Jackson, as development begins on the project. Jackson and his family also announced plans for a simultaneous documentary about the leader's life, directed by Shola Lynch ("Chisholm ’72: Unbought & Unbossed," "Free Angela & All Political Prisoners"). Jackson, as well as William F. Casting is under way to find a lead to play Rev. Keys. The series, currently untitled, will be developed and executive produced by Rev. Jackson's son Yusef D. News of the scripted series comes soon after Rev.
Here's a bit of a logline from Village Roadshow: "From abject poverty in Greenville, South Carolina, the site of the one of the south's last recorded racial lynchings when Reverend Jackson was six years old, to working with Martin Luther King Jr., to two presidential runs, freeing hostages around the world, and engaging nearly every major world leader or religious figure of our time, Rev. Jackson has been a singular figure in the zeitgeist of the 20th century and beyond."
The company is working closely with Rev. Jesse Jackson to adapt his story into a limited series. Jackson, as well as his wife, Jaqueline Jackson, and their family to develop the project. Village Roadshow Television has secured the life rights of civil rights, religious and political leader the Rev.
He has received more than 40 honorary doctorate degrees, and is even a Grammy award winner.” /> Jackson's honors include the Presidential Medal of Freedom, the nation’s highest civilian honor, as well as France's highest order of merit, Legion d'Honneur. Rev.
The Village Roadshow team and Rev. The project was brought into Village Roadshow Television and the deal negotiated by Michael Linowes, exec VP, business affairs. Jackson's family recently met in Chicago to formalize their relationship and discuss ways they hope the series will define and provide context to Rev. Jackson's role over six decades of pursuing civil rights, gender equality, empowerment and economic and social justice.
Among his accomplishments: In 1984, he negotiated the release of a captured U.S. He also got three U.S. In 1990, Jackson secured the release of more than 200 American, British and French hostages from Iraq prior to the Persian Gulf War. fighter pilot in Syria, and also that year, negotiated with Fidel Castro to free 22 Americans and 26 political prisoners from Cuba. soldiers released during the Kosovo conflict.
“Reverend Jackson has lived an extraordinary life, not only through his actions and deeds for America as a nation but also based on what he has personally witnessed and participated in around the world, from the best our country and the world has to offer to some of the lowest points in our history," said Village Roadshow Entertainment Group CEO Steve Mosko, who announced the project on Thursday.
“I have been blessed with a voice, calling and passion to work towards contributing to the greater good of humanity,” Rev. “Throughout my journey there have been great triumphs and disappointments, but we never lost sight of our goals or the tens of thousands of people who directly worked with us to try to make a positive impact on the world.” Jackson said in a statement.

In a world where time changes arbitrarily, a couple’s relationship is tested as their individual and shared recollections of the past, present and future change unremittingly. How would life be if we could foresee certain elements of our future whilst elements of our past are still unbeknown?
A coming-of-age romantic thriller about a young Irish couple forced on the run to escape a vengeful brother, leaving a trail of destruction across Ireland.
Developed through Berlinale Talents Script Station and LIM, the project marks the debut of the documentary director Mo Scarpelli and tells the story of Chesang, a teenager of a Pokot tribe in Kenya, and of her fight between tradition and freedom.
Ioanna Bolomyti, Greece
Director: Christine Repond
He leads a secret life on social media, transforms himself into his acquaintances, steals identities of women and chats with men. Pukho, a 38-year-old man, leads a double life. His usual life is being an archivist at the public TV station. One such identity thefts turns out to be tragic for Margo – his actions ruin the life of a young woman without her realizing the reality behind it.
An immigrant family has to decide their future during a single night at their apartment. As the night unfolds, Sydu’s family slowly uncover the extent of his guilt. Young Sydu gets home and confesses to his parents that he and his friends hurt someone.
Jakub Viktorín, Slovak Republic
Derk-Jan Warrink, The Netherlands
In order to renew their East Berlin contract, a group of Romanian musicians must find the snitch selling them out to the secret police only to discover that the rat is one of them. An ensemble comedy-drama series set in the late 70s and early 80s East and West Berlin and Bucharest.
A story about the lesbian couple Suada and Dita, their friend Toni and his new boyfriend, Ali, who is Suada’s two daughters’ favorite. When Suada dies of cancer, Dita has to act quickly to save the unusual patchwork family, even if it means her marrying Toni and adopting her wife’s children.
When World War I breaks out, her time at the colony has come to an end and she has to decide either to join Alexander in war or to go back to an unknown future in Germany. Elsa is demoted and feels betrayed. Born with a deformed hand, this looks like a unique opportunity for her, but doctor Alexander fails in his trials and people are dying. 1914, Togo: Full of hope, nurse Elsa (17) begins her service working with human experiments at a remote infirmary in the German colony of Togo.
Director: German Golub
Project: “Gambit”
Alexander Wadouh, Germany
Project: “Under the Surface”
Not in the picture: Alexander Wadouh (Germany) and Andrea Berentsen Ottmar (Norway). Courtesy of European Film Promotion/Kurt Krieger.” /> Shown in the photo, from left: Felipe Lage Coro (Spain), Vladimír Lhoták (Czech Republic), Judith Lou Lévy (France), Derk-Jan Warrink (The Netherlands), Jakub Viktorín (Slovak Republic), Ioanna Bolomyti (Greece), Evelin Penttilä (Estonia), Alessandro Amato (Italy), Diana Păroiu (Romania), Stefan Eichenberger (Switzerland), Maarten Schmidt (Belgium), Darya Bassel (Ukraine), Marija Dimitrova (North Macedonia), Janina Teerling (Cyprus), Katya Trichkova (Bulgaria), Jessie Fisk (Ireland), Ketie Danelia (Georgia), Johannes Schubert (Austria), Kuba Kosma (Poland).
A coming-of-age Greek tragedy about sexual awakening, diversity and acceptance.
Vladimír Lhoták, Czech Republic
Project: “The Boy with the Light Blue Eyes”
In “Wild Is the Wind,” to be shot in Galicia, Spain in 2024, a wind power company will threaten what's left of Ana's family – their land.
Director: Michal Blaško (in early development)
But she has to learn how to live independently above the surface with her new boyfriend. Anne, born premature, has Asperger’s and wants nothing more than to be able to live underwater as a mermaid.
Director: Papuna Mosidze
Diana Păroiu, Romania
Variety invited the producers to share details of their upcoming projects. European Film Promotion has been playing host at the Cannes Film Festival to 20 up-and-coming European producers, selected for its Producers on the Move program.
Director: Kyros Papavassiliou
Alessandro Amato, Italy
Director: Goran Stolevski
Project: “Guilt”
This is a summer holiday they will never forget. David and Berta are 12 and meet during the summer holidays in Prague. On a journey to discover the truth about their family history, they enter into the mysterious timelessness, where they need to set free the souls of their grandparents.
Maarten Schmidt, Belgium
Director: Mo Scarpelli
Director: Guido Verelst
Project: “Timeless”
Creator: Peca Ştefan
Nina, a criminally minded young woman, spots a weakness in the security system of an art museum and concocts a plan to rob it. Soon, however, she finds herself caught between her desire to cash in on the bounty and her deepening feelings for her lover Philip, whom the police unjustly accuse of being part of the heist.
The awkward infatuation begins. Both characters come from completely different backgrounds, but in a way are very alike. An ex Camorra boss, Luigi, escapes from Italy to Poland to find a shelter in a refugee camp led by charismatic nun Emilia.
Director: Konstantin Bojanov
Thirty-five-year-old Antonia wants nothing more than to lead a normal life with a husband and child. But how is that possible if she only feels sexually attracted to under-age boys?
Project: “Time of the Monsters”
Writers: Konstantin Bojanov and Petar Krumov
Project: “At Your Service”
Director: Thanasis Neofotistos
Director: Mark Noonan
Project: “Killabees”
Project: “Antonia’s Garden”
Director: Eloy Domínguez Serén
Kuba Kosma, Poland
He is offered the chance to leave detention and go to Curaçao, where he can serve his sentence by helping his father on his bee farm. The gripping story of youngster Franklin, who receives an unexpected phone call from his Curaçaoan father whom he has never spoken to before. He agrees, until he is faced with an unexpected and irreversible choice.
Marija Dimitrova, North Macedonia
Director: Eché Janga
Evelin Penttilä, Estonia
Project: “Housekeeping for Beginners”
Project: “Luigi”
Director: TBC
Director: Łukasz Ronuda
Project: “City Noise”
Stefan Eichenberger, Switzerland
Felipe Lage Coro, Spain
Project: “Embryo Larva Butterfly”
Ketie Danelia, Georgia
Project: “And Then We Took Berlin”
A tragicomedy about a young mother and a patrol officer Helen, who finds herself in a predicament when deciding who to save – her family, her career or herself.
Katya Trichkova, Bulgaria
Project: “This is the Country”
Writers: Livia Ulman, Andris Feldmanis (“Compartment nr 6”)
Project: “A Song That Slays”
Janine Teerling, Cyprus
Jessie Fisk, Ireland
Project: “Wild Is the Wind”

Also in today's TV news roundup:
“Our democracy rests on the ability to engage in serious issues and resolve legitimate differences," said BPC President Jason Grumet. "The Senate Project highlights the creativity and courage required to govern a divided nation."
When he becomes one of Lahela’s patients, their relationship gets complicated," per Disney+. Manheim is repped by UTA, Framework and Goodman, Genow, Schenkman, Smelkinson & Christopher. Milo Manheim has been cast in a recurring role on Season 2 of Disney+ original medical dramedy series "Doogie Kamealoha, M.D." Mannheim will star as Nico, a "street smart teenager who has been in and out of hospitals for years and lives life on the edge. Manheim recently wrapped the upcoming Disney+ Original Movie "Prom Pact," and is best known for playing Zed in the Disney Channel Original Movie “Zombies” franchise, the third movie of which is set to release July 15 on Disney+.
The Bipartisan Policy Center will host the second debate in July at George Washington University, and a third will be held by the Orrin G. Hatch Foundation in Utah this fall. Senate Chamber, and it will be streamed on Fox Nation. The Kennedy Institute will host the debate in its full-size replica of the U.S. The debate will be moderated by Fox News Channel’s Bret Baier.
Previously, she served as senior vice president for the company, having joined in 2019. In her tenure at the company, she was responsible for the sale of over 25 series and specials to streamers, cable channels and networks. Emily Mayer has been promoted to executive vice president of development at B17 Entertainment. Before joining B17, Mayer served as senior vice president at All3 Media’s Maverick TV USA and FishBowl Worldwide Media, and vice president of development at NBCUniversal’s Wilshire Studios In addition, Ashton Copeland and Ben Stoddard have been promoted to director of development and vice president of development, while Sydney Jackson has been hired as creative executive.
Based on the books by Douglas D. Trauth ("Even Stevens"). The project is spearheaded by VP of kids A.J. Cooper. Meredith, the series takes place in 2053, where 12-year-old Cas is the first human being born on Mars. MarbleMedia and MEZO Entertainment are developing a live-action sci-fi adventure series called "Generation Mars," led by creator Robert C.
"The Senate Project" says the goal of its debate series is "to reintroduce the culture of seeking common ground and consensus that has been the essence of the Senate since it was conceived in 1789."
Seth MacFarlane, Jay Ellis and musical guest Def Leppard will appear on "Jimmy Kimmel Live" this Thursday, and Jon Hamm, Jen Psaki and Jimmie Johnson will guest on "The Tonight Show Starring Jimmy Fallon." "The Late Show With Stephen Colbert" will feature Michael Che and James Stavridis, while "Late Night With Seth Meyers" will feature Jennifer Connelly, Chloe Fineman and Danielle Ponder. Miles Teller and Amanda Peet will appear on "The Late Late Show With James Corden."” />
ET on June 13, with Senators Lindsey Graham and Bernie Sanders engaging in a one-hour policy debate. Hatch Foundation and the Edward M. Dubbed "The Senate Project," the debates will launch 12 p.m. Kennedy Institute for the United States Senate is launching a series of debates between leading U.S. The topics of the debate will be announced one week prior to the event. senators. The Bipartisan Policy Center, the Orrin G.
Lauren Tempest has been promoted to senior vice president of content partnerships, acquisitions and scheduling at Hulu. In her new role, she will report to Hulu President Joe Earley, and will be responsible for managing Hulu's library of content and working with third-party partners to make television and film acquisitions. Tempest first joined Hulu in 2015, after working for six years at NBCUniversal’s USA Network. Previously, she served as vice president of content partnerships.
Crackle Plus FAST channels include Crackle, Crackle Classics, newly launched Chicken Soup for the Soul streaming service, action-fueled network Popcornflix and Truli, a faith and family streaming service. Crackle Plus, an advertising-supported video-on-demand (AVOD) streaming service owned by a Chicken Soup for the Soul Entertainment, Inc., announced that it will launch five FAST (free, ad-supported streaming television) channels on the streaming platform Local Now.
Slaggert will play Jackson, a former Division 1 athlete who transfers to Essex from a party school. Mitchell Slaggert has been cast as a series regular in season 2 of "The Sex Lives of College Girls." Created by Mindy Kaling and Justin Noble, the HBO Max series stars Pauline Chalamet, Amrit Kaur, Reneé Rapp and Alyah Chanelle Scott as four freshman roommates at the fictional Essex College. Previously, he has starred in films such as "Spare Room" and "Wish Upon," and starred in the HBO Max reboot of "Gossip Girl." He is represented by Chris Kiely at Authentic Talent & Literary Management; Aperture Talent Agency.

Lifetime, MTV Entertainment Studios, National Geographic, Prime Video, Snap Inc. The Wall Street Journal is a media partner. and VH1 are supporting partners. Amazon Advertising, Apple TV+, CBS Studios, HBO Max and Showtime are premier partners of Variety TV Fest.
Actor Mimi Rogers and Executive Producer Henrik Bastin will also join the discussion. Other programming additions include the roundtables, "Meet the Makers: Showtime's 'The Man Who Fell to Earth'" featuring Executive Producer and Showrunner Alex Kurtzman and Supervising Producer Jason Zimmerman; and "Meet the Makers: Amazon Freevee's 'Bosch: Legacy,'" featuring Michael Connelly, executive producer and author of the books from which the series is based.
"Breakthrough Streaming Marketers," featuring panelists Alexa Levine, U.S. Head of Entertainment, Snap; Sweta Patel, VP Growth Marketing, Roku; Regina Sommese, Group VP, Paid Media and Global Subscriber Acquisition, Discovery, Inc.; and Jo Fox, SVP Brand Direct-to-Consumer, Peacock, is also newly added to the lineup.
These speakers join previously announced participants including Robin Thede, Jessica Biel, Henry Winkler, Octavia Spencer and more.
PT daily. Guests may interact in a series of "rooms," including a lobby, exhibition hall, exhibitor booths and theater on the virtual platform. Sessions will take place from 9:30 a.m. Registration is free, but required for access at variety.com/tvfest.” /> to 12:30 p.m.
Variety announced additional speakers to its Virtual TV Fest, including an "HBO Max Actors and Producers Roundtable," featuring Zendaya ("Euphoria"), Kaley Cuoco ("The Flight Attendant"), Oscar Isaac ("Scenes From a Marriage"), Taika Waititi ("Our Flag Means Death"), Ben Foster ("The Survivor"), and Paul W. Moderated by Senior Culture Editor Marc Malkin, the session will explore creating breakthrough characters. Downs ("Hacks").

People living with bipolar I disorder often experience both mania and depression. Take time to speak to people living with bipolar I disorder and seek out information from support organizations or other educational resources. Bipolar I disorder is one of the most misunderstood disease states in mental health, so it’s important to research the condition to help shape an accurate depiction. Listen to real patient stories and speak with bipolar I experts. During these episodes, they can experience a range of symptoms that vary for each individual.
“Millions of Americans live with bipolar I disorder, and we want to help provide patients resources and support. “[We are] deeply committed to helping those afflicted by complex and debilitating mental illnesses and are working to help lift the stigma around bipolar I disorder in particular,” says Julie Adams, executive medical director at AbbVie. We hope that people living with bipolar I are better represented on big and small screens, reducing the stigma they may face on their respective journeys.”
Illustrate that bipolar I disorder can affect anyone. Be mindful of diversity within the community by representing how mental illness can impact someone of any age, gender, ethnicity or demographic.
In partnership with leading patient advocacy groups, AbbVie wants to help lift the stigma around bipolar I disorder — and is inviting the entertainment industry to join in.
Dedicated to tackling the complexity of mental illness for over 30 years, AbbVie hopes to spotlight the critical need of accurate representation of bipolar I disorder across media and entertainment, with support from patient advocacy groups and industry leaders.
Bipolar I disorder affects approximately 3 million American adults, causing unpredictable high and low mood swings — also known as manic and depressive episodes — which can be brief or last for extended periods of time. Sometimes misunderstood or unrecognized, it may take as long as 10 years for a person to receive an accurate diagnosis. People with bipolar I, a lifelong mental health condition, may experience periods of severe changes in mood, activity levels, and energy, and ability to carry out everyday tasks.
A combination of consistent treatment, therapy and peer support can help patients manage their symptoms of bipolar I. Despite this, the stigma associated with bipolar I disorder, as sometimes dramatized in movies and television shows, may discourage people living with the disorder from seeking the help they may need. Many patients with bipolar I can live multidimensional lives. As dramatic as these symptoms sound, bipolar I disorder can be managed.
Here are some general tips that can be used in Hollywood to foster more accurate depictions of people who have bipolar I:
Together, we can change preconceived notions to help those with bipolar I disorder know that they are not alone and feel empowered to seek the help that they need.” “Hollywood has always played a critical role in shaping public perception. “We’re starting to see more realistic representations of bipolar I disorder in entertainment, which is encouraging — characters on television shows like ‘Ozark’ and ‘Insecure’ come to mind as balanced, multidimensional portrayals of the disease,” says Erin Gallagher, executive director of This Is My Brave.
Sharing TIMB’s vision, this partnership aims to move the world closer to the point where people can talk openly about mental illness without being singled out as “brave.” This Is My Brave (TIMB), one of the leading patient advocacy groups for mental health, anchors their mission on the belief that storytelling can help save lives. One way to educate and influence perception is by hearing stories of people with bipolar I.
adults reported living with a mental illness. Though not always easy to talk about, in recent years, Americans have become more open to the conversation, with issues about mental health topics even featured in popular culture. As of 2020, approximately 21% of all U.S.
Today, there is a growing movement to represent people living with mental illness more authentically in film and television. While progress has been made in destigmatizing mental illness in general, depictions of serious, complex conditions, like bipolar I disorder, are often oversimplified and portrayed negatively.
More than ever, many people are dialing into discussions surrounding mental health and are eager to learn more about what they can do to help. Advocacy for mental health should always be a top priority — inclusive of conversations between entertainment industry professionals and the bipolar I community. The importance of mental well-being has been an increasingly relevant topic in recent years.
Sponsored by AbbVie” />
When depicting characters with balanced lives, consider acknowledging they are under the care of a physician and their bipolar I is being managed with therapy, medication and peer support. If a character with bipolar I disorder shows extreme behaviors, it is important to show that those behaviors may be due to lack of adherence or response to their medication or that the character is not being treated for their condition. Acknowledge medication and treatment.
Characters who cope with their mental health on screen often define and embody that experience for audiences — and may reinforce harmful stereotypes in the process. Media and entertainment can have a powerful influence on public awareness and perception.
Show the multidimensional lives of characters with mental health conditions like bipolar I disorder. Define characters by storylines other than their mental illness. Portray various aspects of their life including family, job, relationships, hobbies, etc.
For example, criminals in fictional shows are often portrayed with polarizing mental health conditions, such as bipolar I. Avoid negative stereotypes. This type of association further adds to the burden of stigma within the community. Accurately depict characters with mental illness without overemphasizing negative traits.

Andy "Fletch" Fletcher, keyboardist and one of the founding members of iconic British electronic band Depeche Mode, has died. He was 60.
As a member of Depeche Mode, Fletcher was inducted into the Rock and Roll Hall of Fame in 2020. Over the course of Fletcher's tenure with the group, they sold over 100 million records worldwide and had 54 songs chart on the UK Singles Chart.
Fletcher formed Depeche Mode in 1980 with Dave Gahan, Martin Gore and Vince Clarke, who was initially seen as the auteur of the group before abruptly departing after their debut album and leaving Gore as the principal songwriter ever since. "Fletch" was the least outwardly showy of the core trio, often wearing shades as he stood behind the keyboards while the more demonstrative Gahan and Gore roamed the stage, but still raising his arms to rouse the rabble.
Speaking of his role in the group, Fletcher said in an interview published in Electronic Beats that he was "the tall guy in the background, without whom this international corporation called Depeche Mode would never work. … And because I don’t push myself to the fore, many mistake me for the fifth wheel." Apart from the singer, the audience doesn’t really know which role which musician has within the group. But bands like Kraftwerk or Depeche Mode actually work as divisions of labor collectives. But that’s bullshit. There is this big misunderstanding that in guitar bands real men are working real instruments — evening after evening — while in a synthesizer band like Depeche Mode nobody works, because it’s all machines. The contribution of each individual remains invisible.
One vice after the other goes overboard. You can’t pull off that lifestyle forever."” /> I’m the only one left in the band who fancies a drink. … "As a rock star, you are a king for one night whenever you enter a town — especially in the States. And the next evening another city was at our feet. Talking with Die Welt in 2009, Fletcher said the group had been a sedate one for many years. We all have family and children now. For one night, we’d own the saloon, the gambling tables, the alcohol and the girls. Everything has changed.
Fletcher spoke to how the group wasn't taken seriously by the press in the early days, dismissed as just another synth-pop group until sold-out shows at venues like the Rose Bowl forced the world to take Depeche Mode seriously — but even then, credibility sometimes came more easily in America than their native country.
— Depeche Mode (@depechemode) May 26, 2022
But what makes bands better than solo artists is the electricity that’s generated. If someone doesn’t want to do something then we won’t do it," Fletcher said in a 2017 interview with The Skinny in the U.K. "We’re a democracy. “Martin and Dave live in the US and I live here, but it doesn’t really affect our relationships. Me and Martin are very close. It’s the electricity that’s generated between us all that produces the good music." Sometimes a band can’t stand each other but that electricity makes for great music. It’s the same with Depeche Mode; we have moments where we don’t like each other, and moments when we love each other. Dave is more like a brother to me – if that makes sense.
"Fletch had a true heart of gold, and was always there when you needed support, a lively conversation, a good laugh, or a cold pint," the post reads. The news was announced via Depeche Mode's official Twitter account, which posted the news Thursday afternoon. A cause of death was not confirmed.
"The problem with Britain is that the press are always looking for the next big thing, and they forget about the last big thing. In America and Europe, they tend to be more loyal." But, he added, "These days, most interviews we do, almost everyone seems to like us." The press have never really taken us seriously, it seems… until this album," he said in 2017, when "Spirit," the band's last album to date, was coming out. "The U.K. is the country we’ve had the most criticism from.
(Gore), who writes most of the songs, loves American blues and country. And Dave has discovered jazz for himself. I, however, will probably eternally feel loyal to the simple pop melodies and the lightness they stand for." In a 2009 interview with the German newspaper Die Welt, Fletcher explained, "I’m the opposite of Dave. I’m a musician but on the street nobody will recognize me. Within the band, I contribute the element of pop.
We had offers in the beginning from major labels, and they promised us a lot of money, but instead we chose a man that was offering us no money.” “We seem to be more popular now than we’ve ever been. I think being on Mute Records was a big help. We’re not a big media band, and it’s never been our ambition to be the biggest band in the world – it’s just the way things have played out.
And yet we just kept getting more and more popular; we had to throw that plan out. Fletcher spoke to their endurance, saying to The Skinny that it had been "an amazing dream come true. I always tell this story, but we had these accountants when we started to make a bit of money, and they drew up a plan – that we’d only last for two or three years.
He did pipe in to say that "it's a shame we're not doing the concert" (that would usually be part of a Hall of Fame induction); that "you'd have still been stealing cars, Dave," if the band hadn't succeeded; and a cheery "Off to the pub!" at the conclusion of the acceptance. Fletcher took part in a pre-taped acceptance speech when Depeche Mode was ushered into the Rock and Roll Hall of Fame during the pandemic in late 2020, but in his typical staying-in-the-background fashion, he had far less to say than either Gahan and Gore.

Their fourth studio album, "Post-Apocalypto," was released in 2018 in conjunction with a six-episode animated series titled "Tenacious D in Post-Apocalypto," illustrated by Black and released on YouTube. Black also has a YouTube channel, Jablinski Games, that has garnered nearly 5 million subscribers since launching in 2018. Black is also a musician, and continues to tour internationally as the lead singer of folk-rock comedy group Tenacious D, which he formed alongside his collaborator and friend Kyle Gass.
Best known for his roles in "School of Rock" and "Kung Fu Panda," Black has made a name for himself as one of the most exuberant and sought-after talents in entertainment, with a career that spans nearly 40 years. Most recently, he voiced the role of Grown Up Stan in Richard Linklater's "Apollo 10½: A Space Age Childhood" on Netflix. Before that, he reprised his "Jumanji" role alongside Kevin Hart and Dwayne Johnson in "Jumanji: The Next Level."
Black's list of iconic movie credits includes his role as Po in all three installments of DreamWorks Animation's "Kung Fu Panda" franchise, Dewey Finn in "School of Rock," Jeff Portnoy in 2008's "Tropic Thunder" and as R.L. Stein in "Goosebumps." Black received a Golden Globe nomination in 2013 for his role in the film "Bernie," in addition to starring in the Oscar-winning film "King Kong." In 2018, Black received a star in the Hollywood Walk of Fame, and he will next appear in Lionsgate’s upcoming sci-fi action comedy film "Borderlands," which is based on the popular video game.
ET. The ceremony, hosted by Vanessa Hudgens, will air live on June 5 at 8 p.m. Actor and comedian Jack Black will be honored with the Comedic Genius award at the 2022 MTV Movie and TV Awards, the network announced Thursday.
Executive producers for the MTV Movie and TV Awards and the Movie & TV Awards: Unscripted are MTV's Bruce Gillmer, Wendy Plaut and Vanessa Whitewolf and Den Of Thieves’ Jesse Ignjatovic and Barb Bialkowski. Jackie Barba and Alicia Portugal are executives in charge of production and Lisa Lauricella serves as the music talent executive for both events.” />
The last recipient of the award was Sacha Baron Cohen in 2021. Before that, past winners included Melissa McCarthy in 2016, Kevin Hart in 2015 and Will Ferrell in 2013. Black is the fifth recipient of the award, which honors actors who have made significant contributions to the world of comedy.

By contrast, the Lionsgate Television segment revenue boomed 76% to $370.2 million year over year — and profit increased 264% to $33.1 million. The division had a record 14 new shows picked up to series in fiscal year 2022 and went 15-for-15 in current series renewed for additional seasons.
Starz has the the Pay 1 TV window on Lionsgate releases, which will immediately be followed by a brief exclusive Roku Channel window, a Peacock exclusive window and then a second window on Roku Channel at a later date. Meanwhile, Lionsgate recently inked Pay 2 window movie output deals with Roku and NBCUniversal's Peacock.
Starz’s global streaming subscriber base grew by 4.8 million for the quarter, to 24.5 million — up 47% from the year-earlier period.
Lionsgate came in below Wall Street expectations for the first three months of the year, but its TV production division again had stellar results and its Starz streaming business kept on growing.
Click here to sign up for Variety’s free Strictly Business newsletter covering earnings, financial news, and more.
That translated to adjusted net income of $13 million, or adjusted earnings per share of 6 cents. Lionsgate's operating loss for the period was $50.4 million, compared with an operating profit of $14.3 million for the first three months of 2021. The company reported revenue of $929.9 million, up 6% year over year, while its net loss more than doubled to $104.6 million for the quarter ended March 31.
The company's Media Networks unit, which comprises Starz and Starzplay International, saw revenue drop 5.2% to $380.2 million due to reductions in domestic linear TV revenue, partially offset by streaming revenue increases. Lionsgate's Motion Picture segment revenue decreased by 1.5% to $288.1 million and profit decreased 19.6% to $49.5 million. The Starz unit's profit decreased 23.3% to $33 million.
Last week, Lionsgate announced a pact with Great Point Studios, a studio investment/management company, and the New Jersey Performing Arts Center (NJPAC) to build a 12-acre production facility in Newark expected to begin operations in late 2024. In January, Lionsgate and Great Point Studios opened a $500 million studio facility in Yonkers, N.Y.” /> The facility will be owned and operated by Great Point Studios; Lionsgate, as the long-term anchor tenant, will receive naming rights to the studio.
Lionsgate previously announced that it would look at spinning off or selling Starz, the premium cable network and streamer it acquired in 2016, as part of reducing its debt. Among the suitors are Roku and Apollo Group, which have teamed on a bid to acquire a minority stake in Starz.
"Despite a very competitive and disruptive environment, I'm pleased to report a strong fourth quarter to close one of our best content-building years as we continue to create significant long term value," Lionsgate CEO Jon Feltheimer said in a prepared statement. "Our content creation strengths were evident across our businesses as our Television Group achieved record new series launches and current series renewals, our Motion Picture Group continued to add to a strong pipeline of branded properties and our library turned in another standout performance."
Wall Street analysts on average expected revenue of $961 million and adjusted earnings per share of 10 cents for the quarter, according to S&P Global Market Intelligence.

“It is so important to tell these stories because the stories that we tell each other matter,” DuVernay said. “If we can tell stories that allow us to see each other in the ways that we truly are in the most intimate spaces, maybe we would safeguard so that there were not be shootings, mass shootings, shootings by police.”
And Kim, you have provided an opportunity for so many of us to say we are not alone, we are many. We are an army of women representing other women of all backgrounds.” It’s no fun being the only. She said, “I can tell you because I have been called the first in many categories, you revel in it but you don’t want to be it. You want to open that door for a floodgate of others.
The atmosphere inside this year’s gala was subdued, as facts were still emerging just hours after a mass elementary school shooting in Uvalde, Texas that left 19 children and two teachers dead.
DuVernay, who accepted the best family series award for her Peacock reality show “Home Sweet Home,” also referred to the deadly school shooting in her acceptance speech, as well as other tragedies including George Floyd’s murder at the hands of police officer Derek Chauvin and the war in Ukraine.
She said, “It feels very weird to be celebrating tonight when such an awful thing happened today in Texas. Lynskey went on to express her sorrow over the shooting in Texas as well as the mass shooting in Buffalo, N.Y., which had occurred 10 days earlier. And I just have to acknowledge it because it just feels weird, as happy as I am in this moment, there’s so much tragedy around us and my heart goes out to those families and my heart goes out to the family of loved ones from last week’s horrible shooting.”
Holly Robinson Peete hosted the event, which was held in-person for the first time in two years at the Beverly Wilshire Hotel in Los Angeles. Named after the late vaudeville performer Gracie Allen, the Gracie Awards honor talented women in television, radio and digital media.
I don’t want to bring it down, but my heart is somewhere else right now.” She added, “My wish, I guess, is that it just stops happening. So just sending love to people and thank you for this.
“It’s amazing to be 45 and a size 12, according to this dress, and playing the sexiest, most interesting, most fun character of my career,” Lynskey said.
Though the mood inside the ballroom was often somber, uplifting moments of the evening included Pose co-creator Our Lady J’s acceptance of the grand award for best drama and Christina Perri’s performance of her hit song “A Thousand Years."
The Gracie Awards also honored Melissa McCarthy, Kelly Clarkson, Elle Fanning, Savannah Guthrie and Hoda Kotb, Kaitlyn Dever, Ellen K, Angie Martinez and Dana Cortez, among others.” />
Ava Duvernay, Melanie Lynskey and Tamron Hall were among the honorees at The Alliance for Women in Media Foundation’s 47th Annual Gracie Awards on Tuesday night.
Lynskey, who accepted the award for best actress in a leading role — drama, began her speech by thanking the Alliance for recognizing her work in the Showtime series “Yellowjackets.”
Hall concluded her speech by sharing her condolences for the families affected by the shooting in Texas. She noted that she became a mother for the first time at 48 and would be able to say goodnight to her son, Moses, in a few hours.
During her acceptance speech for best on-air talent, two-time Gracie Award winner Tamron Hall praised Kimberly Godwin, who became the first Black woman to lead a major broadcast news network when she was named president of ABC News in 2021.
CNN Chief International Correspondent Clarissa Ward was recognized as best podcast host for her audio series “Tug of War”. Ward sent in an acceptance speech that she had taped from Ukraine, where she is currently reporting on the country’s ongoing conflict with Russia.
“You don’t have to be a mom to understand the loss. But you have to be a human to open your eyes and to see that none of us should rest easy tonight because too many tonight won’t be able to say goodnight.” “You don’t have to be a parent to understand the pain, “Hall said.
If we can just see each other, understand each other, have empathy for each other, that’s what storytelling does.” She continued, “Maybe we would safeguard each other so that we were not kneeling on people’s necks. Maybe we would safeguard each other so that we aren’t going to war in multiple countries at one time.

In May, however, "Doctor Strange in the Multiverse of Madness" screenwriter Michael Waldron told Variety that he's started actively writing a "Star Wars" script for Feige, noting that he's currently working on a story that "doesn’t have a bunch of TV shows and movies that you’re servicing on top of it." When or whether that script would be greenlit and made remains unclear.
Rebecca Rubin contributed to this report.” />
With that sobering reality — and without concrete plans — "A New Hope" isn't just the name of a onetime blockbuster. It's become a mantra for the future of Star Wars on the big screen.
During Disney and Lucasfilm's presentation at Star Wars Celebration in Anaheim, Calif., most of the time was devoted to introducing new series like "Skeleton Crew," starring Jude Law, and "Andor," featuring Diego Luna in a prequel to "Rogue One," as well as long-in-the-works titles like "Obi-Wan Kenobi," which premieres on May 27.
But in contrast to the robust slate of "Star Wars" TV series set for Disney+, the franchise's feature film landscape has been as desolate as the sands of Tatooine in the wake of 2019's "Star Wars: The Rise of Skywalker." That's surprising, since "Star Wars" is one of Hollywood's biggest properties and the studio has a trio of untitled space opera movies set to hit theaters around Christmas every other year starting in 2023.
On the Star Wars Celebration carpet, Kennedy told Variety that the film slate will get a similar rollout at some point in the future, but she did not specify when.
Though "Star Wars: The Rise of Skywalker" crossed $1 billion at the box office in 2019, the tentpole fell considerably short of its predecessors, 2015's "The Force Awakens" and 2017's "The Last Jedi," in terms of worldwide ticket sales. Prior to that, 2018’s “Solo: A Star Wars Story,” an origin story about Han Solo, became the first “Star Wars” movie ever to lose money. Those back-to-back declines made it painfully clear that not everything set in the sci-fi universe had the Midas touch.
By November 2021, however, Lucasfilm delayed production, purportedly due to scheduling conflicts with Jenkins, who is also committed to direct a sequel to 2020's "Wonder Woman 1984." A year after "Rise of Skywalker" premiered, Disney announced during its 2020 Investors Day presentation that "Wonder Woman" filmmaker Patty Jenkins would direct "Star Wars: Rogue Squadron," and the film would premiere in December 2023.
In March, Kennedy waved off speculation that Marvel Studios chief Kevin Feige was actively producing a "Star Wars" movie for Lucasfilm, saying that while she'd "love to see at some point" what Feige would do, "there isn't anything specifically on the horizon." Beyond the Waititi and Jenkins feature projects, the picture has been much murkier for where "Star Wars" movies are heading.
Instead, Kennedy indicated a movie that Taika Waititi directed and co-wrote with Krysty Wilson-Cairns ("1917"), would be the first feature film to follow "The Rise of Skywalker." But in order to make a December 2023 release, Waititi would need to begin filming no later that the fall — when his upcoming movie, "Next Goal Wins," is expected to premiere for Searchlight. Yet in Vanity Fair's cover story this month, Lucasfilm president Kathleen Kennedy admitted that "Rogue Squadron" would not make the December 2023 release date as Jenkins continued to work on the script.
Dillard and "Luke Cage" writer Matt Owens are developing a "Star Wars" project (including whether it's for theaters or Disney+). Beyond that? But the director's commitment to his "Knives Out" film series, now at Netflix, has kept him far, far away from the "Star Wars" galaxy, and likely will for some time. Kennedy said that Rian Johnson, director of "Star Wars: The Last Jedi," remains "very committed" to making a new trilogy of "Star Wars" films for the studio, which were first announced before "The Last Jedi" debuted. And there's been no update on news from February 2020 that "Sleight" director J.D.
We're all really excited with where that's going," she said. "We had so much to highlight with the new television that we have coming, we're going to have plenty of time to showcase in the same way what we're doing in the movie space.
There is no shortage of television shows set in a galaxy far, far away.

Pathé is in advanced talks with distributors for the rest of Asia, the U.K. and the U.S. Produced by Dimitri Rassam for Chapter 2, a Mediawan Company, and Pathé, the two films were picked up for Latin America (CDC United Network /Cine Video y TV (Zima)), Scandinavia (Nordisk Film), South Korea (First Run Inc.), Poland (Monolith Films), Czech Republic and Slovakia (AQS Inc.), Ex-Yugoslavia (Blitz Films), and Bulgaria, Hungary and Romania Vertical (Entertainment Kft.).
Constantin Film and DeAPlaneta are also co-producers along with M6 Films. Constantin Film in Germany, DeAPlaneta in Spain and Notorious Pictures in Italy boarded the two movies at script stage.
Both movies are directed by Martin Bourboulon and boast a star-studded cast, including Vincent Cassel, Eva Green, Vicky Krieps, Romain Duris, Pio Marmaï, François Civil, Lyna Khoudri and Louis Garrel. Pathé unveiled a sprawling 15-minute promoreel for both “The Three Musketeers” – D’Artagnan” and “The Three Musketeers – Milady" at Cannes Marché du Film.
Pathe's credits include Jean-Jacques Annaud’s “L’Ours” and Patrice Chereau’s “Queen Margot” which were also epic movies. Ardavan Safaee, Pathé Films president, pointed out the 125-year old company first produced ‘The Three Musketeers’ a hundred years ago in 1922. “Producing historical frescos and epic films has always been in Pathé’s DNA and will continue being a crucial part of our strategy going forward as independent distributors need these types of event movies to lure back audiences in theaters,” Safaee previously told Variety.
Rassam said it was crucial for the movies to shoot in France to give them a "true European footing" and "continue the tradition of epic French classics such as ‘Cyrano de Bergerac’ whose authenticity, international and universal appeal transcend the issue of language."” />
"The Three Musketeers," Pathé Films's $75-million two-part adventure epic saga based on Alexandre Dumas’s masterpiece, has been bought in major international territories rolling off a busy Cannes market.
The topnotch key crew boasts Nicholas Bolduc, the Canadian cinematographer of “Enemy” and “La Belle Epoque,” and Guillaume Roussel, the music composer who’s previously worked on “Pirates of the Caribbean: On Stranger Tides” and Netflix’s “The Spy.”
"The Three Musketeers" were penned by Matthieu Delaporte and Alexandre De La Patellière. The massive production used 650 horses and 9,000 extras. The movies recently wrapped principal photography after more than 140 days of shooting at prestigious French landmarks, including the Louvre Palace, the Hôtel des Invalides, the Castles of Fontainebleau and Saint-Germain-en-Laye, Fort la Latte and Chantilly, as well as the citadel of Saint-Malo and the historic city center of Troyes.
13., 2023. “The Three Musketeers – D’Artagnan” will be released in France and Switzerland on April 5, 2023, while “The Three Musketeers – Milady” will be released 8 months later, on Dec.

— b r a n d y (@4everBrandy) May 17, 2022
“Over 20 years and I’m still a topic / A bitch is worth a million and I’m feeling philanthropic / Popular but now I’m poppin’ shit for those out of pocket,” she sings, throwing a witty jab at Harlow.
The nearly two-minute freestyle is in response to Harlow's interview with that same outlet where he couldn’t identify Brandy’s 1998 “Angels In Disguise” and had no idea that the R&B singer was Ray J’s sister.
That prompted Brandy to send out a pair of tweets vowing to show up the rapper but reminded audiences that it was "all love."
Ebro In The Morning on HOT 97 · Ebro in the Morning Exclusive: Brandy – 'First Class' (Freestyle)
♠️ I will murk this dude in rap at 43 on his own beats and then sing is ass to sleep.
Brandy also acknowledges the cancellation of her "Queens" series, saying she's still a queen despite it and even pokes fun at her brother's latest entrepreneurial effort — Ray J's "unbreakable" glasses.
Either way, the back-and-forth is only adding to the flame of “First Class,” which returned to the No. 1 on the Billboard Hot 100 for the third week.” />
Brandy upheld her promise to "murk" Jack Harlow in rap and "sing his ass to sleep," dropping punchy bars for her own rendition of "First Class" that premiered on Hot 97’s "Ebro in the Morning" show on Wednesday.
— b r a n d y (@4everBrandy) May 17, 2022
She playfully raps over the Fergie-sampled production: "Cinderella scriptures / But that don't mean Jack in the streets / Jack of all trades / Now I'm here Jackin' for beats." Her freestyle response to the Louisville rapper is a playful remix of Harlow's chart-topping "First Class," and Brandy demonstrated her ability to bar up.
See, I can have a little fun too♥️ hehe…all love♥️♥️♥️
Although these exchanges are all in good fun, many fans did not take Harlow's blindspot for Brandy lightly as critics pointed to the duality of him thriving as a white rapper and his lack of knowledge in the hip-hop realm. Conversely, others forgave his naivety due to him being just 24-years-old and from a different generation.

Yet his resemblance to Elvis never quite hits you in the solar plexus. He doesn’t quite summon Elvis’s inner aura of hound-dog majesty. Austin Butler, the 30-year-old actor who plays Elvis, has bedroom eyes and cherubic lips and nails the king’s electrostatic moves. Butler looks more like the young John Travolta crossed with Jason Priestly, and I think the reason this nags at one isn’t just because Elvis was (arguably) the most beautiful man of the 20th century. We’ve lived for half a century in a world of Elvis impersonators, and Butler, like most of them, has a close-but-not-the-real-thing quality. He also does a reasonably good impersonation of Elvis’s sultry velvet drawl. Elvis had a come-hither demon glare nestled within that twinkle of a smile. It’s also that Butler, though he knows how to bring the good-ol’-boy sexiness, lacks Elvis’s danger.
The film captures how Elvis did some of his greatest work as a singer there, apotheosized by the avid ecstasy of "Burning Love." What Luhrmann grasps is that the Vegas years, in their white-suited glitz way, were trailblazing and stupendous — and that Col. What comes off with startling power is the final third of the movie, which is set in Las Vegas during Elvis’s five-year residence at the International Hotel. For years, it became a cliché to mock Elvis for having embraced the shameless Middle American vulgarity of Vegas: the shows that opened with the "Also Sprach Zarathustra" fanfare from "2001," the karate moves, the brassy orchestral sound of songs like his reconfigured "Battle Hymn of the Republic." And, of course, he was on drugs the whole time. Parker, in his greedy way, was a showbiz visionary for booking Elvis into that setting.
Yet as "Elvis" dramatizes, Vegas also became Presley’s prison, because Parker nailed him to a merciless contract, and for the most scurrilous of motivations: The Colonel needed Elvis at the International to pay off his own mountainous gambling debts, even if that meant that the singer, offstage (and, ultimately, onstage), became a slurry, pill-popping ghost of himself. By the end, the film’s melody has been unchained.” /> He’s alive onstage more than he was doing "Hound Dog," and offstage, for the first time in the movie, Elvis becomes a wrenching human being. Our identification with Elvis only deepens as we realize that he's "caught in a trap." The film's richest irony is that Butler’s performance as the young Elvis (the one who’s far closer to his own age) is an efficient shadow of the real thing, but his performance as the aging, saddened Elvis, who rediscovered success but lost everything, is splendid. Luhrmann has made a woefully imperfect but at times arresting drama that builds to something moving and true.
The film’s second act leaps ahead to Elvis’s 1968 comeback special — the filming of it, and the backstage politics, which involve Parker promising NBC that they’re going to be getting a Christmas special, a plan we see undermined at every turn by Elvis and the show’s director, Steve Binder (Dacre Montgomery). That Luhrmann compresses most of the 1960s into a two-minute campy montage, which parodies Elvis’s life as if it were one of his movies, is the clearest sign that "Elvis" is no orthodox biopic. The comeback special was, of course, a triumph, but the way Luhrmann tries to package it as a drama of sneaky rebellion doesn’t quite come off.
Yet he spends the rest of his life rebelling against him. No, it will not. That he not only made Presley’s career but had his best interests at heart? By framing "Elvis" as if it were Parker’s self-justifying story, the movie structures itself as a tease: Will it really show us that Parker, as he claims in his voice-over narration, has been given a bum rap by history? Parker latches onto Elvis in 1955, then stage manages his career to within an inch of its life. Elvis, turned into the Colonel’s hard-working show horse, becomes a victim of Stockholm syndrome; no matter how much he sees through the Colonel’s schemes, he can’t bring himself to quit him. Yet Luhrmann, in presenting the Dutch-born, never legally emigrated Parker (née Andreas Cornelis van Kuijk) as a master flimflam artist who saw himself as the P.T Barnum of rock 'n' roll, revels in a certain fascinating ambivalence. Hanks, with his mustache-twirling accent and avaricious gleam, makes Parker a cousin to Jim Broadbent’s nightclub impresario in "Moulin Rouge!" — a corrupt showman who will do and say anything to keep the show going.
Luhrmann has always had the fearlessness of his own flamboyance, and from the first moments of "Elvis," which take off from an outrageous bejeweled version of the Warner Bros. logo, the film lets us know that it’s going to risk vulgarity to touch the essence of the Elvis saga. There’s a luscious opening fanfare of split-screen imagery, showing us how Elvis loomed at every stage — as the smoldering kid whose hip-swiveling, leg-jittering gyrations knocked the stuffing out of our sexual propriety, and as the decadent Vegas showman who flogged his own legend until it was (no pun intended) larger-than-life.
Luhrmann, who made that masterpiece of romantically downbeat razzle-dazzle "Moulin Rouge!" (and in 20 years has never come close to matching it), isn’t interested in directing a conventional biography of Elvis. Baz Luhrmann’s "Elvis" is a fizzy, delirious, impishly energized, compulsively watchable 2-hour-and-39-minute fever dream — a spangly pinwheel of a movie that converts the Elvis saga we all carry around in our heads into a lavishly staged biopic-as-pop-opera. Luhrmann shoots the works, leaping from high point to high point, trimming away anything too prosaic (Elvis’s entire decade of churning out bland Hollywood musicals flashes by in an eye-blink). He taps into the Elvis of our reveries, searing us with the king’s showbiz heat and spinning his music — and how it was rooted in the genius of Black musical forms — like a mix-master across time. And who would want him to?
Luhrmann is out to capture how Elvis, with his thrusts and his eyeliner and his inky black hair falling over his face, was a one-man sexual earthquake who remade the world. The irony is that Luhrmann’s style is too ripely sensual, too post-Elvis, to evoke what the world was like before Elvis. Yet Elvis’s transformation of the world was, in fact, so total and triumphant that it may now be close to impossible for a movie to capture how radical it was. With its over-the-top shots of women at Elvis’s early shows erupting into spontaneous screams, or throwing underwear onstage, plus scandalous headlines and finger-wagging moral gatekeepers growing hysterical over how Elvis was busting down racial barriers or promoting "indecency," "Elvis" keeps telling us that it’s about an insurrectionary figure. But the way that Butler comes off as more harmless than the real Elvis ties into the key problem with the film’s first half.
Or Elvis and Priscilla? Stationed in Germany, Elvis meets the teenage Priscilla — but it’s one of the film’s telling flaws that the actress who plays her, Olivia DeJonge, registers strongly in an early scene but scarcely has the chance to color in her performance. If these relationships had been enriched, the story might have taken off more. Given the film’s epic ambition, the script of "Elvis" (by Luhrmann, Sam Bromell, Craig Pearce, and Jeremy Doner) is a weirdly bare-bones affair. Hanks delivers a performance that’s a luscious piece of hambone duplicity, but why aren’t there more piercingly written scenes between Elvis and the Colonel? To calm the controversies that Elvis first inspired, the Colonel repackages him as "the new Elvis" (read: a singer of family-friendly ballads), which only makes Elvis miserable. To further defuse the attacks upon him, Parker, in 1958, encourages Elvis to go into the Army as a way to clean up his image. The movie shows us how Elvis’s career, after its volcano eruption in the mid-'50s, became a series of defeats and escapes. The Colonel should have been a great character, not a succulent trickster cartoon.
Everything about Elvis (the rise, the fall, all that came in between) is so deeply etched in our imaginations that when you make a dramatic feature film out of Elvis Presley’s life, you’re not just channeling the mythology — you’re competing with it. But it also makes telling his story a unique challenge. Elvis Presley, with the exception of the Beatles, is the most mythological figure in the history of popular music. The challenge is: What can you bring to the table that’s headier and more awesome than the real thing? That makes him a singularly tempting figure to build a biopic around.
For a while, the film plays like a graphic novel on amphetamines, skittering over the Elvis iconography but remaining playfully detached from his soul. Tom Parker, who is played by Tom Hanks, under pounds of padding and a hideous comb-over, as a carny-barker showman with a hooked nose and a gleam of evil in his eye. And what "Elvis" never quite shows us, at least not until its superior second half, is what was going on inside Elvis Presley. Instead, it filters his story through the point-of-view of his Mephistophelean manager Svengali, Col.
We see Elvis as a boy sneaking into a Black tent-show revival, fusing with the writhing gospel he encounters there, or hearing Arthur "Big Boy" Crudup (Gary Clark Jr.) sing "That’s All Right Mama" in a slow high blues wail. Elvis stole the blues, all right, or at least borrowed them, but the movie shows us how he frosted them with a bouncy layer of country optimism and his own white-boy exhibitionism. In a way, though, I wish that Luhrmann had told Elvis’s story in the insanely baroque, almost hallucinogenic fashion of "Moulin Rouge!" For all the Elvis tunes on the soundtrack, the film doesn’t have enough musical epiphanies — scenes that blow your mind and heart with their rock ‘n’ roll magic. Then we hear what Elvis did with that music, syncing it to his own speedy spirit. The film dunks us in Elvis’s blue-suede bliss and then checks us, after a while, into his heartbreak hotel.
Yet , with a central figure whose life, for a long stretch, feels like it’s being not so much dramatized as illustrated.

XYZ Films has acquired writer-director Michelle Garza Cervera’s hotly anticipated breakout feature “Huesera” for theatrical release in North America and has released the first teaser and poster for the film.
James Emanuel Shapiro, EVP of U.S. Distribution, spoke on working with Garza Cervera saying “Michelle is exactly what type of emerging filmmaker you hope for as a distributor: Brilliant, provocative, and passionate. Getting to work on her debut is a dream come true and we're excited Tribeca wanted to premiere her film to the world.”
“Huesera” is one of the first slate of titles under its new distribution arm and an early pick-up ahead of the Tribeca Film Festival, where the film will world premiere.
“I was so lucky to find such a talented cast and crew to tell this story, and now to have XYZ Films as a distribution home for ‘Huesera,’ who are amazing supporters of international genre films, is everything we ever wished for our film.” “Those who are silenced always hold onto the most wondrous treasures, and celebrating this was always the goal of the film,” she added.
Edher Campos of Machete and Paulina Villavicencio of Disruptiva Films released a joint statement ahead of the announcement saying: “We were immediately captivated by the courageous proposal that is told from the entrails of Michelle Garza in this story. It was a challenge producing ‘Huesera’ and having the chance to portray a contrasting Mexico City from the deepest and most vibrant aspects of the horror genre.”” />
This announcement comes during Cannes, where “Huesera” has been in previous years selected for the Blood Window and Fantastic 7 showcases. This year XYZ Films, which will rep the title for sales in additional territories, is introducing it to international buyers for the first time.
As danger surrounds her, she’s forced deeper into the occult, and a pact with a coven of witches may be her only hope. Valeria is played by Natalia Solián (“500 Millions of Red Shoes”), alongside Alfonso Dosal (“Narcos: Mexico”), Mayra Batalla (“Prayers for the Stolen”), Mercedes Hernández (“Identifying Features”), Aída López (“Capadocia”), and Martha Claudia Moreno. The film follows Valeria, whose joy with becoming pregnant dissolves as she is cursed by a dark power.
“With my first feature, I wanted to shine a light on the kind of characters whose stories are usually kept hidden in families,” said Garza Cervera, who will be the only female director on the Midnight line-up at Tribeca. The film is produced by Machete, Disruptiva Films, and Señor Z and is co-written by Garza Cervera and Abia Castillo.

At the same time, being able to portray Eurydice in "Hadestown" on Broadway is another blessing in itself. I felt even more power in representing Filipinos after being a part of the independent movie, "Yellow Rose." That film by Diane Paragas was a project that definitely set fire to my need of being on screen.
They were beacons of hope that made me think maybe one day, I too, would be doing what they did. I am still on the never-ending journey of self-identity. As I grew older and fell more in love with acting and the need to be a part of telling stories, I acclimated to a very small (yet whom I fiercely adored) list of actors that looked…. And I feel more strongly about that every day. kinda like me. But if there’s one thing I know; it’s that I’m effing proud to be Mexican-Filipina.
And for my Papa in heaven (adobo king!) to laugh with us. So, I cannot wait for my brother and sister to see "Easter Sunday" and feel seen.
This confused me in a way because my own life was full of all different types of people who made my life feel wonderful. I wondered why I wasn’t watching more of their stories. And for a long time, Mulan was one of the very few characters I saw on TV and in magazines that looked like me. With my Papa’s nose hair trimmers, that was.
After seeing her face and recognizing something similar in mine, I decided that I also wanted to cut my hair off in an act of 5-year-old defiance. Mulan was my childhood icon.
That Hollywood was having this film with an all-Filipino cast. It's first in studio history. This is the first time this has happened?! Crazy. It wasn’t until being on set that all of the "Easter Sunday" cast took a moment to look around at each other’s faces and go, ‘Woah.’ 'You got my nose.' 'I have your eye shape.' We have similar stories.
But life isn’t easy.
It was food for my soul. Being in Jo Koy's upcoming release "Easter Sunday" was…soul-fulfilling. It was very similar to being served a steaming plate of lumpia and pancit palabok — dishes integral to Filipino cuisine and homes.
There are definitely traumatic repercussions from that. All of them. For them, it always looked easy. Especially when all we see is one type of person who represents the epitome of beauty. I feel for those who didn’t grow up seeing themselves in society. In all forms. We need more stories that center around the beautiful inhabitants of this earth.
Eva Noblezada is an actress and singer whose credits include "Hadestown" and "Miss Saigon." Most recently, Noblezada starred in 2020's "Yellow Rose." Next up, she will play Ruth in Universal's "Easter Sunday."
Throughout the month of May, Variety will publish essays and stories from prominent AAPI artists, artisans and entertainment figures celebrating the impact of AAPI entertainment and entertainers on the world at large.” />
It was truly touching to be a part of a movie that felt like home. Of course, I was also extremely grateful to have a job during such challenging times.
I am excited to continue to celebrate the wins of the Asian community. Every month of the year. I learned to focus on the reality of the industry despite setbacks and challenges that tried to shape me into becoming something that I most certainly am not.
When people message me and say, "Wow, to see someone onstage look like me took my breath away," will always feel like I’m winning in my career. No matter what genre of entertainment it is; people want to see themselves…they want to be the love interest, they want to be the superhero, they want to feel connected in some way and they want to feel seen.

Kendi and Maroon Visions are represented by WME.” />
Kendi first established Maroon Visions last year, as a production banner focused on centering marginalized people experiences through television and film. The company currently has a first-look deal with independent company Boat Rocker to develop and produce projects for television.
Michael Lebowitz has been hired as head of development and production for Maroon Visions, the independent production company founded by antiracist scholar and author Dr. Ibram X. Kendi.
I look forward to working alongside him to make gripping television and film that transforms minds and societies.” “He’s an uber talented and courageous champion of creators and stories that historically have not been championed. “I’m enthusiastic to welcome Michael to Maroon Visions and partner with him to free the narrative,” Kendi said.
He will also begin overseeing projects currently in development at Maroon Visions, including a Netflix documentary feature and an ESPN+ series in pre-production. Maroon Visions is currently under a first-look deal with Boat Rocker, In his role, Lebowitz will be responsible for sourcing, packaging and pitching new ideas for television, film and documentary productions, with a focus on finding stories centering marginalized communities. He will be based out of Los Angeles.
Lebowitz joins Marron Visions after having served as director of original series at 21 Laps. During his tenure there, he sold the "Unsolved Mysteries" revival series to Netflix, as well as other shows such as "I Am Not Okay with This" and "The Future Of." Previously, Lebowitz worked at The Firm, APA and CBS Studios, and got his start as a production assistant on "Shark Tank."

and other European countries are indeed possible, especially when the IP has been developed out of the U.K.," said Parodi, adding that "Constellation is a British company with a profoundly European DNA, uniquely positioned to propel our filmmakers onto the world stage.”” /> “Co-productions between the U.K.
Film Constellation, the London-based company behind Cannes' Un Certain Regard highlights "Joyland" and "Harka," is set to ramp up its production pipeline with the launch of a dedicated banner in Paris and a raft of ambitious new projects.
Back in London, the banner will also be expanding its executive producing and packaging operations. Westerhoff said "it was written into the company’s DNA to outgrow the classic sales model and provide our producers with in-house gap financing solutions combined with executive production packaging services."
Named Constellation Productions, the new outfit is on board to co-produce Oscar-nominated Quebecois director Jeremy Comte’s debut "Paradise" and Carmen Chaplin's documentary feature "Charlie Chaplin: A Man of the World."
On the genre front, Film Constellation recently assembled the financing for and executive produced Taneli Mustonen’s English language haunted house movie "The Twin". Produced by Aleksi Hivarinen’s Don Films in Finland, the movie is currently playing in more than 40 countries, including in the U.S. were it was released by RLJ/Shudder. "'The Company enjoyed renewed success during the pandemic with US box office horror hit, 'Relic,'" pointed out Westerhoff. This is Film Constellation's second collaboration with Don Films following the South by Southwest hit "Lake Bodom" in 2016.
Created by Fabien Westerhoff in 2016, Film Constellation kicked off its production activities two years ago and is now taking it to the next level to invest on more promising talents, as well as develop original projects. Edward Parodi, head of acquisitions at Film Constellation, will be working across acquisition and development for the sales and production outfits.
"They Shot the Piano Player," produced by Cristina Huete and Nano Arrieta, Les Films D’ici in France and Submarine in the Netherlands. Westerhoff is also set to executive produce the animated film "They Shot The Piano Player," Fernando Trueba's anticipated follow up to his Oscar-nominated "Chica & Rita" which was sold around the world by Westerhoff. The voice cast includes Jeff Goldblum who plays a New York music journalist investigating the tragic disappearance of young Brazilian piano virtuoso.
“Jeremy is a perfect example of the type of raw talent that we get excited about," said Westerhoff. "He is the most singular new voice to come out of Canada in years, and we are thrilled to contribute to the film’s development and financing alongside such wonderful and esteemed partners," said the exec.
The company's slate of packaged British projects going into production include "The Tutor," Alice Troughton’s (“Baghdad Central,” “Doctor Who”)'s feature directorial debut which will star Oscar-nominated Richard E. The movie was just bought by Bleecker Street for the U.S. and Focus Features for the rest of the world. Grant ("Gosford Park"), Julie Delpy ("Before Midnight") and Daryl McCormack (“Peaky Blinders”).
Another project set to start shooting this summer is "Dance First," the anticipated Samuel Beckett biopic which will be directed by James Marsh ("The Theory of Everything"), and starring Gabriel Byrne ("Hereditary"), Aidan Gillen ("Game of Throne"), Fionn O’Shea ("Normal People") and French actress Sandrine Bonnaire.
Film Constellation has also been championing emerging filmmakers, for instance Saim Sadiq with "Joyland" which plays at Un Certain Regard, and Jamie Dack, a Cannes Cinefondation alumni, who won best director at Sundance with "Palm Trees and Power Lines."
“These exciting developments are the natural outcome of what we have been building as a tight-knit team over the years, which is to be very calibered and selective in our approach, exceeding targets and helping to launch new voices into the market," said Parodi, a French-British executive who previously worked at Hanway and has been at Constellation Film since its launch. "Every film is the result of our shared ambition and passion to be at the intersection where art and commerce meets," added Parodi.
Parodi signed the project at script stage in early 2021 before any cast or financing was attached, and worked with British producer Michael Livingstone to set up the talent package. Film Constellation structured a U.K.-Hungary-Belgium co-production with established partners Proton and Umedia in Europe. The company pre-sold the film to Sky Originals in the U.K. and other leading distributors, as well as provided the gap financing.
The executive said Film Constellation was now "playing an active role in getting films into production on most of the projects we board, increasingly assembling financing and packaging the films from script stage."
"Chaplin: A Man of the World," meanwhile, will shed light on Chaplin's hidden gypsy roots and will weave some animation created by Submarine, the Dutch banner behind Richard Linklater’s "Apollo 10 ½." Now filming in the South of France, the documentary is being co-produced by Nano Arrieta at Spain-based Atlantika Films, Westerhoff’s Constellation Productions and Femke Wolting at Submarine, with contributions from Tony Gatlif and Emir Kusturica, among others. "Chaplin: A Man of the World" is expected to hit the festival circuit during the first quarter of 2023.
Set to shoot in Quebec and Africa in 2023, "Paradise" is being co-developed and co-produced by Westerhoff at Constellation Film, Julie Viez ("Harka"), and the topnotch American producers Sara Murphy ("Licorice Pizza") and Ryan Zacharias ("A Chiara"), as well as Christina Piovesan for Elevation in Canada. Comte's follow up to his Oscar-nominated short film "Fauve," "Paradise" follows the story of two boys from distant continents who are trying to find the truth about their lost father.
"There is an increased demand from international distributors for upscale theatrical family entertainment such as 'The Last Dinosaur," said Parodi. Film Constellation is also upping its activities in packaging and financing, and particularly interested in investing more on genre and animation movies, for instance "The Last Dinosaur," Ben Smith's $10-million CGI adventure film co-produced by Red Star Entertainment, the company behind Sky Studios's The Amazing Maurice. Parodi said "The Last Dinosaur" was a Disney-style animated feature for family audiences around the world.
"We are always on the lookout for exciting new talent to launch into the marketplace, regardless of language and country or origin," added the French-German executive who is fluent in multiple languages. "The new production house is another step in that direction to develop original projects with historical talent relationships, and take an active part in international co-productions," said Westerhoff, an industry veteran who previously headed the sales division at WestEnd Films and HanWay Film.

"Elvis" marks Luhrmann's first feature directorial effort since 2013's "The Great Gatsby," which also world premiered at the Cannes Film Festival. King. as B.B. Butler stars in the title role opposite Tom Hanks as Elvis’ infamous manager Colonel Tom Parker, Olivia DeJonge as Priscilla, recent “The Power of the Dog” Oscar nominee Kodi Smit-McPhee as country legend Jimmie Rodgers, Yola Quartey as Sister Rosetta Tharpe and Kelvin Harrison Jr.
That made me emotional immediately…I felt honored they worked so hard to really get his essence, to feel his essence. Austin captured that so beautifully.” Keough told Variety at Cannes that she started crying within the first five minutes of watching "Elvis," adding, "I could feel how much work Baz and Austin put into trying to get it right.
The Warner Bros. musical drama had Cannes spontaneously erupting into applause as Butler recreated some of Presley’s greatest hits including “Jailhouse Rock,” “Blue Suede Shoes” and “Suspicious Minds."
Mason, who began as a model and dancer, earned mid-screening applause. In an earlier scene where Presley parties with fellow legend BB King, newcomer Mason dazzled with a performance of “Tutti Frutti,” complete with acrobatic dance moves. The audience at the Palais was particularly enamored with actor Alton Mason, who plays Little Richard.
As the the cheers went on and on, a teary-eyed Butler hugged an equally-emotional Priscilla Presley, who flew to the South of France to give her blessing for the movie about her late husband.
The film received an uproarious 12-minute standing ovation, the longest of this year’s festival so far.
is opening “Elvis” in U.S. The film joined "Top Gun: Maverick" in being two Hollywood tentpoles to world premiere at the 2022 Cannes Film Festival.” /> theaters on June 24. Warner Bros.
Lisa Marie called the film "nothing short of spectacular," adding, "Austin channeled and embodied my father’s heart and soul beautifully. Prior to the "Elvis" world premiere at Cannes, the movie earned rave reviews from three of the music icon's family members: Priscilla Presley, Lisa Marie Presley, and granddaughter Riley Keough. In my humble opinion, his performance is unprecedented and finally done accurately and respectfully. If he doesn’t get an Oscar for this, I will eat my own foot."
The audience at the Cannes Film Festival was trembling for Austin Butler as the King in Baz Luhrmann’s world premiere of “Elvis.”
“Elvis” is one of the biggest titles to screen at Cannes, with a star-studded carpet that included Sharon Stone, Shakira, Kylie Minogue, Diplo and Jeremy O. Harris. The mogul walked the stairs with super producer Gail Berman, who shepherded Luhrmann’s latest. Discovery CEO David Zaslav ditched his Sun Valley uniform of chinos and tech vests and cleaned up in black tie — slicking his hair behind the ear, perhaps as an homage to the King. It wasn't only celebrity power lighting up the red carpet. Warner Bros.

Black people sought and slaughtered in #Buffalo. Children and teachers gunned down at school in #Uvalde. Persistent racism and gun violence throughout the nation. Bernice King wrote, "We are mourning. And today, we remember #GeorgeFloyd, who should be alive raising his daughter."
The murder of Floyd, along with the deaths of Breonna Taylor, Elijah McClain and many other Black individuals killed by police officers in the U.S., led to nationwide protests in the summer of 2020 supporting the Black Lives Matter movement and calling for the reduction of police budgets across the country.

Barack Obama, Bernice King and others took to social media on Wednesday to remember and pay tribute to Floyd two years after his murder.
In April 2021, a jury convicted Chauvin of murdering Floyd, finding the former office guilty of second-degree murder, third-degree murder and manslaughter.

Two years have passed since the murder of George Floyd at the hands of Derek Chauvin as other members of Minnesota law enforcement stood idly by. Chauvin pressed a handcuffed Floyd to the ground with his knee for nine minutes and 29 seconds as Floyd repeatedly said that he could not breathe.
The order also calls for the creation of a national registry of law enforcement members fired for misconduct to help prevent agencies from taking on officers who had been dismissed in other areas. On Wednesday, President Biden is expected to issue an executive order targeted at overhauling policing, instructing federal law enforcement agencies to revise use-of-force policies, granting incentives to state and local agencies to take on the same revisions and restricting the transfer of some military equipment to police.

https://twitter.com/amyklobuchar/status/1529505908291780609″ />
Read more tributes below.

Obama also acknowledged Tuesday's elementary school shooting in Texas in his tribute, writing: "As we grieve the children of Uvalde today, we should take time to recognize that two years have passed since the murder of George Floyd under the knee of a police officer. His killing stays with us all to this day, especially those who loved him."

As a book writer of musicals, Beane has received four Tony Award nominations, having been recognized for his contributions to the Broadway revival of "Rodgers & Hammerstein's Cinderella," as well as for the Broadway shows "Sister Act," "Xanadu" and "Lysistrata Jones." In addition, he won the Drama Desk Award for outstanding book of a musical for "Xanadu," a stage musical adaptation of the 1980 cult film of the same name.
He has moved seamlessly between genres and subject matter, from straight plays to musicals, often injecting a drawing-room wit and sophistication into the material. Beane is one of the most prolific and celebrated writers in the theater business, having seen many of his works produced to great acclaim both on and off Broadway.
Douglas Carter Beane, the Tony Award-nominated playwright behind "The Nance" and "The Little Dog Laughed," has signed with Verve for representation in all areas.
Beane continues to be represented by The Gotham Group and attorney Stephen Breimer.
Following Till's hire, Verve continued their expansion in New York with the hire of publishing agent Noah Ballard and podcast agent Elise Bergerson.” /> Formed in August 2020 under veteran theater agent Chris Till, Verve's theater group has grown, despite the ongoing pandemic, to represent the likes of Tony Award-winning writers Greg Morrison ("The Drowsy Chaperone"), Nick Stafford ("War Horse"), Greg Kotis and Mark Hollmann ("Urinetown," "The Sting"), and Tony Award-winning director John Doyle ("Sweeney Todd," "The Color Purple").
Beane's plays include "As Bees in Honey Drown," "The Closet," "Shows for Days," "Mr. & Mrs. Fitch," "The Country Club" and "Music From a Sparkling Planet." "The Little Dog Laughed," a send-up of Hollywood and show business, earned a Tony Award nomination for best play in 2007.

“As with our other talent, we work hard to support their creative freedom — even though this means there will always be content on Netflix some people believe is harmful,” Sarandos said.
I love the new women. They’re as good as gold, I love them. The ones with beards and cocks. “Not all women, I mean the old-fashioned ones. Those fucking dinosaurs. And now the old-fashioned ones say, ‘Oh, they want to use our toilets.’ ‘Why shouldn’t they use your toilets?’ ‘For ladies!’ ‘They are ladies — look at their pronouns! They’re great, aren’t they? The old-fashioned women, the ones with wombs. “Oh, women!” Gervais says in the special. What about this person isn’t a lady?’ ‘Well, his penis.’ ‘Her penis, you fucking bigot!’ ‘What if he rapes me?’ ‘What if she rapes you, you fucking TERF whore?'” The new ones we’ve been seeing lately.
Representatives for Netflix and Gervais did not immediately respond to Variety's request for comment.
In a statement at the time, Netflix said it encouraged employees to "disagree openly" with the sentiment of Chappelle's special.
While Netflix is home to some groundbreaking LGBTQ shows, it refuses to enforce its own policy in comedy. Meanwhile, there are PLENTY of funny LGBTQ comedians to support." The statement continues, "Netflix has a policy that content 'designed to incite hate or violence' is not allowed on their platform, but we all know that anti-LGBTQ content does exactly that. The LGBTQ community and our allies have made it very clear that so-called comedians who spew hate in place of humor, and the media companies who give them a platform, will be held accountable.
“We support artistic expression for our creators. “Dave Chappelle’s specials are consistently the most-watched comedy specials on Netflix, and have earned many awards, including both an Emmy and a Grammy for ‘Sticks & Stones,'” a Netflix spokesperson said. We also encourage our employees to disagree openly.”” />
In a statement, GLAAD called the special "dangerous," saying that it consists of "anti-trans rants masquerading as jokes."
In the special, titled "SuperNature," Gervais makes several offensive jokes surrounding the trans community, seemingly aware that his comments will stir controversy.
"Attention Ricky and Netflix: people living with HIV today, when on effective treatment, lead long and healthy lives and cannot transmit HIV to others." He also spouts anti-gay rhetoric and spreads inaccurate information about HIV," GLAAD said in the statement. "We watched the Ricky Gervais 'comedy' special on Netflix so you don’t have to. It’s full of graphic, dangerous, anti-trans rants masquerading as jokes.
LGBTQ advocacy organization GLAAD has responded to Ricky Gervais' newest Netflix special, which has drawn criticism due to jokes mocking trans people.
But meet me halfway, ladies: Lose the cock. I support all human rights, and trans rights are human rights. That’s all I’m saying.” Use your preferred pronouns. Be the gender that you feel that you are. Toward the end of the special, Gervais claims that he does support trans rights, but it leads to yet another punchline at the community's expense: “Full disclosure: In real life, of course, I support trans rights. Live your best life.
In October, Dave Chappelle's special "The Closer" led to company walkouts and protests. This is not the first time Netflix has hosted a comedian's special containing anti-trans jokes. Netflix co-CEO Ted Sarandos defended the special in a staff memo, saying that he supported Chappelle's "creative freedom."

Since coming onto the scene close to 15 years ago, Supergoop can be credited, at least in part, with making sunscreen an ingrained part of people's daily skincare routines.
Instead, Unseen is made out of an organic oil-free formula that glides onto the skin for a velvety finish, doubling as a makeup-gripping primer. Whitefield also loves Supergoop because of  its natural ingredients, noting that she always avoids oxybenzone, a known hormone disruptor in many sunscreens that can negatively impact ocean life.
Brittany Whitefield, who works with star such Brooke Shields, Irina Shaynk and Jeremy O' Harris, says Supergoop's Unseen Sunscreen is a client favorite. The daily face sunscreen, packed with 40 SPF, is the best option for layering underneath makeup because it's "invisible, weightless and scentless," she says.
Supergoop products are also on sale on Dermstore, whose entire website is currently 20% off ahead of Memorial Day weekend. Shop through Supergoop's entire sale here, and check out more Memorial Day sales here.
Read More: The Best Face Sunscreens, According to Hollywood Makeup Artists 
Also on sale is Supergoop's brand new Every Single Face Watery Lotion, which is likely to take over as the brand's most popular product as more people get their hands on it.
Supergoop Unseen Sunscreen
And lucky for us, all of their products are currently 20% off on Supergoop's website right now with the code SUNNY20.
Supergoop Every.Single.Face Watery Lotion” />
Because of Supergoop's moisturizing and lightweight formulas, made specifically to be applied underneath foundation, the brand's wide-ranging SPF products work as protective sunblock while also enhancing natural makeup looks. It's also why Hollywood makeup artists swear by their products.

The annual Institutional Award is presented to institutions and programs for their body of work and their impact on the media landscape. The honoree is selected by the Peabody's Board of Jurors, and presented ahead of the regular announcement of this year's 30 Peabody Awards winners.
The series features Gross, as well as other interviewers, speaking to artists and notable public figures. In 1985, the show begin syndication through National Public Radio stations, and retains a high listenership to this day. "Fresh Air" was first broadcast in 1975 as a local program on Philadelphia public radio station WHYY. Before receiving the Institutional Award, "Fresh Air" was a recipient of a 1993 Peabody honor.
Gross and the team behind "Fresh Air" were presented with the award by "The Late Show" host Stephen Colbert, who introduced a sizzle reel of notable interviews that Gross has done with figures such as Ray Charles, Gene Robinson, Maurice Sendak, Lynsey Addario and Lin-Manuel Miranda.
Gross accepted the award with her longtime co-executive producer Danny Miller. During her speech, Gross thanked Miller for his work producing the show daily, the guests who have appeared on the show, and the larger "Fresh Air" team who are responsible for making the program possible.
"Good or bad, as soon as the show is over, it's time to think about tomorrow's episode. "We do a daily show, and not every episode is exactly worthy of an award," Gross said in her acceptance speech. The Institutional Peabody Award is especially meaningful because it recognizes our show for the totality of episodes, our larger body of work and the efforts of our whole team."
"There's nothing out there quite like 'Fresh Air With Terry Gross,'" Colbert said during his introductory speech. "This NPR stable is where many of us go for some of the most insightful interviews anywhere. Over the decades, it's become a place where artists, musicians, actors, directors, playwrights, authors, poets, showrunners, talk show hosts open up about their work, their process and their life."

Terry Gross has received Peabody's Institutional Award, for her work on the long-running NPR radio program "Fresh Air."
The 30 Peabody Award honorees will be announced from June 6 to June 9.” /> In addition to the Institutional Award, the Peabody Career Achievement Award was presented by Dolly Parton to broadcast journalist Dan Rather on May 19.

NBC Sports is producing Amazon's NFL effort, even going so far as to allow veteran sports producer Fred Gaudelli, an NBC Sports mainstay, to work on the Amazon's Thursday-night affair. One factor that may have played a role in the agreement? "I’m looking forward to continuing my longtime NBC relationship while also launching the 'Thursday Night Football package on Amazon this fall," Michaels said in a statement.
The veteran broadcaster, who revealed in March that he planned to lead Amazon's new streamcast of "Thursday Night Football" in the fall, is keeping a foothold at NBC Sports. Michaels will have "emeritus" status, and is expected to contribute across the NBC Sports portfolio, including, the company said, to the NFL Playoffs and the Olympics.
“Revered by viewers and colleagues, Al has been the soundtrack for many of the greatest moments in sports television history,” said Pete Bevacqua, chairman of NBC Sports, in a statement. “We are thrilled that he’s staying in the family and raising the stature of our events for years to come.”
Al Michaels may be leaving NBC's "Sunday Night Football," but he's not leaving NBC.
In recent months, Disney's ESPN raided Joe Buck and Troy Aikman for its "Monday Night Football" and Fox Sports has struck an agreement with Tom Brady to call NFL games once he retires from the Tampa Bay Buccaneers. NBC, like many other networks, has placed new emphasis on sports talent as rights fees for big games continue to skyrocket.
 ” />
“Do you believe in miracles?" Michaels asked. "Yes!"  He also helped cover the 1989 San Francisco earthquake while offering play by play of the World Series. men’s hockey team upset the USSR's at the1980 Winter Olympics in Lake Placid. Michaels spent 20 years calling "Monday Night Football," and is the only commentator to call the Super Bowl, World Series, NBA Finals and host the Stanley Cup Final for network television. He's the sportscaster who in 1980 made an iconic call when the U.S. He became just the second sportscaster in history to receive a News Emmy nomination for his efforts. Michaels has has covered more major sports events than any sportscaster, and has, on occasion, found himself narrating history as well as a particular event.
The arrangement sets Michaels up to play a role in NBC's post-season NFL coverage, although the network has already paired Mike Tirico with Chris Collinsworth for the NFL's next regular-season set of Sunday-night games.

The series also stars Neve Campbell, Becki Newton, Jazz Raycole and Angus Sampson.
1 on Netflix's list of top English-language titles for the week of May 16-22, its first full week after premiering May 13. "The Lincoln Lawyer" moved to No. Meanwhile, the first season of "Stranger Things" showed up in 10th place as viewers looked to catch up before "Stranger Things 4" debuts Friday.
The David E. Netflix's "The Lincoln Lawyer" follows ​Mickey Haller (Manuel Garcia-Rulfo), an iconoclastic idealist who runs his law practice out of the back seat of his Lincoln as he takes on cases big and small across the expansive city of Los Angeles. Kelley-produced show is based on the series of bestselling novels by Michael Connelly, with the first season following the second book, "The Brass Verdict."
Just behind "Lincoln Lawyer," which had 108 million hours viewed per Netflix's Top 10 list, was the previous week's first-place English-language series, "Ozark" Season 4, with 31 million hours watched. 3 was "The Boss Baby: Back in the Crib," followed, in order, by "The Circle" Season 4, "Bling Empire" Season 2, "Love Death & Robots" Volume 3, "Bridgerton" Season 2, "Workin' Moms" Season 6 and "Savage Beauty" Season 1. At No.
1 with 62.4 million hours watched and "A Perfect Pairing" was runner-up with 33 million. 2 with 14.4 million. Looking at non-English-language movies, "Toscana" took the top slot with 14.8 million hours and "The Perfect Family" was No. For films, Rebel Wilson's "Senior Year" was No.
On the non-English-language side, "Who Killed Sara?" Season 3 took the first-place position with 46.6 million hours watched in its first five days. In second was "Welcome to Eden" Season 1 with 28.7 million.
See Netflix's Top 10 lists for the week of May 16-22 below, beginning with English-language series and followed by non-English-language TV shows, English-language movies and then non-English-language movies.” />
"Stranger Things" Season 1 rounded out the Top 10 list with 9.5 million minutes watched the week before the May 27 premiere of Season 4.

Harrelson revealed during Sunday's press conference that he will also star in Östlund's next project, “The Entertainment System Is Down," another social satire that is in early development.
Neon has bought Ruben Östlund's satire "Triangle of Sadness" in one of the biggest deals to close on a Cannes Film Festival official selection title.
Neon's Jeff Deutchman negotiated the North America deal with 30West, WME Independent and Imperative Entertainment on behalf of the filmmakers.” />
"Triangle of Sadness" was produced by Östlund's outfit Platform, in co-production with Essential Films, Coproduction Office, Sveriges Television, ZDF/ARTE, ARTE France Cinéma and TRT Sinema, in association with Film i Väst, BBC Films and 30 West. Coproduction Office is repping international sales and pre-sold the film around the world. Producers are Erik Hemmendorff and Philippe Bober.
The company has also acquired Kore-eda Hirokazu’s "Broker" ahead of its world premiere and Mark Jenkin’s horror film "Enys Men." At this year’s Cannes Film Festival, Neon brought David Cronenberg’s gruesome body horror film "Crimes of The Future," starring Léa Seydoux, Kristen Stewart and Viggo Mortensen, as well as Brett Morgen’s experiential, genre-defying "Moonage Daydream," chronicling the career of David Bowie.
Sweden's leading contemporary filmmaker and producer, Östlund was previously at the festival with "Force Majeure" in 2014 and "The Square," which won the Palme d’Or in 2017. "Triangle of Sadness" marks his English-language debut.
Several top-tier buyers, including A24, were circling the movie. 30West and WME handled domestic rights to the comedy, which stars Woody Harrelson as a rabid Marxist who is the captain of a cruise for the super rich. According to insiders, the asking price was close to $8 million.
Variety's Peter Debruge called the film "wickedly funny," writing: "There's a meticulous precision to the way [Östlund] constructs, blocks and executes scenes — a kind of agonizing unease, amplified by awkward silences or an unwelcome fly buzzing between characters struggling to communicate."
"Triangle of Sadness" earned a rowdy eight-minute standing ovation following a lively screening punctuated by hysterical laugher, which Östlund later described as being like a "football game."

Some of them, notably del Toro, took part in a symposium earlier Tuesday to discuss the new challenges that cinema is facing today. The roster of talents on the ground at the gala ceremony also included the bevy of stars and filmmakers presenting films at this year's festival, including Kristen Stewart, Lea Seydoux, Viggo Mortensen and David Cronenberg ("Crimes of the Future"), among many others.
Cannes general delegate Thierry Fremaux and president Pierre Lescure took turns calling each guest to join them on stage with a thunder of applause. The guests posed for a Cannes family portrait, and Garcia Bernal then took the microphone and sang “Ella” by José Alfredo Jiménez with del Toro.
Cinema is alive and will never die," said Fremaux, stirring cheers and applauses. "Cinema is not dead! Fremaux opened the ceremony saying a few words about the resilience of cinema and the importance of Cannes in promoting the moviegoing experience.
Lescure, for whom this year marks the last edition as Cannes president, received the first standing ovation of the evening and made a speech talking about the legacy of film festival. top executive Iris Knobloch will soon succeed him as festival president. Former Warner Bros.
The Cannes Film Festival celebrated its 75th anniversary Tuesday evening with a group of no less than 120 stars and filmmakers from all over the world, including Jake Gyllenhaal, Paolo Sorrentino, Isabelle Huppert, Diane Kruger, Guillermo del Toro, Jacques Audiard, Melanie Laurent, Gael Garcia Bernal and Nicolas Winding Refn who made the trip for the event.
The ceremony was followed by the world premiere of Louis Garrel's "L'innocent" in which he stars opposite Roschdy Zem and a lavish dinner prepared by Christian Sinicropi, the chef of the Palme d'Or restaurant, at the Marché Forville in Cannes' old town.” />

I’d love to hear what they have to say. Do we ever ask European Americans what it feels like to be white in this country? It is frustrating to see very little nuance in characters that look like you. It’s such an open-ended question, how can I answer it with a quippy soundbite that gives it any truth? What it actually means to be an AAPI person in media is frustrating.
Bong Joon Ho: “Snowpiercer” 3.
I look forward to the day there are many more Asian American TV creators and filmmakers who get the chance to tell multifaceted stories with bigger budgets. I’m going to open this up a bit to include some of my favorite Asian characters from TV, as well as some of my favorite Asian directors and films: It’s great to see every ethnicity popping up in regular scenes in films and television just going through regular, everyday problems, and not just addressing problems related to being that ethnicity.
5. Awkwafina, “Awkwafina Is Nora From Queens”: Fantastic cast all around.
2. binge-watching the first season with my daughter — we just inhaled it. And I’m such a fan of everything Poorna Jagannathan does as well. Mindy Kaling, “Never Have I Ever”: I stayed up until 5 a.m. I love it so much.
Films and filmmakers:
“Taste the Nation With Padma Lakshmi”: I have to plug my own show, obviously, because it’s so gratifying to be able to help tell these incredible stories. 1.
4. Maulik Pancholy as Jack Donaghey’s assistant Jonathan on “30 Rock”: He was so hysterical in this role!
TV creators and characters:
What it means to be any minority in this country is to see your stories get treated without the same attention to detail — like lighting specially for our skin tones, or larger budgets for the overall project. But as more AAPI filmmakers get to do big projects and tell stories from our points of view, that will change. You so often don’t see yourself represented in meaningful, high caliber ways as that of your white counterpart.
When I’m looking at Indian characters, for example, they are so often portrayed one-dimensionally. We have people who are Indian American who are gaining power in Hollywood and are making TV programs that are more nuanced, complex and authentic to those communities — people like Mindy Kaling and Aziz Ansari, who bring such amazing depth and rich entertainment quality to their stories. That’s changing now, thankfully.
Throughout the month of May, Variety will publish essays and stories from prominent AAPI artists, artisans and entertainment figures celebrating the impact of AAPI entertainment and entertainers on the world at large.” />
Padma Lakshmi is the Emmy-nominated host and executive producer of Bravo’s “Top Chef,” now in its 19th season, and Hulu’s “Taste the Nation,” which is in production on its second season, and has won Critics Choice and Gotham awards.
Mira Nair: “Mississippi Masala” 1.
3. Aziz Ansari and Alan Yang, “Master of None”: This show is just brilliant.
2. Wong Kar-wai: “In the Mood for Love”

Even the potential to have the play-within-the-film (here Chekhov's little-known "Platanov") somehow comment on the characters' lives, as in last year's "Drive My Car," goes largely unmined. Suzanne Lindon plays one of the year's rejects, whose wheedling, obsessive background presence — when she takes a job in the school's cafe just to be near the action — is a squandered opportunity for actual conflict. Most strangely of all, for a film that states and restates the bone-deep vocational importance of the acting process, there is little real sense of the euphoria of performance, or the irresistible lure that the stage exerts on these kids. There are genuinely dramatic interludes here that could have contributed to a much better film. An AIDS scare rips through the class, who have all been youthfully, exuberantly sleeping with one another. Pierre is introduced to heroin by Etienne; Chéreau is shown snorting fat lines of cocaine.
They get involved with each other, which is no mean feat for people as self-involved as they. She does. (He even gets to holler "Stella!" at one point.) Étienne threatens to throw himself off a balcony if Stella does not sleep with him. Convinced the audition was, in more ways than one, a bust, Stella barrels into the bathroom as tears begin to carve mascara channels down her cheeks, and meets fellow applicant Adèle (a welcome but underused Clara Bretheau), an earthy redhead with Natasha Lyonne hair and no underwear. They bond instantly, and so it is with much rejoicing and youthful exuberance — so very, very much youthful exuberance — they greet the news that both have been selected. Among the others joining this little thespian elite are: pregnant but determined Camille (Alexia Chardard); Franck (Noham Edje), who's expecting a child with his young wife, though that doesn't stop him sleeping around; Juliette (Liv Henneguier), who develops an unhealthy fixation on Pierre; and moody, broody Étienne (Sofiane Bennacer), a drug addicted Brando-alike from a troubled background.
Suppressing a smirk as Stella rips open her blouse at that first audition, Pierre asks her, "Do you think an actress has to be an exhibitionist?" A trembling, teary silence ensues. Here, just as Bruni Tedeschi's last Cannes competition title, "A Castle in Italy," pivoted on the highly relatable plight of being forced to sell the family Bruegel, there is a strange, self-pitying myopia around the wealth and privilege to which Stella has access, as though she is to be excused any interrogation of those advantages because of how well-meaning and guileless she is. But while getting physically naked is obviously not a prerequisite for becoming a great actress, the ability to metaphorically bare yourself (and subsequently bear yourself) is maybe the key requirement for anyone wishing to create profound art from lived experience. Long before the end of this indulgent, histrionic personal history, we've lost patience with this exposed-nerve character, for whom every feeling is deeper, rawer and more passionate than normal — except the feeling that she might ever be in the wrong.” />
Where Hogg gives a clear-eyed, sometimes painfully self-critical perspective on her background of privilege and comfort, "Forever Young" seems to exist partially to remind us that enjoying elite social status is nobody's fault, as if wealth is a helpless condition that it's futile, and rather gauche, to mention. "Why would you ask me a thing like that?" she reproaches. The exchange is proffered as an example of Etienne's cruelty toward her, and the issue is simply dropped. In marked contrast to hard-up classmates dependent on the school's sponsorship, Stella lives in a large house and is waited on by a butler. Instead, especially in the final stretch, as Étienne slides deeper into addiction and Stella becomes more anxious for him and fearful of his jealousy, the film starts most to resemble another '80s-set work of fictionalized autobiography by a female filmmaker examining her own creative coming of age: Joanna Hogg's "The Souvenir." It's a comparison that does Bruni Tedeschi's movie no favors, especially in one key regard. But when Étienne makes a glancing allusion to her family's money, she immediately looks stricken.
And once again she fails to make much of a case for why any of it should resonate with anyone outside this tiny, hermetically enclosed community. Staying in your lane is hardly a virtue when your lane is more of a gated gravel driveway leading to a faraway secluded villa, possibly surrounded by a moat. Once again the result is set in a rarefied world of which Bruni Tedeschi has intimate knowledge: this time the 1980s acting school run by the late French theater, opera and film director Patrice Chéreau.
Instead Stella is ripping her figurative heart — and literal breasts — out in front of a largely stonefaced panel led by Chéreau's right-hand-man Pierre Romans (Micha Lescot). The film opens in the tousled, flushed, keyed-up register in which it will continue for more than two long hours, abetted by Julien Poupard's pretty but soapily saturated, insistently close-up camerawork. Bruni Tedeschi's presumed avatar Stella (Nadia Tereszkiewicz, limpid of eye, luscious of pout) is writhing around on the floor in the throes of simulated passion. She is auditioning for a coveted spot in Chéreau's Theatre des Amandiers, though the volatile director, here played by the volatile Louis Garrel, is not present.
Once again she goes back to the autobiographical well for her latest directorial trifle, "Forever Young," which she co-writes alongside Agnès De Sacy and regular collaborator Noémie Lvovsky. There are no more potential-killing words of creative advice than "write what you know." Certainly it's a shame that when donning her screenwriter chapeau, Valeria Bruni Tedeschi — a fine actress and a director with a deft, light touch, especially with breezy character comedy — seems to have taken them so to heart.

and the U.K. with fall 2022 dates planned, followed by an exclusive Mubi streaming release. The film will be released theatrically in the U.S. Ahead of this year's festival, Mubi announced it had picked up distribution rights to "Decision to Leave" in multiple territories such as North America, U.K., Ireland, Turkey and India.
"Decision to Leave" centers around a detective who falls in love with a mysterious widow who just happens to be the prime suspect in his latest murder investigation. Supporting roles are played by Lee Jung-hyun, Go Kyung-pyo and Park Yong-woo. The synopsis has led many to refer to the film has as Park's "Basic Instinct." The cast is led by Park Hae-il and "Lust, Caution" breakout Tang Wei.
Park's last film, the erotic lesbian thriller "The Handmaiden," debuted at Cannes in 2016 and earned a five-minute standing ovation. The movie competed for the Palme d'Or but went home empty handed. Park's other films include "Oldboy," "Stoker," and "Snowpiercer." Along with "Shoplifters" Palme d'Or winner Hirokazu Kore-eda and his new film "Broker," "Decision to Leave" is one of two-high profile South Korean films competing at the Cannes 2022.
Welcome back, Park Chan-wook. The South Korean auteur returned to Cannes six years after "The Handmaiden" with his new detective thriller "Decision to Leave" and earned a five-minute standing ovation.
In between "The Handmaiden" and "Decision to Leave," he pivoted to television with the limited series "The Little Drummer Girl."” /> Park was previously in Cannes with “Oldboy” in 2003, “Thirst” in 2009 and “The Handmaiden” in 2016.
Although the ovation matched the amount of time celebrating "The Handmaiden," the reception was notably more muted. While the camera the festival uses that normally shows on the creative team's gracious reaction after the movie, and helps to keep the applause rolling, wasn't working, the response was quiet even before the technical snafu.