe Blacc, Rep. Sharice Davids, Rosario Dawson, Bernie King, Martin Luther King III, Rev. Al Sharpton, Sean Patrick Thomas and Lynn Whitfield.
Latino Inaugural 2021: Inheritance, Resilience, and Promise will be hosted by Eva Longoria and feature Lin-Manuel Miranda, John Leguizamo, Rita Moreno, Edward James Olmos, Ivy Queen and Becky G. There also will be performances from Gilberto Santa Rosa and Gaby Moreno, featuring David Garza, Emilio Estefan and All-Star Tejanos United – Stefani Montiel, Jose Posada, Shelly Lares, DJ Kane and Mariachi Nuevo Santander from Roma High School. Emilio Estefan produced a performance of One World, One Prayer by the Wailers, featuring Skip Marley, Farruko, Shaggy and Cedella Marley.” />
James Clyburn, Cedric Richmond, Rep. Also appearing will be Leslie Jones, Frankie Beverly, Stacey Abrams, Rep. Cory Booker, Senator-elect Raphael Warnock, Kim Fields, Erika Alexander and Jason George. Terrence J will host We Are One, with performances including Tobe Nwigwe, DJ D-Nice, The O’Jays, Rapsody, Step Afrika, the String Queens and the Texas Southern University Debate Team. Joyce Beatty, Sen. The event also will feature a "battle of the bands," including a number of college marching bands.
Warren told Deadline that she was looking forward to the next administration as Biden offers "a sense of hope and sanity, and intelligence, compassion and empathy." On Sunday, the Biden inaugural committee held a virtual concert that featured Cher and Barbra Streisand, among others, with most of the performers stressing unity amid political divisions.
Adam Rifkin directed the video and Leah Sydney produced it. The event, scheduled to start at 8 PM ET, will feature a video from songwriter Diane Warren and Chesca's performance of "El Cambio" (The Change), which Warren wrote and originally debuted during the Biden campaign and became an anthem.

A Nationwide Mask Mandate Could Add $1 Trillion To The US GDP, According To UCLA Analysis

The researchers came to a variety of conclusions, including:
There is also ample evidence from the current pandemic, said study co- author Jeremy Howard, a research scientist at the University of San Francisco.
-transmission was 7.5 times higher in countries that did not have a mask mandate;
Even then, according to the researchers, scientists fighting the plague recognized that the cloth mask was "the principal means of personal protection." To come to their conclusions, the team examined a wide range of new and existing studies and research, including work going back to a 1910 outbreak of plague in northeastern China.
-face masks have a large reduction effect on infections and fatalities, with a potential impact on U.S. GDP of $1 trillion if a nationwide mask mandate were implemented; and
"By the end of June 2020, nearly 90% of the global population lived in regions that had nearly universal mask use, or had laws requiring mask use in some public locations, and community mask use was recommended by nearly all major public health bodies," Howard said. "This is a radical change from the early days of the pandemic, when masks were infrequently recommended or used."
-masks were 79% effective in preventing transmission, if they were used by all household members prior to symptoms occurring;
City News Service contributed to this report.” />
-the marginal benefit per cloth mask worn to be in the range from $3,000 to $6,000.
states with mask mandates and those without found that the daily growth rate was 2 percentage points lower in states with mask mandates, estimating that the mandates had prevented 230,000 to 450,000 COVID-19 cases by last May 22; -the difference between U.S.
"Reducing disease spread requires two things: limiting contacts of infected individuals via physical distancing and other measures and reducing the transmission probability per contact," said co-author Christina Ramirez, a Fielding School professor of biostatistics. "The preponderance of evidence indicates that mask wearing reduces transmissibility per contact by reducing transmission of infected respiratory particles in both laboratory and clinical contexts."
GDP, according to UCLA Fielding School of Public Health researchers. Implementation of a nationwide mask mandate, combined with complementary public health measures, could reduce the coronavirus' spread to essentially zero and have a potential $1 trillion impact on the U.S.
The findings — published in the January edition of the Proceedings of the National Academy of Sciences, a peer-reviewed journal — were the work of an international team of 19 specialists from UCLA and more than a dozen other universities and research centers, including Oxford University, the University of Cape Town, Peking University, the Massachusetts Institute of Technology and the University of San Francisco.
As governments exit lockdowns, keeping transmissions low enough to preserve health care capacity will be critical until vaccines can be developed and widely provided." "When used in conjunction with widespread testing, contact tracing, quarantining of anyone that may be infected, hand washing and physical distancing, face masks are an invaluable tool to reduce community transmission," Rimoin said. "All of these measures, through their effect on R0, have the potential to reduce the number of infections.
R0, pronounced "R naught," is a mathematical term that indicates how contagious an infectious disease is. GDP, the authors said. As an infection is transmitted to new people, it reproduces itself. It's also referred to as the reproduction number. Reducing reproduction to zero, in turn, could add $1 trillion to the U.S.
The team's research "makes clear that even as vaccines are developed and new variants, like B.1.7.7, are being discovered, the power to protect ourselves remains in our hands, as individuals," said co-author Anne Rimoin, a UCLA Fielding School professor of epidemiology.
-the use of masks was strongly protective, with a risk reduction of 70% for those that always wore a mask when going out;
"Wearing a mask is one of the simplest, most effective, and cheapest ways to do exactly that — and it's been proven by the history of epidemiology over the past century, going back to the 1918-19 influenza pandemic and even before," she said.

Netflix Wins Big With ‘Crip Camp,’ ‘John Was Trying To Contact Aliens’ At IDA Awards: Complete Winners List

Crip Camp (USA / Netflix)
Going into the night, Amazon Studios’ Time was the favorite for Best Feature, having won a slew of pre-Oscar prizes, including the Gotham Award for Best Documentary (in a tie with A Thousand Cuts). But Time, directed by Garrett Bradley, didn’t leave the IDA Awards empty-handed. Bradley was named Best Director and she also earned the previously-announced Emerging Filmmaker Award.
Best Multi-Part Documentary went to HBO’s series Atlanta’s Missing and Murdered: The Lost Children. Among the show’s directors and executive producers is Sam Pollard, who received the IDA’s Career Achievement Award. His documentary MLK/FBI was also nominated for Best Feature.
“I'm so happy it found an audience.” “Really it's a story about connection and love,” Killip observed in his acceptance remarks.
Stern, Lucas Smith, Andrew Fried, Dane Lillegard) LaBracio, James D.
The former president and first lady’s production company, Higher Ground, produced Crip Camp. Newnham thanked, among others, executive producers Barack and Michelle Obama.
“I want to thank everybody at Camp Jened, the staff, the counselors and the campers,” said an emotional LeBrecht as he, Newnham and producer Sara Bolder accepted the award. “My life set a course when I went there and you all are responsible for this–you are so much a part of this award.”
Pare Lorentz Award
Best Writing
Director/Producer: Marrok Sedgwick, Co-Editor: Jackson Patrick-Sternin) People Like Me (USA / University of California Santa Cruz.
Executive Producers: Susan Bellows and Mark Samels) American Experience (USA / PBS.
Bradley gave a shout out to the family whose story she tells in the film: Sibil Fox Richardson (known as Fox Rich) and her husband Rob. Time explores Fox Rich’s two-decade long effort to win the release of Rob, who was sentenced to 60 years in prison for armed robbery.
Best Short
Honorary Awards
Truth to Power Award
Best Short Form Series
See the complete list of winners below:
David L. Wolper Student Documentary Award
Atlanta’s Missing and Murdered: The Lost Children (USA / HBO. Directors and Executive Producers: Sam Pollard, Maro Chermayeff, Joshua Bennett, Jeff Dupre. Executive Producers: John Legend, Mike Jackson, Ty Stiklorious, Nancy Abraham, Lisa Heller)
Best Director
Directors/Producers: Nicole Newnham, Jim LeBrecht. Producer: Sara Bolder) Crip Camp (USA / Netflix.
Career Achievement Award
Best Multi-Part Documentary
Dick Johnson is Dead (USA / Netflix. Writers: Nels Bangerter and Kirsten Johnson)
Garrett Bradley (Time)
The IDA Award for Best Music Documentary went to Universe, directed by Nicholas Capezzera and Sam Osborn, a film about an unrecorded piece of music by Miles Davis.
Best Feature
Director: Pippa Ehrlich, James Reed
Courage Under Fire Award
Pioneer Award
Amicus Award
Best Audio Documentary
“It has been such a privilege and an honor to work with Fox and Rob and Miss Peggy and the entire Richardson family,” Bradley noted, “in bringing their story of love, which surpasses all time and space, to the world.”
Composer: Kevin Smuts) My Octopus Teacher (USA / Netflix.
Scully Regina K.
Producer: Craig Foster
Newnham added, “The hippie teens and counselors of Camp Jened could never have imagined the wide-reaching impact that their brief utopian community would come to have on disability civil rights around the world. And we believed that an immersive, community-told story, a film of their story, could help to continue their work.” But they did dare to imagine that a better, more inclusive world was possible.
Firelight Media
Directors/Producers: Nicole Newnham, Jim LeBrecht
My Octopus Teacher (USA / Netflix)
Cinematographer: Viacheslav Tsvietkov) The Earth Is Blue as an Orange (Ukraine, Lithuania.
Time may yet rally in time for the Academy Awards. At the IDA's last awards show For Sama won the IDA’s Best Feature prize, but American Factory, from the Obamas’ Higher Ground Productions, went on to claim the Oscar. In fact, in the last five years only once has the IDA Best Documentary winner gone on to earn the Oscar statuette—2016’s O.J.: Made in America. The IDA Awards has proven an uncertain predictor of Oscar success.
Garrett Bradley (Time. USA / Amazon Studios, Concordia Studio, The New York Times)
Best Editing
Executive Producers: Justine Nagan, Chris White) POV Shorts (USA / PBS. Bennett. Producer: Opal H.
David France, David Isteev and Olga Baranova (Welcome to Chechnya)
Dick Johnson Is Dead (USA / Netflix. Editor: Nels Bangerter)
Producer: Sara Bolder
Emerging Documentary Filmmaker Award
In another victory for Netflix, the streamer’s short John Was Trying to Contact Aliens, won the IDA Award for Best Short. Director Matthew Killip accepted for his story of an electronics enthusiast who built a massive radio transmitting operation in his house in the 1970s, hoping to communicate with extraterrestrials.
The film directed by Nicole Newnham and Jim LeBrecht (the latter attended the titular camp as a teen) also won the ABC News VideoSource Award, recognizing its skillful use of archival video from the 1970s to 1990s.
Best Music Score
Crip Camp (USA / Netflix. Directors and Producers: Nicole Newnham and Jim LeBrecht. Producer: Sara Bolder)
Best Music Documentary
Producers: Esther Dere and Leah Natasha Thomas) Directors: Sam Osborn and Nicholas Capezzera. Universe (USA.
The Netflix doc Dick Johnson Is Dead, directed by Kirsten Johnson, won two awards on the night, for Best Editing and Best Writing. The Netflix series Last Chance U won Best Episodic Series.
Host: Shapearl Wells. Reporters: Sam Stecklow, Annie Nguyen, Kahari Blackburn, Rajiv Sinclair, Henri Adams, Matilda Vojak, Dana Brozost-Kelleher, Frances McDonald, Diana Akmajian, Andrew Fan and Maddie Anderson. Executive Producers: Jamie Kalven, Maria Zuckerman, Christy Gressman, Leital Molad) Reporters and Producers: Alison Flowers, Bill Healy and Sarah Geis. Associate Producer: Ellen Glover. Somebody (USA / Topic Studios, The Intercept, the Invisible Institute, and iHeartRadio, in association with Tenderfoot TV.
ABC News VideoSource Award
Best Episodic Series
Director and Executive Producer: Greg Whiteley. Executive Producers: Joe Last Chance U (USA / Netflix.
Maria Ressa and Rappler (A Thousand Cuts)” />
Director and Producer: Matthew Killip) John Was Trying to Contact Aliens (USA / Netflix.
Best Curated Series
Sam Pollard (MLK/FBI)
Best Cinematography
Crip Camp, the Netflix documentary about a unique summer camp for disabled kids and its role propelling the disability rights movement, won Best Feature at the International Documentary Association’s IDA Awards, in something of an upset.
American Experience, the long-running PBS historical series, took Best Curated Series over fellow PBS contender American Masters and three other nominees.

Mark Hamill Thanks Peyton Reed For “Unexpected Opportunity” To Feature Luke Skywalker In ‘The Mandalorian’ Finale

For Reed, working with Luke himself was a dream come true, he revealed on social media.
https://twitter.com/HamillHimself/status/1350556806548865024″ />
The Mandalorian's second season came to an end nearly a month ago, but the buzz and excitement around the finale continues to unfurl well into the new year.
"STAR WARS, and Luke Skywalker in particular, meant a great deal to me," Reed wrote to Hamill, sharing and black and white photo of the Star Wars actor on set. "Some things never change."
While Reed paid tribute to the original Jedi, Hamill expressed gratitude to the Ant-Man and the Wasp director for his work on the season finale.
"Your assured direction & kindness was a crucial element in the experience & means more to me than I can say." "I am so grateful to have been given the unexpected opportunity to revisit my character when he was still a symbol of hope & optimism," Hamill wrote.
Directed by Ant-Man helmer Peyton Reed, The Mandalorian season two finale sees new faces of the Star Wars franchise come together with the classic characters that started the whole thing. Baby Yoda or Grogu) joins Luke Skywalker (a CGI’ed version of Mark Hamill) and R2-D2 to train in the ways of the Jedi. After journeying with the titular character, The Child (a.k.a.

Liv Tyler Reveals Coronavirus Diagnosis, Says Illness “F’s With Your Body And Mind Equally”

Now capable of spending time with her family and her daughters, Tyler said she feels connected with her loved ones through her bout with the virus.
Owchie. With it Feelings of fear, shame and guilt swirling through you , who could you have gotten it from and who could you have infected…Terrifying," she captioned her Instagram photo. "It comes on fast, like a locomotive.
In an Instagram post shared on Friday, the actress said she tested positive on New Year's Eve and described her experience with Covid-19 to help share information and let others know they're not alone in struggling with the virus.
https://www.instagram.com/p/CKFTGFZlfcD/” />
Read her Instagram post below.
Being isolated in a room alone for 10 days is trippy to say the least," she said. Everyday different. "It F’s with your body and mind equally.
Former 9-1-1: Lone Star lead Liv Tyler revealed that she contracted the coronavirus just before the New Year.
Tyler shared that while her family members were spared and tested negative for the infectious disease, she experienced physical and emotional hardships.
As if self-isolating wasn't enough, Tyler also talked the distress of the violent attacks on the U.S. Capitol, noting that "the first days of 2021 have been scary for everyone the world."

Phil Spector Dies: ‘Wall Of Sound’ Producer Incarcerated For Murder Was 81

He was tried twice for the murder after an initial mistrial, finally convicted in 2009 and sentenced to 19 years to life in California state prison. But Spector fell from grace when he was incarcerated for the 2003 murder of actress Lana Clarkson at his home. He was incarcerated at the California State Health Care facility in Stockton at his death. Spector, known to brandish firearms, claimed his gun went off accidentally.
He would usually work with a house band known as "The Wrecking Crew" on such classic songs as Be My Baby, You've Lost That Lovin' Feelin' and River Deep, Mountain High. The 1960s were a heyday for Spector, as he wrote and produced for the Ronettes, the Crystals, and Ike & Tina Turner.
His retrial in 2008 was not televised, with the result this time a conviction in April 2009. He was immediately taken into custody.” />
Phil Spector, whose "Wall of Sound" was a groundbreaking recording technique that powered some of the biggest acts in music, has died at age 81 from Covid-19 complications.
He worked with Celine Dion (a project he was eventually fired from) and the group Starsailor. mansion and was often seen out and about in Hollywood. But he threw many parties in and around his Alhambra, Calif. From the 1980s through the early 2000s, Spector was sporadic in his recording activity.
1 single To Know Him Is To Love Him. That led to Spector cofounding Philles Records, making him at 21 the youngest record label owner in the US at that point. Born Harvey Phillip Spector in the Bronx, New York in 1939, he started his music career as a guitarist and vocalist with the Teddy Bears, writing their No.
Countless other recording artists emulated Spector's approach, making him one of the most influential studio producers of all-time. Among his many clients were the Ronettes, the Beatles, Ike & Tina Turner, Leonard Cohen, the Ramones, the Righteous Brothers, John Lennon, Yoko Ono and George Harrison. The Wall of Sound was a meticulous and layered approach to recording, smacking a listener with a dense, almost symphonic array even on basic rock 'n roll tunes. It made Spector one of rock music's first auteurs and one of its most successful producers in a thriving era for pop music.
car crash, thrown through the window of the vehicle and almost dying at the scene. He was badly injured in 1974 in a Hollywood, Calif. He took hundreds of stiches to his head in the accident, which has been cited as the reason he began wearing a strange assortment of wigs in his later life.
However, by September, the judge declared a mistrial because of a hung jury, with a reported 10-2 split and only two votes for conviction.
Spector would have been eligible for parole in 2024.
Spector remained free on bail while awaiting trial, which begin in March 2007 and was televised. On February 3, 2003, police were called to the Spector mansion and found actress Lana Clarkson's body. Spector claimed the former House of Blues hostess died when his gun accidentally went off.
Spector briefly retired in 1966, but returned in 1969 to produce the Beatles' album Let It Be, along with solo records by group members John Lennon and George Harrison.
Tales of him brandishing guns, doing drugs, and insisting on marathon sessions abounded. But personal demons again derailed Spector, and by the late 1970s, he had become known as much for his eccentricity as his body of work.
At that point, he was widely acknowledged as one of the top record producers in pop history, having helmed 18 US Top 10 singles for various artists.

Open Road’s Liam Neeson Pic ‘The Marksman’ Takes $3.7M At MLK Weekend Box Office

The doc follows Washington Post journalist Jamal Khashoggi's disappearance in Istanbul, his fiancée, and dissidents around the world who piece together the clues to a murder and expose of a global cover-up. Open Road is also faring quite well in the homes with its release of not just Neeson's Honest Thief, but their recent documentary The Dissident from filmmaker Bryan Fogel. The movie is 96% certified fresh on Rotten Tomatoes, and even caught the attention of Hillary Clinton. 3 on iTunes, which is impressive for a doc. It's the first documentary in some time to completely be released on PVOD (most debut on streaming or HBO), and last weekend the title ranked No.
9.) Emperor's New Groove (Dis) 744 theaters, 3-day: $169k/4-day: $239K/Total: $89.6M/Wk 1,049
The YouTube trailer and a TV spot that were dropped in the last five weeks were hitting 7M views with a moderate viral ratio of 9:1. Per social media analytics firm RelishMix, Marksman had a similar social media presence to Honest Thief's back in October, with 8M views for eight posted videos, mostly boosted on Facebook.
It's these types of meat-and-potatoes, older male-skewing action movies that typically play the early winter anyway. There are more titles in February, likely banking on the start of schools' winter breaks. The second release is Warner Bros. 29. day and date theatrical-HBO Max release of cop thriller Little Things, starring Denzel Washington and Rami Malek on Jan. Marksman, directed by Robert Lorenz, is but one of two wide releases this month, as Covid continues to keep a majority of movie theaters closed, especially in box office capitals New York and Los Angeles.
Sunday Final AM: In a continuing pandemic marketplace such as this, with 57% of all movie theaters still closed, whether you're a distributor or an exhibitor, you have to be thankful for any amount of money you can get your hands on. 1 for Open Road after October's Honest Thief and their first wide entry ever, The Grey. Open Road has released the second Liam Neeson movie during the pandemic, The Marksman, over the MLK 4-day holiday, and it's opening to $3.7M. It's the third Neeson movie to hit No.
With incoming U.S. It revived the Will Smith-Martin Lawrence cop franchise like a phoenix. President Joe Biden looking to deliver 100M Covid-19 vaccines in his first 100 days, exhibition analyst Eric Wold of B. Riley recently exclaimed this past week "a return to normalcy" for the big screen theatrical business. For those who think streaming has won the filmed entertainment battle, simply look over to last year at this time during pre-pandemic times, when MLK weekend rang up $205.3M at the domestic box office, up well over 25% from the 4-day holiday prior thanks to Sony's Bad Boys for Life, which minted a 4-day of $73M, the second-best debut ever over MLK after American Sniper's $107.2M.

Note that Open Road had less theaters at its disposal this time around than they did back in mid- October, when they opened Honest Thief: 1,975 theaters to 2,245. Marksman's 3-day is $3.2M to Honest Thief's $4.1M. Honest Thief ran for 11 weeks and posted a domestic B.O. of $14.1M, which is something of the average take for most wide releases during these depressed times, with a global count of $28.3M.
While critics have long been tired of Neeson's action pics, with Marksman earning a 33% on Rotten Tomatoes to Honest Thief's 40%, Comscore/Screen Engine audience exits gave it a 73% positive with a 46% recommend, I hear. Diversity breakdown was 50% Caucasian, 23% Hispanic, 17% African American and 10% Asian/other. Guys turned up at 57%, with those over 25 at 72%. The over 45 crowed repped 33% of overall attendees.
5.) Monster Hunter (Sony) 1,694 theaters (-71), 3-day: $920K (-16%)4-day: $1.09M/Total: $9.2M/Wk 5
The storyline and key cast (Juan Pablo Raba, who plays the villain in the film and has a huge following) allowed Open Road to target Hispanic audiences, especially in Texas, where theatres have remained open and performing well. Neeson appeared on programs such as Despierta America on Univision and Un Nuevo Dia on Telemundo. As I've been told, Open Road's campaign for Marksman targeted Neeson's reliable core audience of guys over 35 males (who turned out at 51%). The movie's No. 1 gross on Friday was a theatre near the border in Harlingen, TX, which is probably the first time that location has ranked No. He also appeared on James Corden and Today. 1 at the domestic box office.
3.) Wonder Woman 1984 (WB) 2,201 theaters (-17)/$2.6M (-13%)/4-day: $2.7M est./Total: $35.9M/Wk 4
And while the tone of threads are positive leaning, discussion also wonders if the film will be on HBO Max, Netflix, Apple+ or other confusion on day/day or what the window will be." RelishMix noticed on the social media chatter for Marksman heading into the weekend: "The majority of the conversation leans positive for fans of Neeson who have clear expectations for the theme with continuous added references to other action-thriller tiles, No Country For Old Men + Logan + Rambo: Last Blood = The Marksman.
8.) Master (Tamil & Telugu) 130 theaters/3-day: $206K/4-day: $251K/Wk 1
Like Honest Thief, The Marksman has filled a void in the marketplace. Open Road Boss Tom Ortenberg tells Deadline this morning, "It’s a universal truth that even in a depressed market lies opportunity. It's mid-sized distributors like us that have been able to fill the void and serve the need. There is a great thirst for product among consumers, and the opportunity is there. Competition is light, and we can market and distribute movies for less money; our advertising dollars go far." But there are a lot of people who are looking for broad-based entertainment, just like they always have. Not everyone wants to go theaters, and cinemas aren't open everywhere. And there are plenty of people who want to go to the movies.
Top ten theaters for Marksman was the Cinemark Pharr in Phar, TX; Paramount Drive-in in Los Angeles, Estrella Falls 16 in Goodyear, AZ; AMC Dine-In Disney Springs 24 in Orlando; Solano Twin Drive-in in Concord, CA; Sacramento 6 Drive-In; Century 16 in Corpus Christi, TX; Cinemark 24 in Salt Lake City; AMC Tysons Corner in DC; and Cinemark Majestic in Boise, ID.
6.) Fatale (Lionsgate) 1,175 theaters (-47), 3-day: $530K (-19%)/4-day: $630K/ Total: $4.8M/Wk 5
Top markets, I hear, were Dallas, Washington DC, Houston, Phoenix, Tampa, Denver, Miami, Cleveland, Orlando, Indianapolis, Nashville, Salt Lake City, San Antonio and Las Vegas. Marksman's best market was the South, which has been the key money-grossing sector of the country for movies.
Marksman was fully financed by Raven Capital Management. Raven acquired Open Road Films in 2018.
2.) Croods: A New Age (Uni) 1,855 theaters (+37), 3-day: $2M (+13%)/4-day: $2.9M/Total: $40.1M/Wk 8
Open Road teamed with Mike Polydoros' Paper Airplane on numerous marketing programs directly with exhibitors, focusing on theaters where Honest Thief overindexed, as well as regions where Hispanic audiences were dominant. In digital, the distrib geotargeted markets where theatres were open. In paid media, Open Road bought national TV, including spots in the College Football Championship Game, NFC Wild Card Game, and multiple spots in the WWE Friday Night SmackDown to fuel mass awareness. Open Road was also able to re-target the fanbase they cultivated on Honest Thief back in October, which has grown during the title's release on home entertainment.
Top 10 chart:
Pic is booked at 1,855 theaters, +37 from a week ago. Over 3-days, Croods 2 made $2M. In its 8th weekend, Uni/DWA's How to Train Your Dragon: A Hidden World made $746K at 822 theaters — and it wasn't on PVOD at that point in time. Worldwide Croods 2 is at $134.8M. Even though the pic's domestic gross has been shackled by the pandemic with a current domestic take of $40.1M to date, what's eye-raising is that during a normal marketplace, when grosses are frontloaded, a film like this would never do this amount of money in its 8th weekend. For a Thanksgiving release like Croods 2 to do this type of business now, even while being available on PVOD, it just shows that people want to get back to the movies. Universal is reporting their DreamWorks Animation sequel, Croods: A New Age, in second place over 4-days, with $2.9M in its 8th weekend.
7.) Promising Young Woman (Focus) 1,333 theaters (-115), 3-day: $430K (-24%)/4-day: $518K/ Total: $3.4M/Wk 4
Warners tells us that they're collecting their rentals just fine, thank you very much, with a quick turnaround from their exhibition partners. Endgame here stateside for WW1984 is in the mid $40Ms. 24, stands at $35.8M domestic through EOD. The Patty Jenkins-directed DC sequel, which is on HBO Max until Jan. Worldwide is at $141.7M. Warner Bros.' Wonder Woman 1984, according to sources, is ranking third over 4-days with $2.7M. Some smaller exhibitors (non-chain) tell us that their terms for the HBO Max-theatrical releases are good at roughly 55% in their favor to Warner's 45%. Warners reported $2.6M for the 3-day, down just 13% due to holiday traffic. Note, if an exhibitor is open in this current environment and they skip payment on WW1984, it will be quite difficult for them to book any other upcoming Warners title; that is, if they're keeping the lights on. Last weekend, sources told us that some movie theaters closed down in the U.S., and thus wouldn't pay their bill to Warners for WW1984.
1.) The Marksman (Open) 1,975 theaters/3-day: $3.2M/4-day: $3.7M/Wk 1
Case in point: when Open Road placed an ad for Marksman during last Monday's College Football Championship game, they weren't up against seven other titles during the run of the show.
10.) The War With Grandpa (101) 422 theaters (+37), 3-day: $155K (even) 4-day: $200K/Total: $19.2M/Wk 15″ />
4.) News of the World (Uni) 1,953 theaters (-33), 3-day: $1.05M (-15%)/4-day: $1.27M/Total: $8.7M/Wk 4

Betty White Turns 99, Basks In Outpouring Of Social Media Affection And Slates ‘Pet Set’ Release

The talk show had four segments. The show would then feature an animal expert, then conclude with White and sometimes her guest stars outside with a wild animal, among them a 500-pound Bengal Tiger, a Black Bear, and an Asian Elephant. White would bring out a guest star to showcase their pets, talk about the animal, then transition to a segment on a select species.
Betty White and Albets Enterprises are repped by APA.

The new DVD special features include a behind-the-scenes look at the series, original promotional spots, the featurettes Betty White: Game Show Goddess and Betty White: Queen of Television, Betty’s Photo Album, and her public service ads.

Today is Betty White's 99th birthday. She's forgotten more about television than most of us will ever know, and the evidence of that came in the outpouring of well-wishes that dotted social media from celebrities and fans.
Some celebrity shout-outs to White on social media:
For the uninitiated, White's career started in the test days of television and has brought her multiple Emmy Awards, thanks to her work on such classic TV as The Golden Girls, The Mary Tyler Moore Show, and Hot in Cleveland, as well as countless game and talk show appearances.
“I’m thrilled it’s going to be seen again after all these years.” “If I haven’t told you already, I will now. The Pet Set is one of my favorite shows,” said White.

The star-studded 39 half-hours feature fellow animal-loving icons, including Carol Burnett, Mary Tyler Moore, Doris Day, Burt Reynolds, Jimmy Stewart, Shirley Jones, James Brolin, and dozens more.

It will be available on Apple TV, Google Play and Prime Video during its initial rollout, with more platforms expected later this year. MPI Media Group has teamed with Darren Wadyko Media and Betty White via her Albets Enterprises banner to release the long-lost 1971 series.
To put the cherry on the cake, White's long-unseen series, Pet Set, created by and starring the television icon, will make its debut on digital platforms and DVD on February 23.
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It was canceled when its main sponsor, the Carnation Company, decided to direct its advertising budget exclusively to commercials rather than programming. The showed aired in syndication from 1971-1972 and was produced by White and her husband, Allen Ludden.