Moreover, if it went that route, it could always debut "The King's Man" on Hulu, which it owns. There's slightly more time before the studio would traditionally start showcasing trailers and other promotional materials, but if ads don't begin materializing within the next few weeks it may be fair to assume that director Matthew Vaughn's latest installment in the spy comedy franchise is being held up again. There have been rumors that a major streaming service would like to take the film off Disney's hands, but it's unclear if the studio would ever sell the movie. Disney has stayed similarly mum on "The King’s Man," a oft-delayed prequel in the "Kingsman" series, which is set for early March.
But if the pandemic has proven anything, Hollywood may find itself repeating this song and dance in another six months. For many studios, delay, delay, and delay again may be the best option — hopefully for the last time.
Universal has deployed its early premium video-on-demand pact with exhibitors such as AMC and Cinemark to modest success, with "Trolls World Tour" and "The King of Staten Island" among the titles that made money for the studio. Both "F9" and "No Time to Die" are reliant on worldwide grosses, particularly in Asia where action franchises are especially popular. Should those titles get postponed again, studios may eye the holiday 2021 corridor in hopes of steering away from the COVID-19 crisis once and for all. Since their respective studios sink a dizzying number of marketing dollars into global promotional efforts, the companies will have to make a decision by the end of January to avoid dropping unnecessary expenses. But few anticipate that Universal will test its PVOD deal — which allows the studio to put new titles on digital rental services 17 days after their theatrical debuts — in an impaired marketplace with an all-important tentpole like "F9." Recent installments in the Vin Diesel-led series have soared past the billion-dollar milestone with relative ease.
Cinema operators, rival studios and even some of the filmmakers behind the movies wondered aloud why, with the prospect of coronavirus vaccines looming, Warner Bros. Late last year, Warner Bros. It was a move that appeared to wave the white flag on moviegoing for the next 12 months. would make such a sweeping decision? was skewered after announcing that all of its new movies in 2021 would debut simultaneously on HBO Max and in theaters. Here we go again.
Most films start rolling out advertising efforts six weeks ahead of its release, oftentimes even earlier if it's a sequel or spinoff in a popular franchise. Yet sources at Sony emphasize the classic princess will get her due on the big screen. While Sony sent Seth Rogen's "An American Pickle" to HBO Max and the Kristen Stewart rom-com "The Happiest Season" to Hulu last year, insiders say "Cinderella" won't be sold to a streamer and Sony is committed to a theatrical release. But it doesn't take a detective to notice there's been a conspicuous absence of marketing — no hint of first-look images, no scintilla of a teaser trailer, no evidence of Camila Cabello-inspired promotional toys — for movie that's supposed to come out next month.
It's true that for any movie, plans will be fluid as long as the pandemic remains rampant. In the case of "Wonder Woman 1984," skipping a big debut in cinemas likely meant the film will lose over $100 million at the box office. It may boast subscriptions for HBO Max, but it's ambiguous if additional revenue will paper over the loss of ticket sales. Many rival studios were gobsmacked at Warner Bros.' decision to send "Wonder Woman 1984," "The Suicide Squad," "Dune" and other mega-budgeted films to HBO Max. Other Warners titles slated for a hybrid release may similarly find themselves in the red. What doesn't change, however, is the fact that it's insurmountably more challenging for a film the size and scale of "Black Widow" to become profitable without a traditional theatrical window.
Sony declined to comment on the scheduling.
But many of these titles are expected to shift as well if conditions don't drastically improve in the next month or so. Even in traditional times, the stretch between January and March is kind of a cinematic dumping ground. and Legendary's "Godzilla vs Kong" (May 21), Ryan Reynolds' "Free Guy" from 20th Century Studios (May 21), Paramount's "Infinite" starring Mark Wahlberg (May 28), Disney's "Cruella" with Emma Stone (May 28) and Universal's "F9" (May 28). So it's not entirely unexpected that the current release calendar doesn't pick up in a meaningful way until May, with the debuts of Disney and Marvel's "Black Widow" (May 7), Warner Bros.
Numerous films remain on the release calendar for early 2021, yet cases of the virus in many areas are higher than ever and approximately 65% of U.S. may have been forward-thinking in acknowledging the box office's slow return. Getting back to the movies in any normal fashion seems as unrealistic today as it did last March when cinemas across the nation were shuttered. theaters — including those in popular markets like New York and Los Angeles —  remain closed. Nobody expected mass immunization overnight, but with vaccinations being administered at a crawl in the U.S., it now looks like Warner Bros.
Sources at Disney disputed reports that Pixar's "Soul" would premiere on Disney Plus, only to announce a month later that "Soul" would open on Disney Plus. Yet in the age of coronavirus, nothing is being considered — until it is. Disney insiders continue to deny those whispers. There's also been chatter that another Disney tentpole, the Scarlet Johansson-led Marvel adventure "Black Widow," may follow in the steps of fellow studio release "Raya and the Last Dragon," which is premiering concurrently in theaters and on Disney Plus for a premium price.
Neither Sony nor Paramount have a streaming service ready to offload titles, so those companies will probably continue to delay release dates or sell their movies to platforms like Netflix, Hulu and Amazon Prime. Paramount has auctioned off most of its upcoming movies and doesn't have anything on the horizon until "A Quiet Place Part II" on April 23, which it has no plans to sell. and Universal appear more primed to ride out the next few months, with contingency plans that range from day-and-date releases on streaming services to accelerated premium video-on-demand windows. Disney, Warner Bros. Hollywood players will continue to take different approaches to operating and finding the best way to reach audiences during the pandemic.
Mid-budget movies can enjoy a more compelling return on investment through premium video-on-demand since they require transactions on individual titles and don't need as many credit cards swipes to get in the black. That means "Fast & Furious" sequel "F9" and James Bond entry "No Time to Die" (set for April 2) will likely vacate those release dates unless a whole lot more people get vaccinated. But it's nearly impossible for movies that carry price tags around $200 million to turn a profit in the current film landscape. And some studios may be willing to take the occasional write-down if it means boosting streaming subscribers, as was the case with "Hamilton" on Disney Plus.
MGM, the financial backers of the 007 franchise, and Universal, the studio behind the high-octane series, both declined to comment. Universal also has international rights on "No Time to Die."
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But there are a handful of films scheduled for the first quarter of the year: Sony's "Cinderella" starring Camila Cabello (Feb. 5), Disney and 20th Century's "The King's Man" (March 12) and Jared Leto's superhero thriller "Morbius" also from Sony (March 19), to name a few. To be sure, the majority of potential blockbusters have already been postponed to mid-summer or later. These seem very unlikely to keep their theatrical release dates, at least without embracing some kind of hybrid digital or video-on-demand debut.
As it stands, "Cinderella" is slated as the first release of 2021 from a major studio. However, it's hard to believe the Kay Cannon-directed fairy tale adaptation will keep its early February release date.

Season 2 of “Perfect Life” is co-produced by Movistar Plus and HBO Max in collaboration with Barcelona’s Corte y Confección de Películas and in partnership with the series' sales agent, Jan Mojto’s Munich-based Beta Film,  a powerful player on the Spanish drama series scene handling, just among recent hits, series such as “Tell Me Who I Am” and “Alive and Kicking” from “Red Band Society” creator Albert Espinosa.
Season 1 screened in competition at Canneseries where it was awarded Best Series and its leading trio of players scored the Special Performance Award. Honors in Spain include best Spanish series in a Fotogramas de Plata reader’s poll, and Feroz Awards for best comedy series and the best supporting actor (Enric Auquer). The show was also a critical and festival success. The first season of the series was a hit for Movistar Plus, receiving strong domestic ratings and selling to Germany’s RTL and France’s M6 Group, the latter deal takng in both the original and a potential remake.
Once again mixing equal parts comedy and drama, protaganists Maria, Cris and Esther will face new fears and longings in the realms of love, coupling, motherhood and family, with plenty of unexpected turns along the way. Season 2 promises another candid re-examination of how we manage our life expectations against what life turns out to be.
streaming rights for the first season of the highly rated Spanish series, making it available to U.S. audiences from Jan. 21. HBO Max will also pick-up U.S. Spanish pay TV operator Movistar Plus and HBO Max have joined forces on the upcoming second season of Leticia Dolera’s “Perfect Life,” which recently wrapped shooting under strict COVID-19 restrictions.
Meanwhile, her sister Cris is secretly taking birth control behind the back of her husband who wants to start a family. The series turns on manic, control-freak María who, after her partner refuses to enter into a long-term mortgage with her, has a one-night stand with Gary the gardener. Another sister, Esther, wants to paint, but can’t sell and so works at a waxwork museum.
Dolera, who also directed the first season, will split behind-camera duties with two-time Spanish Academy Goya nominee Lucía Alemany  (“The Innocence”) and Irene Moray  (“Suc de síndria”) who will each direct an episode of the new season.” /> Dolera created and will once again star in Season 2, re-teaming with co-writer Manuel Burque (“Requirements to Be a Normal Person”).

Plan B recently announced, along with MGM, that it will produce a feature film adaption of Ta-Nehisi Coates' "The Water Dancer," as well as Sarah Polley's feature adaptation of Miriam Toews' bestselling novel "Women Talking."” /> Plan B has produced the best picture-winning movies "12 Years a Slave" and "Moonlight." Its other releases include "The Assassination of Jesse James By the Coward Robert Ford," "The Tree of Life," "Selma," "The Big Short" and "World War Z." The company backed "Minari" from Lee Isaac Chung, which is expected to be another awards season contender.
"I'm thrilled that this book about a deeply visual boy attuned to the magic of living things will itself get a chance to become visual magic," Powers said in a statement.
Black Bear Pictures and Plan B Entertainment have acquired the feature film rights to Richard Powers' upcoming novel, "Bewilderment," in a highly competitive situation.
It has previously produced award-winning films such as "The Imitation Game" and "Mudbound." The company also produced Heidi Ewing's "I Carry You With Me," which will be released by Sony Pictures Classics; as well as Chad Hartigan's "Little Fish" starting Olivia Cooke and Jack O'Connell, which was recently acquired by IFC Films. Black Bear's current slate includes J Blakeson's thriller "I Care a Lot," starring Rosamund Pike, Peter Dinklage, Eiza Gonzalez and Dianne Wiest, which was acquired by Netflix following its premiere at the Toronto Film Festival.
His works include "The Echo Maker," "Operation Wandering Soul," "The Gold Bug Variations" and "Three Farmers on Their Way to a Dance." "The Overstory" is currently being developed for Netflix by David Benioff and D.B. Powers is the author of 12 novels and is also the recipient of a MacArthur Fellowship and the National Book Award. Weiss of "Game of Thrones" fame.
The film version of "Bewilderment" will be financed by Black Bear Pictures, which will also develop and produce the picture alongside Plan B Entertainment. There were multiple bidders circling the project, a degree of interest that's probably due to the fact that Powers' previous novel, "The Overstory," won the 2019 Pulitzer Prize and was critically adored.
Powers is represented by CAA and Melanie Jackson Agency.
We at Black Bear are honored to bring this beautiful story to the big screen and couldn't have better producing partners than our friends at Plan B." "With its first few pages, Powers' novel completely captivated us and with its last, it bowled us over," Black Bear's Head of Film Leigh Kittay said in a statement. "Powers creates a texture and specificity to our future that feels simultaneously sweepingly large and breathtakingly intimate, told through the most relatable point of view: the ferocious love of a parent for his child and his struggle to provide him a better tomorrow.
Powers' book is due to be published in Fall of 2021 by W. Norton & Company — its publication is expected to be one of the year's big literary events. The novel is set in the near future amid Earth's slow deterioration. W. It follows a widowed father of a most unusual and troubled nine-year-old boy, as he turns to an experimental neurological treatment in order to save his son.

Deadline was first to report the news of Affleck's involvement in the adaptation of "Keeper of the Lost Cities."
Affleck will adapt that book by Sam Wasson, as well as direct the film, producing alongside “Saturday Night Live” creator Lorne Michaels. In August, Affleck signed on to direct and produce “The Big Goodbye: Chinatown and the Last Years of Hollywood,” which gives an inside look at the making of the film noir classic "Chinatown" for Paramount.
Based on Shannon Messenger's novel, Affleck will adapt the project's script with Kate Gritmon, while Madison Ainley serves as an executive producer. The "Keeper of the Lost Cities" series centers on a 12-year-old telepathic girl named Sophie, who is searching for answers about her secret abilities, learning that she's not actually human, but from another world that exists simultaneously with our own.
Affleck is repped by WME.” />
Affleck memorably earned his first Academy Award in 1997, co-authoring the screenplay for "Good Will Hunting" with Matt Damon. "Keeper of the Lost Cities" joins Affleck's impressive list of directorial efforts, including "Gone Baby Gone," "The Town," "Live By Night" and "Argo," which won an Oscar for best picture.
Ben Affleck has added another adaptation to his growing directorial slate. Affleck and his Pearl Street Films production company are set to take on the bestselling book series "Keeper of the Lost Cities," with Affleck on board to direct and produce the project for Disney.
The actor and director — who starred in last year's critically acclaimed sports drama "The Way Back" — recently wrapped filming on Ridley Scott's "The Last Dual" and New Regency's "Deep Water."

Given the high-profile nature of the project, the salary for the three stars is hardly surprising. A-listers like Nicole Kidman, Jeff Bridges, Sir Patrick Stewart, Reese Witherspoon, and Kerry Washington are among the stars who have recently landed such paydays for their roles in major projects on platforms like Netflix, Hulu, and other streamers. Commanding north of $1 million per episode has become the new upper tier of television star salaries in recent years.
The original series premiered on HBO in 1998 and ran for six seasons until 2004. “Sex and the City” was created by Darren Star based on Candace Bushnell’s 1997 book of the same name.
According to multiple sources, Sarah Jessica Parker, Cynthia Nixon, and Kristin Davis are all set to bank over $1 million per episode for the 10 episode series. All three are set to star in the show as well as serve as executive producers.
The series spawned two films (both currently streaming on Netflix, coincidentally). The widely-panned “Sex and the City 2” earned over $290 million globally with a reported $100 million budget. The influence of the series is still felt across popular culture and in Hollywood writers' rooms to this day. The 2008 feature “Sex and the City” earned over $418 million worldwide on a reported $65 million budget.
Kim Cattrall, who played Samantha Jones in the original series, is not returning. The revival, which is titled "And Just Like That…," will follow Carrie Bradshaw (Parker), Charlotte York (Davis) and Miranda Hobbes (Nixon) as they navigate love and friendship in their 50s. Michael Patrick King will executive produce along with Parker, Nixon, and Davis. The half-hour series is set to begin production in New York City in late spring.
Reps for the three actresses and HBO Max did not immediately respond to Variety's request for comment.
In 2011, Parker teased that a third film installment had been written, calling it “a small story, but I think it should be told. The question is, what's the right time to tell it?"” />
The stars of the upcoming "Sex and the City" revival at HBO Max are about to have plenty of cash to buy cosmopolitans.

series is one of a number of DC project currently in the pipeline at HBO Max, as the streamer is leaning heavily into the DC Comics IP. Of particular note is that James Gunn is working on a series spinoff of his “Suicide Squad” film with John Cena attached to star as Peacemaker, and that J.J Abrams and his Bad Robot Productions are developing a “Justice League Dark” series for the streamer.” /> The Gotham P.D.
The Gotham PD show will exist in the same world as the upcoming film "The Batman" from Matt Reeves. It is said to build on the film’s examination of the anatomy of corruption in Gotham City. It is part of WarnerMedia's efforts to launch a new Batman universe across multiple platforms.
Barton takes over as executive producer and showrunner on the untitled series from Terrence Winter, whose exit was reported in November.
Barton previously created and wrote the BBC Two/Netflix drama series "Giri/Haji." He also previously wrote the feature film "The Ritual." Most recently he co-wrote the upcoming feature film "Invasion" starring Riz Ahmed and Octavia Spencer, which will be distributed by Amazon Studios. He is also set to write and executive produce the Netflix drama series "Half Bad," based on the books by Sally Green.
The upcoming Gotham PD series at HBO Max has found its new showrunner in Joe Barton, Variety has learned.
Television. Reeves’ 6th & Idaho production company will produce in association with Warner Bros. Reeves, Barton and Dylan Clark are executive producers, alongside 6th & Idaho’s Daniel Pipski and Adam Kassan. The drama is based on characters created for DC by Bob Kane with Bill Finger. 6th & Idaho’s Rafi Crohn is a co-executive producer.
He is repped by ICM, Grandview, and Independent Talent Group.

2021 Oscar Predictions: The Collective
Billie Holiday" is the next enigma in this awards season and could prove to be one of the more divisive entries. On the opening day of SAG voting and dropping its first trailer, it looks to angle for an Oscar play, in particular, for Andra Day as the iconic blues singer. Judging by some of the discussions, this is not the slam dunk contender pundits were expecting. Daniels, who became the second Black filmmaker to be nominated for best director for 2009's "Precious: Based on the Novel 'Push' by Sapphire," (the first was John Singleton for 1991's "Boyz N the Hood") hasn't captured the attention of voters since then. Lee Daniels' "The United States vs.
Observe and report is the game for now. There are still less more than two months to go until Oscar nominations are announced. There are no definitive answers to the awards race, especially in a year where people are not rubbing elbows at parties and are essentially reinventing the wheel.
However, possibly angling for a lead actor nomination, it'll be near impossible to crack a lineup this deep this year that involves Chadwick Boseman, Anthony Hopkins, Delroy Lindo and others. Trevante Rhodes, who broke out in a big way with Barry Jenkins' "Moonlight," continues to show that every Hollywood studio and filmmaker should be lining up to hand him roles as his natural charisma is always an attribute to any film.
Since being nominated in 2009 for both directing and producing, the first Black filmmaker to be nominated in both categories in the same year, Daniels' actors have flirted with the Academy's graces, but also with divisive receptions from audiences. In 2013, he went for prestige with "Lee Daniels' The Butler," which was a financial success but too safe to get Oscar winner Forest Whitaker and the powerhouse Oprah Winfrey into their respective lineups. 2012's "The Paperboy" was too campy for many, which cost Nicole Kidman a nomination after landing nods from the Globes and SAG.
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26 on Hulu. "The United States vs. Billie Holiday" is scheduled to be released on Feb.
The film looks at Billie Holiday (Day) during the time in her career when she becomes a target by the Federal Department of Narcotics with an undercover string operation led by Jimmy Fletcher, a Black Federal Agent. The two engage in a heated love affair that spans years up to the final days of Holiday's life.
Visit THE AWARDS HUB to see the full list of contenders by category.
But in the conversation of the five best directorial achievements of this extended year, it looks like a very high mountain to climb for Daniels' name to be called on March 15, when Oscar nominations are announced. Some have and will be taken by Daniels' undoubtedly passionate approach to the material. His respect for the First Lady of Blues is evident as he maneuvers through her battle with addiction and multiple love affairs, not shying away from its more graphic moments.
On top of being one of the final films to be released in the eligibility period, the film could be the "Extremely Loud & Incredibly Close" surprise of the year. A screenplay nomination for Suzan-Lori Parks, who adapts the novel by Johann Hari, may not have the passionate support to zip past contenders like "One Night in Miami." In addition, it also lacks the narrative zest for supporting players like Rob Morgan, Da'Vine Joy Randolph, Garrett Hedlund, Miss Lawrence or Natasha Lyonne to make an impression.
She could fall into the same boat as Leslie Odom Jr. Running the gamut from immensely moving to unwittingly comical, the early awards buzz had surrounded her anticipated portrayal, and she gives everything she has to rise above the film's flaws. It may be difficult for the Grammy-nominated actress to overcome, but her dedication may be hard to ignore. If she can't crack the actress race, the song category could be a suitable solution. In the best actress race with a deep bench of viable and Oscar-worthy women, the reception for "The United States vs. The consensus high point is Day's committed and lived-in portrayal. Hulu will be submitting "Tigress & Tweed" (written by Raphael Saadiq and Day), "The Devil and I Got Up to Dance a Slow Dance" (written by Jamie Hartman, Warren Oak Felder, Coleridge Tillman and Charlie Wilson) and "Break Your Fall" (written by Warren Oak Felder and Coleridge Tillman). Billie Holiday" will probably be the most panned of the leading contenders. from "One Night in Miami," as she's a co-writer for one of the submitted songs.
2021 Academy Awards Predictions
2021 Oscar Predictions: All Categories
Looking in the technical races, costumes may capture branch members' attention and possibly even makeup and hairstyling. Kris Bowers' potent score is worth singling out and delivers stunning work on "Bad Hair," which is also a longshot for the shortlist.

"The Overview," which will be available for free to those who sign up for Peacock, joins the streamer's other news programming, such as NBC News NOW.
Close friends in the news industry told him that going digital was akin to "committing career suicide." But his Snapchat show, co-hosted with Savannah Sellers, has surpassed the 10 million subscriber mark, 75% of whom are under the age of 25. Producing for the platform meant understanding that having "some guy yelling the news at you and telling you panic" wasn't as effective as taking a conversational approach, he says.
to have those conversations." It's just a matter of creating a space where there's a little bit more room than, you know, 140 characters… "And you can critically think — just because one person says one thing that doesn't discount what everybody else is saying. "People want nuance, and people are able to understand that two things can be true at the same time," says Schwartz.
Watch the trailer for Peacock's "The Overview" below:
"Coming up, I started in local news, and very quickly realized that people my age don't watch local news. "Throughout [my career], I've been struggling to find my own voice," says Schwartz. And that's always bothered me throughout this entire career." So I was speaking to this audience that didn't really reflect my peers.
Wearing a dark gray hoodie and framed by neon lights in a garage, NBC News' Gadi Schwartz is forgoing the traditional suit and anchor's desk as he explains to viewers the growing conversation around climate change, as exemplified by California's shrinking Salton Sea. The graphics are snappy, the aerial footage is grand, and the explanation is conversational — that is to say, very millennial-friendly.
Sure. They seem contradictory. That may be true in some circumstances," he says. And in addition to that, you've got AOC saying, 'Hey, if you don't call for radical change, no one's going to take you seriously, and if they're not uncomfortable, nothing's going to change.' That is also true. The second you say, 'Defund the police,' you lose a lot of people.' Sure, that can be true at the exact same time. All of those three things are true at the same time. "We have the right saying we need police for law and order, and they need more funding. And maybe we should think about this instead of constantly sounding this call to arms." But when you take a moment to look at the totality, you realize how things are a lot more complicated than they appear on Twitter. "And then you have former President Barack Obama saying, 'You know what?
Schwartz is applying some of those lessons to Peacock's "The Overview," a project that he has been nurturing since the early days of "Stay Tuned." He wants to create a space where his viewers can pensively "take a step back from the day to day stuff, and ponder the bigger questions that we're facing."
"What we've seen with mobile and with social and with the digital world is that that one-way street doesn't work for people that are used to engaging directly with the characters that they're seeing reflected on the screen." "I hate being talked at, I always have," says Schwartz of the "one-way street" that traditional news programming typically offers.
Jen Brown, senior vice president of topical programming and development for Peacock, hopes to "drive peer-to-peer conversations through Gadi’s thoughtful reporting on issues important to this generation of streaming news consumers.”
https://www.youtube.com/watch?v=AUokfVk3Bbk&feature=youtu.be” />
Schwartz, an NBC News and MSNBC correspondent who has covered the 2020 election, immigration issues along the U.S.-Mexico border and the Olympics, leads something of a journalistic double life. He speaks both to the older demographics who watch traditional linear broadcast and cable news as well as the digital-first Gen Zs who watch Schwartz co-host NBC News' "Stay Tuned" on Snapchat.
Each program centers on a different "paradigm shift" — a phrase Schwartz is fond of using — to ascertain what society's future holds. After climate change, successive episodes will tackle topics such as the future of elections and the significance of nostalgia in unpredictable times. In a future episode, his team is looking at parsing the nuances in the movement to defund the police.
This is "The Overview," Peacock's new younger-skewing news show that will debut on NBCUniversal's streaming service on Jan. Three episodes will premiere on the service at launch, followed by weekly Saturday episodes. 16, as Variety has exclusively learned.

history of lynching Black people. The film, directed by Lee Daniels and written by Suzan-Lori Parks, is inspired by Johann Hari's book "Chasing the Scream: The First and Last Days of the War on Drugs." The jazz singer, portrayed by Andra Day, came under fire by the agency after performing the song "Strange Fruit," which condemns the U.S.
The film also stars Garrett Hedlund, Natasha Lyonne, Da'Vine Joy Randolph, Miss Lawrence, Rob Morgan, Evan Ross, Tyler James Williams, Tone Bell and Erik LaRay Harvey.
https://www.youtube.com/watch?v=USi-ppCfxEA&feature=youtu.be&ab_channel=Hulu” />
Billie Holiday" explores the tragic story of singer Billie Holiday, the racial inequalities of 1940s America and her encounters with the Federal Bureau of Narcotics. The first trailer for Paramount's "The United States vs.
Watch the trailer for "The United States vs. Billie Holiday" below.
"The United States vs. Billie Holiday" also highlights aspects of her complex relationship with Jimmy Fletcher (Trevante Rhodes), the Black agent tasked with tracking her movements. She grew to trust him, despite his adherence to the government's war on drugs.
Day's transformation into Holiday is already generating Oscars buzz, and it could propel the film into the best actress conversation.
Their behavior, however, was based more on her political sway with "Strange Fruit" than her actual struggles, according to NPR. An FBI memo even acknowledged that the Federal Bureau of Narcotics hoped to discredit people like her through their use of narcotics. The movie focuses on Holiday's dealings with federal agents, who allegedly began to target her due to her alcohol and drug abuse.

William Morris Endeavor agent Tanya Cohen, known as a rising star and champion of female directors, is leaving the agency to pursue a management career, insiders told Variety.
She is said to be in early negotiations with one of several new management firms to have sprung up in recent months  as both a response to the COVID-19 pandemic and the waning standoff between the Writers Guild of America and the talent agencies.
Cohen recently made partner, and has a roster that includes helmers like Gabriela Cowperthwaite ("Blackfish"), Jennifer Yuh Nelson, ("Kung Fu Panda 2"), and comedy veteran Paula Pell.
Variety has also learned that motion picture and literary packaging agents Solco Schuit and Simon Faber are departing as a team — considering options including a management path or producer roles.
Cohen began her career at Paradigm, and also served at Verve Talent and Literary Agency.” />
Faber brokered motion picture lit deals for Oscar frontrunner Chloe Zhao ("Nomadland," "The Rider") and Matt Ross (winner of the Un Certain Regard director award at the 2016 Cannes Film Festival for "Captain Fantastic"). Yang, and "Honey Boy" director Alma Har'el. Solco worked on teams for the likes of "Freaky" and "Happy Death Day" director Christopher Landon, comedian and actor Jimmy O.