I can’t wait to see what we all do together.” “This is really a perfect example of synergies being scaled for the benefit of global artist development, which is at the core of what we do,” said Jay Marciano, Chairman and CEO, AEG Presents. “Partnering with Avex to launch AEGX gives both Avex and AEG Presents a path to create real opportunities for musicians who increasingly see the world as a borderless global community.
A special thank you to Jody Gerson for her leadership and support in this deal.” She has the talent and a great team behind her. Mike McCormack, UMPG UK Managing Director, said: “One of the brightest, most promising songwriters / artists, Holly is undoubtedly on the horizon of huge, global success.
2 on the BBC Sound of 2021 Poll, and Vevo’s DSCVR’s Artists To Watch 2021 and was named an Apple Up Next Artist last year. The 21-year-old singer was voted No. Universal Music Publishing has signed rising British singer-songwriter Holly Humberstone, whose debut EP received a rave review in Variety last fall, to an exclusive, global publishing agreement.
Dani Sawyerr, UMPG A&R Manager, said: “Holly is a special talent and we knew from the moment we heard ‘Deep End’ that we just had to work with her. We’re extremely excited to be working together with Holly and her manager Josh Sanger as she enters the next phase of her creative journey.” A world-class songwriter full of ambition and drive, her potential as both an artist and writer has no limits.
+ Japan-based Avex Entertainment Incorporated and AEG Presents announced today the formation of AEGX, a joint partnership. Likewise, AEG Presents will be able to utilize Avex’s resources and platform identity in Japan to provide international artists the ability to reach the Japanese audience, while simultaneously continuing the company’s live-event expansion in the market. AEGX will provide Avex with access to AEG Presents’ worldwide portfolio of venues, festivals, and global touring partnerships to help expand the profile of its artists and brand across a global audience.
They’ve been so supportive since the beginning of my journey and I couldn’t ask for a better team.” Humberstone said, "I’m really excited to join the UMPG family!
 ” />
Our companies both share the same goal with this new partnership: AEGX will serve music fans around the world by contributing to the global development of western artists, while also expanding the reach of Japanese artists beyond its borders. We are thrilled to take this stride forward together and look forward to the future.” The COVID-19 pandemic reminds us of the positive power and limitless potential of music and entertainment. Katsumi Kuroima, President and CEO of Avex, remarked: “We are very excited to announce the launch of AEGX with AEG Presents.

Other perks are available to Puerto Rican resident producers. The Caribbean island, an unincorporated territory of the U.S., offers producers a 40% transferable tax credit on all local expenditures and a 20% tax credit on all payments to non-resident talent, including producers, writers, actors and even stunt doubles.
Broken English forms part of entertainment finance company Grandave Capital (GC), launched by film financier Preschutti last year, which has boarded projects as a third-party equity investor as well as invested generously in its fledgling Latinx production arm.
Equitas will be the production company on site in Puerto Rico. Stanley Preschutti of Grandave Capital and Frank Mayor of Cinevision Global serve as executive producers. The film will be tapping Puerto Rico’s tax filming incentives.
GC is allotting some $20 million in up to four Broken English projects a year with budgets ranging between $1.5 million to $8 million.
Sanchez is represented by Alchemy Entertainment, APA, Latinvasion and Hirsch Wallenstein Hayum Matlof and Fishman.” />
The Latinx company’s sister sales division, Grandave Intl., will be presenting the comedy at EFM, along with Broken English’s maiden production, Omar Chaparro’s “7th & Union,” and Venice 2020 pickup “My Tender Matador” from Chile’s Rodrigo Sepulveda. Multi-hyphenate Roselyn Sanchez (“Grand Hotel,” “Devious Maids”) is set to film her directorial feature debut, “Diario: Mujer y Cafe,” in Puerto Rico this summer, said producer Jolene Rodriguez, president of Broken English Prods.
Written by Sanchez, the female-centric “Diario: Mujer y Cafe” follows four best friends, once known as the Fab Four in high school, as they reunite for an adventure-packed staycation in Puerto Rico.
“I've been a fan of Roselyn’s for a long time, it’s an honor to work with her on her directorial debut,” said Rodriguez. “Putting women in front of and behind the camera is something I've always championed — the goal is to open the door to bigger opportunities for Roselyn and other female filmmakers,” she added.
Best-known for her turns in ABC series “Grand Hotel” and “Devious Maids,” the Puerto Rican-born actress-model-singer has directed the award-winning short “Satos” and stars in the upcoming dramedy, “Gringa.”

Constance Wu has been cast in the upcoming Amazon thriller series "The Terminal List," Variety has learned.
Reece returns home to his family with conflicting memories of the event and questions about his culpability. However, as new evidence comes to light, Reece discovers dark forces working against him, endangering not only his life but the lives of those he loves. The series follows James Reece (Pratt) after his entire platoon of Navy SEALs is ambushed during a high-stakes covert mission. She joins previously announced series lead Chris Pratt and recently announced fellow cast member Taylor Kitsch.
David DiGilio will write and executive produce in addition to serving as showrunner. The series is a co-production between Amazon Studios and Civic Center Media in association with MRC Television.” /> Daniel Shattuck will also write and executive produce. "The Terminal List" is based on the novel of the same name by Jack Carr. Pratt will star in and executive produce under his Indivisible Pictures banner along with Jon Schumacher, while Fuqua will direct and executive produce via Fuqua Films.
She is repped by UTA, Principal Entertainment, and Hansen Jacobson.
On the film side, she earned a Golden Globe nod for playing the lead in the blockbuster feature "Crazy Rich Asians." Other notable film roles include "Hustlers" with Jennifer Lopez as well as "Crow: The Legend," "The Feels," and "Sound of My Voice." She is currently developing an adaptation of the novel "Goodbye, Vitamin" by Rachel Khong, which she will star in and executive produce with Dylan Clarke Productions. It was announced last month that Wu would be part of the upcoming Amazon anthology series "Solos." She is also known for her starring role in the ABC sitcom "Fresh Off the Boat," which wrapped up its run on the broadcaster last February after six seasons and over 100 episodes.
Wu will star as Katie Buranek, a risk-seeking war correspondent who uses her byline to speak truth to power. Katie left her desk at a prestigious news outlet to pursue high-impact stories on her own terms. Now at a crossroads in her career, Katie finds an unlikely ally in rogue Navy SEAL James Reece. She seeks to re-enter the mainstream by bringing the truth about Reece and the conspiracy he’s fighting against to light.

She starred in "Love and Monsters," "The One and Only Ivan," and had a voice role in "Scoob." She previously starred in the Disney Channel series “Stuck in the Middle” and appeared in Marvel’s "Avengers: Infinity War" and "A Bad Moms Christmas." Her upcoming credits include starring opposite Gina Rodriguez in Netflix’s "Awake," as well as a supporting role in the Lin-Manuel Miranda musical "In the Heights." She won the Tiny Tina part after a worldwide search. Greenblatt has already racked up some impressive credits despite her relative youth.
Roth's credits include "Hostel" and "Cabin Fever."
Greenblatt is represented by Paradigm, Mosaic, Imprint PR and Schreck Rose Dapello. Robert Melnik negotiated the deal on behalf of Lionsgate.” />
She blew us all away in her audition, and I cannot wait to see her bring the wild, insane and unpredictable Tiny Tina to the big screen. "She has already worked with many of my close collaborators and everyone raves about her. "Ariana is a spectacular new talent in cinema," Roth said. She’s going to blow up on screen like one of Tina’s grenades."
Tannis and Jack Black as Claptrap. Ariana Greenblatt will play Tiny Tina, the teenage explosives expert, in Eli Roth’s adaptation of the video game phenomenon "Borderlands." She joins a cast of heavyhitters and A-listers that includes Cate Blanchett as Lilith, Kevin Hart as Roland, Jamie Lee Curtis as Dr.
James Myers and Aaron Edmonds are overseeing the project on behalf of Lionsgate. Lucy Kitada and Royce Reeves-Darby are overseeing the project for Picturestart. Emmy Yu is overseeing the film for Arad Productions. Avi Arad and Ari Arad are producing through their Arad Productions banner, with Erik Feig also producing through Picturestart. The latest draft of "Borderlands" is by the two-time Emmy-winning screenwriter Craig Mazin ("Chernobyl").
But there's a reason that “Borderlands” is hotly anticipated. It's one of the world’s most successful video game franchises, with more than 68 million units sold worldwide, including over 24 million units of “Borderlands 2” and 12 million units sold for "Borderlands 3.” The history of movie versions of video games can be a bit spotty — "Sonic the Hedgehog" was a hit, as was "Lara Croft: Tomb Raider," but there are also lots of duds in the "Super Mario Brothers" and "Assassins Creed" vein.

Soon enough, Moxie starts a movement, first manifested by small acts of camaraderie like hand-drawn tattoos on random ink-stained arms, and then, by actual meetings and actions in protest. Complicating matters further is Vivian’s tricky relationship with her mother — disheartened and weighed down at school, the young girl grows increasingly unsure of her place in a complex ecosystem, hurting the ones that matter to her the most in the process. Determined to keep her identity as the publisher a secret, Vivian in the meantime struggles to toggle between the uprising she instigated, an immensely charming romance with the eagerly open-minded Seth (Nico Hiraga) and her faltering friendship with Claudia, who chooses to stay out of the Moxie business to avoid trouble.
For the most part, the movie makes good on its liberal premise, even though it all conventionally resolves into a straight white character’s coming-of-age tale eventually. “Moxie” follow in the footsteps of the vivacious “Booksmart,” the sex-positive “Blockers” and even refreshingly femsplain-y “Neighbors 2: Sorority Rising” as a Gen-Z-centric movie with progressive ideals around race, gender and identity.
And that’s thanks in large part to an immensely likable ensemble cast guided by Poehler’s sure-handed energy behind the camera, as well as the film’s ambitious aims to be intersectional in its social and political themes. Marking the multi-hyphenate Poehler’s return to the director’s chair after her casually comforting “Wine Country,” the good-natured dramedy “Moxie” isn’t nearly as sharp as “Mean Girls,” lacking its hilarious wit and unwavering bite, often erring on the side of didacticism and broadness in similarly charting a fed-up young woman’s awakening against her high school’s hostile, victimizing culture. Still, it’s a welcome entry into a familiar genre that will resonate with young audiences burdened by the unwritten rules of their respective educational institutions.
Embellished with a volatile soundtrack full of Bikini Kill tracks, a stirring “I am Spartacus”-type scene of solidarity among teenagers and a bubbly finale featuring Kirston Leigh Mann’s eye-popping punk costumes grooving on a vibrant dance floor, “Moxie” leaves a sweet aftertaste with its disarming love for an enviable mother-daughter relationship and the power of female friendship.” /> Despite these wrinkles, Poehler nevertheless manages to pull off something memorable: a youthful tapestry with its heart in the right place, unafraid to deal with topics as tough as rape.
For example, it's regrettable that the script quickly abandons its interest in Lucy — the movie’s most intriguing supporting persona — and offers little more than a few photos and mementos to represent Lisa’s firebrand past, when that’s what motivated Vivian to publish her zine. Similarly, we don’t get enough time looking through the pages of Vivian’s creative DIY publication (designed by artist Nina Charuza) — if only the film had invented a “Shirkers”-style visual solution to help us savor the work that invigorates so many lives. Amid such a crowded canvas, some of the movie’s most engaging characters and narrative threads get pushed to the side.
The duo already seems stressed out on the first day of school — not only are they unnoticed by the cool kids, but they are also anxious about a soon-to-be-published (not to mention, extremely sexist and offensive) annual list. But it’s hard out there for her and her best friend Claudia (Lauren Tsai), an equally introverted outsider joined at the hip with Vivian. Portrayed by a resolute Hadley Robinson in a zesty and graceful performance, said protagonist is Vivian, an affable, brainy, yet reserved 16-year-old determined to keep her head down through the 11th grade and beyond, until she’s safely tucked away in UC Berkeley, her dream college. Who will be voted “the most bang-able?” How about “the most obedient” or the one with “the best rack?”
The film simultaneously tries to question the impossible standards imposed on the female body, underscore the hazards of a culture of silence, confront white privilege and in brief instances, give voice to an array of diverse players. Adapted from Jennifer Mathieu’s book by scribes Tamara Chestna and Dylan Meyer, “Moxie” makes a sizable effort to fit a great deal into its under-two-hour running time. A transgender pupil, a disabled girl and various students from different racial and socio-economic backgrounds all get their moment of visibility, sometimes rousingly so, other times, in a limiting, box-ticking fashion.
Inspired by her mom Lisa’s (Poehler) younger days as an unruly Riot Grrrl who wanted nothing more than to topple the patriarchy, Vivian decides to start an underground zine called “Moxie” as a result, rebelliously calling attention to her school’s discriminatory ways. It takes the new student Lucy (Alycia Pascual-Peña), a smart and outspoken Black girl, for Claudia to finally realize that she does not have to accept this deeply misogynistic status quo. So Claudia observes Lucy as she uncompromisingly challenges the school heartthrob Mitchell Wilson (Patrick Schwarzenegger) — a bully with an insidiously manipulative demeanor — and questions the modern-day relevance of “The Great Gatsby” in class, keeping her head up high even when the school’s infuriatingly clueless principal (Marcia Gay Harden) dismisses Lucy’s complaints about Mitchell.
It’s been 15 years since screenwriter Tina Fey brought peace to the teenage girl world with the groundbreaking “Mean Girls.” Now it’s her frequent creative partner Amy Poehler’s turn to stride the hallways of a contemporary high school, searching for harmony and justice among the heightened emotions and high-stakes conundrums of young adults.

Polish director Paweł Maślona (“Panic Attack”) is prepping a lavish period drama about the American Revolutionary War hero Tadeusz Kościuszko.
Together the duo fight to liberate Polish serfs from an oppressive feudal system, sparking a national uprising against the Russian Empire in 1794, a doomed effort that would bring an end to Polish sovereignty for the next 123 years. George Washington’s and a colonel in the Continental Army, who returns to his native Poland with his valet and confidante, Jean Lapierre, a Black man who was known as Domingo. The film tells the story of the war veteran Kościuszko, a trusted ally of Gen.
Zielinski — received development funding from the Polish Film Institute. Produced by Leszek Bodzak and Aneta Hickinbotham for Aurum Film, the production house behind Jan Komasa’s Oscar-nominated “Corpus Christi,” the historical epic — with the working title “Scarborn,” from a script by Michał A. Aurum is now searching for international co-production partners, with an eye toward filming in 2022.
Pictured: Paweł Maślona (l.) and Leszek Bodzak” />
Variety described the “energetic, well-crafted” ensemble comedy as an “attractive calling-card” for the debut helmer that “should play well…[with] audiences eager for depictions of contemporary life in Eastern Europe that are less dour than those usually afforded by the festival circuit.” Maślona’s first feature, “Panic Attack,” played in competition in Karlovy Vary.
Matuszyński (“The Last Family”), which is being sold by New Europe Film Sales. Aurum is currently prepping Komasa’s next project, “Shine of the Sun,” and will be launching sales during the European Film Market on “Leave No Traces,” the latest feature from acclaimed director Jan P.

He is repped by A3, Alchemy Entertainment and Myman Greenspan.” />
"The Mandalorian" star Simon Kassianides is set to make his feature screenwriting debut.
The actor stars as a resistance fighter opposite Pedro Pascal, Katee Sackhoff and Sasha Banks on "Mandalorian" in the installment directed by Bryce Dallas Howard and produced by Jon Favreau and Dave Filoni.
The actor, who plays Axe Woves on the hit Disney Plus Star Wars series, has sold the psychological thriller "The Weatherman" to U.K.-based production house Raw.
I’m thrilled that this film has the right home and equally excited to see it brought to life by some of the most intelligent and sophisticated filmmakers out there," Kassianides said. "Experiencing the immediate passion and support around this project at Raw is inspiring.
The film is said to be female-led and in the vein of Christopher Nolan's "Memento," with elements of the Stephen King classic "Misery." Raw's notable credits include the heist drama "American Animals" and the documentary hit "Three Identical Strangers." The company has just wrapped "Invasion," a sci-fi project starring Riz Ahmed and Octavia Spencer.
The actor is best known for his major recurring role on the ABC Marvel series “Agents of S.H.I.E.L.D.”, as well as ABC's Shonda Rhimes series "How to Get Away With Murder." Kassianides' additional credits include the "Suits" spinoff “Pearson" on USA, where he starred opposite Gina Torres, as well as parts in the Bond film "Quantum of Solace"  with Daniel Craig and the thriller "Unforgettable"  opposite Rosario Dawson and Katherine Heigl.

In addition, Comic-Con International, the organization behind SDCC, is planning an in-person convention in San Diego to be held in November 2021.
"It was really, really frightening." "I don't think we ever thought we'd have to cancel two shows," he said. In advance of Comic-Con@Home in July 2020, David Glanzer, chief communications officer and strategy officer at Comic-Con Intl., told Variety that CCI did have a monetary "buffer" in case one of its fan conventions had to be canceled for a catastrophic reason.
The question for SDCC this year is whether the major studios will bring their biggest titles back to the convention, or whether bespoke branded events like DC FanDome and Disney's D23 Expo — which has already been pushed a year to 2022 — will be more of the norm.” />
That event included exclusive first looks at several highly anticipated DC Films projects, including "Wonder Woman 1984," "The Suicide Squad," and "The Batman." By contrast, in August, WarnerMedia launched DC FanDome, its own branded fan event that ran for just 24 hours — and generated 22 million views across 220 countries and territories in that time, according to the studio.
With just a few months to put together a virtual convention, a suite of panels that were almost uniformly prerecorded, and a dearth of marquee panels from Marvel Studios and DC Films, Comic-Con@Home did not nearly have the same pop-culture impact of its in-person events. After five days, the average YouTube views for each panel on the first full day of the convention was just 15,000 per panel. Tweets that mentioned Comic-Con@Home were down 95% from 2019’s live convention, according to data from social media analytics firm ListenFirst.
San Diego Comic-Con, the largest fan convention in North America, will not be held in person in 2021 due to the COVID-19 pandemic, organizers announced on Monday. Instead, the event will be held virtually over three days, from July 23-25.
Both attendees and exhibitors planning to attend SDCC in July will have the option of rolling over to the Nov. 2021 convention or the July 2022 convention. In their announcement, organizers said details on these plans "will be forthcoming."
"While we are buoyed by the rollout of the vaccine and the growing number of individuals being inoculated, it appears that July will still be too early to safely hold an in-person event of the magnitude of Comic-Con," organizers said in a statement. "While we lament the postponement of the in-person Comic-Con, our commitment to this community of fans and our celebration of comics and the related popular arts endures as an important part of who we are."
It's the second year in a row that the in-person event, which historically has welcomed as many as 130,000 participants each year since the late 2000s, has had to be moved online due to health and safety precautions connected to the pandemic. As a non-profit organization, Comic-Con International — which is also holding a virtual version of WonderCon, its annual fan convention held in Anaheim, Calif., in March — is not nearly as deep pocketed as the major studios. In Monday's announcement, organizers said the postponements and other challenges caused by the pandemic "have left us with limited financial resources," which forced the virtual convention in July to be reduced from four days to three.

was the most-watched broadcast on Sunday, delivering 7.92 million viewers and drawing a 0.6 rating. Elsewhere on television, CBS's "60 Minutes" at 7 p.m. (0.5, 4.93). The network also aired new episodes of "The Equalizer" at 8 p.m. which scored 7.58 million viewers and a 0.7 rating in the key demo, followed by "NCIS: Los Angeles" at 9 p.m. (0.5, 5.72) and "NCIS: New Orleans" at 10 p.m. The show was broadcast at the same time as the "Golden Globes Pre-Show," which was also held by NBC (0.7, 3.71).
Rounding out third was a new episode of ABC's "America's Funniest Home Videos," which obtained a 0.8 in the key demo and 5.65 million viewers. ABC's "American Idol" came second to the awards show in the ranks, drawing a 1.0 in the key, adults ages 18-49 demographic and 6.47 million viewers at 8 p.m.
In 2019, the show scored a 5.2 rating and 18.6 million viewers, up a few percentage points from the 2018 telecast which drew a 5.0 rating and 19 million viewers.
Throughout the night, the dynamic duo was joined in-person by special guests, including Kenan Thompson and Maya Rudolph who did a bit, presenters Christian Slater, Tiffany Haddish, Cynthia Erivo, Gal Gadot, Ben Stiller, Christopher Meloni and Rosie Perez (among others), and Spike Lee's children, Satchel and Jackson, the Golden Globes' ambassadors for 2021. Fey emceed live from the Rockefeller Center’s Rainbow Room in New York City, while Poehler hosted from the Globes’ usual location inside the Beverly Hilton Hotel in Beverly Hills, Calif. The pair were also "joined" by celebrities who teleconferenced their award presentation duties, such as Sandra Oh and Colin Farrell.
Additionally, The CW ran new episodes of "Batwoman" at 8 p.m., drawing a 0.1 in the key demo and 0.48 million viewers, and "Charmed" (0.1, 0.34), which substantially increased by 66.67% in key demo numbers compared to last week's episode.” />
Not even these fan-favorite female powerhouses, however, could save the socially distanced soirée from soured ratings. Sunday’s 78th Golden Globe Awards, the HFPA’s first-ever bicoastal and virtual show, was hosted by longtime collaborators Tina Fey and Amy Poehler, who had previously hosted the event consecutively from 2013 to 2015.
Meanwhile, "The Queen's Gambit," "The Crown" and "Schitt's Creek" won some of the biggest prizes on the TV front. Sunday’s ceremony saw Amazon’s “Borat Subsequent Moviefilm” nabbing the best motion picture comedy or musical award, Chloé Zhao's “Nomadland” scoring best motion picture drama and A24's "Minari" taking the best motion picture in a foreign language trophy home.
Though these early numbers are incomplete and don't include viewing in the Pacific time zone, they paint a bleak picture for NBC, which in 2018 signed a new deal to pay roughly $60 million per year to televise the awards show. Last night’s three-hour awards broadcast drew a mere 5.4 million viewers and a 1.2 rating among adults 18-49 according to non-time zone adjusted numbers from Nielsen. Those numbers adjusted up to 18.3 million viewers and a 4.7 demo rating in final live-plus-same-day data from Nielsen. Last year, preliminary numbers were significantly higher, with the telecast averaging 14.8 million viewers and getting a 3.8 demo rating.

Connolly showrunning and executive producing. Jimmy Miller and Sam Hansen of Mosaic also executive produce along with Philip Martin, who will also direct. The series is a co-production between Amazon Studios and Legendary Television. Legendary currently produces the Amazon series "Carnival Row" and is currently working on the series "Paper Girls" for the streamer.” /> Juan José Campanella will direct and executive produce the first two episodes. "Lightyears" is scheduled to begin filming later this year. Holden Miller is the writer and co-executive producer, with Daniel C.
They’ve carefully guarded their secret ever since, but when an enigmatic young man enters their lives, the Yorks’ quiet existence is quickly upended and the mysterious chamber they thought they knew so well turns out to be much more than they could ever have imagined. The series follows Irene (Spacek) and Franklin (O'Neill) York, a couple who years ago discovered a chamber buried in their backyard which inexplicably leads to a strange, deserted planet.
Spacek is primarily known for her feature roles, including her Oscar-winning turn in the 1981 film "Coal Miner's Daughter." She was also nominated for Oscars for the films "Carrie," "Missing," "The River," "Crimes of the Heart," and "In the Bedroom." She has made a number of forays into television in recent years, including a role in Amazon's "Homecoming," "Castle Rock" at Hulu," and "Bloodlines" at Netflix.
She is repped by UTA, MGMT Entertainment, and FAT DOT.
O'Neill has been a television mainstay for decades, most recently in the megahit sitcom "Modern Family." The show concluded after 11 seasons and 250 episodes last April, with O'Neill earning three Emmy nominations in the role of family patriarch Jay. He is also known for starring in "Married…With Children," for which he earned two Golden Globe nods. His other TV credits include "The West Wing" and the reboot of "Dragnet," while he has also starred in films such as "Finding Dory," the "Wreck-It Ralph" movies, and "Spartan."
He is repped by Gersh and Brillstein Entertainment Partners.
Sissy Spacek and Ed O'Neill have been cast in the lead roles of the upcoming Amazon series "Lightyears," Variety has learned.

Obviously, she was disqualified as ineligible. Contestants who did not go home with the vaccine, McKinnon-as-Fauci pointed out would go home with consolation prizes including "a Pfizer visor."
Gretchen Whitmer. The judges on this fictional game show were Alex Moffat as Gov. Gavin Newsom, Pete Davidson returning as Gov. Andrew Cuomo and Cecily Strong as Gov.
When asked if she had any pre-existing conditions, she said, "I have a pretty bad attitude, I'm allergic to dust, and I don't know if this is anything but I have herpes."
"Fresh off his CPAC appearance" came Aidy Brant as Ted Cruz, "performing talent of stand-up comedy," he said.
Ego Nwodim played the second contestant, a woman who wanted to be introduced as "so old, she's not even kidding," and when she came out she said, "I love hard candy and boy, do I stan going to church." But she was only wearing a gray wig, not any aging-up makeup or prosthetics, and pretty much immediately she was called out for saying "stan." She took off the wig, revealing herself as another "pretend granny." But she wanted the vaccine because she has been talking to a guy for 10 years and "he's only in town tonight. My risk is that I may pop." …
At the end of the sketch, though, it was "first come, first stab" for vaccines for anyone who could get to the nearby CVS, which McKinnon-as-Fauci announced had just lost power.
She, too, was told she was not eligible, to which she replied, "On the second to last day of Black History Month?"
PT on NBC.” /> "Saturday Night Live" airs live coast-to-coast Saturdays at 11:30 p.m. ET / 8:30 p.m.
Bowen Yang appeared as a man from New Jersey who came out gingerly holding a cigarette and claiming he loved them. New Jersey residents who are smokers are currently eligible to receive the vaccine, but he couldn't keep his ruse going for long: after claiming he loved everything about cigarettes, such as the "squishy part," he coughed and left the stage on his own.
Heidi Gardner played the first contestant, a woman from Michigan who said she deserved the vaccine because she was an essential worker: "I do IT for the OnlyFans website, so I'm pretty busy."
"Oh it is great to be back in New York City. I'm sorry, my arms are tired because I just flew back from Cancun, Mexico. But can you really blame a brother for wanting some sun?" Bryant-as-Cruz said before screaming new catchphrase "Freedom."
The final contestant was Mikey Day as an octagenarian former army doctor and "world's proudest granddad." When he was told he would get the vaccine, he asked if he would get it on or backstage, to which he was told he had to make an appointment online. But because he didn't know how to use his computer, nor had a "young person" who had "three straight days to press refesh," it was "better luck next time" for him, too, in the end.
Kate McKinnon opened the sketch, which you can watch above, as Dr. Fauci, "America's voice of reason and celebrity hall pass, for some reason," and noted that while getting the vaccine shouldn't be complicated, "Americans will only want to get it if it means someone else can't."
Anthony Fauci-hosted new game show, "So You Think You Can Get the Vaccine?" With the ability to get the COVID-19 vaccine varying from county to county, let alone state to state, "Saturday Night Live" used its Feb. 27 cold open to play on the average American's ability to be kept safe through a Dr.
Melissa Villaseñor played a pregnant woman, but no one seemed to know if she could get the vaccine based on the current guidelines. McKinnon-as-Fauci said they were running low on Moderna but could offer a trial for the Kirkland vaccine that was developed by Costco, came in a needle almost as big as McKinnon and also came with a "24-pack of hot dogs."

PT on NBC. ET / 8:30 p.m. "Saturday Night Live" airs live coast-to-coast Saturdays at 11:30 p.m. Watch Nick Jonas' full "SNL" monologue above.
He began to sing solo before being joined by "SNL" cast members Kenan Thompson, Kate McKinnon, Beck Bennett and Cecily Strong."
Nick Jonas then turned the rest of his monologue to his love of performing live, including musical theater, which he said was how he "rebelled." Since Broadway and concert venues have been shut down for almost a year now, due to the COVID-19 pandemic, he noted that life "is just not the same" and wanted to propose a toast to "everyone who is missing their favorite things."
"Drink with me to days gone by/to the life that used to be/at the shrine of friendship, never say die/at the wine of friendship, never run dry/here's to you and here's to me," he sang.
But "of course" they were good, his brother said: "The band is still together, I promise."
All five performers joined in harmony for the end: "Here's to kissing friends inside the same room/Here's to one day finally deleting Zoom."
Then Bennett and Strong came on stage, with Bennett singing, "Drink with me because you're bored" and Strong singing, "Drink with me because it's noon."
At the second verse Thompson and McKinnon joined in, with Thompson adding, "Here's to spending 50 weeks in our beds" and McKinnon following up with, "Here's to making friends who live in your head."
The duo last appeared together on "SNL" in May 2019 when the Jonas Brothers was the musical guest. This time around, Kevin Jonas had a question from the audience for his brother, namely whether "they were good" and still a band since Nick Jonas has been doing so much solo work lately.
One year since Nick Jonas last performed live, the multi-hyphenate took the stage at the famed Studio 8H in New York City to both host and serve as the musical guest on late-night sketch comedy show "Saturday Night Live" and was joined by his brother Kevin Jonas for part of his monologue.
 ” />
"I just bought a house," Kevin Jonas said.

Rudolph will be joined by musical guest Jack Harlow for the episode, which will be the first episode back after a month-long hiatus. 27.) (Nick Jonas served as host and musical guest for the previous episode, airing Feb.
She stayed with the show for seven seasons, exiting in 2007, although she came back as special guests sporadically and made her hosting debut in 2012. She was nominated for a guest comedy actress Emmy for that hosting gig and went on to win the guest comedy actress Emmy just last year for her portrayal of Harris in the 45th season of the late-night giant. Rudolph got her start on "Saturday Night Live" as a featured player in 2000 and then went on to become a full cast member.
"Saturday Night Live" airs live coast-to-coast Saturdays at 11:30 p.m. ET / 8:30 p.m. PT on NBC.” />
Maya Rudolph, who has most recently recurred on NBC late-night sketch comedy series "Saturday Night Live" as Vice President Kamala Harris, is set to make her return as host on March 27.
Currently, Rudolph can be heard across a number of animated television series as part of the voice cast, including Netflix's "Big Mouth" and Fox's "Bless The Harts."
Over the last decade he has released a half-dozen mixtapes as well. 8 on the Billboard Hot 100. 5 on the Billboard 200, and his 2020 single "What's Poppin'" hit No. This episode will mark Harlow's first time appearing on "Saturday Night Live." The rapper, singer, songwriter and co-founder of music collective Private Garden released his first studio album "That's What They All Say" in December 2020. It reached No.

“Peace and love, everybody,” he said quietly, sitting behind an electric keyboard, with a grand piano to his right. After sending a shout out to “my brother, Kamal, Q Tip,” D’Angelo introduced a “good friend of mine,” his trumpeter Keyon Harrold, and the pair twosome launched into a soft, jazzy number that is apparently new, including the lyrics “love is the thing that makes the world go around.” Regardless, D’Angelo invited the audience to sing along.
In between songs, he got wistful, recalling his first performance at a legendary Apollo Amateur night. “Whenever I come here I think of the first time, when I was just 16 or 17 years old,” he said.
“So what happened?,” quizzed straight-man Scratch.
From there, D’Angelo moved through the clumpy electro-funk of “1000 Deaths” with a fuzz effect on his vocals, before slowing things down (“Let’s get into a vibe”) for several breezily crooned recent tracks like “Back to the Future, Pt. 1” and “Sugah Daddy.”
Sources tell Variety that Verzuz will be announcing a new partner — after several successful months with Apple Music — in the coming days. What’s next for D’Angelo is anyone’s guess, but the next Verzuz will continue the Wu-Tang Clan theme by pitting the group’s Raekwon and Ghostface against each other — and then the series will celebrate its first anniversary the way it began, with founders Swizz Beatz and Timbaland facing off again.
Saturday night’s Verzuz broke format by featuring essentially a one-sided battle: D’Angelo, accompanied by DJ Scratch, singing along with his songs and accompanying himself on keyboards, with guest spots from H.E.R., Method Man and Redman. A collaborator like Questlove, Badu, Lauryn Hill or Raphael Saadiq? Would D’Angelo lock sonic horns with fellow mid-‘90s R&B legend like Maxwell? But days went by with no confirmed opponent announced — although Verzuz founders Swizz Beatz and Timbaland said in a chat that Maxwell was the original plan — and ultimately, there wasn’t one. Considering the setting — the legendary Apollo, where singers from Billie Holiday and James Brown to Michael Jackson and a teenaged D’Angelo himself proved themselves — suggested something legendary. The DJ competition series pits one artist or hitmaker against another in a (usually) friendly song-by-song battle, and has ranged from friends like singers Erykah Badu and Jill Scott praising each other to longtime rivals with genuine differences, such as Gucci Mane and Jeezy, airing things out. When Verzuz announced on Valentine’s Day that the reclusive R&B superstar D’Angelo, who has been under the radar since his brief tour in support of 2014’s “Black Messiah” album, would come out of his lair to perform with unnamed “Friends” at Harlem’s historic Apollo Theater on February 27, the Internet immediately lit up with speculation about who he might lock horns with.
The set glided to a close with “The Root” and "Brown Sugar" and the pair seemed about to leave the stage until Scratch cued the rimshot-rhythm of the biggest request in the IG comments section peanut gallery: D’Angelo’s smoldering 2000 hit “Untitled (How Does It Feel?).” The pair delivered, and ended the party at precisely 11:30 p.m.
But things quickly picked up when veteran rappers Method Man of Wu-Tang Clan (clad in a maroon Def Jam jacket) and Redman (the only performer to wear a mask) joined D’Angelo for a rough-rapped R&B track “Left & Right,” which segued into Method’s own “Break Ups 2 Make Ups.” The three grooved together for the performance while D’Angelo smiled ear-to-ear, hugging his collaborators as they left the stage. “Give them their roses now — they’re legends, kings,” he said.
She launched into one of her own songs, “Best Part,” before sliding into his old-school duet with Lauryn Hill, “Nothing Even Matters,” while D’Angelo sang a verse and accompanied her on electric piano. then walked onstage in a powder-blue outfit, brandishing an acoustic guitar. H.E.R. “I’m your biggest fan!,” she said to D’Angelo.
After getting out from behind his keyboard, Scratch dued up the the spare, finger-snapping backing track to D’s cover of Smokey Robinson’s classic “Cruisin’,” and he rolled into a string of other songs from early in his career, including a slow “Lady” and “Me and Those Dreamin’ Eyes of Mine."
D’Angelo’s brilliance as a songwriter and performer ever since he emerged with 1995’s babymaking classic “Brown Sugar,” and he upped the stakes with the future funk of 2000’s “Voodoo.” But he then vanished from view almost completely, re-emerging for “Black Messiah” — which effectively found him picking up where he left off — before going back into his shell, apart from a 2019 documentary entitled “Devil’s Pie.”
 ” />
When H.E.R. departed, D’Angelo continued the “Nothing Even Matters” reverie with his own take on the track.
Just before 10 p.m., D’Angelo walked onto the candle-strewn set on the stage of the Apollo with a cigarette in his hand, a wide-brimmed tan hat atop a scarf on his head and wearing, what appeared to be, a long billowy black mink coat (which caused one IG commenter to joke that he had borrowed his outfit from Badu’s closet) before welcoming the viewers.
Power to the people.” “That was my start as a professional. Shout out to Harlem, to New York.” Both he and Scratch talked about “supporting Black business and entrepreneurship,” before D’ said “That’s where the power’s at. I think about this place, and about Harlem, and I think about community. “I won,” said D with a laugh.
But then Scratch said, “Let’s change the pace, something for the ladies,” and the pair went into the churchy blues of “One Mo’ Gin,” an immensely funky “Chicken Grease” (complete with an assistant removing and replacing D’s coat, James Brown style) and a lo-fi, piano-led version of Roberta Flack’s “Feel Like Makin’ Love.” The two rolled through a few more songs — including “Send It On,” dedicated to the late ‘Robert “Kool” Bell of Kool in the Gang — before the pair teased a surprise guest. Returning to song, and a shout out to collaborator DJ Premier, D’Angelo launched into a slowly cascading “Devil’s Pie,” bringing his voice down to its lowest register.
https://www.instagram.com/p/CL01oHIDifN/
DeBarge, Jodeci, Mary J Blige) to an Instagram-commenting fan base that included Common, Lena Waithe, Common, Viola Davis, Lenny Kravitz and Quincy Jones. DJ Scratch kicked off the IG Live party at 9 pm ET with a tone-setting selection of era-appropriate hits (e.g.

Moira, of course, is the singular invention of Catherine O'Hara for the Emmy-winning "Schitt's Creek," created by Eugene and Daniel Levy. During the show's six seasons on Pop, O'Hara made Moira an iconic figure, with her infinite wigs, her distinctive clothing style, her multi-syllabic vocabulary and, despite Moira's best efforts, her loving heart.
Kaley Cuoco began watching “Schitt’s Creek” in the fall of 2019, when “The Flight Attendant” was shooting its premiere episode in Thailand.
And everyone was like, ‘Kaley's talking like Moira again — she's losing her mind!’” And then I'd go walk around and talk like Moira. 24 cover. “I would watch it on my phone in between takes, and I would laugh. “I'd never seen it before,” Cuoco recounted during a recent interview with Variety for the magazine’s Feb.
“And she said, ‘I wish we were in person this year, so I could give you a hug,’" Cuoco added. “I was just blown away.”
Should she ever be in the same position as a veteran nominee, Cuoco plans to pay it forward: "I will always respond.”
“I said to her, ‘I don't think you understand what you just did for me, whether you were just responding and being kind, but you're someone I truly look up to.’” Cuoco wrote back right away.
“I will never forget that, ever,” Cuoco said.” />
“Not to be nominated — but to be nominated next to her." “I just want you to know, this is a dream,” Cuoco wrote in the email.
A few days later, Cuoco got an email from O’Hara herself, saying she had watched and liked “The Flight Attendant.” “The things she was saying to me,” Cuoco said, “it was life-altering.”
Cuoco and O’Hara are both managed by Brillstein Entertainment Partners, so Cuoco emailed O’Hara’s manager to congratulate him, and to say that “‘Schitt's Creek’ got me through shooting in Thailand."
So on the day of the Golden Globe nominations, when Cuoco received her first-ever nomination alongside O’Hara in the actress in a musical or comedy category, she was thrilled: “That could have been it for me — deceased, over, done.”

https://www.instagram.com/p/CLxih83BRrF/
Brown penned a long post on Instagram, addressing the fact that he is a presenter at the ceremony.
"87 people wield a tremendous amount of power. "I’m presenting at the telecast this weekend to honor all the story tellers, especially those of color, who have achieved this extraordinary moment in their careers…AND I have my criticisms of the #HFPA," Brown wrote. For any governing body of a current Hollywood award show to have such a lack of voting representation illustrates a level of irresponsibility that should not be ignored."
Several of the presenters have also spoken out recently in regards to the Hollywood Foreign Press Association's lack of diversity by reposting an image from Time's Up pointing out that there is not a single Black member in their ranks.
Brown, Bryce Dallas Howard, Laura Dern, Michael Douglas, Cynthia Erivo, Tiffany Haddish, Salma Hayek, Kate Hudson, Jamie Lee Curtis, Christopher Meloni, Annie Mumolo, Rosie Perez, Joaquin Phoenix, Margot Robbie, Kyra Sedgwick, Christian Slater, Kenan Thompson, Susan Kelechi Watson, Kristen Wiig, Renee Zellweger and Catherine Zeta-Jones. They join previously announced presenters Anthony Anderson, Awkwafina, Kevin Bacon, Angela Bassett, Sterling K.
New energy," with the hashtag #TimesUpGlobes. DuVernay wrote on Twitter, "Old news.
When you know better, you must do better. Brown continued: "With the power you have HFPA, you simultaneously hold a responsibility to ensure your constituency is fully reflective of the world in which we live. And having a multitude of Black presenters does not absolve you of your lack of diversity. This is your moment to do the right thing. It is my hope that you will."
Paulson is nominated for best actress in a television series (drama) for her performance in "Ratched," Seyfried earned a best actress in a supporting role nod for "Mank" and Hudson is up for best actress in a motion picture (musical or comedy) for her role in "Music." Of the presenters, three are also up for awards tonight.
“We understand that we need to bring in Black members, as well as members from other underrepresented backgrounds, and we will immediately work to implement an action plan to achieve these goals as soon as possible.” In a statement released on Thursday, the HFPA said: “We are fully committed to ensuring our membership is reflective of the communities around the world who love film, TV and the artists inspiring and educating them,” the HFPA said in a statement on Thursday.


ET.” /> PT/ 8 p.m. The Golden Globes airs live tonight at 5 p.m.
Ava DuVernay, Colin Farrell, Sandra Oh, Gal Gadot, Tracy Morgan, Sarah Paulson, Amanda Seyfried, Ben Stiller and Justin Theroux will all appear tonight to present awards to winners.
Ahead of tonight's Golden Globes, the final round of presenters has been announced.

"[It's] a positive sign for the business and for theatrical's pull over home entertainment." Gross, who runs the movie consulting firm Franchise Entertainment Research. Box office analysts appear to be optimistic about those numbers. "With half of theaters still closed, the pandemic still a threat and 'Tom & Jerry' available at home, this is a very good opening," said David A.
Given current conditions, it's considered a strong start for the $79 million-budgeted "Tom and Jerry." Overseas, the cartooned adventure about the iconic cat and mouse rivalry has made $25 million from 33 countries for a global tally of $38.8 million.
The Universal Pictures and DreamWorks animated sequel has become an unlikely coronavirus-era hit, generating $52 million to date. With the opening of "Tom and Jerry," box office mainstay "The Croods: A New Age," playing in 1912 venues, slid to second place and collected $1.2 million.
Looking ahead, Robbins notes, it should bode well for Disney's "Raya and the Last Dragon," which is premiering concurrently in theaters and on Disney Plus (for a premium fee) next weekend.
Notably, "Tom and Jerry" also premiered on the HBO Max streaming service, where it will be available to subscribers for 31 days. Beginning with the "Wonder Woman" sequel, Warner Bros. has set 18 movies to bow simultaneously in theaters and on HBO Max due to the pandemic.
"With all due caution, though," Robbins said, "'Tom and Jerry's' ability to exceed expectations despite a day-and-date streaming release, and without the biggest markets open, signals yet another positive step forward for the industry as a whole."
Warner Bros.' animated family film "Tom and Jerry" debuted to $13.7 million at the domestic box office, one of the biggest opening weekend hauls of the coronavirus era and a signal that moviegoing may be on the mend.
and Canada and $10.3 million internationally for a worldwide total of $23.2 million. The Warner Bros. Otherwise, none of the films in the top five were able to reach $1 million in ticket sales. thriller, starring Denzel Washington, Jared Leto and Rami Malek, has grossed $12.9 million in the U.S. "The Little Things," in its fifth weekend of release, came the closest and nabbed $925,000 from 1,853 locations.
"There's undoubtedly an element of cabin fever among parents and kids at play with these successful family movies during the pandemic, but I also think we're looking at the beginnings of a larger trend," said Shawn Robbins, chief analyst at Box Office Pro. "As virus cases decline, vaccines roll out, and more mainstream films start releasing, families are growing more comfortable with the idea of going back to the movies while practicing safe health measures such as mask-wearing and social distancing."
In other encouraging box office news, New York Gov. Andrew Cuomo gave permission for cinemas in the five boroughs to reopen at limited capacity starting on March 5. It's been nearly a year since New York City movie theaters have been able to welcome patrons, which is partially why studios have opted to delay nearly all of their biggest movies. Theaters in the area will have to operate at 25% capacity, making it difficult to reach profitability, but film exhibitors believe it's a positive step in repairing the battered movie industry.
The superhero sequel has made $43.6 million since debuting more than two months ago. "Wonder Woman 1984" came in fourth place, pulling in $710,000 from 1,538 locations. It has done markedly better business overseas, where it has generated $117.4 million. Liam Neeson's action thriller "The Marksman" rounded out the top five with $700,000, boosting its total to $12.345 million.” />
Of the films that have been released during the pandemic (a fraction of the amount that would typically grace the big screen in normal times), those geared toward younger audiences have reaped the biggest rewards. said ticket sales for "Tom and Jerry" were fueled by family crowds buying private theater rentals. Warner Bros.
"Tom and Jerry" — directed by Tim Story and starring Chloë Grace Moretz, Michael Peña and Colin Jost — played in 2,475 theaters in North America. Overall, 42% of cinemas in the country have reopened, according to Comscore.
"Open theaters, plus new movies, are the formula that will bring the theatrical marketplace back to life," said Paul Dergarabedian, a senior media analyst with Comscore. "This is most encouraging given the daunting and unprecedented challenges of the past year."
Nothing else that has been released in the past 10 months has been able to crack the $10 million-mark; "The Croods: A New Age" ($9.7 million) and "Tenet" ($9.35 million) were the only others to come close to that benchmark. To be sure, it'll take some time for ticket sales to reach pre-pandemic levels. But second to "Wonder Woman 1984," which launched in December with $16.7 million, "Tom and Jerry" had the most robust three-day total since movie theaters reopened in the middle of last year.

Always intrigued and enamored by the superhero courage of the Civil Rights era and especially those students who marched, stood and sat down for our civil rights; I was inspired to write about them. I found my voice to direct. My PDP class was coming to an end and the final class assignment was to direct a short film.
I was the oldest student in his class at the time. I also learned that I am a storyteller and how storytelling has touched my life. While studying, I learned so many things about myself and my own points of view. Five years ago, I decided to become a 49-year-old student of Richard Lawson Studios in his PDP 60 (Professional Development Program) class.
Moving forward, my goal with my work whether it's casting, producing or directing is to inspire and educate our youth. A Sankofa Spirit. To look to the past and glean courage, strength and strategy for our present and our future.
My Teacher, Mrs. My mother quickly set the record straight with “The word is inquisitive” and that’s exactly what her daughter is, inquisitive. How did this conversation come about? Carter, didn’t care for my simple question, “How can Columbus discover America when people were already here?” The little girl who was told in her third grade history class “You ask too many questions” and was called nosey by her teachers in school. First, I had to fall in love with myself.
Utilizing Black History to inspire my art is my Artivism.
We watched "Roots" together as a family to learn and absorb as much as we could. As a child, an amazing miniseries premiered on television called "Roots". Each episode transported me along with the transformative music of Quincy Jones. It was a Black History event! The power in the visuals was astounding.
The visuals from "Roots," "Marva Collins Story," Roots: The Next Generation," "The Autobiography of Ms. If it could have that kind of effect on me, then I must be a part of that kind of storytelling for others. Jane Pittman," "King" and many more Black films were so impinging they left an indelible mark on my heart.
That amazing event among others taught me the importance of storytelling. I will never forget it. The next day I was teased, ridiculed and called “Kizzy” all day by the white kids, led by the school’s biggest bully. That Black History moment stuck with me.
"The Counter: 1960 "is a story about three “woke” students in present day who find themselves seated at the Woolworths lunch counter in 1960. The A&T four was the inspiration for “The Counter: 1960," my Award-winning short film. The question is, will they be served?
Through asking questions and seeking knowledge of self, this became a burning passion. Raised in a mostly white neighborhood in Brooklyn, the same neighborhood that Chris Rock’s character was bussed to on the hit show "Everybody Hates Chris," I learned the importance of having a Black voice and how to use the compelling truth of Black History in my work.
Tracy 'Twinkie" Byrd is a casting director who has worked on "American Skin" and "The Clark Sisters: First Ladies of Gospel." She has also worked as a director on projects that include "Making a Sale," and "No Favors." ” />
Creating Black History.

China sales for “Tom and Jerry” were just a hair below the film’s $13.7 million North American debut. That opener marked one of the biggest domestic debut weekends for a film since the pandemic began, since no other film in the past 10 months has hit above the $10 million-mark Stateside.
The Warner Bros. hybrid animated live-actioner skittered into the world’s largest film market with just $8,000 (RMB50,000) less than its closest competitor, the fourth place local fantasy adventure “A Writer’s Odyssey,” which earned around $12.4 million as well.
“Tom and Jerry” squeaked in a narrow fifth in China with a $12.4 million debut, failing to capture viewers still flocking to local Chinese New Year holdover titles over the Lantern Festival holiday weekend.
It fell, however, further behind the Chinese New Year frontrunners “Hi, Mom,” “Detective Chinatown 3” and “Endgame,” which came in first through third with $53.3 million, $19.7 million and $14.5 million, respectively.
Behind it were “Boonie Bears: The Wild Life” with $4.25 million and video game adaptation “The Yin Yang Master” in seventh with $1.09 million. In sixth place this week was Light Chaser Animation’s “New Gods: Nezha Reborn,” which grossed $5.63 million.
Yet while $13.7 million is seen as cause for celebration and touted as a reason for renewed confidence in the U.S., it is a mere drop in the bucket for the recovered China market — a territory where just two weeks ago “Detective Chinatown 3” marked the biggest opening weekend of all time in a single market with sales of $424 million.
The result may come as a surprise in a country where there is a consistent appetite for children’s animation, as seen in the continued success of the local “Boonie Bears” franchise, as well as a historic fondness among audiences for the Tom and Jerry cat and mouse characters. Plus, no other new titles of note local or foreign debuted on Friday to compete with Warner Bros.
China’s overall box office rolled in at $125 million this weekend, down from record highs during the Lunar New Year but still far more than the $97 million tally of the North American box office to date in all of 2021.
Analysts will be on the look-out next week for the debut of Disney’s “Raya and the Last Dragon,” which hits China on March 5, premiering alongside the small local horror film “Endless Love.”” />

Read the full post below.
"It's an attempt to make them whole again, and find some peace and closure." "Part of my goal in allowing her to now speak is also to try and find some healing for me and my childhood self," Farrow wrote.
The episode will feature a home video in which a 7-year-old Farrow — who is the adopted child of Mia Farrow and Woody Allen — details to her mother allegations of sexual abuse by Allen.
In her statement, Farrow, now 35, said that she has been "losing sleep and overcome with anxiety" over the episode, and discussed her thought process in allowing the video to be aired on television.
Farrow said that although she has been able to handle the "court of public opinion" as an adult, the video will put her younger self, who she refers to as "Little Dylan," in the spotlight. But, Farrow said she decided to share the video in hopes of helping others experiencing abuse feel less alone, and as part of her own healing process.
This is the most vulnerable part of who I am." "If you watch this video, I very much hope you will do so with empathy, compassion and an open mind and heart and not use this as an opportunity to attack, turn away, criticize, mock; or to further shun "Little Dylan" and in doing so shame and silence the millions of abused children who are suffering in the world today.
Buried," Farrow wrote on Twitter. Scared. I myself had resisted ever watching it until now. "Deciding to allow this tape to be viewed now publicly in this way has not been easy. "I almost didn't offer it to the filmmakers, because being this vulnerable in public is absolutely terrifying for me." It had been long stored away in a closet.
Farrow ended her statement by encouraging the audience to keep an open mind in regards to the video.
 ” />
Allen continues to deny the allegations.
Farrow" airing tonight on HBO, Dylan Farrow posted a lengthy statement asking viewers to watch with "empathy, compassion and an open mind." Ahead of the second episode of "Allen v.

Mi pento in pubbliche sedute di lamento, ammetto pure qualche turbamento se penso che combatto contro il tempo (combatto l'unico pensiero?), come un soldato colto da pazienza come un terzino che usa l'esperienza
TUTTI DI CARTA AD INGIALLIRE E DI PLASTICA A MENTIRE PRONTI ALLA POSTERITÀ, E DI SESSO AD IMPAZZIRE PRONTI ALLA CHIMICA!!!!!!!!!!!!!!!!!!!! Mi arrendo come un soldato colto da spavento o come un terzino troppo lento (ammetto che non sono dei migliori, ammetto anche di sentirmi fuori!)
…ma l' aria, l' aria che respiro mi consola mi unisco al corso della storia…
TUTTI DI CREMA A DIMAGRIRE TUTTI BELLI DA MORIRE PRONTI ALLA CELEBRITÀ, PRONTI ALLA CHIMICA!!!!! Resta il profumo antico e puro
Il mattino mi illuminerà stretto tra le braccia di Nanà
Feste su feste danze e carezze…

i feel so extraordinarily right
my mind was black but now it turns to light
hey hey hey
come on baby, better listen up
say say say
say what you want, but i don’t need give a f*ck
hey hey hey
i’ll shut shut shut you up and i’ll walk away…up and away
i made it unquestionably clear
no more late night i have to fear
my time is done i walk away
my time is done i rum
coz i am better off without you – i will walk away
because i am better off without you, so much better off…

Ooh
[Verse 4: Teejayx6]
I just f*cked a bitch named Christine
Then I sold a nigga some green lean
Left a p*ssy-ass nigga dead on the scene
I heard you got kicked out, you late on your bills
You shop at Forman Mills, flexin’ fake bills
I sold him fake pills, a comment got him killed
Punchin’ online with credit cards, I just caught a steal
At the liquor store gettin’ some ‘Woods, I just caught an opp
[Verse 5: Drego]
My bitch got China white, lean lean
Ain’t no beatin’ us, the dream team
Yeah, I’m king status, supreme me
Welcome to the rewards of bein’ me
Uh, this shit, it get so serious, it get so berious
Don’t call me Vin Diesel when you get me furious
VVS straight from Africa, it’s from Siberia
Put that work up in the Acura, yeah
[Chorus: Drego]
Oh, you really wanna ride? Ooh, I’m cookin’ ****, wanna ride with me? Wanna slide with me? I’m too high up off the drink, can you drive for me? Wanna slide with me? [Intro]
(Antt did the track)
(I got exotic pack)
[Verse 1: Beno]
In a minute, I’ma send it (I’ma send that shit)
Have we met? I’m too high up off the lean, can you drive for me? I’m too high up off the lean, can you drive for me? I’m too high up off the drink, can you drive for me? Ooh
[Outro]
(Beatgang) No, we didn’t (No, we didn’t)
I’m back on the road, uh, I’m back in that kitchen
This bitch out of control, she all in my business
Baby, let me know what you want for Christmas
I just caught the load, gave it to my niggas
This thirty thousand whole, let’s throw it on them bitches
In a minute, I’ma send it
[Verse 2: Teejayx6]
I can’t hit the road, I got cases pending
All my bitches cold, got they makeup finished
Hit the corner store, bitches want some liquor
She wanna blow my dome ’cause that Perc’ up in her
I just f*cked a nigga bitch, all it took was some liquor
Seen some shit on the dark web, a nigga tried to sell his liver
Used a fake credit card, I didn’t pay for my dinner
Swiped my bitch some makeup, it was made by Kylie Jenner
I’ll scam anybody, don’t really care about your gender
Really active in them stores, I’m tryna hide from all the cameras
Scammed a Young Thug wannabe, he from Atlanta
[Verse 3: Beno]
Pour that drank up, goddamn, I miss that Fanta
I might whip me up a Patek, buy an Aston
She from overseas, yeah, she speaking Spanish
But she can’t hit my scene ’cause she dramatic
[Chorus: Drego]
Oh, you really wanna ride? Ooh, I’m cookin’ ****, wanna ride with me?

It was a high summer night along the Ouachita
Where in a town named Mammoth Hill
A boy was found at Times Picayune said
Left headless by the cotton gin mill
John Law was slow so the road ran free
From the swamps of Louisiana to the hills of Tennessee
Then on to the Carolines where it brought hard times
To many a family
One Otis Ray Stone weren’t nobody’s fool
He had the look of a righteous man
By day he plied his trade as a teacher
While by night getting blood on his hands
For thirty five years running high on the loose
Two steps ahead of the hangman’s noose
Indeed, it seemed Otis Ray Stone would never atone
For what he done to many a poor youth
Yet the long arm of justice reaches far
From the banks of the Ouachita to the highest star
Like the hour hand on the wall
Like a snail creeping at a dead crawl
One fine day in some mysterious way
Justice finds us all
It finds us all
Many years hence on a Death Valley Road
While jackin’ up his broke-down car
Came hell on wheels that left Otis Ray
Lying flat on the hot burnin’ tar
For three long days, not a drop on his tongue
Suffering every crawler ‘neath the desert sun
And old Otis Ray screamed while a crow picked his eyes clean
Before his dying was done
The long arm of justice reaches far
From the banks of the Ouachita to the highest star
Like the hour hand on the wall
Like a snail creeping at a dead crawl
One fine day in some mysterious way
Justice finds us all
Now, the mortal remains of Otis Ray Stone
Were never made manifest
‘Cause what a crow had done to both his eyes
Ten buzzards did to the rest
And all that was, was a blot on the land
A heap of grey dust in the shape of a man
And the last of Otis Ray was finally swept away
By the blowing sand

You find out, where did it come from? Came down from the sky
So most of it, almost all of the tree is out of the ground
I’m sorry, it’s out of the air! They surely come out of the ground
No, they come out of the air
No, they come out of the air
The carbon dioxide in the air goes into the tree and it changes it
Kicking out the oxygen
And then pushing the oxygen away from the carbon and leaving the carbon substance with water
Water comes out of the ground
Only it came out of the air, didn’t it? It comes from the air
It’s carbon dioxide from the air
People look at trees and they think it comes out of the ground
That plants grow out of the ground
But if you ask, where the substance comes from? Life has some mysterious quirks
No, the sun is shining
And it’s the sunlight that comes down and locks this oxygen away from the carbon
So it takes sunlight to get the plant to work
And so the sun, all the time, is doing the work of separating the oxygen away from the carbon, the oxygen is some kind of terrible byproduct, which it spits back into the air and leaving the carbon and water and stuff to make the substance of the tree
And then when we take the substance in the tree, and stick it in the fireplace
It is the only oxygen made by these trees
And all the carbon would much prefer to be close together again
And once you’ve let the heat to get it started, it continues and makes an awful lot of activity while it’s going back together again
And all this nice light and everything comes out and everything is being undone, you’re going back to carbon and oxygen, back to carbon dioxide
And the light and the heat that’s coming out. That’s the light and heat of the sun that went in
The sun that went in
[Pre-Chorus]
So it’s sort of stored sun that’s coming out when you burn a log
So it’s sort of stored sun that’s coming out when you burn a log
[Chorus]
So it’s sort of stored sun that’s coming out
When you burn a log
So it’s sort of stored sun that’s coming out
When you burn a log
So it’s sort of stored sun that’s coming out
When you burn a log
So it’s sort of stored sun that’s coming out
When you burn a log Now, of course I told you the oxygen and carbon stick together very tight
How is it that the tree is so smart to manage to take the carbon dioxide, which is the carbon oxygen nicely combined and undo that so easy? The substance of the tree is carbon, where did that come from? Trees come out of the air? Ah, life.

Negli occhi guardo poco solo per sentimento perché lo sguardo è bello usarlo contento nemmeno per errore o per essere fiero potrei guardare il mondo privo dei desideri, privo di desiderio
Mi faccio cullare da questi pensieri mentre improvviso un fuoco con le foto di ieri… e aspetto mattina ho molta nostalgia del colore delle chiavi di casa mia
Sono fuori casa
Sono fuori casa
Sono fuori casa
Sono fuori casa

His eyes roamed skyward
As she wheeled him in his chair
He twithced and he trembled
While his fingers clawed at the air
He spoke in bits and pieces
His words in disarray
Yet she listened carefully
To all that he had to say
To all that he had to say
He must have been
Her beau from way back when
Someone who she swore
To honor till the end
Life is cruel
There ain’t no denying
At times too heavy a cross to bear
Yet something beautiful
When love is there
And the crowds did their damnest
To hide away their eyes
But people being people
They did otherwise
Still she tended to the needs
Of a man all bent and curled
As if God was in his heaven
And all was right with the world
She reached deep down
Inside his living hell
And touched the light
Bound by a broken shell
Life is cruel
There ain’t no denying
In the end no one is spared
Yet something beautiful
When love is there
Some wear bright stars or medals on their chest
Some heroes go
Seldom being noticed
Life is cruel
There ain’t no denying
At times too heavy to cross the dam
Yet something beautiful
When love is there
She stood him from his wheelchair
Sat him in the van
Kissed his cheek and whispered
You’re still my man

Um, I was talking about that this weekend, thinking a lot about it
I think the two basic types of music indigenous to this country are
Um, the Black music blues
And the kind of folk music that was brought over from Europe
And I guess they call it country music or the kind of West Virginia high and lonesome sound
Those are the two mainstreams of the root American music
It looks like, uh 10 years ago what they call rock ‘n’ roll was kind of a blending of those two forms
Uh… I guess what’s happening now is rock is kind of dying out
And everyone’s going back to their roots again
Some are going back into country and some are going back into basic blues
I guess in four or five years the new generation’s music will be, it’ll have a synthesis of those two elements and some third thing
Some third thing
Maybe it will be, uh… it might rely heavily on electronics, tapes
I can kind of envision
I can, I can kind of envision, maybe, uh
One person with a lot of machines
One person with a lot of machines
One, one person with a lot of machines
Singing or speaking and using machines
One person with a lot of machines
One person with a lot of machines
One, one person with a lot of machines
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Tapes or electronic set ups, uh
Using machines
Using machines
Using machines
Singing or speaking and using machines
Using machines
[Instrumental Bridge]
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Using machines
Using machines
Using machines
Singing or speaking and using machines
Using machines

Skinhead con I capelli lunghi la bandiera tricolore che pendeva in camera sua ha perso il suo smalto a gran colpi di varechina… fa piangere sua madre e non vuol più ascoltare che del Ravi Shankar o del Alan Stivell sotto il suo cuoio capelluto, la tenerezza ha vinto, il bomber è fiorito e anche I suoi tatuaggi: I fiori hanno rimpiazzato il serpente e la spada!!!! C'était un garçon bien élevé, issu d'une famille de skinhead
Mais il avait bien mal tourné au grand désespoir de son père
Il avait jeté sa matraque, vendu ses Docs et puis son cran
Et même ses superbes nunchacks qu'il avait eu pour ses 15 ans
Skinhead aux cheveux longs
C'est l'émancipation
Sous son cuir chevelu
La tendresse a vaincu
Son bomber a poussé
Ses tatouages aussi
Les fleurs ont remplacé
Le serpent et l'épée
Il était parti au Népal ou les skins ne sont pas légion
Avec son tatouage "Mort aux vaches", les indiens l'ont pris pour un con
Il est revenu au grand air en plein Ardèche il prend son pied
Avec le seul truc qu'il sache faire; des croix gammées en macramé
Skinhead aux cheveux longs
C'est l'émancipation
Sous son cuir chevelu
La tendresse a vaincu
Son bomber a pousse
Ses tatouages aussi
Les fleurs ont remplace
Le serpent et l'épée
Le drapeau tricolore qu'il avait dans sa chambre
A perdu d'son éclat à grands coups d'eau d'Javel
Il fait pleurer sa mère et ne veut plus entendre
Que du Ravi-Shankar ou du Alan Stivell
Era un ragazzo ben educato, rampollo di una famiglia di skinheads. È tornato all'aria aperta fermandosi in Ardèche, con l'unica cosa che sa fare: croci uncinate all' uncinetto!! Skinhead con I capelli lunghi è l'emancipazione! Ma presto, prese una brutta strada, per la grande disperazione di suo padre: ha gettato il suo manganello, venduto le sue Docmartins, il suo coraggio e perfino le sue superbe mazze giapponesi che aveva ricevuto per I suoi quindici anni! È partito per il Nepal dove gli skins non sono legioni e col suo tatuaggio "morte agli sbirri" gli indiani l'hanno preso per un coglione.

You had me right where you wanted
Under your spell
Until you turned my high heaven
Into a living hell
Now you come crawling back
Tryna whip up something new
Sorry baby, it ain’t up to you
Well you can floss them weepy eyes
Show me some skin
Hit me with your charms
Fool if I give in
You can do a little sundance
And pray for a [?]
Heaven knows, it ain’t up to you
And you can cry bloody murder
But it’s a case you never can win
You let the genie out of bottle
Good luck in putting him back in
You know the one who’d been wronged
He got the natural right
To be a little bit cold
And rightly impolite
Go on, cry me a river
Walk a mile in my shoes
That my baby, is entirely up to you
You let the genie out of bottle
Good luck in putting him back in
You had me right where you wanted
Bought it and sold
Until you tore out my heart
And shot it full of holes
Yeah the world keeps on turning
And this much I know is true
It ain’t up to you
It ain’t up to you