The announcement clarified that both Gary Sanchez and Gloria Sanchez Productions will continue with all existing projects through completion, and that all current projects will continue to be developed by the attached producers.” /> News of the project comes only a couple weeks after McKay announced he was parting ways with longterm producing partner Will Ferrell, with whom he founded the Gary Sanchez Productions banner.
Casting on the pilot has already begun, with production scheduled for this summer.
Max Borenstein penned the script and will executive produce alongside Kevin Messick, Jason Shuman and Jim Hecht, who co-write the story.
Sexism, racism, tragedy, redemption, no look passes and a giant cultural shift in America… “Jeff Pearlman’s book and Max Borenstein’s script of the story of the Showtime Lakers really knocked me over. I can’t wait to start filming," said McKay.
At the time, the Lakers were coached by the legendary Pat Riley, and had the unstoppable duo of Magic Johnson and Kareem Abdul-Jabbar leading the way. The Showtime Lakers team also featured the likes of Jamaal Wilkes, James Worthy, Byron Scott, and Michael Cooper. The Showtime Lakers was a basketball dynasty which dominated the NBA during the 1980s.
The series, which has received a pilot order at the cabler, hails from Adam McKay, who will direct. "Showtime" will be based on Jeff Pearlman’s non-fiction book “Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s.”
HBO is bringing the Showtime Lakers to the scripted arena with "Showtime," Variety has confirmed.

team for several years overseeing day-to-day production, segments and series. " She was a vital member of the 10 a.m. We couldn’t be happier to welcome her back." "It’s a homecoming for Joanne who spent nearly 30 years at 'Today,' rising from page to senior producer," said NBC News President Noah Oppenheim in a memo to staffers Tuesday.
The change is just the latest for NBC's morning franchise, which has been going through a series of changes in the two hours that follow the show's flagship 7 a.m. And Gifford stepped down from the fourth hour earlier this month. The show's third hour now features anchors  Al Roker, Dylan Dreyer, Craig Melvin and Sheinelle Jones, who replaced an hour previously led by Megyn Kelly. to 9 a.m. slot.
And on Monday, NBCUniversal announced that Tammy Filler, the fourth hour's longtime chief, would move over to E! hour that is now led by Hoda Kotb and Jenna Bush Hager. Joanne LaMarca, a longtime "Today" staffer who left NBC News in 2017 after a long run, will return as the new head of the 10 a.m. The hour is in the midst of a transition: Kotb's long-time co-host, Kathie Lee Gifford, recently stepped down, succeeded by Hager. to help run an expanded news operation.
News divisions often install new producers at a program when an anchor change takes place.” />
Just after NBC News recalibrated the fourth our of its daytime "Today" program, it has named a new executive producer to oversee the show.

$385.9 million in the year-earlier period. Revenue for the quarter was $320 million, up 39% year over year, while it narrowed its net loss to $310.4 million in Q1 2019 (an adjusted loss of 10 cents per share) vs.
In North America, the messaging and media service's DAUs were 80 million (up from 79 million in Q4 and down from 81 million in the year-earlier quarter). Snapchat's daily active users were 190 million in Q1 2019 — up 4 million, or 2%, from 186 million in the prior quarter, but down from 191 million in Q1 2018.
Snap topped Wall Street estimates on the top and bottom lines in the first quarter of 2019 — and the still-unprofitable company managed to show an uptick in Snapchat users for the first time in a year.
Snapchat had ended 2018 with 186 million daily active users, flat sequentially and down 1 million versus the end of 2017.
Compared to the prior version, he said, the Android rebuild is 25% smaller, opens 20% faster on average, and is modularized to allow for "efficient ongoing innovation." In addition, Snap recently widely launched the revamped Android application for Snapchat "with promising early results," according to Spiegel. On some of the "lowest performing" Android devices, the new app produced a 6% increase in the number of people sending snaps within the first week of upgrading.
In addition, Snapchat content partners in March increased their total mobile monthly audience in the U.S. Nearly half of its daily Discover viewers watched Discover seven days per week in the quarter, the company said. by an average of more than 30% just by publishing to Discover, according to the company (citing comScore research). Snap said that in Q1 2019, the Snapchat Discover section now includes more than 450 content channels.
In discussing the new Snapchat Landmarkers augmented-reality feature — which lets users interact with real-world landmarks — Spiegel called out the company's deal with HBO, which bought a sponsored AR lens to promote "Game of Thrones" in which a zombie dragon lands on New York City's Flatiron Building.
Snap, of course, calls itself "a camera company," not a social networking or messaging service. "We believe that reinventing the camera represents our greatest opportunity to improve the way people live and communicate," the 7-year-old company's mission statement reads.” />
For the second quarter of 2019, Snap said it expects revenue to be $335 million-$360 million (up 28%-37% year-over-year) with loss before interest, taxes, depreciation and amortization of $150 million-$125 million (versus EBITDA of -$169 million in Q2 2018).
Analyst consensus estimates for Snap's Q1 were for revenue of $306.5 million and an adjusted net loss of 12 cents per share. Snap shares rose as much as 8% in after-hours trading Tuesday on the results but later fell to around +1%.
"This month we announced several new products that we believe will drive further engagement and monetization. As we look towards the future, we see many opportunities to increase our investments, and will continue to manage our business for long-term growth.” “In the first quarter we delivered strong results across our business with growth in daily active users and revenue,” Snap CEO Evan Spiegel said in a statement.
According to Spiegel, as of March, Snapchat ads can now reach 75% of U.S. consumers 13-34 — more than Instagram.
Average revenue per user was $1.68, up 39% year-over-year and down 19% sequentially (reflecting seasonality in the business). Total ad impressions were up 155% year-over-year and 6% sequentially, while pricing was down 42% year-over-year and down 22% driven primarily by an increase in supply.
Three weeks ago, at its first partner summit in L.A., Snap announced several initiatives designed to spur growth and broaden its reach. Those include a new games platform; the ability to let third-party apps give their users the ability to create Stories from Snapchat; an ad network to bring Snapchat ads to third-party apps; and a new slate of original shows from BuzzFeed, New Form and others.

Mo’Nique’s assertion came after Netflix set eye-popping deals for comedy specials with Chris Rock and Dave Chappelle valued at $20 million a piece. Sykes acknowledged that she also rejected a deal from Netflix over financial terms. Last year, Sykes spoke out in support of comedian Mo’Nique, who accused Netflix of low-balling her on an offer for a comedy special.
Stop following people who are just giving you lies and think for yourselves. Or let me tell you what to think," she joked. and unite and that didn't happen. "I hope people see it is not coming from a viewpoint of 'I can't stand Trump.' It's more 'I love my country and I don't understand what's going on," she said. You should try to be funny first, but let's also bring up some topics that are hard to discuss. "When we're attacked, we're supposed to drop all the B.S. Let's try to do some healing.
The explosion in the number of outlets seeking original content has been a godsend for comedians and other creatives. Sykes is in the midst of building up her Push It Productions banner.
Among other highlights of the conversation:
-Sykes was pressed about her view on whether comedians have gone over the line in skewering Trump. Kathy Griffin saw career problems since controversy erupted in 2017 over her infamous photo shoot holding up Trump's severed head.
Sykes recounted her experience in shopping a previous comedy special to the Netflix. “I also felt I was low-balled.” “I had to step up and say something,” Sykes said of lending her support to Mo’Nique.
Sykes has a new comedy special premiering May 21 on Netflix, “Wanda Sykes: Not Normal.” Moderator Andrew Wallenstein, Variety’s co-editor-in-chief, pressed Sykes about her business relationship with Netflix during the Q&A at Rosewood Sand Hill resort.
“This time around, Netflix came in with a good offer. The offer was commensurate with the business I was doing.” It wasn’t Dave Chappelle money but I’m not doing Dave Chappelle business. I disagree and I’m going to find another buyer,” Sykes said of her previous discussions with Netflix. “This is what they feel the special is worth.
Sykes smiled. So what made the difference this time around? “They moved that comma,” she said.
C'mon," she said. "It was ridiculous what they put her through. You have the president of the United States put out a video basically attacking a Congresswoman. She's not going to do anything to harm the president. Now looking back at it I think OK, you gave her all that crap for doing that. "I just looked at that and thought 'That's not funny, Kathy," Sykes said. What he did to her in that video is way more harmful than Kathy, a comedian, holding up some heads with ketchup on them." But the backlash Griffin faced was out of proportion for something that essentially amounted to poor taste. "She's a comedian.
She also has a very clear understanding of what she’s worth in dollars and cents, as she shared Tuesday in her Q&A at Variety’s Silicon Valleywood conference. — Wanda Sykes wears a lot of hats as a comedian, writer, producer and entrepreneur, and that gives her a keen sense of the ever-growing content marketplace. MENLO PARK, Calif.
Now so many buyers are out there especially with streaming. You try to cater to that what are they looking for. We can focus on what stories you want to tell.” They’re just looking for good content,” she said. “Before it was always, what are the buyers looking for on the production side? You don’t have to focus on what people are buying. “They’re going to find someone who is interested in what you’re putting out there.

-Sykes expressed her excitement at working on the upcoming live ABC special featuring recreations of the pilots for classic Norman Lear sitcoms "All in the Family" and "The Jeffersons."
"I'd rather not be cracking up on my special while everything's on fire." -Sykes said her concern about the state of the country outweighs the rich comedic potential that the Trump administration has offered. "I'd rather the country be in better shape and not about to explode," she said.
Sykes is taking on the role of Louise Jefferson, played in the 1970s and '80s by the late actress Isabel Sanford. "If it says 'I want you to hide a body for him,' I'm already in." On a practical level, Sykes had to scramble to free up her schedule to take part in the May 22 event, something she did as quickly as she could. "Anytime I get an email from Norman Lear I'm going to say yes," Sykes said. "I told them 'Just let me figure out if I can cancel some things before you call Queen Latifah,' " she said. "Sorry Queen."” />
She didn’t take it as a personal slight, but she did take her special to a rival outlet, Epix. Today she's also working on a scripted series for Netflix with comedian-producer Mike Epps. Sykes emphasized that Netflix’s offer and her response were strictly business negotiations.
She said comedians have a role to play in helping to "get people talking" about difficult issues such as race and class. As an African-American female lesbian comic, she can't avoid touching on politics and cultural issues in her standup.

Van Ackeren will report to Tricia Biggio, the senior VP of unscripted television. Van Ackeren has 20 years of experience in the industry and joins MGM from NBCUniversal International Studios where she previously served as head of the U.S. Prior to that, Van Ackeren worked at CMT/Viacom as VP of talent development, and Shed Media (US) as head of casting for series and development, overseeing their shows on ABC, CBS, Lifetime and USA. In her role, Van Ackeren will oversee talent and casting for the studio’s unscripted television department. division of Monkey Kingdom.
Metro Goldwyn Mayer has announced three additions to its unscripted television team. It is currently led by Barry Poznick, president of the division and Mark Burnett, chairman of MGM’s Worldwide Television Group ("Survivor," "The Voice").
Dudek was responsible for the oversight of all productions at Electus, including "Running Wild with Bear Grylls" on NBC, Netflix’s "Flaked," and "Terry Crews Saves Christmas." In his role, Dudek will oversee all aspects of physical productions for the studio’s unscripted television titles. Dudek joins MGM from Electus, where he served as head of production and launched the company’s physical production arm. Dudek will report to Poznick and Peter Oillataguerre, president of physical production.
She will be responsible for developing and selling new shows across network, cable, and digital platforms, in addition to overseeing the studio’s court shows, which include "Lauren Lake’s Paternity Court," "Couple’s Court with the Cutlers," and the upcoming series, "Personal Injury Court." Prior to joining MGM, Gambel served as a development executive at 495 Productions for over seven years, where she developed unscripted docu-series and talk shows, including "The Real" and "Martha & Snoop’s Potluck Dinner Party."” /> Gambel will also report to Biggio.
Justin Dudek has joined MGM as senior VP of physical production, Zena Van Ackeren has onboarded as VP of talent and casting, and Kitty Gambel has joined as vice president of the unscripted television team. The changes are part of MGM Television's efforts to grow unscripted content across all platforms.
"We are thrilled to welcome Justin, Zena and Kitty to the MGM Television team, and I look forward to working with them as we continue to build on MGM’s solid foundation in order to broaden the scope of our business to provide worldwide audiences with innovative and original unscripted content," said Poznick.

said it would suspend the months-long search it has conducted for a new leader for the company since the departure of Leslie Moonves and would instead extend the tenure of its acting chief, Joseph Ianniello, through the end of 2019. CBS Corp.
Viacom CEO Bob Bakish has in the past been seen as a favorite to lead a combination of the two companies. But that does not mean the two corporations cannot consider the idea on their own. Through an agreement struck last year, however, National Amusements agreed not to propose a merger between the two companies for two years.
During his short tenure as acting CEO, Ianniello has overseen a reshuffling in the CBS corporate suite, naming David Nevins, the company's chief creative office and installing new executives to oversee financial operations and human resources. CBS has also continued to pursue streaming-video opportunities, raising its guidance for the number of subscribers it will get for streaming-media operations related to Showtime as well as its streaming-video product "CBS All Access."
“Joe has demonstrated exceptional leadership during this time of unprecedented transition at CBS. He steadied the ship with some key appointments and a commitment to cultural change, and steered it forward by focusing CBS’ operations around its growing direct-to-consumer strategy," the company's board of directors said in a statement. "We are very pleased to recognize Joe’s talents and efforts with this extension, and we look forward to all that he’ll continue to do to build on CBS’ remarkable momentum.”
 ” />
Both entertainment players are controlled by National Amusements, the movie-exhibition chain owned by the Redstone family. The board's decision to cease its search for a different successor to Moonves comes as Wall Street expectations are growing that CBS is more willing to explore merging with Viacom, its sister company. Shari Redstone, a board member of both Viacom and CBS, has on two past occasions suggested the companies combine in order to gain leverage in an era when rivals like Comcast and Walt Disney have become substantially more sizable through acquisitions.
Whether a merger can give CBS and Viacom new stature in a sector that now includes streaming giants like Netflix and new combinations of distribution and content operations like AT&T remains to be seen.
Ianniello had been the company's chief operating officer prior to taking the reins of the New York owner of the CBS television network and the Showtime cable service after Moonves was ousted in September of last year. He has denied the allegations. Moonves had been accused by several women of making unwanted sexual advances on them during his time as head of CBS' entertainment operations.

The book follows a group of young GIs, including fashion designer Bill Blass, painter Ellsworth Kelly, artist Arthur Singer, photographer Art Kane, and others, who conduct a secret mission. had larger troop numbers than it actually did. Their job was to create a traveling road show of deception, armed with inflatable tanks and sound-effects records. The film tells the true story of a squadron of recruits from art schools, ad agencies and other creative businesses who were tasked with fooling the Nazis into thinking the U.S.
Ben Affleck will star in and direct the Universal Pictures caper "Ghost Army," based on the book "The Ghost Army of World War II," written by Rick Beyer and Elizabeth Sayles, as well as the documentary "Ghost Army."
Affleck will also produce for his Pearl Street Films alongside Andrew Lazar ("American Sniper," "Get Smart"), who will produce for his Mad Chance Productions. Exec VP of production Mark Sourian will oversee the project for Universal. Pearl Street Films' Madison Ainley will executive produce.
Affleck had been eyeing the movie for some time, but a busy schedule shooting the basketball drama "Torrance" at Warner Bros. and the Netflix pic "The Last Thing He Wanted" prevented him from committing.
The latest script was written by Nic Pizzolatto (HBO's "True Detective"), with an earlier draft by Henry Gayden ("Shazam!"). It's unclear when the movie will go into production as it's still in development and Affleck is expected to rework the screenplay.
He was most recently seen in the action-thriller "Triple Frontier." Affleck is repped by WME and Ziffren Brittenham.” />

Final Jeopardy questions allow you to risk as much as you like, even when you’ve already won so much money that the game is not winnable for your opponents. “Jeopardy!’s” inherent appeal is the story it tells of competition — comebacks, falls from the top, surprise reversals of fortune, all of which speak to the manner in which people respond under pressure. Holzhauer’s run is a thrilling achievement, and deadly dull television. Every aspect of his play, obviously, is not merely within the rules but clearly the ideal use of them. But there is a "show" aspect to a game show that's being underserved. A person who has basically no response to pressure thanks to his demeanor and his professional experience is either perfect casting for a show like this, or, perhaps, a less-than-edifying companion through weeks and weeks of episodes that have lost a certain fundamental crisp interest. A steady march that goes the same way each episode evokes not the heady cut-and-thrust of a game well played but the dreary awareness that a game show, just like all other aspects of life in the late 2010s, can be optimized.” /> Daily Doubles allow you to double your money, and he’s the only person daring enough to consistently risk it and smart enough to consistently get the questions right. Holzhauer’s presence puts forward a question of sorts, about what “Jeopardy!” is and what it has become.
James Holzhauer, who is closing in on a million dollars of game-show winnings, is on track to become the most successful “Jeopardy!” contestant of all time. And he’s become such a dominant force that a historic run has come to seem, as television, boring.
But there’s little to discuss here beyond the marvel of Holzhauer’s obvious intelligence, cool hand, and capacity for risk. Holzhauer’s run, which has included a record-setting single-night take of $131,127, has brought further attention to “Jeopardy!,” a show that is still a widely-viewed ratings draw but one whose routine nature means that it only bubbles up in the conversation when something truly remarkable is happening on it. After 13 episodes, the point seems made, somewhat. (Holzhauer’s run, for instance, happens to coincide with a period in which many fans, casual and nightly viewers alike, are reflecting on their love of the show due to the announcement of Alex Trebek’s diagnosis of pancreatic cancer.) An element of Holzhauer’s strategy, skipping around the board from category to category, recalls similarly-widely-discussed 2014 champion Arthur Chu, though his run was shorter and less lucrative; further back in the show’s history, there was the similarly dominant but far less high-rolling Ken Jennings, who tended to be more closely-placed with his competitors.
More than most contestants, he is there to complete a mission. (His shout-outs to family and friends, written on each Final Jeopardy card, are the only real glimpses we get of the Holzhauer who existed before he took the “Jeopardy!” stage.) He is simply a more advanced player, a perfect one, seemingly sent from the future to dominate the show, and his personality as a TV character is frustratingly difficult to know, even by the standards of the breezily quick thirty-minute game show.
This is not to say that there’s anything “Jeopardy!” can or should do — and one suspects mixed feelings, with the burst of positive attention around Holzhauer countered by the fact that they are suddenly forking over quite such sums of money nightly. But this run represents a bit of a producing challenge. If every episode is a blowout in which two of three contestants are basically never competitive, does that not grow uninteresting over time?
His success is owed in some large part both to landing Daily Double clues (more easily achieved if you have been getting questions right, as he tends to) and to wagering as aggressively as possible once he’s found them. Over the course of thirteen episodes and counting, Holzhauer’s methods and his mien have become deeply familiar. More often than not, he’s rewarded with an insurmountable lead early in the game. A professional gambler in his off-camera life, Holzhauer has by now become notorious for his gesture for wagering it all — pushing his hands forward as if shoving all his poker chips into the kitty.

He is repped by LBI Entertainment.” />
The plan is for the film to shoot in the fall as del Toro fills out the remaining roles.
Miles Dale with TSG Entertainment, with Fox Searchlight acquiring worldwide distribution rights to the film. The pic is being produced and financed by Guillermo Del Toro and J. Del Toro will direct the pic and co-wrote the script with Kim Morgan.
Leonardo DiCaprio is in negotiations to star in Fox Searchlight's remake of "Nightmare Alley," Guillermo del Toro's follow-up to his Oscar-winning film "The Shape of Water."
The film is based on the 1947 Fox movie that starred Tyrone Power as an ambitious young con-man who hooks up with a female psychiatrist who is even more corrupt than he is. At first, they enjoy success fleecing people with their mentalist act, but then she turns the table on him, out-manipulating the manipulator.
Sources close to del Toro say the film will be based on the William Lindsay Gresham novel of the same name.
DiCaprio has not been seen in a movie since his Oscar-winning performance in "The Revenant" in 2015, choosing to take some time off before signing on to star in Quentin Tarantino's next film, "Once Upon a Time in Hollywood." That film, which also stars Brad Pitt and Margot Robbie and centers on the Manson family murders, is scheduled to bow on July 26.
After "The Shape of Water" went on to win several Oscars, including best picture and best director for del Toro, the auteur decided to hold off on picking his next directing gig, only focusing his efforts as a producer on the Searchlight movie "Antlers."