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Others like actor Michael Rapaport celebrated Dorsey's work. "Jack, you did it you fkc you!!! Congratulations," he wrote.

Capitol. Trump's words have now directly lead to five deaths and an attack on the U.S. Actor Kevin McHale also wrote: "This isn't about censorship or free speech. Twitter and tech companies should always ban anyone who incites and encourages violence — especially when they have a big platform." It's about protecting lives.

Trump, who had 88.8 million followers at last count on Twitter, was "deplatformed" by the company, following years of criticism calling on the social media service to block his account for the spread of misinformation. Prior to closing his account on Friday, Twitter had temporarily suspended his account in three separate occasions for "repeated and severe violations of our civic integrity policy."

Celebrities took to Twitter to celebrate President Donald Trump's ban from the social media platform.

Read more reactions below.
"Yes, people died at the Capitol and now Trump's gone," he wrote. "But think about how many lives would have been saved had [he] been impeached and then actually removed from the office in early 2020. Retired professional basketball player Rex Chapman echoed Louis-Dreyfus' sentiment, pointing out that an earlier action could have saved lives during the pandemic. His Twitter account convinced millions to not wear masks and regent science during a pandemic."

Actor-comedian Julia Louis-Dreyfus tagged Twitter's CEO Jack Dorsey, asking, "What the fuck took you so long, Jack?"

"Borat" actor Sacha Baron Cohen, who had publicly asked Dorsey to ban Trump from Twitter, also applauded the news. "Twitter finally banned Trump! We did it!" he wrote.

The reactions will drive the conversation with awards voters and we'll see how the industry voters react to its unconventional structure.
2021 Oscar Predictions: All Categories
Already snubbed for "Big Hero 6" and "Captain Phillips," the England-born composer has yet to find his way into a lineup. 9. Henry Jackman might be able to make his way to the Oscar shortlist for an original score mention when it's announced on Feb.
Visit THE AWARDS HUB to see the full list of contenders by category.
If the film does find some traction with voters, makeup and hairstyling have enough high points that could impress the branch along with sound, which bring a palpable energy to both the war and robbery scenes equally.
Distributed by Apple TV Plus, the film tells the story of an unnamed army medic who suffers from post-traumatic stress disorder and addiction, leading him to become a serial bank robber. It's adapted from the book by Nico Walker.
Tom Holland takes on his most serious role so far in Anthony and Joe Russo's "Cherry," the filmmakers' first outing following the box office smash "Avengers: Endgame." Before a virtual crowd of journalists and industry voters, the film was screened with a live conversation with the cast and filmmakers moderated by Oscar nominee and "Iron Man" star Robert Downey Jr.
2021 Academy Awards Predictions
Likely not, but it will undoubtedly be adored by Holland's legion of fans and any Marvel-head, curious to see what the two helmers behind the highest-grossing film of all time have cooked up. Does "Cherry" shake up the Oscar race?
2021 Oscar Predictions: The Collective
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26. "Cherry" debuts on Feb.
The similarly young Timothee Chalamet in "Call Me by Your Name," who was 22 at the time of his nomination, found his way into a lead actor lineup, but the film also garnered nominations for picture, director and won best adapted screenplay (James Ivory). "Cherry" will struggle to mirror the same trajectory. Still, Holland's time with the Academy could be near. The 24-year-old may be considered too young for a play in best actor, but this lays the groundwork for a near-future nomination. Even his charisma as Spider-Man has elevated the Marvel Cinematic Universe.
Still, the bulky runtime with multiple chapters may keep it outside in the major awards categories like best picture. The film looks to break into the Oscar race in various categories.
This is no different. Holland, who emerged on the scene with J.A. Navigating through filmmakers like James Gray and Ron Howard, he's able to stand above any mixed reactions to his portrayals. Bayona's "The Impossible" in 2012, has always been a capable actor, one that brings excitement to the future of cinema.
The Russo's cinematic eye is undeniable, and the industry should want them to continue to step outside large tentpole franchises. Best director is far too crowded for their names to enter the mix at this point in the season, which will likely be the same fate for screenwriters Angela Russo-Otstot and Jessica Goldberg. The Russo brothers' technical choices could put the movie in play in a few categories, though, most notably, Newton Thomas Sigel's camera work, which already impressed with Spike Lee's "Da 5 Bloods."
Co-star Ciara Bravo establishes herself as a noteworthy newcomer, who we should continue to look for in future projects. With the likes of veterans such as Ellen Burstyn, Glenn Close and Olivia Colman making headway for an Oscar nomination in supporting actress, there may not be enough time for her to crack the lineup.

Also worth noting, if she's nominated alongside any of either the Black actresses in Oscar contention, including Nicole Beharie ("Miss Juneteenth"), Viola Davis ("Ma Rainey's Black Bottom") and Andra Day ("The United States vs. "Malcolm & Marie" is an actor's showcase, utilizing the most exquisite instincts and sensibilities of its performers, both of which could find room to squeeze into the lead acting races. A movie cooked up and shot during COVID-19 could be a gamble in this climate — but introduce it with the invigorating talents of John David Washington and Zendaya, and you could have a winning recipe for success, maybe even at the Academy Awards. Comparing it to Levinson, who wrote the screenplay in eight days, this inception and creation likely served as an echo chamber of personal feelings. Visit THE AWARDS HUB to see the full list of contenders by category. She could also be the first actress since Helen Mirren to win an Emmy and an Oscar in the same year. It could all break her way. 2021 Academy Awards Predictions

2021 Oscar Predictions: The Collective
2021 Oscar Predictions: All Categories” /> It reminded me of the story behind Darren Aronofsky's "mother!" which covered the entire gamut of film criticism with its divisive reception. At 24, she would be the youngest female producing nominee in the categories history. If Zendaya is nominated for best picture, she checks off many record-breaking boxes. Lastly, she would be the fifth-youngest winner of all-time surpassing Audrey Hepburn in 1953's "Roman Holiday," days behind Joan Fontaine in 1941's "Suspicion."

Quite a feat and definitely an uphill battle. Even most important, if nominated for both picture and actress, she would be the first woman to be nominated for acting and producing. It was widely shared that Aronofsky wrote the film in a single weekend. She would be the third Black woman to be nominated in the category following Oprah Winfrey for 2014's "Selma" and Kimberly Steward for 2016's Manchester by the Sea." She'd also be the most nominated Black woman in a single year in history, tying Mary J. Cementing his place as the Hollywood industry's future, this could be his entry into the Academy's graces. There's history to be made if enough voters go for it when it comes to the best picture category. Can she overtake or break into this year's best actress race that's as dynamic and competitive as ever? Billie Holiday"), it would be the second time more than one Black woman would be nominated in the same year in best actress. Washington's best work yet surpasses his work in Spike Lee's "BlacKkKlansman," which just missed the Oscar cut. Zendaya is one of the world's biggest stars, slowly but assertively showcasing her acting range from blockbusters like "Spider-Man: Homecoming" up to HBO's hit-series "Euphoria," for which she became the second Black woman to win best actress in a drama series in 2019. Movies about "the movies." Sprinkle in a struggling director fighting to express his art through cinema, and Academy voters, especially male ones, will be salivating at its premise and execution. When it comes to winning, which is too close to call with this expansive actress field, if she beats the odds, she joins only Halle Berry as a Black woman to win the category in 93 years. Not to mention that Washington and Zendaya would be the first lead nominees to also be nominated for picture, if it were to happen. The Academy-at-large may have trouble responding to it, but these types of predictions can be difficult to read early on. Blige. Along with Levinson and his wife Ashley Levinson, both Washington and Zendaya serve as producers. Marcell Rév's cinematography is lusciously crafted, and could find love with that branch's members. It's possible, and imagining a lineup that includes her alongside Viola Davis, the first Black woman to an Emmy in best actress in a drama series, will be a baton-passing moment for the next wave of diverse performers. There may be a more grounded, less impressed group of filmmakers, especially writers, who will struggle with the over-the-top dialogue. "Malcolm & Marie" will be released on Netflix on Feb. Outside of the acting categories, Levinson will be a favorite among a certain demographic of the director's branch, who see the film as a living metaphor of their entire existence. Do you know what the Oscars love more than movies? Ever. 5. Written and directed by Sam Levinson, the film tells the story of Malcolm, a director, and his girlfriend Marie, who, over the course of an evening following the premiere of his latest movie, examine the highs and lows of their relationship as they await critics' responses. If one of Netflix's other features, "Ma Rainey's Black Bottom," gets nominated alongside "Malcolm & Marie," Washington, along with his father Denzel, would be the first father-son pairing to be nominated alongside each other in the category's history. Frances McDormand from "Nomadland" is also poised to break the same record.

He also wrote or co-wrote No. 1 hits for Gary Allan and Ronnie McDowell — "Man To Man," and “Older Woman,” respectively — and had his songs recorded by Tammy Wynette, Conway Twitty, Trisha Yearwood, Don Williams, Tim McGraw, Josh Turner, Tanya Tucker, Sara Evans, Randy Travis, Lee Ann Womack, Pam Tillis, Shelby Lynne, Wynonna Judd and The Trio (Emmylou Harris, Dolly Parton, and Linda Ronstadt).
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1 smash for the Judds in 1986, which won him a Grammy for best country song. Besides his tenure with the O'Kanes and subsequent solo work after the duo broke up in 1990, O'Hara was renowned for his solo composition "Grandpa (Tell Me 'Bout the Good Old Days)," a No.
O'Kane's wife, Lana, broke the sad news in a Facebook post.

"I think of him as a holy man.” "He had a way of looking at life with such a beautiful sensibility,” Harris in a statement.
Among O'Hara's other notable compositions were "The Cold Hard Truth" and "50,000 Names," both of which met further acclaim when George Jones recorded them.
O'Hara traveled to the Vietnam Veteran’s Memorial with Emmylou Harris to perform his song "50,000 Names" there with Emmylou Harris in 1997.
But their presence was outsize in relation to their tenure, with that six-song streak of country hits, one of which, "Cant Stop My Heart From Loving You," reached No. The O'Kanes, which O'Hara cofounded with Kieran Kane, had only the briefest of runs, releasing three albums and a handful of singles between 1986 and 1990. 1 in '87.
Tracy Gershon, O'Hara's one-time publisher, left a touching message of appreciation on O'Hara's Facebook page, quoting one of the O'Kanes' songs, "When We're Gone, Long Gone," that was later covered by Dolly Parton: "When we're gone, long gone, the only thing that will have mattered is the love that we shared and the way that we cared, when we're gone long gone."
After the duo split, O'Hara went on to record three solo albums, the last of which was "Dream Hymns" in 2012.
He was 70, and the cause of death was cancer. Jamie O'Hara, a country music singer-songwriter who came to fame as a member of the O'Kanes, a duo that had six straight top 10 singles in the late 1980s, died Thursday in Nashville.
A special human being." Jamie will always have a special place in my heart, He was one of the good ones. He and Lola became my friends outside of work… because those songs were always special. There are certain people who leave a mark on you and add so much to your life. It was an exciting day for all of us when Jamie turned in a new song… I was lucky to be his publisher at Sony Tree and he taught me to be a better publisher. Wrote Gershon, "Jamie shared his love and light and cared deeply for his friends and family.
Jamie suffered tremendously in recent months. He's no longer suffering, and for that we can all be grateful. With love and gratitude to all our friends, on and offline, Lola." He will live in our hearts and in his songs. "Dear friends & fans," she wrote on Thursday, "it is with a broken heart that I must tell you that my husband, friend and love of my life took his last breath this morning at 11:11 at Alive hospice, as my son Brian sang him a plethora of Jesse Winchester songs, all stunningly appropriate, though we'd never thought of them in this context before, and Jamie's own songs, including the earliest ones, which were shockingly sophisticated for a man as young as he was when he began his career; and those of other friends.

11, brings the images of the crack plague roaring back — the tiny vials with their yellowish chunks of purified cocaine; the deals going down on street corners of Queens and the Bronx and South Central, in what became a thriving smash-and-grab underground capitalist economy; the death of Len Bias; the way that cocaine, formerly a drug of the elite, suddenly became available for the price of a kid’s allowance; the addictive cycle of human beings devolving into skinny, glassy-eyed, burnt-out husks of themselves. Stanley Nelson’s "Crack: Cocaine, Corruption & Conspiracy," a Netflix documentary that drops on Jan.
We’re still living the legacy of crack, and all the people in prison are part of it. The movie does, however, use evidence that the CIA looked the other way and cozied up to drug dealers in Nicaragua, as part of its alliance with the Contras, to suggest how the U.S. But so is the clampdown impulse that viewed this epidemic not as a tragedy but as an infestation of "evil."” /> "Crack" never makes that grandiose conspiratorial claim. Did the CIA finance the crack epidemic? government, in the '80s, was supremely hypocritical when it came to the issue of drugs.
Yet Nelson, who has the ace documentarian’s flair for making history far more interesting than the mythologies it’s cutting through, has directed a film that stays true to the epic devastation crack left in its wake and, at the same time, examines all the ways that the government and the media used the grim reality of crack, turning it against the very people who were being victimized by it. He also taps such trenchant observers as the Columbia neuroscientist Dr. Nelson talks to former dealers and users, getting into the nitty-gritty of what crack felt like and the high the dealers had selling it like hotcakes. The movie takes us back and also forward, into the sadder and wiser present day, when we can now see how crack changed the culture. Carl Hart, who speaks with big-picture eloquence to everything that’s missing in our sensationalized image of the crack epidemic.
A former dealer tells a story of being rounded up in a drug sweep, and he claims that if one person arrested had 10 vials of crack and another had none, the police might divide the 10 vials in two so that everyone was guilty. The documentary captures how that literal Black-and-white thinking filtered down to the streets. The 1986 Anti-Drug Abuse Act, pushed through Congress in a matter of weeks by House Speaker Tip O’Neill, was an egregious piece of legislation that literally said: The possession of 100 grams of powder cocaine will get you a certain sentence, and one gram of crack will get you the same sentence.
But by 1984 it was flooding the market, and so the prices fell. The second advertisement was "Scarface" (1983), though that movie was just about powder cocaine, yet the power it conveyed! "Crack" starts off the way almost any honest documentary about a powerful drug must: with a reckoning of the drug’s appeal. And by going through the elaborate chemical process of shearing cocaine of its salt content, "freeing" it down to its "base," the marketers of crack turned it into a quick hit of nirvana. Richard Pryor’s famous 1980 freebasing incident, in which he set fire to himself by igniting the ether he was using to make freebase, should have stood as a cautionary tale, but as Nelson George explains, "Richard Pryor burning himself up was the wake-up call to a lot of people that there was this other kind of way of using cocaine." It became the first advertisement for crack. Simply put: Cocaine was too expensive. It reveled in the money, the glamour, the high, which up until that point was more or less cut off from the inner city.
The contrast with the opioid users of our own era could hardly be more marked. There’s no question that the police had to act; the residents wanted them to act. But with tens of millions of dollars now pouring into law enforcement from the federal level, the result was the militarization of the police, who treated everyone associated with crack — including its users — as The Enemy. Samson Styles, a former dealer, says, "It was like a gold rush that hit the hood." But the neighborhoods became combat zones, driven by wars between the dealers. On weekends in the late '80s, so many people would line up in their cars in the New York boroughs to buy crack, including all the white customers from the suburbs, that there would be traffic jams.
A good documentary takes suspenseful turns, and in this one a major twist arrives when Corey Pegues, a burly former dealer, tells the story of how he got popped by the police when he was carrying 300 vials of crack, and they let him go. Any way, anything, any method we can employ to escape the fact that we are broke and oppressed, we will do." Crack, as so many have described it, was a drug that was literally irresistible; people spent years chasing that first high. Until Ronald Reagan, in his let’s-make-America-into-the-1950s-again fervor, decided that he was going to anoint himself the Dirty Harry of drugs and wipe the streets clean. And the market for it was greased by corruption. He was thrilled, but it wasn’t until he got back to his boss that he learned why: The dealers had a racket going ­— they were paying off the cops. Felipe Luciano, an activist and former user, says, "I don’t think we really understand the trauma of poverty. For a while, that’s just how it went.
The prison population exploded (in 1980, it was 300,000; today, it is over 2 million), with the successive administrations of Reagan, George H.W. The drug was responsible for launching the so-called "war on drugs," yet for all the righteous lip service of the Reagans and the parade of celebrities, from Clint Eastwood to Pee-wee Herman, who signed on to endorse the "Just say no" campaign, it proved to be a war that was unwinnable. Steven Soderbergh’s "Traffic" captured why: When it came to the cravings inspired by drugs, brute force wasn’t going to roll back the law of supply and demand. Bush, and Bill Clinton treating the escalating numbers as if they were scores on a video game. Crack was a scourge, but it got turned into a demon, which was then used to demonize the inner city. Instead, the war kept racking up casualties, treating Black drug users like they were hardened criminals.
But it also left a seared trail of media images that were more concocted, simplistic, and racially biased than they pretended to be. The phenomenon of an infant born to a crack-addicted mother, with the infant damaged by (or addicted to) the drug, was something that on occasion did happen, but the news media, using radically distorted numbers, made it sound like an encroaching army of zombie babies. Remember "crack babies"? Those trumped-up images, like crack itself, did their damage, leaving a residue of hyped sensation the way that junk food deposits chemicals in the body. In the 1980s, the crack epidemic tore through America’s inner cities like a brushfire, and it was a devastating scourge. As for crack users themselves, two-thirds of them were white, yet you wouldn't have dreamed that from the media coverage.

Nagy, who’d been left holding the bag 37 years ago. This stoked the ire of original producer Suzanne C. While the film officially languished in legal limbo, a work print nonetheless somehow leaked into circulation a few years ago, getting considerable unauthorized play in genre-fan circles. Now titled “Grizzly II: Revenge,” the end product she’s finagled at last has added curiosity value thanks to early appearances by George Clooney, Laura Dern and Charlie Sheen — who now get top billing, despite fleeting screentime.
After decades spent as a famously abandoned project, “Grizzly II” finally hits theaters and VOD in 2021. For reasons that remain murky, the Hungary-shot horror thriller originally titled “Grizzly II: The Concert” went unfinished after principal photography ended in 1983, its crucial critter effects (among various other elements) left undone for lack of funds. Well, there’s ordinary “slow,” and then there’s the Rip Van Winkle-grade variety.
After the title graphic, the three stars-to-be appear as hikers camping en route to an outdoor rock show. Suffice it to say their roles are of very, very short duration — albeit long enough for two of them to strip down to skivvies. They don’t appear for a whole two minutes, during which span “Grizz 2” scores its first unintentional laughs as a mother bear and cubs are shot by poachers. That wouldn’t be funny if not for terrible blood-splat effects, which give full warning that this movie will be seriously short on polish.
It clearly wouldn’t have amounted to much more than formulaic genre fodder in the best circumstances, given hackneyed dialogue hampering otherwise passable principal performances. The late Szots, whose subsequent career would be primarily as a producer, can’t be blamed entirely for the shortfalls of this apparent sole big-screen directorial feature.
But not only is that movie not-so-bad, it’s at the very least exactly the goof it set out to be. As it lurches between the woodsy bear hunt and the concert grounds, both threads obviously patched together with plenty of holes remaining, “Grizzly II” never finds a rhythm — not even a giddily camp one. Clooney has long joked that another of his early acting credits, “Return of the Killer Tomatoes,” is the worst film ever made.
But this is always going to be a de facto unfinished movie, with all telltale signs of missing pickup shots and post-production fixes. It’s not even “so bad it’s good” — it’s just a half-assembled collection of parts that will never be whole.” />
After the phenomenal success of “Jaws” in 1975, there was a cash-in surge for further “nature strikes back” creature features, as mankind was successively imperiled by dogs, cats, whales, buffalo, piranha and so on. It was, nonetheless, a hit — in fact the biggest indie success story of its year, purportedly grossing about fifty times its modest $750,000 budget. As quickly as it had been rushed out to ride “Jaws’” coattails, however, a sequel was slow in coming. One of the most blatant of these knockoffs was William Girdler’s 1976 “Grizzly,” an undistinguished tale of hairy menace running amok in a national park.
You got a devil bear!”), the concert stage manager (Dick Anthony Williams) and those mean poachers, whose ranks include Jack Starrett. (There’s also an unbilled appearance by young Timothy Spall as a roadie in an arm cast.) Other significant figures at risk of becoming bear food are Nick’s chirpy daughter (“Valley Girl” Deborah Foreman), his second-in-command (Edward Meeks), an imported French-Canadian trapper (John Rhys-Davies, hamming up lines like “Very bad!
By far the best aspect here are attractive landscape and wildlife shots used to pad out a desperately slim runtime that wouldn’t nudge much past an hour without credits, yet manages to plod anyway. Those “15-foot monster” attacks could not be more cheesily abrupt, poorly disguising faulty effects work. But in any case, “Revenge” makes glaringly clear that the connective glue which holds together most movies’ basic elements never got applied. There are sequences cutting between horribly ill-matched shots (or even stills). The erratic scoring sounds as if it were cobbled together from numerous different sources and composers.
At times, the film’s brief glimpses of music acts seem vaguely parodic (they include Nigel Doman as a fictive synthpop singer, plus actual proto-Spice Girls Brit quintet Toto Coelo), when not incongruously middle-aged and Hungarian for a movie meant to take place in the U.S. But it’s hard to tell just when "Revenge" actually means to be funny. Still, when the clumsy climax arrives — finally providing more than a split-second gander at the obvious mechanized-dummy bear — it disappointingly takes place behind the stage, away from that borrowed cast of thousands. It does gain a sporadic sense of scale by filming the crowd (but not the show) at an apparent real-life gig by ’70s hard rockers Nazareth.
Not happy about this is head ranger Nick (Steve Inwood) and “Director of Bear Management” Samantha (Deborah Raffin), particularly once they realize the aforementioned wounded sow is avenging her slain offspring on any human within claw-reach. Draygon, the politically ambitious superintendent of a 3,000-square-mile public park. À la greedy mayor in “Jaws,” she’s inappropriately leased it for commercial purposes, attracting 100,000 youths to a music festival. Chasing more “Exorcist II”-style cause for regret, Oscar winner Louise Fletcher plays unsubtly named Ms. Thus at the six-minute mark, there's already a body count, and we begin meeting the real leading characters here.

We are seeing networks really push the envelope,” says Daniel Cohen, senior vice president of global media rights consulting at Octagon, the Interpublic Group sports-marketing agency. With people staying close to home and avoiding big crowds at bars or parties, there may be a new yen for an experience other than the typical big game designed for a group at a big gathering. Viewers may be more willing to embrace offbeat concepts built around sports. During the pandemic, “experimentation has been so widely accepted.
The NFL navigates viewer turbulence after enjoying two seasons of audience growth — and fretting over dips in 2016 and 2017. Rival sports leagues moved some of their own games scuttled in the earlier part of the year to the fall, providing new distractions to sport fans. Even the NFL can only get so far in bringing audiences to its games. Ratings for the NFL’s 2020 season were down as much as 10% as the league shifted certain games due to the coronavirus pandemic.
tomorrow find themselves part of a massive sports play. Freeform will show –of all things —  an NFL Wild Card match between the Baltimore Ravens and Tennessee Titans. Viewers who tune to Freeform looking for "Hunger Games," "Alice in Wonderland" or one of the movies Freeform typically shows each weekend will at 1 p.m. Nickelodeon and Telemundo, two other TV outlets known for things other than sports, will also try football on for size this weekend.
The network will even offer a halftime review of a new SpongeBob SquarePants project. Nickelodeon plans to host a Wild Card game Sunday between the Chicago Bears and the New Orleans Saints tilted toward kids and families. There will be play-by-play commentary and reporting from two members of the network’s popular “All That” sketch-comedy series, animated graphics, and intriguing visuals. And there will be green slime, the goo that is a signature element of the ViacomCBS kids outlet.
 Renewing them is crucial. The new broadcasts come as Walt Disney, Fox Corp., ViacomCBS and NBCUniversal face the end of valuable football-rights contracts with the NFL in 2021 and 2022. The NFL’s Schroder declined to offer details about the current state of discussions. NFL games command TVs biggest audiences and highest ad prices and are one of the few truly dependable assets the companies have as consumers migrate to streaming on-demand video.
We just play that by ear.” Freeform will also present an exclusive halftime show led by DJ Khaled that features a special guest. “There are no rules on that,” says Lee Fitting, ESPN’s senior vice president of production, in an interview. Freeform intends to court younger viewers by burnishing lots of conversation rather than play by play, using series stars like Ashley Nicole Williams, Jordan Buhat, Demetria McKinney, Cierra Ramirez and Trevor Jackson; singer Jordin Sparks; actor and former Titan Eddie George; and actors from Disney projects like Kelly Marie Tran from “The Last Jedi” and “Raya And The Last Dragon.” These people and others like them will hold forth with ESPN’s Jesse Palmer and Maria Taylor in segments that are set to last as long as the chatter is interesting. “We could have a guest on for three or five minutes, or we could have a guest on for 15 minutes — however the conversation goes.
It’s easy to think of the new broadcasts as experiments. In a moment when consumers can often get the exact thing they want, the networks are tailoring their efforts toward unique swaths of viewers, rather than having everyone tune in for the same experience. “I think as we look forward, you will see us do more and more of this,” says Hans Schroeder, executive vice president and chief operating officer of NFL Media, in an interview. NFL executives believe so-called “mega-casts” — a game broadcast in several different formats — could become a more integral part of the experience. “The main broadcast will always be an important part, but we think there are ways to add to it.”
TV will offer other tailored broadcasts as well. Amazon gets into the game with its own broadcast of the Bears-Saints game. NBCU’s Peacock will stream the Browns-Steelers game live, and offer a bespoke post-game show. ViacomCBS' CBS All Access streaming-video service. And for people who just want the usual big-game trappings, they will be available on ESPN, ABC, CBS and NBC. ESPN Plus, the ESPN subscription-video hub, plans to analyze betting odds and spotlight data in a version of the Ravens-Titans match for a decidedly more adult crowd. ESPN2 plans a broadcast focused more heavily on real-time game analysis. The Wild Card games, an expansion of the league's playoffs approved earlier this year, will turn up on video outlets not known for showing football: NBCUniversal's Universo Spanish-language outlet. NBCUniversal’s Telemundo plans a Spanish-language broadcast of the Cleveland Browns and the Pittsburgh Steelers.
Football has long been TV’s ultimate big-audience sport. Nearly every one of the medium’s most-watched broadcasts is an NFL football game. On Sunday, however, the National Football League and several of the media companies eager to keep ties to its high-rated matches will swing for niche crowds.
The companies are already in talks with the league about renewals, and showing how games can be displayed across a broader portfolio of media properties seems to be a critical part of the discussions. NBC Sports, meanwhile, has imported Steve Kornacki, the NBC News political data guru, to its Sunday football pre-game show in a bid to woo new crowds. “He can bring some new eyeballs from people who are interested in his khaki pants and his performance on the news side — and might be interested in sampling some football,” Sam Flood, NBC Sports’ executive producer and president of production, told Variety last month. “Any negotiation we are doing in the future, I think, will have a ViacomCBS element to it, whether it’s through programming or being able to reach a vastly different audience than we could have in the past,” CBS Sports Chairman Sean McManus told Variety in December.
The networks don’t expect the ancillary formats to bring in the same ratings as their flagship game broadcasts. At Freeform, for example, executives hope football can woo “similar” viewership to a weekend movie, says Lindman, suggesting she will also be interested in social-media engagement and feedback from colleagues across Disney. “There are other ways of looking at potential success," she says.
“Our expectation is that we will be able to deliver additional audience to a traditional football broadcast — a new audience.” “It’s an experiment. We’ve never done it before,” says Sarah Lindman, senior vice president of content planning and strategy at Freeform, in an interview.
If the new games gain more traction, chances are each will have its own sponsors to go with the bespoke  guest stars and gimmicks.” /> Rather than filling its broadcast with ads for toys, snacks and kiddie fare, Nickelodeon is likely to run many of the same commercials set to appear during the game on CBS, according to a media buyer familiar with the matter. Individual advertisers may be allowed to swap in something for the younger crowd if they wish, this buyer said. Even advertising needs to be considered. These are early days for bids to please kids, teens and people interested in sports wagers.
Others won’t. But things that do stick? Let’s try it again.” On January 1, ESPN offered nearly 40 different video and audio presentations of six different Bowl games, including a chance for fans to listen to a team’s hometown announcers or a “Skycast” that features the view from a camera above the action. ESPN has been working with “mega-casts” for years, particularly in college football. “Some things will stick. “Our mantra is keep trying new things, keep experimenting,” says Fitting.
On Sunday, Freeform will really be taking the field. The closest thing to sports running on the Freeform cable network since it came under Disney ownership in 2001 might be “Make It Or Break It,” a soapy series about the lives of young gymnasts hoping to get to the Olympics.

By Apple's logic, Matze argued, Apple "must be responsible for ALL actions" taken by customers of their phones, including "Every car bomb, every illegal cell phone conversation, every illegal crime committed on an iPhone." He also claimed Google did not send Parler an explanation for why it decided to ban the app prior to the removal from the Play Store.
Parler founder and CEO John Matze, in a post on the app Friday, decried the actions by the tech giants, accusing them of double standards. Matze said Parler's community guidelines prohibit violent speech (including "threats of violence" and "advocacy of imminent lawless action") and claimed the company has always enforced those rules. "Standards not applied to Twitter, Facebook or even Apple themselves, apply to Parler," he wrote.
8 notice says. "We want to be clear that Parler is in fact responsible for all the user-generated content present on your service and for ensuring that this content meets App Store requirements for the safety and protection of our users," Apple's Jan. "We won't distribute apps that present dangerous and harmful content."
Also Friday, Apple warned Parler, which styles itself as a "free speech" alternative to Twitter or Facebook, that the app faces a ban from the App Store within 24 hours if it didn't remove content that "encourages illegal activity." Parler was the No. 1 trending app in Apple's App Store as of Saturday morning in the news category.
Matze also posted a screenshot in the app of Apple's notice to the company outlining "serious App Store guideline violations."
Parler, the social-media app popular among Trump loyalists and right-wingers, was removed from the Google Play Store late Friday — with the internet giant alleging Parler failed to remove "egregious content like posts that incite violence."
Devin Nunes (R-Calif.). While Trump himself currently does not have an account on Parler, his son Donald Trump Jr. is active on the app as are right-wing figures like Fox News' Sean Hannity and Tucker Carlson and Rep.
According to the exec, "Most people on Parler are non-violent people who want to share their opinions, food pics and more." "[W]e WONT cave to politically motivated companies and those authoritarians who hate free speech!" Matze wrote.
Capitol on Jan. Trump accounts on Facebook, Instagram, Snapchat, Twitch and other platforms also have been indefinitely or permanently blocked after his role in organizing and supporting the insurrectionist mob that occupied the U.S. 6 in a deadly clash with police. The moves came as Twitter permanently banned Donald Trump, citing the potential risk that the aggrieved lame-duck president will foment additional violence among his supporters.
In a statement, Google said that "to protect user safety on Google Play, our longstanding policies require that apps displaying user-generated content have moderation policies and enforcement that removes egregious content like posts that incite violence." It continued, "We’re aware of continued posting in the Parler app that seeks to incite ongoing violence in the U.S." and said that "In light of this ongoing and urgent public safety threat, we are suspending the app’s listings from the Play Store until it addresses these issues."
Founded in 2018, Parler boasts about its hands-off approach to moderation, in contrast to the stepped-up policing by mainstream social networks like Facebook and Twitter.
The Google Play ban reduces Parler's visibility, but because of Android's open architecture that version of the app is still available as a direct download from the Parler website. Apple's removal of Parler for iOS would be a more serious blow, given that the tech colossus' App Store is the only way to get apps for its iPhone and iPad devices (although users who already installed the iOS app would still be able to use it following a removal from the App Store).
Parler is people and privacy-focused, and gives you the tools you need to curate your Parler experience."” /> "Speak freely and express yourself openly, without fear of being 'deplatformed' for your views," the company says on its website. "Engage with real people, not bots.

Antonio Sabáto Sr., an Italian American actor known for his roles in "Grand Prix" and "Escape From the Bronx," died this week due to COVID-19 complications. He was 77.
Throughout the next two decades, the actor continued to star in a slew of Italian films, from the spaghetti western "One Dollar Too Many" to science fiction projects like "War of the Robots" — and virtually any genre in between.
The news of Sabáto's death was confirmed in a tweet by his son, actor and model Antonio Sabáto Jr., who also posted an old family photo. He shared the news on Jan. 6, with a message saying "Always and forever."
The movie went on to win three Academy awards. The elder Sabáto got his start in the entertainment industry in 1966 when he appeared in the Italian film "Lo scandalo." That same year he starred in "Grand Prix," an American film with an international cast of actors helming the project.
In addition to his son, Sabáto is survived by a daughter, Simonne.” />
with his family, continuing his career in films like 1997's "High Voltage." His last credit as an actor came in the television series "The Bold and the Beautiful," in which he appeared in seven episodes in 2006. In the mid 1980s, Sabáto immigrated to the U.S.
His son said Jan. "My papa/dad is in intensive care with covid in California," he said. "Lord keep him surrounded by angels and pure God's love and strength within." The younger Sabáto has been a vocal critic on social media of the use of masks to control the spread of coronavirus. 4 that Sabáto was hospitalized in California due to the coronavirus, posting a brief prayer for his father with the tweet.

Queen Elizabeth II and her husband Prince Philip have been given their first doses of the COVID-19 vaccine, royal officials told AP.
is still facing a lockdown on account of the rapid spread and new strain of the coronavirus.” /> Many reacted with hesitation after vaccines began to pop up due to the quick turnaround in testing, but leading experts ensure the studies were conducted properly. As vaccines roll out, the U.K.
The Queen, age 94, and her husband, age 99, shared news of their treatment in efforts to curb rumors or speculation on the subject, royal officials explained. 8, making Britain the first country to implement a mass vaccination plan. Britain aims to dole out vaccines for 15 million residents by mid February, with top priority being those over 70, people who have health vulnerabilities in relation to the virus, frontline health care employees and people working at care homes. The process began on Dec.
They are now part of the 1.5 million and growing number of British citizens who have begun the immunization process against the coronavirus. The vaccinations were administered on Saturday at Windsor Castle, the location in which both royals have been quarantining since the pandemic began to spread through the U.K.
Others, including President-Elect Joe Biden and Vice President Mike Pence, took their first doses on television so as to increase public trust in the science. The Queen and Prince's announcements join a multitude of public officials who have also openly shared that they've been vaccinated. The U.K. has experienced almost 3 million cases of COVID-19 since testing began, with about 80,000 deaths.