Neon Reteams With ‘Portrait Of A Lady On Fire’ Filmmaker Celine Sciamma For ‘Petite Maman’ – EFM

Sciamma wrote and directed Petite Maman. Jeff Deutchman negotiated the deal for NEON with Fionnuala Jamison of mk2, who are handling foreign sales. Bénédicte Couvreur of Lilies Films produced the movie which was shot by cinematographer Claire Mathon, one of Sciamma's frequent collaborators.
She explores the house and the surrounding woods where her mom, Marion, used to play and built the treehouse she’s heard so much about. Her name is Marion. The drama stars sisters Joséphine Sanz and Gabrielle Sanz, with Nina Meurisse, Stéphane Varupenne and Margot Abascal. In Pete Maman, 8-year-old Nelly has just lost her beloved grandmother and is helping her parents clean out her mother’s childhood home. One day her mother abruptly leaves. That’s when Nelly meets a girl her own age in the woods building a treehouse.
Already there is great word of mouth brewing from critics on Sciamma's new title out of its world premiere at the Berlinale. Neon has scooped up North American rights to Céline Sciamma's sixth feature directorial Petite Maman, bringing the Oscar-winning film studio back in business with the French filmmaker behind 2019's award-winning pic Portrait of a Lady on Fire.
Sciamma’s Portrait of a Lady on Fire premiered in competition at Cannes, winning Best Screenplay and the Queer Palm, and rose to critical acclaim, earning BAFTA, Golden Globes, Critics Choice and Independent Spirit Awards nominations, and winning numerous awards including the César Award for Best Cinematography and European Film Award for Best European Screenwriter. Her debut feature film, Water Lilies, also premiered at Cannes in 2007.” /> Before that, Sciamma’s Girlhood screened in the Quinzaine des réalisateurs at Cannes and won numerous international awards; and Tomboy, opened the 2011 Panorama and won the Teddy Award.

‘Lupin’ Producer On How To Make A Global Hit As Language Barriers Fall -Berlin

I think the basics of our job nowadays is if you don’t have good producers and writers you can’t have good shows.” And those shows need to be “the most unique proposition in the market. Amid the explosion of opportunity, Riandée noted that “Talent is everything” beginning with internal talent. Gaumont has 25 producers in various countries and, “you need to make them feel it’s the right home for them… It’s not all about money, it’s also about trust and the autonomy you can give them. It’s extremely important to make them feel they are driving the show… It’s a great opportunity and we always need to be exceptional, to find the next good idea, the next improbable project.”
The first part of Season One was made available in early January and the second half of S1 is due this summer. Lupin is “a great achievement, not only for us but for all producers around the world,” said Gaumont Vice CEO Christophe Riandée, who is also a producer of the hit Netflix series, during a panel at the European Film Market today. The Omar Sy-starrer which has been a worldwide smash on streaming, is produced by Gaumont Television and has scored record-breaking numbers for a French series on the service.
Another potential downside is ownership, which Ennis allowed is “very little” when working with streamers. What is needed today is a great demand for flexibility because no show can be the same — you have to be super creative and innovative about the financing.” “It’s more work for hire.” She pointed out that with some services like the Nordics’ ViaPlay, “there is still room for producers to own…
Obviously they have access to a large library of shows and movies, but they also want to do content for their local audiences,” Riandée said. As for other work going on, Riandée said that Gaumont, which is the world’s oldest film studio, has been stymied from releasing movies in France due to ongoing cinema closures. That has a huge impact on us, and on the industry, which is good.” “As with Amazon and Netflix, they are commissioning a lot of local shows in all of their local branches. “There is huge demand from platforms all around the world and even more since last year because Disney and HBO have reorganized their teams — they’re going widely international. It has been actively producing, however, with 19 shows currently in production around the world coming from its American, British, German and French offices.
it’s a proof of concept.” The overall result is, “Wherever you are, whatever language you speak, you have access to a global audience and I think it’s a great sign for all the creators and all the producers of the world that they can reach a fanbase audience.” The “impact of all the streamers,” he noted, “shows that nowadays there is no limit anymore.” Season One Part 2 of Lupin is in the “final steps of delivery,” Riandée said, while he hinted that more news is to come. Speaking to Lupin’s success Riandée said, “There’s no more borders anymore…
“With Disney here for quite a while now and HBO Max starting to grow, and even more platforms, it’s very interesting as a production company because you can produce much more than before. Also on the EFM panel with Riandée was former CEO of Trustnordisk Rikke Ennis who is the founder of Copenhagen-based REinvent Studios “The appetite from streaming services is mind-blowing” even though Scandinavia is a smaller territory, she said. From an international sales point of view, it’s a different case because the more global it becomes, the less interesting it is for a sales agent.” Of course, you can also feel that budgets perhaps are a little bit more limited, that the platforms are trying to get more titles for a little less money because it’s also about having as many titles as possible. But it’s definitely super-interesting from a production point of view.
Echoed Ennis, “In this ocean of content, you need to do something to stand out.”” />

‘The Moodys’: Watch Season 2 Trailer Plus Executive Explain Why The Show Didn’t Stick With Holiday Theme – TCA

Joining Leary, Fisher, and Greenberg for the panel discussion was star and EP Elizabeth Perkins as well as co-stars Jay Baruchel, Chelsea Frei, Francois Arnaud, Josh Segarra, Maria Gabriela de Faria, and EP Tad Quill.
According to the three-time Emmy nominated actress, Ann's evolution hit close to home. "I'm sort of basing it on my mother who, after the kids were grown, decided to go back to school and get her degree in psychology and become a counselor, which is something that she always wanted to do, but primarily because it was a really good way for her to go into therapy after having raised her children and gotten them all out the door," Perkins shared. For Perkins, this new season will mark a new stage in the life of her character Ann, who was finally able to get her degree..
Season 2 of The Moodys premieres April 1 on Fox.
"We're not saying we'll never tie stuff to holidays, but we wanted to be able to just do different kinds of stories throughout the year." "We wanted to be able to do episodes throughout the year and we didn't want to have to be creatively tied to Christmas every time," said executive producer Bob Fisher during Fox's presentation.
Sean Sr. who contemplating retirement, go on a road trip across the country in an RV with Ann, while Sean Jr. This season sees the Moodys, once again, all under the same roof. Bridget, who is in the midst of a divorce, returns home while her fancy new townhouse is being renovated, and Dan leaves Brooklyn for Chicago to live with his girlfriend, Cora, only to realize the relationship is moving too quickly. continues to brew up schemes to get rich quick. In reality, however, Ann has no intention of leaving her new psychology practice, and Sean Jr. takes over the family HVAC business.
"Anybody that has adult children, and I do — I have two adult children — after having them, raise them and love them for as long as you have within the course of a marriage, you do have a lot of love and anger and stories and experiences to build on in dealing with especially adult children," teased star Denis Leary, who also serves as an executive producer on the series.” />
"We felt like we could really broaden it and explore a lot of different things." We liked the families, we liked the relationships," added executive producer Rob Greenberg. "We liked these characters.
During today's TCA presser, Fox unveiled an extended look at the upcoming sophomore season, which can be viewed below. The Moodys is set to make its return April Fool's Day with back-to-back episodes to reunite the audience with the tight-knit, but slightly dysfunctional Moody family through their misadventures.
That long-term marriage of over 30 years and raising kids and putting herself on the back burner because now she's getting into the front burner but she has no idea what that looks like. "So I think, for Ann, it's a combination of, I want to do something else with life and I also really need to talk to somebody about what your experience has been like. So it's been great to explore that through my mother's eyes. I don't think she has any more answers than she did last year, but I think she knows herself a little bit better."
This upcoming season will take a different approach. Based on the Australian series A Moody Christmas, The Moodys started as a Christmas event comedy series with the first installment airing during the holiday season last year.

New Line Max Original Movie ‘8-Bit Christmas’ In Production

Harris plays Adult Jake Doyle (and also narrates) while Raphael and Zahn play Young Jake’s parents, Kathy and John. The comedy, directed by Michael Dowse, is set in suburban Chicago in the late 1980s, and follows ten-year-old Jake Doyle’s (Fegley) herculean quest to get the latest and greatest video game system for Christmas.
He can also be seen in Lionsgate's upcoming The Unbearable Weight of Massive Talent. 22. Emmy and Tony Award winning actor and New York Times bestselling author Harris recently starred in HBO Max series It's a Sin and next stars in The Matrix 4 which opens on Dec.
8-Bit Christmas is produced by Tim White, Trevor White and Allan Mandelbaum for Star Thrower Entertainment, as well as Nick Nantell, and Jonathan Sadowski. Screenplay is by Kevin Jakubowski, adapted from his debut novel.” /> EPs are Kevin Jakubowski, Whitney Brown.
New Line announced a new Max Original movie today which is already filming, 8-Bit Christmas, starring Neil Patrick Harris, Winslow Fegley, June Diane Raphael and Steve Zahn.

‘Walking Dead’ $300M Profits Trial Likely Won’t F*cking Include Frank Darabont’s Expletive-Laced Emails

Or I will start killing people and throwing bodies out the door.” The respective emails showed Darabont blowing his stack as he blasted crew and creatives on the series with the likes of they “better wake the f*ck up and pay attention. Seeking to gain an edge, to put it politely, back in 2017, AMC crapped all over Darabont with a salacious document dump that hauled some very dirty digital laundry out in public.
 ” />
In what has become a more than occasionally muck raking affair personally and "professionally , the case is now on its second New York Supreme Court judge and saw a second and now consolidated $10 million lawsuit added in early 2018, based on a reading of TWD comic creator Robert Kirkman’s contract. The producer and his deep pocket reps essentially claimed Darabont had been denied hundreds of millions in obligated profits from the once TV topping TWD in a sleight of hand by the Dolan family owned AMC.
“However, if Plaintiffs were to expressly put at issue AMC’s motive for terminating Mr. Darabont, for example by alleging that AMC terminated Mr. Darabont as part of a scheme to deprive him of additional compensation, then the door may be open to such evidence,” he added. “That determination will be made at trial.”
We look forward to presenting our case to a jury and achieving the same result here." "We are pleased with today’s rulings, which pave the way for us to prove at trial that AMC paid the plaintiffs everything they are owed under the contract," AMC's co-lead attorney Orin Snyder of Gibson, Dunn & Crutcher "Last summer, following a trial, a California court ruled in AMC's favor on similar claims brought by Robert Kirkman.
Or put another way, the upcoming 11th and final season of TWD could be over long before the expected month-long trial over the big bucks from the series itself is.
Nonetheless, as has become the norm in this case and its spinoffs, both sides claimed victory today.
A New York jury will not hear the profanity packed emails of original The Walking Dead showrunner Frank Darabont in the trial for the $300 million profits participation battle from the Shawshank Redemption director and CAA against AMC – at least for now.
Specifically, today's new orders prevents the plaintiffs from pulling in expert witnesses to discuss lbig ticket NFL deals with other broadcasters and the like into the trial as a form of context. Which means while Darabont and CAA's legal team may want to argue that TWD should have a had a license fee of around $30 million an episode if AMC hadn't been allegedly self dealing, Justice Cohen says "the evidence and testimony adduced by the parties on this point must be tethered to AMC’s transactions with respect to comparable programming"
Also, "the proffered evidence of AMC’s total revenue is irrelevant and therefore inadmissible" and "the evidence as to the total compensation or net worth of AMC executives is inadmissible."
A conference call between lawyers for both sides and Justice Cohen in the next week or so will determine if the backlog of cases in the Empire State due to the coronavirus pandemic and an emphasis on criminal cases could see the matter moved to the end of the year or even 2022.
On July 22, LA Superior Court Judge Daniel Buckley essentially determined that if Kirkman didn’t like the “plain language” deal he signed and the resulting Modified Adjusted Gross Receipts and imputed license fees, that’s was his problem, not AMC's. While not dead itself, an action by Kirkman over his own profit participation deal took a big hit last year.
Not a good look, everyone can agree. Especially, if you are trying to convince a jury that you are the good guy and AMC are the baddies, if you know wha I mean?
"However, Plaintiffs may probe as to financial incentives the executive has in connection with the outcome of this litigation," Cohen continued, hedging some bets."That may include some description of compensation incentives based on AMC revenues. Rulings as to specific testimony will be made at trial, balancing relevance and undue prejudice." "Such evidence is irrelevant and unduly prejudicial," decided Justice Cohen in another order, undoubtedly allowing the likes of now Fox Entertainment boss Charlie Collier and Josh Saplan to wipe some sweat from their brows.
The flurry of paperwork from Justice Cohen comes as it increasingly seems apparent the April 26 start of the much anticipated and much delayed trial will likely be pushed back.
Darabont got fired and infer that AMC fired Mr. Darabont’s emails, jurors could speculate as to why Mr. “The Court is not swayed by Defendants’ argument that, absent Mr. Darabont to limit his compensation,” wrote NY Supreme Court Justice Joel Cohen in an order Tuesday.
"We are pleased with the results on the motions in limine, and Plaintiffs are ready to prove their claims at trial," Dale Kinsella of Darabont and CAA's legal team at Kinsella Weitzman Iser Kump LLP told Deadline. Now we can get back to the matter at hand, which is compensating the creators for what they rightly deserve." "As expected, Darabont’s emails, which AMC has tried to highlight in every motion for seven years, were excluded from trial because they have nothing to do with the substantive issues in this matter.
Much to AMC’s relief, Darabont and his superagency will not be able to use a “fair market value” approach. Additionally, among a series of orders in motion that hit the NY Supreme Court docket today, some other incendiary-ish evidence was booted from the splenetic seven-year old legal battle.
Pink slipped from the once blockbuster zombie apocalypse series just before its second season debuted in October 2011, Darabont and CAA took the then-Collier-run AMC to court in New York  at the tail end of 2013.

The Golden Globes Is Beyond Fixing And The HFPA’s Time Is Up – Commentary

They care, instead, for the parade of well-liquored stars that will attend its annual awards gala, many of them to collect a trophy they must know has been tainted by the process that brought it to their hands. On Sunday night, some of them, including presenters Sterling K. But ratings were down more than 60% this year to an average audience of 6.9 million; damning statistics in a year in which most viewers are confined to their homes. And the truth is, NBCUniversal doesn’t care a jot for the opinions of the HFPA’s membership, or how they choose to pass out their prizes. Brown and Susan Kelechi Watson, and honorees Jane Fonda and Sacha Baron Cohen, called out the lack of diversity in the HFPA membership. Shoring up that status quo, though, is the Globes’ draw as a live event. NBCUniversal’s lucrative contract for broadcast rights is what enables the HFPA’s excesses.
Even the show’s hosts were in different cities, interacting awkwardly around broadcast delays. For all intents and purposes, this Sunday’s Golden Globes ceremony was an imitation of life; stars dressed up for ‘red carpet’ pictures from homes and hotel suites around the world, before logging onto a Zoom meeting to hear the results.
As last week’s reporting makes clear, keeping the membership small—the HFPA claims to have some 90 members—ensures plenty of opportunity for studios to campaign for a slot on the Globes’ nominations list. By contrast, AMPAS numbers some 10,000 members. Membership into the group is also covetously challenging: very few new members are admitted annually, and any current member has the power to veto any prospective applicant. Norwegian journalist Kjersti Flaa’s antitrust lawsuit, accusing the HFPA of a “culture of corruption” may have been dismissed (she intends to refile) but other international journalists in Hollywood have expressed similar frustrations to me.
“We must fix the Golden Globes,” she wrote. But in Tchen’s companion letter to NBCUniversal, a particular sentence stuck out to me. And while I’m aligned on the intent of the response, this sentence begs a larger question: why? Time’s Up urged the HFPA not only to address its lack of Black members, but to tackle the broader accusations, too, of the group’s cartel-like reputation of entitlement and control. It was small wonder when, after the show, Time’s Up—who had taken up the cause of attempting to right the HFPA’s ship in the days leading up to the event—issued an excoriating open letter to the group, with president and CEO Tina Tchen accusing the HFPA of making only cosmetic promises to change.
It might make more of an event of another awards show like the SAG Awards or BAFTA. But I’d also point to the Emmys, which seems to do a fine job of choosing the year’s best television without the need for the same grand cacophony of precursors that lead into the Oscars. Perhaps the industry would need an early-season headline alternative to shape the road to Oscar; another show to fill the vacuum left by the absence of the Globes. I daresay there are a number of primed and ready contenders among the many critics’ groups that line up at this time of the year; groups with larger, more diverse memberships who are already applying much rigorous standards than the HFPA. Plus, the community of international journalists in Hollywood probably deserve a much more inclusive organization dedicated to their interests. No group is beyond reproach, but few operate with as much cloak-and-dagger as this one, and there are brands ready to be built into lucrative broadcast opportunities that could achieve as many—if not more—of the charitable aims the HFPA hides behind.
In a half-hearted attempt to answer perhaps the biggest challenge to the HFPA’s integrity in its history—and there have been plenty—the org’s president Ali Sar, vice president Helen Hoehne and former president Meher Tatna dedicated less than a minute, in only 100 words, to their vow to do better, and in so doing, rushed through their meas culpa faster than the any of the indulgent presidents’ speeches of years past. But after a barrage of negative attention on the Hollywood Foreign Press Association in the days leading up to the show, it was the imitation of sincerity in addressing the criticism that rankled most.
If the HFPA is unprepared to make fundamental changes to its operating practices—changes it appears wholly unqualified to define on its own—a jovial slap on the wrists by a presenter or recipient on the Globes' stage is not enough; a broader boycott would surely be the only effective step. But given this year’s nominations included Sia’s Music and the frothy Emily in Paris, I’m not convinced there’s much expertise on display. It won't be enough to sweep this under the rug now the show is over and assume this group will get its house in order in time for next year's event. If Hollywood stayed away, there would be no plinth left to bear the heavy throne, and this is the organization’s greatest fear. Some defend the HFPA’s good intentions—among them the honorable members who spoke up in the Times’ reports about trying to force change from the inside—or claim that their choices represent the nuance of a smaller, more informed group whose jobs revolve more directly around actually seeing the movies and shows. It is the guestlist for the Golden Globes that represents the HFPA’s greatest power, but it is not a power the HFPA controls.
When Daniel Kaluuya gave his speech after winning the Best Supporting Actor prize for Judas and the Black Messiah, the fact that his microphone was initially muted seemed like far too on-the-nose a metaphor for an organization that had spent days weathering accusations of silencing Black voices. Instead, the show upped the ante on proclamations about the HFPA’s charitable initiatives, crowbarring its own virtuousness to such an obscene degree that there could have been no doubt about what kind of awareness it was intended to raise.
Even if the HFPA addresses its diversity problem, it is against its best interests to open its membership to every qualified applicant, since greater numbers will dilute the pool of campaigner perks they receive. And how can the HFPA possibly hope to keep up with all the lucrative committees it would have to create to accommodate them? But what are we attempting to salvage by ‘fixing’ the Golden Globes? There is nothing to salvage here. Hollywood’s response—not to discourage but rather to actively indulge this behavior—is understandable, if dispiriting. No, the organization’s littered history of cracks, long since papered-over but never properly repaired, seems to evince an active disinterest in rocking the status quo.
For an organization that claims to represent Southern California’s community of journalists delivering the Good News of Hollywood to the furthest corners of the globe, editors of international publications have told me they would never use an HFPA stringer because of the stigma attached to this kind of sycophantic, celebrity-obsessed power brokering. “Literally all they do is put a recording device under the noses of famous people and ask for a selfie afterwards. My grandmother could do a better a job, and she’s been dead for 30 years.” “You seldom see an HFPA writer’s by-line in any newspaper or magazine of any worth,” one editor said.
It has long been a running joke that the HFPA is beset by systemic problems, infested by members of dubious standing whose only interest is in perks and access—opportunities to press the flesh with Hollywood’s great and good. But as I read the pieces, the most surprising revelation was not any specific act, but rather how unsurprising all these details felt. There was much dogged reporting in the pieces by both the LA and New York Times that summed up the rot at the HFPA’s core.
The HFPA cannot possibly claim ignorance to the social awakening of the past half decade or more. In 2018, then-HFPA president Tatna took the Globes stage to deliver a much longer monologue about her support for the Time’s Up movement for women in Hollywood. Even if it had avoided the gaze of scrutiny in the past—which it has not—it would have evidenced by now any real interest it had in enacting true change. It has not. After all, it has been five years since April Reign first launched the #OscarsSoWhite hashtag that resulted in seismic changes not just for the American Academy, but for BAFTA and many other awards bodies.
It is time to unshackle the industry from its reliance on an archaic institution that does more harm than good, succeeds only accidentally in rewarding the best work, and casts this industry in a bad light. In the end, Hollywood doesn’t need the HFPA as much as the HFPA needs Hollywood. It might be high time to let the Golden Globes die.” />

How Did The Billie Eilish Movie Do? In Blurry World Of Streamer Audience Numbers, It’s A Global YA Smash For Apple TV+

Cutler wrote it, and Eilish, her brother Finneas O’Connell, and parents, Maggie Baird and Patrick O’Connell, are the stars. Cutler produced with Trevor Smith, Michelle An, Chelsea Dodson, and Anthony Seyler. Justin Lubliner, John Janick, Steve Berman, Brandon Goodman, Danny Rukasin, Aleen Keshishian, Margaret Riley, Zack Morgenroth, Todd Lubin and Jay Peterson are exec producers.” /> Pic is a co-production of Apple Original Films, Interscope Films, The Darkroom, and This Machine, in association with Lighthouse Management + Media.
She sings like an angel, both of them do, but her work is fueled by the inevitable existential darkness that comes with being a teenager. Directed by Emmy winner R.J. Especially one who sprang from anonymity to global superstardom, headlining Coachella and a concert tour that takes the siblings all over the world. Cutler, the film is a coming of age story of the teen singer songwriter, capturing Eilish and her brother Finneas O'Connell as they write songs and work out the harmonies on their first album, When We Fall Asleep, Where Do We Go?
The Billie Eilish film was the subject of a bidding war that Apple won in a big deal. It is like watching mature and harden into a star, in real time, though she still leaves room to swoon over Justin Bieber when he reaches out to do a song together. She also begins to grow more comfortable asserting control over what is happening to her, from her decision to direct future videos to setting limits on how much of herself she will give away to service her stardom and fan base. Clearly, there are no regrets from Apple for stepping up. Still a teenager, she was chosen to perform the theme song to the upcoming 007 film No Time To Die, which likely will make her star rise even further around the world.
and was number one among young adults across the globe, including the U.K., Australia, Mexico, Germany, Brazil, Russia, the Netherlands, France, and more, per Apple. The movie drew a record-breaking 33% new viewers to the service, with young adult audiences fueling the momentum from the moment the film premiered on Thursday, February 25. The streamer would not divulge specific numbers — they never do — but I can report that the film became the biggest hit title for young adult audiences that Apple has had so far across its slate of films and TV series. EXCLUSIVE: How did audiences respond to the Apple TV+ premiere of Billie Eilish: The World’s A Little Blurry, which premiered in over 100 countries and theaters? Nearly half of the film's audience came from outside the U.S.

Janet Jackson Doc Series Lands At Lifetime, A&E; Reba McEntire Strikes Two Movie Deal With Female-Skewing Cable Net

It comes as Lifetime has struck a two-picture deal with Reba McEntire and A&E is launching documentary series Right to Offend: The Black Comedy Revolution and Secret Origins of Hip Hop.
Ian Orefice, Elaine Frontain Bryant and Brad Abramson also exec produce. It is produced by Time Studios with Mario Diaz and Jessica Sherif as co-directors and executive producers.
She will discuss her controversial Superbowl appearance with Justin Timberlake in 2004, the death of her brother Michael and becoming a mother later in life. It comes as her dad, Joe Jackson, a pivotal figure in the Jackson dynasty, died in 2018, and will detail her return to the world stage following a sudden break from music.
My fans and I enjoy their programming and loved watching the Reba show there for so many years.” McEntire added, “I am thrilled to partner with Lifetime for a return to television movies.
It comes from Wu-Tang Clan: Of Mics and Men producer Mass Appeal. Peter Bittenbender and Slane Hatch exec produce alongside Frontain Bryant and Abramson.” />
Janet (w/t), coming on the back of the 40th anniversary of Janet Jackson’s debut album, will follow take a look at her musical success as well as her tumultuous private life. Workerbee, the British production company owned by Banijay, has been filming with Jackson over three years and has been granted exclusive access to archival footage and Janet’s never before seen home videos.
Christmas In Tune tells the story of Belle, a marketing executive who is worried she may lose her job. She decides to reunite a singing duo for a charity Christmas concert in order, but the problem is – the singers are actually her parents and they have not spoken to each other in years. Soon the at-odds couple is helping Belle get her life in order and she begins her own romantic duet with the new man in her life. It is written by Juliet Giglio and Keith Giglio and produced by Hartbreak Films with Paula Hart and Reba McEntire serving as executive producers.
The second, which is not a holiday movie, is in development for 2022.
Right to Offend: The Black Comedy Revolution explores the evolution of black comedy and comedians who have used pointed humor to expose, challenge and ridicule society’s injustices and to articulate the black experience in America. From Redd Foxx and Moms Mabley during the civil rights movement, to Richard Pryor in the 70s, to modern-day comedians and creators like Chris Rock, Jamie Foxx and Lena Waithe, the documentary explores the rare position these people and many more hold in our society.
Elsewhere, country music star Reba McEntire, who starred in Reba, will star in and produce two movies for Lifetime. Filming will kick off this spring. The first is Christmas In Tune (w/t) for the network’s annual holiday slate and it will feature an original holiday song by McEntire.
Secret Origins of Hip Hop, which will air across four hours, follows some of hip hop’s biggest stars, including Busta Rhymes, Eve, Fat Joe Grandmaster Flash and Ice-T, as they share the stories and events that molded them into the artists they became. Each episode will delve into an artist’s origin story and it is narrated by Nas.
“Reba has been part of Lifetime’s air many years ago and we can’t wait to welcome her back” We are thrilled to have her on board to produce and star in not just one – but two movies for us,” said Tanya Lopez, EVP of Movies, Limited Series & Original Movie Acquisitions, Lifetime and LMN. “Reba has been a creative force in both music and television for many years.
Janet is produced by Workerbee and AEC (Associated Entertainment Corporation) will be co-producer. Ben Hirsch serves as director. Janet Jackson and Randy Jackson will exec produce alongside Rick Murray and Brie Miranda Bryant.
Lifetime and A&E are heading into the Rhythm Nation with a four-hour documentary about the life and music of Janet Jackson.
Over on A&E, the network has greenlit Right to Offend: The Black Comedy Revolution (w/t) and Secret Origins of Hip Hop.
The A+E Networks brands will simulcast Janet across two nights in 2022.

History Channel Expands ‘That Built’ Franchise, Orders Protest Doc From Kareem Abdul-Jabbar & Moves Bill Clinton Series To 2022

Elsewhere, the network has ordered Fight the Power: The Protests That Changed America from exec producers Abdul-Jabbar and Deborah Morales. The one-hour documentary will look at the impact key protests have had on the evolution of the United States, from past to present and explore the question: Does the arc of the moral universe bend toward justice when pressure is applied?
The History Channel is doubling down on its That Built franchise with four spinoffs.
The Machines That Built America is an eight-part series that looks at the stories behind innovations such as TV, radio, phones, airplanes, motorcycles and power tools as well as the inventors including Nikola Tesla, William Harley, Alexander Graham Bell, Duncan Black and Alonzo Decker. Produced by Six West Media, Ascher, Sabat, Pearl, Donahue and Zachary Behr exec produce.
This comes after A+E Networks cable broadcaster launched the second season of The Food That Built America.
“The history of protest in America is also the history of social progress,” said Kareem Adul-Jabbar.” />
Elsewhere, the network has ordered a protest documentary from Kareem Abdul-Jabbar and moved its Bill Clinton series to 2022.
It marks the second collaboration between the NBA legend and History, which previously teamed on Black Patriots: Heroes of the Revolution. It is produced by Six West Media with Abdul-Jabbar and Morales exec producing via Iconomy Multi-Media & Entertainment, alongside Ascher, Sabat, Jessica Conway, Kai Bowe, Stephen Mintz, Lehrer and Jennifer Wagman
The Toys That Built America is a four-part series that tells the story of the Parker Brothers, Milton Bradley and Ruth Handler who transformed a small toy company into the billion-dollar empire now known as Mattel. Donahue as exec producers. It is produced by Six West Media with Steve Ascher, Kristy Sabat, Matthew Pearl, Jim Pasquarella and Mary E. It looks at the stories behind the Frisbee and the Slinky as well as the people who created Silly Putty, Monopoly, Barbie and G.I Joe.
All, except the latter, come from Six West Media, the non-fiction producer owned by A+E Networks. The History Channel is launching The Machines That Built America, The Toys That Built America, The Engineering That Built the World and The Titans That Built America.
Produced by Six West Media, it is exec produced by Ascher, Sabat, Pearl, Jim Pasquarella and Brooke Townsend Finally, The Engineering That Built the World is an eight-part series that looks at iconic structures such as the Golden Gate Bridge, the Panama Canal and the Transcontinental Railroad.
Donahue and Zachary Behr with Phillip Watson as co-EP. The Titans That Built America, which premieres on May 31, is a three-night miniseries that chronicles the rise and fierce rivalries of industrial heavy hitters William Boeing, Walter Chrysler, JP Morgan Jr, and Pierre Du Pont. Other exec producers include Stephen David, Tim Kelly, Joey Allen, Eli Lehrer, Mary E. It is produced by Stephen David Entertainment with Leonardo DiCaprio and Jennifer Davisson exec producing via Appian Way Productions.

Select Broadway Theaters To Open For New York Pop Up Events Beginning In April

A select number of now-dark Broadway venues will begin opening in April for a series of live- performance pop-up events that could establish the safety protocols needed for the theater industry's eventual return.
Beginning with the Shubert Organization's Music Box Theatre on 45th Street, Broadway theaters will be among the venues housing the events of the NY PopsUp program described as a new 100-day arts festival throughout New York City and State. The series is being overseen by producers Scott Rudin and Jane Rosenthal.
The festival, which will run through Labor Day, began with performances by jazz musician Jon Batiste, choreographer and tap dancer Ayodele Casel and opera star Anthony Roth Costanzo for New York's health care workers last month at the Javits Center, where Covid vaccines are being administered.
The venues will utilize safety protocols, developed by NY PopsUp in coordination with the New York State Council on the Arts and Empire State Development, that will eventually be employed for Broadway’s return, according to the NY PopsUp announcement.
Today's announcement described the process as as "Broadway’s own pilot program" as the industry prepares for a complete re-opening. The use of Broadway theaters is being coordinated by the New York State Department of Health and NY PopsUp in collaboration with theater operators.
Today's announcement by Cuomo outlined the state's plans for indoor reopenings effective April 2, when "the number of attendees may exceed the social gathering limit of 50 people, up to a maximum of 150 attendees, within a 33% maximum occupancy limit for the particular area so long as all attendees receive an appropriate negative diagnostic test result prior to the event."
The Music Box Theatre is home to the current (but temporarily suspended) play Dear Evan Hansen. Broadway, which went dark last March, is officially shut down due to the Covid pandemic until June, but no productions are currently expected before the fall.
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Performances statewide are expected to total more than 1,000. The events are described as "interdisciplinary" and will be free of charge. The Festival will conclude with the 20th anniversary of the Tribeca Film Festival and the new Festival at Little Island at Pier 55.
In a joint statement, Rudin and Rosenthal said, “In just two weeks NY PopsUp has become the engine that drives the safe re-opening of the arts throughout our State. It's a wonderful bonus to the opportunity to present 300 shows in 100 days, and to the enormous satisfaction in bringing artists back to work here. It’s incredibly exciting to see what the arts community and the state can do, together, when we all row in the same direction.”
Ann’s Warehouse, The SHED, Harlem Stage, La MaMa, the National Black Theatre and The Glimmerglass Festival’s Alice Busch Opera Theater. Additional Broadway theaters to be used for the PopsUp series were not disclosed, but various other cultural venues were identified, including The Apollo, Park Avenue Armory, St.
Cuomo today. 20. Though the PopsUp festival had been previously announced, the inclusion of Broadway theaters as the program's "flexible venues" was disclosed by Gov. The series of live indoor performances across the state begins April 2. Outdoor events began Feb. Andrew M.
The events and locations will be announced by NY PopsUp via Twitter and Instagram. Exactly what events are planned for April were not revealed due to the "impromptu nature and surprise element" of the format, the organization said. Details about an upcoming musical performance by Gavin Creel, Shoshana Bean and others are expected later this week.

‘The Great North’: Molyneux Sisters Talk Crafting Wholesome World Of Alaska-Set Comedy, Benefits Of Early Renewal

"I think that was a space we really loved working in with the family that had a lot of comedy and a lot of heart, I think that's also just where our hearts fall. When we were creating this, we wanted to keep it in that tradition," explained Lizzie. "For us, that was part of our voice and what we felt was right for what we want to put out."
During the panel the Molyneux sisters also teased that Honeybee's (Sloan) brother Jerry (voiced by Ron Fuches) will have a larger story and that Julio Torres' Crispin Cienfuegos will become more involved as the series progresses.
on Fox and is produced by 20th Century Fox Television. The comedy is created and written by Wendy Molyneux, Lizzie Molyneux-Logelin and Minty Lewis, who also serve as showrunners and executive producers. Bento Box Entertainment serves as the animation studio. The Great North airs Sunday at 8:30 p.m. Loren Bouchard is also an exec producer.” />
The Great North follows the Alaskan adventures of the Tobin family, as a single dad, Beef, voiced by Nick Offerman, does his best to keep his weird bunch of kids close – especially his only daughter, Judy (Jenny Slate), whose artistic dreams lead her away from the family fishing boat and into the glamorous world of the local mall.
Though the series still has yet to grow in Native representation, Wendy said the initial roles can serve as a launching pad to further build on indigenous stories on the show. Wendy added that the show's casting department reached out to the state's various indigenous circles and featured Native Alaskan actors in different episodes. In addition to featuring comedy that suits viewers of all ages, The Great North highlights Alaska's Native communities both on and off-screen, the showrunners revealed.
While other popular animated series may lean on edgier and more mature comedy for laughs, The Great North, much like Bob's Burgers, finds its heart and humor in the family dynamic. With their experience on Bob's Burgers and familiarity with network television parameters, the sisters said they naturally opted for more wholesome storytelling.
"I think everyone has had a very difficult year and things have been tough for everyone, so I think it was nice to have that sense of comfort and confidence going into season two." "I think it gave us a feeling of confidence and the ability to relax and feel like the stories we were telling were the right kind of stories," said Lizzie.
Months before the Molyneux sisters' Alaska comedy made its debut on Fox in January, the network ordered a sophomore reason, granting the showrunners an organic platform and the confidence to expand their stories, they said.
During The Great North's TCA slot on Wednesday, creators Wendy Molyneux and Lizzie Molyneux-Logelin had a message for networks with new shows in progress: "Pick up those seasons early."
The showrunners, joined by Slate, Will Forte, Dulcé Sloan, Aparna Nancherla and Alanis Morissette, explained how they came to craft the wholesome show and teased future storylines.

‘A Week Away’ Duo Gabriel Vasquez And Roman White Ink With UTA And Launch Rove Productions

Vasquez, the founder of Vazquez Entertainment who has worked with musical artists including Amy Grant, Steven Curtis Chapman, Building 429, Newsboys and Jaci Velasquez, is the co-creator and producer of the faith-based musical.
EXCLUSIVE: Gabriel Vasquez and Roman White, country music biz mainstays and the executive producer and director, respectively, of the upcoming faith-based Netflix musical film A Week Away, have signed with UTA and launched their new banner Rove Productions. They will be based in Nashville.
A Week Away, which bows on March 26, stars Kevin Quinn and Bailee Madison in the story of a troubled teen (Quinn) who after a run-in with the law must choose between juvenile detention and a Christian summer camp. He chooses the later and falls for a camp regular (Madison) who helps him find a sense of belonging in the last place he expected.
“We are thrilled to be able to join forces and combine our 20+plus years of experiences and talents under one umbrella,” said Vasquez. “A Week Away is just the beginning of the type of films we see the Rove umbrella creating, combining our love of music and story in compelling new ways.”
Film is now the next natural progression for both of us. We have multiple new projects in several stages of development and pre-preproduction and look forward to this next season for Rove.”” /> Added White: “We bring years of both creating and curating artists, music, music videos, games, SFX, and live events to the table. We are excited to be based in Nashville and thrilled to be represented by Heartland and the extraordinary UTA team.
White, who has helmed music videos for the the likes of Taylor Swift, Justin Bieber, Carrie Underwood, Josh Groban and Maren Morris among others, produces and directs the pic. With Rove Productions, they plan to focus on films, musicals, Broadway stage productions, animated features, worldwide tours, and TV and literary properties.
White wrote and directed his first film, “Summer Forever” (Relativity and Disney) and has been successfully directing commercials and films ever since.
Both have movie industry credits already, with White writing and directing 2015's coming-of-age music pic Summer Forever and Vasquez co-executive producing the 2015 thriller Wildflower.

Kathy Bates Joins ‘Are You There God? It’s Me, Margaret’ Adaptation At Lionsgate

Brooks and his Gracie Films banner, following their collaboration on the acclaimed film The Edge of Seventeen. Craig is reuniting with Oscar-winning producer James L. Additional producers include Julie Ansell, Richard Sakai, Amy Brooks, Fremon Craig, and Blume.
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It's Me, Margaret. Kelly Fremon Craig adapted the screenplay and will direct the film, which begins production in April. EXCLUSIVE: Oscar-winning actress Kathy Bates has joined previously announced stars Abby Ryder Fortson and Rachel McAdams in the Lionsgate feature adaptation of Judy Blume’s classic novel, Are You There God?
"Whether it's comedy or drama, she is perpetually captivating on-screen. I’m thrilled to employ her extraordinary talents on this film I care so much about." “Kathy Bates has given us so many memorable, iconic characters," said Craig.
Bates, who was last seen on the big screen in Richard Jewell, will play Margaret's grandmother Sylvia.
Bates, a two-time Emmy and Golden Globe winner, is repped by ICM.
The coming-of-age story, first published in 1970, follows Margaret Simon (Fortson), a sixth-grader who is questioning everything about adolescence and puberty, is searching the universe for whatever answers she can find. With her mother (McAdams) and grandmother trying to guide her through a time when everything is changing, they too find that you never stop questioning your path and defining what is meaningful in your life.
As she joins Abby and Rachel, Are You There God? It’s Me, Margaret will be a special multi-generational moviegoing moment and the kind of entertainment that really creates a chance for mothers, daughters, and granddaughters to celebrate what it means to grow up and come of age," said Erin Westerman, Lionsgate’s president of Production. "We’re thrilled to be working with a talent like Kathy.

New Hollywood Podcast: Regina King’s Storied Career Reigns Supreme With ‘One Night In Miami’

King broke into the industry playing Brenda on the iconic sitcom 227 (which I tend to bring up a lot during the podcast) and went on to help sculpt Black cinema in the '90s with groundbreaking films that included Boyz N the Hood and Poetic Justice from the late, great John Singleton as well as the comedy Friday.
For one, we learned that as a child, King used to perform her live plays with her sister in their backyard, she once had career aspirations to be a dentist and, to this day, she loves to people watch — which is part of the reason why she is a great performer.
The film made history at the Venice Film Festival as the first film to be selected for the fest directed by a Black woman. The adaptation of the Kemp Powers' play of the same name which is a fictionalized meeting of icons Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke in the 1960s. Now, with One Night In Miami, King stretches her artist muscles behind the camera.
She instantly began showing her range as actor, appearing in movies Jerry Maguire, How Stella Got Her Groove Back, Enemy of the State, Ray, Miss Congeniality 2, and Barry Jenkins' striking adaptation of James Baldwin's  If Beale Street Could Talk — which won her an Oscar for Best Supporting Actress.
On top of that, she's directed episodes of Being Mary Jane, Scandal, This Is Us, The Good Doctor and Insecure. King also slayed the TV game, appearing in numerous TV shows and winning two Emmys for her role in the ABC anthology Seven Seconds and nabbed a trophy for the Netflix miniseries Seven Seconds. She also made audiences jaws drop with her turn as Sister Night in Damon Lindelof's incredible take on the award-winning graphic novel Watchmen…and yes, she earned a Emmy for that role too.
Listen to the episode below as King talks about why she decided to make One Night In Miami her feature directorial debut, her career journey and if we will ever see a 227 reunion.” />
When Emmy and Oscar-winning actress Regina King visited Deadline's New Hollywood Podcast, we learned a lot of behind-the-scenes intel about her feature directorial debut One Night In Miami, which has become an awards season frontrunner for King as well as the cast. In addition to that, we got to learn a lot about the trailblazing actor and filmmaker.

Freeform Sets Joe Ortiz As SVP Content Marketing

He also served as a senior adviser for Group Nine Media’s corporate brand initiatives. Since joining NowThis in 2017, leading an extensive brand repositioning and redesign, Ortiz helped transform it into the most-viewed and engaged news brand in social today. Ortiz joins Freeform from NowThis, where he led marketing and oversaw brand strategy, visual design, content positioning and strategic media partnerships for the leading global news brand on mobile and social.
His oversight includes content-related on- and off-air marketing, branding and design and collaboration with internal commercial marketing partners on integrated marketing, franchise and brand management, as well as promotional partnership strategy.
I’m a big fan and excited to help amplify the Freeform brand and original programming in powerful ways.”” /> "The network stands unique for its bold storytelling, diverse voices and deep connection to the lives of today’s young adults. “I am thrilled to join the incredibly talented marketing team at Freeform," Ortiz said.
Joe Ortiz has joined Freeform as SVP Content Marketing. The industry veteran will be tasked with executing the creative marketing vision for the Disney-owned cable net's originals and all content marketing activities across both linear and digital platforms.
“His extensive background in branding, creative and digital makes him the perfect fit to lead Freeform into the future, and we’re thrilled to have him join the incredibly talented team.” “Joe is a world-class marketer with a sharp creative eye and a stellar track record working on distinctive, award-winning campaigns,” said Shannon Ryan, president of Content Marketing for Hulu and General Entertainment, to whom Ortiz will report.
Prior to NowThis, Ortiz was an 18-year veteran of MTV, serving most recently as SVP Marketing & Brand Creative, MTV. There he led creative campaigns for such franchises as Teen Wolf, Awkward, Punk’d, The Real World and Jersey Shore.

Ella Bleu Travolta To Star In ‘Get Lost’

Writer/director Amavia made her feature debut with the Abigail Spencer-starrer A Beautiful Now.
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Pic is produced by Patriot Pictures' Michael Mendelsohn, and Lynn Kressel. Valerie McCaffrey is the Casting Director and Natalie Perrotta will be exec producer. Production will start this summer in Budapest, Hungary, and Mendelsohn’s Union Patriot Capital Management is fully financing the film.
EXCLUSIVE: Ella Bleu Travolta is set to star in Get Lost, a young adult film that was written and will be directed by Daniela Amavia.
Travolta was last seen in The Poison Rose, and recently appeared in the Scotts Miracle-Gro Super Bowl commercial with her dad. She is the daughter of John Travolta and Kelly Preston.
Patriot Pictures and Union Patriot Capital Management is represented by Greenberg and Glusker. Travolta is repped by Artists First Randi Michel and ICM Partners' Steve Alexander.
Get Lost is a modern-day re-imagining of Alice In Wonderland with the creatures turned into human characters. Travolta plays Alicia/Alice, who goes on a wildly magical trip into the wonderland that is Budapest. Alicia is backpacking through Europe to fulfill her mother’s last wish, and a chance encounter with a strange girl forces Alicia to go on a mind-bending overnight adventure. There she meets not only a mysterious young man, but a whole menagerie of individuals that take her on an odyssey that will open her heart and mind. In the end, her journey ends with a revelation, and freedom.

7 California Counties, Including San Francisco, Move To Less Restrictive Tier In Covid-19 Reopening Plan

That, according to the state's official dashboard — see map below for a quick-glance color-coded reference. As previewed by Governor Gavin Newsom on Monday, seven additional California counties were confirmed on Tuesday to be moving into the red tier of his reopening plan. Those counties had a total population of a little over 1.5 million people, the most populous being San Francisco.
Governor Newsom also indicated that the state will preview next week's movement on Tuesday, saying he anticipates "even more momentum."
In addition to the Bay Area county, the list includes El Dorado, Lassen, Modoc, San Luis Obispo, Santa Clara and Napa, where governor Newsom's Plumpjack winery is located.
The reopenings come, of course, amidst a growing dissatisfaction with Newsom's handling of the pandemic which has crystalized into a recall campaign against him. In the past week, the governor has pushed hard to reopen schools, announcing an agreement with the state legislature on Monday that must still be ratified.″ />
San Francisco movie theaters can now reopen.
"We do expect that a majority of Californians in the next few weeks to be residing in counties that our out of the most restrictive purple tier," he revealed.
Gyms can reopen indoors at very limited capacity. Restaurants can reopen indoors subject to the same restrictions. Amusement parks are to remain closed until counties reach the least stringent, or yellow, tier. Hotels can reopen with modifications. Movement into the red tier means that movie theaters can reopen for indoor operations at 25% capacity or a total of 100 people, whichever is fewer. Retail stores, shopping centers, zoos and museums can operate at 50% capacity.
Eleven lightly-populated counties are already in looser tiers, including Alpine, Del Norte, Humboldt, Marin, Mariposa, Plumas, San Mateo, Shasta, Sierra, Trinity and Yolo. Sierra and Alpine are even further along than the others in the orange tier.
Thus, a county is not announced to be in the red tier until its data has remained constant — or dropped — for the better part of a month. Once a county's numbers reach the required levels for a tier, they must stay at that level for 3 consecutive weeks before reopenings can begin.
See Newsom's tweet below for a chart indicating how the different tiers are measured.
That means Los Angeles and Orange Counties, which are just outside the red tier — may edge below the threshold next week, but must remain there for another two weeks before purple-level restrictions will be lifted.
San Francisco Mayor London Breed made the announcement late Tuesday morning saying in a statement, "As of today, March 2, San Francisco has met the criteria based on its COVID-19 cases, hospitalizations, and other health metrics, to advance to the less restrictive red tier on the State's Blueprint for a Safer Economy."
The changes take effect Wednesday, according to the California Department of Public Health.

Netflix COO Greg Peters On Pricing Strategy, The “Endless Scroll” And Shrinking Theatrical Movie Windows

Greg Peters, the product chief at Netflix who was promoted to the additional role of COO last year, views the shrinking of theatrical windows as inevitable.
"It's hard to buck that trend for too long and I think that's eventually where things go." "It's what consumers want," he said.
Along with windows, Peters touched on pricing, global expansion, product tweaks and other topics during a virtual session at Morgan Stanley's Technology, Media & Telecom Conference.
A massive influx in original programming in recent years has added additional complexity to the process of suggesting programming. "We have originals that were in that 'challenge for awareness' state that are now in a completely recognized state," he said, citing Stranger Things and Bridgerton. Originals pass quickly from completely unknown to "blockbuster" status.
In Asia, where Netflix will see more growth in coming years compared with more mature Western markets, Peters said the approach is not fundamentally different from that taken to other global regions. "It's a fertile space" for experimentation and getting up to speed with what consumers expect and what they will pay.” /> Mobile-only plans were tested in several Asian markets, Peters noted.
Netflix recently upped the monthly cost of its most popular U.S. subscription plan, its first hike in two years, making it $14 a month.
We wake up every day thinking about how to make this better. So, we're far from content with where we are and there are hundreds of tests that are being run to try to make it better." For us, as user experience designers and builders, it creates a challenge because across that wide range of choice, our job is to distill that down into something that makes it easy and fun and exciting to pick what you want to watch next. "We have created the most compelling collection of entertainment available at the click of a button that's ever existed," Peters said. "That's incredible for consumers and for our members.
The company is also developing more tools for multi-generational viewing, he said, enabling three generations of a family to select crowd-pleasing titles. The company has implemented some important changes, like an on-screen top 10 popularity ranking and a "shuffle play" button, Peters noted.
Asked by moderator and Morgan Stanley analyst Benjamin Swinburne about the company's approach to pricing, Peters said it "mostly involves listening to members." Over the years, he continued, the company has "gotten increasingly better at being able to interpret those signals."
At the same time, huge viewing of shows like Bridgerton and Lupin in their first four weeks (at 82 million and 70 million viewers, respectively) proves the Netflix interface is effective, Peters added.
Swinburne asked Peters how he responds to streaming rivals criticizing it for offering an "endless scroll" of programming in its user interface. Several new streaming entrants, including HBO Max and the soon-to-rebrand Paramount+, have specifically knocked Netflix for inducing an overwhelmed sensation in many viewers.
It has also produced wide-audience films with traditional Hollywood DNA like The Old Guard, Extraction and Six Underground. Talks between exhibitors and Netflix have not led to a distribution breakthrough, though Cinemark has been tested shorter Netflix windows. Long before Covid-19 forced an industry rethink of exclusive theatrical release windows (which have been jettisoned by Warner Bros and, in some cases, by other majors), Netflix started pouring billions of dollars into films. The push has yielded major awards contenders like The Irishman, Roma and this year's large crop, including Da Five Bloods, Mank and I Care a Lot. The chain's CEO, Mark Zoradi, recently said the company is in active booking negotiations with several streaming outlets.

‘The People We Hate At The Wedding’ Allison Janney, ‘Schitt’s Creek’s Annie Murphy & Ben Platt In Talks: Hot EFM Pic

EXCLUSIVE: Oscar winner Allison Janney, Schitt's Creek Emmy winner Annie Murphy and Dear Evan Hansen star Ben Platt are circling The People We Hate at the Wedding. Emmy winner Claire Scanlon (Set It Up) is directing an adaptation of the Grant Ginder novel that is a character-driven wedding comedy that aspires to be a next-generation Four Weddings and a Funeral.
UTA Independent Film Group is introducing it today at the virtual European Film Market.
Janney is repped by Gersh and Thruline; Murphy by Gersh and Mosaic; Platt by CAA and Immersive; Scanlon is UTA and 3 Arts; Molyneux-Logelin & Molyneux are WME and Kaplan/Perrone.” />
In the script by Bob's Burgers' Lizzie Molyneux-Logelin & Wendy Molyneux, the comedy focuses on a dysfunctional family that can't seem to get along and get it together reluctantly reunites for a family wedding. As their many skeletons are wrenched from the closet, it turns out to be just what this singular family needs to reconnect.
FilmNation is producing.

‘Time’ Director Garrett Bradley On “Love Story” At Center Of Her Oscar-Shortlisted Documentary

Rob, a first time offender, was sentenced to 61 years in prison without possibility of parole. He was destined to spend, in all likelihood, the rest of his life behind bars. Fox Rich served time in prison for her role in the attempted heist.
In the ‘90s they married, began to raise a family, bought a house and launched a business. The love story begins with high school sweethearts Sibil Verdette and Rob Richardson.
And that is by design. The system is invisible by design.” “Emmett Till, his mother understood visibility and optics as a key part of holding systems accountable. “Right now, the call to action is in visibility,” the director insists. And when we look at the protests that happened this past summer, it's a reinforcement of that, but it also illuminates the lack of visibility, the lack of optics around 2.3 million people being incarcerated.
Bradley adds, “Let's try as artists, as filmmakers, as everyday people to counteract what's happening through seeing.”
Bradley says she remains close with the Richardsons, reunited at long last. Fox and Rob’s love story continues. As a result of relentless efforts by Fox and her children, Rob was released from prison after Louisiana Governor John Bel Edwards granted him clemency.
“One of which is unity, their ability to stay together as tightly as they did over the course of 21 years…It's a huge feat to commit to that kind of loyalty with your family. And it's a form of resistance.” “There are certain things that I found in spending my time with them while filming, that I'm hoping have become roadmaps for how other families can garner hope for themselves,” Bradley observes.
“It's about the repercussions of those actions.” “The film is really—it’s not a case of innocence,” Bradley notes.
“They're an extended part of my family and they've welcomed me and my partner into their family and our whole film team. And it's been beautiful to be able to release this film and bring it into the world together,” Bradley says. “Really it's been a beautiful journey seeing how people have responded to it and really trying to talk about love, to use it as a prompt, to talk about love and unity and the things that we want our world to reflect more of.”” />
Thus began their encounter with the criminal justice system. Fox, the getaway driver, says she regretted the decision even before her husband stepped foot in the bank. Desperation led them to concoct a plan to rob the Franklin Federal Credit Union in Louisiana.
But then the couple took a wrong turn.
That’s true enough, but director Garrett Bradley sees another theme at its heart. Time, the most honored documentary of the past year, has been described as a film about mass incarceration.
“We had become desperate.” “We were struggling to make ends meet,” Sibil, known as Fox Rich, recalls in the film.
Time can be paired with Ava DuVernay’s 2016 Oscar-nominated documentary 13th, which drew a direct link between slavery in the United States and the mass incarceration phenomenon of recent decades that has kept a disproportionate number of Black men, in particular, in chains.
“If anything they reflect a cultural ethos. “But I think it also, for us, has been really encouraging because it's saying that these stories matter, and also the way in which these stories can be told also matters and can be expanded. They reflect the way in which we're prioritizing a conversation that needs to happen. And so it feels great,” she acknowledges. So I think there's a lot of different ways in which we are remaining hopeful and also really grateful for where we are.”
In highlighting Fox and her family, Bradley endeavors to shed light on a grim reality often hidden from view. Fox Rich describes herself as a modern-day abolitionist, trying to oppose a system that amounts to slavery under another name.
“The United States in effect operates two distinct criminal justice systems: one for wealthy people and another for poor people and people of color.” “African Americans are more likely than white Americans to be arrested; once arrested, they are more likely to be convicted; and once convicted…they are more likely to experience lengthy prison sentences,” the Sentencing Project wrote in a 2018 report submitted to the United Nations.
Time is nominated for a Producers Guild Award and last month it made the Oscar documentary feature shortlist. Time, from Amazon Studios, Concordia Studio and the New York Times, has won awards around the world. It was named Best Documentary by the National Board of Review, the New York Film Critics Circle and multiple other critics groups and it tied with A Thousand Cuts for Best Documentary at the Gotham Awards. Bradley earned Best Director at the Sundance Film Festival and at the IDA Documentary Award in January.
Bradley doesn’t dismiss the significance of awards.
Time centers on one remarkable family’s experience, but it can’t be appreciated or understood in isolation. But it’s essential to realize who is being locked up and for how long. has the highest percentage of people under lock and key of any country in the world. According to the Justice Department, more than 1.4 million people were behind bars in state and federal prisons in 2019, with hundreds of thousands more detained in other settings, like county jails. The U.S.
Despite repeated setbacks—instances where hopes were raised only to be dashed—Fox refused to give up. Simultaneously, she fought to shorten her husband’s prison term, which she along with many outside observers considered unjustly harsh. Fox was faced with raising her six boys on her own, while supporting her family as an entrepreneur. The repercussions for the family were immense.
“It's a story about a 21 year pursuit to unify a family.” “Time in my mind is a love story,” she tells Deadline.

Los Angeles, Orange Counties Very Close To Less Restrictive Covid-19 Reopening Tier″ />
According to state data released Tuesday, there are another 11 of the state's 58 counties poised to move to less restrictive tiers the week after next. They are Alameda, Alpine, Butte, Calaveras, Imperial, Mariposa, Mono, Placer, Plumas, Santa Crux, Solano and Tuolumne.
Los Angeles could be next.
With 10 million and 3 million residents respectively, LA and Orange Counties, when added to the other areas that have already progressed, would account for nearly half the state's population. That would be good news for businesses like movie theaters.
Of course, there are two other metrics that also be met for a county to proceed, but LA and the OC already meet those.

Movement into the red tier means that theaters can reopen for indoor operations at 25% capacity or a total of 100 people, whichever is fewer. Hotels can reopen with modifications. Amusement parks are to remain closed until counties reach the least stringent, or yellow, tier. Retail stores, shopping centers, zoos and museums can operate at 50% capacity. Gyms can reopen indoors at very limited capacity. Restaurants can reopen indoors subject to the same restrictions.
Most of those counties are quite small, population-wise. But their larger siblings may be joining them soon.
Those counties had a total population — in 2019 — of a little over 1.5 million people, the most populous being San Francisco. On Tuesday, seven additional California counties were confirmed to be moving into the red tier of Governor Gavin Newsom's Covid-19 reopening plan. The other six are El Dorado, Lassen, Modoc, San Luis Obispo, Santa Clara and Napa.
Meanwhile, Newsom called Texas's lifting of its mask mandate on Tuesday "absolutely reckless."
Once it's under 7, the county will very likely qualify for the red tier. This week, that number fell to 7.2. Last week, LA's adjusted case rate per hundred thousand was about 12. Los Angeles and Orange Counties — the state's largest and third largest by population — are inching closer to the red tier. Orange county's adjusted case rate announced Tuesday was 7.6 per 100,000.
That means Los Angeles and Orange Counties may edge below the threshold next week, but there's a catch. They must remain there for another two consecutive weeks before the purple-level restrictions will be lifted.

‘The Masked Singer’ Producers And Judges Talk Expanding The ‘Masked’ Universe And New Twists For Season 5 – TCA

In addition to giving us a sneak peek at a performance of the performer in a  Russian Doll costume singing "Shallow" from A Star Is Born (it was both moving and bizarre), it was revealed that this season will introduce "Cluedle-doo", the show's first-ever secret celebrity guest who will stir the pot with new clues about identities.
Fellow judge Robin Thicke chimed in: "The level of star power in season 5 is at another level!"
"Look, we're getting the message out about wearing masks, guys," quipped judge Ken Jeong during the TCA session for Fox's The Masked Singer. "If you want to wear a mask out in public; if you want to wear a mask on television — I mean, how better than to get the message out and [make a profit] than to wear masks!"
Ken is part of the popular "Masked" franchise as he is on The Masked Singer, which debuts its fifth season on March 10 and The Masked Dancer. Jeong added, "The Masked Singer is the mothership — this is such an exceptional show!" When the producers asked if they were concerned about the expansion of the franchise to something like The Masked Chef or even The Masked Athlete, they had no issue because of the popularity of the existing shows. Dr.
"She was absolutely fantastic." This season also brings Niecy Nash into the fold as guest host while Nick Cannon is sidelined by Covid-19. Breen said that Cannon will return halfway through the season, but the EP said that they were incredibly lucky to have Nash on board as host fill in last minute. "She had chemistry with the panel — she was just a producer's dream," said Breen.
Jeong and Thicke were joined at the virtual TCA session by fellow judges Jenny McCarthy Wahlberg, Nicole Scherzinger, guest host Niecy Nash (who is filling in for Nick Cannon) as well as  Executive Producers Craig Plestis James Breen and Rosie Seitchik (EP) to talk about what is in store for season 5 — because it's not going to be your typical season.

"It brings a whole new life to the series so we're excited by it." "It just adds a freshness to the whole show," said Plestis of the wildcards.
"Niecy's a boss…she's a queen," lauded Scherzinger.
Because of Covid-19, the show was impacted in the fourth season and the protocols will stay in place including the virtual audience, social distancing, and of course the masks. In terms of booked celebrities to step in the costumes, the producers say that so many celebs have wanted to be on the show and a lot of them have the time now.
"Celebrities have said, yes, their schedules are [freer] but they want this platform — they miss performing, they miss the stage," said Scherzinger. "This is the perfect opportunity to get back out there."” />
"I just walked in the door and every single person supported me and was so kind." "I have never felt so welcomed," said Nash.
McCarthy Wahlberg pointed, "He messes with us! we think he's going to give us an amazing clue  — sometimes he does, but sometimes he'll steal it or not tell us!"
This will definitely mix things up. Black Swan, The Piglet, Porcupine, Phoenix, Russian Doll and Snail — but it won't stop there. At the end of the show the incognito wildcard will attempt to take the spot of another masked celeb in the group to compete for the trophy. The season will also feature wildcard rounds (costumes to be announced) which will feature an unknown number of masked celebrities who will take the stage during the run of the series. This season's roster of masked singers includes Grandpa Monster, Chameleon.

New Line Sets Jennifer Coyle, Leo Matsuda To Direct ‘Hello Kitty’ Animated/Live Action Hybrid Movie

Early credits include work on King of the Hill and The Spectacular Spider-Man. Coyle recently served as Supervising Producer on the animated HBO Max series Harley Quinn and was director on six seasons of the hit show Bob’s Burgers.
Coyle and Matsuda bring years of animation experience to the project and have worked on numerous animated films and TV shows, but this is their first collaboration and first studio film for either as they beat out many other directors for the job.
New Line president/Chief Creative Officer Richard Brener said the studio was "extremely lucky to have found in Jennifer and Leo, two directors who not only share a profound connection to the unforgettable characters Shintaro Tsuji and Sanrio have created over the past 40+ years with Hello Kitty and her friends, but also have the imagination, talent and heart to bring this iconic world to life on the big screen.”
Coyle is repped by UTA; Matsuda by UTA, 3 Arts and Hirsch Wallerstein.” />
Coyle said "this is not only a rare chance to bring a beloved character to life, but also to spread the message of love, friendship and inclusivity that Hello Kitty stands for. The world so needs her brand of joy and happiness."
His original animated feature Yokai Samba is in development at Nickelodeon. Matsuda began at Walt Disney Animation and worked on films such as Big Hero 6, Zootopia, Ralph Breaks the Internet and most recently Abominable for Dreamworks Animation. Matsuda’s directorial debut was the heartwarming short Inner Workings which premiered before the Disney hit Moana, and was shortlisted for the Oscars in 2017.
The studio, which set the rights to make a film based on the global brand in 2019, has set Jennifer Coyle and Leo Matsuda to direct what will be an animated/live-action hybrid effort. EXCLUSIVE: New Line is scratching at a start date on Hello Kitty.
is currently in post on Disney’s upcoming Jungle Cruise directed by Jaume Collet-Serra and starring Dwayne Johnson and Emily Blunt , and the Rawson Marshall Thurber-directed Red Notice for Netflix that stars Dwayne Johnson, Ryan Reynolds and Gal Gadot, with a spring production start in the Johnson-starrer Black Adam for New Line and DC. FlynnPictureCo.
Plot details surrounding the trendsetting Japanese pop icon are under wraps, but the intention is for it to be catnip for the global consumer audience. Known Universe's Lindsey Beer wrote the script.
Along with Jen, FlynnPictureCo. and New Line, I am delighted by this incredible opportunity to work with one of the most universally beloved characters and expand their relatable Sanrio stories even further.” Said Matsuda: “Growing up in Brazil with a Japanese family, I was surrounded by the whimsy of Hello Kitty and it served as a reminder that it’s okay to be different.
Beau Flynn and his FlynnPictureCo. The film will mark the first time a studio has ever brought Hello Kitty to the big screen. will produce the film and pursued the Hello Kitty rights for over five years with New Line Cinema/Warner Bros. Known Universe is executive producer and New Line executives Richard Brener, Celia Khong and Paulina Sussman will oversee for the studio. Chanel Bowling will oversee the project for FlynnPictureCo.

Jodie Comer Is Ridley Scott’s Choice To Play Josephine Opposite Joaquin Phoenix In Scott’s Napoleon Bonaparte Pic ‘Kitbag’ For Apple Studios

She also has the 20th Century Studios action comedy Free Guy, also starring Ryan Reynolds bowing later this year. Besides The Last Duel, which will premiere later this year in thick of award season, Comer is expected to shoot the highly anticipated fourth season of Killing Eve later this year.
She is repped by WME and Independent Talent Group.
Scott and Kevin Walsh will produce for Scott Free.
Apple Studios committed to finance and produce the movie at the top of the year when the package was brought to market. He wrote the Scott-directed Getty kidnap drama All The Money in the World. Scott Free’s deal with 20th Century Studios obliged him to show it there last fall, but it became free and clear towards year end, and a world rights deal closed quickly with Apple Studios, where Scott Free has its first look deal for television projects. Deadline first broke the news of Scott's plan to direct the film reunite with Gladiator star on the film last October, which now has a screenplay by David Scarpa.
 ” />
Sources tell Deadline, that even though Comer's star had been on the rise following her Emmy-winning work on Killing Eve, Scott had no idea who she was when he set her as the female lead opposite Matt Damon, Adam Driver and Ben Affleck in The Last Duel. Though Comer still had to meet with execs and Scott for the role of Josefine, sources say Scott always felt she was in front-runner and was quick to declare her as his choice for the part. Insiders say Scott was blown away by her work during production of the film, which recently wrapped production and the end of last year.
While the intention of the film is to capture Napoleon’s famous battles, ambition and strategic mind, the love story he had with Josephine is just as important to the origins and way the great military leader was. The film’s title is derived from the saying “There is a general’s staff hidden in every soldier’s kitbag.” The film is an original and personal look at Napoleon’s origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine.
Joaquin Phoenix is set to star in the Bonaparte role with Scott planning to direct after he finishes the MGM crime thriller House of Gucci starring Lady Gaga. EXCLUSIVE: After blowing him away with her upcoming performance in The Last Duel, Ridley Scott is moving fast to work with Killing Eve star Jodie Comer again and looks to have found that next project to team up on. Sources tell Deadline Comer is Scott's choice to play Napoleon Bonaparte's beloved Josephine in Apple Studios' upcoming epic Kitbag. Insiders add that it is in early talks and there is still a possibility a deal may not make.

‘People (The TV Show!)’ Adds Julie Moran As Atlanta-Based Special Contributor

14 and airs Monday through Friday in all 12 Meredith markets including Atlanta, Phoenix, St. People (the TV Show!) premiered on Sept. Louis, Portland, Nashville, Kansas City, Hartford-New Haven, Greenville-Spartanburg, Las Vegas, Mobile-Pensacola, Flint-Saginaw, and Springfield-Holyoke, MA.” />
Jackson as co-hosts,  is a half-hour daily TV show inspired by the brand's unique combination of the most popular celebrity and inspirational human-interest stories including entertainment news, exclusive interviews, feature stories, beauty and style, true crime, and more. The series, which also touts Kay Adams and Lawrence K.
From 1994 to 2001 Moran served as the weekend anchor and co-host for Entertainment Tonight. She launched her Empower Midlife with Julie Moran podcast in 2019. In 1992 Moran became the first solo female host for ABC's Wide World of Sports.
Moran speaks with the Merry Happy Whatever actor about the political biopic and finding his own Nancy Reagan. On Thursday, Moran will reunite with Shaquille O'Neal and Charles Barkley, where they will discuss their feuds on the court and today's NBA stars. Moran's two-part Reagan set visit with Dennis Quaid and Penelope Ann Miller will air Monday and Tuesday night.
EXCLUSIVE: Journalist and former Entertainment Tonight co-host Julie Moran will join People (the TV Show!) as its Atlanta-based Special Contributor. She joins fellow Los Angeles and New York special contributors Nancy O'Dell and Gretchen Carlson, respectively .
“Her connections in the entertainment field are wide ranging and we look forward to tapping into that to bring our viewers the type of exclusive interviews only PEOPLE can deliver daily.” “We are thrilled to have Julie on the PEOPLE team,” said executive producer and showrunner Rob Silverstein.

Constance Wu Joins Chris Pratt In ‘The Terminal List’ Amazon Conspiracy Thriller Series

Fresh Off the Boat star Constance Wu is returning to series television as the female lead opposite Chris Pratt in Amazon’s conspiracy-thriller series The Terminal List, based on Jack Carr’s bestselling novel.
Carr also serves as an executive producer along with Pratt and Jon Schumacher through Indivisible Productions, Fuqua through Fuqua Films (The Equalizer, Training Day) and writer Daniel Shattuck. DiGilio will write, showrun and executive produce.
Wu, known for her starring roles in box office hits Crazy Rich Asians and Hustlers, is coming off her six-season run as Jessica Huang in Fresh Off the Boat. She also is developing an adaptation of the novel Goodbye Vitamin by Rachel Khong, in which she will star and executive produce with Dylan Clarke Productions. She'll next be seen in Amazon anthology series Solos, alongside Morgan Freeman, Anne Hathaway, Helen Mirren, Uzo Aduba, Nicole Beharie, Anthony Mackie and Dan Stevens.
She seeks to re-enter the mainstream by bringing the truth about Reece and the conspiracy he’s fighting against to light. Katie left her desk at a prestigious news outlet to pursue high-impact stories on her own terms. Wu will play Katie Buranek, a risk-seeking war correspondent who uses her byline to speak truth to power. Now at a crossroads in her career, she finds an unlikely ally in rogue Navy SEAL James Reece.
However, as new evidence comes to light, Reece discovers dark forces working against him, endangering not only his life but the lives of those he loves. Written by DiGilio, who also serves as showrunner, The Terminal List follows James Reece (Pratt) after his entire platoon of Navy SEALs is ambushed during a high-stakes covert mission. Reece returns home to his family with conflicting memories of the event and questions about his culpability.
Wu is repped by UTA, Principal Entertainment and Hansen Jacobson.” />
2021 Amazon Prime Video Pilots & Series Order
The Terminal List is a co-production from Amazon Studios and Civic Center Media in association with MRC Television. Pratt also executive produces the series along with Antoine Fuqua, who directs, and writer David DiGilio. Taylor Kitsch also stars.

‘Mank’ Makeup And Hair Designers Talk Recreating “Magical Period In Filmdom” & Grappling With The “Vernacular” Of David Fincher

You’d look at a photo and say, “Oh, okay. Well, if we took a normal sandy blonde, it looked like mud, like wet sand. Take Amanda [Seyfried], for instance. [Marion Davies] was a platinum blonde.” But if you were to put that shade exactly of a platinum blonde on, what would happen was, it would disappear, or it would look like it was floating off of her head. SPITERI: It was lot of the same things. Then, some blondes, like William Randolph Hearst, [had] sandy blonde hair.
Sometimes we had nine, 10 makeup and hair people working because we had so many people in the scene, and we’d go out and look at everyone, and all of a sudden we’d go, “Oh my god, they all have the same color lips!” Because everyone’s gravitated to the same one. We had some of those, but then we got everyone together and I gave the lipsticks to everybody.
We did a lot of plucking and stylizing and grooming their eyebrows, and then eyeshadow around. WILLIAMS: If you look at old movies, all the men back then had very pronounced eyebrows, so we darkened and made thicker almost everyone’s eyebrows. I put mascara on every man. I’ve never done that in my life, but I had to pull out their eyes. Because otherwise, everything just sort of went away. So, it was mascara, eyebrows, a gel that really puffed them out. Then, there’s a smokiness to their eye.
So, it was a huge learning process, as well as the whole black-and-white thing. It was actually shooting in black and white, trying to find things that worked, and showed, and didn’t show too much, or too little. It wasn’t just desaturating or taking the color away.
WILLIAMS: I spent a tremendous amount of time in books on film, looking at the characters, because almost every character in the movie is supposed to be a real person. So, we had a lot of visuals to draw on, and that was fun.
My son said, “Mom, you’ve been jonesing for a black-and-white Hollywood movie of the ‘30s and ‘40s since I was born.” And he’s 30. [Laughs] It’s this magical period in filmdom where it was all glamour, stylized, what we would call “smart.” It was interesting because as I went through my house, looking at my reference books on makeup, I found that I had like six feet of books from this period, and I didn’t realize it.
I think from the top down, it took a labor of love, and everyone gave it their all. For me, it was just an amazing process to watch David, to watch the actors. It was a lot of fun. SPITERI: I’m just honored and thrilled for everyone that Mank has been received so well.
For the women, it’s totally different, of course. David absolutely did not want really, really thin eyebrows, so we had to figure out a way of giving you the impression that they had really thin eyebrows by the shape you gave it, but not have it be so severe. In the 1920s and early ’30s, the eyebrows were really, really thin.
DEADLINE: When you look back at the film now, what are you most proud of?
Because the film would be shot in black and white, both Williams and Spiteri had to engage in a lengthy series of camera tests, to make sure that their designs would translate properly, and that Fincher would be satisfied with the looks conceived for every actor. Certainly, in the case of Mank, every effort was made to make sure that the work was right, though period accuracy was not the only concern.
DEADLINE: How long did that process go on for?
He had a certain vision in his head, whether he could articulate that personally or not, so it was me trying to read just the slightest thing—something in his voice, a tone, whether he would get excited about how something looked on the monitor. I had to learn his vernacular because not everybody speaks the same language, when it’s about color, and makeup, and depth, and what it is that someone’s really trying to say. That’s where David has little patience, and then has a ton of patience, because he wanted it right. We didn’t have access to the actors at the [start], so we had a ton of wigs, and Gigi had color boards, and we’d stick them in front of the camera. SPITERI: A couple of weeks, in terms of us going through colors, and putting things together to test.
DEADLINE: Could you both describe some predominant looks of the ’30s and ’40s that you recreated for Mank?
I mean, it was not an easy project. Every single person had a wig, and nobody understood that every one of those wigs had to be set, combed out, pinned on. GIGI WILLIAMS: Kimberly, you gave a great interview, and you lived up to everything in the interview. So, I’m really glad that you gave such a good interview. Your work was impeccable, it was fast, it was under a lot of duress, and not enough help.
We didn’t want it to be so shocking that it was in your face, and we had to test out different grays to [see] what worked on camera. With Gary, we wanted to give him a younger look with a subtle difference [compared to his look in another timeline], so we had slight differences in gray.
It took me, personally, a long time to come around to the very darkest red because I was so afraid of it. It took me a while to train my eye to, “That isn’t goth. That is that year.”
What exactly made the experience so different? DEADLINE: Can you elaborate on that?
I've heard that one shade of lipstick you ended up using was a dark black. How did shooting in black and white influence your choice of color in makeup? DEADLINE: Gigi, I’m sure you had to retrain your eyes, as well, for the medium you were working in, because what the camera would pick up was entirely different from what you saw on set.
When makeup and hair designers Gigi Williams and Kimberly Spiteri were approached for Mank, they jumped at the chance to craft looks for an Old Hollywood drama, set in an era they both loved.
He hates red on the set, he hates it in the clothes, he hates it on the lips. WILLIAMS: Well, it was really dark red, and that was really interesting because as we went through all the colors that we liked, having worked with David before, he hates red. The only colors you had in that period in lipsticks were variations on red and a reddish pink, so your natural inclination is to stay away from anything too red, too vibrant, too in your face.
DEADLINE: I’d also heard, Gigi, that you gave your male cast members dark circles under the eyes, which helped you to get at the period look Fincher wanted.
So you look at these books, you know who the characters are, we lay them all out on the counter, and then between Kim and I, we decide what we can do with the actor that we’re given to make him look like that.
That whole studio system, it’ll never be like that again,” Spiteri says. “Hollywood in the ’30s and ’40s was something that we’ll never get to see again. “So it’s a chance to get a glimpse at what it was like, which I find fascinating."
Additionally, they touch on the idiosyncrasies of Fincher’s “vernacular” as a filmmaker, with regard to makeup and hair, and the way in which Williams guided Spiteri through her first encounter with the filmmaker. Below, the designers reflect on the joys and challenges of tapping into a “magical period in filmdom” for Mank.
While you’re working with him, it’s technician stuff, but once we get to a certain point in the editing, you start seeing the real artist come out, because he looks at it and figures out what he needs to do, in order to take it one step further. WILLIAMS: Working with David is like working with this incredible artist that you don’t always feel while you’re working.
DEADLINE: What did your prep look like, leading up to the shoot? I imagine you dug into a lot of historical research.
WILLIAMS: We did a lot of tests with David and the actors, trying to get everything right, especially [given] the medium he was using and the filters he was using. It’s reflecting too much.” So, it was a group project. “It’s not shiny enough,” or “It’s too shiny. It’s too dark, too light. It’s too dense. Then, later that day, or the next day, we were able to go into the editing bay and look at every single frame, and everybody had a voice in it. We spent a lot of time with Erik Messerschmidt, the DP, and the DIT guys, who are in charge of saturation, et cetera. We would set up a camera maybe once or twice a week and just bring in what we wanted to test.
KIMBERLY SPITERI: It’s Gigi’s fault that I got dragged into it. [Laughs] No. I mean, it’s not her fault. I’m very thankful and grateful.
DEADLINE: Kimberly, how was your work affected?
She knew his vernacular, what he was looking for, and it helped me to understand because it’s not the typical scenario. SPITERI: Gigi has worked with David for a long time, so she knows David, gets David and they have a great relationship. Working with David was incredibly amazing, but it was probably one of the most different [projects], in the relationship with the director, that I’ve ever experienced. So, Gigi was David’s voice for me, actually, to begin with.
Directed by David Fincher, the drama is both a love letter to, and a critique of, Hollywood’s Golden Age, following alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman), as he finishes the script for Citizen Kane.
I think they’re sexy; I think they’re real; I think they lend an authenticity to the look. I like to use ‘guyliner,’ but David said I definitely couldn’t use guyliner, so it ended up being eyeshadow, really. WILLIAMS: Well, my signature in most of my films is guys with dark circles under their eyes. I love dark circles.
All the pictures of William Randolph Hearst, he looks like a cadaver. It’s good!” He's got these sunken-in eyes that cast a shadow, like zombie eyes, so I did that in a 30-minute test, and he’s sitting there going, “Gigi, don’t you think that’s a bit much?” And I was like, “No, no. I think it's very funny. Charles Dance really had a hard time with his “cadaver look,” because that's how I describe it.
You look at this project and first of all, it’s a cap in my career because it’s just the best thing I’ve ever done. I’m just beyond proud of it because I’ve watched it six or seven times at this point, and every time I watch it, it gets better, and fuller, and more magical.” />
Because I think he’s brilliant… SPITERI: Gosh, how do I put this?
Men in the ’30s, it was Byrlcreems, and waxes, and barber cuts. SPITERI: In terms of styling with the women, that’s all old school—what’s called wet setting pin curls. So, I will research products of that time, and believe it or not, you can find them. You need to find the fine line, and that’s usually with a part, or a little different product than what might be used now. A lot of what’s popular right now is what was in style then, so you have to be careful [about]…not making them look too modern. If I’m researching a period, I’ll go back and figure out what it was that they used then, and attempt to do it that way, to give that authentic feel and look. We had printed wave patterns all over, to give you certain styles.
Spiteri, though, had never before worked with the revered auteur, so it would take some time to come to grips with his famously particular working style. In years past, Williams had collaborated with Fincher on the 2014 film Gone Girl, as well as the Netflix series Mindhunter, climbing the rungs between those two projects from assistant makeup department head, to the head of her department.
If he could have everybody in a movie be bald, like he did in Alien 3, where he paid a lot of money to have Sigourney Weaver shave her head, he would do that. He doesn’t want it to stand out, but it has to be perfect. He has a fear of it, a loathing of it, so it’s difficult to understand that and give him what he wants. And it’s hair. WILLIAMS: David has a reputation for hating hair, period. You have to know how to approach that because he wants it to be perfect, he wants it to be shiny. He hates hair. So, hair moves.
What can you tell us about your experience there? DEADLINE: In pre-production, you also participated in a number of camera tests.
Whether you’re trying to emulate a character or just get the period right, you may not notice if it’s right. But you’re going to notice if it’s wrong.” It's on projects like this, Spiteri says, that “what the hair and makeup department does as a craft matters.
We had to put a little bit of darkness in at her root so it would have a depth, but enough lightness that it wouldn’t look like this solid mass, which would happen with different shades. So, we had to do things that you wouldn’t normally think of. But for black and white, it couldn’t be too light, couldn’t be too dark. Just putting on a platinum blonde wig in color would be great.
DEADLINE: Kimberly, how did you get involved with Mank?

Ariana Greenblatt Joins Eli Roth’s ‘Borderlands’ Movie

She is repped by Paradigm, Mosaic and Schreck Rose Dapello.” />
She’s going to blow up on screen like one of Tina’s grenades." "Ariana is a spectacular new talent in cinema," Roth said Monday in a statement. "She has already worked with many of my close collaborators and everyone raves about her. She blew us all away in her audition, and I cannot wait to see her bring the wild, insane and unpredictable Tiny Tina to the big screen.
Blanchett plays Lilith, Hart is Roland, Curtis is Tannis and Black plays Claptrap, a robot. In the video games, Tiny Tina is a teenage explosive experts who is seeking revenge on the man who sold her parents as test subjects to the evil Hyperion company.
James Myers and Aaron Edmonds are overseeing the project on behalf of Lionsgate, Emmy Yu is overseeing for Arad Productions, and Lucy Kitada and Royce Reeves-Darby are overseeing for Picturestart. Randy Pitchford and Take-Two Interactive boss Strauss Zelnick are executive producers. Avi Arad and Ari Arad are producing through their Arad Productions banner, with Erik Feig producing through Picturestart.
Craig Mazin (Chernobyl) wrote the most recent draft of the screenplay. The former Stuck in the Middle star now joins ate Blanchett, Kevin Hart, Jamie Lee Curtis and Jack Black in the pic, which is set in the distant future when four “Vault Hunters” travel to the distant planet of Pandora to hunt down an alien vault rumored to contain advanced alien technology.
Greenblatt has been on the rise, also recently voicing a role in Warner Bros' Scoob! She also just wrapped 65, Sony’s Sam Raimi-produced sci-fi thriller starring Adam Driver. and appearing in STXfilms' A Bad Moms Christmas. Upcoming, she's starring opposite Gina Rodriguez in Netflix’s Awake, appearing In the Heights and DreamWorks’ The Boss Baby: Family Business.
Ariana Greenblatt, whose growing list of credits include The One and Only Ivan, Love and Monsters and Avengers: Infinity War as young Gamora, has been set to play Tiny Tina in Borderlands. The pic, directed by Eli Roth and based on the bestselling Gearbox Software video game, set on Greenblatt after a worldwide casting search.

Golden Globes Ratings Looking Like All-Time Low For NBC In Early Numbers

Winners notwithstanding, the obvious shortcomings of the 78th annual Golden Globes on-screen Sunday night were reflected in the ratings for the NBC-broadcast ceremony.
In their fourth time as co-hosts, SNL alums and chums Fey and Poehler certainly saw their three-hour 2021 appearance drop hard from their previous tour of HFPA duty in the olden times of 2015. That co-host spell of the Obama era was a downturn of 11% in the key demo from Fey and Poehler’s second run MCing the often boozy and loose affair in 2014.
On the flip side, streaming numbers for such events have been on a steady-ish rise, reflective of the way TV is consumed nowadays.
Speaking of the ViacomCBS-owned net, CBS had a total primetime viewership of 6.5 million on Sunday. On a night of new offerings from The Equalizer (7.5 million viewers), NCIS: LA (5.7 million viewers) and NCIS: New Orleans (4.9 million viewers), the winner overall was 7 p.m.'s 60 Minutes with an audience of 7.9 million.” />
So, no NFL lead-in and little holiday-season spillover, as but two differences. Now, even as these early numbers have all the metrics of an all-time NBC low, let’s be honest, all of these comparisons are a bit apples to avalanches. Absent much of the atmosphere that gives the Globes its appeal, last night’s glitchy and semi-virtual ceremony also aired nearly two months later than the 2020 show. Additionally, like with the viewership low of the 2020 Emmys, we have seen the Nielsen results of a number of coronavirus-impacted awards shows and other big-ticket events shrink over the past year. As with almost everything in Hollywood and the wider world, the pandemic has played havoc with the calendar and the format.
The 2020 results rose to 18.3 million viewers and a 4.7 rating in 18-49s in the final Live+Same Day Nielsen numbers special ordered by NBC – numbers that are almost certainly well out of reach of Sunday's show, adjusted numbers or not.
And we don’t just mean the worthy whack the Hollywood Foreign Press Association has been taking from some of Hollywood's heaviest hitters over the 87-member group’s lack of Black members. Although the Comcast-owned network doesn’t plan to release final numbers from Nielsen until Tuesday, semi-adjusted fast nationals reveal that the bicoastal show hosted by Tina Fey and Amy Poehler took a hit from last year.
Coming in with a 1.2 rating in the adults 18-49 demographic and about 5.4 million viewers, the 2021 Globes telecast fell about 60% in both categories from the partially adjusted fast national numbers snared last year by the Ricky Gervais-fronted awards show.
What that will all add up to for NBC when its finally releases cumulative Globes results Tuesday we will have to see – and we will update when those numbers arrive. But, with CBS looking like the Sunday winner right now, if you want to make a bet …

Media Stocks Lead Market Surge On Stimulus, Reopening, Streaming; AMC Entertainment, Discovery, Live Nation Pop

The Dow Jones Industrial Average surged more than 700 points, or nearly 2.3%, and other indexes jumped too with about 95% of all stocks higher today and entertainment a standout from exhibition to TV to live events.
Fubo is up 7% as it prepares to report earnings Tuesday.
It didn’t hurt Monday's markets that Berkshire Hathaway’s Warren Buffett, the 90-year-old known as the Oracle of Omaha, urged over the weekend in his closely studied annual shareholders letter “never bet against America.”” />
economy looks increasingly likely after the House passed a Covid-19 relief bill over the weekend and sent it on to the Senate. Johnson & Johnson's vaccine, the nation’s third, will ship this week and the possibility of $1.9 trillion flowing into the U.S.
Other exhibitors saw bumps from Cinemark (up 7%) to Imax and Marcus (up 3%). AMC Entertainment shares gained 14% with New York City set to reopen theaters Friday after a year dark. The volatile stock is benefitting in part from renewed love on Reddit, where investors have been tipping back into select shares led by GameStop.
Showbiz shares sparkled Monday, starting off March with a major market rally around reopening, another vaccine rollout, a stimulus bill and a combo of upbeat earnings and streaming forecasts.
There’s been some upside confusion between AMC Networks and AMC Entertainment, Nathanson and others noted, but there’s also some genuine enthusiasm. AMC Networks CEO Josh Sapan also impressed the Street on Friday, beating earnings estimates, disclosing over 6 million year-end streaming subscribers and anticipating 20 million-25 million in 2025. Shares are up more than 6%. AMC shares had already surged since its last quarterly report in November, Nathanson noted.
Then, in December, after another successful investor day in which Disney laid out its DTC ambitions, the market’s complete shift to sum-of-the-parts valuation methodology at Disney opened the door for investors to try this approach on other companies,” Nathanson wrote. “After a massive re-rating of growth equities and Covid winners, this stock [AMC Networks] — and many of their media peers — had been left for dead.
He thinks AMC Nets and others have Disney to thank.
Classic media and entertainment stocks are also buoyant and it may be time to note an ongoing mood shift around companies as they make strides in streaming. “But the real catalyst has been the quarterly reporting of OTT subscribers," said MoffettNathanson analyst Michael Nathanson in a recent report. Many have also posted better than expected quarterly results in advertising and other metrics after the horrific impact of Covid-19.
Despite a glut of new OTT services, Wall Street appears willing to consider each on the merits, though not assuming by any means that they’ll all survive on their own longer term given the challenging economics. Investors are certainly applauding Discovery after CEO David Zaslav announced 7 million new Discovery+ streaming subscribers since its December launch. The service also had a great writeup today by New York Times media columnist Ben Smith. It’s up nearly 10%.
Lionsgate, expanding in streaming with Starz, is up about 7%. Also today, shares of Pluto parent ViacomCBS are up 5% with Paramount+ launching this week. Tubi owner Fox is up 5%.
CEO Michael Rapino said Friday during an earnings call — citing conversations with state governors — that “a clear outline” has emerged for a 75%- to 100%-capacity reopening for outdoor U.S. The giant venue operator also sold out tickets to two large UK festivals in August (Reading & Leeds and Creamfields) after the British government said large music events could resume at 100% capacity on June 21. events this year. Live Nation shares rose nearly 5%.
“If it’s worth that much, what are Pluto, Tubi and Peacock worth?” he asks. Nathanson said a “massive re-rating” in Roku has also helped valuations. He called Roku stock “essentially a play on AVOD and the long tail of SVOD players trying to money in the space.” It's up nearly 5% on Monday with a market cap of $52 billion.