I’m giving people the opportunity who wouldn’t otherwise have it.”” /> “We had so many submissions, there were so many women who said ‘I want to direct,” Latifah said. Women are just waiting for the opportunity. “This resonated with me.
She then recorded an album inspired by her jazz singing character ("The Dana Owens Album"). Latifah said that it is important to follow intuition when deciding a career path. Her role in "Chicago" as Big Mama Morton earned her an Oscar nomination in 2003 for best supporting actress. She started to act because she was inspired by Will Smith.
When Queen Latifah walked across the stage at her Tribeca Film Festival talk on Friday, moderator and director Dee Rees (“Mudbound”) declared “all hail the Queen.” Looking at Latifah’s career, she's certainly earned the praise.
If your mind is pulling you, calling you to be better, go to what calls you and find out who you can link up with to make the move.” “Sometimes it’s the timing, how everything is laid out. “All of these dreams were in me, so it was just about when and how,” she said. If you want to do something, you can.
We all need this recognition. It’s about positive vibes.” “You want to carry yourself with an attitude that uplifts. When these gangster rappers praised my work, it drove home the fact that you can make a difference. “At the end of the day, it’s about women feeling good about themselves from the inside out,” Latifah said.
Hulu will air the short films, "If There is Light" and "Ballet After Dark," available to stream on Saturday. In an industry where women are underrepresented, Latifah said that 60% of the crew members featured in these films were women, and because she had so many submissions, she wants to increase from two winners to five next year. Latifah and Rees brought up the two winners of this year’s The Queen Collective initiative: filmmakers B. Monet and Haley Elizabeth Anderson, who each made documentaries that were featured after the talk.
The actress, musician, entrepreneur, and author started out in hip-hop, a notoriously “misogynistic” industry, she said. When she came onto the scene in the ‘80s and made a name for herself despite male domination, rappers like Ice-T and Big Daddy Kane took notice and doled out respect.
Now, she partners with Proctor & Gamble and Tribeca Film Festival through The Queen Collective to help young filmmakers by supporting their distribution, budget, and production needs. In order to give back, Latifah cofounded her own management company, Flavor Unit Entertainment, with film producer Shakim Compere (“Beauty Shop,” “Bessie”) because she wanted to get artists out of the "horrible" contractual agreements she had experienced in the industry.

Widowed young a decade later — she never remarried — the self-confessed "unconventional housewife" channeled her grief into cooking projects, with influential New York Times food editor Craig Claiborne as her most significant patron. The film's biographical elements are straightforwardly but attractively presented, mixing archive material with Kennedy's witty, unsentimental testimony to explain how, in 1957, she first came to live in Mexico with her foreign-correspondent husband Paul and swiftly realized she'd found her spiritual home.
Elsewhere, the film drolly chronicles Kennedy's daily routine at her idyllic ecological home and educational center in the forested outskirts of Zitácuaro, where she devotedly tends her gardens, zealously advocates the possibilities and virtues of sustainable living, and offers cooking classes to simultaneously awed and terrified admirers — some of them pro chefs in their own right. She's not a gentle teacher: In the film's single funniest scene, she picks apart one student's failed rice dish with the not-angry-just-disappointed severity of an aggrieved parent.
Yet the film, via an ensemble of awed talking heads, positions her less as an individual cookery queen than as a kind of gastronomical anthropologist — "an Indiana Jones of food," notes one Mexican chef — responsible for concretely preserving and sharing a wealth of regional dishes and methods hitherto passed down largely through oral tradition, mother to daughter. As a white British woman who has made a career of documenting, disseminating and teaching indigenous Mexican recipes, Kennedy is vulnerable to such charges.
The question of cultural appreciation versus appropriation is tactfully touched upon, with other interviewees gingerly alluding to some Mexican resistance to her work, though it would be fascinating to hear Kennedy's direct thoughts on the matter. If Kennedy's passionate ferocity is part and parcel of her legend — "If her enthusiasm were not beautiful, it would border on mania," Claiborne noted, in a quote that opens the film — though it may be why this richly enjoyable tribute doesn't interview her as pressingly or curiously as it might.
Halfway through "Nothing Fancy: Diana Kennedy," the 96-year-old doyenne of traditional Mexican cooking offers a brisk lesson in making guacamole, complete with a number of strict, sharply emphasized rules: no garlic; serrano chillies only; chop the onion, don't mince it; never blend the avocado; and if people say they don't like cilantro, "for heaven's sake, don't invite them." It's a tart tutorial that would cut cheery "Queer Eye" food assembler Antoni Porowski to the quick, and is emblematic of the veteran's uncompromising, no-guff approach to the cuisine that has adopted her and consumed her for over six decades: In an era of fusion food and anyone-can shortcuts, she remains an unfashionable but essential stickler for the old ways. Elizabeth Carroll's zingy documentary portrait, meanwhile, puts a relevant, environmentally-minded contemporary lens on Kennedy's cherished traditionalism.
On the downside, it may forever ruin lesser faux-Mexican junk food for previously undiscriminating viewers: Just try eating a plate of nuclear orange nachos afterwards without feeling Kennedy's withering glare at your back.” /> Taken as a celebration, however, both of the woman herself and the food to which she has dedicated her life, "Nothing Fancy" is cinematic comfort food of the first order — further perked up by Paul Mailman and Andrei Zakow citrus-bright lensing and lush, string-based musical contributions from Graham Reynolds and Dan Teicher.
(That term would almost certainly earn a stern slap on the wrist from Kennedy, who at one point reprimands a photographer for his innocuous use of "cool," but those tamales do look very good indeed.) The film also benefits from a degree of topicality, and not just because burrito bars are starting to rival burger joints for international fast-food ubiquity: At a moment when debates over cultural appropriation in the culinary world have entered the mainstream, Kennedy's legacy merits fresh appraisal. A crowd favorite at SXSW in March, where it won a jury prize despite unspooling in unfinished form, "Nothing Fancy" (named for one of Kennedy's many authoritative cookbooks) premiered its final cut in Toronto's Hot Docs fest, and should sell like hot tamales with distributors on the strength of its lively character portraiture and sunnily shot passages of gastroporn.
Certainly, "Nothing Fancy" will open the eyes of viewers whose knowledge of the national cuisine extends scarcely further than a Chipotle menu. Kennedy is adamant that she doesn't claim or interpret recipes, but simply puts them on the record: Carroll's team hits the road with the dauntless nonagenerian on a couple of her frequent cross-country research missions, as she drives her battered Nissan pickup through a tangle of remote villages, sampling street food, perusing markets and chattily consulting local cooks along the way.

While NBC has not quite come calling yet, Packard adds that the cast mates all now "see our vision" so "we're all open to whatever is next."” /> As for what's next for the fictional band, Jackson says he hears from a lot of kids who are finding the show on places like YouTube and reaching out to say how much they enjoy it.
For the reunion concert, Kwan and Packard recruited their old cast mates Cade, Jackson and Jones, but they also brought in special guests to be honorary members of the Dreams for the evening, including singer-songwriter Ryan Cabrera to act as front-man, Youngstown's James Lee Dallas and actress-singer Ali Navarro. Franke, who played guitarist Jake Sommers, sent a video message since he could not be there in person.
"It's a sisterhood and a brotherhood so when the ladies called, I knew I had to make it happen." "I have a different career going on right now, but this is a special part of my life," he says.
"We lived these songs, so they're in us. "Honestly it was root," Jackson, who played keyboardist Mark Winkle, says of finding the sound again. When we finished the show they gave us a CD of all of the songs, and for me, being across the country, that's how I relearned them."
and NBC and originally starred Brent Gore and Heidi Lenhart as siblings who started a band with their high school friends played by Packard, Michael Cade and William James Jones. Although Gore and Lenhart's vocals feature heavily on the soundtrack album released from the series, they both left the show before its end, opening the door for new band members Aaron Jackson, Diana Uribe, Jay Anthony Franke and Kwan. "California Dreams" hailed from Peter Engel Prods.
In "California Dreams," Cade played Sylvester "Sly" Winkle, the band's manager, but for the reunion concert, he got his chance to be a rock star, too, performing a rare non-"Dreams" song: Bon Jovi's "Wanted Dead or Alive." Cabrera also performed his hit single "On The Way Down," but the rest of the set list were classics from the sitcom, including opening and closing with the theme song and quintessential numbers such as "Castles on Quicksand" and "One World."
Because the full series is not available on DVD or a streaming service, Kwan "searched far and wide for all of the right songs on YouTube" and then spent time cutting them "so it would be a one-hour show that would be fit for the audience," as well as creating special TV edits to play on a screen behind the band.
The group went into the rehearsal studio the Wednesday before the show, and for many of them, they say it was like they had never left each other.
"I said, 'We can, we just have to do it ourselves,'" Kwan tells Variety. Packard turned to Kwan to ask why they couldn't do something similar. As they tell it, Packard, who played bass player Tiffani Smith in the series, and co-star Kwan, who played vocalist Samantha "Sam" Woo, were at a concert for another popular 1990s entity when they saw the wild reaction of the crowd.
"We've had so much love and support," Kwan says of the process of putting together the event.
And for Jones, who played drummer Tony Wicks in the series, there was something extra special to celebrate: Aside from working alongside longtime friends, the day of the show was also the day he opened his new psychology practice.
"California Dreams" may have been a hit 1990s sitcom, airing for four years on Saturday mornings on TNBC, but aside from a 2010 performance on "The Tonight Show with Jimmy Fallon," its cast has rarely come back together publicly in the almost 25 years since the band-within-the-show strummed its last note. But then came reboot and revival culture, and series stars Jennie Kwan and Kelly Packard got an idea for a reunion concert that Packard says became "our love project."
The result was a two-show, one-night only event held at Saved by the Max, the "Saved by the Bell" pop-up restaurant, in West Hollywood, Calif on Friday that celebrated the spirit — and of course the songs — of the classic youth programming.
It was like time had not even passed. "It brought me back to 25 years ago. "I wanted to hang with my old friends," Cade says. We're kindred spirits for sure." I felt like I was on set a couple of times.
Jackson may have flown a few thousand miles to be in California for the concert, but some of the fans flew from around the world. The audience also drew celebrity friends, such as "Saved by the Bell: The New Class" star Jonathan Angel. Cade and Jones say they met people during the pre-show meet and greet that came from as far as Germany.

Arya Stark: A girl still has names to cross off her kill list.
Theon Greyjoy: The former usurper of Winterfell made a promise to defend the keep, fulfilling a perfect redemption arc.
Safe Bets to Survive
Get your tissues ready as several fan favorites will surely be taken off the playing field this Sunday. The Night King and his army spoiled our heroes' quiet night of swapping stories and catching up with each other as the battle of Winterfell is finally here. HBO's fantasy masterpiece hasn't pulled any punches when killing off beloved characters in the past, so who should we brace ourselves to say goodbye to this episode?
Bran Stark: The new Three-Eyed Raven's plan to use himself as bait for the Night King could turn ugly.
Jaime Lannister: The Kingslayer needs to reunite with Cersei one more time, and maybe become a Queenslayer?
Night King: Could the show's ultimate undead villain survive the battle of Winterfell and head to King's Landing next?
Gendry: There isn't much left for the Baratheon blacksmith to do after forging everyone's dragonglass weapons.
Odds Look Iffy
Davos Seaworth: The Onion Knight had a good run, but it might be time for him to reunite with Shireen.
Drogon: Daenerys' favorite dragon should be safe, but odds don't look too great for Rhaegal if the two face their undead brother…
Tormund Giantsbane: With giant's milk coursing through his veins, the wilding is ready to go out in a blaze of glory.
Podrick Payne: Everyone's favorite squire looks ready to die for our heroes, and could a posthumous knighthood be coming?
Grey Worm: The Unsullied warrior shouldn't have made a sweetheart getaway plan with Missandei.
The 80-minute episode will air on HBO this Sunday.
Missandei: There's a good chance Grey Worm' plan to run away together won't come true for either of the foreigners.
Tyrion Lannister: Even though the crypts don't seem like much of a safe place, Tyrion is too big of a character to bow out before the finale.
Sansa Stark: Someone's got to rule Winterfell if it still stands after the battle, and Sansa has quickly proven herself to be one of the smartest leaders in Westeros.
Samwell Tarly: He has to be the one to document everything that's happened in the show's history once it's all said and done.
Exactly. (Royce is the leader of the Knights of the Vale that always hangs out in the background of a few scenes, but considering most viewers don't know his name, his death looks imminent). Yohn Royce: Who?
Ghost: Finally reappearing in a blink-or-you-miss-it shot last week, Jon's direwolf will surely pounce on some zombies before meeting his inevitable end.
Varys: One of the most cunning strategists, Varys hasn't had much to do lately and could be killed off soon.
Viserion: We're dying to see the Night King's new pet go down for a second time.
Rhaegal: If Daenerys' dragons take on the Night Kings mount, chances are Rhaegal would die first.
Beric Dondarrion: Without Thoros of Myr to resurrect him, Beric is on his last life.
Dolorous Edd: Jon's pal survived the battle of Castle Black, Hardhome and the fall of The Wall, but the battle of Winterfell looks to be his last stand.
Jon Snow: Aegon Targaryen, the prince formerly known as Jon, has survived nearly every major battle in the series, and this one won't get the better of him.
Daenerys Targaryen: Same as Jon, Daenerys will make it to the end, and possibly fight her nephew/lover for the Iron Throne.
More 'Game of Thrones:'” />
Gilly: Little Sam's or Gilly's possible deaths would be the most heartbreaking moment for Samwell.
The Hound: Sandor Clegane still needs to duke it out with his brother, The Mountain, in Cleganebowl.
"Game of Thrones" felt a little too happy last week, didn't it?
Jorah Mormont: Cured of his greyscale, the knight is ready to die for his khaleesi.
Get Ready to Say Goodbye
Lyanna Mormont: It wouldn't be the first time "Game of Thrones" killed off a fan-favorite little girl.
Brienne of Tarth: The most recent knight of the seven kingdoms, Ser Brienne's arc to greatness seems to have reached its peak.

He not only grandly embellishes the family’s journey with that advanced perceptiveness, but he also takes note of his father’s sadness and comprehends the farewell-like finality of a random “I love you.” While it makes for a fleeting moment in the film, “The Lost Words” sharpens our awareness of Bodhi as a uniquely observant kid who sees the magic and meaning of nature everywhere he looks. During one such instance, Teresa reads Jackie Morris and Robert Macfarlane’s “The Lost Words” to Bodhi; an illustrated spell book aspiring to deposit some increasingly unpopular nature-themed words back into the everyday vocabulary of children.
In that, a number of cozy scenes crystallize the encouragement Bodhi receives from adults to widen his imagination. In certain segments, the filmmaking can’t escape the much-imitated Terrence Malick/“Tree of Life” territory. Fortunately, these occasional sun-dappled and twirling affectations don’t invalidate an original whole, which honors a child’s gloriously untamed mind and parents who carefully cultivate it with affection.
These fantastical sequences are often ably (sometimes, distractingly) complemented with real-life episodes, mostly set in the family’s bright and hipster-ish apartment. Webber’s repeat cinematographer Patrice Lucien Cochet traces their mystical expedition through the wilderness with his cold-to-the-touch, tranquil photography, intensifying the damply mossy textures and light reflections of the film’s remote locations (various countryside spots across Wales), as the clan braves the elements and crosses paths with numerous wondrous creatures along the way. Also an editor, Webber toggles between and overlaps reality (birthday parties, hospital visits, and spiritual talks) and make-believe (farting swamps, fizzleberries, grumblers, and knights) until one can’t tell the difference.
With its modest intentions, “The Place of No Words” loosely brings to mind David Lowery’s similarly experimental “A Ghost Story,” in a good way — which is to say, those who are patient with its deliberate shapelessness will be eventually rewarded with something both intimate and gradually immersive à la “Where the Wild Things Are.” While the disorderly open-ended narrative and layers of mythical metaphors are risky (and at times distancing) artistic choices, they make perfect sense for Webber, considering the unique cinematic place the actor-turned-director has carved out for himself.
In the distinct footsteps of his earlier movies like “The End of Love” and “Flesh and Blood,” the filmmaker’s latest sees him continue to grow into his creative voice, both as a performer who’s stretched a range of dramatic muscles alongside boundary-pushing directors — Lars von Trier, Jim Jarmusch, and Todd Solondz among them — and a storyteller pursuing what he calls “reality cinema.” Once again, Webber casts himself and members of his family (his son Bodhi Palmer and wife Teresa Palmer leading the pack) in “The Place of No Words,” as part of the ongoing dogma of his self-defined brand of filmmaking.
Save for a few noteworthy scenes, the story sometimes pushes her to the background, instead of expanding upon the loneliness she expresses while talking about her husband’s imminent passing to a friend. Still, this adventurous and often dream-like film manages to convey a strangely optimistic and freeing image of death, without tying a saccharine bow on the cosmic query of afterlife. Like the bittersweet memory of a departed loved one, “The Place of No Words” is the kind of beast you’ll instinctively remember even if you try to move on from it.” /> “The Place of No Words” leaves much to be desired from Teresa.
While it’s hard to make a critical case for the heightened authenticity this casting philosophy was supposed to inject into “The Place of No Words,” Webber’s instincts pay off, especially with Bodhi. What we see on the screen is mostly what Bodhi experiences and reacts to with his inventive eyes, as his million-dollar question (“Where do we go when we die?”) sends his family off to a strenuous excursion across medieval castles, choppy seas, and mountainous landscapes. The tiny (and yes, impossibly cute) first-time actor somehow turns his character’s innocent confusion about death into something otherworldly.
In that scenario, the magical journey through which a three-year-old grapples with his father’s terminal illness — something he is too young to make sense of in real-world terms — would be adorned with vivid colors and on-the-nose emotions aimed at tear ducts. While occasionally wearisome in its fragmented structure (and limited in its commercial appeal), Webber’s film navigates the vast notion of grief gently and with seriousness. Conceived through a personal lens, “The Place of No Words” thankfully takes the completely opposite approach. You can almost envision a conventional rendering of Mark Webber’s enchanting “The Place of No Words,” the writer-director’s fifth and most ambitiously scoped feature.

Public disputes between MVPDs and programmers are on the rise at a time of rapid transformation of the pay-TV marketplace as low-cost new entrants such as Hulu and YouTube move in. But DIrecTV is not alone among distributors in facing contract showdowns. Last month DirecTV rival Dish came to terms on a carriage deal with Univision after a nine-month blackout.
AT&T simply has not yet demonstrated that they recognize the value of our programming and the high regard we have for our viewers – including AT&T’s own customers." "AT&T has not demonstrated a willingness to negotiate reasonably," Buccieri wrote. "The deal we are seeking is based on the same fair market terms that have allowed us to reach deals with numerous other providers.
AT&T is under pressure to improve the financial picture at DirecTV as the company shoulders a $170 billion debt load leftover from its acquisitions of DirecTV in 2015 and Time Warner in 2018.
Earlier this week, AT&T reported a loss of 544,000 DirecTV subscribers in the first quarter, bringing total subs across AT&T's MVPD services to 22.4 million. DirecTV parent AT&T has been blunt in its discussions with Wall Street about its intent to hammer down on rising programming costs as DirecTV service suffers from substantial subscriber losses as the pay-TV eco system evolves.
(Pictured: A&E Network's "Live PD")” />
The A+E Networks channel portfolio also includes FYI, Lifetime Movie Network and Viceland. A+E Networks is expected to begin running promo spots warning viewers about the contract tussle, and a crawl message on its largest channels.
It seems that concern has become a reality." "Many, including the U.S. Department of Justice, were concerned that AT&T would have the ability and incentive to discriminate against programmers like A+E Networks and others like us. "Having recently acquired WarnerMedia, AT&T appears intent on using their new position to gain an unfair advantage for their own channels," Buccieri wrote.
DirecTV last month concluded tense carriage renewal negotiations with Viacom that also involved public saber-rattling on both sides. Buccieri raised the specter of AT&T discriminating against an outside programming service after bulking up on acquisitions.
A+E Networks is warning viewers of a possible blackout of A&E Network, Lifetime, History and other channels across DirecTV platforms as the sides go down to the wire on carriage renewal negotiations.
DirecTV and A+E Networks are facing a deadline of midnight ET Tuesday to strike a new deal that will keep A+E Networks channels on DirecTV, DirecTV Now and U-verse. A+E was expected to begin running a crawl Saturday evening on select programs across its channels informing viewers of the potential for the channels to go dark.
A+E Networks Group CEO Paul Buccieri alerted company staffers to the situation in a memo sent Saturday afternoon. Negotiations are ongoing but A+E Networks brass are clearly concerned.

Starting next week, on May 2, a new episode of “The Big Ticket” will be released every Thursday on iHeartRadio and wherever your favorite podcasts are found.
Don Cheadle said he was given an hour to decide if we wanted to join the Avengers. And if the pressure wasn't high enough already, he received the call while putting on his daughter's birthday party.
 ” />
Cheadle said he coincidentally saw Howard the very next day. The actors have known each other for years, most notably working together for the Oscar-winning "Crash." "We never had any beef," he said.
When asked who he would want Thanos to snap into dust, he responded, "I think we all know. I'm on Twitter pretty heavily. I've snapped that dude out a couple times." Cheadle has taken aim at President Trump a number of times on Twitter. Yeah.
The actor revealed that he didn't learn who disintegrates until the day of. They kept it from us too," he said. "When I inhaled, that was tough." "They were like, 'you're walking through him and he's going — Sam's disappearing.' I was like, Oh, okay.' Because we didn't know.
Cheadle revealed as much when he sat down with Variety's Marc Malkin for an episode of Variety and iHeart's new film podcast, "The Big Ticket."
They gave Cheadle an hour to decide if he wanted to replace Howard. "I said, 'Well, I'm at my daughter's birthday party.' They said, 'Oh, take two hours.'" and producer Kevin Feige called him during his daughter's birthday party to tell him that Terrence Howard wouldn't be returning as War Machine. "'You just gotta take a leap of faith,'" Cheadle remembered them saying. Cheadle said Robert Downey Jr. That could be 12 years that we're talking about," said Cheadle. "But that's, like, ten years.
"Roe versus Wade has been decided. And to want to go and re-litigate that — and this bill is particularly draconian with what it wants to do with women, that it's just very important that we speak up and show up," he said. Cheadle recently signed a letter denouncing the Georgia abortion bill H.B. 481, which restricts abortions after the detection of a fetal heartbeat.
Listen to the episode here:

This year, UTA planned the party the night before the event, and Samantha Bee held another “Not the White House Correspondents’ Dinner” at DAR Constitution Hall. Even without the president, the dinner has continued to be a hot ticket in Washington.
“The White House Correspondents’ Association has asked me to make the case for the First Amendment and I am happy to oblige,” Chernow said in a statement. “Freedom of the press is always a timely subject and this seems like the perfect moment to go back to basics."
C-SPAN will livestream the event on its website.
Olivier Knox, the president of the White House Correspondents Association and SiriusXM’s chief Washington correspondent, said that the time was right for a “reset,” and other members likely agree, given that many thought that last year’s comedian, Michelle Wolf, was a bit too biting in her barbs, particularly since members of the Trump administration were in the room.” />
Chernow wrote the biography of Alexander Hamilton that inspired Lin-Manuel Miranda to write the hit Broadway musical. Chernow's hosting marks the first time in decades the event has not been hosted by a comedian. American presidents and statesmen biographer, Ron Chernow, will be the featured speaker this year.
President Donald Trump will not be attending the dinner for the third year in a row. The WHCA will host its annual dinner Saturday at 9:30 p.m. ET.
Instead of attending the dinner, Trump will host a rally Saturday night.