FX’s ‘A Teacher’ Limited Series Gets Green Light With Nick Robinson As Co-Lead

“Working with FX – truly the home of all my favorite shows – on A Teacher is a dream come true,” said Fidell. “I couldn't ask for a more perfect partner who, from day one, has understood and embraced the inherent complexities and nuance required for such subject matter.”
Mara and Robinson star respectively as Claire, a popular young teacher at a suburban Texas high school, and Eric, an all-American high school senior.
FX has given a formal green light to A Teacher, a 10-episode limited series based on Hannah Fidell’s buzzy Sundance feature, starring and executive produced by Kate Mara. FX Productions is the studio. Additionally, Nick Robinson (Love, Simon, Everything, Everything) has been cast as a co-lead opposite Mara in the series, which has been in development at FX since last year.
“We are thrilled to partner with Hannah, Kate Mara, Michael Costigan, Jason Bateman and Danny Brocklehurst to adapt A Teacher into a limited series for FX, with Kate leading an extraordinary cast along with Nick Robinson.” “Hannah Fidell is an exceptional filmmaker we have long admired for her intuitive ability to bring complex stories to life with depth and grace,” said Gina Balian, President, Original Programming, FX Entertainment.
Robinson, who starred in features Love, Simon and Everything, Everything, was a series regular on the ABC Family series Melissa and Joey. Other credits include Native Son, Jurassic World, and Boardwalk Empire, among others. He's next set to make his Broadway debut in the hit Aaron Sorkin adaptation of Harper Lee’s To Kill A Mockingbird, replacing the outgoing Will Pullen as Jem Finch in November.
Robinson is repped by UTA, Management 360, Savage Agency and Fred Toczek.” /> Mara is repped by WME, Mosaic, Viewpoint, Sloane, Offer, Weber & Dern.
Fidell, who wrote, directed and produced the 2013 film, will pen the adaptation, direct and executive produce the limited series.
Fidell executive produces with Michael Costigan (Brokeback Mountain, American Gangster) and Jason Bateman of Aggregate Films (Ozark, Outsider), Danny Brocklehurst (Safe, Ordinary Lies) and Mara.
A Teacher explores the story behind the mugshot of a female high school teacher caught in an affair with her male student, revealing the complexities and consequences of these illegal relationships.

Universal Nabs ‘The Creeps’ Horror Pitch From ‘Spider-Man: Homecoming’ Scribes Jonathan Goldstein & John Francis Daley

In addition, the duo produced the 20th Century Fox forthcoming action comedy Stuber with Kumail Nanjiani and Dave Bautista and are also producers on the Gus Van Sant-helmed Prince of Fashion, which has Will Ferrell toplining. Goldstein and Daley most recently directed Warner Bros' Jason Bateman and Rachel McAdams-starring action comedy, Game Night and are developing The Flash standalone for DC Films/WB with Ezra Miller attached as the title character.
Universal’s Executive Vice President of Production Jon Mone and Senior Vice President of Production Jay Polidoro will oversee the project on behalf of the studio. Details on the film are scarce other than it's described as a coming-of-age comedic horror.
EXCLUSIVE: Universal Pictures has picked up The Creeps, a horror film based on a pitch from Horrible Bosses and Spider-Man: Homecoming screenwriters Jonathan Goldstein and John Francis Daley (Bones alum). Goldstein and Daley are on board to write, direct and produce the pic through their GoldDay banner.
Goldstein and Daley are repped by UTA, Fourth Wall and Hanson, Jacobson, Teller.” />

Peter Bart: Netflix Covets Kudos In Its Global Expansion, But Movie Battles Loom

Netflix has even been in a buying mode in animation and children’s programming, focusing especially on international content. Documentaries, too, are receiving greater attention: At the Venice Film Festival, Morgan Neville testified, “Netflix has put docs on an even playing field and thus lifted their popularity.” His doc, They’ll Love Me When I’m Dead, was accorded banner attention there. The streamer recently acquired rights to two Russian cartoons, Leo and Tig and Be-Be Bears, aimed at children as young as age 3.
One side effect of all this: Netflix has ignited a new genre of streamer-centric humor — witness the Netflix gibes at the Emmy show or the growing list of facetious articles dealing with its mythic algorithms. We’ve got to get 5,000 new shows streaming by the next Emmy eligibility cutoff…” A Times writer, Glenn Kenny, described how he intentionally submits one weekend to “Netflix roulette”, letting algorithms channel him from show to show to encourage his binge-watching until he hears his mother yelling, “Go outside and get some fresh air.” The New York Times even ran its satiric report on a Netflix pitch meeting, with one executive shouting, "Jason Bateman?….Pay him $20 million just to sit down.
“Stars are so busy making Netflix product they don’t have time to promote their studio films,” says one studio chief. Demands on star salaries have increased, with several moving up to the $20 million-$25 million range. Scott Stuber, the Netflix film chief, started his reign with a more modest agenda, but agents say he’s now in the market for Lord of the Rings-level fantasy and even superhero fare. One studio chief complains that the Netflix impact on his company has been disruptive.
They clearly love their ubiquity — and even the confusion it triggers.” /> Netflix executives show no signs of wilting under the siege of streamer jokes.
Netflix this week took full page ads to announce its selections at the New York Film Festival, including Private Life from Tamara Jenkins and Happy as Lazzaro from Alice Rohrwacher, as well as the reworked cut of Orson Welles’ The Other Side of the Wind, screened earlier at Venice and Telluride (Cannes turned it down).
The big question: Would Netflix qualify as "a good cinema citizen" if its pictures played widely in 12 or so key markets before moving into its streaming model? The Academy’s board of governors has been intensely debating Netflix’s ambitions and weighing how deeply to modify requirements for award qualification. Some Academy governors contend that, since several members have connections with Netflix, either through production deals or consultancies, their positions are compromised. One influential studio chief believes Netflix pictures should play for a month in 12 key markets to qualify.
I was chatting with industry colleagues at an event this week when it struck me that virtually everyone around me was either working on a Netflix project or had a consulting link of some kind. It was an instant reminder of the formidable ubiquity of this secretive young company — one that seems to be undergoing something of an identity crisis: It either knows exactly where it’s heading and doesn’t want to tell anyone, or it’s simply spreading largesse in the hope of discovering its hidden strategy.
Late-night programming has remained a struggle following the cancellation of Michelle Wolf and Joel McHale series, but Netflix is pushing back with shows from Norm Macdonald and Hasan Minhaj in the hope of creating new and potentially disruptive late-night binge viewing.
The Emmy spend inevitably raised expectations in a much more hazardous arena — movies. Netflix’s TV presence was amply demonstrated at the Emmys, when the company’s kudo count tied HBO for the first time. Netflix needs awards to recruit filmmakers and expand audiences, even if that may entail reinventing its release windows. Again, Netflix would appear to have the ammunition for a major awards push — Roma, 22 July and The Ballad of Buster Scruggs — but does it have the will or the muscle to overcome Hollywood’s institutional resistance? This was accomplished with the help of a fierce ad campaign followed by a pricey parade of thank-you ads.
Stuber himself, while chatty in his former job at Universal, has signed on to the Netflix corporate silence. At Netflix, he understandably shares Oscar hopes with such top filmmakers as Alfonso Cuaron (Roma), Ethan and Joel Coen (Ballad of Buster Scruggs) and Paul Greengrass (22 July), and has launched several initiatives to deal with the stalwart but still confused resistance of the Academy. At Universal his decisions ranged from the success of A Beautiful Mind to the problematic Battleship.
“Netflix really loves cinema and they’re fully aware of their behemoth position,” declared Julie Huntsinger, executive director of Telluride, which screened several Netflix films. Streamer executives have been lobbying festival heads in an effort to underscore their filmmaker-friendly attitude.
Movies, of course, still account for the flashiest news from Netflix, with the upcoming release of Martin Scorsese’s mob film The Irishman – its reported final cost excedes $200 million — and news of a reported $30 million paycheck for Ryan Reynolds to star in Six Underground, directed by Michael Bay. In preparation are high-profile films from Greg Russo and David Ayer.
But lately Netflix has quieted skeptics by signing the likes of Dave Chappelle, Chris Rock and Jerry Seinfeld as well as pumping out a special every week. Typically, Netflix claims disinterest in demos and is silent on viewership. For example, network gurus used to put down the streamer’s comedy initiatives, pointing to its reliance on “taste clusters” — a system purporting to predict viewership by measuring the tone and timbre of audience feelings. The Netflix forays have put Hollywood on its heels because they’ve impacted so many fronts.

Emmy Predictions: Will Sterling K. Brown Prevail Again Or Is Upset Looming In Drama Series Actor Race?

WINNER: Nikolaj Coster-Waldau, Game of Thrones      ” />
This Is Us
David Harbour has his second consecutive nod here and might be the choice for Stranger Things, even if voters ultimately ignored its above-the-line accomplishments in Season 1. Matt Smith gets a royal vote of confidence for his last turn in The Crown, earning a first mention here, while, on the opposite scale, veteran Mandy Patinkin (a winner in 1995 for Chicago Hope) has grabbed his seventh nomination, and his fourth for Homeland, as CIA man Saul Berenson. But Homeland is the only show in this category that doesn’t have a corresponding Drama Series nomination this year, which perhaps lessens his chances.
This Is Us
Brown and Milo Ventimiglia face off again for the second year running. Brown won that round in 2017—but will Ventimiglia prevail in the rematch? The category also sees the return of Matthew Rhys of The Americans, which is looking at its final chance for glory this year, and making his debut in the category is Jason Bateman, who also has a directing nomination for first year Netflix series Ozark. It’s co-star versus co-star in the Lead Actor race this time around, as Westworld’s Jeffrey Wright and Ed Harris battle for the gold, while This Is Us stars Sterling K.
He was overlooked for Westworld’s first season but he’s had an especially strong year, and could finally make it to the winners’ circle with his charismatic performance on this popular and complex series, which benefits from an especially strong showing this year—21 nominations in all. He’s competing with his co-star, which could split votes. A perennial nominee, Harris has four Oscar and three Emmy nods to his name but has yet to grab any gold. The bad news?
The popularity of The Handmaid’s Tale could lift the chances of first-timer Joseph Fiennes, though it’s the women who get the lion’s share of attention—and nominations—for that series. Offering a bounty of superb performances, this category has no returning champ from last year, although Game of Thrones’ Peter Dinklage is back after GoT took a hiatus last season. He has won twice previously, but this time around must face first-time nominee and acclaimed co-star Nikolaj Coster-Waldau.
PETE'S PICK: Matthew Rhys, The Americans
Outstanding Lead Actor in a Drama Series
Milo Ventimiglia
It was the kind of flashy acting showcase Emmy voters love—but Ventimiglia still has to face stiff competition. Ventimiglia had, by far, the most-talked about episode this season, where it was revealed just how his character Jack Pearson died. Ventimiglia had to settle as runner-up for his first-ever Emmy nomination for this series last year, seeing his co-star Sterling K. Could the switch be on this time around? Brown triumph.
Now that the show is over, Rhys could steal the advantage here, just as Jon Hamm was finally rewarded on the last chance he got for Mad Men. The FX series ends its five-year run this season, giving Rhys—a nominee for the past two years for his role as undercover KGB agent Philip Jennings—one last crack at the Emmy.
Brown Sterling K.
A previous Emmy winner in 2004 for the miniseries Angels in America, Wright received his second consecutive nomination for Westworld this year, but because of the increased spotlight on his role, he has moved up from Supporting to Lead Actor. Wright has been rightly praised for his performance as the unreliable narrator Bernard Lowe. But will he cancel himself out by competing with Ed Harris, both new to this category this year?
Matthew Rhys
But he was overlooked for Mitchell Hurwitz’s series this time around and made the switch instead to Drama. Bateman has been nominated twice previously—in 2005 and 2013 for Arrested Development. Can this TV comedy veteran make a breakthrough in either category? The actor finds himself up for two Emmys, not only for his turn as Ozark’s Marty Byrde, but also as a director on the Netflix series.
Ed Harris
The Americans
An Emmy-winner for the past two years in a row, first in 2016 for the O.J. Simpson limited series on FX, and then last year for the debut season of This Is Us, Brown finds himself the defending champ in this category, and also benefits from a second Emmy bid this year as Guest Actor in a Comedy Series for his appearance on Brooklyn Nine-Nine. His Emmy track record speaks for itself and there is little reason to expect that his lucky streak won’t continue.
Jason Bateman
Outstanding Supporting Actor in a Drama Series
Jeffrey Wright