New York’s Massive Budget Channels Fresh Funds To Covid-Battered Arts And Entertainment

The state received $12.6 billion in direct aid from Washington, D.C. The budget authorizes mobile sports betting, bringing in A possible $500 million annually, and it also legalizes weed.
"We’re investing in New York’s future. “We’re trying to pivot from an economic disaster of epic proportions," Cuomo said. How do you rebuild New York, and how do you do it better and smarter than before?
New York State’s just signed fiscal 2022 mega-budget includes a $1 billion package – a combination of grants and tax credits — for small businesses including arts, entertainment and restaurant to help speed economic recovery.
The Hall, an expansion of Penn Station, is part of Cuomo's ongoing push to make commuting easier and more pleasant. "People can’t drive into Manhattan. That is not our future," he said at a press conference Wednesday hitting the budget highlights. A new Penn Station, eight new rail lines, an expanded and upgraded Javits convention center are a few projects on the board.
Some $2 million in COBRA subsidies are available for entertainment workers who lost health insurance since the industry was shuttered last March.
It earmarks an additional $20 million for new capital grants to help them comply with Covid health regulations, including outdoor performance space projects, flexible seating, HVAC and filtration upgrades. Th $212-billion budget, signed by Gov, Andrew Cuomo yesterday, includes a new $40 million fund for general operating support to help nonprofit arts and cultural organizations as they recover from the Covid hit.
For musical and theatrical productions outside NYC, the budget extends the tax credit for four years through 2025 and doubles it to $8 million. The New York City Musical and Theatrical Production Tax Credit expands to $100 million over two years to jumpstart the industry and support tourism in the city.
The plan will be paid for in part through tax hikes on individuals making over $1 million a year ($2 million if filing jointly) with additional increases for incomes of over $5 million and $25 million. The legislature pushed the tax increases through over the objections of the Governor, who has worried that high-net worth individuals would leave the state.
Combining this new funding with the state's annual $40 million arts grant program, the budget will include over $100 million in grants for arts and cultural organizations through the New York State Council on the Arts.
The Covid-19 Pandemic Small Business Recovery Grant Program steers $800 million in funding and $138 million in tax credits in part to for-profit arts and cultural institutions.
The budget allows the state to withhold 50% percent of state and federal funds from localities that fail to produce plans to reform their police departments, something Cuomo mandated via executive order in the wake of the George Floyd protests last year.” />
In spring of 2020, they were trimmed to 25% from 30% and approved for five years. State tax credits for film and television stayed mostly steady.
The budget provisions mimic in ways President Joe Biden's national infrastructure bill. It calls for a hefty $311 billion in spending through 2024 for all kinds of infrastructure programs from transportation to downtown revitalization to schools, green energy and affordable broadband — and extending NYC's trendy High Line park to the new Moynihan Train Hall.

New York’s Iconic ‘Goodfellas’ Bar Saved At 11th Hour From Closing

The rent was expected to rise to an untenable $5,400 from $1,100 a month before negotiations brought it down to an undisclosed amount. Loycent Gordon, the bar owner since 2009, emailed the good news to his friends and customers.
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Building owner Henry Shi, City Councilman Robert Holden and Assemblyman Mike Miller met and found a path to compromise.
The 189-year-old Neir's Tavern in Queens, which was prominently featured in the classic mob film Goodfellas, has been given a reprieve from an expected Sunday closing.
Besides its cameo in Goodfellas, the bar also hosted actress Mae West's first performance.
Gordon tried to obtain landmark status for the building earlier this year, but failed. It is one of New York's oldest existing taverns.
However, politicians intervened, and after negotiations with the landlord, a new five-year and affordable lease agreement was structured. The bar, which was depicted as the place where the infamous Lufthansa robbery was planned by movie mobsters Robert De Niro and Ray Liotta, among others, would have been shut down Sunday because of a crippling rent increase.

CNBC Installs Discovery Vet Denise Contis As Primetime Boss, Replacing Christian Barcellos

Before Discovery, Contis was SVP Programming for A. Smith and Company, launched her own company, TUK Media, and consulted on programming for Lifetime. From 2008-2017, she held a range of positions at Discovery, exiting as Senior EVP Development & Production, overseeing delivery of more than 500 hours of shows including Gold Rush, Deadliest Catch and Naked and Afraid. Contis brings significant experience handling unscripted franchises.
She holds a bachelor’s degree from Loyola Marymount University. Denise will currently divide her time between New York and Los Angeles where she resides. Denise is a four-time Emmy nominee, a recipient of a Gracie Award from the Alliance for Women in Media and recognized by Cablefax as one of the most powerful women in cable.
Mark” />
Contis will report to CNBC chairman Mark Hoffman and report to the New York office on Tuesday. As EVP and Head of Content for Primetime, Contis replaces Christian Barcellos, who held the same post for just a few months.
Since leaving Discovery, she has been a consultant and adviser to a range of clients including venture capital and private equity firms.
Here is the full text of Hoffman's internal memo:
Prior to Discovery Communications, Denise served as Senior Vice President, Programming for A. Smith and Company, launched her own media company TUK Media, and was a programming consultant for Lifetime.
Denise will be in the New York office tomorrow and will start immediately.
In this role, Denise will be responsible for CNBC’s primetime content, production and development. I am very pleased to announce that Denise Contis will join CNBC as Executive Vice President and Head of Content for Primetime, reporting to me.
CNBC has a new head of primetime programming: Denise Contis, who spent nearly a decade at Discovery.
She spent many years at Discovery Communications holding a number of leadership positions from 2008 to 2017. Denise first joined Discovery Communications in 2008 as Vice President, Production and Development, West Coast for TLC where she developed and oversaw Sarah Palin’s Alaska, which was the most-watched show in the network’s history. Denise has a demonstrated track record of building global brands and franchise hits. Most recently, Denise served as Senior Executive Vice President of Development & Production for the US & UK managing the delivery of 500+ hours of original programming annually including such hits as Gold Rush, Deadliest Catch, Fast N’ Loud, Alaskan Bush People, Street Outlaws, Diesel Brothers, and the Emmy-nominated Naked and Afraid franchise which broke network records.
Since leaving Discovery in 2017, Denise has been advising and consulting broadcast and digital media companies on all aspects of content/branding including business strategy and marketing. She also provided market insights and recommendations to private equity and venture capital firms as they considered various investment and M&A opportunities.
Please join me in welcoming Denise to CNBC.
Hoffman informed the staff of the change in a memo on Monday (read it below).
A sincere thank you to Christian Barcellos for his leadership and support throughout these past few months.
CNBC, whose daytime mission is to capture financial market movement as it happens, shifts gears in primetime. It has developed a small portfolio of unscripted shows connected with its overall business focus, both acquired staples like Shark Tank and originals like The Profit and the recently premiered Cash Pad.

‘Monos’ Debuts Mild, ‘Ms. Purple’ Grows In Second Weekend, ‘Brittany’ Continues Its Marathon – Specialty Box Office

The docu, which chronicles the history of her deaf parents and follows her deaf son learning to play Ludwig van Beethoven’s “Moonlight Sonata," premiered in New York at Landmark 57 to the tune of $7,120. It seemed like this weekend was ideal to release films about sound, as Peabody Award-winning documentarian Irene Taylor Brodsky releases her latest film, Moonlight Sonata: Deafness in Three Movements, at Abramorama. The film will expand September 20 to L.A. The Michael Tyburski-directed drama The Sound Of Silence from IFC Films, starring Peter Sarsgaard and Rashida Jones, debuted quietly in two theaters to an estimated weekend $6,148. at the Laemmle Royal in hopes to pad that gross.
One Cut of the Dead (Variance Films) – Week 1 [2 Screens], Weekend $6,200, Average $3,100
For a slow roll-out, that number needs to be higher in order to be a buzzy, word-of-mouth title. Now in its fourth weekend, it took in an estimated $1,550,339 with a $2,048 average with a cume of $3,805,310. We are hearing that the Paul Downs Colaizzo-directed pic is playing best in the big cities on the coast. We'll just have to wait and see if the expansion will rope in and resonate with more audiences. Good, right? That said, Amazon picked this up at Sundance for a pretty penny ($14M) and it plans to expand even further for its widest release on September 20. We have learned that, according to PostTrak polling, 71% rated it as very good or excellent. Amazon's Brittany Runs A Marathon expanded to 757 runs in 142 markets this weekend. Well, not exactly.
The Farewell (A24) – Week 10 [229 Screens] Weekend $263,975, Average $1,153, Cume $17,145,682
Before You Know It (1091) – Week 3 [28 Theaters] Weekend $15,892, Average $568, Cume $108,177
Brittany Runs a Marathon (Amazon Studios) – Week 4 [757 Theaters] Weekend $1,550,339, Average $2,048, Cume $3,805,310
Edie (Music Box Films) Week 2 [9 Theaters], Weekend $10,797, Average $1,200, Cume $26,446
Miles Davis: Birth of the Cool (Abramorama) – Week 4 [24 Screens] Weekend $55,472, Average $2,311, Cume $242,651
Purple from filmmaker Justin Chon expanded to three theaters and earned an estimated $13,650, with a per-theater average of $3,413. After debuting at the NuArt in L.A. and becoming the best opening in over a year and second-best opening in five years for the theater, Oscilloscope's Ms. This brought its cume to $31,878. The sibling drama will add surely add to its bank, as it is slated to open in the top 10 markets the weekend of September 20.
Cracked Up (Abramorama) – Week 1 [1 Screen], Weekend $5,580, Average $5,580
Aquarela  (Sony Pictures Classics) – Week 5 [20 screens] Weekend $14,034, Average $702, Cume $207,004
Tod@s Caen (Lionsgate) – Week 3 [211 Theaters], Weekend $174,000, Average $822, Cume $2,412,000″ />
Luce (Neon) – Week 7 [115 Screens] Weekend $71,000, Average $617, Cume $1,853,182
Desolation Center (Matson Films) – Week 1 [3 Screens], Weekend $5,356, Average $1,785
Meanwhile, Greenwich Enterainment/1091's documentary Linda Ronstadt: The Sound of my Voice, sang into 220 theaters after debuting last week in seven theaters. As for other markets, it didn't hit that high of a note. It came in at #1 in 75% of its locations where it opened, including New York's The Landmark at 57 West, L.A.'s  Landmark and San Francisco's Embarcadero Center Cinema. We are hearing that the Rob Epstein and Jeffrey Friedman feature docu about the music icon ran in 76 markets and saw a decent run in a handful of markets. It also did well in DC, Minneapolis and Tucson.
Freaks (Well Go USA) – Week 1 [111 Theaters], Weekend $164,000, Average $1,479
The film may have had star wattage, but it wasn't necessarily enough to bring in audiences. Well Go USA's thriller Freaks from Adam Stein and Zach Lipovsky also debuted this weekend, hoping to scare up audiences on Friday the 13th. It netted an estimated $164,000 with an average of $1,479 per screen. That said, it opened in 111 theaters in 51 markets. The film has a stacked cast, with Emile Hirsch and Bruce Dern as banner names. We hear that although it had mild numbers at the Empire in New York and the Arclight Hollywood in L.A., it didn't make a dent in other markets.
In New York, the film opened at the Angelika and Landmark 57, while in L.A., it debuted at the Arclight Hollywood and Landmark. Neon and Participant Media's Monos hit theaters in New York and Los Angeles on a total of five screens. Even so, we hear that of all the theaters, the Angelika brought in a decent audience, while the others didn't fare very well. With that accolade under its belt, it raked in an estimated $43,285 for its opening weekend, averaging $8,657. Directed by Alejandro Landes, the Red Dawn-esque dramatic thriller starring Julianne Nicholson made its debut at Sundance and won the World Cinema Dramatic Jury Prize.
Honeyland (Neon) – Week 8 [46 Screens] Weekend $32,088, Average $698, Cume $532,181
Maiden (Sony Pictures Classics) – Week 12 [70 Screens] Weekend $44,001, Average $629, Cume $3,052,928
David Crosby: Remember My Name (Sony Pictures Classics) – Week 9 [67 screens] Weekend 26,522, Average $396, Cume $646,254
Mr. Klein (Restored) (Rialto Pictures) – Week 2 [1 Theater], Weekend $19,000, Average $19,000, Cume $35,000
Louis, Seattle and others. It should be noted that on September 8, A24 released a Mandarin version of the film in select theaters nationwide, including Los Angeles, New York, Atlanta, Boston, Chicago, Philadelphia, St. Speaking of the A24 dramedy directed by Lulu Wang and starring the juggernaut that is Awkwafina, the film is now in its 10th week and has a cume of $17,145,682 on 229 screens.
The Sound of Silence (IFC Films) – Week 1 [2 Theaters], Weekend $6,148, Average $3,074
The specialty box office was fairly quiet this weekend, with a handful of releases and holdovers that were, at best, mild.
Fiddler: A Miracle Of Miracles (Roadside Attractions/Samuel Goldwyn Films) – Week 4 [77 Theaters] Weekend $70,451, Average $915, Cume $413,382
Chhichhore (FIP) – Week 2 [195 screens], Weekend $449,000, Average $2,302, Cume $1,348,000
After The Wedding (Sony Pictures Classics) Week 6 [96 Screens] Weekend $56,105, Average $584, Cume $1,504,748
Moonlight Sonata: Deafness in Three Movements (Abramorama) – Week 1 [1 Screen], Weekend $7,120, Average $7,120
The Huck Finn-esque adventure starring Shia LaBeouf, Dakota Johnson and newcomer Zack Gottsagen is now in its sixth weekend run and has reached $15,043,769 on 1,490 screens. Tyler Nilson and Michael Schwartz’s The Peanut Butter Falcon continues to impress in its third weekend of wide release, sitting at #9 in the top 10 films of the week. In the coming week, the Roadside Attractions pic will become the #2 most-successful limited release film of the year, surpassing Late Night ($15.5M), and could possibly surpass fellow indie hit and buzzworthy awards season title The Farewell.
Purple (Oscilloscope Laboratories) – Week 2 [4 Screens] Weekend $13,650, Average $3,413, Cume $31,878 Ms.
Monos (Neon/Participant Media) –  Week 1 [5 Screens], Weekend $43,285, Average $8,657
Official Secrets (IFC Films) – Week 4 [330 Theaters] Weekend $571,560, Average $1,732, Cume $957,071
Linda Ronstadt: The Sound of My Voice (Greenwich Enterainment/1091) – Week 2 [220 Theaters], Weekend $734,636, Average $3,339, Cume $889,879
The Peanut Butter Falcon  (Roadside Attractions/Armory Films) Week 6 [1,490 Theaters] Weekend: $1,921,127, Average: $1,289, Cume: $15,043,769
Midsommar (A24) – Week 11 [50 Screens] Weekend $38,113, Average $762, Cume $27,370,090

MoviePass Shutting Down, Parent Company ‘Unable To Predict If Or When…Service Will Continue’

exhibition. Where to begin to regale the tales of MoviePass? CEO Mitch Lowe (who had worked at Netflix) spearheaded a Netflix-esque all-you-can-eat pricing model for moviegoing, something that was commonplace in Europe but previously all but unknown to U.S. Created in 2011 by Stacy Spikes and Hamet Watt, the flat-price subscription movie ticket service looked to have a renaissance when tech company Helios and Matheson Analytics took a huge stake in the service in August 2017.
Helios and Matheson Analytics (HMNY), the parent company of MoviePass, announced today that they're pulling the plug on the famed monthly movie ticket subscription service which offered unlimited tickets for $9.95 a month. It's over.
HMNY today said that it formed a strategic review committee comprised of independent directors, to identify, review and explore all strategic and financial alternatives for the company. Options include a sale of the company in its entirety, a sale of company assets like MoviePass, Moviefone and MoviePass Films. Today, MoviePass notified its subscribers that it would be "interrupting the MoviePass service" effective September 14 because its efforts to recapitalize MoviePass have not been successful.
A month before the Fallout fallout that would sink the company, a MoviePass-backed film became of the worst-reviewed titles of 2018: the John Travolta mob biopic Gotti. In just the past year alone, it elicited a fraud investigation by the state of New York; restated its financial results due to accounting errors; parted ways with its CFO and top operational executive; executed unusual (and unsuccessful) reverse-splits of its stock; and doubled down on investments in film production and financing. Getting delisted — often a fatal setback for companies with HMNY's ambitions — was far from the only blemish in the checkered record of MoviePass, which became a real-time case study in mismanagement.
The theory was that the percentage of members actually going to the movies each month would be a minority, meaning the company would not have to fork over cash for tickets to fulfill orders. (Many compared this setup to the way many health clubs work.) How the company would become profitable was an immediate question in the distribution and exhibition sectors. For a time, the stock market agreed, and Helios stock traded at nearly $30 a share by late-2017. Lowe and HMNY boss Ted Farnsworth believed that rapid subscriber growth would deepen its data pool and give it leverage in Hollywood. Neither studios nor theaters wanted to give up any share of their box office to this third-party firm, which said it would ultimately profit through the use of data.
Finally, in July 2018, during the opening weekend of Mission: Impossible – Fallout, MoviePass officially blacked out. The once-high-flying HMNY stock took a swan dive and never recovered. Following the Mission: Impossible debacle, MoviePass decided it would no longer cover big studio tentpoles on their opening weekends, instead allowing only indies and holdovers. At one point MoviePass had bragged it had nearly 3M subscribers. That ratio of active users to total members didn't fall into place. Instead, the company found itself having to run up huge deficits because it had promised access to any movie and was on the hook to provide tickets and fulfill its promise. Subscriber levels dropped to 225K as of last April.
HMNY stock, which has traded over the counter since being delisted by the Nasdaq in February, closed Friday at .93 of a cent, essentially where it has been for the past few months.
"The company is unable to predict if or when the MoviePass service will continue," HMNY said in a press release. There can be no assurance that any such financing will be obtained or available on terms acceptable to the committee." "The company is continuing its efforts to seek financing to fund its operations.
Over time, each circuit started their own successful monthly subscription movie ticket programs, which were able to feed concession sales and enhance their existing data-mining operations. AMC's put a cap on the amount of tickets for $20 per month for any kind of film. Regal, like Cinemark, restricted theirs to 2-D films. As MoviePass peaked and blew up, AMC and Regal eyed it warily and, in the case of AMC's outspoken CEO, Adam Aron, took public shots at it.
I think it was largely a defensive move on their part.”” /> Despite its demise, MoviePass leaves a legacy, serving as a disruptive force that pushed entrenched theater circuits to change their ways. Imax CEO Rich Gelfond, speaking at an investor conference earlier this week, said AMC opted for the see-anything approach with its Stubs A-List subscription program “largely because MoviePass came on the landscape.
Netflix reached that milestone in 39 months. In late December 2017, MoviePass celebrated passing 1M subs in four months. To celebrate, Lowe and Farnsworth took a photo outside AMC's Empire 25 in New York, laughing at the No. Now, AMC has the last laugh. 1 chain in the world. AMC tried to sue the service and shut them down.
In July, the company had suspended the service to work on what it said were technical improvements as well as an effort to recapitalize the operation, which at its peak had burned through tens of millions of dollars a month.

Ashley Greene, Greg Finley, David Arquette & More To Star In Streetballer Drama ‘Blackjack: The Jackie Ryan Story’

After being spotted at the famous West 4th basketball court for his incredible talent, Jackie is invited to try out for the New Jersey Nets. Based on a true story, the pic will center on Jackie, a hot-tempered, flamboyant and self-centered streetballer whose dreams of playing professional basketball seem to have passed him by after years of hard partying and neglect. He is forced to confront his inner demons, even his family, and turn his life around. Jackie works construction alongside his overbearing father and his wise-cracking best friend Marty.
EXCLUSIVE: Ashley Greene (Twilight saga), Greg Finley (The Flash), Brandon Thomas Lee (The Hills: New Beginnings), and David Arquette (Scream film series) have signed to star in Blackjack: The Jackie Ryan Story, a feature about the Brooklyn-native street basketball legend Jackie Ryan. Danny A. Abeckaser is directing the film for his production company 2B Films. Antonio Macia wrote the script in collaboration with Ryan.
Greene has been cast as the female lead, Finley will take on the title role, and Lee will play Jackie Ryan's brother.
Rounding out the cast are Robert Davi, Bo Dietl, Tara Westwood, Sean Avery and James Madio, with filming slated to being at the end of the month in New York. Abeckaser will produce the project with Vincent Maggio. Executive producers are Isaac Gindi, David Gindi and Ron Rofe
He'll also appear in the upcoming Martin Scorsese film The Irishman.” /> The film will mark Abeckaser's third directorial outing following the yet-to-be-released film Mob Town, in which he co-stars in with Arquette, and First We Take Brooklyn.
"I am so excited to finally begin shooting this film," Abeckaser said. To be able to finally start shooting and have our cast set is beyond exciting. We needed to find a slew of actors who can not only act but also play basketball in order to be able to shoot this film accurately to tell the story of Jackie Ryan the way I want to tell it." "We have spent two years working on the movie behind the scenes and the last month prepping in New York for production and in casting mode.

R. Kelly Charged In Minnesota For Alleged 2001 Incident With Underage Girl

Singer R. Kelly has been charged in Minnesota with one count of prostitution with a person under 18 and one count of soliciting sex with a person under 18 for an incident that allegedly occurred with an underage girl at a concert in 2001.
In the Minnesota case, which Hennepin County Attorney Mike Freeman said Monday evolved after a information gleaned from a Chicago tip line, the July 2001 incident involved an underage girl Kelly met in Minneapolis at a promotional event before a concert. After she asked Kelly for his autograph, he gave her his autograph and his phone number, telling her to call, Freeman said. When she did she was invited to the singer's hotel, where she was eventually brought to Kelly's room by an associate and offered $200 to take off her clothes and dance, which she did.
He remains in jail in New York after he was arrested by the NYPD in Chicago on federal sex trafficking charges last month; he was denied bail last week. The latest sex crimes charges against the R&B singer come as he faces 18 total counts of crimes in Chicago and New York involving women and girls over a span of 20 years.
Freeman said in a news conference that sexual contact occurred but not intercourse, and that the girl was later given VIP seating for the concert. He said the alleged victim and her brother were interviewed before charges were filed.
Kelly's lawyer Steve Greenberg on Twitter today called the latest charges "beyond absurd.”
Years of allegations against Kelly preceded the broadcast last winter of Lifetime documentary series Surviving R. Kelly, which brought new accusations to light.” />

Neil deGrasse Tyson Will Remain Hayden Planetarium Director After Sex Misconduct Investigation Ends

Cosmos and StarTalk returned to Fox and National Geographic's lineups after their investigations.
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Those complaints prompted Fox, Nat Geo and the series producers to launch a probe. The apparent exoneration of Tyson follows other misconduct accusations against the famous astrophysicist/TV personality last November.
Neil deGrasse Tyson will stay as director of New York’s Hayden Planetarium after the organization's investigation into two womens' sexual misconduct claims ended.
Meanwhile, Nat Geo pulled its Tyson-hosted StarTalk off the air after the new allegations surfaced. While it was ongoing, Fox and Nat Geo put on hold the Season 2 premiere of science docuseries Cosmos, originally slated for March 3, 2019.
One, a Bucknell University professor, alleged Tyson examed her solar system tattoo and then “followed the tattoo into” her dress. In the Hayden Planetarium case, two women accused Tyson of sexual misconduct in an article that appeared last November. In a separate incident, a former assistant on his Cosmos show claimed he made uncomfortable sexual advances.
The planetarium is part of the American Museum of Natural History. Tyson "remains an employee and director of the Hayden Planetarium,” said a statement from the American Museum of Natural History.

More/Medavoy Options ‘TrafficKing’ Book About The Jeffrey Epstein Case For TV

TrafficKing was independently published by Sarnoff in 2016.
She is a contributor at The Financial Times, The Miami Herald, The Latin America Herald Tribune, The Huffington Post, The Daily Beast, The Daily Caller, and others. For the past decade, she has worked on public policy issues dealing with human trafficking. She has been a guest Commentator on numerous television networks including NBC, Fox, ABC, Univision, Telemundo, Russia TV, Caracol, and several radio and digital news programs, according to her website. Sarnoff is a Cuban American advocate and Senior Fellow at Georgetown University School of Foreign Service, Human Trafficking Research Center Program.
The financier also has ties to President Trump, who was his neighbor in Palm Beach, Florida, and also reportedly flew on Epstein’s jet.” />
Epstein is accused of trafficking minors in Florida and New York between 2002 and 2005, with each charge carrying a penalty of ten years to life in prison. The project is timely as the Epstein case has received renewed attention following his recent arrest. The billionaire financier was charged with federal sex trafficking and sex trafficking conspiracy of minors in a two-count indictment unsealed Monday in New York.
Both Clinton and the British royal are said to have jetted around the globe on Epstein’s private plane, known as the “Lolita Express.” Epstein is a politically-connected hedge fund manager, who’s been closely associated with former President Bill Clinton and Prince Andrew, the son of Queen Elizabeth II.
According to the book's synopsis, TrafficKing "explores the darkest recesses of the corridors of power, from Harvard to the White House."
Her reporting included video interviews with the first victim who filed a complaint. She was shocked to discover that the original charges against the billionaire financier were first filed as human trafficking and later reduced to alleged charges of prostitution. Sarnoff is a human rights activist and correspondent for The Daily Beast who reported on the Epstein case in 2010 after he was first arrested in Palm Beach.
Her research in the book includes interviews with British socialite and Epstein's longtime associate Ghislaine Maxwell, then U.S. attorney for southern Florida Alex Acosta, Epstein’s victims, attorney Alan Dershowitz, and Epstein himself, among others. Sarnoff alleges she was followed, received bribes, threats and was hacked when she sought to first publish her book.
The project will be shopped for development as a limited series or television movie. EXCLUSIVE: More/Medavoy has optioned Conchita Sarnoff's book TrafficKing, which chronicles the Jeffrey Epstein child trafficking case, along with Sarnoff's life rights, for television.
Epstein is accused of abusing dozens of female minors at his Manhattan and Palm Beach, FL, homes and enlisting his victims to expand a network of possible targets, according to federal prosecutors.

Twitter Goes Down Again In Widespread Outage; Cause Identified – Update

UPDATED with cause: Twitter is experiencing a broad outages of its services, the social media site said Thursday, saying on its official status page that the problem is due to an internal configuration change that is now being fixed.
It's the second notable outage for Twitter this month. The platform experienced temporary outages relating to DM delivery and notifications on July 3, the same day Facebook, Instagram and WhatsApp users saw those services down for most of the day.
"Some people may be able to access Twitter again and we're working to make sure Twitter is available to everyone as quickly as possible," it wrote in its update.
The gathering is mostly of conservative influencers Trump follows who have complained that they are consistently marginalized on the major platforms. Todaay's outage comes the same day President Donald Trump is hosting a Social Media Summit at the White House that does not include the biggest social media networks — including Twitter.
Twitter recently announced that disclaimers would be attached to tweets from world leaders that violate the site’s community standards rules. More recently, a New York appellate court upheld an earlier decision that Trump violated the First Amendment by blocking Twitter users.” />
Most queries on the social media platform were resulting in an error page for users all over the world. The side DownDetector reported the issues began just before 3 PM ET impacting Twitter's website and Android and iPad apps.

Dreamville – PTSD Lyrics

And the hoes
Can’t forget about the hoes, yeah
For the homies, for the homies, for the homies, what? Off the beaten path like Blueface
On the North Side, had to be a Tuesday
Walkin’ slow with your kids on a school day
Way past midnight suddenly my mood change
That’s when the truth came, in New York hearing rumors
My sister was homeless, convinced her to often
Been years since we talked, number changed
Saw you and my heart broke in a couple ways
I can’t believe when I seen you, I knew shit was true
Stared in your eyes and I saw a different you
Skated off fast ‘fore I could address it
Hope I ran into you ‘fore we both get to Heaven
[Refrain: St. And the hoes
Hahahaha, yeah
Said this is for the homies, for the homies, all the homies, what? What? And the hoes
(Ayy, that shit sound tight)
This is for the homies, for the homies, all the homies, what? Beauty]
We ‘ight, we ‘ight
You opened up my eyes and helped me see the light
We ‘ight, we ‘ight
You opened up my eyes and helped me see the light, ayy
[Outro: Buddy]
Yeah, hahahaha
We just kickin’ it, you know, ayy, woah
I’m here with all my friends
This is for the homies, for the homies, all the homies, what? What? What? And the hoes Play this song
[Verse 1: Mereba]
Used to bend for me like the steel of a hatchback
You was there for Q like a fourth grade class fact
Q was in for me, never needed to ask that
PTSD, now I’m having a flashback
Told me I’m sweet, can’t sleep in the trap trap
Enemy, envy, make the strap go brrat brrat
You the missing piece, no peace when I sleep now
Used to practice peace, finna sleep with the piece now
Know I’ma miss you long as I’m alive
You said you need to call me, be sure I tried
I wish I didn’t have a song to write
I know you probably follow me with your light
[Verse 2: Deante’ Hitchcock]
My mama told me faith is all that I need
And back in the day I would’ve agreed, but now it’s hard to believe
I still do not, ’cause I want, ’cause I need to
Believe in something greater than me without being able to see it
So fuck a watch, I wear my heart on my sleeve
Nobody knows my sorrow, nobody knows about the trouble I seen
A lot of dead niggas livin’ through me, shawty, but not in the literal
Most ’em dead ’cause they ain’t follow they dream
The power of a higher entity entered me
Mentally, physically, spiritually, I’m on a whole different energy
Fuck the world, but I need you to remember me
I had doubt in myself ’cause I used to fear that you would look at me differently
If I ever changed, I’m numb to it now, I don’t feel the same
A slave to the feeling, I’m breaking the chains
Tryna balance out the joy, the pain, the sun, the rain
My life and the fame, done lost the game
The gift, the shame, my skin, my veins
My soul done rained so much on my heart
Really I don’t know where to start
The irony of finding self in the dark
My nigga, truthfully, feel like it’s two of me, I should’ve been on that ark
A love-hate relationship with my thoughts, I’m tryna shine in my own light
The realest nigga left in my own right
Helping you with your vices but can’t seem to get a grip on my own life, yeah
[Verse 3: Omen]
I was on my way down, breakdowns, breakthroughs
Spit up out my debut, gotta say I stay true
Maybe why I stayed broke, I been on a goose chase
Gotta swallow pride when they see me, how the truth taste? What? And the hoes
Hahahaha, yeah
Said this is for the homies, for the homies, all the homies, what? And the hoes
Can’t forget about the hoes, yeah
For the homies, for the homies, for the homies, what?

Popular YouTube Gamer Etika Found Dead In New York At 29

YouTube tweeted out condolences Tuesday after news of his death broke and many of Amofah's hundreds of thousands of social media followers expressed shock.

In April, the gamer in Twitter posts had threatened to kill himself, and later in the month live-streamed an incident with Brooklyn police after he again threatened to harm himself.
"Years of memories are gone due to his misconduct of a few uploads, and we think someone who has done so much for the YouTube platform should be allowed to have his greatest moments archived on YouTube forever," reads the petition, which has already been signed by more than 7,500 people.” />
Police had asked the public last week for help in the search amid concerns about a troubling video Amofah had posted to YouTube before he went missing. Since deleted, the video showed him discussing his mental illness and apologizing to those he said he disappointed.

A petition was started after the news of his death today asking that Amofah's original YouTube channel be restored "so his legacy can be archived." The channel had been terminated for "multiple or severe" violations of site policy.
He was 29. A body pulled from New York's East River has been identified as Desmond Amofah, the popular YouTube and onetime Twitch gamer known as Etika. The NYPD confirmed the news Tuesday after putting out an earlier bulletin seeking information about the whereabouts of Etika, who was last heard from a week ago.

‘A Bigger Splash’ Tops Quiet Weekend; ‘The Last Black Man In San Francisco’ Expands Strong: Specialty Box Office

Wild Rose will expand to Chicago, San Francisco and Washington, D.C. on June 28 followed by additional major markets including Boston, Seattle, Philadelphia and Miami on July 5. Neon music drama Wild Rose launched in four L.A. Directed by Tom Harper and starring Jessie Buckley as an aspiring country singer, the Toronto ’18 title grossed an estimated three-day $56,183, averaging $14,046. and New York locations Friday.
Magnolia has had considerable success with non-fiction work centered on well-respected public figures, including I Am Not Your Negro (2017, $7.12M) and RBG (2018, $14M). In the three-day, the feature directed by Timothy Greenfield-Sanders grossed $44,000, averaging $11K. Sundance 2019 premiere doc Toni Morrison: The Pieces I Am bowed in four theaters via Magnolia Pictures Friday.
It has cumed over $1.34M. A24 jumped The Last Black Man In San Francisco to 72 theaters, an additional 36 over last weekend. The title grossed nearly $381K in 36 theaters in its previous weekend frame, averaging $10,581. The Sundance premiere went well over seven figures from a solid $413,589 weekend gross and a $5,744 PTA.
The Last Black Man In San Francisco (A24) Week 3 [72 Theaters] Weekend $413,589, Average $5,744, Cume $1,342,577
Pavarotti (CBS Films) Week 3 [135 Theaters] Weekend $409,000, Average $3,030, Cume $992,089
The title still had a slow go with a $19,965 estimated gross in 38 locations, averaging $525. Roadside’s American Woman with Sienna Miller shed 79 runs for its second weekend. In its debut the drama played 117 theaters, grossing over $110K ($945 PTA).
The Spy Behind Home Plate (The Ciesla Foundation) Week 5 [31 Theaters] Weekend $50,150, Average $1,618, Cume $191,456
In 26 runs, the title grossed $27,172, averaging $1,045, slightly less than half its $2,059 PTA last weekend from a $22,644 gross in 11 theaters. Its cume is $78,788. IFC Films played Alec Baldwin starrer Framing John DeLorean in 15 additional theaters for its third weekend of release.
Amazing Grace (Neon) Week 13 [27 Theaters] Weekend $11,100, Average $411, Cume $4,376,970
Papi Chulo (Blue Fox Entertainment) Week 3 [16 Theaters] Weekend $11,709, Average $732, Cume $35,731
Apollo 11 (Neon) Week 17 [5 Theaters] Weekend $23,921, Average $4,784
All Is True (Sony Pictures Classics) Week 7 [77 Theaters] Weekend $47,730, Average $620, Cume $1,076,598
Non-Fiction (IFC Films) Week 8 [33 Theaters] Weekend $25,071, Average $760, Cume $653,921
The Dead Don’t Die (Focus Features) Week 2 [690 Theaters] Weekend $1,130,000, Average $1,631, Cume $4,758,000
Framing John DeLorean (IFC Films) Week 3 [26 Theater] Weekend $27,172, Average $1,045, Cume $78,788
Being Frank (The Film Arcade) Week 2 [11 Theaters] Weekend $13,208, Average $1,201, Cume $31,859
The Quiet One (Sundance Selects) NEW [6 Theaters] Weekend $10,561, Average $1,760
Directed by Jack Hazan, the Metrograph Pictures release grossed $18K. The 4K restoration of 1974 semi-fictionalized documentary A Bigger Splash edged out with the top per theater average among the specialties this weekend, playing an exclusive run at the Metrograph Theater in Manhattan. This is the second release for Metrograph Pictures, following fellow doc, The Raft.
The Souvenir (A24) Week 6 [50 Theaters] Weekend $37,000, Average $740, Cume $912,260
Last weekend, the Andrew Slater-directed film grossed nearly $207K in 68 theaters, averaging $3,042. Greenwich Entertainment doc Echo In The Canyon actually had a slight uptick in its weekend PTA despite adding 13 runs for the title’s fifth weekend. The gross brings Echo In The Canyon to the non-fiction seven-figure club at over $1.16M. The feature grossed just over $252K in 81 locations, averaging $3,112.
The weekend gross brings The Dead Don’t Die’s cume to $4.758M,  Jarmusch’s second-highest grossing movie of his career behind Broken Flowers (2005, $13.74M). Focus Features added 77 runs for Jim Jarmusch’s The Dead Don’t Die, bringing its total to 690 theaters in its second frame. The 2019 Cannes Film Festival opener starring a gaggle of big named stars turned zombie grossed $1.13M in the three-day estimate, averaging $1,631.
A Bigger Splash (1974) (Metrograph Pictures) NEW [1 Theater] Weekend $18,000
Despite the first nice weather in New York in weeks, people came out for Toni,” Magnolia said Sunday morning. Since Sundance, we’ve been working with book groups, booksellers, and Toni’s fans around the country, and we’re set up well for our expansion into major markets this Friday and beyond.” “We’re happy with the opening. “She’s a monumental figure and her presence on-screen is boisterous and inviting.
Wild Rose (Neon) NEW [4 Theaters] Weekend $56,183, Average $14,046
American Woman (Roadside Attractions/Vertical Entertainment) Week 2 [38 Theaters] Weekend $19,965, Average $525, Cume $203,372
Meeting Gorbachev (1091) Week 8 [4 Theaters] Weekend $1,708, Average $427, Cume $228,004
Noted Artistic and Programming Director of Metrograph Sunday: “After 45 years, it’s incredibly heartening to see audiences respond so positively to Jack Hazan’s masterpiece A Bigger Splash. We’re thrilled to be expanding the film nationwide after such a strong opening in New York.” The title, centered on artist David Hockney will head to other cities in the coming weeks.
Also opening this weekend was Sundance Selects doc The Quiet One, which played six theaters for $10,561 and a slow $1,760 PTA.
Toni Morrison: The Pieces I Am (Magnolia Pictures) NEW [4 Theaters] Weekend $44,000, Average $11,000
The Fall Of The American Empire (Sony Pictures Classics) Week 4 [10 Theaters] Weekend $8,678, Average $868, Cume $2,797,908 (total includes French-Canada opening last year)
The Biggest Little Farm (Neon) Week 7 [134 Theaters] Weekend $158,800, Average $1,185, Cume $3,274,141
In its opener, the title grossed $16,392, averaging $5,464. Jim Gaffigan starrer Being Frank jumped to 11 runs in its second outing. Released via The Film Arcade, Bring Frank grossed $13,208, averaging just $1,201.
Woodstock: Three Days That Defined a Generation (PBS Distribution) Week 5 [7 Theaters] Weekend $7,435, Average $1,062, Cume $72,129
The White Crow (Sony Pictures Classics) Week 9 [16 Theaters] Weekend $12,039, Average $752, Cume $1,740,930
RBG had a $17K opening weekend average, though it played 34 theaters, while I Am Not Your Negro had a $15,962 opening frame in 43 locations. Toni Morrison’s start isn’t gangbusters, though not far from other successful opening PTAs released by Magnolia.
Halston (1091) Week 5 [18 Theaters] Weekend $8,052, Average $447, Cume $121,664
Doc Pavarotti from CBS Films landed just under a million dollar cume in its third weekend. The title played 135 theaters in the current three-day frame, grossing an estimated $409K, averaging $3,030 (-34%). Pavarotti took $221,207 in its second weekend, averaging $4,608 in 48 theaters.
Echo In The Canyon (Greenwich Entertainment) Week 5 [81 Theaters] Weekend $252,072, Average $3,112, Cume $1,169,296
 ” />
Its theatrical run has cumed over $8.58M, by far the highest of the year. Neon doc Apollo 11 played 5 locations in its 17th weekend, holding strong even as the Sundance title begins its CNN run. Directed by Todd Douglas Miller, Apollo 11 grossed just under $24K, averaging $4,784.

Sprint And T-Mobile Shares Percolate After Report Of Imminent DOJ Merger Approval

Shares in Sprint and T-Mobile ticked up late in Friday's trading day after The New York Times reported that Department of Justice regulators are close to blessing the companies' $26 billion merger.
Sprint and T-Mobile, as the Nos. 3 and 4 players, are seeking to gain scale to better compete with AT&T and Verizon. Negotiations between the DOJ and the companies have yielded a key concession, according to the Times report, which cited multiple unnamed sources: Both companies will sell enough assets that a new telecom competitor can be formed.
According to a regulatory filing, the Dish team expressed "the need for a minimum of four nationwide mobile network operators."” /> Executives from Dish Networks, including the satellite company's chairman, Charlie Ergen, met with DOJ officials this week and laid out their objections to the merger.
T-Mobile and Sprint have agreed to divest of prepaid wireless unit Boost Mobile.
T-Mobile closed at $74.90, up less than 1%, while Sprint jumped 3% to close at $7.01. The stocks have see-sawed in recent weeks as the regulatory hurdles became clear.
An agreement for the asset sales could undermine an antitrust lawsuit filed this week by the attorneys general of 10 states, including New York and California. The suit alleges the deal will result in higher prices for consumers due to fewer companies operating in the wireless space.

Tony Awards Winners List (Updating Live)

Here are the categories:
Best Direction of a Play
Best Sound Design in a Musical
Best Costume Design of a Play
Rosemary Harris
Best Featured Actor in a Play
Best Featured Actor in a Musical
Sonny Tilders and Creature Technology Company
Best Original Score
Broadway Inspirational Voices – Michael McElroy, Founder
Special Tony Award
Winners will be announced Sunday at the 2019 Tony Awards, which begin at 5 PM ET live on CBS from Radio City Music Hall in New York. James Corden, a Tony winner himself, his handling host duties for the three-hour show.
Best Featured Actress in a Musical
Best Lighting Design of a Musical
Keep checking on Deadline throughout the evening as the winners are named, and for complete coverage and analysis from Broadway's biggest night.
Best Play
Special Tony Award for Lifetime Achievement in the Theater
Best Direction of a Musical
Terrence McNally
Best Revival of a Musical
FDNY Engine 54, Ladder 4, Battalion 9
Regional Theater Tony Award
Marin Mazzie
Harold Wheeler
Best Musical
Best Leading Actress in a Musical
Best Scenic Design of a Play
Best Lighting Design of a Play
Best Sound Design in a Play
Peter Entin
Best Scenic Design of a Musical
Best Leading Actor in a Musical
Best Leading Actor in a Play
Tootsie has 11 nominations, The Ferryman nine and Beetlejuice eight. For the 73rd Tony Awards, Hadestown leads all nominees heading into tonight with 14, with the more traditional jukebox musical Ain’t Too Proud coming in second with 12.
Jason Michael Webb
Isabelle Stevenson Award
Best Leading Actress in a Play
Best Orchestrations
TheatreWorks Silicon Valley
Best Book of a Musical
Tony Honors for Excellence in the Theater
Joseph Blakely Forbes” />
Best Costume Design of a Musical
Best Featured Actress in a Play
Best Choreography
Judith Light

Longtime ABC Weather Forecaster Sam Champion Joins New York’s WABC-TV

Weather forecaster Sam Champion is joining New York's WABC-TV as weather anchor for weekday morning and noon broadcasts, the station said today.
“Sam has a fascination and passion for weather that is absolutely contagious,” said Debra O’Connell, president and general manager at WABC. “I am thrilled to have Sam join our outstanding Eyewitness News team, bringing with him a tremendous track record for accuracy in weather forecasting along with his genuine care for our tri-state area communities and viewers.”” />
Champion will continue to contribute to ABC News. Prior to his Weather Channel stint, he was part of ABC's popular Good Morning America team.
“It is an extraordinary opportunity to come home and, once again, be a part of the Eyewitness News family,” Champion said. “I have felt the trust and kindness of New York and the tri-state viewers since 1988, and I can’t wait to start our days together again at the No. 1 station in the nation.”
Champion, whose history with ABC locally and nationally goes back to 1988 and was interrupted by a 2013-16 stint at the Weather Channel, will kick off his latest gig with New York's top broadcast station on Monday, June 3.
He'll round out the station's Eyewitness News AccuWeather team led by chief meteorologist Lee Goldberg, along with Amy Freeze and Jeff Smith. Champion will anchor morning weather reports WABC's Eyewitness News This Morning from 4:30-7 a.m., then return for Eyewitness News at noon.

Ronan Farrow Jabs ‘Game of Thrones’ Final Season At Peabody Awards

Praising The Americans on FX, he very pointedly applauded the deftness of the series’ satisfying sixth and final season that aired last year.
GoT actually won a Peabody itself for its first season in 2011 for going “far beyond typical fantasy fare, provoking questions about the essence of both power and powerlessness, the drive to rule, and the very act of ruling.”
The mayor of New York, who just announced a presidential bid, “was going to be here tonight, but he lost his mind,” Farrow said. To be fair, Farrow, the investigative journalist, whose expose’ in The New Yorker took down Harvey Weinstein and launched the #MeToo movement, also slung barbs at Katie Couric, who presented the Institutional Award to Sesame Street; presidential hopeful Joe Biden; and Bill de Blasio.
Hasan Minhaj thanked Netflix “for letting us piss on autocrats around the world’ in his Peabody-winning series Patriot Act With Hasan Minhaj.
Related Story: More Than 1 Million Fans Sign Petition Demanding ‘Game of Thrones’ Season 8 Remake
The co-creators were sorry they couldn’t be there, read Root from a note. Barry’s Anthony Carrigan (Noho Hank) and Stephen Root (Monroe Fuches) accepted the Peabody on behalf of star Bill Hader and Alec Berg. He continued reading: “We don’t like confrontation… So we’d like to let Stephen Root know that he and everyone onstage will not be needed for season three.”
He joked that the Peabodies would normally have unspooled on Sunday — hinting of a conflict with Game of Thrones. The truth is, the awards have been held on both weekend nights over the past five years since the event went red carpet. But frustration with GoT’s long-awaited final episodes is so widespread that it’s fair game to make it a running joke anywhere.
And Rita Morena accepted a lifetime achievement award, becoming a rare third ‘PEGOT’ after Barbra Streisand and Mike Nichols — all in possession of a Peabody, Emmy, Grammy, Oscar and Tony.” />
“Why did Daenerys go so crazy?” Farrow griped to attendees at Cipriani Wall Street while opening the Peabodys ceremony Saturday night in New York.
Ronan Farrow took a swipe at the controversial last season of HBO’s Game of Thrones as he hosted the Peabody Awards, an annual celebration of electronic media’s deep dives into weighty topics from race and gender inequality, to mental illness, plastic pollution and ISIS.
Winners, who were announced last month, stepped up to received their statuettes, including teams from Barry, Killing Eve, Pose and The Americans.

Julianne Moore-Michelle Williams Sundance Fest Opener ‘After The Wedding’ Acquired By Sony Pictures Classics

EXCLUSIVE: At long last, the opening night film of the Sundance Film Festival has a distribution deal and a release date. The film will be released in August. Pic stars Michelle Williams, Julianne Moore, Billy Crudup and Abby Quinn. Sony Pictures Classics acquired distribution rights in North America, France, India and several other Asian countries to After The Wedding, the Bart Freundlich-directed adaptation of Susanne Bier’s Oscar nominated Danish film.
"They have impeccable taste, so it is very exciting, and great vote of confidence that they believe so wholeheartedly in After the Wedding.“ “I’ve known Michael and Tom for 23 years when we worked together on my first film," Freundlich said.
The deal was negotiated by Endeavor Content and Cornerstone Films on behalf of the filmmakers. Additional funding was provided by Rock Island Films.” />
From there is gets complicated. When word comes to Isabel of a mysterious and generous grant for the financially struggling orphanage, she must travel to New York to meet the benefactor—Theresa—in person. Theresa (Moore) is the multimillionaire head of a media company who lives with her artist husband (Crudup) and their twin boys in New York. Williams plays a woman who has dedicated her life to working with the children in an orphanage in Calcutta.
Nik Bower and Deepak Nayar are exec producers for Riverstone and Peter Touche and Andrea Scarso for Ingenious. The film is produced by Joel B. Michaels and Harry Finkel, a co-production between Ingenious Media and Riverstone Pictures.
The filmmakers pondered several distribution offers, but Freundlich took his time finishing a film that was rushed to make Park City. After The Wedding got good reviews, with Oscar-bait performances for Williams and Moore. SPC's Michael Barker and Tom Bernard released Freundlich's first film, The Myth of Fingerprints, and has done several with Moore, including her Oscar-winning turn in Still Alice. They've reunited, and SPC plans an end of summer release leading into awards season.

Vampire Weekend – Jerusalem, New York, Berlin Lyrics

Play this song
[Verse 1]
I know I loved you then
I think I love you still
But this prophecy of ours
Has come back dressed to kill
Three stones on a mountain
Three small holes in a field
You’ve given me the big dream
But you can’t make it real
O, wicked world
Just think what could have been
Jerusalem, New York, Berlin
All I do is lose, but baby
All I want’s to win
Jerusalem, New York, Berlin
[Verse 2]
A hundred years or more
It feels like such a dream
An endless conversation since 1917
Now the battery is too hot
It’s burning up in its tray
Young marriages are melting
And dying where they lay
O, wicked world
Just think what could have been
Jerusalem, New York, Berlin
All I do is lose but baby
All I want’s to win
Jerusalem, New York, Berlin
[Verse 3]
Our tongues will fall so still
Our teeth will all decay
A minute feels much longer
With nothing left to say
So let them win the battle
But don’t let them restart
That genocidal feeling
That beats in every heart
O, wicked world
Just think what could have been
Jerusalem, New York, Berlin
All I do is lose but baby
All I want’s to win
Jerusalem, New York, Berlin

P!nk – 90 Days Lyrics

Just let me down slowly, I’ll be okay
If you’re just some habit that I gotta break
I can clear my system in 90 days
You’re holdin’ my heart, mmm, whatcha say? Just let me down slowly, I’ll be okay
If you’re just some habit that I gotta break
I can clear my system in 90 days
You’re holdin’ my heart, mmm, whatcha say? Just let me down slowly
[Bridge: P!nk & Wrabel]
I-I-I, I-I-I, I-I-I
Ooh, no
We’re drivin’ in your fast car, your fast car
We’re drivin’ in your fast car, your fast car
We’re drivin’ in your fast car, your fast car
We’re drivin’ all night
We’re drivin’ in your fast car, your fast car, yeah
We’re drivin’ in your fast car, your fast car, yeah
We’re drivin’ in your fast car, your fast car, yeah
We’re drivin’ all night
[Chorus: P!nk & Wrabel, P!nk]
If I’m just somebody that you’re gonna leave
And you don’t feel something when you look at me
You’re holdin’ my heart, mmm, whatcha say? (Oh, you’re holdin’ my heart)
Just let me down slowly, I’ll be okay
If you’re just some habit that I gotta break (Gotta break)
I can clear my system in 90 days
You’re holdin’ my heart, mmm, whatcha say? (Oh, you’re holdin’ my heart)
Just let me down slowly Just let me down slowly
[Verse 2: Wrabel]
I get up, turn the lights out
And it’s four o’clock in the morning
I close my eyes, I can’t sleep
A hotel room in New York, and
I feel the space that’s in between us
Convince myself that this is real love
[Pre-Chorus: Wrabel & P!nk, Wrabel]
‘Cause you made this shit so easy
And I told you my secrets
So I don’t know why I’m tongue tied
At the wrong time when I need this
I’m here, but I’m in pieces
And I don’t know how to fix this
And I don’t know how to fix this, no
[Chorus: P!nk & Wrabel]
If I’m just somebody that you’re gonna leave
And you don’t feel something when you look at me
You’re holdin’ my heart, mmm, whatcha say? Play this song
[Intro: P!nk]
No-no-no, no-no-no, no
No-no-no, no-no-no, no
[Verse 1: P!nk]
We’re driving in a black car
And it’s blacked out and we’re spinnin’
We’re listening to “Fast Car”
And you’re driving fast and you’re singin’
Don’t wanna tell you what I’m feelin’
Don’t want this night to hit a ceiling
I’m wearing dirty white shoes
A white t-shirt and your jacket
I’m laughing, but I’m lying
When you’re smiling, I’m the saddest
I hide my face so you don’t see it
I think out loud, hope you don’t hear it
[Pre-Chorus: P!nk & Wrabel]
It’s going on 18 months now
And it’s fucked up, but I’m falling
I feel it every day now
But I’m stallin’, but I’m stallin’
I’m here, but I’m in pieces
And I don’t know how to fix this
And I don’t know how to fix this, no
[Chorus: P!nk & Wrabel]
If I’m just somebody that you’re gonna leave
And you don’t feel something when you look at me
You’re holdin’ my heart, mmm, whatcha say?

‘Under The Silver Lake’ Drums Up Top PTA In Crowded Weekend; ‘Amazing Grace’ At $1.3M In Third Frame – Specialty Box Office

Teen Spirit (Bleecker Street) Week 2 [696 Theaters] Weekend $250,536, Average $360, Cume $305,356
Hotel Mumbai (Bleecker Street) Week 5 [314 Theaters] Weekend $494,504, Average $1,575, Cume $8,940,274
Next up for Hail Satan? are roll outs in key markets in the Bay Area, Washington, D.C., Chicago, Boston, Seattle, Portland as well as Brooklyn’s BAM. Directed by Penny Lane and centering on the activist group The Satanic Temple, the title took in $25,700, averaging $8,567. Sundance doc Hail Satan? had its theatrical debut on Good Friday with three runs in New York and L.A. The numbers include New York’s Wednesday opening at IFC Center (L.A.’s two theaters began showings on Friday).″ />
Amazing Grace (Neon) Week 3 [188 Theaters] Weekend $591,642, Average $3,147, Cume $1,336,458
Little Woods (Neon) NEW [33 Theaters] Weekend $66,415, Average $2,013
Friday to Sunday, the sci-fi thriller grossed $292K, averaging $2K. Claire Denis’ High Life with Robert Pattinson played 114 additional locations over last weekend brining its count to 146. High Life has cumed $688,621 It took in nearly $180K in its previous weekend frame in 32 theaters, averaging $5,621.
In three AMC locations in New York and L.A., the SXSW ’18 debut grossed $20,400 ($6,800 PTA). The company will take the title to 75 markets next weekend. The Film Arcade opened comedy Family, the debut from writer-director Laura Steinel, starring Taylor Schilling.
Wild Nights With Emily (Greenwich Entertainment) Week 2 [33 Theaters] Weekend $67,762, Average $2,053, Cume $106,551
Apollo 11 (Neon) Week 8 [101 Theaters] Weekend $110,000, Average $1,089, Cume $8,484,424
IFC Films’ Red Joan was the only other limited release starter to have a per theater average with five figures. Starring Dame Judi Dench as Joan Stanley, the KGB’s longest-serving British spy, the feature grossed $40,631 in four locations, averaging $10,158. and Boston while also adding runs in New York and L.A. areas. The company said Sunday it is expecting to “see a nice bump today from matinee audiences” who are fans of Dench. Red Joan will expand to the top five markets next weekend including Chicago, San Francisco, D.C.
Greenwich Entertainment’s Wild Nights With Emily jumped to 33 runs a nearly $68K gross ($2,053 PTA). Kino Lorber’s Long Day’s Journey Into Night had the best second weekend PTA, for a $48,430 weekend in seven locations, averaging $6,918. Among holdovers, Gunpowder & Sky expanded Elisabeth Moss starrer Her Smell to 24 theaters, grossing $68,736 ($2,864 PTA).
In a follow-up Tweet, Horowitz said the title will be “around another few days,” adding: “And after it’s gone, we’ll see what we can do about getting it more widely available as soon as possible.”
Peterloo (Amazon Studios) Week 3 [92 Theaters] Weekend $38,065, Average $413, Cume $117,936
Screen Media has not reported weekend numbers for Terry Gilliam’s The Man Who Killed Don Quixote as of early Sunday afternoon EDT.
The film is now in the elite club of seven-figured non-fiction films and one of the only to do so this year so far. Centered on a 1972 concert the singer gave at a Watts church, the title grossed $591,642, averaging a solid $3,147. Neon added 130 runs for Aretha Franklin doc Amazing Grace in its third frame. The feature, shot by Sydney Pollack, $349K last weekend in 58 theaters, averaging just over $6K.
The Mustang (Focus Features) Week 6 [487 Theaters] Weekend $533,000, Average $1,094, Cume $4,032,000
Never Look Away (Sony Pictures Classics) Week 13 [10 Theater] Weekend $18,375, Average $1,838, Cume $1,230,222
The Hummingbird Project (The Orchard) Week 6 [5 Theaters] Weekend $1,533, Average $307, Cume $371,233
Noted exec Elissa Federoff: “Nia Dacosta is an exciting new filmmaker and working with partners like Refinery 29 and Planned Parenthood have helped us get the word out on this important film.” A debut out of last year’s Tribeca Film Festival, the feature starring Lily James, Tessa Thompson, Luke Kirby and Lance Reddick took $66,415 in the weekend box office ($2,013). Neon noted Sunday that Little Woods came in at number one at the Angelika in New York. Neon bowed Nia DaCosta’s Western crime-drama Little Woods in 33 theaters.
Her Smell (Gunpowder & Sky) Week 2 [24 Theaters] Weekend $68,736, Average $2,864, Cume $117,577
This weekend, the title grossed $86,420 in a total of 55 locations, averaging $1,571 (-11%) bringing its cume to just under $223K. Despite the steady increases, the title starring Elizabeth McGovern and Haley Lu Richardson has seen its per theater averages hold pretty steady. PBS Distribution added 21 runs for The Chaperon’s fourth outing.
Mike Leigh’s historical epic Peterloo grossed a slow $38K in its third weekend with an additional 60 runs over last weekend, bringing its PTA to $413. Peterloo has cumed just under $118K. Peterloo took in $32,498 in its previous frame in 32 theaters, averaging $1,016.
Girls Of The Sun (Cohen Media Group) Week 2 [10 Theaters] Weekend $5,752, Average $575, Cume $16,120
In 487 theaters the drama starring Matthias Schoenaerts and Bruce Dern grossed $533K, averaging $1,094. Focus Features’ The Mustang galloped just over $4M in its sixth frame.
The polarizing film will roll out theatrically into top markets next week…” Under The Silver Lake will also be available on demand through home entertainment platforms starting Tuesday, April 23. Noted A24 Sunday: “Audiences turned out for David Robert Mitchell’s impeccably crafted neo-noir starring Andrew Garfield in a terrific lead performance.
Ash Is Purest White (Cohen Media Group) Week 6 [15 Theaters] Weekend $14,272, Average $951, Cume $381,303
Be Natural: The Untold Story of Alice Guy-Blaché (Zeitgeist in association with Kino Lorber) NEW [1 Theater] Weekend $3,801
Under The Silver Lake (A24) NEW [2 Theaters] Weekend $40,157, Average $20,079
Family (The Film Arcade) NEW [3 Theaters] Weekend $20,400, Average $6,800
The Sundance debut by Todd Douglas Miller has a three-day $110K estimate in 101 theaters, averaging $1,089. Neon’s Apollo 11 is in the stratosphere with an $8.48M cume, now in its eight frame.
Hail Satan? [Magnolia Pictures] NEW [3 Theaters] Weekend $25,700, Average $8,567
Bleecker Street’s Teen Spirit took a hit with an expansion from four to 696 theaters in its second frame, grossing $250,536 in the three-day estimate, averaging just $360.
Transit (Music Box Films) Week 8 [29 Theaters] Weekend $24,711, Average $852, Cume $729,936
Lionsgate did not immediately get back to a request for comment.
Last weekend, the title also had a 21 theater increase to 34 theaters for $59,398 and a $1,747 PTA.
Red Joan (IFC Films) NEW [4 Theaters] Weekend $40,631, Average $10,158
Initially slated for a summer slot following its debut at last year’s Cannes Film Festival, A24 moved writer-director David Robert Mitchell’s Under The Silver Lake to late fall and then finally gave it a spring start. Its opening weekend $40K-plus start in a crowded market gave the title some legs.
Long Day’s Journey Into Night (Kino Lorber Films) Week 2 [7 Theaters] Weekend $48,430, Average $6,918
The Chaperone (PBS Distribution) Week 4 [55 Theaters] Weekend $86,420, Average $1,571, Cume $222,854
It appears the company is giving this a short run. Producer Jordan Horowitz (who also produced Lionsgate’s Oscar-winning box office hit LaLa Land) Tweeted Sunday: “Some news, if you want to see Fast Color in a theater, it’s looking like this weekend may be your only chance. While PR and reviews have been solid, there’s simply not enough awareness.” Lionsgate took sci-fi drama Fast Color to 25 theaters over the holiday weekend to $37,500 ($1,500 PTA).
No Manches Frida 2 (Pantelion/Lionsgate) Week 6 [73 Theaters] Weekend $70,000, Average $959, Cume $9,177,474
The title, which stars Andrew Garfield and Riley Keough, grossed $40,157 in two locations over the Easter and Passover holiday weekend, averaging $20,079, the highest per theater average among releases as of Sunday morning. Cannes 2018 crime-dramedy Under The Silver Lake by David Robert Mitchell came out on top among the weekend’s crowded roster of specialty newcomers, which mostly had slow launches. The A24 title had a long journey to its theatrical release.
Rafiki (Film Movement) NEW [2 Theaters] Weekend $13,155, Average $6,577, Cume $18,547 (includes pre-release sneak gross)
High Life (A24) Week 3 [146 Theaters] Weekend $292,000, Average $2,000, Cume $688,621
Birds Of Passage (The Orchard) Week 10 [7 Theaters] Weekend $4,450, Average $636, Cume $506,617
Fast Color (Lionsgate) NEW [25 Theaters] Weekend $37,500, Average $1,500
The Beach Bum (Neon/Vice) Week 4 [36 Theaters] Weekend $35,500, Average $986, Cume $3,415,998
Gloria Bell (A24) Week 7 [100 Theaters] Weekend $76,000, Average $760, Cume $5,486,222

‘Queen Of The South’: Vera Cherny To Recur On Season 4 Of USA Series

Vera Cherny (The Americans, Counterpart) is set for a recurring role on the fourth season of USA Network’s Queen of the South, from Fox 21 TV Studios and Universal Content Productions.
Since escaping prison in Chechnya, the underworld is her natural habitat and she’s chosen the accumulation of power over personal relationships. Cherny will play Oksana Volkova, a tough-as-nails, woman of big appetites and no apologies. She has close ties to the Russian mob in New York and controls the distribution of molly in Atlanta.
She most recently recurred on Counterpart. Cherny recurred as Tatiana on The Americans and played Vera on the first two seasons of StartUp. Cherny is repped by Principal Entertainment LA.” />
But as enemies old and new closed in, she realized that being queen would require more work — and more sacrifice — than she ever imagined. It tells the powerful story of Teresa Mendoza (Braga), a woman who is forced to run from the Mexican cartel and seek refuge in America. Starring Alice Braga, Queen of the South is based on the bestselling book La Reina del Sur by Arturo Pérez-Reverte. In Season 3, Teresa struck out on her own, determined to build a new empire for herself.
Dailyn Rodriguez and Ben Lobato will serve as co-showrunners for Season 4 and will executive produce alongside David T. Friendly.

Second Stage Theater Sets Broadway Debut Of Tracy Letts’ ‘Linda Vista’

In addition to Linda Vista, the line-up includes two Broadway stagings (the New York premiere of Bess Wohl's Grand Horizons, and the first major New York revival of Richard Greenberg’s Tony Award-winning 2002 play Take Me Out) and two Off Broadway world premiere stagings (Will Eno's The Underlying Chris and Alexis Scheer’s Our Dear Dead Drug Lord). The play (pictured at its West Coast premiere at the Mark Taper Forum in January), is one of five Second Stage productions announced today for the company's 2019-20 season.
"A gang of teenage girls gathers in an abandoned treehouse to summon the ghost of Pablo Escobar. Or are they really just messing with each other? 11 at Second Stage's McGinn/Cazale Theater, opening Sept. Previews begin Sept. Our Dear Dead Drug Lord by Alexis Scheer, director to be announced. Are they messing with the actual spirit of the infamous cartel kingpin? World premiere. A rollercoaster ride through the danger and damage of girlhood – the teenage wasteland has never been so much twisted fun." Co-production with WP Theater. 24.
Two additional Off Broadway productions remain to be announced.” />
Just out of his ex-wife’s garage and into a place of his own, Wheeler starts on a path toward self-discovery — navigating blind dates, old friends, and new love. Letts' Linda Vista is described by Second Stage as "a brutally comedic look at Wheeler, a 50-year-old divorcee in the throes of a mid-life spiral. Full of opinions, yet short on self- examination, Wheeler must reconcile the man he has become with the man he wants to be."
10. The New York premiere of Linda Vista, the latest work from Pulitzer and Tony winning August: Osage County playwright Tracy Letts, will begin previews Sept. 19 in a Second Stage Theater production at the Hayes Theatre, the company's Broadway home. Steppenwolf's Dexter Bullard will direct, with an opening night set for Oct.
The play, which won the Tony for Best Play in 2003, follows a baseball star who comes out of the closet, forcing center fielder to face some hostile teammates, fraught friendships and the challenges of being a gay person of color within the confines of a classic American institution. Previews begin March 31, opening night is April 23. Take Me Out by Richard Greenberg, directed by Scott Ellis.
Though Letts is himself an actor – he co-stars with Annette Bening in this spring's Broadway revival of Arthur Miller's All My Sons – casting was not announced for Linda Vista or the other productions.
The Off Broadway productions announced today:
"A life-affirming and high-spirited look at how a person comes into their identity, and how sometimes it’s life’s tiniest moments that most profoundly change our lives." Co-commissioned by Center Theatre Group and Second Stage Theater; The Underlying Chris by Will Eno (The Realistic Joneses; Thom Pain based on nothing), director to be announced. Previews begin October 29 at Second Stage's Tony Kiser Theater, opening November 21. World premiere.
Grand Horizons by Bess Wohl, directed by Leigh Silverman (who directed this season's hit Broadway play Lifespan of a Fact starring Daniel Radcliffe). Co-commissioned by Williamstown Theatre Festival and Second Stage Theater, Wohl's play tells the story of Bill and Nancy, who "have spent fifty full years as husband and wife. But just as they settle comfortably into their new home in Grand Horizons, the unthinkable happens: Nancy suddenly wants out. They practically breathe in unison, and can anticipate each other's every sigh, snore and sneeze. As their two adult sons struggle to cope with the shocking news, they are forced to question everything they assumed about the people they thought they knew best. Previews begin December 20, with opening night on January 23.
The other Broadway productions at the Hayes, announced today by Second Stage's Carole Rothman, President and Artistic Director, and Casey Reitz, Executive Director:

‘Hotel Mumbai’ Solid in Debut; ‘Gloria Bell’ Expands to $1.8M: Specialty Box Office

In its debut, Son Of Saul grossed nearly $38K in three theaters in its opening three-day, averaging $12,643. Nemes’ previous feature, Son Of Saul, took the Oscar for Best Foreign Language film in 2016 and cumed over $1.77M at the box office. locations Friday. Its three-day estimate is $15K ($5,002 PTA). Sony Pictures Classics bowed period drama Sunset by László Nemes in 3 New York and L.A.
The Wedding Guest (IFC Films) Week 4 [93 Theaters] Weekend $66,247, Average $712, Cume $330,144
The film had been TWC title. Bleecker Street and ShivHans Pictures co-acquired domestic rights to director Anthony Maras’ drama, Hotel Mumbai ahead of its debut at the 2018 Toronto International Film Festival. Bleecker Street reported that the feature was number one at the Angelika and third at Lincoln Square in New York behind Us and Captain Marvel. Mumbai was second at both the Landmark and the Arclight behind Us in both locations.
Capernaum (Sony Pictures Classics) Week 15 [24 Theaters] Weekend $28,244, Average $1,177, Cume $1,568,080
Faith, Hope & Love (ArtAffects) Week 2 [17 Theaters] Weekend $20,820, Average $1,225, Cume $98,520
“Those heavy matinee and post prime evening sales trends reveal Mumbai’s broad demographic attraction with older matinee patrons and younger ticket buyers who attend later evening shows.” “Sell outs and near sells out also arose in all theaters throughout the day in many shows, from the matinee play time through evening shows,” noted Bleecker Street’s Jack Foley Sunday when reporting numbers.
The title floundered with a $17,682 gross, averaging $505. IFC’s Toronto ’18 drama-mystery Out Of Blue went to 35 theaters.
Gloria Bell landed in the top ten in a sizable expansion in its third weekend. Director Sebastián Lelio directed the Spanish-language original, Gloria, set in Santiago.
Out Of Blue (IFC Films) NEW [35 Theaters] Weekend $17,682, Average $505
Free Solo (National Geographic Documentary Film/Greenwich Entertainment) Week 26 [42 Theaters] Weekend $48,660, Average $1,159, Cume $17,438,908″ />
Gloria Bell (A24) Week 3 [654 Theaters] Weekend $1,802,500, Average $2,756, Cume $2,498,485
To Dust (Good Deed Entertainment) Week 7 [19 Theaters] Weekend $8,526, Average $449, Cume $172,908
Never Look Away (Sony Pictures Classics) Week 9 [44 Theater] Weekend $45,130, Average $1,026, Cume $1,076,944
The Hummingbird Project (The Orchard) Week 2 [41 Theaters] Weekend $78,834, Average $1,923, Cume $123,949
Searchlight’s The Aftermath had some struggle out of the gate last weekend. The title starring Keira Knightley and Alexander Skarsgård played 21 additional runs in its second frame to just $123K for a $4,731 per theater average in 26 theaters bringing its two-week cume to $203,254.
Apollo 11 (Neon) Week 4 [586 Theaters] Weekend $800,000, Average $1,365, Cume $6,865,436
Everybody Knows (Focus Features) Week 5 [143 Theaters] Weekend $122,000, Average $852, Cume $2,553,000
Transit (Music Box Films) Week 4 [72 Theaters] Weekend $113,503, Average $1,576, Cume $389,210
More Than Blue (China Lion) Week 2 [40 Theaters] Weekend $170,000, Average $4,250, Cume $504,559
Hotel Mumbai (Bleecker Street) NEW [4 Theaters] Weekend $86,492, Average $21,623
Badla (Reliance) Week 3 [97 Theaters] Weekend $237,547, Average $2,449, Cume $1,712,624
Focus Features’ The Mustang had the weekend’s best PTA among the specialty openers last weekend. The title starring Matthias Schoenaerts slowed to a $228K gross in 38 theaters, averaging $6K.
That version grossed $2.1M on this continent. Said A24 Sunday: “The film remains one of the best reviewed movies of the year, particularly for Julianne Moore’s stunning performance, and will continue to play through spring.” Gloria Bell, in English and starring Julianne Moore, crossed that total with a $2.49M cume stateside this weekend.
Arctic (Bleecker Street) Week 8 [71 Theaters] Weekend $52,927, Average $745 Cume $2,254,005
The doc grossed $48,660 in 42 locations, averaging $1,159 bringing its cume to over $17.43M. Oscar-winner Free Solo is still in theaters after with over six months under its belt.
Bleecker Street opened Hotel Mumbai in four theaters Friday and appears to have caught some attention from audiences not heading to Us. Hotel Mumbai, starring Oscar-nominee Dev Patel and Armie Hammer, grossed $86,492 in four theaters, averaging $21,623, by far the best showing among limited release titles this weekend. Overall, the specialties were mostly light.
No Manches Frida 2 (Pantelion/Lionsgate) Week 2 [472 Theaters] Weekend $1,780,000, Average $3,771, Cume $6,626,279
The Aftermath (Fox Searchlight) Week 2 [26 Theaters] Weekend $123,000, Average $4,731, Cume $203,254
The Kid (Lionsgate Premiere) Week 3 [167 Theaters] Weekend $125,000, Average $749, Cume $1,339,177
Stan & Ollie (Sony Pictures Classics) Week 13 [79 Theaters] Weekend $32,971, Average $417, Cume $5,391,839
Ruben Brandt, Collector (Sony Pictures Classics) Week 6 [43 Theaters] Weekend $10,454, Average $243, Cume $98,420
The Iron Orchard (Santa Rita Film Co.) Week 5 [13 Theaters] Weekend $11,395, Average $877, Cume $197,991
Run The Race (Roadside Attractions) Week 5 [352 Theaters] Weekend $165,965, Average $471, Cume $6,189,030
Giant Little Ones (Vertical Entertainment) Week 4 [31 Theaters] Weekend $21,000, Average $677, Cume $132,335
The Mustang (Focus Features) Week 2 [38 Theaters] Weekend $228,000, Average $6,000, Cume $322,000
In its previous weekend frame, the Sundance 2019 doc took $1.16M in 588 theaters, averaging $1,977. The Neon release, directed by Todd Douglas Miller has cured $6.86M. Apollo 11 mostly stayed course this weekend, playing 586 theaters for an $800K gross and a $1,365 PTA. Apollo 11 stands at just over half the cume of Neon’s 2018 documentary box office hit, Three Identical Strangers, which totaled $12.32M in theaters.
The Spanish-language comedy took in $1.78M in the three-day estimate in 472 theaters, averaging $3,771. Pantelion/Lionsgagte’s No Manches Frida 2 is at over $6.62M after two weekends. It went on to cume $11.52M. That is only somewhat down from 2016 release, No Manches Frida in its second frame. The original played 465 theaters in its second weekend for $2.11M, averaging $4,545.
Birds Of Passage (The Orchard) Week 6 [85 Theaters] Weekend $52,486, Average $617, Cume $449,415
Starring Julianne Moore, the Sebastián Lelio-directed film took in just over $1.8M, averaging $2,756. A24’s Gloria Bell showed legs with a sizable expansion to 654 runs in its third weekend from just 39 last weekend.
Hotel Mumbai will expand to 800-plus theaters next weekend.
Sunset (Sony Pictures Classics) NEW [3 Theaters] Weekend $15,006, Average $5,002
Climax (A24) Week 4 [136 Theaters] Weekend $49,200, Average $362, Cume $739,822

‘The Mustang’ Bucks Top Average in Crowded Weekend; ‘Oscar Shorts’ at $3.5M: Specialty Box Office

In 588 theaters, the Sundance doc grossed over $1.22M, averaging $2,085, landing the title in the top 12 as of Sunday morning. And Neon's Apollo 11 topped $5.54M in its third weekend.
Birds Of Passage (The Orchard) Week 5 [97 Theaters] Weekend $80,247, Average $827, Cume $355,142
Never Look Away (Sony Pictures Classics) Week 8 [59 Theater] Weekend $78,543, Average $1,331, Cume $993,242
Last year’s Oscar Nominated Shorts grossed $3.5M, while the 2017 shorts totaled $2.83M. The 2019 Oscar Nominated Shorts edged over last year’s group by $16,572 when factoring in this weekend’s estimate. This year’s Oscar Nominated Shorts have played six weekends, bringing its cume to over $3.52M.
Audiences, though, were finite. Clermont-Tonnerre’s Sundance 2019 film, The Mustang is estimated to have grossed $76K in four New York and L.A. In the end, a drama by a first-time feature director, Laure de Clermont-Tonnerre, is estimated to have the weekend’s highest per-theater average. Major specialty distributors and boutique labels launched a number of new titles in theaters and beyond this weekend in the most crowded weekend of the year. theaters, averaging $18,950.
Lords Of Chaos (Gunpowder & Sky) Week 6 [12 Theaters] Weekend $4,368, Average $363, Cume $250,573
2019 Oscar Nominated Shorts (ShortsTV/Magnolia Pictures) Week 6 [10 Theaters] Weekend $14,500, Average $1,450, Cume $3,525,349
In its fourth frame, the title grossed $304,540, averaging $682 bringing its cume to $5.88M. Roadside Attractions’ Run The Race is closing in on six million dollars at the box office.
Run The Race (Roadside Attractions) Week 4 [446 Theaters] Weekend $304,540, Average $682, Cume $5,885,903
Gloria Bell (A24) Week 2 [39 Theaters] Weekend $394,835, Average $10,124, Cume $584,390
More Than Blue (China Lion) NEW [26 Theaters] Weekend $150,000, Average $5,769
The Mustang can’t be boxed in — part drama, part Western, part self-discovery and redemption, and the bond between human and animal.”  Noted Focus Features’ president of Distribution Lisa Bunnell Sunday when reporting numbers: ““With over 90% in the top two boxes, audiences and critics alike are discovering the beauty Laure captured on screen and the powerful performances from the Matthias and the entire cast.
Focus Features said word of mouth proved strong for The Mustang in its debut weekend, giving it its $18,950 PTA. Focus said that audiences were 66% female and 96% over 35. The company said the title, starring Matthias Schoenaerts, Bruce Dern and Connie Britton, was number one at both The Landmark in L.A. and Landmark 57 West in New York.
Transit (Music Box Films) Week 3 [42 Theaters] Weekend $114,576, Average $2,728, Cume $225,192
Capernaum (Sony Pictures Classics) Week 14 [32 Theaters] Weekend $37,417, Average $1,169, Cume $1,524,002
Landmark in L.A. according to Fox Searchlight, with a “more mature and cinephile group” making up the title’s core, according to the company, adding: “We are hoping that with good word of mouth over the next few weeks, that we will find our audience for this film.” Next weekend, the title will head to six new markets including Toronto, Boston, Chicago, Phoenix, San Francisco, and Washington, DC. while also expanding  a bit in New York and Los Angeles.
Faith, Hope & Love (ArtAffects) NEW [18 Theaters] Weekend $60,855, Average $3,381
Other limited release openers included Cohen Media Group’s Ash Is Purest White by Chinese director Jia Zhang-ke, which grossed $45,150 in seven theaters, averaging $6,450.
Apollo 11 (Neon) Week 3 [588 Theaters] Weekend $1,226,000, Average $2,085, Cume $5,540,882
The Favourite (Fox Searchlight) Week 17 [143 Theaters] Weekend $115,000, Average $804, Cume $34,047,547
Last weekend’s PTA topper, Gloria Bell from A24 expanded to 39 theaters in its second frame. A24 said the feature will expand nationwide March 22. It has cumed over $584K. Starring Julianne Moore, the Sebastián Lelio-directed film grossed nearly $395K, averaging $10,124, placing it in the top 20.
Badla (Reliance) Week 2 [115 Theaters] Weekend $452,225, Average $3,932, Cume $1,300,623
Arctic (Bleecker Street) Week 7 [97 Theaters] Weekend $82,630, Average $852, Cume $2,163,049
Climax (A24) Week 3 [217 Theaters] Weekend $197,419, Average $910, Cume $566,183
Winding down its theatrical release, ShortsTV/Magnolia Pictures’ 2019 Oscar Nominated Shorts stands at over $3.52M, the highest-ever gross for the annual release of Academy Awards-nominated short forms. In the three-day, the grouping grossed $14,500 in ten locations, averaging $1,450.
And Taiwanese romance More Than Blue bowed in 26 locations via China Lion for $150K, averaging $5,769.
The Swedish-born actor also starred in The Orchard’s The Hummingbird Project, also featuring Jesse Eisenberg and Salma Hayek. Skarsgård did double time this weekend. In four locations, the title by writer-director Kim Nguyen took in $36,027, for a $9K PTA.
Wrestle (Oscilloscope) Week 4 [4 Theaters] Weekend $1,200, Average $300, Cume $20,637
The Hummingbird Project (The Orchard) NEW [4 Theaters] Weekend $36,027, Average $9,007
And still climbing in the box office is Best Documentary winner Free Solo, which now stands at $17.35M in its 25th weekend, the title grossed $75K in 72 theaters, averaging $1,042.
Sony Classics’ Never Look Away will cross seven figures this week. Friday to Sunday, the title by Florian Henckel von Donnersmarck grossed $78,543 in 59 locations, averaging $1,331 for a cume of $993,242.
Ash Is Purest White (Cohen Media Group) NEW [7 Theaters] Weekend $45,150, Average $6,450
That is roughly on par with No Manches Frida, which Pantelion released in September, 2016 in 362 theaters. It went on to cume $11.52M. In 472 theaters, the Spanish-language comedy grossed over $3.89M, averaging $8,250. The title took in over $3.67M in 362 theaters its first weekend, averaging $10,155. No Manches Frida 2 from Pantelion/Lionsgate had the widest specialty bow Friday.
The Iron Orchard (Santa Rita Film Co.) Week 4 [11 Theaters] Weekend $11,183, Average $1,017, Cume $184,565
The Aftermath played best at Lincoln Square and Cinema 1, 2 & 3 in Manhattan as well as The
The Mustang (Focus Features) NEW [4 Theaters] Weekend $76,000, Average $18,950
No Manches Frida 2 (Pantelion/Lionsgate) NEW [472 Theaters] Weekend $3,894,000, Average $8,250
The Kid (Lionsgate Premiere) Week 2 [268 Theaters] Weekend $270,000, Average $268, Cume $1,053,426
The Wedding Guest (IFC Films) Week 3 [94 Theaters] Weekend $116,178, Average $1,236, Cume $230,006
Ruben Brandt, Collector (Sony Pictures Classics) Week 5 [36 Theaters] Weekend $19,233, Average $534, Cume $75,722
Noted Magnolia Sunday: “This is our highest gross ever, just beating last year’s total with one less week between opening and the Oscars, which makes this result all the more impressive.”
Catvideofest 2019 (Oscilloscope) Week 5 [11 Theaters] Weekend $21,500, Average $1,954, Cume $328,207
The Aftermath (Fox Searchlight) NEW [5 Theaters] Weekend $57,500, Average $11,500
Combat Obscura (Oscilloscope) NEW [10 Theaters] Weekend $15,500, Average $1,550
To Dust (Good Deed Entertainment) Week 6 [21 Theaters] Weekend $22,196, Average $1,057, Cume $153,064
Free Solo (National Geographic Documentary Film/Greenwich Entertainment) Week 25 [72 Theaters] Weekend $75,050, Average $1,042, Cume $17,357,954″ />
Stan & Ollie (Sony Pictures Classics) Week 12 [230 Theaters] Weekend $114,665, Average $498, Cume $5,288,642
In its 17th outing, the Yorgos Lanthimos-directed feature took in $115K, averaging $804. Searchlight’s The Favourite starring Best Actress winner Olivia Colman went over $34M this weekend.
The post-WWII drama set in Germany is coming in at $57,500 in the three-day, averaging $11,500. Fox Searchlight’s The Aftermath, starring Keira Knightley, Jason Clarke and Alexander Skarsgård, bowed slower with five runs.

‘Titans’: Esai Morales Joins DC Universe As Deathstroke

The Titans just made a killer cast addition: Esai Morales will portray Deathstroke, the fan-favorite assassin and archenemy of Teen Titans leader Dick Grayson.
Morales is repped by Innovative Artists, LINK Entertainment, Eric Feig Entertainment & Media Law and Espada PR.
The team, created by Marv Wolfman and George Perez, didn't have to wait long to find their signature antagonist: Deathstroke the Terminator was introduced in issue No. 2 of The New Teen Titans in December 1980. That Titans line-up of characters was introduced with much fanfare in the pages of DC Comics back in 1980.
The executive producers of Titans are Greg Berlanti, Akiva Goldsman, Geoff Johns, Sarah Schechter, and Greg Walker.” />
Morales' recent television credits include Ozark (Netflix), Mozart In The Jungle (Amazon Prime), Curb Your Enthusiasm (HBO), and Chicago PD (NBC). Morales also had notable credits over the years on shows such as NYPD Blue (ABC), Miami Vice (NBC), Fame (NBC) Law and Order: SVU (NBC), Caprica (Syfy), and Criminal Minds (CBS).
While serving his country, Slade became an elite soldier before government testing enhanced his physiology to near superhuman levels, putting him on a path of darkness and revenge. The character bio from the show's producers: "Slade Wilson is known for being DC's deadliest assassin. To his family, Slade is a father and husband, but to the rest of the world, he is feared by many as the infamous Deathstroke; selling his services to the highest bidder as the ruthless assassin that never gives up and never misses."
Adding a bit more confusion for casual fans, both Deadpool and Deathstroke have similar attributes to Deadshot, a DC Comics villain introduced in the 1970s and portrayed by Will Smith on the big screen in Suicide Squad in 2016.
The Titans, the first original programming franchise for the DC Universe subscription steaming site, launched in September and finished its first season in December. The weekly show follows the superhero squad that’s led by Batman’s former sidekick, Robin, aka Dick Grayson (Brenton Thwaites), and includes the hot-tempered alien princess Starfire (Anna Diop), the mysterious empath Raven (Teagan Croft), and the green-skinned shape-shifter Beast Boy (Ryan Potter).
Gun Hill Road was a grand Jury Nominee at the Sundance Film Festival in 2011. The actor's feature film credits include Bad Boys, Rapa Nui, Mi Familia, Fast Food Nation, Paid in Full, The Line, Atlas Shrugged: Part II, Jarhead II: Field of Fire, The Disappearance of Garcia Lorca, and Gun Hill Road, a film he executive produced and starred in. Most recently Morales starred in Sony's Superfly and the indie film The Wall of Mexico.
The character Deadpool, portrayed by Ryan Reynolds in the popular R-rated Fox film franchise, was created by Fabian Nicieza and Rob Liefeld in 1990 as a thinly disguised version of the DC villain. The DC Comics character represents an interesting footnote in Marvel Comics history. Not only do the characters share similar costumes, Deadpool's alias is Wade Wilson, which in fact rhymes with Slade Wilson.
The character is well known to fans of the popular Teen Titans animated series from Cartoon Network as well as the show's 2018 tie-in feature film Teen Titans Go! to the Movies. Deathstroke has also been portrayed by Manu Bennett in 36 episodes of The CW series Arrow while Joe Manganiello (True Blood) appeared as the assassin in the 2017 feature film Justice League but only with an uncredited cameo.
Morales found his feature film  breakthrough role as Bob Morales in Taylor Hackford's La Bamba, the landmark 1985 biopic about Ritchie Valens. Morales, a Brooklyn native and graduate of New York's High School for the Performing Arts, began his acting career in El Hermano at the Ensemble Theatre Studio and at New York's Shakespeare Festival In The Park in The Tempest.

HBO Shuttering Long Island Broadcast Facility, With Dozens Of Layoffs Expected

Some of those who remain will transfer to the new WarnerMedia headquarters in the Hudson Yards neighborhood of Manhattan, a newly built single tower that will unite the company's disparate New York assets for the first time. Other workers will move to Atlanta, a key base of operations for the company. Of the roughly 200 positions at the 35-year-old broadcast operations facility, about 75 are expected to be eliminated.
Against the backdrop of changes to the operations of WarnerMedia and the TV industry's tech infrastructure, HBO is closing the Hauppauge Communications Center on New York's Long Island.
"We are asking many employees from the Long Island-based departments to transition to Hudson Yards, which has been designed to support postproduction needs on original programming as well as our digital distribution platforms. This will result in the elimination of some positions in New York.” However, the broadcast operations which originated out of Hauppauge, will now come out of Atlanta. "With two new state-of-the-art facilities now existing in Hudson Yards (Manhattan) and Atlanta, the services out of the Hauppauge Communications Center will become redundant, so the plan is to close the center by year's end," HBO said in a statement.
While the migration of broadcast operations isn't directly related to the bigger corporate picture, it comes as AT&T is seeking ways to cut costs given its debt load after the $81 billion acquisition of WarnerMedia. The entertainment unit, meanwhile, has undertaken a management reorganization that will continue to play out across all of its divisions, including HBO. The premium network's longtime CEO, Richard Plepler, departed last month amid the changes.” />

‘Gloria Bell’ Is The Belle Of The Newcomers; ‘Apollo 11’ Orbits $1.3M Weekend: Specialty Box Office

Birds Of Passage (The Orchard) Week 4 [50 Theaters] Weekend $61,343, Average $1,227, Cume $246,581
Transit (Music Box Films) Week 2 [5 Theaters] Weekend $42,538, Average $8,508, Cume $89,730
That film, released by Bleecker Street last April, continues to be the filmmaker’s North American benchmark with a $237K opening weekend in five theaters ($47,479 PTA). Lelio adapted the story into English and then went on to direct his other projects, including Oscar-winning A Fantastic Woman ($2.02M cume) and Disobedience starring Rachel Weisz and Rachel McAdams. It went on to cume over $3.49M on this continent.
The film proved to have legs though with its $2.1M North American cume, which in part made it attractive for a re-make in English starring a well known actor here. That film, however, was set in Chile, was in Spanish and starred a veteran Chilean actor, Paulina García, who is not well known to North American audiences. Gloria Bell’s nearly $31K opening PTA outpaced Sebastian Lelio’s 2014 original, Gloria, which took in over $56K in its opening weekend in January of that year, averaging $18,818.
“She finished her other projects and we had a window in 2017,” said Lelio earlier in the week. “We put financing together very quickly and built a ‘family’ around Julianne including John Turturro and Michael Cera. I’ve always loved John Turturro’s work.”  Lelio and Moore reconnected after the director completed Disobedience.
The Favourite (Fox Searchlight) Week 16 [278 Theaters] Weekend $260,000, Average $935, Cume $33,809,298
The Wedding Guest (IFC Films) Week 2 [31 Theaters] Weekend $66,078, Average $2,132, Cume $90,306
Apollo 11 launched in regular theaters after exclusive landings in IMAX locations around the country last weekend. Also noteworthy is that Apollo 11 made the overall box office top 10 as of Sunday afternoon. In total, the Neon release grossed $1.3M in 405 theaters, averaging $3,212 bringing the Sundance premiere’s cume to over $3.78M.
Directed by Gaspar Noé, the title took an estimated $110,786 in the three-day, averaging $3,957. It bowed with a $119,423 gross in its debut weekend, averaging $23,885. A24 added 23 runs for its thriller, Climax, in its second frame, bringing its count to 28 theaters.
The Kid (Lionsgate Premiere) NEW [267 Theaters] Weekend $505,000, Average $1,891
Bleecker Street’s Arctic is closing in on $2M. In its sixth weekend, the adventure-drama starring Mads Mikkelsen grossed over $182K in 208 theaters ($876 average) bringing its total to over $1.98M.
the previous weekend. In its third weekend, Roadside Attractions’ faith-drama Run The Race shed 322 runs vs. Still quite wide though, the feature grossed nearly $608K in 753 locations, averaging $807 bringing its third frame cume to over $5.24M.
Run The Race (Roadside Attractions) Week 3 [753 Theaters] Weekend $607,745, Average $807, Cume $5,241,994
Climax (A24) Week 2 [28 Theaters] Weekend $110,786, Average $3,957, Cume $280,652
Ruben Brandt, Collector (Sony Pictures Classics) Week 4 [17 Theaters] Weekend $8,894, Average $523, Cume $50,687
Arctic (Bleecker Street) Week 6 [208 Theaters] Weekend $182,292, Average $876, Cume $1,983,722
Though not gangbusters, the title should turn a small profit. Lionsgate Premiere opened The Kid, starring Ethan Hawke, Dane DeHaan, Leila George, Adam Baldwin and Chris Pratt, in 267 locations to $505K for a soft $1,891 PTA.
Total Dhamaal (FIP) Week 3 [117 Theaters] Weekend $150,000, Average $1,282, Cume $2,014,552
Added Oscilloscope: “Due to its overwhelming success in top markets, exhibitors are adding encores throughout March to meet audience demand.”
The Lebanese-produced drama spent its 13th weekend in 45 North American theaters, grossing $60,883 ($1,353 average) taking its cume to over $1.46M. Sony Classics’ Capernaum is also inching toward a milestone.
Sebastián Lelio’s Gloria Bell handily took the best specialty debut mantle this weekend with one of the highest opening weekend per-theater averages for a limited release title this year.
Capernaum (Sony Pictures Classics) Week 13 [45 Theaters] Weekend $60,883, Average $1,353, Cume $1,469,926
In its sixteenth weekend, the title directed by Yorgos Lanthimos grossed $260K, averaging $935. Searchlight’s The Favourite starring Oscar-winning Best Actress Olivia Colman stands at $33.8M.
Giant Little Ones (Vertical Entertainment) Week 2 [7 Theaters] Weekend $23,500, Average $3,357, Cume $40,568
Ferrante Fever (Greenwich Entertainment) NEW [1 Theater] Weekend $4,000
Lords Of Chaos (Gunpowder & Sky) Week 5 [17 Theaters] Weekend $7,435, Average $437, Cume $238,499
Never Look Away (Sony Pictures Classics) Week 7 [77 Theater] Weekend $113,086, Average $1,469, Cume $860,249
To Dust (Good Deed Entertainment) Week 5 [17 Theaters] Weekend $15,496, Average $911, Cume $123,442
The US debut of Franco Rosso’s 1980 film, Babylon, had a solid start with its weekend exclusive at BAM in Brooklyn. Babylon grossed an estimated $20,096 over the weekend. The company also bowed 3 Faces by Iranian filmmaker Jafar Panahi with an exclusive New York run over the weekend, taking in $7,196.
Stan & Ollie (Sony Pictures Classics) Week 11 [61 Theaters] Weekend $52,657, Average $849, Cume $5,150,756
A Tuba To Cuba (Blue Fox Entertainment) Week 4 [16 Theaters] Weekend $13,941, Average $871, Cume $59,394
Furie (Well Go USA) Week 2 [27 Theaters] Weekend $164,000, Average $6,074, Cume $395,464
Apollo 11 (Neon) Week 2 [405 Theaters] Weekend $1,301,000, Average $3,212, Cume $3,780,952
Babylon (Kino Lorber Repertory / Seventy-Seven) NEW [1 Theater] Weekend $20,096
3 Faces (Kino Lorber) NEW [1 Theater] Weekend $7,196
Free Solo (National Geographic Documentary Film/Greenwich Entertainment) Week 24 [119 Theaters] Weekend $131,600, Average $1,106, Cume $17,221,949″ />
And Oscar-winning Best Documentary Free Solo has climbed to over $17.22M. In its 24th weekend in theaters, the title by Elizabeth Chai Vasarhelyi and Jimmy Chin took in $131,600 in 119 locations, averaging $1,106.
Music Box Films added three runs for Transit in its second frame, grossing $42,538 for an $8,508 average bringing its cume to just under $90K.
Oscilloscope reported Sunday that its compilation feature of cat videos, Catvideofest 2019 is “selling out shows all across the country,” including a $30K gross at Detroit Film Theater with just five showings. Catvideofest is playing as ‘alternative content’ at select showings and has not received full schedule runs in any city, according to the distributor. Over the weekend, the title purred a $141,500 gross in 55 theaters, averaging $2,573 bringing its cume to $216K.
throughout the weekend. The company will roll the title into top markets this week ahead of a nationwide expansion set for March 22. A24 reported “enthusiastic sellouts” for Gloria Bell in New York and L.A.
Wrestle (Oscilloscope) Week 3 [4 Theater] Weekend $4,750, Average $1,188, Cume $17,820
Other limited release launches include Bollywood’s Badla from Reliance, which grossed over $614K in 94 North American theaters, averaging $6,535. And, Greenwich Entertainment bowed doc Ferrante Fever by Giacomo Durzi in a single location for $4K.
Gloria Bell (A24) NEW [5 Theaters] Weekend $154,775, Average $30,955
Everybody Knows (Focus Features) Week 5 [283 Theaters] Weekend $445,000, Average $1,573, Cume $1,878,000
Gloria Bell is the re-imagined English-language and L.A.-set drama of a free-spirit, based on Lelio’s 2014 title, Gloria, set in Santiago, Chile, which took in over $2.1M via Roadside Attractions stateside. The film dominated, as the specialty universe converged at the start of the weekend at SXSW. The A24 feature starring Julianne Moore, John Turturro and Michael Cera grossed an estimated $154,775 in the three-day, averaging $30,955.
Saint Judy (Blue Fox Entertainment) Week 2 [16 Theaters] Weekend $7,363, Average $460, Cume $67,866
Badla (Reliance) NEW [94 Theaters] Weekend $614,328, Average $6,535
The Iron Orchard (Santa Rita Film Co.) Week 3 [22 Theaters] Weekend $23,170, Average $1,053, Cume $162,030
Catvideofest 2019 (Oscilloscope) Week 4 [55 Theaters] Weekend $141,500, Average $2,573, Cume $216,076

Sundance’s ‘Fighting With My Family’ Slugs A Winning Open; ‘2019 Oscar Shorts’ Strong: Specialty Box Office

To Dust (Good Deed Entertainment) Week 2 [15 Theater] Weekend $29,100, Average $1,940, Cume $40,134
Fighting With My Family led a fairly busy pack of specialty newcomers.
That was the weekend’s best per theater average and a solid overall open in limited release ahead of its wide expansion next weekend. The MGM release won the weekend, coming in with over $131K in the three-day in four theaters, averaging nearly $33K. The title’s four-day estimate at over $163K brings its per theater average to $40,896.
The Favourite (Fox Searchlight) Week 13 [324 Theaters] Weekend $570,000; 4-day: $700,000, Average $1,759; $2,160, Cume $31,243,285
Capernaum (Sony Pictures Classics) Week 10 [136 Theaters] Weekend $193,301, Average $1,421, Cume $993,350
Hotel By The River (Cinema Guild) NEW [1 Theater] Weekend $5,870
Ek Ladki Ko Dekha Toh Aisa Laga (FIP) Week 3 [43 Theaters]  Weekend $47,000; 4-day: $55,000, Average $1,093; 4-day: $1,279, Cume $1,167,088
2019 Cannes Film Festival opener, Everybody Knows by Asghar
If Beale Street Could Talk (Annapurna Pictures) Week 11 [165 Theaters] Weekend $210,006; 4-day: $257,555, Average $1,273; 4-day: $1,561, Cume $14,172,000
Ruben Brandt, Collector (Sony Pictures Classics) NEW [2 Theaters] Weekend $6,394, Average $3,197, Cume $7,737 (includes qualifying run)
It’s not just for wrestling fans.” We tested it and it scored through the roof, and the reaction at Sundance was amazing. “We knew Sundance would play great.
Also with a single bow was Oscilloscope’s Catvideofest 2019, grossing $11,100 Friday to Sunday. It’s a robust gross given the film only played two showings.
Cold War (Amazon Studios) Week 9 [247 Theaters] Weekend $404,350, Average $1,637, Cume $3,550,915
The title, which was shortlisted, had a $24,249 three-day start ($12,125 average) and a four-day estimate of $31,180 ($15,590 average) in its two locations. The Orchard launched Cannes 2018 Directors Fortnight opener Birds Of Passage, which was Colombia’s entry for Best Foreign Language Oscar consideration.
The Orchard went for two locations for Birds Of Passage, which opened last year’s Directors Fortnight in Cannes with a three-day $24,249 take, averaging $12,125.
On The Basis Of Sex (Focus Features/Participant) Week 8 [186 Theaters] Weekend $241,000; 4-day: $298,000, Average $1,294; 4-day: $1,600, Cume $24,300,000
He added that its Sundance start boosted the feature’s momentum last month. Lomis said Fighting With My Family will break out quickly from its initial specialty outing, going to about 2,500 theaters next weekend.
Fighting With My Family’s 3-day is at $131,625 ($32,906 PTA) and is coming in at a 4-day 163,584 gross ($40,896 PTA), giving it one of the year’s best opening PTAs and certainly the weekend’s best per theater average.
Birds Of Passage (The Orchard) NEW [2 Theaters] Weekend $24, 249; 4-day: $31,180, Average $12,125; 4-day: $15,590, Cume $40,738 (Wednesday open)
As of Valentine’s Day, the 2019 Oscar Nominated Shorts had a cume of over $1.34M, so the weekend’s gross should put its total to over $2M. The company didn’t give an updated cume for the release which has all the Oscar-nominated shorts featured.
War And Peace (Janus Films) NEW [1 Theater] Weekend $22,000
Free Solo (National Geographic Documentary Film/Greenwich Entertainment) Week 21 [108 Theaters] Weekend $180,046, Average $1,667, Cume $16,238,727
The Oscar-nominated title grossed $180K in 108 theaters in its 21st weekend outing. Free Solo by Elizabeth Chai Vasarhelyi and Jimmy Chin has cumed over $16.23M. And Free Solo continues its climb.
Just weeks after playing at last month's Sundance Film Festival, bio-dramedy Fighting With My Family by director Stephen Merchant and starring Dwayne ‘The Rock’ Johnson is having a fighting round over the holiday weekend.
Lords Of Chaos (Gunpowder & Sky) Week 2 [25 Theaters] Weekend $53,654, Average $2,146, Cume $101,397
The title crossed $3.55M, which will likely make it one of the highest-grossing non-English language titles this year (though the year is young). In 247 theaters, Cold War grossed $404,350 in the three-day, averaging $1,637. And Amazon Studios’ Cold War  by Best Director Oscar nominee Pawel Pawlikowski continues to be an audience draw after nine weekends in theaters.
since it’s indie at its core and it really worked. “We wanted to start in New York and L.A. Paige has a huge fanbase and we had The Rock ‘Facetimed’ in Century City.” We had people in tears [in theaters] last night. “It threads the needle between an art film and a commercial film,” said Annapurna’s president of Distribution, Erik Lomis, who is spearheading the title’s run.
That PTA is on par with last year’s $2,502 PTA for the 2018 Oscar Nominated Shorts in its second weekend, which played 272 locations ($680K gross). Magnolia Pictures said Sunday it had a “rough” three-day estimate of $775K. The collection of 2019 Oscar Nominated Shorts expanded its footprint to 320 theaters Presidents Day weekend from 270 in its opening frame. If that holds, the Friday to Sunday PTA will come in at $2,422.
and New York areas. Next weekend, the title will expand into additional L.A. Birds Of Passage opened exclusively at Film Forum in New York on Wednesday and then added the Royal in L.A. Friday. Its cume is estimated to be $40,738.
Catvideofest 2019 (Oscilloscope) NEW [1 Theater] Weekend $11,100
The Invisibles (Greenwich Entertainment) Week 4 [19 Theaters] Weekend $35,311, Average $1,858, Cume $171,772
On Sunday, March 10, the program will expand to approximately 150 locations, many of which have already reported sold out screenings, according to Oscilloscope. CatVideoFest has partnered with — and will benefit— local animal shelters all across the country.   The company will add exclusive shows in New York and Los Angeles tomorrow. Oscilloscope began its rollout of CatVideoFest 2019 this weekend, choosing to launch it at Chicago’s Music Box Theater, where it grossed a solid $11k after only two screenings.
2019 Oscar Nominated Shorts (ShortsTV/Magnolia Pictures) Week 2 [320 Theaters] Weekend $775,000, Average $2,422
Everybody Knows (Focus Features) Week 2 [23 Theaters] Weekend $191,000; 4-day: $230,000, Average $8,302; 4-day: $10,000, Cume $323,000
Janus Films bowed a restored version of War And Peace (1966) exclusively at the Film Society of Lincoln Center for $22K.
SPC jumped Never Look Away from three to 31 locations in its fourth weekend outing. Never Look Awaygrossed $135,654 in the three-day, averaging $4,376 bringing its cume to just under $260K.
Replicas (Entertainment Studios Motion Pictures) Week 6 [12 Theaters] Weekend $3,000, Average $250, Cume $4,045,834
Arctic (Bleecker Street) Week 3 [63 Theaters] Weekend $256,510; 4-day: $314,404, Average $4,072; 4-day: $4,991, Cume $503,103
The Wife (Sony Pictures Classics) Week 27 [77 Theaters] Weekend $69,657, Average $905, Cume $9,211,223″ />
Never Look Away (Sony Pictures Classics) Week 4 [31 Theater] Weekend $135,654, Average $4,376, Cume $259,955
On the slower end, Cinema Guild opened Hotel By The River in a single theater, grossing $5,870, while Sony Classics launched Locarno Film Festival animated feature Ruben Brandt, Collector with two runs for $6,394 ($3,197 average). And ShortsTV/Magnolia Pictures added runs for its 2019 Oscar Nominated Shorts. The distributors estimated a $775K gross Friday to Sunday, averaging $2,422 in 320 theaters.
“We were thrilled with how Birds performed this weekend. With consistently sold out shows in both NY and LA and stellar reviews across the board, this sets up the film for continued success as we expand to over 250-plus screens in the coming weeks,” said The Orchard’s Paul Davidson Sunday. “What we are finding is really resonating with audiences is the approach to storytelling here — not only is this a beautifully crafted film but it approaches a subject matter audiences are familiar with in a strikingly-unique way.”
MGM’s Fighting With My Family, starring The Rock and WWE’s Paige,  was a late addition to this year’s Sundance Film Festival lineup. But it’s one of the first titles from the fest to begin its theatrical run.
Stan & Ollie (Sony Pictures Classics) Week 8 [210 Theaters] Weekend $260,170, Average $1,239, Cume $4,749,419
Fighting With My Family (MGM) NEW [4 Theaters] Weekend $131,625; 4-day: $163,584, Average $32,906; 4-day: $40,896
Focus Features is estimating a three-day $191K gross ($8,302 PTA) and four-day $230K ($10K PTA), bringing its cume to $323K. Farhadi and starring Penélope Cruz and Javier Bardem played an additional 19 runs Friday to Sunday putting its location count at 23.
And no matter what happens [at next weekends awards], it’ll play at this level at least for the next couple weeks.” “It’s hitting the mainstream. Berney noted that audiences have said the film is unusual in that they wish it “was longer.” Added Berney: “It’s one of the best films I’ve worked on. Amazon Studios said Sunday that Cold War is reaching “beyond its core art house” audience. We’ve seen people in theaters who go out and then come right back in [to see it again]. “I think people are connecting to the love story,” said Amazon’s head of Distribution Bob Berney Sunday.
Bleecker Street expanded Arctic starring Mads Mikkelsen to 63 theaters in its third frame. The four-day cume will bring the title just over a half million dollar cume. Friday to Sunday, the feature has grossed an estimated $256,510 ($4,072 PTA) and in the four day, it is running an estimated $314,404 ($4,991 PTA).

Cartel Entertainment Options ‘The Lost Night’ Novel For TV, Mila Kunis To Produce

Her work has appeared in The Wall Street Journal, Marie Claire, Vogue, Cosmopolitan, Women's Health, Martha Stewart Living, Redbook, Elle, among other outlets. Bartz is a Brooklyn-based journalist and co-author of the critically praised blog-turned-book Stuff Hipsters Hate.
Kunis, Cami Curtis and Lisa Sterbakov will produce for Orchard Farm, alongside Stan Spry, Jeff Holland and Drew Brown of Cartel Entertainment.
As she rifles through those months in 2009—combing through case files, old technology, and her fractured memories—Lindsay is forced to confront the demons of her own violent history to bring the truth to light. Based on the novel to be published by Crown this month, the story centers on Edie, who despite having New York’s social world in her thrall and being the shining star of a group of recent graduates living in a Brooklyn loft and treating New York like their playground, is found dead near a suicide note at the end of a long, drunken night. A decade later, Edie’s friend Lindsay has come a long way from the drug-addled world of Calhoun Lofts – she has devoted best friends, a cozy apartment, and a thriving career as a magazine’s head fact-checker. Grief, shock, and resentment scatter the group and bring the era to an abrupt end. When a chance reunion leads Lindsay to discover an unsettling video from that hazy night, she starts to wonder if Edie was actually murdered—and, worse, if she herself was involved.
Cartel Entertainment has optioned Andrea Bartz's soon-to-be-released debut thriller The Lost Night novel for development as a limited series, with Mila Kunis' Orchard Farm set to produce.
Bartz and the sale are both repped by ICM Partners.” />