‘The Right Stuff’ Canceled By Disney+ After One Season, Shopped By Warner Bros. TV

The Right Stuff, which is believed to have been a modest performer for Disney+ that did not break into Nielsen's Top 10 streaming ratings, marked Nat Geo’s first scripted original series for Disney+. It was Disney+'s second original drama series after The Mandalorian and provided the SVOD platform with a high-end original scripted series in the fall when streamers felt the effects of the coronavirus-related production shutdown that drained the original content pipeline.
The rest of the Mercury Seven includes Lieutenant Gordon Cooper (Colin O’Donoghue), Wally Schirra (Aaron Staton), Scott Carpenter (James Lafferty), Deke Slayton (Micah Stock), and Gus Grissom (Michael Trotter).
The Right Stuff‘s ensemble cast also includes Nora Zehetner, Eloise Mumford, and Shannon Lucio, Patrick Fischler, Eric Ladin, Danny Strong and Josh Cooke.
The two men at the center of the story are Major John Glenn (Adams), a revered test pilot and committed family man with unwavering principles, and Lieutenant Commander Alan Shepard (McDorman), one of the best test pilots in Navy history. Set in 1959, the eight-episode The Right Stuff examines what would become America’s first “reality show,” as ambitious astronauts and their families become instant celebrities in a competition that could kill them or make them immortal.
EXCLUSIVE: Disney+ has opted not to order a second season of space race series The Right Stuff. It is Disney+'s first scripted series cancellation. Adams and Jake McDorman, originated at National Geographic before launching as a Disney+ original last October. The Mercury 7 period drama, starring Patrick J.
There is a major incentive for WBTV and parent WarnerMedia to try and keep The Right Stuff going — in November, the series, produced by Leonardo DiCaprio’s Appian Way, was given $13.7 million to move from Florida to California for Season 2, the fourth-highest relocating incentive ever awarded under the CFC program.
Cancellations/Renewals Scorecard: TV Shows Ended Or Continuing In 2020-21 Season
National Geographic/Gene Page
space program, came after lengthy discussions with WBTV. I hear they examined different ideas for continuing the series, including a second season focused on a new mission from the 1980s, likely with a new cast. Disney+'s decision not to proceed with a second season of The Right Stuff, adapted from Tom Wolfe’s bestselling nonfiction account of the early days of the U.S.
Will Staples, Howard Korder and Danny Strong are also executive producers. Michael Hampton shepherded this project on behalf of Appian Way and is co-producer.” /> DiCaprio and Jennifer Davisson are executive producers, along with showrunner Mark Lafferty. Chris Long directed and executive produced the first episode. Thelma Schoonmaker is consulting producer.
I hear the options on the cast expire tomorrow, and WBTV has asked for a two-week extension while the efforts to find a new home continue. Warner Bros. Television, the studio behind The Right Stuff, is shopping it to other outlets, with WarnerMedia siblings TNT and HBO Max considered logical potential targets.

Diane Cook’s ‘The New Wilderness’ Novel In The Works For Television From Matt Reeves’ 6th & Idaho & Warner Bros. TV

Henry Prize Stories. Cook’s writing has appeared in Harper’s, Tin House, Granta, and other publications, and her stories have been included in the anthologies Best American Short Stories and The O. She is a former producer for the radio program This American Life, and was the recipient of a 2016 fellowship from the National Endowment for the Arts.
Television has acquired the rights to Diane Cook's upcoming novel The New Wilderness to develop as a television series. In a competitive situation, Warner Bros. Matt Reeves' 6th & Idaho will executive produce the project as part of its overall deal with WBTV.
CAA repped the television sale of The New Wilderness on behalf of Gernert's Seth Fishman. CAA, 3 Arts and Jackoway Austen Tyerman rep 6th and Idaho. Grandview and Gang Tyre represent Wray.” />
Rafi Crohn of 6th& Idaho will co-executive produce. Carly Wray (Watchmen, Westworld) also will executive produce and supervise the first episode as part of her WBTV deal. Reeves, Daniel Pipski and Adam Kassan will executive produce for 6th & Idaho.
11. Harper Books will publish The New Wilderness on Aug. The author's new novel was longlisted for the 2020 Booker Prize.
The New Wilderness follows a mother who seeks to move her family from the city to land untouched by man after her daughter's health suffers from the ongoing effect of climate change. Cook is slated to write and executive produce the pilot for the series inspired by her book of the same name.

This Week In Music: Kelly Clarkson Says Hello, Eddie Money Bids Farewell

All this as the industry eyed new pots of gold in podcasting and streaming, hi-tech bicycles. The debut of a new TV show by Kelly Clarkson, a farewell to rocker and reality TV star Eddie Money, and news on the sale of the boyhood home of one of arena rock's giants made up some of the headlines in the music industry this week.
“Our goal is to ensure YouTube remains a place where all artists are accurately recognized and celebrated for achieving success and milestones,” YouTube said in a blog post Friday.
And soon, many predict, it may become a very lucrative revenue stream for the music industry. The podcasting universe generates $479 million in yearly advertising revenue in the United States, according to PricewaterhouseCoopers. Witness Disney getting into the business with its new For Scores interview series, or Spotify’s $340 million investment to purchase and ramp up two podcasting companies. PODCASTING MUSIC RIGHTS: Podcasting is booming.
Music publishers have now raised their lawsuit for copyright infringement to $300 million, claiming more songs have been discovered that the bike streams without permission. PUBLISHERS, WE RIDE : Hi-tech exercise bicycle Peloton is facing an onslaught from music publishers.
His “Paaagal” video briefly became the No. Indian rapper Badshah may have sparked the change in policy. But most of the traffic was in paid ads. 1 music video record holder for the first 24-hours, eclipsing boy group superstars BTS.
The raised legal stakes arrived as Peloton is on the eve of an initial public offerings of its stock.
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Instead, organic plays will be the new yardstick of success. YOUTUBE CHANGES MEASUREMENTS: Paid advertising views on YouTube music videos will no longer be counted in the service’s 24-hour tallies.
This week in music:
His death from esophageal cancer at age 70 this week struck those who knew him particularly hard. Money was currently starring in a reality TV show for AXS, Real Money. One of the most beloved stars of all-time, Money was known as unfiltered but always eager to help, particularly with young stars, and asked nothing in return. EDDIE MONEY PASSES: Talk to anyone in the business, and you’ll walk away with an Eddie Money story, typically about his kindness and honesty.
First-week guests included Dwayne “The Rock” Johnson, Chance the Rapper, John Legend, Jay Leno and Ellen DeGeneres. KELLY ON THE TELLY: Grammy winning songstress Kelly Clarkson began a new daytime TV talk show this week. Clarkson will also lean on her “American Idol” roots later this month, bringing in judges Simon Cowell, Paula Abdul, and Randy Jackson, original host Ryan Seacrest (but not Brian Dunkleman) and season one runner-up Justin Guarini.
Publishers claim Peloton has used a total of more than 2,200 unauthorized tunes in the video fitness classes it broadcasts to its bike owners. Songs by The Who, The Beatles, Bruno Mars, Katy Perry and Justin Timberlake are among those alleged to have been streamed.
SHE WON’T BACK DOWN:  Tom Petty’s Ex-Wife Buys His Childhood Home: The Gainesville, Florida Sun says Tom Petty’s ex-wife recently bought his childhood home.
She edged out a fan who also wanted the three-bedroom, two-bath home. The Pettys had two daughters together. Petty died in 2017 at age 66. The 1,300-square-foot house sold for $175,000 on July 31 to Benyo Petty.
The change comes because companies were gaming the system in order to win bragging rights. Buying ads touting the new music videos boosted totals, allowing companies to inflate claims on how many people watched the videos in the first 24-hours, thereby creating the illusion of momentum.

Tom Hanks On Mr. Rogers As An Antidote To Cynical Times: “We Are Allowed To Start Off The Day Feeling Good” – Toronto

Rogers, don't you ever have bad days?'" Hanks said, drawing laughs by adopting Rogers' soothing, soft vocal pattern and twisting his body as if actually practicing a martial art. Hanks, who has been interviewed for decades, as was Rogers, took evident delight in recounting the "jujitsu move" that Rogers would make when journalists asked him questions, a feat depicted in the film. "'Mr.
Particularly with the fact that you have to do this story on a deadline. That must make you feel pretty blue.'"” /> You must have bad days every now and again, too. "He'd say, 'Well, of course I have bad days. That could really put some pressure on someone like you. Is there ever a time when you haven't made a deadline and you felt bad because of it?
"Because it's easy and there's good money to be made at it. "Cynicism has become the default position for so much of daily structure and daily intercourse. Why?" he wondered. It's a great product to sell."
Inhabiting the role of children's TV host Fred Rogers, who forms an unexpected bond with journalist Tom Junod (played by Matthew Rhys), persuaded Hanks that it the film has a message the world could use right now.
Oh, you couldn't figure it out either, huh, Mr. Rogers? We can't either. What are we going to do about that?' You'd have this dialogue in your head with him and you couldn't wait until the next day till this very generous man would come on the screen again and just want to talk to you and figure things out with you and not bombard you with an answer but be present with you. "'OK, what are you talking about? And maybe you wouldn't come up with a conclusion but it's cool that we talked about it, right?"
"That's a cynical treatment of an audience, and we have become so inured to that when we are met with as simple a message as, 'You know what? And we are allowed to start off feeling good. "When Fred Rogers first saw children's programming [in the 1950s], he saw something that was cynical," the star said of early TV shows depicting pie fights and the like. It's a beautiful day in the neighborhood' that we get some sort of slap, a little bit. There's a place for cynicism, certainly. But why begin with it right off the bat?" Acknowledging the "excellent" 2018 documentary Won't You Be My Neighbor? Hanks said director Marielle Heller's film similarly aims to offer an alternative to the often-dispiriting tenor of today's public discourse. …
The film received a warm reception  following its world premiere Saturday night. Tom Hanks led a group of on- and off-screen collaborators on Sony's A Beautiful Day in the Neighborhood keeping the positive vibes going at a press conference at Toronto on Sunday.
Rogers' Neighborhood, which she watched as a child with her younger brother. "It was just calm and it was peaceful and it was like 'Somebody's treating me like I have sense,' you know? Susan Kelechi Watson, who plays the wife of Rhys' character, delivered a compelling two-minute invocation of the unique potency of Mr. "There's this way that he would look through the screen and just talk to you," she recalled.

‘Earthsea’ TV Series Based On Fantasy Books In The Works By A24 & Jennifer Fox

Israel, Esq, and The Bourne Legacy. Her other producing credits include the Denzel Washington-starrer Roman J. Fox is the producer behind the Oscar-nominated legal thriller Michael Clayton and Nightcrawler.
This project is, therefore, a sacred trust and priority for me as well as an opportunity to create an iconic piece of American culture." "She is second only to Tolkien in influence in this genre and before she died last year, she agreed to put her most beloved work in my hands. "Ursula Le Guin is a literary legend with a huge fan base and her work has been translated into practically every written language on the globe," said Fox.
The book series, which has drawn comparisons to J.R.R. Tolkien's Lord Of the Rings saga, is comprised of five novels and eight short stories set in a fantasy archipelago of hundreds of islands, imperiled by those who use magic to gain power and upset its delicate balance. Most of its characters are people of color and the emphasis is on understanding nature and human nature, not possessing power over them.
Fox is producing. EXCLUSIVE: A24 and Oscar-nominated producer Jennifer Fox (Michael Clayton, Nightcrawler) are teaming to develop Ursula Le Guin's acclaimed Earthsea fantasy books for television. A24 is the studio and will finance the TV series project, which will be shopped to networks soon.
Le Guin had given the producer her blessing to turn her work into a series of films before she passed away in January 2018. Fox originally optioned the book series in 2018. An Earthsea miniseries based on the book series, with the teleplay co-written by Le Guin, aired on Sci-Fi Channel in 2004. The adaptation has since been reenvisioned as a television series.
The Earthsea books are an introspective fantasy series that Le Guin began in 1968, with the publication of book one, A Wizard of Earthsea, and finished in 2017, with the final short story "Firelight" published in 2018 in The Paris Review.
I feel very fortunate that, with Jennifer Fox and A24, we have a bedrock of producing and development experience that can bring the sweeping narrative and moral truths of my mother’s work to screen," said Le Guin's son, Theo Downes-Le Guin.” /> "Ursula long hoped to see an adaptation of Earthsea that represented a collaboration between her ideas and words, and the visual storytelling of others.

YES Network Finalizes $3.5B Sale To New York Yankees, Sinclair And Amazon

Streaming has also proven to be a nettlesome challenge — one reason Amazon's involvement is seen as a deus ex machina in the case of YES. Over the past two decades, RSNs have evolved into valuable but complicated media properties. Although they can generate massive in-market tune-in and throw off significant cash to their owners, they also can be problematic in terms of traditional carriage fees.
“This transaction brings the YES Network and all of its popular programming even closer to the organization that inspired its very development,” Yankee Global Enterprises CEO Hal Steinbrenner said in the official announcement. “Along with our partners, we look forward to greatly expanding the way that sports content is delivered and consumed by fans everywhere.”
The partnership got equity investments from three leading financial investors: RedBird Capital, funds managed by Blackstone’s Tactical Opportunities business, and Mubadala Capital.
The 21 other RSNs are now owned by a group of investors including Sinclair and Byron Allen, with the official news of that deal landing last Friday. At $3.47 billion, the transaction is the largest piece of turf in the larger landscape of the formerly Fox-owned regional sports networks unloaded by Disney in the wake of its Fox acquisition. Department of Justice forced Disney to sell off the RSNs in order to avoid antitrust issues given its ownership of ESPN. As a condition of approving the $71.3 billion acquisition of 21st Century Fox assets, the U.S.
The former Fox-run RSNs, for example, are in a carriage dispute with Dish Network. AT&T's DirecTV has never agreed to carry SportsNet LA, the RSN partly owned by the Los Angeles Dodgers in the six years the network has been on the air. At the same time, though, the level of overall pay-TV penetration in the U.S. is lower than it has been in at least 12 years, and many customers cite sports-driven fees when shaving or cutting the cord. Due to the high cost of sports rights and the escalating value of sports franchises overall, RSNs have managed to secure steeper and steeper rate increases.
“Throughout its nearly two decades on air, the YES Network has set the gold standard for regional sports coverage,” Yankees president Randy Levine said. “We look forward to working with our strategic partners and our investors.”
“There are very few sports brands in the world as great as the New York Yankees that offer impressive reach and recognition,” Sinclair CEO Chris Ripley said.” />
In almost every year since its 2002 launch, YES has reigned as the most-watched RSN. The Yankees have this season's best winning percentage in the American League and are favored to get to their first World Series since winning their last title in 2009.
The team now owns 20% of the media property. Prior to the auction process for the 21 RSNs, the Yankees had exercised their right to control their own TV destiny, striking a separate deal for YES.
1 owner of local TV stations in the U.S., has been leveraging its local ad-sales and distribution infrastructure in making an aggressive push into the regional sports business. Sinclair, already the No. In addition to the Fox acquisitions, it struck a deal this year with the Chicago Cubs to jointly launch a new RSN in 2020.
The sale of the YES Network, the regional sports network home of the New York Yankees and Brooklyn Nets, to a consortium including the Amazon, the Yankees and Sinclair Broadcast Group, was finalized Thursday.
While the fate of YES had been widely reported and unofficially confirmed by stakeholders months ago, it was not officially announced until Thursday.

AT&T And Nexstar Settle Carriage Dispute That Blacked Out Stations In 97 Markets

We’re not going to impose those kinds of price increases on our customers. Interestingly enough … our customers, in a world of streaming, are finding other ways to access this content.” “Their opening bid in the negotiations was a 100% increase,” the CEO said, calling that a "non-starter." Rather than accept a steep increase in carriage fees and pass along the cost to customers, he said, “We’re going to have to be resolute. Nexstar, which is moving closer to closing a $4.1 billion to acquire Tribune Media and become the country's top station group, had factored Tribune into its calculations, Stephenson asserted.
Dish Network resolved one long-running dispute with Univision but remains at odds with HBO and the former Fox regional sports networks. AT&T had a fight with CBS stations earlier this summer. The carriage dispute is one of many high-profile flare-ups in the traditional TV bundle of late, as the economics of pay-TV undergo profound change in the era of stand-alone streaming services and dramatically advancing technology. The companies did not release financial terms but said their new multi-year deal will allow the stations to return to AT&T's DirecTV, AT&T TV and U-verse systems.
Last month, AT&T CEO Randall Stephenson had offered some barbed comments about the state of negotiations during the company's quarterly earnings call with Wall Street analysts.
Keith Hopkins, Nexstar's SVP of Distribution, added, “Nexstar’s long-standing commitment is to provide exceptional programming and service to the local communities we serve across the United States and this new multi-year agreement will allow us to continue delivering our stations’ leading network and sports content as well as local news and other programming to AT&T subscribers in our markets."” />
AT&T and Nexstar Media Group, which is poised to become the No. 1 owner of local TV stations in the U.S., have resolved a nearly two-month carriage dispute affecting 120 stations in 97 markets.
In announcing the settlement, the companies said they "regret the inconvenience incurred by customers, viewers and advertisers, and we thank them for their patience, as the new agreement was being finalized."
In Thursday's announcement, AT&T Communications SVP of Content and Programming Rob Thun said the company's customers “want more choice and value and we are pleased to deliver that through this new agreement with Nexstar and its many local stations."

Tubi TV Sets Launch In Australia In First Leg Of International Streaming Expansion

Customers in Australia will be able to access Tubi via Telstra TV, Tubi.TV, or through Samsung TVs, Apple TV, Amazon Fire TV, Google Chromecast and Apple iOS, as well as Android tablets and smartphones. The service will also be available via game consoles like PlayStation 4 and Xbox One.
“We’re excited to offer Tubi in Australia, as the first of many launch initiatives to advance our global footprint,” Tubi CEO Farhad Massoudi said. “We look forward to further activating new audiences who will discover the growing value of free video on demand.”
and Canada. The initial offering will encompass 7,000 movie and TV titles, but will eventually grow to the catalog of 15,000 included in Tubi's service in the U.S.
This year alone, Viacom acquired Pluto TV for $340 million, Sony set joint venture with Chicken Soup for the Soul Entertainment to reboot Crackle, and NBCUniversal unveiled plans for its own AVOD service due out next April. Ad-supported streaming, once a marginal sector, has gained significant momentum of late.
Tubi TV, the top ad-supported, on-demand video service, will launch September 1 in Australia in the first leg of a planned global expansion.
Tubi has rolled out a marketing campaign in the U.S. Many viewers find Tubi via the 25 smart TVs and connected devices it lists as distribution partners and discover they don't need a subscription or pay-TV bundle to use the app. in an effort to counter a surge of subscription rivals to Netflix. In May alone, customers watched more than 94 million hours of programming.” /> It has claimed record growth through the first half of 2019, reaching 20 million monthly active users.
Over the next six months, Dirty Dancing, The Grudge, Requiem for a Dream, Reservoir Dogs, Saw, Traffic and Young Guns will join the fold. Marquee titles slated to be streamable in Australia at launch include 3:10 to Yuma, The Blair Witch Project, Kickboxer and Stranger Than Fiction.

Rain Management Group Adds Chervine Naamani As A Manager

As a dual French and American citizen of Iranian descent, Naamani champions and highlights diverse voices throughout the industry.
“They were a natural fit for me and my clients, and I am looking forward to this next chapter in my career.”” /> “I’m very excited to be joining RMG and help grow their already diverse slate of artists and to work as a manager,” Naamani said.
“We are excited to work with Chervine as we continue to expand Rain Management Group,” COO Rob Wolken said. “Chervine brings a sharp eye for emerging talent and has demonstrated a natural acumen in launching their careers.
He most recently was a literary agent at Buchwald, where he cultivated his roster of writers and directors with in film, TV and new media including Korde Arrington Tuttle (Them: Covenant, Mixtape), Raymond Arturo Perez (Selena) and Omid Ghaffarian, the first person from the Universal Writers Program to continue to develop his script with the studio.
Chervine Naamani has joined Los Angeles-based Rain Management Group as a manager.

WGA Leadership Slammed By Ken Ziffren As Guild Election Nears; Legal Guru Says It Would Have Lost State Case With Big 4 Agencies

Already having accused the current leadership of "electioneering, pure and simple" in the court moves, Goodman challenger Nagy noted today that the growth of streaming services look to upturn to the traditional licensing fee-based residuals model. In his speech, Ziffren predicted that such low residuals and a lack of a metric to firmly determine who is owned what on expanding platforms simply doesn’t see enough cash going into the WGA’s increasingly skint health and pension plans.
With expected emphasis on the numbers, the small screen wealth to be found creatively and financially in the vast libraries that the likes of Disney, Warner NBCUniversal, “maybe CBS/Viacom” and others have was another topic the lawyer touched on – spotlighting a planned profit scheme that the House of Mouse has proposed, or a “bonus” plan, as Ziffren termed it to laughs Sinclair Broadcasting and Bryon Allen’s proposed purchase of the regional assets that the Walt Disney Company was required by regulators to sell off as a part of the multi-billion-dollar Fox acquisition, the arrival of 5G, Sprint and T-Mobile’s stifled union, DISH disruption, participation accounting and the Bones case, EU regulations were also discussed in overview by Ziffren.
Promising to cover “a lot of minutiae” and three or four big topics, Ziffren started of his hour-long remarks with a low key deep dive listing of the industry shifts in the past 12 months such as the solidifying of the AT&T taking over Time Warner and the reunification of CBS and Viacom. Warming up for what was to come, the powerhouse attorney quipped that the re-merger is moving ahead but the mutually Redstone owned parties haven’t “consummated the marriage” yet with official approval, though Ziffren said will “probably go through.”
“If the insurgents, so to speak, are victorious in whole or in part, we may see a reopening of discussion between the agencies, the ATA and the Guild.” “If the incumbent are elected and voted in, we can expect a continuation of the lawsuit,” Ziffren affirmed, as he also dismissed the Guild’s declaration that lawyers and managers could preform the same duties as an agents for writers who have followed union policy and ditched their reps.
“The battle in the Guild right now is those who believe that packing deals are evil, illegal and even subject to RICO provisions,” analyzed Ziffren of the four-month-old clash that the WGA has had in and out of court with WME, CAA, UTA and ICM Partners.
“This matter will now roll past the election so whatever embarrassment the Guild might have suffered for a ruling to dismiss with or without prejudice,” the lawyer claimed of the shift to federal court and that venue’s often snail’s pace.
Laying down parallel litigation, election and negotiations timelines, the Hollywood mandarin told fired up his annual state of the industry remarks with where the labor war over packaging could go and how the coming streaming wars could be a Gallipoli of sorts for the Tinseltown unions.
“Whether it is a strike issue or not for the WGA, only David Young and David Goodman know,” the lawyer added of the Guild’s current top negotiator and the incumbent West Coast Guild president “To me, that’s a strike issue,” added Ziffren, looking towards the 2020 AMPTP film and TV contract negotiations and somewhat echoing words made by Wednesday WGA West presidential candidate Phyllis Nagy today over writers’ residuals.
That effort to have a pivotal dismissal hearing moved from September 5 to past the mid-month ballot counts was rebuffed in Los Angeles Superior Court. A refusal that Ziffren believes prompted the closing down of the state case by the WGA earlier this week. “That was the case they were about to lose in state court, we’ll see how that does in federal court,” he quipped of the Guild’s recent shift in jurisdiction and what he sees as the Davids hopes to outrun the upcoming election clock.
As loaded for bear Disney+, AppleTV+, HBO Max and more prepare to enter the digital fray against Netflix and Amazon, opportunity may be found in how the scribes vote.
Film Czar off the leg hold trap of current residual agreements in his 11th yearly address by for the Beverly Hills Bar Associations’ Entertainment Law division “The Guilds are out to lunch trying to live on the 2% and the studios are making hundreds of millions …off their sister channels, stated the Ziffren Brittenham LLP co-founder and one-time L.A.
“Seeing the handwriting on the wall, two days ago the WGA dismissed without prejudice its state court case against the four agencies and simultaneously filed a counterclaim to the suit that was brought against three of the agencies for an anti trust violations on the part of the Guild,” said Ken Ziffren today of the battle between the Writer’s Guild of America and the Big 4 agencies.
“Step one in figuring this all out will depend on who gets elected by the WGA membership,” the always-circumspect Ziffren told the crowd of peers and eager law students.
“What’s happening the real world today is that every law firm that is transactional film and TV are going over this form, talking to agents and then we’ll attack – and see what happens,” Ziffren taunted in what could be Hollywood 2019 in a nutshell.” />

Kip Addotta Dies: Comedian Appeared On ‘The Tonight Show’, Was 75

He was 75. His family posted on Facebook but did not provide details on his death. Comedian Kip Addotta, who frequently appeared on The Tonight Show, has died.
She says oh my god, get me some toilet paper. He says, what the hell for, he's a half mile away by now!" Addotta wrote, "An elderly couple is walking along when a pigeon flys over and drops one right on the old lady's head.
He captured his career in the autobiography, Confessions of a Comedian.” />
One of Addotta's last Facebook posts this month showed his sometimes bizarre sense of humor.
Addotta's credits in addition to The Tonight Show included The Midnight Special, Don Kirshner's Rock Concert, and the syndicated Make Me Laugh. He also hosted the game show Everything Goes on the Playboy Channel.
In addition, Addotta was featured on the Dr. Demento radio show for his songs Wet Dream and Life in the Slaw Lane.
Born in Rockford, Illinois in 1944, Addotta also appeared as an actor in the films and Bound for Glory(1976) and For da Love of Money (2002) as well as TV's The Larry Sanders Show (1992).

‘Game Of Thrones’ Creator George Martin Claims TV Endings Won’t Influence New Novels

some of [the theories] are right and some of [the theories] are wrong. “I took myself out of all that … They’ll find out when I finish,” he said.
“The very thing that should have speeded me up actually slowed me down. Every day I sat down to write and even if I had a good day … I’d feel terrible because I’d be thinking: ‘My God, I have to finish the book. I’ve only written four pages when I should have written 40.’”
It doesn’t change anything at all … You can’t please everybody, so you’ve got to please yourself,” Martin said. “No, it doesn’t.
No longer can Martin indulge himself in something as mundane as shopping.
Martin also said the magic of fan interaction has vanished for him.
Game of Thrones creator George RR Martin won't change what he plans to write to finish out his book series, even though some possible endings have already been explored on the HBO television show based on his novels.
"I mean, I can’t go into a bookstore any more, and that used to be my favorite thing to do in the world," he said. So you gain a lot but you also lose things.” Now when I go to a bookstore, I get recognized within 10 minutes and there’s a crowd around me. "To go in and wander from stack to stack, take down some books, read a little, leave with a big stack of things I’d never heard of when I came in.
Speaking to The Guardian, Martin said that the TV show version had not been “very good” for him, and said the TV endings won't influence his path on the remaining two novels in the GoT series.
“Because that’s not fun the way it was in the old days. That’s work.” “I don’t want to go to a party where an unending succession of people want to take selfies with me,” he said.
He said he deliberately removed himself from the online complaints and theories about the TV show.
The 70-year-old Martin lamented to The Guardian that the show and his new-found celebrity actually slowed down his writing.
 ” />
“Of course HBO are going to change the whole thing, “ joked Nikolaj Coster-Waldau during that SDCC panel.
An online petition calling for a rewrite on the final season garnered over a million signees, and at San Diego Comic Con last month, the GoT panel began with a plea for civility, so high were passions running against the TV show's creators. Many fans agree with Martin that the endings on TV weren't very good.

WGA Leadership Again Gets Overwhelming Support At Third Membership Meeting This Week

“Lots of support,” agreed another.
“Yay!” was all one writer said, lifting her arms in victory.
“I fully support the leadership,” said another. A similar show of overwhelming support was expressed by members at two earlier meetings this week.
“Damned well!” said another.
After three membership meetings this week, it’s abundantly clear that WGA West members overwhelmingly support the guild's four-month fight with Hollywood’s talent agents and the re-election of the guild’s leadership. So if agents are waiting for a change in the guild’s leadership to end the agency standoff, they may have to wait another year or two.
Related: WGA Opposition Candidate Ayelet Waldman Says She Feels “Unwelcome” In Guild After Latest Membership Meeting
“The endgame is to align agencies’ interests with their clients’. So they better wake up and smell the coffee.” The Big Four agencies are holding out for now, but the guild is not going to back down. Opposition presidential candidate Phyllis Nagy also spoke during Q&As. “She wanted to know what the guild’s endgame was,” said a TV showrunner.
“There was a lot of applause – a lot of support,” a writer said. Other members leaving the meeting expressed similar support for the guild's leadership.
“She was received well,” said a writer who is backing Goodman for president. Nagy, who wants the guild to resume bargaining with the Association of Talent Agents, was treated respectfully at the meeting. We’re united, but we're not a dictatorship.” “We respect dissent.
The guild's battle with the agencies has been going on since April 13, when the WGA ordered all of its members to fire their agents who refuse to sign the guild's Code of Conduct. More than 7,000 writers have done so, but so far, only three midsize agencies have signed: Verve, Buchwald and Kaplan Stahler.
“I fully support the leadership,” said another.
Adam McKay Urges WGA Members To Support Battle With Agencies: “Our Strength Comes Entirely From Staying United”” />
Related: WGA Opposition Candidates Accuse Leaders Of Electioneering At Guild Meeting; David Goodman Calls It “Honest Conversation”
“Absolutely,” said another.
Goodman received a standing ovation after his remarks today about the agency campaign, which seeks to end packaging fees and agency affiliations with related production entities. WGA West president David A.
“There is overwhelming support,” added another.
“People are still in support of the administration,” said a writer leaving today’s meeting at the Writers Guild Theater. “I think it’s strong support.”
“Almost everyone’s supporting what the leadership is doing,” said a screenwriter who’s backing the leadershipin the election and the agency campaign.

Friday Ratings: ‘American Ninja Warrior’ Again Tops The Night For NBC

That was followed by the season premiere of What Would You Do? At ABC, a special celebrating WE Day, an annual series of stadium-sized youth empowerment events, scored an 0.3/2 and 1.71 million. which did an 0.5/3 and 2.57 total audience. That's down two-tenths from the year before in demos and audience size.
The CW saw its Masters of Illusion at an 0.2./1 and 0.70, slightly up. This week's The Big Stage held firm at  0.1/1 and 0.58, while a rerun of Hypnotize Me looked into your eyes and managed an 0.1./1 and 0.50 while clucking like a chicken.
Ninjas are known to be stealthy, and so it is that American Ninja Warrior has sneaked up on the TV world to dominate the Friday ratings over the last few weeks.
The rest of Friday's programming was reruns, repeats and encores.
Admittedly, the numbers come as the night is dominate by reruns (including American Ninja Warrior itself). On the evening, ANW scored an 0.6/3 (up a tick from last week) and 2.66 million to take top honors in the demo wars. But still, the athletic competition may be winning over some new fans for its faster, higher, stronger format.
That proved to be a strong lead-in for a Dateline rerun, which scored an 0.5/3 and 3.05 million audience, leading the peacock network to tie with Fox for the evening's top honors, albeit numbers that may fluctuate once football preseason is factored out early next week.
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Fox CEO Lachlan Murdoch Torches Locast “Theft” On Q4 Earnings Call

Supporters of Locast, which was founded in 2018, say it complies with copyright laws permitting the "boosting" of local TV signals.” />
Several pay-TV distributors, notably AT&T and Dish Network, have supported Locast financially and pointed customers to it during recent carriage battles with programmers. Tensions grew over the service last month when AT&T clashed with CBS, whose stations in 14 markets went dark amid a contract impasse.
CEO Lachlan Murdoch ended his prepared remarks at the top of Fox Corp.'s earnings call with Wall Street analysts to blast Locast, the organization being sued for streaming local TV signals. Fox Corp.
"We’re confident in the merit of our claim against Locast," Murdoch said. "The Locast theft is, of course, a validation of the irreplaceable value of our brands and the content that they carry."
Last week, the Big Four broadcast networks (including Fox) collectively filed a lawsuit in New York targeting Locast, which carries streams of local stations. The case is something of a repeat of the Supreme Court drama over Aereo earlier this decade.
"Simply put, Locast is a rogue streaming service violating the copyright laws for commercial gain, nothing more," Murdoch said. "Locast’s claim to be a non-profit that is not operating for any direct or indirect commercial advantage is absurd. It operates for the clear commercial benefit of the corporations that support it."
Earlier this summer, AT&T donated $500,000 to Sports Fans Coalition NY, the entity that operates Locast. The telecom giant said at the time that its donation would "support SFCNY’s mission to make free broadcast content available to consumers and offer them more choice.” It had integrated Locast into DirecTV satellite and U-verse cable set-top boxes, which makes it easier for viewers to access.

Barry Coe Dies: ‘Peyton Place’ & Mr. Goodwrench Actor Was 84

In lieu of flowers, the family suggests a donation in his name to Habitat for Humanity.” /> Coe is survived by his wife of 60 years, Jorunn Kristiansen Coe; three children and their spouses; and 10 grandchildren.
Coe's death from the bone marrow disease myelodysplastic syndrome was announced by his family.
A resident of Sun Valley, ID, in later life, Coe began his Hollywood career with small, uncredited roles in such mid-1950s fare as How to Be Very, Very Popular, D-Day The Sixth of June and TV's Cheyenne, moving on to credited roles in the 1956 Elvis Presley hit Love Me Tender and TV's The 20th Century-Fox Hour.
From the late 1970s to early 1980s he appeared as the Mr. Goodwrench character in TV commercials for General Motors.
He was a series regular on ABC's short-lived 1961 journalism drama Follow the Sun, and the following year appeared in an episode of Bonanza. In 1960, he shared a Golden Globe Award for most promising male newcomer with Troy Donahue, George Hamilton and James Shigeta. According to the website Bonanza: Scenery of the Ponderosa, Coe was being considered as a replacement for series regular Pernell Roberts, but the idea was nixed by series co-star Michael Landon, who, according to the site, "was jealous of Coe and also considered him to be competition."
Goodwrench character in commercials that ran in the 1970s and '80s, died July 16 in Palm Desert, CA. Barry Coe, who starred in the 1957 film Peyton Place, was considered as a possible series regular on Bonanza and became familiar to a new generation of TV viewers as the Mr. He was 84.
Later credits throughout the 1970s included a role on Bracken's World, and appearances on Mission: Impossible, The Mary Tyler Moore Show, Arthur Hailey's The Moneychangers and, in his final credited appearance, 1978's Jaws 2.
Cobb in that year's But Not for Me. His breakthrough came in 1957's Peyton Place, in the role of Rodney Harrington. Although the character would be played by Ryan O'Neal in the subsequent TV adaptation, Coe was an increasingly popular young actor, co-starring in Raoul Walsh's 1959 A Private's Affair with Sal Mineo and Barbara Eden, and with Clark Gable, Carroll Baker and Lee J.

SAG-AFTRA President Gabrielle Carteris And Challenger Matthew Modine Accuse Each Other Misleading Members As Election Heats Up

Membership First, which opposed SAG’s merger with AFTRA in 2012, was once the guild’s ruling faction. They left SAG without TV and theatrical contracts for over a year, resulting in earnings and benefit contribution losses of over $100 million. So, all these years later, those loses are still being dealt with.” And those massive losses didn’t just hurt everyone working under those contracts. “Membership First is a failed leadership,” Carteris said. “They created a very large and very negative impact. It also damaged our benefit plans and our union as a whole. They failed to negotiate numerous contracts, and the failure they most want to distract you from…is their disastrous handling of the TV and theatrical contracts when they were last in charge.
When I first announced my candidacy, I was having breakfast in a restaurant and a man sat down at my table and said, ‘You know you’ve already lost. You think they’re going to allow a man talking about transparency and morals to lead the largest entertainment union in the world? I’ve always loved a good David and Goliath story.” See his video here. “We know that to succeed in this business, we have to first conquer our fears. Modine, accusing Carteris of campaigning on “the politics of fear,” acknowledged in his video that he is the underdog. Never forget that this is a multi-billion dollar industry. You’re fighting samurai swords with butter knives.’ And then he left.
Ballots went out on July 29, but Modine’s camp says that “social media is filled with many who have not received their ballots.” SAG-AFTRA president Gabrielle Carteris and challenger Matthew Modine have released dueling videos accusing each other of attempting to mislead the union’s members as they vote in the guild’s ongoing election.
Two other candidates – Abraham Justice and Queen Alljahye Searles – are also in the race.” /> 28. Jane Austin, the union’s current secretary-treasurer, is also running for president as an independent. Ballots will be counted on Aug.
Instead of answering the questions, she has responded with false and misleading accusations.” “Our union’s current leader, Gabrielle Carteris, has been asked a number of legitimate questions that concern the welfare of our members. “From the beginning of this campaign, my goal has been to make sure every member of the union is represented with honesty and integrity,” Modine said in his latest video.
Those contract wins haven’t just provided years of pay increases and improved working conditions across our union. Carteris, running on the Unite for Strength slate, said “It’s remarkable to me to hear them criticizing out staff, who’ve been an essential part of the many successful and frequently ground-breaking contracts under our leadership. They’ve also put our benefit plans on a more secure footing, thanks to the substantial gains in employer contributions we’ve bargained.”
Another is what he’s called the “repugnant” disparity in pensions between the union’s members and its staff. One of the issues he wants to discuss with Carteris is what he views as the guild’s inadequate response to sexual harassment and assault in the wake of the Harvey Weinstein scandal.
That’s a distraction no one should fall for.” And for them to attack our staff and elected leaders who cleaned up their mess, and who have consistently taken actions to put our union and our benefit plans on a strong, prosperous path – shame on them. They damaged our union and endangered our benefits. Membership First, she said, “didn’t just hurt individual members.
Modine, who’s running at the head of the opposition faction’s Membership First slate, said he’s “happy to meet with Ms. Carteris in an open forum to discuss these issues because our membership deserves a good-faith conversation and answers to the questions.”
Some are blatant attempts to mislead you, and others are desperate attempts to distract you. And that is not a boast. Our staff pensions help us attract and retain the top talent, who are an essential part of SAG-AFTRA securing the industry-leading contracts you rely on. These are dedicated professionals who work every day to strengthen the working lives of our members, and their contributions are a key reason that earnings under our contract are at an all-time high. It’s a simple fact.”  See her video here. One of those is Membership First’s attack on the pensions earned by our union’s staff, and it’s right out of their usual playbook. By focusing on an issue that actually has a positive impact for members, they’re hoping to distract you from their terrible record of failures that seriously hurt our union. “Well, it’s union election time,” Carteris told members in her video, “which means your email inbox and social media accounts are filling up with all sorts of attacks.
In an email accompanying her video, she also touted the many other gains achieved during her presidency, including “over $1 billion in game-changing contracts”; the new commercials contract; the new Netflix contract; organizing Telemundo; confronting sexual harassment in the workplace; record high member earnings, and the successful end to the nearly one-year strike against the video game industry; and the 10-month strike against the Bartle Bogle Hegarty ad agency.

China’s ‘Ne Zha’ Hops Past ‘Zootopia’ As Market’s Biggest Animated Film Ever While Local Box Office Rebounds & TV Faces Communist Party Haircut

Back on the TV side, the new broadcast measures will mean that the NRTA must review series as soon as possible to make sure they are “consistent with the tone of the commemorations,” the Global Times said. They have to treat every day as a test.” Citing state media, the SCMP says the Deputy Director of the Communist Party’s Propaganda Department and head of the NRTA, was quoted as telling a meeting with censors they must “stand on high political ground to vet every television episode, every documentary and every cartoon to make sure every word carries weight, every second [of the footage] carries a political message. The South China Morning Post reports that even cartoons could be in the line of fire.
Combined, the China summer, even minus the typical July blackout, may swing in the Middle Kingdom's favor (NB: we have heard inklings of ticket purchasing by those involved in certain films, but have not yet been able to confirm). Instead, momentum has been slowly building with early July release The White Storm 2: Drug Lords now at about $188M and Deng Chao's family drama Looking Up at $119M+.
As the Middle Kingdom gears up for the 70th anniversary of the founding of the People’s Republic on October 1, regulators have banned "overly entertaining" costume and so-called idol dramas, local media has reported. Meanwhile, on the TV side of things, Chinese censors are turning their heightened attention.
The ticketing platform is now predicting a lofty RMB 4.49B finish ($647M) which would see it exceed Avengers: Endgame's RMB 4.241B — though Moayan is known to shift its projections. Social scores have been through the roof, with a 9.7 on Maoyan. Ne Zha had previewed early, and its midweeks, after the debut-in-earnest this week, were very strong.
Directed and written by Yang Yu (aka Jiaozi), Ne Zha is China’s first 3D animated feature released in IMAX (and set records in the format last weekend). The fantasy from Enlight Coloroom Picture, Cocoa Bean Animation and October Culture Animation, is based on an ancient myth about the son of a deity who defies his fate to become a hero and defender of the innocent.
The previous film in the Hong Kong action series did about $88M in 2016. Another potential winner this summer could be Line Walker 2 on August 7 which is Chinese Valentine’s Day.
The PRC has, overall, been on a push to maintain a positive image at home and ensure that things run smoothly in the run-up to the October 1 anniversary. As we’ve detailed before, that appears to include pulling war epic The Eight Hundred off of its July 5 release date, despite its commercial potential, because it was sending a political message that was not acceptable to key members of the Chinese military. President Xi Jinping has talked in speeches about the problems of the external environment and the need to tighten ideological control domestically so that everyone is on the same page of core socialist values.
1 movie of 2018 at $576M, The Bravest has made RMB 295.8M through today, per Maoyan, but the forecast is lower than Ne Zha at RMB 935M. Meanwhile, previews began last Sunday for what is primed to be another big local hit of summer, The Bravest. Cited by some as this year's Operation Red Sea, which was the No.
But China has rubber-stamped a wide number of Hollywood movies this summer; hedging perhaps against what they knew was tricky. Up to now, the censors’ crackdowns have been largely focused on local content, with the exception of the Game of Thrones finale which did not air as scheduled in May. HBO said the culprit was the trade dispute.
President Donald Trump on Thursday threatened to impose tariffs on another $300B worth of Chinese imports. Chinese news outlets today have largely led with a response from the Middle Kingdom’s Ministry of Commerce which said the giant nation strongly opposes Trump’s plan “and will have to take necessary countermeasures to defend its interests.” It also falls as U.S. The NRTA directive comes amid a political crisis in Hong Kong with escalating protests that began over an extradition bill which would see suspects sent to mainland China.
Disney's The Lion King through Thursday is at RMB 812M ($118M). Currently, Sony/Marvel’s Spider-Man: Far From Home is the highest-grossing Hollywood movie of the season, at RMB 1.41B ($205M) and has been granted an extended release. Could Chinese films ultimately take the majority of the summer share? It’s China, so who knows?
It sees a group of Chinese firefighters struggle to contain a huge fire after an oil pipeline explodes and is based on real events that took place in Dalian in 2010. Directed by Tony Chan and produced by Andrew Lau, this is the first film in Bona’s China Pride Trilogy. The action rescue film released today, The Bravest was tied to Army Day, which celebrates the founding of the People’s Liberation Army, and has a 9.6 on Maoyan.
In September, China is expected to tighten up as the 70th anniversary of the founding of the Republic approaches on October 1.” />
They focus on “the different stages of the Chinese nation's struggle for a brighter future and sincere paeans toward the motherland, the people and heroes.” Citing the Chinese-language Beijing News, the State-backed Global Times reports that China’s National Radio and Television Administration has curated a list of 86 classic patriotic TV series to air over the next three months.
One of the programs, Diplomatic Situation, focuses on China's diplomatic achievements and struggles, from the birth of the People’s Republic to former leader Deng Xiaoping's visit to the U.S., and negotiations between China and the UK on handing back Hong Kong to its motherland.
Per local reporting, the Ne Zha gross through Friday is RMB 1.72B ($248M) versus the Disney film’s RMB 1.53B ($220M at current rates, $236M historically). After what began as an upside-down summer for homegrown titles in China, the box office may be primed for a rebound. Last weekend, local movie Ne Zha set opening records for an animated title, and today passed Zootopia as the biggest toon ever in the market.
The Universal title began overseas and domestic rollout this week and appears to have dodged a bullet from the local competition by landing an August 23 date in China. Which way the balance swings could depend on Fast & Furious Presents: Hobbs & Shaw which debuts at the end of August.
But Ne Zha isn’t the first title to score with local audiences who were deprived of such likely hits as The Eight Hundred, Better Days and The Last Wish over the past two months. Each of those movies was abruptly pulled from their summer release dates with censorship believed to be the culprit.

Director Maggie Kiley Inks Overall Deal With Warner Bros TV

Under the pact, Kiley will render director and executive producer services for the studio, in addition to developing new TV projects for broadcast, cable and streaming services. EXCLUSIVE: Maggie Kiley, who directed the pilot for the CW's new series Katy Keene, is expanding her relationship with the studio behind the project, signing a new, exclusive, multi-year overall deal at Warner Bros TV.
Martin's Nightflyers for Syfy/Netflix. Her other TV work includes Chilling Adventures of Sabrina for Netflix, Marvel's The Gifted, the CW's Riverdale, Netflix's Insatiable, YouTube's Impulse and George R.R. She collaborated with Murphy on her debut episode of Scream Queens as well as American Horror Story: Cult and 9-1-1. An alum of diversity programs such as Fox Directors Lab, Film Independent’s Directing Lab and WeForShe, Kiley made the transition to episodic directing following her selection in Murphy's Half Initiative.
Kiley, the first participant in Ryan Murphy’s Half Initiative, recently directed the pilot episode for Riverdale spinoff Katy Keene for showrunners Roberto Aguirre-Sacasa and Michael Grassi and Warner Bros Television/Berlanti Productions, which was ordered to series at the CW. Her other credits include the anthology series What/If, starring Renée Zellweger, for Netflix, and this year’s musical episode of Riverdale featuring songs from Heathers: The Musical.
Kiley is repped by CAA and attorney Adam Cooper.” />
Her award-winning short Some Boys Don't Leave starred Jesse Eisenberg and played at more than 50 festivals, garnering awards at both Tribeca and the Palm Springs International Shortsfest. Soon after, Kiley received the Panavision New Filmmaker Grant for her debut feature, Brightest Star, starring Chris Lowell and Academy Award-winner Allison Janney, and released by Gravitas. Kiley, who began her career as an actress at Off Broadway’s Atlantic Theater Company and in films for James Gray and Andrew Jarecki, came up as an emerging director via American Film Institute’s prestigious Directing Workshop for Women.

Michele Mulroney And Evette Vargas, Candidates For WGA West Secretary-Treasurer, Address Guild’s Fight With Agencies

“I’ve never worked for one of the agency-based production companies. But when I heard countless first-hand horror stories of packaging deals where an agency out-earns their own client, or where deals have been blown up over packaging fees, when I hear about clients not being submitted for shows where their agency has the packaging fee or not even being told about an offer their agency received on their behalf because it doesn’t fit into the agency’s packaging plans…I knew I needed to stand with my fellow writers and work through this together, as this Guild has done countless times, to my benefit, throughout its history.” “I’ve never been part of a package,” Mulroney wrote. Like many of you, I really liked my agent.
In its place, the guild has implemented its own Franchise Agreement, which would end packaging fees after one year and prohibit agency affiliations with related production entities. Michele Mulroney and Evette Vargas, in their candidate statements for WGA West secretary-treasurer, addressed the guild’s ongoing battle with the talent agencies to replace the old Artists’ Manager Basic Agreement.
Seeing the ways our members are connecting and looking out for one another is nothing short of inspiring. Mulroney wrote that “As part of a team of board members, I’ve helped to get tools like the Staffing Submissions System, the Weekly Features Memo, and the Staffing and Development Platform on their feet to assist members during and well beyond this campaign. It has only deepened my belief in what we can accomplish when we stand together.”
It’s uncharted territory. And as with any Guild action – even though this campaign does not require a work stoppage – it impacts every member differently and for some the struggle is more acute than for others. “I realize that for some members, this is pretty much a single-issue election, so let me touch on the AMBA Campaign,” Mulroney wrote. So it stands to reason that nothing about this would be easy. We are addressing deeply entrenched practices involving unknowably large revenue streams on which some agencies have come to depend. “Let’s be real: it’s tough. I promise you, this is absolutely not lost on me and I will continue to do all I can to support you.”
What I will bring to the boardroom is a fresh perspective, out-of-the-box thinking, and unwavering leadership. Vargas, whose TV writing credits include Dark Prophet, said she’s running for secretary-treasurer “because I know how many voices in our Guild are not being heard and see an opportunity to make an impact in writers’ lives, one that will reach all corners of our membership at all stages of their careers.
Mulroney, whose screenwriting credits include Power Rangers and Sherlock Holmes: A Game of Shadows, said that “On the issue of agency-based production companies: if we do nothing now, in five years, do we really want to be negotiating the terms of our MBA with our own agencies? This is a real existential threat that affects screenwriters and TV writers alike.”
Serving as an AMBA Captain has filled my heart. Interestingly enough, messaging is something many writers feel has not been as effective as it should. I have shared in their ups, downs, fears, and tears and have learned so much by being present in their journeys. If I am elected, I will focus on growing the Captains Program. As an AMBA captain, Vargas said: “I have 142 writers on my team and I both respect and enjoy every one of them. Messaging is a strength that I will bring to bear in office.” The most important element of the entire AMBA Captain gig is Messaging—succinct, powerful, clear, honest and consistent messaging between our Guild’s Leaders and our Guild’s members.
Ultimately, our 2020 Pattern of Demands comes from you. I very much doubt that that the AMPTP is looking at us and thinking we’re weak, that we’re pushovers who’ll settle for crumbs. We know what we’re up against: mega-mergers, dwindling back-ends, shorter seasons, shrinking staffs, attrition in screen at the studio level, 30-week mini-rooms, stagnating salaries, the epidemic of free work. Quite the opposite. Looking ahead to next year’s negotiations with management’s AMPTP for a new film and TV contract, Mulroney wrote that “One of the toughest things every three years is getting the membership to engage. Your priorities must be our priorities. We’re way ahead on that front with the high level of discussion and debate currently going on.
Vargas, who’s served as co-chair, vice-chair and co-vice-chair of the guild’s Latino Writers Committee, said that “Representing a culturally diverse America and creating equal opportunities for all writers, especially writers of color and women, is a deep-seated passion. No longer can diversity be a conversation; we must take action. If I win, I will be a loud voice advocating for creating equal opportunities for all writers; equal pay for all writers; equal opportunity employment in writers rooms; and encourage showrunners, studios and networks to hire more diverse writers and bump them up.”” />
Vargas, an AMBA Captain in the ongoing battle with the agencies, which is now in its 105th day, wrote: “I will never claim to know more about any WGA issue than I actually do, and as someone who has not been privy to these meetings, I would not presume to guess how we are going to get out of the ATA WGA dispute. Whatever the next steps will be in resolving the three primary issues of Packaging Fees, Affiliate Production, and Contract Sharing, we must pursue a new contract with agencies that gives us full transparency, so that writers have the power to make the most informed decisions about their careers.” But what I can say is that I know what it feels like to be outside of those meetings, and not get sufficient or accurate information to make a decision about my own career. The existing system was doing harm, our Guild sought to take steps to fix it, and I voted in support of the Guild’s action.
“In this shifting media landscape, many writers are examining the present course of their careers and are trying to decide which direction will be most beneficial. Similarly, many of us are looking at this election, and the current labor action, in the same light, wondering if we should stay the current course and how we can bring differing perspectives to the table. In me, you will always have a representative who believes there is room for new ideas and I will communicate those options before putting them into action.”
As a board member and a member of the guild’s agency negotiating committee, Mulroney wrote: “I remain committed to negotiating a fair agreement with any of our agency partners; one that supports our right to proper fiduciary representation. I am committed to keeping open lines of communication with all of you, hearing your ideas, needs, and concerns.” I’m committed to constantly examining and refining our strategy as the campaign evolves and to supporting compromise where it makes sense.
We must build upon these tools, develop new ones and I will utilize my tech background to support this effort.” Vargas noted that “the Guild itself is in a position to become an incredible resource for finding talent. We have begun doing this by creating and enhancing tools, like Find a Writer, Script Submission System, TV Development Memo and Feature Development Memo. I myself have booked pitch meetings from using the TV Development Memo, but we can’t stop here. These tools work.
And it’s not gonna write itself. But as our opportunities increase, we must make sure our compensation does too. Which is where our leverage comes in. (As evidenced by the swift deal we were able to close with Apple under more favorable terms than our current MBA.) With new platforms springing up all over town and the competition for streaming supremacy heating up, that means more jobs for writers. Now, as much as ever, it’s about protecting salaries and working conditions.” “But we also know that content is queen.

eOne Sets Mark Gordon’s Transition To Producing, Formalizes Film & TV Leadership

The continuing support from Darren to invest in high-quality content will allow us to build on the strong foundation we have laid in a market where the global appetite for premium content is voracious.” Added Gordon, “I’m proud of what we have built together over the past four years and I look forward to continuing my incredibly successful relationship with eOne.
Steve Bertram, eOne’s President of Film & Television, will continue to lead the Film & Television business, overseeing day-to-day management of the entire division, working closely with Peter Micelli, Chief Strategy Officer, Film & Television and Nick Meyer, President, Film.
The U.K.- and Canada-based film and TV company then acquired the remaining 49% of The Mark Gordon Co. for $209 million in January 2018 when Gordon was named eOne president. in 2015 for $133 Million. EOne originally acquired 51% of the Mark Gordon Co.
Entertainment Oner has finalized Mark Gordon's exit as president and his transition to a multi-year producing deal with the independent studio.
We hear the impetus for the chance were some off-the-cuff remarks Gordon made at a company presentation earlier this year, which drew complaints. Within months, there were indications that the prolific producer may not be a good fit for a corporate executive job at a public company.
In his previous position at eOne, former top CAA TV lit agent Micelli oversaw eOne’s television and digital content businesses and will set the TV strategy, including sourcing potential M&A opportunities, reporting to Gordon and Steve Bertram, President, Film, Television and Digital.
His small screen successes obscured movie credits that include Saving Private Ryan. Gordon came to eOne after generating such TV hit shows as ABC’s Grey’s Anatomy, Showtime’s Ray Donovan and Criminal Minds at CBS.
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We believe our position in the market will be even stronger with Mark solely focused on creating content for eOne and look forward to working together for years to come.” “In today’s rapidly expanding market, content has become the greatest differentiator and Mark Gordon is one of the best content producers in the business," eOne President and CEO Darren Throop said. "Our shift towards content production has continued to bear fruit and position eOne for ongoing success across film and television.
Gordon was under an employment contract and eOne had made a substantial investment in him, so the company and Gordon have been hammering out a deal to parlay his contract into a producing pact. It would allow him to refocus on development and producing, which he had excelled at under his own banner.
Gordon and Entertainment One also generated the Aaron Sorkin-directed feature drama Molly’s Game, which starred Jessica Chastain and Idris Elba. Shows from eOne have included Designated Survivor on Netflix, the Nathan Fillion-starrer The Rookie on ABC and the upcoming Deputy on Fox.

HBO’s Casey Bloys On The Future Of ‘Deadwood’ – TCA

Bloys was responsible for getting all these stars aligned and finally pulling off the movie, which now has been nominated for two Primetime Emmys, for David Klein's cinematography (in a limited series) as well as outstanding TV movie.” />
Really, will there be more Deadwood? While all signs point to the fact that Al Swearengen died at the end of Deadwood: The Movie, director Daniel Minahan told us earlier this summer that point can be debated.
Today at the summer TCA press tour, HBO programming president Casey Bloys didn't specify another season or movie for the Western series when asked about one. However, he did say "I can't imagine doing Deadwood without (creator) David Milch."
Part of that long wait had to do with the fact that some Deadwood alums saw their careers blossom: Ian McShane in movie franchises like John Wick, Pirates of the Caribbean and Kung-Fu Panda, Timothy Olyphant in TV series like Justified and Santa Clarita Diet, and John Hawkes who was Oscar nominated for his supporting actor role in Winter's Bone.
Deadwood was canceled after its third season in 2006 amid financial dispute between HBO and co-producer Paramount and declining ratings. But fans wanted more. Milch couldn't easily pull off a movie with indie financing as he didn't own the IP, so it took 13 years to mount the production.

Netflix Earnings Letter Takes On Streaming Rivals, Loss Of ‘Friends,’ ‘The Office’

The company's quarterly letter to shareholders included several assertions that the company is well-positioned despite an onslaught of new rivals coming later this year and in 2020.
The innovation of streaming services is also drawing consumers to shift more and more from linear television to streaming entertainment." "Over the next 12 months, Disney, Apple, WarnerMedia, NBCU and others are joining Hulu, Amazon, BBC, Hotstar, YouTube, Netflix, and many others in offering streaming entertainment," the letter noted. "The competition for winning consumers’ relaxation time is fierce for all companies and great for consumers.
Losing popular shows like Friends and The Office to WarnerMedia and NBCUniversal, respectively, won't harm the company's long-term prospects, the letter added. Not having to pay hundreds of millions to retain off-net sitcoms also means the company can invest in more originals. The push toward originals and away from licensed fare has been under way "for many years," Netflix's letter said.
The company also rebuffed the oft-speculated notion that it might consider implementing an ad-supported tier in order to shore up its finances.
"From what we’ve seen in the past when we drop strong catalog content (Starz and Epix with Sony, Disney, and Paramount films, or 2nd run series from Fox, for example) our members shift over to enjoying our other great content." "We don’t have material viewing concentration as even our largest titles (that are watched by millions of members) account for only a low single digit percentage of streaming hours," the letter said.
Even so, the company sees plenty of room for improvement, given that it accounts for 10% of total customers' total TV time.
subscriber trends in the period, sent the stock down sharply after hours and raised more questions about the competitive landscape. But Wednesday's glaring miss of subscriber targets, and the complete flattening of U.S. Netflix's second-quarter results have historically been softer than in other periods.
We believe we will have a more valuable business in the long term by staying out of competing for ad revenue and instead entirely focusing on competing for viewer satisfaction."” /> "That remains a deep part of our brand proposition; when you read speculation that we are moving into selling advertising, be confident that this is false. "We, like HBO, are advertising free," the company said.

Disney Unplugs FX Plus Subscription Service After Fox Merger, Hulu Consolidation

Earlier this decade, FX struck a lucrative output deal with Amazon Prime Video for past seasons of its shows, including The Americans. In today's streaming-centric landscape, sending viewers elsewhere is anathema to building engagement.” /> Promos during commercial breaks of the show directed viewers to Amazon if they wanted to get current on the show.
If you subscribe through your TV provider, your TV provider will discontinue billing you for the service,” the company wrote in a note posted on the site. “There is no need to cancel your subscription.
One of the longtime limiting factors for FX versus premium cable and streaming rivals is being able to provide full-season stacking of episodes to enable viewers to catch up. The cable programmer also has to provide linear programming that moves the ratings needle and satisfies advertisers.
The FX+ subscription service is winding down operations, a move related to Disney absorbing Fox, taking control of Hulu and planning an aggressive rollout of its long-awaited Disney+ service in November.
The catch was that its $6 monthly fee had to be tacked onto an existing pay-TV subscription. Similar to basic-cable competitor AMC's subscription offshoot AMC Premiere, FX+ was intended as a way of enhancing the experience for viewers by delivering an ad-free experience.
"It really expands the dimensions and what we can do.” “That’s really exciting to me, that FX programming will now be on a quite widely distributed streaming system with an ad-free option," Landgraf said.
FX has never revealed subscriber numbers for FX+, which launched in 2017 via Comcast and later added Cox as a pay-TV partner. At Disney's May upfront in New York FXNetworks president John Landgraf said having Hulu in the mix gives FX a natural distribution outlet. Hulu can make FX shows available without ads.
Current subscribers can view past seasons of FX and FXX originals on the FXNow app or online via FXNetworks.com, but only through August 20. According to a message on the service's website, it will cease being available on August 21.

‘Stranger Things 3’ Racked Up 26.4 Million U.S. Viewers In Its First 4 Days, Per Nielsen

viewers watched all 8 episodes of the season on July 4, the day of release. The season’s first episode over four days had 19.2 million U.S. As far as binge-viewing, Nielsen said 824,000 U.S. viewers in the average minute, compared with the Season 2 kickoff, which had 17.7 million.
As it gets set to release second-quarter numbers next week, Netflix is eager to alter the narrative from recent news that widely viewed mainstays like Friends and The Office are soon leaving the platform. For Netflix, which is looking to attract members in 200-plus countries, the U.S. Even so, the latest Nielsen numbers attest to the streaming giant having built its first bona fide franchise. is but one key piece of the puzzle. Plenty of other Netflix originals have been popular and award-winning, but the all-out marketing and merchandising blitz behind Stranger Things has broken new ground for the company.
Globally, per Netflix, 40.7 million household accounts had watched the show as of July 8, with more than 18 million having watched the whole season.
That's also a record for a streaming show since Nielsen started sharing its SVOD Content Ratings in 2017. in its first four days. Netflix released its own numbers for the third season of Stranger Things, declaring it an all-time hit, but now Nielsen metrics for U.S. viewing say it reached 26.4 million unique viewers in the U.S.
Netflix's own figures were more multi-platform and global. TV sets only (across set-top boxes, smart TVs and connected devices), so mobile, laptop and tablet viewing not counted. The Content Ratings are derived from U.S. Even so, they tell a fairly similar story.
Here is a table with more complete viewing stats:” />
About 90% of the activity was generated by owned accounts associated with the show, Nielsen noted. On social media platforms, Nielsen said there were 18 million interactions related to the new season of the show — 82% of them on Instagram, 16% on Twitter and the remaining 2% on Facebook.
viewers. Covering the holiday weekend, from Thursday, July 4, through Sunday, July 7, the show's average minute audience was 12.8 million U.S. That's a 21% increase from Season 2, which pulled 10.6 million.
Speaking of July 4, the average minute audience on that single day was 8.9 million, better than the comparable opening-day number of 7.7 million for Season 2.

Phil Lord & Christopher Miller Tap Aditya Sood To Spearhead Growing Film Ambitions As Studios Court Them For Overall Movie Deal

Whether it’s re-imagining franchises or finding gold in material that no one else can spot, I can’t think of more creative, funnier or better humans to work with than these two guys.” Said Sood: “I couldn’t be more excited to join forces with Chris and Phil.
Aside from their unpleasant foray on Solo: A Star Wars Story, is there a team of producer-directors who've hit on movie franchise launches more consistently than these guys? In addition to Artemis at Fox/Disney, the duo will direct the live-action tentpole The Last Human, which Sony acquired in a highly competitive auction. They're repped by UTA.” />
This comes after the duo set their TV operations at Sony Pictures Television in an epic-sized five-year deal last April. Later this month, they will meet with all the major studios before deciding where to make their first overall movie deal. EXCLUSIVE: Phil Lord and Christopher Miller have hired well regarded production executive Aditya Sood to become head of film for their Lord Miller banner. The move to secure the former Genre Films president comes at a key moment for filmmakers coming off the Oscar-winning Spider-Man: Into the Spider-Verse.
The three have been close friends for nearly 25 years since Miller introduced Sood and Lord during a college trip to Italy. Miller first met Sood when they were 6 years old, when they began making films together. The Sood hiring seemed destined to happen at some point.
Prior to his Genre run, Sood ran Walter Parkes and Laurie MacDonald's production company at DreamWorks and was VP Production at Warner Bros Pictures. He started his career at New Line Cinema and DreamWorks, and later worked as a Story Editor for producer Mark Johnson.
The prospect of landing Lord Miller into an overall deal for features understandably has multiple studios hot and bothered. Their film projects have grossed in excess of $3.3 billion with hits that include Cloudy With a Chance of Meatballs and its sequel, 21 Jump Street and its sequel 22 Jump Street, The Lego Movie franchise, including the sequel Lego Movie 2: The Second Part and spinoffs The Lego Batman Movie and The Lego Ninjago Movie, followed by Spider-Man: Into the Spider-Verse.
Projects that Sood produced at Genre grossed over $2.7 billion in global box office. He is also producing with Kinberg Artemis, an adaptation of the Weir novel that has Lord & Miller attached to direct. Sood did a lot of that during his successful run as president of Simon Kinberg's Genre Films. He was also active on Genre's TV side, exec producing the series Designated Survivor, which is currently in its third season for Netflix. Sood produced the Best Picture nominated Ridley Scott-directed adaptation of the Andy Weir novel The Martian, which the exec found and brought in to the company. He was executive producer on the blockbuster Deadpool films and also Murder on the Orient Express.
Sood will lead a motion picture group staff that includes longtime film executives Will Allegra and Rebecca Karch who have been upped to Senior Vice President and Vice President, respectively. Sood's challenge will be to lead their motion picture group ambitions, with an emphasis on developing original and existing IP projects and championing fresh voices.
“Aditya was the one person we knew in the movie business before we moved to Los Angeles,” Lord & Miller told Deadline. His commitment to the art of filmmaking and impeccable taste are only secondary to the character he conducts himself with. “He’s the person who made it seem possible and we have believed in him and rooted for him our entire lives. And its Lord Miller’s good fortune to work closely with someone we respect and admire so much.”

Amy Hartwick Exits As ABC Studios Head Of Comedy

Hartwick, who has a long track record in comedy development, was one of Moran's first hires and has been among his closest associates at the studio. She oversaw the development and growth of the black-ish franchise, which includes the award-winning original series, heading into its sixth season on ABC, breakout spinoff series grown-ish, which is going to Season 3 on Freeform and the buzzy prequel mixed-ish, which will join black-ish on the ABC schedule next season.
EXCLUSIVE: Amy Hartwick is stepping down as SVP, Creative Development, ABC Studios where she has overseen comedy development since June 2011.
She also oversaw the Four Dads comedy pilot in consideration at Disney+. Another comedy series Hartwick shepherded at ABC Studios is American Housewife, renewed for a fourth season by ABC.
Hartwick began her career in the TV department at New Line Cinema and was later accepted into NBC’s Associate’s Program.” />
Under a major reorganization announced this morning, ABC Studios president Patrick Moran and the studio’s EVP Business Operations Howard Davine stepped down and will be replaced by two senior 20th Century Fox TV executives, Jonnie Davis and Josh Sussman, respectively. Hartwick is the third top ABC Studios executive to depart the studio, now part of Disney TV Studios.
Before moving to ABC Studios, Hartwick was VP, Comedy Development, ABC Entertainment, for six years. There she was a major champion of Modern Family, which she supported and helped nurture from the pitch. At the network, she also oversaw development of  The Middle, Happy Endings and Don’t Trust the B—- in Apartment 23.
Prior to ABC, Hartwick was director of comedy at 20th Century Fox TV, where she developed scripted series My Name Is Earl and Jake in Progress and helped to develop 20th TV’s first reality franchise, The Simple Life and The Simple Life 2: Road Trip, with Bunim-Murray.
There is no immediate replacement for Hartwick, whose exit is not believed to be part of a major executive overhaul by new ABC Studios President Davis. There aren't any other immediate changes in the ranks at the studio planned, I hear.

‘Bring The Funny’ Director Carrie Havel Talks The Need For Diversity In Unscripted TV

So I think to see other people from different backgrounds and the way they respond to even comedy performances, sketch performances — you're basically selecting how you're going to tell the story for the audience, mostly in a live environment. A lot of these shows are live, and you're basically telling that story based on your choice of what you're showing the audience. So if you add the live aspect into it, even more, the importance of the director and what the director sees goes up even more, because there is no edit, there's no careful shot selection that happens after the fact. In unscripted, I think, if you look at the types of things that you direct, obviously music plays a huge part, not so much in Bring the Funny but in other variety or award shows or any of those unscripted genres. The way someone approaches a live cut to a music performance, I think that's storytelling right there, especially in a live show.
From your perspective, how has the landscape for TV changed for the underrepresented in both scripted and unscripted — specifically with women?
Why did you create the Alternative Directors Program and what impact do you hope it will have?
DEADLINE: What can inclusive representation bring to unscripted TV that many people aren't aware of?
It's a program that many are vying to be a part of. As part of NBC's inaugural Alternative Directors Program (ADP), Havel is part of an ever-changing TV landscape in an often overlooked part of the industry when it comes to diversity.
As far as impact:
They said yes not just because I asked them to do it, but because they believe in the mission of the program and giving back after all the success they have and continue to enjoy. One thing I would be remiss to not mention: Every director I asked to participate as a mentor our Alternative Directors Program said yes immediately. They volunteered time, energy, expertise, and passion, and have contributed advice on how to make the program even better in the future. None of this would have been possible without their support and guidance.” />
The demand was there, and they brilliantly and quickly filled the supply. I think the historical context is an excuse of how we started, but it is no excuse for why, 15-20 years later, we have not evolved and widened our pool. AHR: We can begin with a historical account of the advent of Reality TV, and how the explosion of live and “as-live” event television attracted directors mainly from News and Sports, both then-male-dominated fields, and Britain, where they were years ahead of us with what they call “Light Entertainment.” Variety shows, and competition series like “Pop Idol” and “Strictly Come Dancing” were all beloved well before they flooded airwaves in America. Producers, agents, and executives were in desperate need for individuals with experience in commanding multi-camera control rooms, with the ability to go live or at least produce a solid line cut.
AHR: It’s a brilliant time for new voices to enter the arena for a few key reasons; first and foremost, women are increasingly in positions of power; second, men and women alike are more aware of the inequalities and barriers to entry that exist, which has opened up the dialogue in a way that was not there before; and finally, for those not influenced by the first two, it has proven time and again that inclusion is good business.
First, I hope to get the directors who have successfully gone through our program directing jobs, hopefully for NBC Universal. Carrie Havel is a great example of someone who easily transitioned from the program to directing the series “Bring the Funny” for NBC and the studio.
DEADLINE: Diversity is always talked about with scripted television but hardly in unscripted. Why do you think that is?
HAVEL: I think definitely the more representation you have, the more people look at that position and go, "Oh, wow. I could do that too," like, "Oh, there are other women. There are other minorities who do this." So I think that definitely is very important for sure.
Do you think its the same? Compared to scripted, what are the benefits of having more diversity with directors and people behind the camera? DEADLINE: Unscripted is a different kind of storytelling.
"I've wanted to direct a show for NBC for a very long time," Havel told Deadline. And interestingly enough, in the cable world, I seem to keep circling with comedians and doing a lot of comedy shows. "So when the opportunity presented itself, I obviously was going to jump at it. So it seemed like a good fit as well."
As Hollywood continues its move to more diversity and inclusion behind and in front of the camera, there is one genre that often gets overlooked: unscripted television. During reality competitions and live events, the screen isn't totally void of representation of women, people of color and other marginalized communities, but behind the camera is a different story. Carrie Havel is changing that.
The second, is that we have no culture of apprenticeship or on the job training in the field. There are some real diverse and female standouts in the unscripted director world, but not nearly enough; and there are also terrific Assistant Directors who have been dutifully serving for years next to top directors on the most complex of productions. These individuals have every ability, but just need to be encouraged and invited to the table, and mentored by people with broader experience.
with Fred Savage on Fox. She has also worked on nearly all live musical events including Hairspray Live, Jesus Christ Superstar Live in Concert, A Christmas Story Live and Rent Live. Havel has worked on some of TV's most successful unscripted franchises including America’s Got Talent, World of Dance , The Titan Games, Little Big Shots, American Idol, Dancing with the Stars, and the Video Music Awards. She also directed the new series What Just Happened??! She is probably best known for a video her work on Grease Live as an Associate Director when a two-minute control room video of her rhythmically calling “Greased Lightning” went viral.
I'm ready to take that next step." I've worked on tons of your franchises and I'm ready. So in that respect, for me, it was great because suddenly the (NBC) program gave me the opportunity to say, "Yes, here I am. But I think NBC was smart in realizing that, "Hey, if we're going to look for qualified women and minorities to try to take the next step up and become directors of some of our shows, let's look at people who already work on our franchises and know the way we work, know the kinds of shows we like to do." And so obviously a great place to start would be to look at the AD chair and see who's sitting there. Here I am, NBC.
So the schedule's a little more forgiving and it allows for more people to come in, and maybe episode one goes to this person and episode two goes to this other person. HAVEL: The one thing I can think is, in the scripted realm, especially if you're looking at episodic, there's a lot of different directors for projects that can come in. So that's a compressed schedule, and you're looking at, with a scripted show, probably a week per episode. But in unscripted, the schedule is so tight…you're doing an entire season in maybe five or six tape days. Generally, it's not going to be one director for all of the episodes. Bring the Funny was 10 total days, five rehearsals, five tape days for an entire season except for the finale. Whereas you just don't have that luxury with an unscripted show.
One director was sponsored by her program mentor to get into the DGA, and at least two have gained a top agent as a direct result of participating in the program and our sponsorship of them. Second, I hope to open up doors for the directors, and help them expand their professional networks.
I believe two things have contributed to this. One, as more series have been commissioned, we all have relied on hiring the directors with the most experience. The catch, of course, is that the exact experience we seek is the barrier to entry for anyone new trying to break through. With millions of dollars, ratings points, and reputations on the line, a solid director is quite possibly the most important first hire.
DEADLINE: Would you say that there's a lack of diversity and representation when it comes to behind the camera for unscripted television?
Access and opportunities are changing the lens of scripted entertainment with brilliant results. One way to look at the benefits of inclusive representation is to just imagine all of the wealth of stories still untold, that could be unlocked if shared through new storytellers’ eyes. The ability to tell stories of the lives of real people, whether to highlight how related we are or to showcase our unique perspectives, is a gift with limitless storytelling potential. Where we are right now reminds me of reading about how men hold 80 percent of all patents. We must open up the pipeline and create an environment where we are encouraging people to join our field, raise their hand, share their ideas, and create apprenticeships to fill in knowledge and experience gaps. They have more access to STEM education, role models, encouragement, and mentorship on the process to register their patents. MEREDITH AHR: At its heart, unscripted TV is a reflection of ourselves and our time. It isn’t because they are smarter, or are more innovative. What will follow is a much-needed expansion of networks, to attract the best and the brightest diverse minds to our genre.
Now, Havel is moving up the ranks as the director of the new comedy competition series Bring the Funny which premieres tonight. To add to that, she is the only woman directing a new alternative series on a broadcast network this season.
I can't say. And I'm not exactly sure why that is. But kudos to NBC for realizing it and saying, "Hey, let's try to come up with a program and try to put some measures in place to try to expand as a pool a bit." CARRIE HAVEL: Yeah. On the network level, there's only a handful of females or minorities that are in the director's chair.
Instead of being complacent about it, we are choosing to act. We believe that it is a responsibility for those in power to open the doors for new voices who will enhance our storytelling and connect with our viewers in new ways. We created the Alternative Directors Program because my team and I have been increasingly frustrated by the lack of change in our part of the industry.
"Every director I asked to participate as a mentor our Alternative Directors Program said yes immediately," said Meredith Ahr, NBC’s President of Alternative & Reality Group. "They said yes not just because I asked them to do it, but because they believe in the mission of the program and giving back after all the success they have and continue to enjoy."
But I have to say I kind of fell into it and I realized I loved it. The first show that I worked on that was multi-camera and live, I was like, "Oh yes. This is it." Maybe they should now. HAVEL: Scripted is fine from what I've read. I don't have any real firsthand knowledge of how that's changed. I don't think anyone really goes like, "I want to be an unscripted director." Or maybe they do.
DEADLINE: Why do you think directors in the unscripted space are generally white, straight men?
DEADLINE: Since you've been in the industry, how have you seen the landscape for TV change for underrepresented in both scripted and unscripted, and specifically for women?
Executives, agents, producers, directors – everyone at every level can make a difference. The key realization is that if you are not actively a part of the solution, then you are part of the problem. Third, I hope the program has the broader impact of elevating a much-needed conversation about inclusion, and the responsibility we all share in actioning change.
Bring the Funny marks her first time as a series director on network TV (she directed What Just Happened after Bring the Funny) and she said she wanted to prove to everyone that she was "up to the task" to making the show "look and feel great." As a women in the male-dominated space of unscripted TV, Havel and Ahr talked to us about how things are changing.
It’s a brilliant time for new voices to enter the arena for a few key reasons; first and foremost, women are increasingly in positions of power; second, men and women alike are more aware of the inequalities and barriers to entry that exist, which has opened up the dialogue in a way that was not there before; and finally, for those not influenced by the first two, it has proven time and again that inclusion is good business.
You just have to sort of work your way up. They're happy to be ADs and want to be ADs, and there's absolutely nothing wrong with that. And so for me, becoming an associate director was obviously going to be for me the best way because I want to be sitting right next to the director and learn everything I can about how these shows are made. And in terms of the AD role, I see a ton of female ADs. Now, from talking to a lot of them, I would say a lot of them don't have directing aspirations. So once I realized that, I had the question of how do I become the director. Tons.
In the new Bring the Funny, Havel oversees all episodes as director. The new competition series features the world’s best comedic acts and, for the first time on television, embraces every style of comedy performance — from sketch troupes, musicians, magicians, YouTubers and more — in one competition. The series features Saturday Night Live's Kenan Thompson, comedian Jeff Foxworthy and Chrissy Teigen as judges while comedian and Insecure actress Amanda Seales  serves as host.

‘Spider-Man: Far From Home’ Shatters Industry Records With $288M Promo Campaign

EXCLUSIVE: After posting a $185M 6-day opening record for both Sony and the Independence Day holiday stretch, Spider-Man: Far From Home's promotional media campaign also set an industry record with $288M in media value.
Through yesterday, Far From Home in China has racked up more than $166M. In China, Tencent has a digital campaign across all online channels with an estimated reached of — 861M.
“There is an accessibility and cool factor that makes Spider-Man the greatest superhero in the world, and we embraced this by working with promotional partners to not only break records, but more importantly to create breakthrough creative executions,” said Godsick, EVP of Brand Strategy and Global Partnerships. “Each promotional partnership program delivers at least one publicity or marketing extension that gives fans a more immersive and interactive experience, or something never done before.”
Baskin Robbins/Dunkin Donuts return after partnering with Sony on Homecoming with an extensive in-store campaign supported with ATL media in Thailand, Philippines and Malaysia across 1000 locations with themed menu items (Spidey-themed donuts!) and gift-with-purchase offers for customers. Other Spidey foodie friends include Oreo (on 73M packages of cookies), and Mars candies, specifically Skittles and M&Ms with the superhero on 72M packages in Europe, Asia and Latin America.
In support of the Jon Watts-directed sequel, Dr Pepper released its first new flavor in five years, Dr Pepper Dark Berry, with Spider-Man wrapped around cans. The webslinger can also be found emblazoned on Kellogg products including Pop-Tarts Spidey Berry (which unlocks an interactive comic story when scanned), Eggo Mixed Berry Marvel web-shaped waffles, Cheez-It with engraved Spidey designs, Keebler Amazing Vanilla Cupcake Fudge Stripe cookies and Kellogg’s Spider-Man: Far From Home Fruit Snacks. The national retail campaign also includes digital, social media, local out of home placements and radio support.
Their Changi's Terminal 3 departures hall was transformed into key European cities featured in the sequel with famous landmark replicas. Total exposure: 15M visitors coming through the airport. Over in Singapore, there's a number of Spider-Man experiences at the Changi Airport. Photo ops, themed activity areas, giveaways and meet and greet with Spider-Man are some of the many stunts that visitors can revel in until the end of this month.
“The global team led by Jeffrey Godsick has assembled not only the biggest-ever campaign for Sony Pictures and Marvel, but for any motion picture. “This campaign has drawn big promotional commitments with some of the world’s most iconic global brands,” said Josh Greenstein, President of Worldwide Marketing & Distribution. This is unprecedented reach with highly creative, event-level promo stunts.”
In Brazil Burger King will exclusively push Far From Home at 800 locations with a media campaign and such products as a themed kid’s menu combo, which will include one of four unique Spider-Man figurines and movie-themed menu boxes.
That number blows away the $200M+ promo campaign of Disney/Marvel's Avengers: Endgame and is 106% higher than the $140M+ promo partner media total on Spider-Man: Homecoming from 30 brands.
PepsiCo snack brand Doritos has a Spidey footprint in more than than 35 markets across North America, Latin America, Egypt and Asia with a fully integrated global campaign that includes on-pack design, in-store displays, TV creative, unique digital content including an AR app and sweepstakes. Doritos released a “Spidey Sense Challenge” game in North America that allows fans to participate in an online game playing as Spider-Man running a series of web-shooter training courses in various cities from the sequel. In addition, “Incognito Doritos” are state-of-the-art, traditional looking Doritos bags that covertly transform into a full-size official replica suit from the movie.
They worked on Endgame with Disney displaying their Audi e-tron Sportback concept and Audi e-tron GT vehicles, while on Homecoming they showcased the Audi A8 luxury sedan. As part of the team-up with Far From Home, the German car manufacturer released the digital short “Science Fair,” which features Peter Parker (Tom Holland) and his best friend Ned (Jacob Batalon), who conspire to come up with a winning project and stumble upon the perfect scientific advancement, the Audi e-tron GT. Audi vehicle placement in Far From Home includes the all-new, electric Audi e-tron SUV and the all-new Audi A7 and Audi Q8. Among those brands tubthumping Far From Home is returning Marvel partner Audi. Similar to Sony's Homecoming, Audi is both a promotional and product placement partner.
Synchrony Bank has been a Marvel Cinematic Universe partner across several pics including Guardians of the Galaxy Vol. 2., Spider-Man: Homecoming, Avengers: Infinity War and Endgame with its Save Like a Hero campaign, and they're back for Far From Home.  
The wide-ranging campaign promotional partners have activated their support via multiple channels, such as 40+custom TV spots, stunts, social, activations, and more. The program created a 360-lifestyle experience for fans to interact with the franchise, where Spider-Man can be seen on Papa John’s pizza boxes, flying in the safety video on United Airlines, on over 500M Dr Pepper cans and bottles, and inside Burger King meal boxes.
There's also the Pan-European shopping mall Klepierre with Far From Home experiences at their France, Spain and Italy locations.  ” /> Other promotional partners around the world include: Telecom Italia Mobile, Bonafont water (in Mexico), Google, Tampico, RealMe, KFC, EuroRepar, Pure Gyms, Pepsico, 7-Eleven, Whirlpool, Vital Waters, Danone, Phillips, Optus, Western Union, Perfetti Van Melle, and Genius Smart Watch.
The company is the first to offer an augmented reality experience on a pizza box via a Snapchat Snapcode, providing a 360-degree view of several Euro landmarks Peter Parker and his friends visit on their trip. Papa John’s has a Far From Home XL pizza box featuring the web slinger hanging out in London.
In total, Far From Home touts the largest multi-tiered promotional campaign ever compiled for a motion picture. It also breaks the studio record for number of on-package exposure reaching 2.1 billion with retailer activation at 1.7M locations.
Other travel-themed partners include travel booking website Kiwi.com which celebrates Spidey's trip around Europe. The campaign will be promoted through out-of-home media in the five boroughs, Boston and Chicago, social media engagement and TV spots running in NYC taxicabs. Kiwi.com is leveraging their newest tool for multi-city travel, NOMAD, to create a Far From Home- themed travel with immersive, gamified landing page design, using the pic's content. Over 8M customers from France, Germany, Italy, Spain, UK and Czech Republic will be invited to customize their perfect trip in a slogan that's “far from home.” NYC & Company has put together a list of Spidey-approved activities families can enjoy this summer in the city.
United employees and customers also appeared as extras in the film. In addition to making an an appearance in the airline's safety video, Spider-Man is branded on a number of limited-edition amenity kits for travelers. United Airlines had one of their aircrafts used during filming, the scene of course being where Peter and his classmates are flying to Europe.

Jaden – Riot Lyrics

[Verse 4]
Label called said they want a hit, I give a fuck
Got some demons on my chest, I gotta get ’em off
Say you want no problems you not even in no pub
When it’s night out you’ve been talking
When you wouldn’t know when it’s dark
We’re lost, we’re lost, we’re lost, we’re low
When I’m with you, you make me feel at home
I care about you so much more than you know
I’m calling girl, but you don’t answer the phone
I’m falling girl, my life is dominoes Play this song
I can’t breathe when you’re not with me
Say your body on fleek, but I need to see
Girl, this an odyssey
All these problems in these sheets
Girl, said you’d never leave
But I never would believe, girl
[Verse 1]
‘Cause I can’t breathe when you’re not with me
Girl, hottest in the street, need to turn off your TV, girl
I took too many shots and they all get it now
I shot all of the cops, yeah, they ain’t dealing with us
That was six o’clock but I had to call myself in, on the run
Lil’ mama, she was done, she couldn’t deal with the grudge
Your parents didn’t mind, explain your love
Need to feel more touch, let the windows roll up
Let my niggas roll up, then we all roll up, oh
[Verse 2]
Though I fucking told ya, ooh
ERYS with the soldiers, ooh
No Land Rovers, ooh
‘Bout to call Elon Musk
Going nuts in the club
Six blunts, six ****
Got umbrellas in the cloud, ooh
In case they tryna keep up, ooh
They face looks stuck
They face fake as fuck
And my girl caked up
Wearing no make up, ooh
[Verse 3]
It’s a vibe, it’s a vibe, it’s a vibe
Hypnotized by the moon and the sky
I just flew in from the six, no lie
Hit a swish we ain’t even have to try
Man, okay, pull up to the party, put the party on a wave
And I got the posse with me, partners and the gang
Niggas said we playing but we do a lot of things
Know your boy J got a seven tier race
Diamonds too Dubai, sipping fly, same same
Get it every time and we try same-same
Teaspoon of vision make the pain go away
Got a beef with a nigga, please just say it to my face
[Non-Lyrical Vocal Interlude]
I can’t breathe when you’re not with me
Say your body on fleek, but I need to see
Girl, this an odyssey
All these problems in these sheets
Girl, said you’d never leave
But I never would believe, girl
I can’t breathe when you’re not with me
Man, you’re out this world