In the upcoming four-episode limited series “Unidentified with Demi Lovato,” the musician will endeavor to explore the truth about UFO phenomena with her sister Dallas and skeptical best friend, Matthew. Additionally, she will star in and executive-produce "Hungry" — a new comedy series that will follow a faction of friends who belong to a food issues group. Following her YouTube documentary “Dancing with the Devil,” Lovato is currently developing an array of projects for NBCUniversal.
"4D with Demi Lovato" is produced by Cadence13, OBB Sound and Scooter Braun’s SB Projects. It's executive-produced by Braun, Michael D. Grace Delia of OBB serves as a producer. Ratner, Scott Ratner, Elias Tanner of OBB, Scott Manson, Jen McDaniels, James Shin, Scott Marcus of SBP and Chris Corcoran of Cadence 13.
With my production partners at Cadence13 and OBB Sound, the 4D podcast will be my place to highlight causes that are close to my heart and elevate my guests’ platforms to an audience they might not have previously reached. “That’s my goal with this podcast. I want to bring listeners with me to learn from experts about timely topics and create a healthy discussion that ultimately cultivates more compassion for one another.” “Living in the Fourth Dimension means existing consciously in both time and space, but for me, it means having conversations that transcend the typical discourse,” Lovato said in a statement.
https://www.youtube.com/watch?v=i-JTmLiG4fE” />
Lovato is repped by WME, SB Projects and Schreck Rose.
The pop star will explore topics of importance to her on the weekly podcast, including mental health, activism, LGBTQ rights,  justice, body positivity, art and the environment. Alok, Glennon Doyle, Chelsea Handler, Jane Fonda and Jameela Jamil will be featured as guests on the show, along with other social activists, survivors, entrepreneurs and artists.
Demi Lovato is launching her first-ever podcast, "4D with Demi Lovato," on May 19 with podcast company Cadence13.

A slew of original cast members are set to return to reprise their voice roles, including Kyla Pratt as Penny, Tommy Davidson as Oscar Proud, Paula Jai Parker as Trudy Proud, JoMarie Payton as Suga Mama, Cedric the Entertainer as Uncle Bobby, Carlos Mencia as Felix Boulevardez, Maria Canals-Barrera as Sunset Boulevardez, Alvaro Gutierrez as Papi, Karen Malina White as Dijonay Jones, Soleil Moon Frye as Zoey Howzer and Alisa Reyes as LaCienega Boulevardez. "The Proud Family: Louder and Prouder" picks up the story of Penny, her madcap family and loyal crew from the original series that ran from 2001 to 2005.
Johnson will portray Michael Collins, Penny Proud's best friend guy who is described as a non-conforming trendsetter who serves up fierce looks both at school and on the basketball. In the upcoming Disney Plus animated series, Porter and Quinto voice Randall and Barry Leibowitz Jenkins, adopted parents to 14-year-old activist Maya, played by Keke Palmer.
"The Proud Family: Louder and Prouder" at Disney Plus expanded its cast with the addition of Billy Porter, Zachary Quinto and EJ Johnson.
Jan Hirota serves as producer and Eastwood Wong is the art director.” /> Smith and Ralph Farquhar, who both led the original series and signed a multi-year overall deal with Disney in December, and Calvin Brown Jr. The sequel series is currently in production for a 2022 launch on Disney Plus. It is executive produced Bruce W.
The role will be a pivot for Johnson, who has cemented himself in the world of reality and unscripted television on shows like "Rich Kids of Beverly Hills," "Red Table Talk" and "Steve Harvey." Porter is perhaps best known for his award-winning performance as Pray Tell on FX's "Pose," but is no stranger to voice work and has lent his talents to "The Simpsons" and served as narrator for HBO Max docuseries "Equal." Quinto is no stranger to animation either, having appeared on Amazon's "Invincible" and Netflix's "Big Mouth."

Besides his time as an exec, most recently as WarnerMedia Entertainment chairman, Greenblatt is also a TV producer (“Six Feet Under”) and Broadway producer, having developed the musical stage adaptation of “9 to 5.”
Paul Tazewell will design the costumes and Jason Sherwood will handle the scenery. Tony winner (“Ain’t Too Proud”) and Olivier winner (“Memphis”) Sergio Trujillo will choreograph the production. Tazewell won an Emmy award for “The Wiz Live!” and most recently designed costumes for Steven Spielberg’s “West Side Story” remake; Emmy winner Sherwood’s production design credits include “Rent: Live” and the 2020 Oscars.
Joining the production team with Greenblatt and Meron is Alex Rudzinski as live TV director and executive producer, roles he also held on “Hairspray Live!” and “Jesus Christ Superstar Live In Concert.” Obie Award winner Lear deBessonet, the artistic director for New York’s revival series Encores and creator of the Public Works program at the Public Theatre, will direct the performance.
Songs such as “Tomorrow,” “It’s A Hard-Knock Life,” “Maybe,” “Little Girls,” “Easy Street,” and “NYC” are still familiar to audiences today, thanks to the enduring legacy of “Annie,” which has been licensed and performed in 50 countries and translated into 8 languages.
Greenblatt said he believed the story of “Annie,” about a young girl who brings people together to change her world and the world around her, is just as timely today, especially after the hard-knock year we’ve just been through.
The musical was inspired by the comic strip “Little Orphan Annie,” created by Harold Gray in 1924.” /> The original 1977 title character was played by Andrea McArdle; others who played “Annie” over the years included Sarah Jessica Parker. On Broadway, “Annie” was revived in 1997 and again in 2012.
Meron and the late Craig Zadan were the producers behind that special, which was a tremendous hit — averaging 21.8 million viewers in live+3 ratings. Greenblatt, of course, is the former NBC Entertainment chairman who found success in bringing live musicals to the network, starting with “The Sound of Music Live!” in 2013. It spawned follow-up events including “Peter Pan Live!” in 2014, “The Wiz Live!” in 2015, “Hairspray Live!” in 2016 and “Jesus Christ Superstar Live in Concert” on Easter in 2018.
“NBC is where we started these live musicals and I still have so much affection for it,” Greenblatt said. “Annie Live!” landed at NBC after being shopped to all four major broadcast networks. "I’m also so gratified to be working with this creative team, a group of people who are the best at what they do.”
“The song ‘Tomorrow’ means more than ever now, and it’s not lost on us that even Franklin Roosevelt and his New Deal are impacted by this little orphan who simply believes in the goodness of everyone.” “There are few musicals like ‘Annie’ where you know the words to every song and the overriding message, especially in the trying times we live in, is optimism,” Meron said.
“We really hope that this musical about a hopelessly optimistic young girl who finds a new family while the country looks forward to FDR’s New Deal will be the feel-good show people are looking for.” “Even though it was written 40 years ago, ironically in the aftermath of the Nixon administration and the Vietnam war, I think people are looking for hope after a time of so much division and the isolation of the pandemic,” he said.
(A modern-day update, starring Jamie Foxx, Rose Byrne, Cameron Diaz and Quvenzhané Wallis, was released in 2014.) It won seven Tony Awards that year, including best musical, and spawned the 1982 film starring Albert Finney, Carol Burnett, Ann Reinking, Tim Curry, Bernadette Peters and Aileen Quinn. “Annie” the musical first hit Broadway in 1977, featuring music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan.
Along with the late Zadan, Meron has been a prolific musical producer, winning the Oscar for “Chicago,” as well as the Emmy for “Jesus Christ Superstar Live in Concert.” Other credits include the Bette Midler starrer “Gypsy” and ABC’s “Wonderful World of Disney” presentation of “Cinderella” with Whitney Houston and Brandy.
Kathy Bates, Alan Cumming, Audra McDonald, Kristin Chenoweth, Victor Garber and Andrea McArdle starred in that version, which was a hit (averaging 26.3 million viewers). Also for "Wonderful World of Disney," Meron and Zadan produced a 1999 version of "Annie" from director Rob Marshall.
Also joining the team is music supervisor and orchestrator Stephen Oremus (“The Wiz Live!”), who will head the music department for “Annie Live!” Chloe Productions is the producer of the live event.
Under their leadership, ’Annie Live’ will bring a fresh perspective to this timeless classic, coupling a dynamic first-class creative team with casting choices that will ensure this is a must-watch event for the whole family.” “And there are no better partners to do this with than the incredible Neil Meron and Bob Greenblatt, who oversaw every live musical during the years he ran NBC. “As we look to drive big live audiences for NBC, we could think of no better way than to bring back the network’s holiday musical tradition,” said Susan Rovner, Chairman, Entertainment Content, NBCUniversal Television and Streaming.
Greenblatt credited Rovner "and her new team because they share our belief in the power of broadcast television to bring families together for events like these.” When he left NBC in 2018, it meant the driving force behind the network’s musical ambitions was no longer there. Also in 2019, ABC produced “The Little Mermaid Live.” Seuss’ The Grinch Musical!” in 2020, but Meron and Greenblatt were not involved and it wasn’t a live event.) NBC’s success in the space later inspired several entries at Fox: “Grease: Live” (2016), “A Christmas Story Live” (2017) and “Rent Live” (2019). (NBC did air “Dr.
NBC is getting a New Deal for Christmas, as it gets back into the live TV musical business with “Annie Live!” Set to air during the holidays, “Annie” also represents a homecoming of sorts for producers Bob Greenblatt and Neil Meron.

"We’ve been fans of Laura’s for a while," Paul Weitz said in a statement. "Like Sebastian, her parents are Italian immigrants and she locked into this story."
Depth of Field, the company behind Lulu Wang's "The Farewell" and Disney's upcoming "Pinocchio" remake with Tom Hanks, is producing the movie. "About My Father" will be directed Laura Terruso ("Work It" starring Sabrina Carpenter) from a script by Maniscalco and Austen Earl. Depth of Field executives Chris Weitz, Paul Weitz, and Andrew Miano will serve as producers, with Judi Marmel serving as an executive producer. Phil Strina negotiated the deal on behalf of the studio. James Myers and Chelsea Kujawa are overseeing production for the studio.
Robert De Niro has joined the cast of "About My Father," an upcoming film that's loosely based on the life of standup comic Sebastian Maniscalco.
De Niro's most recent film "The War With Grandpa" was a pandemic-era box office hit, generating $40 million in global ticket sales. Russell's next film. He's appearing next in Scorsese's "Killers of the Flower Moon," James Gray's "Armageddon Time" and David O.
In "About My Father," Sebastian tells his old-school Italian immigrant dad of his plans to propose to his all-American girlfriend, prompting Salvo to insist on crashing a weekend with her parents.
De Niro is set to play Maniscalco's dad Salvo in the movie, reuniting the pair after first appearing together in Martin Scorsese's mob drama "The Irishman."
Nathan Kahane, president of the Lionsgate Motion Picture Group, says production on the film will begin later in 2021.
De Niro is represented by CAA. Terruso is represented by CAA and Industry Entertainment. Maniscalco is represented by UTA and Levity Entertainment Group. Depth of Field company is represented by UTA.
He’ll make a fantastic and funny pairing with Sebastian." "Actually, Robert De Niro is incredibly selective about the projects he chooses, so we are thrilled that he responded so strongly to this hilarious and heartfelt screenplay. So we thought, why not?” Kahane said in a statement. "The way Sebastian talks about his father, Salvo sounds to us like the type of guy who thinks that Robert De Niro should play him in a movie.
Maniscalco's profile has risen through the release of several popular standup specials, including "Sebastian Live," "What's Wrong With People?" "Aren't You Embarrassed?" and "Stay Hungry." In addition to "The Irishman," his screen credits include "Green Book" and an upcoming still-untitled film by Ray Romano.
Deadline Hollywood first reported the news.” />

Per the logline, "Gordita Chronicles" centers on a willful, 12-year-old Dominican girl who struggles to fit into hedonistic 1980s Miami as her family pursues the American dream.
“HBO Max is proud to work with the powerhouse Latinx talent in front of and behind the camera for this series, which we believe will resonate with all families,” added Sarah Aubrey, Head of Original Content, HBO Max. “We are thrilled to partner with Zoe, Eva, Josh and Sony Pictures Television to bring to life this beautiful coming-of-age story inspired by Claudia’s personal journey,” said Jennifer O’Connell, executive VP, non-fiction and live-action family programming, HBO Max.
The Latino-focused series stars Diana-Maria Riva ("Dead to Me," "Telenovela"), Juan Javier Cardenas ("Snowfall," "9-1-1: Lone Star") and Olivia Goncalves ("Scooter McGruder").
Noah Rico (“High School Musical: The Musical”) plays “Yosmel ‘Yoshy’ Hernandez,” a Cuban refugee and Cucu's first friend in Miami, and newcomer Cosette Hauer plays “Ashley,” an optimistic go-getter desperate to fit in, but nevertheless always sticks out. Also starring are Savannah Nicole Ruiz (“Gentefied”) as “Emilia,” Cucu’s older sister.
HBO Max has given a series order to the family-friendly comedy "Gordita Chronicles" that hails from Sony Pictures TV, Zoe Saldana's Cinestar Pictures and Osprey Productions.
Claudia Forestieri ("Good Trouble," "Selena: The Series"), wrote the pilot and Eva Longoria directed. Longoria will serve as an executive producer for her Unbelievable Entertainment banner.
(Pictured Zoe Saldana and Eva Longoria)” />
Riva plays “Adela,” Cucu’s mom and Cardenas plays“Victor Castelli,” Cucu’s dad. Goncalves plays “Carlota ‘Cucu’ Castelli,” a willful, confident, reluctant Dominican immigrant with a heart of gold. Cucu is overzealous in her quest to regain the queen bee status in her new school, when her parents and older sister move to Miami for her dad's new job.
Brigitte Munoz-Liebowitz will executive produce and serve as showrunner for Bons Mots Emporium. Josh Berman (“Drop Dead Diva,” “CSI”) executive produces alongside Jennifer Robinson and Chris King of Osprey Productions, with Saldana and Longoria. Mariel and Cisely Saldana, Zoe's sisters, are executive producers for Cinestar Pictures.
“Cucu and the Castellis remind us of the iconic sitcom families we grew up watching, but none of those ever captured a Dominican family’s experience of coming to America. This show changes all of that, and we are thrilled and grateful to dive back in and make a wonderful series for our friends at HBO Max.” “From the minute we heard Claudia’s childhood story, we knew it was not only incredibly funny, but also emotionally poignant and an important story to tell,” added Jason Clodfelter, co-president, Sony Pictures Television Studios.

That blend of art, activism and human interest should help this recent Hot Docs premiere attract the attention of distributors and broadcasters amid a sea of comparably themed documentaries, though "The Story Won't Die" largely avoids glib, crowd-pleasing uplift: As its subjects repeatedly point out the strains and pressures of everyday life in self-determined exile, any moments of beauty and levity feel duly hard-won. Braiding the reflections of nine variously affected individuals on the subject,.
"Take your broken heart, turn it into art," said the late Carrie Fisher, distilling a sentiment that has fueled much essential political and protest art across history. Yet the time and headspace to create art is a hard luxury to come by when daily survival is itself a challenge. That's the tension driving "The Story Won't Die," the latest in a long run of documentaries probing the mass displacement of people amid the ongoing Syrian civil war, this time with a particular focus on the musicians, dancers and visual artists caught up in the refugee crisis: Moved to convey their personal and national turmoil in the terms they know best, they find the upheaval and insecurity of refugee life as much a creative hindrance as it is a spur.
Still, he interrupts his melancholy with a pragmatic shrug: A sense of placelessness beats jail time any day. In Europe, they may be freer to express themselves with impunity, but is the relevant audience there to hear? "It destroys you from the inside, rather than the outside," says Abu Hajar, a fiery young rapper whose socially conscious songs landed him in hot water with the Syrian authorities before he, too, made his way to the German capital. "I cannot stay there. There's nothing useful for me to do," says musician Anas Maghrebi of his decision to leave Syria for the safety of Berlin — though the flipside, for several of the film's subjects, is that distance brings with it a sense of disconnection from their homeland's troubles.
Simple and unadorned in construction, "The Story Won't Die" generously and compassionately observes its subjects' fevered creative flow without appropriating any of it as its own: For many, across miles and years of stress and separation, art is all they've managed to carry with them.” /> Sabboura and choreographer Medhat Aldaabal unsurprisingly get the doc's most cinematic showcases, as DP Luise Schröder's camera steps back to give them fluid freedom of movement. Modern dancer M.H.D. In one vivid sequence, Sabboura darts and backflips across a beachside spread of debris from sundry refugees' travels: Vibrant life thus springs from what has been left behind.
"Art can talk about politics, but politics cannot talk about art," says Tammam Azzam, a visual artist who has found sanctuary, like a number of the film's subjects, in Berlin — though not before an arduous period of living in limbo that the film documents in tense shorthand, wandering through the uninviting passages of various European refugee camps. If Azzam's quote, on the face of it, threatens an air of lofty self-importance, it's swiftly tempered with more ruefully self-aware musings — from Azzam and his peers — on the artist's battle to maintain a sense of motivation and purpose against a vast, seemingly endless war that no amount of protest seems to quell.
Hajar's pithy rhymes work in effective contrast to the more mellow, plaintive stylings of Maghrebi's traditionally influenced folk. Hajar is the most immediately charismatic of the film's artistic ensemble, as well as the most bluntly dynamic in his performance footage. Among the visual artists, Azzam's massive canvases of Syrian urban ruin — pointedly merged with familiar motifs from the Western artistic canon — are vastly different in scope and symbolic impact from the featured work of Paris-based Diala Brisly, which scars children's book-style illustration with traces of violence and trauma. The downside of the crisply shaped 83-minute run time is that its shyer personalities inevitably get shorter shrift, though the array of creators Gerson has chosen are pleasingly diverse in style and outlook.

Krasinski had a much more upbeat response to the "Fantastic Four" casting rumors during an interview with Men’s Health last year.
Ever since Disney purchased 20th Century Fox and paved the way for a new "Fantastic Four" film from Marvel Studios, fans have been infatuated with the idea of real-life couple John Krasinski and Emily Blunt taking on the roles of super-powered couple Mr. Sue Storm). Fantastic (a.k.a. Reed Richards) and the Invisible Woman (a.k.a.
Before the Disney acquisition, Fox released two "Fantastic Four" movies in the 2000s starring Jessica Alba as Sue Storm and Ioan Gruffudd as Reed Richards. In 2015, Fox attempted to reboot the franchise with Kate Mara and Miles Teller, but the film flopped.
“I have no idea what [Marvel executives] are thinking. But if they are considering me for Mr. Fantastic, continue to consider me because I would love it.” “I love those movies because they’re fun, but I also think they’re really well done,” Krasinski said.
Well, that flaming-hot fan theory may have just been extinguished. Blunt, who recently appeared on "The Howard Stern Show" to promote "A Quiet Place Part II," was asked by the longtime radio host if she was going to appear as the titular comic book character.
"It’s not to say that I’d never want to play one, it would just have to be something so cool and a really cool character, and then I’d be interested.” "We are inundated — it’s not only all the movies, it’s the endless TV shows as well," Blunt said.
Blunt said she doesn't believe that superhero movies are "beneath her" — in fact, she said in another interview with Entertainment Weekly that it "irked her heart" when she had to pass on the opportunity to play Black Widow in "Iron Man 2" due to a contractual obligation to star in "Gulliver's Travels." Despite this, she hasn't "found something that really speaks to" her in the superhero genre.
“I wanted to work with Robert Downey Jr. “I was obsessed with Iron Man,” Blunt told Stern. They’re not up my alley. I really don’t.” But I don’t know if superhero movies are for me. It would’ve been amazing. I don’t like them.
While Blunt has headlined other sci-fi films like "Looper" and "The Edge of Tomorrow," she believes that the superhero movie genre has been "exhausted."
A recent Marvel Studios video included the "Fantastic Four" logo at the end of its currently announced slate — hinting at the possibility that the reboot could hit theaters in 2023 or beyond. Jon Watts, who will close out Tom Holland's "Spider-Man" trilogy this December, will direct the undated film. Whether Blunt and Krasinski are involved or not, Marvel Studios is charging forward with a new "Fantastic Four" film.
“No one has received a phone call. That’s just people saying, ‘Wouldn’t that be great?'” “That is fan-casting,” Blunt said.
https://www.youtube.com/watch?v=kBQmOrmN20k” />

Reid is captivating, capably leading with empathy and vulnerability. Goodacre is magnetic, exploring his character’s depths. Carrying the heart of this material is no easy feat, but Reid and Goodacre deliver delightfully nuanced work. Meanwhile, Jackson stands out in her supporting role. They transform hokey lines into sweet sentiments. Her controlled comedic bluster is best showcased in the sequence where she has a physical reaction (replete with hilarious full-body heaves) to dreamboat Beckett being in her kitchen. The dynamite duo share great chemistry, highlighted when they’re caught in heated repartee.
Town drunk Seamus (Patrick Bergin) has been written off by most people, but is hoping to prove his worth once again. Finley’s extracurricular activities bring her into contact with Cathleen (Vanessa Redgrave), a misanthropic nursing home patient who’s desperate to make things right with her estranged sister Fiona (Helen Roche). Finley’s host family, the Callaghans, are also feeling the pinch. Nora (Fiona Bell) and Sean’s (Ciaran McMahon) business is on the line if word gets out that the major movie star is staying with them. Their boisterous, gregarious teen daughter Emma (Saoirse-Monica Jackson) is stressed that she won’t get asked to the big local dance.
Where it would have been nice to see the heroine unlocking her own potential, the film instead focuses on her finding an intercontinental romance with a dashing young man, life coaching from an unlikely male ally and a mysterious message from her deceased older brother. This not-insignificant miscalculation aside, however, effervescent performances from an ebullient ensemble make “Finding You” a palatable and compelling female coming-of-age tale. Don’t be fooled by the empowerment-sounding title of “Finding You”: The engine of writer-director Brian Baugh’s romantic comedy isn’t driven by the woman herself, but by the men who are continually placed in power positions that directly inform her arc.
A notable portion of the film’s interpersonal conflicts are fueled by female jealousy, and instances like the catty underpinnings of Taylor and Finley’s barbed introduction and the motivation fueling the sisters’ squabble are grating as a result. Themes surrounding forgiveness, family and fidelity hover around the fringes of the picture, though the execution can sometimes be clunky, especially when it blindsides audiences with a faith-based message in the third act. And the film’s gender politics are problematic — not just that Finley can’t figure out what’s best for her unless a man encourages it.
But, as we soon find out during her botched audition at Manhattan’s prestigious music conservatory, she’s insecure when given the spotlight to perform. Her own critical overthinking is severely hampering her career ambitions. In an effort to get out of her head, she takes a semester abroad in Ireland just like her saintly, older brother Alex, who recently passed away, had done at her age. As if beckoned by the siren call of the bubbly pop song on the soundtrack, violinist Finley Sinclair (Rose Reid) emerges from the depths of the subway, a seemingly confident young woman negotiating New York City’s frenetic hustle and bustle.
Drone shots moving over the town, the lush green Irish landscapes and the Cliffs of Moher are rapturous, like something cooked up by the tourist bureau. Beautifully crafted montages where Finley and Beckett visit tourist hotspots are especially beguiling. Jones’ novel “There You’ll Find Me,” keeps the hijinks strictly wholesome, embracing the more fantastical elements of the genre for a heightened, romanticized portrayal of Irish reality. There’s scarce drinking shown in the town’s pub, no bad language, and the budding romance is kept chaste — like the pair’s dinner for two where they play around with stunt harnesses on set, or when they inevitably share their first smooch. Baugh, who adapts Jenny B.
This scheme has all been orchestrated by Beckett’s manipulative father Montgomery (Tom Everett Scott), who’s putting an intense amount of pressure on his son to sustain their lavish lifestyle. The “Game of Thrones”-esque fantasy franchise that Beckett is shooting is on its last legs, so he and co-star Taylor (Katherine McNamara) must keep up appearances in the media that they’re a couple to ensure the sequel’s success. But Finley is hardly the only one wrestling with inner conflicts. His contracts are being renegotiated, which could have him monetarily set for life.
The luck of the Irish starts rubbing off immediately on her flight as she nabs a seat in first class, unknowingly seated next to megawatt movie star Beckett Rush (Jedidiah Goodacre). His Cheshire cat grin, floppy brown hair and pervasive charms fail to impress her — that is, until they discover they’re staying at the same picturesque bed and breakfast in the quaint seaside hamlet of Carlingford.
Just don’t expect many newfound discoveries when getting lost in this tale.” /> Overall, the film’s philosophies about not overthinking things might strike a chord. It’s a nice reminder for many who’ve been carrying around anxieties and insecurities that stand in the way of their success.

That control was an integral part of running their respective business units, given that those who deliver the best profit/loss numbers to their corporate chief often had the most authority and swagger on the lot. Now, the creative side doesn’t have those bragging rights, which means that they spend money on content while the distribution side rakes in the revenue and with it the glory. In the restructuring, top division heads have lost oversight of P&L, which has been a tough pill to swallow for the likes of FX chief John Landgraf and Peter Rice, the chairman of Disney General Entertainment Content, who has grown frustrated that some of his responsibilities have been taken away.
Bergman keeps a lower profile than other Disney executives like Feige or Kennedy, but insiders say he has earned their trust over the years. He’s credited with understanding how to sustain franchises, and his allies say he has more creative chops than he is given credit for, routinely giving notes to filmmakers. Several Disney insiders expressed doubts that Feige, Kennedy, Morris and Doctor would willingly report to anyone other than Bergman. They also argue that the heads of the Marvel, Pixar, and Lucasfilm brands have their own artistic chops, making it unnecessary to find one studio executive to serve as creative ringmaster.
“Everyone is becoming more and more deferential to Chapek,” according to one Disney executive who asked not to be identified. “Things are radically different than they were six months ago.” The insider noted that the senior leaders have tried to “insulate” the creative teams from all the upheaval.
The reorganization was aimed at better positioning Disney for a future that would be determined by its success in streaming. The result has left people deeply confused about how to navigate the new order. Disney’s reorganization of its media and entertainment business into three distinct content creation groups — studios, general entertainment and sports — has caused consternation for some senior managers as well as those doing business with the company. The goal, at least on paper, was to have people work more harmoniously across mediums, from television to film to Disney Plus.
At the corporate level, Iger has moved “much more into the background than he was a few months ago, even on the creative side,” insiders say. In a sign of the leadership transfer taking place, Chapek has not only joined Iger in creative meetings but actually convened some this spring with top creative teams in television under Peter Rice and Dana Walden.
To some inside the media company, Disney’s move last October to restructure its operations elevated the executives who distribute Disney movies and shows over the ones who actually oversee their production. The shakeup also granted a great deal of influence to a top Chapek ally Kareem Daniel, who was elevated to chairman of Disney Media and Entertainment Distribution from his previous role overseeing consumer products.
“Studios don’t look like studios anymore,” sighed one producer.
Hollywood dealmakers noted that the new structure at Disney is byzantine and more convoluted than necessary, adding an extra managerial layer into the process of getting projects made.
Insiders at Disney say Alan Bergman, the former co-chairman of Walt Disney Studios with Horn, who was recently elevated to chairman of Disney Studios Content, will be taking the reins solo. There’s no plan for the company to bring in another creative head once Horn retires. Over the last year, while Disney has forged ahead during the pandemic, it is Bergman who has led the charge on the studio side, while Horn has dialed down his responsibilities.
The Walt Disney Company is in the throes of a major leadership shift, with newly minted CEO Bob Chapek asserting more authority as the longtime leader he replaced, Bob Iger, prepares to surrender his executive chairman role for emeritus status at year-end.
And people also wonder if the job, which now includes developing projects for streaming outlets, is too big for one person to handle given the increasing complexities of the business. He previously held a number of operations and finance roles. While Bergman has been involved in all creative meetings at the studio, many within Disney and in the creative community at large, however, view him as having more business acumen than artistic sensibilities.
Or, vice versa, as was the case with Disney’s “Pirates of the Caribbean” franchise and the upcoming “Jungle Cruise.” “You need that project that will inspire the next roller coaster,” the source said.
The two men’s once-warm relationship has grown strained, according to four insiders. This comes as Chapek has overseen a 2020 reorganization that centralized the media company’s content distribution and ad sales.
He lets you know what he wants without imposing it.” Iger loved to discuss and debate different initiatives, while Chapek prefers to delegate more tasks and makes decisions. Disney sources point out that the two have very different personalities and approaches, which some can find disconcerting at times. Others say that Chapek was initially hesitant to assert himself more on the creative side because after he assumed the CEO job in February 2020 his attention was focused largely on dealing with keeping Disney afloat at the height of the pandemic after the company’s theme parks were forced to shut down, production halted and movie theaters closed. For the most part, Chapek’s style has gotten positive reviews. He lacks Iger’s flash and charisma, but as an insider notes, “He’s coming into his own.
Horn’s departure could be destabilizing as he has been the creative guiding force at the studio for the past nine years. “All I want to do is be helpful and keep the waters as calm as they can be.” When he joined Disney, Horn, an avuncular and deeply respected executive, promised that there would be harmony in the Magic Kingdom, again. When Iger departs in December, it is expected that Walt Disney Studios Chief Creative Officer Alan Horn will also leave. “I fully expect to be a stabilizing force,” Horn vowed. When he joined the studio in 2012 after a long and successful tenure at Warner Bros., Horn was tasked with reinvigorating a film division that had suffered from a string of high-profile flops such as “The Lone Ranger” and “John Carter,” as well as the turbulent leadership of Rich Ross, a former Disney Channel chief who had conflicts with some other managers, including the heads of Pixar..
Cynthia Littleton contributed to this report.” />
In order to stay viable, a studio needs to produce new franchises in order to replace the ones that grow long in the tooth. They noted that many of the company’s highest-grossing franchises such as “Star Wars” and “The Avengers” have been around for years, while others, such as “Pirates of the Caribbean,” need to be rebooted. If the studio wants to use the security of their top-earning intellectual property to invest in originals and create wholly original franchises, they will need a creative successor in the vein of Horn. One source took a philosophical view of the film studio’s structure post-Horn, saying it would “define the ambition of Disney going forward.” If the unit’s longterm plan is to maximize its existing content engines, Bergman will rule the kingdom, they said.

No details have emerged about the "Star Wars" film he wants to make, and no production timeline has been set. Of these heads, Feige is seen as the most essential executive, having proved his mettle with the massive success of the Marvel Cinematic Universe and streaming shows like “WandaVision.” After it was announced in 2019 that Feige would produce a "Star Wars" movie, there were rumors that he might assume more control of Lucasfilm. These include Pixar, under the leadership of president Jim Morris and chief creative officer Pete Docter, as well as LucasFilm, overseen by Kathleen Kennedy, and Marvel, ruled by Kevin Feige. However, insiders say that Feige is fully committed with his Marvel duties and has no ambition to lead Lucasfilm or take more of a role. Bergman and his team will have to manage competing fiefdoms of power to ensure that the studio’s various brands play nicely together.
The changing power dynamics and issues that Chapek face are similar to the ones confronting other media companies. Streaming has upended the old ways of doing business, with consumers spending more money on subscription services like Netflix and less on cable and big-screen movies. It’s also prompting media companies to reshape their operations (Like Disney, Universal and WarnerMedia have also recently undergone reorganizations), and that’s led to a sense of displacement for movie and television business veterans. That’s led to an onslaught of new challengers to Netflix such as Comcast’s Peacock, WarnerMedia’s HBOMax, and the Disney-owned Hulu, ESPN Plus, and Disney Plus.
“It’s a very different place and a very different organization,” a Disney insider said. “Kareem has huge authority and power.”

"Leading The Latin Recording Academy has been a very significant part of my professional career and a great foundation for my future endeavors," said Abaroa. I'm eager to transition to a new role that won't be as time consuming and certain that Manuel will take us boldly into our next chapter." "We achieved tremendous progress and growth over the past two decades.
"As Chairman of the Board of Trustees, which actively oversees the growth and social impact of this great organization, I am delighted to have led a succession plan that was designed with professionalism, respect, love and consistency," said Eduardo Hütt. The plan was carefully executed, and Manuel was groomed over an extended period." "Several candidates were considered to replace Gabriel's unique leadership style, and we agreed that Manuel Abud meets the established criteria, excelling in ways that guarantee our organization the leadership required to accomplish its goals over the next decade.
 
Before Azteca, he spent 14 years at NBCUniversal where he held a wide range of leadership positions, including president of the Telemundo Station Group and president of Telemundo Cable where he founded mun2. While COO of the Latin Academy, Abud successfully led a major reorganization, maximizing efficiencies and taking a fast leap to digital content development. Previously he was president of CBS Telenoticias. Before coming to The Latin Recording Academy, Abud was CEO of Azteca América where he implemented a full-scale turnaround of the network and spearheaded its November 2017 acquisition by HC2 Holdings, Inc.
top 5 album “Life by Misadventure,”  and has also worked with Mike Elizondo, Natalie Hemby, Allen Shamblin & Mike Reid, Wendy Melvoin, Daru Jones, and more. + Sony Music Publishing UK has signed hit songwriter, producer Ben Jackson-Cook to a worldwide deal. Jackson-Cook co-wrote and co-produced Rag’n’Bone Man’s U.K.
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Outgoing President/CEO Gabriel Abaroa, Jr. 1, the Board of Trustees announced on Wednesday. Manuel Abud has been named CEO of the Latin Recording Academy, effective Aug. will become President Emeritus, a senior advisory role that will include working on assigned strategic projects while assisting the new CEO in the transition.
"Before coming here in 2019, I had long admired the organization's excellence, and I look forward to building on its rich heritage of supporting and honoring Latin music and ushering in a new era of growth and impact." "I am honored to have the opportunity to lead The Latin Recording Academy," said Abud.
ET/PT, will mark the second time Estefan has hosted the special; she received a Kennedy Center Honors in 2017. The show, which airs Sunday, June 6 on CBS at 8 p.m. + Gloria Estefan will host the 43 rd annual Kennedy Center Honors, where Debbie Allen, Joan Baez, Garth Brooks, Midori, and Dick Van Dyke will be recognized for lifetime artistic achievement. “After the challenging events of the past year, who better to bring us all together, help us take a collective deep breath, and celebrate the amazing artistry of our superstar slate of Kennedy Center Honorees than Gloria Estefan,” said CBS EVP Jack Sussman

These include "Olmec," the giant talking Mayan head, the "Moat Crossings," "The Steps of Knowledge," the "Temple Run," and all of the original team names like "Purple Parrots," "Blue Barracudas," "Orange Iguanas," "Red Jaguars," "Silver Snakes" and "Green Monkeys." This time, the entire show is taken out of the safety of a studio setting into a "mysterious jungle" with tougher challenges and bigger prizes. Stone and Stephen R. Brown, will preserve many of the Nickelodeon series' iconic elements. Stanley, Scott A. Per the logline, the "Legends of the Hidden Temple" remake, based on the game show created by David G. Five teams begin the journey, but only one is “strong enough and smart enough” to enter the ominous Olmec’s Temple, avoid the Temple Guards, retrieve a lost treasure and return it to its rightful owner.
The Nickelodeon competition adventure series from the 1990s is all grown up in the revival ordered Tuesday by the CW. "Legends of the Hidden Temple" is headed back to the small screen, but not in its original kid-friendly format.
"Legends of the Hidden Temple" is produced by Stone & Company Entertainment and Nickelodeon. The series is executive produced by Stone and Marcus Fox (“Paradise Run”).” />
With "Legends of the Hidden Temple," the CW is further amping up and diversifying its alternative programming slate, as well as its target audience. "Legends of the Hidden Temple" still holds a special place in the hearts of millennials who grew up watching the competition series, and it has since inspired a movie, mobile and board games, a popular Halloween costume and repeat episodes still air on occasion, even 30 years later.
The new iteration is described as a supersized and reimagined adult version, so participants are no longer kids, but nostalgia-loving millennials. The original Nickelodeon series that aired from 1993-1995 was inspired by Nintendo's "The Legend of Zelda" game and the "Indiana Jones" movie franchise.

Michael Showalter and Jordana Mollick of Semi-Formal Productions have signed a two-year first-look deal at HBO Max.
She co-founded Black Sheep Management and Productions, which then merged with Haven Entertainment, where she was a partner. In 2018, she joined forces with Showalter to form Semi-Formal Productions. Mollick is Semi-Formal’s president of development and production. She comes from a background in theater, film, television, and digital media, as well as literary management. She produced Susanna Fogel’s first film “Life Partners,” “Night Owls” by Charles Hood, as well as “Hello, My Name is Doris,” for which she won the producer's award at the Independent Spirit Awards.
14 with fifth already ordered. The fourth season of the series debuted on Jan. Showalter is a co-creator and executive producer on the critically-acclaimed series "Search Party," which moved over to HBO Max from TBS for its third season.
His past credits include features like "The Lovebirds," "The Big Sick," and "Wet Hot American Summer," the latter of which inspired the Netflix shows "Wet Hot American Summer: First Day of Camp" and "Wet Hot American Summer: Ten Years Later." He also recently wrapped production on "The Shrink Next Door" at Apple, starring Will Ferrell and Paul Rudd and based on the Wondery Podcast of the same name. Showalter also has a number of TV projects set up across different streaming services currently. He is presently working on the Hulu series "The Dropout," based on the true story of Theranos founder Elizabeth Holmes, with Amanda Seyfried in the lead role.
Showalter and Semi-Formal Productions are repped by UTA, Artists First and Goodman Genow.” />

Fowler is repped by Manage-ment, Feig Law, Dani Super Management and UTA; Kirschner is repped by Manage-ment and Feig Law; Valla is repped by Anonymous Content and The Nord Group; Plaza is repped by CAA and Schreck Rose Dapello Adams Berlin & Dunham; Jersey Films 2nd Avenue, Danny DeVito and Jake DeVito are repped by CAA and Behr Abramson Levy LLP. Jersey Films 2nd Avenue’s EVP is Charley Beil; Lucy DeVito is repped by Talentworks and Gallant Management; Harmon is repped by CAA; ShadowMachine is repped by CAA.” />
Aubrey Plaza, Danny DeVito and Lucy DeVito, his daughter and fellow actor, are among the voice cast of "Little Demon," an upcoming animated horror sitcom on FXX.
"Little Demon" is set to premiere first on FXX and then will be available to stream the following day on FX on Hulu.
Per the logline, the show follows a reluctant mother (Plaza) 13 years after being impregnated by Devil (Danny DeVito). She and her Antichrist daughter (Lucy DeVito) attempt to live an ordinary life in Delaware, but are constantly thwarted by monstrous forces, including Satan, who yearns for custody of his daughter's soul.
Plaza will executive produce along with the DeVitos for Jersey Films 2nd Avenue. Fowler, Kirschner, Valla, Dan Harmon, Jersey Films 2nd Avenue’s Jake DeVito and ShadowMachine (Monica Mitchell, Corey Campodonico and Alex Bulkley) will executive produce. The new animated half-hour horror sitcom is created and written by Darcy Fowler, Seth Kirschner and Kieran Valla. Little Demon is produced by FX Productions. Steve Levy serves as a producer on the project.

Leslie Jones will host this year's MTV Movie & TV Awards, which will air live from Los Angeles on Sunday, May 16 at 9 p.m. ET.” />
MTV has announced that Scarlett Johansson will be honored with the Generation Award during the 2021 MTV Movie & TV Awards.
Agatha). It earned five nominations in total, including best show, best performance in a show (Elizabeth Olsen), best hero (Teyonah Parris), best villain (Kathryn Hahn) and best fight (Wanda vs. Marvel Studios' first Disney Plus series, “WandaVision,” received the most nominations at the awards ceremony this year. Netflix’s “Emily In Paris” and Amazon Prime Video’s “The Boys” received four nods apiece, while Netflix’s “Bridgerton,” Disney Plus’ “The Mandalorian” and Amazon Studios’ "Borat" sequel all received three nominations.
Jackie Barba and Alicia Portugal are Executives in charge of production and Lisa Lauricella serves as the music talent executive for both events. Executive Producers for both the 2021 “MTV Movie & 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.
Johansson is a six-time MTV Movie & TV Awards nominee, taking home her first golden popcorn in 2013 for best fight in "The Avengers." She previously received nominations for best female breakthrough performance ("Lost in Translation"), best kiss ("Don Jon," "Captain America: The Winter Soldier"), best female performance ("Lucy") and best fight ("Avengers: Infinity War").
MTV revealed previously announced that Sacha Baron Cohen will be honored with the Comedic Genius Award for his role in "Borat Subsequent Moviefilm."
The Generation Award celebrates “beloved actors whose diverse contributions to both film and television have turned them into household names,” according to MTV. Past recipients include Dwayne “The Rock” Johnson, Chris Pratt, Will Smith, Reese Witherspoon, Robert Downey Jr., Mark Wahlberg, Sandra Bullock, Jamie Foxx, Johnny Depp, Ben Stiller, Adam Sandler, Mike Myers, Tom Cruise, Jim Carrey and the entire “Fast & Furious” franchise.

AMC and AMC Plus have given a formal series order to the series "Moonhaven" from Peter Ocko.
Deb Spera will also executive produce. AMC Studios will produce the series, with Ocko currently under an overall deal there. Ocko is the writer and executive producer of "Moonhaven" and will also serve as showruner.
A skeptic in Paradise, Bella is sucked into a conspiracy to gain control of the artificial intelligence responsible for Moonhaven’s miracles and teams with a local detective to stop the forces that want to destroy Earth’s last hope before they are destroyed themselves. "Moonhaven" is focused on a utopian colony on the Moon that may hold the keys to preserving life on Earth, which has become increasingly perilous. It follows Bella Sway, a lunar cargo pilot and smuggler 100 years in the future who finds herself accused of a crime and marooned on Moonhaven, a utopian community set on a 500 square mile Garden of Eden built on the Moon to find solutions to the problems that will soon end civilization on Mother Earth.
News of the order comes after it was reported that AMC had opened a writers' room for the show under their script-to-series model. The series is expected to debut next year.
“They have always been a great partner in supporting shows that are truly different from the rest and I look forward to staying true to that brand."” /> “I’m incredibly excited to go to the Moon with AMC,” Ocko said.
“What so intrigued us about ‘Moonhaven’ is that it is a suspense thriller set a century in the future that, at its heart, could not be more relevant today,” said Dan McDermott, president of original programming for AMC Networks and AMC Studios. “Peter and his writing team have constructed some unforgettable characters and a story we know will captivate viewers and probe complex and deeply emotional issues that are top of mind today and have the potential to threaten existence on the only planet we have ever called home.”

Her hit “Level Up” has been certified platinum and has over 300 million views on YouTube. Ciara is a Grammy Award-winning multihyphenate who has sold over 23 million records and 22 million singles worldwide. She also runs Beauty Marks Entertainment for her music, media, film, fashion, philanthropy, technology, and entrepreneurial pursuits, including her recent appointment on the board of customer data platform Amperity.” />
We can’t wait to begin our work together.” “We’re so excited and honored to work with Amazon Studios,” said the Wilsons. “They’ve quickly become one of the most exciting studios in entertainment and have shown a strong belief in our vision to bring inspiring stories to the world.
In addition to his work on the field and various major endorsements, he and Ciara run the Why Not You Foundation, which is dedicated to motivating and empowering the youth of the world. He won the Super Bowl with the team in 2013. He currently holds the NFL record for most regular season wins by a quarterback in his first nine seasons with 98 and the second-highest passer rating in NFL history. Wilson is an eight-time Pro Bowler currently entering his tenth season with the Seattle Seahawks.
The pair will develop and produce scripted series and films with Amazon Studios through their production company, Why Not You Productions,
“We share a passion for developing diverse and emotionally connecting stories that can inspire the world and spread positivity and hope. “Russell and Ciara are a true powerhouse producing duo – both with extraordinary success in their respective careers on the field and the stage, their business ventures, and shared dedication to philanthropy,” said Jennifer Salke, head of Amazon Studios. Our world certainly needs it.”
Russell Wilson and Ciara have signed a first-look television and film deal with Amazon.

“Days of our Lives” is produced by Corday Productions Inc. Ken Corday is the executive producer with co-executive Albert Alarr. in association with Sony Pictures Television. Ron Carlivati is the head writer.
"Days of Our Lives" has been renewed for Season 57 and Season 58 at NBC.
“A big thank you to Ken Corday and the cast and crew for their incredible passion for storytelling that continues to reach new generations of viewers.” “We couldn’t be happier to bring our loyal fans two more seasons of ‘Days of our Lives’ and continue what has been an absolutely remarkable achievement in television,” said Michael Sluchan, executive vice president of scripted series & kids programming for NBCUniversal Television and Streaming.
“We are thankful to NBC for their enduring commitment to the show and grateful to continue this wonderful journey with our fans for years to come.” “After more than 55 years of bringing drama, adventure and romance to screens around the world, we are thrilled and honored to carry on the 'Days of our Lives' legacy for another two years,” said executive producer Ken Corday.
The series celebrated its 55th anniversary in 2020 with Season 56 of the show currently airing. Set in the fictitious Midwestern town of Salem, the core families are the Bradys, Hortons, Carvers, DiMeras, and Kiriakises. It aired its 14,000th episode in December and remains NBC’s longest-running series.
They continue to tell bold stories through these iconic characters captivating audiences around the world,” said Steve Kent, senior executive vice president of programming for Sony Pictures Television. “We are incredibly proud of the work being done by Ken Corday, the cast and crew. “We are thrilled to continue the legacy of ‘Days of our Lives’ and for viewers to enjoy two more seasons.”” />

(Pictured: Daniel Dae Kim, Sophia Ali and Stephanie Hsu)” />
The focus of Amazon Studios Voices: API Representation in Film and Media will be on how Hollywood can take steps to become more anti-racist and drive broader societal change. Among the speakers lined up to take part are actors Daniel Dae Kim, Sophia Ali, Stephanie Hsu and producer Christina Oh, along with a range of experts and academics.
Amazon has teamed with the Producers Guild of America to host a virtual conference to examine the state of AAPI representation in media and entertainment.
That is why we are inviting the whole industry to join us in this event and in this work." "Improving representation and eliminating harmful stereotypes will not happen overnight, and will not happen in a vacuum. "Amazon Studios DEI has been diving deep into our own data, examining our systems and structures, and reimagining our policies to be unapologetic about what inclusive, authentic, and nuanced storytelling looks like,” said Latasha Gillespie, global head of DEI for Amazon Studios and IMDb.
The May 20 event, which will be open to the public free of charge, will feature panels, interviews and a musical performances to showcase the array of Asian and Pacific Islander ethnicities and cultures.
Please join us as we work to change the narrative around API representation on screen,” said Albert Cheng, Amazon Studios' chief operating officer and co-head of TV. “We have been having these vital conversations as a company and are excited to bring these discussions, centering the API community, to our whole industry.
Rafael and Navarro went viral last year with their TikTok performance of "Reflection" from Disney's 1998 animated movie "Mulan." The half-day event will feature musical performances from AJ Rafael and Alyssa Navarro and Amber Liu.
According to the Center for Study of Hate and Extremism, anti-Asian hate crimes have skyrocketed 149% across 16 of America's largest cities. A series of shocking hate-crime incidents, some involving elderly people and some captured on video, has galvanized many to speak out against AAPI hate and to combat stereotypes that persist in popular culture. The event comes on the heels of shocking incidents of hate crimes targeting the AAPI community.

"We will not participate in anything related to the HFPA until they reform the organization to reflect they are living in the 21st century," a spokesperson for Neon told Variety.
On Monday, NBC announced it will not air the Globes in 2022.
Add Neon to the growing list of companies boycotting the Golden Globes.
Amazon, WarnerMedia and Netflix are among the major companies that have said they will boycott the Globes. Neon joins a growing number of studios who have said that they won't participate in HFPA-sponsored press events. They join a group of more than 100 high-profile publicity firms, including Rogers & Cowan/PMK, Narrative, ID-PR, The Lede, Viewpoint and 42 West, which have said their clients will not participate in HFPA events until the organization commits to more meaningful change.
In response, the HFPA has approved a set of measures that it says will increase the diversity of its organization, such as admitting 20 new members in 2021, with a specific focus on recruiting Black members. The group also said it was placing restrictions on the gifts its voters can accept, as well as hire a chief diversity equity and inclusion officer.
That story also documented a history of ethical lapses by the organization's roughly 90 members, that included accepting gifts and junket travel from studios, as well as its questionable payment of members to sit on committees. The indie studio behind "Parasite" and "I, Tonya" minced no words about what it sees as The Hollywood Foreign Press Association's failures to enact meaningful reforms in the wake of a Los Angeles Times report that revealed that the group had no Black members.
"We continue to believe that the HFPA is committed to meaningful reform. However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right," the network said.” />


The "High School Musical" actor has released a second single, too, "Deja Vu," and has a third, "Good 4 U," on the way before her debut album, "Sour," comes out May 21.
After taking to the Brits' red carpet in a lime green dress, Rodrigo became the woman in red as she sang her breakout hit on a stage at the O2 Arena, surrounded by blue digital butterflies as she sang her tale of teen romantic woe.
Elton John and Years & Years also did a duet early in the telecast, being seen in the U.S. on the Brits' YouTube channel.” /> Other performances on the Brits included Dua Lipa singing a medley of songs from "Future Nostalgia," starting with a filmed introduction full of dancers on a subway train and transitioning to a subway station set live in the O2.
The 18-year-old previously appeared performing the tune at the piano on "The Tonight Show" in February in a pre-taped segment.
https://www.instagram.com/p/COvqIACnfvs/?utm_source=ig_embed&utm_campaign=embed_video_watch_again
 
This year’s Brits are behing held at the O2 with a limited audience of 2,500, with free tickets offered to frontline workers.
Rodrigo recently told the British paper the Guardian that she has suffered “sexist criticism" for "only writ(ing) songs about boys… "I write about stuff that I feel really intensely… How am I going to write an emotional song about that?” I don’t really understand what people want me to write about; do you want me to write a song about income taxes? I’m a teenage girl," she protested.
1 debut single with the longest run at the top since Gnarls Barkley’s "Crazy" more than a decade and a half ago. to date. It was No. "Driver's License" remains the biggest song of 2021 in the U.K. Rodrigo is as popular in Britain as she is in America. 1 for nine weeks, becoming the No.
Olivia Rodrigo, soon to be as the musical guest on this weekend's "Saturday Night Live," previewed that U.S. live TV debut performance by singing "Driver's License" on live television for the first time at Tuesday's Brit Awards.

“We are excited to renew 'Call Me Kat' and have Mayim, Cheyenne, Swoosie, Leslie, Kyla and Julian return for their second season. Together, they share a winning chemistry that we, and viewers, adore,” said Michael Thorn, president of entertainment, Fox Entertainment, in a statement. “On behalf of everyone here at FOX, congratulations to this incredible cast and our terrific partners at Warner Bros. on delivering this season’s #1 new comedy.”
This is why she spent the money her parents set aside for her wedding to open a Cat Café in Louisville, KY. It follows Carla (Bialik), a 39-year-old woman who struggles every day against society and her mother (Kurtz) to prove that you cannot have everything you want — and still be happy. The sitcom is based on the BBC original screwball series “Miranda” created by Miranda Hart and received a series commitment at Fox back in September 2019.
Both Bialik and Parsons are currently set up at WBTV under overall deals, as the studio previously produced “The Big Bang Theory.” Jim Parsons will executive produce via That’s Wonderful along with Todd Spiewak. Angie Stephenson of BBC Studios will also executive produce along with Miranda Hart. Bialik will continue to executive produce Season 2 under her Sad Clown production banner, with Sad Clown’s Mackenzie Gabriel-Vaught overseeing.
The series is a co-production between Warner Bros. Television and Fox Entertainment in association with That's Wonderful Productions, Sad Clown Productions and BBC Studios' Los Angeles production arm. Darlene Hunt wrote and executive produced the first season of “Call Me Kat.” Eric Norsoph produced for the debut season via That's Wonderful.
On Rotten Tomatoes, the show has a 21% average critics score and a 56% average audience score. Per Fox, "Call Me Kat" ranks as the number one new comedy (tied with NBC's "Young Rock"). The series averages 5.7 million multiplatform viewers in Nielsen's Live+Same Day ratings.
The Mayim Bialik and Jim Parsons comedy "Call Me Kat" is getting a second season at Fox, the media conglomerate announced today.
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The multi-cam sitcom stars Emmy Award nominee Bialik, Emmy Award winner and Golden Globe nominee Swoosie Kurtz, Grammy Award nominee Cheyenne Jackson, Emmy Award winner Leslie Jordan, Image Award nominee Kyla Pratt and Julian Gant.

"How It Ends," a serene apocalyptic comedy from partners Zoe Lister-Jones and Daryl Wein, has been acquired by MGM's American International Pictures label.
American International Pictures will release the project in theaters and on digital platforms on July 20 in the U.S. The film was an official selection at the 2021 Sundance Film Festival, written, directed and produced by Lister-Jones and Wein. The company also holds worldwide distribution rights.
Wein's credits include "White Rabbit," the Searchlight project "Lola Versus" led by Greta Gerwig, "Breaking Upwards" for IFC Films, "Blueprint" and "Consumed." He also served as a director on Amazon's award-winning series "Mozart in the Jungle."  He is represented by WME and RAIN Management. Wein and Lister-Jones are founders of Mister Lister Films, the banner under which the husband and wife frequently collaborate.
Her directorial debut was "Band Aid," the well-received indie which she produced and starred in with Fred Armisen. Lister-Jones also wrote, executive produced and starred in "Lola Versus" and "Breaking Upward." As an actor, Lister-Jones is best known for the series "Life in Pieces" with Colin Hanks, and the sitcoms "New Girl" and "Whitney." She is represented by Mosaic and WME.” /> Lister-Jones most recently wrote, directed, and produced "The Craft: Legacy" for Blumhouse and Sony Pictures, which also starred Spaeny.
The deal was brokered on behalf of MGM/AIP by Sam Wollman, executive vice president of worldwide acquisitions and film sales, RAMO Law and Endeavor Content.
“The result is a charming and funny take on the last-day-on-earth genre. “Zoe and Daryl created something truly unique with 'How It Ends,' which was shot entirely during one of the most surreal and challenging periods in our industry’s history,” said Chris Ottinger, president of worldwide television distribution and acquisitions at MGM. We’re thrilled to be able to share this film with audiences around the world this summer.”
The project follows Liza (Lister-Jones), traversing across Los Angeles on the eve of the end of the world. As she reconciles relationships with parents, old lovers and friends, she walks in step with a metaphysical projection of her younger self (the dazzling Cailee Spaeny of HBO's "Mare of Eastown").
Downs, Raymond Cham Jr., Lamorne Morris, Angelique Cabral, Rob Huebel, Paul Scheer, Helen Hunt, Colin Hanks, Charlie Day, Mary Elizabeth Ellis and Pauly Shore. The project features dozens of cameos from top comedy stars and actors including Whitney Cummings, Tawny Newsome, Finn Wolfard, Nick Kroll, Logan Marshall Green, Bobby Lee, Fred Armisen, Glenn Howerton, Bradley Whitford, Ayo Edebiri, Sharon Van Etten, Olivia Wilde, Paul W.
Lister-Jones and Wein said they were "thrilled to be partnering with MGM and AIP on the release of 'How It Ends.' This film was made with a lot of love and amazingly talented friends, and we can’t wait to share it with the world."

That plan was approved by the full membership — which is less than 90 people — three days later, but it did nothing to quell the growing chorus of condemnation of the HFPA, which first came under scrutiny after the Los Angeles Times reported earlier this year that there were no Black members of the HFPA. Former HFPA president Meher Tatna also told Variety that the group hasn't had a Black member since at least 2002, when she first joined. On May 3, the HFPA announced it is aiming to add 20 new members in 2021, with a goal to increase its full membership by 50% in 18 months, all with a focus on recruiting underrepresented groups.
In response, filmmaker Ava DuVernay praised Cruise's actions on Twitter: "That time that Tom Cruise sent his @goldenglobes for 'Jerry Maguire,' 'Magnolia' and 'Born on the Fourth of July' in an actual box to the reception desk of HFPA to stand against their sexist, homophobic, racist practices of exclusion, harassment and bias."
The dominoes continue to fall for the Hollywood Foreign Press Association.
In protest of the ongoing controversy surrounding the lack of diversity within the HFPA's membership, Tom Cruise has returned the three Golden Globe trophies he earned for "Born on the Fourth of July" (best actor, drama), "Jerry Maguire" (best actor, comedy or musical), and "Magnolia" (best supporting actor), Variety has confirmed.
The HFPA's broader practices — from demanding special treatment and lavish perks to sexist, homophobic, and racially insensitive questions at press events — have come under criticism as well. In April, the HFPA also expelled former president Phil Berk amid another firestorm of criticism after Berk sent an email to members in which he called Black Lives Matter a "racist hate movement" and alleged that co-founder Patrisse Cullors was a "self-proclaimed trained Marxist."
Deadline first reported Cruise's actions.
Variety parent company PMC is a partner with MRC in the PMRC venture that owns Billboard, Vibe and the Hollywood Reporter.” />
It is the most high profile repudiation yet of the HFPA from a single star, after several actors — including Scarlett Johansson and Mark Ruffalo — called for the industry to "step back" from the Globes until more substantial reforms are put in place within the HFPA organization. Netflix, Amazon, and WarnerMedia have all announced boycotts of the HFPA, and NBCUniversal announced on Monday that NBC would not air the Globes in 2022.

Two in three Californians will receive a check from the state and more than $5 billion in aid will be made available to those who need help paying their rent or utility bills.” “We are tripling the Golden State Stimulus to get money in the hands of more middle-class Californians who have been hit hard by this pandemic. “California’s recovery is well underway, but we can’t be satisfied with simply going back to the way things were,” said Governor Newsom in a statement.
Released on Monday, the outlined plan includes the largest state rebate tax in U.S. history at nearly $12 billion.
California Gov. Gavin Newsom announced his $100 billion California Comeback Plan, which is aimed at helping the state bounce back from the economic impact stemming from the coronavirus pandemic.
California will also offer the largest renter assistance package of any state in the U.S. Billions of dollars will be allocated to help citizens completely pay their back rent, future rent and overdue water and utility bills. under the Comeback Plan.
The California Comeback Plan majorly expands the Golden State Stimulus checks, making two-thirds of Californians eligible to receive direct payments of $600. Middle-class families that make up to $75,000 will be eligible under the new plan, and qualifying families with dependents, including undocumented families, will be eligible to receive an additional $500.
Newsom likely faces a recall election later this year, and one of his potential challengers is none other than reality TV star and former Olympic gold medalist Caitlyn Jenner, who announced her run last month.” />

The "Instagram for Kids" app would fall under the U.S.’s Children’s Online Privacy Protection Act, a federal law that bars internet services from collecting data from kids under 13.
In 2019, a bug in Messenger Kids let children to join groups with strangers, The Verge reported; Facebook at the time said the glitch affected only a “small number of group chats.” Facebook launched the Messenger Kids app for kids under 13 in 2017 — and the product immediately drew concern from consumer-privacy advocates.
In addition, we commit today to not showing ads in any Instagram experience we develop for people under the age of 13.” We also look forward to working with legislators and regulators, including the nation’s attorneys general. In response to the AGs latter, a Facebook spokesperson said in a statement, “We agree that any experience we develop must prioritize their safety and privacy, and we will consult with experts in child development, child safety and mental health, and privacy advocates to inform it.
According to Instagram, it’s developing new artificial intelligence and machine learning technology to help it detect individual users’ ages. “We want to do more to stop this from happening, but verifying people’s age online is complex and something many in our industry are grappling with.” Despite its requirement that users be at least 13, “we know that young people can lie about their date of birth,” Instagram said in a recent blog post.
The attorneys general who cosigned the letter raised several key concerns about the project. They cited research showing that social media can be harmful to the emotional and mental well-being of children; agued that children "do not have a developed understanding of privacy"; and pointed to "alarming rates of cyberbullying" on Instagram in particular.
In addition, the attorneys general wrote, "Facebook has a record of failing to protect the safety and privacy of children on its platform, despite claims that its products have strict privacy controls." The AGs also cited a U.K. study that found more cases of "sexual grooming on Instagram than any other platform," and noted that in 2020 Facebook and Instagram reported 20 million child sexual abuse images.
"In short, an Instagram platform for young children is harmful for myriad reasons," the AGs' letter concluded.
Facebook's plans to build a version of Instagram aimed at preteen kids is in the political crosshairs of more than 40 state attorneys general — who are asking Mark Zuckerberg to mothball the idea.
Regarding the Instagram for Kids app, he said, “We’re early in thinking through how this service would work" but added there is clearly "a large number of people under the age of 13 who would want to use a service like Instagram.” At a congressional hearing in March 2021 about social media and misinformation, Zuckerberg was asked about social media's impact on children but wave off concerns it could be harmful. “The research we’ve seen is that using social apps to connect to other people can have health benefits,” the Facebook chief said at the hearing.
“Not only is social media an influential tool that can be detrimental to children who are not of appropriate age, but this plan [for an under-13 version of Instagram] could place children directly in the paths of predators," New York Attorney General Letitia James said in a statement Monday.” />
In addition, they charged that Instagram has been frequently flagged for increasing suicidal ideation, depression and body-image concerns in children. The AGs who sent the letter to Facebook Monday said that contrary to Zuckeberg's statements, solid data and research have shown a link between young people’s use of social media and an increase in mental distress, self-injurious behavior and suicidality.
"It appears that Facebook is not responding to a need, but instead creating one, as this platform appeals primarily to children who otherwise do not or would not have an Instagram account," according to an open letter signed by attorneys general from 44 U.S. states and territories, addressed to Facebook CEO Zuckerberg.
Facebook in March confirmed that it's in the early stages of developing a restricted, special-purpose version of Instagram managed by parents for children under 13.

Doane Tulugaq Avery (Iñupiaq)
Jacob Albert lives in Oakland. He ghostwrites popular science books for research scientists and is at work on a novel. Formerly a Stegner Fellow at Stanford, he has received fellowships from the Blue Mountain Center, the Michener Center, and the Elizabeth George Foundation.
After discovering how to procure abortion pills online, she travels an unexpected path to become an underground supplier, an accidental pro-choice activist, and ultimately, a convicted felon. Inspired by true events. Living in a mommune, balancing her alternative lifestyle and a bitter separation, Sula’s life is plunged into potential chaos by an unplanned pregnancy.
Mia, Too
Tony Koros, writer/director
The Native lab, running from Monday to May 21, focuses on storytellers from Native and Indigenous backgrounds, including feature film, episodic work and cultivating artists-in-residence.
Neon Tilapia (Kenya, U.S.A.)
Cris Gris, director
Miciana Alise (Tlingit)
When she is separated from her mother and moved into close quarters with the volatile Master’s wife, Lena must grapple with the danger of her gift as well as its potential power. On a southern plantation in the 1800s, Lena is an 11-year-old slave with telekinetic abilities she cannot yet control.
The Mysterious Gaze of the Flamingo (Chile)
The 2021 Native Lab Fellows will be joined at Lab by the 2021 Full Circle Fellows:
When a serial killer begins targeting the gentrifiers of a dwindling, historically Black neighborhood, a young newcomer must determine the murderer's identity—before she’s next.
 
White Knuckle (U.S.A.)
When a small-town, high-end Hawai’i dog groomer learns that a hit was put on her on the Dark Web, she has to race to find the culprit among her friends and family before it’s too late.
Tracy Droz Tragos, writer/director
However unbeknownst to her large, loud Native family, she brings home her new fiancé — a musician from Malibu.​ After the death of her aunt, a successful fashion business woman returns to her childhood home on the Cree reservation in Northern Alberta, Canada for the funeral.
Cristina Costantini, co-writer/director
Fellows and projects selected for the 2021 Directors Lab are:
Mia will have to face them all in order to find a way to finally love herself. In this life, a woman's biggest challenges are the love she chooses to accept, the tough love of a well-meaning mother, and the absence of love that heartbreak leaves behind.
Mama Dragon
At the Directors Lab, which runs June 1 to July 2, filmmakers will participated in roundtable discussions, presentatons and one-on-one meetings, as well as rehearsing, shooting and editing a scene from their work-in-progress screenplays at home. The Screenwriters lab, from July 6-9, will support one-on-one story sessions to develop original and timely screenplays.
Chile, 1984. Twelve-year-old Lidia must protect her older brother Alexo, who raised her, when he comes under threat from the fearful townspeople. A remote mining town is stricken with a mysterious disease, said to be transmitted between men through eye contact.
The labs are organized under feature film program founding director Michelle Satter, deputy director Ilyse McKimmie and Indigenous program director N. Bird Runningwater.
Sarah Liese (Diné and an enrolled member of the Turtle Mountain Band of Chippewa Indians)
Jacob Albert, co-writer
Jamie John (Grand Traverse Band of Ottawa and Chippewa Indians)
After moving to a working-class part of the Hamptons, a Latinx teen employed as a housecleaner for the elite explores identity and love in the shadow of gentrification and inevitable loss.
Charine Pilar Gonzales (San Ildefonso Pueblo)
Christina Zuni (Isleta Pueblo)
2021 Native Lab – Artist In Residence:
Erica Tremblay, co-writer/director
Poi Dogs
Mary Ann Anane, writer
The Sundance Institute has named the summer fellows for the Directors, Screenwriters and Native Labs.
The Labs give writers and directors a space to develop their craft and selected projects with input from a roster of industry mentors and advisers. Some parts of this year's labs, normally held in person in Utah, will take place virtually on the Sundance Collab platform.
These are the fellows and projects for this year:
Stampede (U.S.A.)
The combination of Native art and visual media heavily influences the themes present in her work. Christina Zuni is a Native filmmaker and cinematographer from Isleta Pueblo, N.M. Growing up in a culture-driven community, she developed an interest in pueblo art at a young age. By giving a voice to the unheard and unspoken, she advocates and empowers communities in ways that uplift them. Her goal in filmmaking is to enrich humanity’s interest in Native American traditions and encourage pueblo youth to find their creativity. She is a soon-to-be graduate at New Mexico State University in the Digital Filmmaking program.
Rosa (at booth #515)
A bright teenager in a working class neighborhood on Chicago’s south side discovers the power and beauty of true friendship when her illicit relationship with a teacher is discovered amid the final weeks of her senior year in high school.
They're an enrolled tribal citizen of the Grand Traverse Band of Ottawa and Chippewa Indians, a graduate in interdisciplinary arts at Interlochen Arts Academy, and currently reconnecting to their Anishinaabe ceremonial way of life. With works tackling topics of colonialism and historical loss, Jamie attempts to pull the thread of resistance to these atrocities through cultural connection and emphasizing collective survival. Jamie John is a two-spirit Anishinaabe and Korean multidisciplinary artist living in their historic homeland of so-called Michigan. Art has been used as a tool to carve out a space for Jamie despite the impact of colonialism, intergenerational suffering, and gender violence.
The 2021 Directors Lab Fellows will be joined at the Screenwriters Lab by:
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Sontenish Myers, writer/director
Xavier Coleman, writer/director
Fellows and projects selected for the 2021 Native Lab:
Following the disappearance of her sister, a Native American hustler kidnaps her niece from her white grandparents and sets out for the state powwow in the hopes of keeping what’s left of their family intact.
Alexandra Lazarowich (Cree)
Sometimes
She struggles with self-doubt, competitive attitudes and understanding the market – in order to establish herself as an artist. An aspiring Pueblo photographer drops out of college and decides to sell her photos at Native art shows full-time to support her family.
“Support for Indigenous storytellers has been part of the Institute’s mission since its founding,” said Runningwater. “We’re excited to nurture this cohort of filmmakers and their stories, strengthening the Indigenous lens through which their stories are being told and supporting them along their creative journey to the screen and audiences.”
Bryson Chun (Kanaka Maoli)
Tommy Pico (Kumeyaay) – writer
When a dangerous water-weed threatens to take over his lake and livelihood, a fisherman in rural Kenya forms an unexpected alliance with his estranged granddaughter to fight back using glowing, genetically modified fish. As strange lights appear in the lake, chaos erupts in the village, and the two are challenged to reach a new understanding of each other.
Parts & Labor (U.S.A.)
Miciana Alise, co-writer
As a 40-year-old queer ex-Mormon begins to navigate the world as a recent divorcee, she is surprised to find support in raising her nonbinary child from an advocacy group called Mama Dragons, a Mormon led organization that breathes fire for their LGBTQ family members.
Sweet Home Reservation
She plans to earn her master’s degree from Ohio University in April 2022 and begin her career as a documentary filmmaker, highlighting Indigenous stories. She is a research assistant to Dr. In her free time, Sarah works as a poetry reader for the New Ohio Review. Sarah Liese is a master’s student at Ohio University, where she studies journalism and photography. She is a graduate of Mississippi University in the state where she grew up and maintains strong family connections. Victoria LaPoe, which has allowed her to learn more about Indigenous reporting – a topic Liese is passionate about, as she is Diné and a member of the Turtle Mountain Band of Chippewa Indians.
She tolerates their degrading demands until the relationship explodes, and Maria seizes the moment to blackmail her way to the American Dream. Working single mom Maria Burgos signs on as a gestational surrogate for a wealthy, controlling New York couple to pay for her son’s college tuition.
A Real One (U.S.A.)
McKenzie Chinn, writer/director
forward (U.S.A.)
When his best friend becomes a punk singer, a dream Tommy wanted for himself, his identities begin to blur against a backdrop of punk music, ceremony, and the ghost of an ex he killed on the rez. Tommy is a “sometimes” person: sometimes Brooklyn, sometimes rez, but never both.
“We’re thrilled to be launching such a visionary group of filmmakers who have met this year's challenges with an unstoppable resilience and spirit of collaboration and creativity,” said Satter. We're excited to provide meaningful and holistic mentorship and connections to these artists, and be part of their burgeoning creative and career development as writers and directors.” “Their stories bear witness to the world we're living in, and give voice to characters and worlds that are both deeply personal and universal.
Diego Céspedes, writer/director
The Macrobiotic Toker (U.S.A.)
Fancy Dance (U.S.A.)

In one of the more surreal developments the music world has seen in a year filled with them, Rough Trade NYC, the sprawling record store that closed down its location in trendy Williamsburg shortly after the pandemic hit last year, will be opening in a new location on June 1 — in the iconic 30 Rock building in Midtown Manhattan, the longtime home of NBC, just steps from Radio City Music Hall.
(If this announcement had been made on April Fool's Day, the independent music community would have been ROFL.) The store announced that it was relocating from the Williamsburg location in January. The move is all the more surreal because the iconic original Rough Trade store in London's Notting Hill neighborhood, from which the equally iconic label emerged, was an incubator of punk rock in th 1970s and has retained its status as a champion for underground music.
https://www.instagram.com/p/COs8CywLHdL/
"Manhattan has a glorious history of great record stores. The opportunities afforded by the pandemic in the reconfiguration of central city districts have brought us, counter-intuitively, to the heart of New York, an area barren of record stores for years. “Following the impact of COVID-19, Rough Trade’s decision to relocate reflects a wider reimagination of cities worldwide,” says Rough Trade co-owner Stephen Godfroy in a post on the store's website. But Rough Trade’s instinct has always been to surprise!” Now there’s an exciting present as well.
“When it comes to events, we'll be hosting more 'artist signing' events than you can shake a stick at, and in addition, we're super excited at becoming Rockefeller Center’s latest programming partner, staging live events at the iconic (65th floor!) Rainbow Room and outdoors in the world-famous Plaza, showcasing exciting new talent as well as more familiar legends, in what are two remarkable locations,” it continues, concluding: “PS – yes, this means we'll be open for Record Store Day.”
See the New York Times for a thorough report on the move.” />
It is indeed that. While it will have to downsize significantly for its new, 2,100-square-foot location, the new store will also have live performances — at the stately Rainbow Room as well as Rockefeller Plaza, where performances for the "Today" show were often staged. The sprawling Williamsburg location featured racks of vinyl and CDs, an upstairs book store and a 250-capacity concert venue in the back.
“We loved our amazing Williamsburg store, but thousands of gigs and vinyl sales later, we couldn't resist the opportunity to move over to Manhattan, downsizing on scale but upsizing on ambition and reach,” the post continues. Despite having a smaller footprint compared to our giant Williamsburg store, the amount of vinyl to browse in our new store will be similar, so Rough Trade NYC will continue to offer what we strive to make the finest curated selection of vinyl in the city. “The new store will be typical Rough Trade, focusing on new and limited edition vinyl, with our staff on hand to share their passion for music.

More to come…” />
He joins Daniel Craig, whose iridescent Detective Benoit Blanc propelled the first movie to box office glory, in an undisclosed role. Plot details for the follow-up have been kept under wraps, though it's expected to enlist another A-list cast to anchor a soapy murder mystery. It's unclear if any stars from original ensemble will be returning.
The first film — starring Jamie Lee Curtis, Chris Evans, Toni Collette and Ana de Armas — centers on a fabulously wealthy family and takes place after their patriarch, the renowned author Harlan Thrombey (Christopher Plummer), dies on the evening of his 85th birthday.
Netflix bought rights to "Knives Out 2" and "Knives Out 3" in March for a cool $468 million. The first "Knives Out" was produced by Media Rights Capital and was distributed by Lionsgate. These days, that's not an easy feat for a movie that's not based on existing IP or familiar characters. It became a critical and commercial smash, earning more than $300 million at the global box office.
Rian Johnson is returning to direct the sequel, which is planning to start production in Greece this summer.
Dave Bautista has been cast in the sequel to "Knives Out."

MRC is also producing Apple’s planned series adaptation of “Time Bandits” as well as Damien Chazelle’s Apple series. "Shining Girls" will make its debut on Apple TV Plus alongside other upcoming Apple Originals including "Physical" starring Rose Byrne that premieres this summer, "The Last Thing He Told Me" starring Julia Roberts, "High Desert" starring Patricia Arquette and "Lessons in Chemistry" starring Brie Larson.” /> The streamer previously ordered the limited series “The Shrink Next Door” starring Will Ferrell and Paul Rudd from Civic Center Media in association with MRC. “Shining Girls” represents the latest series order at Apple associated with MRC Television.
Harper is described as a mysterious loner with a surprising connection to Moss' character, Kirby. Kirby is a Chicago reporter who survived a brutal assault only to find her reality shifting as she hunts down her attacker. Moura will play Dan, a veteran journalist breaking the widening story of a copycat attack. Bell, a BAFTA Award-winner known best for his work on "Rocketman," "Film Stars Don't Die in Liverpool" and "Billy Elliot" will play the role of Harper in the metaphysical thriller.
Silka Luisa will write the adaptation and serve as executive producer and showrunner. Beukes and Alan Page Arriaga will also serve as executive producers. Moss and Lindsey McManus will executive produce under their Love & Squalor Pictures banner. MRC Television will produce. Leonardo DiCaprio will executive produce through Appian Way alongside Jennifer Davidson.
Jamie Bell has signed on to star opposite Elisabeth Moss ("The Handmaid's Tale") and Wagner Moura ("Narcos") in the Apple series adaptation of the 2013 Lauren Beukes novel "Shining Girls."

”Your puny ballpark is too small to contain my gargantuan blasts. Maybe became known for uttering some of the most original — and inscrutable — sports descriptions in the business. Bring me your finest meats and cheeses!” he once crowed when someone hit a home run during a baseball game.
”My premise is, I like words a lot more than sports,” Mayne told Entertainment Weekly in 1998. ”I’m not as big a sports nut as maybe I’m supposed to be."
 ” />
ESPN has over the last year tried to reshape its staffing structure for a new era. In November, the company disclosed it planned to eliminate 500 positions — 300 employees and 200 posts that were unfilled –in a bid to free up resources for streaming, digital and other kinds of video experiences designed for the new ways fans are engaging with sports.
 
Mayne's dry, offbeat humor has made him popular with viewers and even ESPN's business associates. Mayne has also hosted "Kenny Mayne's Wider World of Sports," another digital-first program that had him travel to see unique sports around the world. For years, he held forth at an annual presentation by ESPN to its advertisers, and became one of the highlights of the TV industry's "Upfront Week." For a time he even was the center of "Mayne Street," a scripted web series that depicted him as a blundering sports reporter trying to make his way.
He has been with the outlet since 1994 and in recent months had been appearing several nights each week on the 11 p.m. edition of "SportsCenter." Mayne was said to have been offered a package to remain, but declined, according to a person familiar with the matter. On Twitter, Mayne cited "salary cap casualty" as the reason for his decision.
Kenny Mayne, the longtime ESPN announcer and humorist, is set to leave the Disney-owned sports-media outlet after a more-than-quarter-century run that had him hold forth on "SportsCenter," tackle horse racing coverage and appear in some other, very unique showcases.
 
ESPN has thrived for decades on the outsize fees it gets from cable and satellite distributors who carry its suite of sports networks. ESPN recently struck a new decade-plus pact with the National Football League, for example, that calls for the company to pay an annual fee of $2.7 billion, compared with the $2 billion per year it was paying under the most recent agreement. But as more fans cut their tether to traditional TV, linear networks are shedding subscribers. Even as that happens, the rights fees ESPN must pay to broadcast NFL games, NBA matches and MLB showdowns are steadily rising. And the company is placing more emphasis on its ESPN Plus broadband service, even moving some of its higher-value web content under its pay umbrella.