YouTube also will host training sessions, workshops and networking programs. The 132 artists and creators picked for the first round of grants, announced Tuesday, will get dedicated partner support from YouTube and seed funding for the development of their channels. Last summer, amid racial-justice protests across the U.S. and in other countries, YouTube announced a $100 million fund dedicated to Black creators as part of a multiyear initiative.
YouTube's goal is to have more than 500 creators funded through the program over the next three years. Ducard said YouTube will open up the #YouTubeBlack Voice program to an open application process for the next round of grants.
Ducard declined to say how much YouTube is investing in the 2021 class of creators. But, he said, "These are meaningful partnerships and investments for these creators." There are no strings attached to funding, he added: "The creators can invest in their content and themselves as they see fit."
"This is not just us doing for them. They do for us because they make our products better." "It’s hard to understate the impact Black music culture has made not just in America but around the world," he said.
Lyor Cohen, global head of YouTube Music, told reporters the goal is to provide long-term career development to up-and-coming artists. Of the 132 YouTubers, 21 are music artists.
Added Ducard, "Our hope is these artists will become the biggest and most influential Black voices on our platform."” />
In 2016, the video platform hosted the first YouTube Black Summit in L.A. with a range of influential creators. "That was, for me, my most inspirational, potent moment at YouTube," Ducard said. YouTube has supported Black creators in the years since, but after the events of 2020, he said, "We wanted to do more."
YouTube announced the inaugural 2021 class of partners for its #YouTubeBlack Voices program — a group of 132 creators and artists from around the world who will receive funding and support from the video giant.
Profiles of some of the creators in the program can be found at this link. The 2021 #YouTubeBlack Voices creators come from seven countries — the U.S., the U.K., Brazil, Australia, South Africa, Kenya and Nigeria — and include musicians, beauty entrepreneurs, comedians, activists, poets, personal trainers, teachers, parents and photographers.
For the first wave of selections, YouTube invited creators who had previously participated in YouTube Black events and programs to apply and evaluated applications across a number of factors such as channel performance and engagement metrics. Ideal candidates were interested in establishing a long-term channel strategy and releasing original content between Q4 2020 and Q2 2021. All candidates were reviewed by a global panel of YouTube staffers with knowledge of and/or experience with Black music and culture, according to YouTube.
"In the aftermath of the tragic and shameful killing of George Floyd in June, we wanted to dial up and show our commitment to this community in a new way," said Malik Ducard, YouTube's VP of responsibility, in a call with reporters.

The country, whose theatrical business was also devastated by the pandemic, collected $2.7 billion overall. The bulk of international earnings in 2020 came from China. For the first time, the Middle Kingdom was the world's biggest moviegoing market. Local war epic "The Eight Hundred" was the highest-grossing movie, not just in China, but worldwide with $461 million in ticket sales.
In the U.S., "Bad Boys for Life" — the third entry in the Will Smith and Martin Lawrence-led action series — was the top earner at the box office. The Sony movie was released in mid-January, before coronavirus arrived in the country, and generated $204 million from domestic theaters. To compare, 2019's highest grossing movie, "Avengers: Endgame," produced $848 million in ticket sales from North American cinemas alone.
Sure, theaters were closed for a better part of the year as anticipated titles like "Mulan" skipped U.S. But industry experts maintain that the film exhibition industry will rebound. theaters and other scheduled films such as "No Time to Die" were pushed far into the future. Box office analysts look back at the uniquely unconventional year that was 2020 with measured optimism.
After a much-needed redesign of the title character, the family film set an opening weekend record for video game adaptations ($58 million) and ended its theatrical run with $146 million. Paramount's "Sonic the Hedgehog," the third-highest grossing movie of the year, was an unexpected breakout, even by pre-pandemic standards. The film, from Universal Pictures, opened nationwide in January and ultimately generated $157 million in North America. Ranking in second place was World War I drama "1917," which debuted in limited release in 2019 and was a major Oscar contender.
North American box office revenues in 2020 hit a 40-year low, struggling to reach $2.2 billion in total amid the coronavirus crisis. Movie theaters were forced to stay closed for a significant portion of the year beginning in late March and struggled to recover when some cinemas were able to reopen months later in August.
Still, several new high-profile movies played in theaters and drive-in venues. Months later, "Wonder Woman 1984" bowed on Christmas Day, when more than 60% of the country's movie theaters were closed. and Canada and $362 million globally. and $132 million globally so far. Those with traditional theatrical releases, like "Tenet" and "The New Mutants," generally got the cold shoulder from audiences, which have remained reluctant to return to the movies. Christopher Nolan's "Tenet," the first mega-budgeted film to release amid the pandemic, amassed a total of $46 million in the U.S. Most buzzy movies that were scheduled for 2020 were postponed or sent to streaming services. The superhero sequel, which launched simultaneously on HBO Max, has made $32 million in the U.S.
Capping off an unusual 12 months, it's the first time since 2015 that Disney didn't produce the highest-grossing film of the year. Though the studio released "X-Men" superhero thriller "The New Mutants" and Pixar's "Onward" theatrically, the year's biggest movie from the House of Mouse was "Star Wars: The Rise of Skywalker," which launched on Christmas Day in 2019 and added another $100 million in ticket sales this year.
"2021, though, will be the true test of what the future holds for the big screen."” /> "If 2020 proved anything, it's that the movie theater experience is undeniably appealing, relevant, and indeed resistant to all challenges thrown in its path," says Paul Dergarabedian, a senior media analyst with Comscore.
Paramount controlled 8.28% of the market with $183 million in sales. It's also the first time in years that Disney didn't dominate in terms of marketshare. Universal was close behind, having collected $487 million for 21.95% of Stateside marketshare. and Disney landed in third and fourth place, respectively. However, Comscore's figures for Disney don't include 20th Century Studios. When factoring in Fox's former film division, the studio adds another $187 million in revenues for an additional 8.43% of the market. In an upside-down year, Sony commanded 22.2% of the domestic market with $493 million, according to Comscore. The former generated $258 million to represent 11.66% of the market, while the latter amassed $255 million for 11.53% of the market. Warner Bros.
Worldwide returns suffered a similar drop, with global ticket sales totaling $12.4 billion — a 71% slide from the year prior. In 2019, the global box office cemented a new industry high as worldwide receipts surpassed $42.5 billion.
31, 2019 brought in a near-record $11.39 billion, thanks to the smash success of "Avengers: Endgame," "The Lion King" and "Spider-Man: Far From Home." 1 through Dec. Box office returns from Jan. That resulted in an 80% year-over-year decline from 2019, according to Comscore.

Meanwhile, SAG-AFTRA and the Producers Guild further recommended that on-set commercial production be temporarily paused in Southern California.
Film permit applications in the city and county of Los Angeles declined steeply in December, dropping 24.9 percent from November levels to 613 permits. FilmLA reported Tuesday.
Feature film production comprised 6% of permits in December. A total of 26 feature films, largely independents, commenced shooting in December, including "Monstrous," "Slayers" and "This Land." Reality TV shows shooting around town included "Dog Impossible" (NatGeo), "Jay Leno’s Garage" (NBC), "Teen Mom OG "(CBS All Access), and Season 5 of "People Magazine Investigates" (Investigation Discovery).
It wasn't until September that we started to see some of the scripted television production work and feature work resuming." FilmLA spokesman Philip Sokoloski explained, "When production was allowed to restart last June, the majority of work that powers the greater Los Angeles economy didn't start up right away.
"Everyone is waiting to see what's going to happen before making a firm commitment to restart," said Sokoloski.
Only a handful of TV series started shooting locally in December, including CBS’ "Ghosts," "Insecure" (HBO), "Tacoma FD" (HBO Max), "The L Word: Generation Q" (Showtime) and "The 3 of Us" (CBS).
Sokoloski said that productions shut down "largely on a voluntary basis because the industry, as it has all along, has placed enormous trust in the county public health authorities for their guidance and been very cooperative voluntarily with a request to do so as part of stopping the COVID-19 surge."
Television production comprised 27% of permits released in December.
TV, Universal Television, Disney Television Studios and Sony Pictures Television all indicated recently that they were pausing production until at least mid-January. CBS Studios, Warner Bros. On Dec. 24, the Los Angeles County Department of Public Health urged the film industry to consider pausing production for a few weeks during the COVID-19 surge. The studios were highly invested in efforts to keep cast, crew and communities safe, and had already begun dialing activity back, as the extended holiday hiatus began.
However, there are still some permits in the process of being issued for filming to begin this week. Sokoloski says they are for predominantly for still photography.
As COVID-19 surged over the holidays, Sokoloski notes, the industry did begin to pull back.
Commercial production comprised 28% of permits approved in December. Projects that shot in Los Angeles County last month included spots for products like Haagen Dazs, Honda, Mountain Dew, and retailers/services such as Carl’s Jr., Lowe’s and Progressive.” />
This is the second straight month that FilmLA has seen permit requests drop, as production levels that picked up after the pandemic shutdown began to drop again. In November, monthly activity slipped 7.6 percent from October levels to 813 permits.
That accounts for the surge that happened in August when film permit applications rose 40% in August over July as location production restarts in the Los Angeles area amid COVID-19 restrictions.
“The industry has been extraordinarily responsible throughout the time of the pandemic, as demonstrated by their recent actions during the rise in cases of COVID-19 and embrace of strict safety protocols," reflected FilmLA President Paul Audley.
Sokoloski added that FilmLA hasn't seen the typical pickup in permit application after the holidays. "If you look at the permits that are being requested of our office, the ones that apply to larger-scale productions have typically been for a later in January start." That indicates to FilmLA that the industry intends to maintain its hiatus for a time.

Amazon announced it donated $1 million to the National Museum of African American Music to sponsor several initiatives at the museum, including “A Soundtrack for All: Amazon STEAM Days,” which will support local schools’ field trips to the museum.
“There is a rich tapestry of stories to be told within the walls of NMAAM, and the museum does an extraordinary job of making them vibrant and accessible,” said Courtney Ross, Amazon’s senior manager of External Affairs in Nashville. “We are excited to play a part in bringing them to life and contributing to the music education of the Nashville community.”” />
According to the announcement, the company's investment in and partnership with the museum aims to foster a collaborative and creative musical learning environment through a co-written curriculum and other initiatives that involve Nashville residents.
Adrienne Battle, director of Metro Nashville Public Schools. “We are excited and grateful that Amazon has embraced the Nashville community and is committed to expanding opportunities and access for our students,” said Dr. “Understanding and experiencing the deep cultural impact of African Americans on all genres of music through NMAAM will be sure to enrich the educations and lives of our students.”
“Amazon’s gracious contribution to the museum is an investment not only in our mission, but also in the Greater Nashville music community,” said H. “The museum tells a story that is meant to be experienced, not just learned, and it is through partnerships like these that we are able to provide that to our patrons.” Beecher Hicks III, president and CEO of NMAAM.
The National Museum of African American Music says it will be the only museum dedicated solely to educating, preserving and celebrating the influence Black Americans have had on music.
The donation announcement follows news that the museum will officially have its ribbon-cutting ceremony Jan. 18, which Amazon will be a part of, with galleries opening to the public later in the month. Amazon will also sponsor "The Best of Theater" within the museum.

Last year, the Galerie Cinema had also opened its doors to singular virtual reality experiments, including Eliza McNitt’s "Spheres," an interactive journey co-produced by Darren Aronofsky.” /> Toussaint said the film weaved some thriller elements with a certain timeliness. The timely thriller, which is represented in international markets by Playtime, stars a prestigious cast including Berenice Bejo ("The Past"), Jeremy Renier ("Slalom") and Francois Cluzet ("Sink or Swim"). "The bombing has created a trauma with the Lebanese society, including in the film industry, so it was important to help these filmmakers. Devos co-wrote the script with David Clavel. Toussaint said the film's starting point is based on the "fascinating true story of Albert Kahn, a wealthy French philanthropist and naturalist who was sending people around the world to take pictures for his vast project called "The Archives of the Planet." In 1913, two women in France were sent by Kahn to travel to Ireland and take pictures there. She produced their debuts and kept up with them, giving them the necessary freedom to deliver original movies that found an international audience. "It's exciting to reteam with Philippe Le Guay and his topnotch crew on this new film, and I also find it very rewarding to accompany artists who are making their first films, and help them turn their vision into a film," said Toussaint. Anne-Dominique Toussaint, a Belgian-born revered yet discreet film producer based in Paris, has uncovered and championed many promising filmmakers through her company Les Films des Tournelles. "Devos expanded on this rich canvas and imagined the journey of these two women, Marguerite and Madeleine (to be played by Demousiter and Tillier), who didn't know each other and embarked on a long road trip all the way from France to Ireland," said Toussaint. The first step was to select the projects, and now our role is to listen to filmmakers, advise them, help them structure their films," said Toussaint. Devos' project "On the Road Again" is an ambitious 1913-set movie headlined by two female protagonists, which will be played by Anais Demoustier, who won last year's Cesar Award for her role in "Alice et le maire," and Doria Tillier ("La Belle Epoque"). Garrel's "Les deux amis," which opened at Cannes' Critics Week, is one of the notable feature debuts on Toussaint's track record, along with "The French Kissers," which earned Sattouf, a popular graphic novel writer, the Cesar Award for best first film in 2010, and Labaki's "Caramel," which opened at Cannes' Directors Fortnight in 2007 and was a commercial and critical hit. The film is expected to start shooting in June. "Caramel" established Labaki as an important filmmaker on the international scene and marked a turning point in the career of Toussaint. During the pandemic, Toussaint reunited with Le Guay and managed to shoot one of his most ambitious films to date, "The Man From the Basement," on location in Paris during lockdown without a hitch. The suspense drama revolves around a Parisian couple who sells the basement in their building to a seemingly ordinary man who turns out to be a threat to their family. In the aftermath of the recent bombing in Beirut, the producer was chosen by France's National Film Board to oversee an emergency fund to help finance 17 film projects from Lebanon. "The atmosphere of the film is tense and intriguing, but at the same time it's a movie that is clearly grounded in today's conflict-ridden French society."

Although details of the plot are kept under wraps, the producer said the film was about a hateful man who spreads racist, anti-semitic lies, slowly dividing a family. Toussaint is also set to produce the feature debut of Camelia Jordana, the popular young actor of "The Things We Say, the Things We Do," and will produce Garrel's next film. And the best is yet to come. Diaphana is in talks to acquire French distribution rights. Since launching her company 32 years ago, Toussaint, who is known for her spot-on artistic taste and elegant demeanor, has nurtured long-term relationships with talent such as Nadine Labaki ("Caramel"), Riad Sattouf ("The French Kissers"), Louis Garrel ("Les deux amis") and Philippe Le Guay ("The Cost of Living"). The movie started her friendship with Labaki with whom she worked on following movies, notably "Where Do We Go Now?" and more recently the Oscar-nominated "Capernaum."

Through this friendship with Labaki, Toussaint has also developed a special bond to Lebanon. Always on the lookout for stimulating challenges, Toussaint is now getting ready to produce the feature debut of one of France's best-known actors, Emmanuelle Devos ("Read My Lips"). The producer said the film will be "spectacular" with a lush cinematography and landscapes, but "it will be mostly about the intimate bond that these strong, emancipated women forged through this adventure."

Toussaint is producing "On the Road Again" with Paddy Hayes in Ireland. Aside from her production activities, Toussaint is also an art lover who runs the Galerie Cinema, an art gallery located in the Marais in Paris, where many artists and filmmakers, from Romain Duris to James Franco, have exhibited their photographs.

ABC's new episode of "The Good Doctor" at 10 p.m. came in third for the night's numbers (0.5, 3.90), while NBC's game shows "The Wall" (0.5, 2.74) and "The Weakest Link" (0.5, 2.39) trailed behind in fifth and sixth.
Episode 2 was down over 17.3% in the key demo and down about 12.4 in total viewers compared to the premiere. Still, though the drama was particularly over-the-top for the series in the second episode thanks to a villainess that longs to reign over the luxury Nemacolin resort and terrorize her fellow players, the historic Season 25's ratings are still hitting low. In the Nielsen Live+Same Day ratings, last week's return of "The Bachelor" scraped a 1.3 in adults 18-49 and 5 million viewers, a record low for the 20-year franchise.
At that same hour, Fox aired a rerun of "9-1-1", and a rerun of "9-1-1: Lone Star" at 9 p.m. Elsewhere at 8 p.m., a rerun of CBS' "The Neighborhood" landed in second place in Monday primetime rankings, obtaining a 0.6 rating and 4.03 million viewers, followed by a new episode of "Ellen's Game of Games" on NBC, with a 0.5 rating, down 10.8% in the key demo, and 3.05 million viewers, up 6.2% in total viewers compared to last week's episode.
Throughout the evening, CBS aired reruns of "Bob Hearts Abishola," "All Rise," and "Bull," and the CW aired a rerun of "Penn & Teller: Fool Us." For the second time this week, the CW's came in last for ratings sorted both by the key demo and total viewers per minute, with the premiere of "All American Stories" at 8 p.m., garnering a rating of 0.1 and 0.38 million viewers.” />
Matt James, the first Black lead in the long-running ABC dating show "The Bachelor," scored on Monday night, attracting 4.58 million viewers and placing at the top of primetime numbers with a 1.1 rating in the key, adults age 18-49 demographic.

But CBS Sports Chairman Sean McManus knew his team had completed a crucial pass by game’s end, when the winning team’s head coach, Sean Payton, agreed to be doused with Nick’s signature green slime. Putting professional football on kids-TV outlet Nickelodeon might at first blush seem like something of a Hail Mary.
“I think it’s probably the first of many collaborations between CBS Sports and the Viacom platforms,” says McManus in an interview, referring to the 2019 merger of CBS and Viacom.
“I think if we do it again, it would be on very select events, but we really haven’t made any decision about going forward.” We are still kind of analyzing it,” says McManus. “We haven’t made any decisions yet. CBS probably isn’t going to bump its main football team of Jim Nantz and Tony Romo for Green and Lumpkin (at least, not yet), but might there be more Nickelodeon football in the future?
That’s what happened this weekend as CBS put one of a new series of NFL Wild Card games on Nickelodeon and the streaming video hub CBS All Access; as Disney tested new game concepts that put a different game on the young-audience skewing Freeform and its broadband outlet ESPN Plus; and as NBCU put its Sunday night Wild Card game on Spanish-language broadcaster Telemundo as well as its streaming outlet Peacock (complete with a bespoke post-game show).
Big media companies like ViacomCBS, Walt Disney, Fox and NBCUniversal have been experimenting with new kinds of formats and distribution models they can use to get audiences who might normally have less interest in a basketball game or golf match to go ahead and give one a try. As more TV viewers migrate to streaming venues to watch their favorite scripted programs, live sports – already one of most prominent economic pillars holding up the media industry – are taking on even more of a burden.
An average of 2.06 million viewers tuned in to see touchdowns celebrated by virtual cannons shooting green slime and Gabrielle Nevaeh Green, one of the members of Nick’s “All That” sketch-comedy show, rattling off stats that included players’ favorite ice cream flavors. A game between the Chicago Bears and the New Orleans Saints tailored to its young audience represented was the network’s most-watched program nearly four years. CBS Sports said Tuesday that the Nickelodeon broadcast, part of a wide series of interesting experiments with NFL football this past weekend, scored.
Actor Iain Armitage, who plays the title character in the CBS sitcom “Young Sheldon,” appeared frequently amid the bottom-of-the-screen graphics to explain a ruling (Nickelodeon followed the game broadcast with several episodes of the series). For every shot of a player walking around with a filter of a hamburger on his head and for every animated first-down line shown with a moving coat of green slime, the announcers made sure to weave in the details of the game. And announcers Noah Eagle and Nate Burelson made sure to quiz Green about what she thought might happen next or whether she understood what was taking place during game action.
He put specific emphasis on “how are we going to broadcast the game itself and still make it attractive to audiences of all ages.” CBS Sports and Nickelodeon executives spent nine months ironing out the details of how a young audience might watch a game, McManus says.
Maybe the idea of a Masters golf broadcast on TV Land isn’t just a pipe dream any more.” /> Meanwhile, who knows?
“Over and over, we heard how enjoyable it was for parents to watch with their kids of all ages,” says McManus. “We had hoped that was going to happen, but in reality, it did.”

Stuart, but I doubt that Hoover’s name will ever come off the FBI headquarters. We will take down Confederate monuments, we will dismantle statues of Robert E. Lee and J.E.B.
Why did you want to tell this story?
Currently binge-watching: British police procedurals like “Line of Duty” and “Unforgotten"
Age: 70
The FBI started out thinking King was a communist. But by bugging and monitoring his hotel rooms they learned that he was a married man who was having lots of affairs. They realized they couldn’t destroy his reputation by connecting him to communism, but they could destroy it by showing that this upstanding minister who was a prominent member of the civil rights struggle cheated on his wife. We started to realize after about two or three months of editing that the key was to focus on King and how Hoover’s obsession with him led him to break the law when it came to surveillance.
If he wasn’t making movie he’d “probably be doing lots of swimming, which I have not been able to do since the pandemic.”
But that’s not how he was perceived back then. Edgar Hoover is a pariah who used his position to destroy lives. Because today most Americans think of him as this iconic figure and J.
What do you hope viewers will take away from “MLK/FBI”?
America had lived through slavery, which had extended in a different form through Jim Crow and segregation. King and the other members of the civil rights struggle were upending the notion of what American democracy should be. Hoover was a symbol of the status quo, which he wanted to preserve, and he saw King as a threat. Honestly, he wasn’t that different than most Americans of that time. Here come these young upstarts saying there should be integration.
” /> Variety's "Doc Dreams" is presented by National Geographic.
Hometown: New York City
“MLK/FBI” mentions that in a poll in the 1960s, Hoover was more popular than King. That was fascinating to realize that Dr. King was the more controversial figure.
I hope they’ll think about what Donald Trump says every day about protesters on the streets destroying America and there being good people on both sides in Charlottesville. We need to have a reckoning about race — and that’s exactly what we’ve been doing for the past few months with the Black Lives Matter protests. He is using the same language and signals that were used by politicians from George Wallace to Ronald Reagan. I hope they think about what it means when he goes after Colin Kaepernick for taking a knee. This film is so damn timely.
Best advice he ever received: “Do you really want to make movies?”
Things you didn't know about Sam Pollard:
Why was Hoover so fixated on King?
In anticipation of the documentary’s release this month, here Pollard speaks with Variety, about why he thinks his exploration of the way that government institutions were abused and exploited for political vendettas in the civil rights era remains so timely.
that made a mockery of the justice system. Martin Luther King Jr. Sam Pollard’s “MLK/FBI” is an arresting look at how J. Edgar Hoover used the country’s top law enforcement agency to wage a surveillance campaign against Dr. By illegally wiretapping King’s hotel rooms, Hoover’s agents discovered that the minister was having adulterous relationships and tried to use that information to smear him, blackmail him and destroy his marriage.
Should it be rechristened? The FBI headquarters is named after Hoover.

The first project will be a rock opera that traces Japan's Imperial Family through the final days of World War II. The show, which has the working title “十” (the Japanese symbol for 10), was written to be performed by an entirely Asian company with gender-fluid casting.
The trio says their goal is to showcase stories that fall outside of traditional Hollywood-centric properties.
"Our hope is that, to whatever small degree we are able, we will have the opportunity to help restore balance to the musical theater landscape,"Shper says.
Outside of Cirque du Soleil, he has written the music for several live shows, including "Le Reve" at Wynn Las Vegas, "The House of Dancing Water" in Macau, China and "The Han Show" in Wuhan, China. This venture marks Jutras' first foray into English language musicals. Though the pandemic has brought live entertainment to a standstill, Jutras believes that theater will help people heal from the challenging COVID-19 crisis.
Benoît Jutras, the composer behind many Cirque du Soleil productions, is developing a slate of original musicals for the stage and screen.
"As the world’s theaters begin to re-open, we need to give our audiences incentive to return and re-discover the power of live performance," he said. "When musical theater works, it’s a high that lasts a lifetime. My collaborators and I are excited to make our contribution to this great medium."” />
Shper has been involved with the troupe's music division and Jeffs has been a consulting creating director since 2014. Cirque du Soleil is not involved in Jutras' new works, though he is reuniting with two frequent Cirque collaborators: Harris Shper and Taylor Jeffs.
What effect does the weight of that power have on an individual?" "The untold story of the last days of World War II has all the ingredients of a superlative antihero story," he said. "Reluctant to his position, Japan’s Emperor alone had the power to end the darkest period of modern history.
Of “十,” Jeffs said audiences may be surprised at the show's parallels to the world today.

We can’t wait to share them with TV fans everywhere.” “While these shows are very different thematically , what they have in common is a unique voice, excellent world building, and compelling storytelling. “Our driving force has always been to seek out talented storytellers who have a strong point of view,” said Lisa Katz, president of scripted content for NBCUniversal.
All three shows were originally ordered to pilot as part of the 2019-2020 pilot season, but production on nearly every pilot across the broadcast networks was suspended due to the pandemic. NBC had announced in June that it would stagger production on its remaining pilots throughout the remainder of 2020 as part of its COVID safety protocols.
David Applebaum is writer and executive producer on "La Brea," with Avi Nir, Alon Shtruzman, Peter Traugott, and Rachel Kaplan of Keshet Studios also executive producing along with Ken Woodruff.
"Grand Crew" stars Echo Kellum, Justin Cunningham, Carl Tart, Aaron Jennings, and Nicole Byer. It is about a group of Black friends who unpack the ups and downs of life and love at a wine bar.
Universal Television will produce. Goor is under an overall deal at the studio. "Brooklyn Nine-Nine" alum Phil Augusta Jackson is writer and executive producer, with "Brooklyn Nine-Nine" showrunner and co-creator Dan Goor also executive producing. Mo Marable directed the pilot and serves as co-executive producer.
(Pictured: "Grand Crew")” />
NBC has ordered the single-camera comedies "Grand Crew" and "American Auto" and the drama "La Brea" for the 2021-2022 broadcast season.
Universal Television will produce. Spitzer is under an overall deal at the studio. "Superstore" creator Justin Spitzer is the writer and executive producer on "American Auto," with Aaron Kaplan and Dana Honor of Kapital Entertainment also executive producing. Jeff Blitz is an executive producer and directed the pilot.
"American Auto" stars Ana Gasteyer, Jon Barinholtz, Harriet Dyer, Humphrey Ker, Michael B. Washington, Tye White and X Mayo. The series is set at the headquarters of a major American automotive company in Detroit where a floundering group of executives try to rediscover the company identity amidst a rapidly changing industry.
Finally, "La Brea" stars Natalie Zea, Zyra Gorecki and Chiké Okonkwo with additional castings to come. When part of the family find themselves in an unexplainable primeval world, alongside a disparate group of strangers, they must work to survive and uncover the mystery of where they are and if there is a way back home. In the show, when a massive sinkhole mysteriously opens in Los Angeles, it tears a family in half, separating mother and son from father and daughter.