The film follows a young journalist who, after leaving Moldova to escape her abusive father, returns to confront him, only to learn that he is being violently abused by his employer in Italy.
All of the award-winning films are available for Danish audiences at and will be screened in cinemas in Copenhagen from May 6 to May 12, along with all 120 films from CPH:DOX's competition program, following the reopening of theaters in Denmark.
“The Dox:Award goes to a profound film which transports us to a vast landscape of questioning," the jury said. "Through its tender portraiture it populates an epic vista with unforgettable individuals on the cusp of choosing whether they will risk being obliterated in search of a dream."
“If there was one underlying thread connecting all the films nominated for this award, it is courage," the jury said. "The film we chose has the narrative tension of an action adventure film, is propelled forward by a powerful score and skillful editing and perhaps most importantly, pierces the depth of our emotions in its raw and honest portrayal of this real-life David and Goliath battle."
The Nordic:Dox Award went to Nina Hobert's "Julia&I," which spans four intense years in the lives of two friends who live on the edge in Copenhagen.
Engstrøm added: "At the same time, we are all really longing to return to the cinemas, so I am truly happy that we’ll be able to show no less than 120 highlights from this year’s CPH:DOX, including all films in competition, on the big screen next week. I can’t think of a better way to celebrate the reopening of cinemas here in Denmark.”
The jury also awarded a special mention to Cille Hannibal and Christine Hanberg for "He’s My Brother," a Danish film about the relationship between Christine and her older brother Peter, who was born without the ability to hear, see or speak and experiences life through touch, smell and taste.
The jury decribed "Julia&I" as a "personal and brave" film that is both "a portrait and self-portrait of two memorable characters struggling with inner turmoils and the place they’re expected to occupy in society."
American filmmaker Theo Anthony nabbed a special mention for "All Light, Everywhere," which examines technology and power and how new tools – from arms company Axon's Taser gun to the surveillance of Black residents in Baltimore – are re-inventing old prejudices.
Maxime Jean-Baptiste and Audrey Jean-Baptiste of France snagged a special mention for "Listen to the Beat of Our Images," a film based on audiovisual archives from France's National Center for Space Studies (CNES).
Liesbeth de Ceulaer's Belgian entry "Holgut," a hybrid film that takes viewers on an immersive journey deep within the Siberian tundra, was awarded a special mention.
The Next:Wave Award went to Fanny Chotimah's Indonesian film "You and I," the moving story of two ageing women and their unusual, lifelong relationship.
Celebrating local productions and filmmakers, the Politiken Danish:Dox Award honored Frigge Fri's "Dark Blossom," which centers on three young Goth friends in the Danish province as they deal with the trials of growing up.
"All of Your Stars are But Dust on My Shoes," by Lebanese artist Haig Aivazian, took the New:Vision Award, for his digital mosaic of video clips that build a timeline spanning two centuries, from the days of seafaring whalers to smart cities, surveillance and urban guerilla warfare.
"The Last Shelter" centers on the House of Migrants, located in the Malian city of Gao, on the edge of the Sahel desert, where the director meets travelers and migrants who find a temporary home there.
A total of 11 films garnered prizes in the festival's six international competitions, including five special mentions.
Malian filmmaker Ousmane Samassekou's "The Last Shelter" won the top prize in Danish doc fest CPH:DOX's main international competition on Friday, picking up the Dox:Award.
The festival's CPH:Forum financing and co-production event, meanwhile, gave the Eurimages Co-Production Development Award to "Tata/Father," from Romanian director Radu Ciorniciuc and Moldovan filmmaker Lina Vdovîi and produced by Monica Lazurean-Gorgan's Bucharest-based Manifest Film.
"When a City Rises," an inside look at the Hong Kong protests by young activists, took the F:act Award for its directing collective, comprised of Cathy Chu, Iris Kwong, Ip Kar Man, Huang Yuk-kwok, Evie Cheung, Han Yan Yuen and Jen Lee.
The jury's special mention in the category went to "Our Memory Belongs to Us," by Rami Farah and Signe Byrge Sørensen, which reunites three exiled journalists on the 10th anniversary of the Syrian uprising to watch footage from the beginning of the war.
The theatrical lineup will also include an additional world premiere: Gabin Rivoire's "Laurent Garnier: Off the Record," which follows one of the godfathers of house music, tracing his career as a mixer, DJ and producer from his start the 1980s to the present.” />
“This year’s festival has been a great digital experience for us," said Niklas Engstrøm, CPH:DOX's head of program. "A lot of new possibilities are opening up in the digital space, and our audiences are supporting the festival by watching films online on our streaming platform."

Over 50,000 fans flocked to Houston to witness the Scott-curated lineup, which has featured the likes of Post Malone, Rosalia, Pharrell Williams, Da Baby, Lil Wayne, Young Thug, Playboi Carti and Megan Thee Stallion. In November 2019, Astroworld Festival became the largest single-day artist-curated music festival in the country.
CT. The festival is also offering a select number of VIP packages. Two-day general admission passes will be available for purchase starting May 5 at 10 a.m. The full music lineup will be revealed as November approaches. A portion of proceeds will be donated to Cactus Jack Foundation, Scott's nonprofits organization that works to enrich the lives of youth through access to education and creative resources.
Travis Scott's Astroworld Festival will return to NRG Park in Houston, Texas from Nov. 5 to Nov. 6. Now in its third year, the annual music festival has been expanded to two days.
The announcement comes just in time for Scott's 29th birthday, who is also confirmed as the festival's headlining performer; the rest of the lineup will be announced later. The rapper is currently gearing up for the release of his highly-anticipated new album, "Utopia," a follow up to the 2018 mega-hit "Astroworld." A release date for the album has yet to be announced.
Growing up in nearby Missouri City, Scott visited the park numerous time as a kid. The event famously aims to evoke the spirit of AstroWorld, the now-defunct amusement park that was located across the street from the current festival grounds after first opening in 1968.
Watch a trailer for Astroworld Festival below.” />

If anyone who has worked with me has ever felt uncomfortable or disrespected, I sincerely apologize. Clarke responded to the allegations in a statement saying, “In a 20-year career, I have put inclusivity and diversity at the forefront of my work and never had a complaint made against me. I vehemently deny any sexual misconduct or wrongdoing and intend to defend myself against these false allegations.”” />
This week, British actor, writer and director Noel Clarke has made headlines after being accused of groping, harassment and bullying by 20 women.
Together, the actors have produced movies such as "The Fight" and "The Knot," as well as TV series including "The Drowning" and "Bulletproof." In 2015, Clarke founded the London-based production company Unstoppable Film and Television with Jason Maza, eventually securing investment from super-indie All3Media, which owns "Fleabag" producer Two Brothers and "1917" outfit Neal Street Productions.
Clarke made his film debut in 2003's "I'll Sleep When I'm Dead" and has since starred in movies including "Star Trek Into Darkness," "Centurion," "," "Fast Girls," "Storage 24," "I Am Soldier," "The Anomaly," "I Kill Giants," "Mute," "10×10," "The Corrupted," "Twist" and "SAS: Red Notice."
In addition to his work in film and TV, the 45-year-old also starred in the play "Where Do We Live" at the Royal Court Theatre and created a short-lived superhero series for Titan Comics called "The Troop."
These were either anonymous or second or thirdhand accounts via intermediaries. The statement reads, "In the days following the announcement, BAFTA received anonymous emails of allegations in relation to Noel Clarke.
Clarke also writes, produces and plays Aaron Bishop in the British police procedural series "Bulletproof," alongside close friend Ashley Walters. Clarke played Mickey Smith in "Doctor Who" from 2005 to 2010 and starred as Sam in the films "Kidulthood," "Adulthood" and "Brotherhood," which he wrote and directed, intent on bringing more representations of working-class Britain to screen.
Co-star Walters has also come out against Clarke, noting that he could "never condone behaviour of this nature neither in nor out of the workplace."
Earlier this month, Clarke received the Outstanding British Contribution to Cinema BAFTA award, just after the Academy had received anonymous reports of allegations against the honoree, The Guardian confirms. In a statement released today, BAFTA claims they were not aware of any sexual misconduct allegations against Clarke when they announced on March 29 that he would receive the OBCC award.
"No names, times, dates, productions or other details were ever provided. Had the victims gone on record as they have with The Guardian, the award would have been suspended immediately." "No firsthand allegations were sent to us," the statement continues.

The Glocal Mix
The Sector’s on a Roll
Led by “El Zorro,” to be made with John Gertz, 70% to 80% of the 14 or 15 series that Secuoya is looking to put into production over 2021-22 are Secuoya productions or co-productions, he added. Yet “the main business for our main division, scripted, in the longterm, is to produce and keep IP on our projects,” said Secuoya Studios managing director José Manuel González. All of Spain’s major players are looking to work with global streamers. That was one of the main reasons for establishing Buendía Estudios, a joint venture of Telefónica’s Movistar Plus, and top Spanish broadcast network Atresmedia.
Its incentives include tax breaks to encourage foreign companies — such as, reportedly, Disney — to set up in Spain. Last May, Spain’s government raised tax rebate caps on big foreign shoots from $3.28 million to $10.8 million, and increased deduction rates from 25% to 30% for a first €1 million ($1.1 million) spend. “We’re going to be seeing more and more productions being made and more and more hours being produced,” María Valenzuela, Buendía Estudios’ senior VP of international and business development, said at the panel. This March, it announced a $1.9 billion AVS Hub Plan to power up Spanish film and TV production. “I think it's inevitable that the bigger players will come and build bigger facilities,” added Mike Day, CEO/partner at Mallorca-based Palma Pictures, which provided production services on “The Night Manager” and “The Crown” seasons three and four.
Here are the six biggest takeaways: Conversation turned very often to the future of series productions in Spain as it becomes one of the most exciting growth sectors in the world. With vaccination rates now hitting 400,000 jabs a day, on Thursday, four senior industry executives debated at a Spain Film Commission panel about how to attract big shoots again to Spain.
or U.K. “Spain is tremendously diverse and it’s easy to move around. The peninsula and the Balearic and Canary Islands give you very different looks,” Day said. A high-end series in Spain can cost $2 million an episode, or less. That said, they are still way down on the U.S. Spain scores on both accounts. When companies ask about shooting in Spain, their first two questions are locations — could it double for Afghanistan, for example — and cost efficiency, said Day. Shoot costs are rising, he acknowledged. On “The Crown,” Spain doubled as Athens 1967, Arizona and Australia’s outback.
The Mediapro Studio’s main focus of expansion is now the U.S. “An idea can be generated in our offices in Argentina, sold to a global streamer for a region such as Latin America, and then be brought to Spain to shoot,” Ezpeleta said. Much of the growth of Spain’s film and TV industry will be determined by its relations with the U.S. González said, similarly, that Secuoya is in talks with U.S. That said, The Mediapro Studio’s banner hit to date has been “The Head,” which was set at the South Pole and backed by HBO Asia and Hulu Japan, but shot in English in Spain. and U.K., said Ezpeleta. Mediapro runs offices in over 50 countries, 14 of which are production centers. and U.K.. It has sold to 60 territories, including HBO Max for the U.S. producers to grow the number of films it makes and move into bigger-budget movies productions.” />
Spain’s Ace Cards: Landscapes and Costs
The shooting in Spain panel began with two promo reels, one showcasing the natural light and crystal blue lakes of Mallorca, the other highlighting Navarre, whose extraordinary Bardenas Reales canyon badlands were immortalized by Daenerys’ journey to Khal Moro in “Game of Thrones.” Such an emphasis on Spain’s geographic sights is hardly coincidental.
In 2019, Netflix produced more hours of original productions in Spain (163) than any other country outside the U.S., aside from South Korea (238), but on a par with the U.K. (160), according to an analysis from Omdia.
Another Challenge: Retaining IP
“There are some local players that want to have global stories and other global players that want to produce local content specifically to have that local flavor,” said Marta Ezpeleta, director of distribution, co-productions and international offices at The Mediapro Studio. Global streamers' future is increasingly dependent on conquering local markets, and local players have ever larger international ambitions. “There's no such thing as an international way of doing things and a local way of doing things,” Valenzuela agreed. So the industry’s mixing it up.
The Rub: Retaining Talent
Once better known for its movie auteurs, Spain is fast becoming a production center as its drama series, led by “La Casa de Papel” (“Money Heist”), reach global audiences.
and U.K. Spain’s New Final Frontier: The U.S.
Netflix has already signed exclusive production pacts with Alex Pina and Manolo Caro, creators of “Money Heist” and “The House of Flowers,” respectively. Retaining talent is the key to the sector, Valenzuela said. “The challenge is so important that we dedicate any number of hours to discussing it.” How to achieve it? The battle for success in the new fiction landscape is, above all, a battle for talent. “I think it's about creating a culture that people are attracted to, a kind of ‘magnetic’ culture, and proving oneself: Acts speak louder than words,” said Day.

"From the ones we’ve talked to at the resort who have said yes [to going back to work], the majority are excited to be back," he said. "It signifies a return to normalcy."
(It was later remade as Stromboli's, and is now known as Goofy's Kitchen.) Since 1991, she has been a food and beverage concierge in a VIP area of the hotel that serves continental breakfast, hors d'oeuvres and desserts, where she has also received introductory sommelier training. on Sept. 13, 1988 at 28 years old, as a hostess-cashier at a restaurant once known as Caffe Villa Verde. What she misses most is interacting with her fellow "cast members," as the park's workers are known, and Disneyland's many visitors. Shevlin started working at the Disneyland Hotel in Anaheim, Calif.
The huge logistical feat also means the return of about 10,000 parks staffers who had been furloughed since March 2020.
Ines Guzman, who has been working in housekeeping at the Disneyland Resort for five years, is "super excited" to head back.
"And to be honest, we’re really looking forward to there only being like a quarter of the people there as normal."” /> "We’re of course excited to go back, but curious what it’s like with all the safety protocols," he said.
Burbank resident Christian Bladt, 45, decided not to join the opening day crush, but has already bought tickets for mid-May for his wife and two young children.
"She’s humming along to the music. "Disneyland is also piping out songs like 'Be Our Guest' on the speakers so I can already feel the magic," Vaughn told Variety while waiting outside the park with his sister, Chrissy. It’s just that sort of fun, early morning vibe."
The constantly evolving federal and state guidelines have meant some confusion over the rules — when and where to wear masks, whether they must be worn outside, and so on. The latest guidance from the Centers for Disease Control and Prevention now allows for fully vaccinated Americans to go mask-less while running or walking outside, though they must continue to wear face coverings while in crowded outdoor areas.
"They're doing social distancing, the temp checks, wearing masks, and sick pay… as long as Disney continues with the safety measures, I think we're gonna be set," she said.
You get to know these guests, and my guests come often," Shevlin said. "I have guests that plan every year to come at the same time and you start to know them. So that's what I'm looking forward to the most." And I miss them. "It was a conversation.
About 95% of visitors he's observed have complied with masking guidelines. "For me, it feels pretty safe, much safer than going out to the supermarket or any other stores." "Now that there's rides open, just hearing the crowds laughing or screaming is bringing the sense of normality back to where we were at before," says Cano.
There are temperature screenings at the door, increased cleaning, and cashless payment is encouraged; the park is maintaining its rules around masks, i.e. At Disneyland, a slew of new safety guidelines are in place for the phased reopening: reservations are required, and only California residents can visit in groups spanning no more than three households. face coverings for all visitors age 2 and up.
Before COVID-19 hit, the 36-year-old would visit theme parks about twice a month. In line to enter Disneyland on Friday morning, he described the atmosphere as "incredibly relaxed," with other eager visitors wearing masks and staying socially distanced.
Glynndana Shevlin said she was looking forward to going back to the iconic theme park and resort — for work, not for play. But she misses it all the same.
After shuttering for 13 months amid a devastating global pandemic, Disneyland is reopening — and David Vaughn, for one, is excited.
Hardcore theme parks enthusiasts have been streaming back into parks, as evidenced by the celebratory videos on social media Friday.
Yet there remains anxiety among some Disneyland workers, particularly those who have not yet been vaccinated but want to get back to work, said Chris Duarte, president of Workers United Local 50, whose 5,000 total members include Disneyland's food service employees. About two weeks ahead of the opening, he expected about half of the local union chapter's furloughed members to be called back to the theme park.
The entertainment conglomerate — as well as the Disney enthusiasts yearning to return — have been anticipating this day, with Disney Parks head Josh D'Amaro teasing the reopening with Marvel Studios chief Kevin Feige earlier this month, complete with a very real-looking lightsaber. The year-long closure of Southern California's theme parks as a safety measure to prevent the spread of the coronavirus has struck an enormous financial blow to companies like the Walt Disney Company, translating to a $6.9 billion hit to its parks revenue in fiscal 2020 and 32,000 in parks layoffs.
In the meantime, she has been working as a caregiver for the last six months. While Shevlin, who is fully vaccinated, has not been given an exact return-to-work date yet — Disneyland Hotel has not yet announced an opening date — she is waiting for the call.
According to its website, the theme park will now accept out-of-state visitors who can show proof of vaccination for COVID-19. Meanwhile, local peer and competitor Universal Studios Hollywood has taken a modified approach to its reopening.
The full reopening on April 16 was "business as usual." He returned to work on March 11, nearly a full year after Universal closed, for the park's food event, Taste of Universal. Food-service staffer Jose Cano, who has worked at Universal Studios Hollywood for almost 24 years, was living on a "pretty tight budget" while the park was closed.
The reopening marks a turning point for Southern California, as the state's COVID-19 rates continue to drop dramatically from the post-holiday surge just a few short months ago, when California was logging as many as 74,000 new coronavirus cases in one day. Orange County, Calif., where Disneyland is located, is now considered at a moderate risk level — the second-least restrictive tier — in which theme parks can open at 25% capacity and only to in-state visitors. By contrast, the most recent daily data from state officials reflect 1,897 new cases — and notably, 29.8 million vaccines administered statewide.

network The CW has cut ties with the series; and his co-star and close friend Ashley Walters has spoken out against him. In the course of just one day, the 45-year-old actor-producer has been dropped from his management and suspended by BAFTA; production on the latest season of his police procedural show "Bulletproof" has been halted; U.S.
“In light of the recent allegations, Noel Clarke and Jason Maza were suspended on Friday morning from Unstoppable Film and Television while we look into this matter," an All3Media spokesperson told Variety.
All3Media, the super-indie backers of Clarke's production company Unstoppable Film and Television, has also suspended the actor and his business partner Jason Maza. As revealed exclusively by Variety, All3Media opened a probe into Clarke's activities with Unstoppable on Thursday, just hours after the allegations were first published by The Guardian.
"They point out that intermediaries were unable to put them in direct contact with women making allegations." Ultimately, "BAFTA's lawyers said the information it had received did not enable it to take any action or warrant suspending the award," reports The Guardian.
The Guardian on Friday evening released a second piece of reporting around the scandal, detailing BAFTA's decision-making process after becoming aware of brewing allegations.
However, the report notes that El Hosaini had told Majumdar and chief executive Amanda Berry in a Zoom call that women were afraid of going directly to BAFTA due to Clarke's influence in the industry. While BAFTA chair Krishnendu Majumdar was evidently distressed about the org's difficult position, he made it clear that further action couldn't be taken without direct testimony from a victim.
The org announced Clarke as this year's recipient on March 29, and maintains that it wasn't made aware of the allegations until after this date. Also caught in the crosshairs is the British Academy of Film and Television Arts (BAFTA), which gave the actor its Outstanding British Contribution to Cinema Award earlier this month. However, even after senior leadership learned of claims against Clarke, BAFTA went ahead with the award and Clarke accepted the honor as part of a televised ceremony on April 10.
Speaking to The Guardian, Akindude describes the revelations as "a call for BAFTA and other institutions to look at how they’re awarding their honours. If you’re selecting someone for an honour like that, are you checking they’re running their sets properly?”” /> Are they carrying out due diligence?
Clarke denies all allegations except for one: he has admitted to repeatedly making inappropriate comments about one woman’s body, Helen Atherton, and later apologizing.
The 45-year-old actor is facing numerous claims from 20 women, all of whom have worked with him in a professional setting. Claims unveiled in the Guardian investigation include: sexual harassment, unwanted touching or groping, sexually inappropriate behaviour and comments on set, professional misconduct, taking and sharing sexually explicit pictures and videos without consent, and bullying between 2004 and 2019.
film and TV industries as the fall-out continues from bombshell sexual misconduct and harassment allegations against British actor Noel Clarke. (Check out Variety's explainer about Clarke and his career to date.) It has been an eye-opening 24 hours for the U.K.
However, he "vehemently" denies any sexual misconduct or criminal wrongdoing. The actor released a fresh statement on Friday evening, noting that he's seeking professional help.
The outlet revealed that industry figures including award-winning film director Sally El Hosaini, talent development manager and former BAFTA employee Pelumi Akindude and actor James Krishna Floyd, a 2013 BAFTA Breakthrough Brit award winner, went to the org after Clarke's award was announced, flagging their "extreme concern" and suggesting BAFTA conduct its own due diligence around him.

"I have had discussions with producers and financiers, but have been repeatedly told that they cannot work with me until I clear my name," Haggis said in a declaration. "Others have demanded I remove my name from projects or they will not be produced or distributed… Potential employers and film financiers have even expressed that once this lawsuit is over and my name is cleared, they will be willing to hire me again."
Director Paul Haggis asked a judge on Friday to speed up his civil trial on a rape allegation, saying he has nearly been bankrupted by legal fees and needs to clear his name in order to work.
Haggis' lawyer, Seth Zuckerman, warns that it could take another year or two, unless Judge Robert Reed orders an earlier date. Due to the COVID slowdown in the court system, however, it is not clear when the case will actually get to a jury. Haggis' suit was dismissed, while Breest's has gone through motions and discovery and is now ready for trial.
Haggis has racked up nearly $2 million in legal bills, according to his motion. He said he had borrowed against his home in Soho and exhausted his savings.
Haggis said he cannot continue to pay his legal bills, and asked the New York judge to set a trial "at the earliest practical date."
Zuckerman also stated that evidence obtained in discovery shows that Haggis is innocent, but that evidence cannot be disclosed due to a protective order.” />
He simultaneously sued Breest, accusing her of using a false allegation to try to extort him out of $9 million. Haggis, who wrote and directed "In the Valley of Elah" and the 2006 Oscar winner "Crash," was sued three years ago by Haleigh Breest, a publicist who alleged that he had violently raped her after a premiere in 2013. Haggis maintains that the encounter was consensual.
Haggis, and he can only be free to work again when he wins at trial." "The notoriety of this case imprisons Mr. "Defendant is no longer in a position to finance his defense with this matter lingering in advance of trial," Zuckerman wrote.
He says he has found a "tiny fraction" of the writing jobs he used to get, but at drastically reduced rates. In the motion, Haggis states that he has been unable to find work as a director or producer since the suit was filed in December 2017.

Scrap Paper Pictures also has the comedy series "Am I There Yet?" in the works at Amazon.” /> Upcoming, Brosnahan is set to executive produce and star in "The Switch," a comedic drama based on Beth O'Leary's novel of the same name, with Amblin Partners.
"It is a privilege to work with and learn from Rachel and Paige, and I'm thrilled to continue our collaboration in this new capacity." "Rachel and Scrap Paper Pictures are committed to an entertainment ecosystem that lifts authentic voices and champions risk-taking creatives," Kahn said.
Brosnahan, the Emmy- and SAG Award-winning star of "The Marvelous Mrs. Scrap Paper Pictures develops and produces film, television, theater and digital content across all genres. Maisel," launched the company with the mission to celebrate bold and dynamic artists both behind and in front of the camera.
Scrap Paper Pictures, founded by Rachel Brosnahan, has promoted Russell Kahn to creative executive. In his new role, Kahn will work alongside Paige Simpson, Scrap Paper Pictures' head of development.
As an independent producer, Kahn co-founded the multi-platform storytelling hub "Voyeur," which has produced immersive experiences, commercial content and short narrative work that has premiered at the Tribeca Film Festival, Raindance Film Festival and Outfest, among other high-profile events. A graduate of Northwestern University, Kahn started his career at CAA in the motion picture literary department, before moving to the agency's theater department in New York.
"I’m grateful and excited to start this new chapter of Scrap Paper Pictures alongside him." "Russell is a fiercely intelligent, passionate and generous collaborator who has his finger on the pulse of a new generation of talented artists," Brosnahan tells Variety, announcing Kahn's promotion.
Kahn first joined the production banner in an assistant role, helping to maintain the company's initial development slate.
Most recently, the company executive produced the all-female comedy special "Yearly Departed," which debuted in December 2020 on Amazon Prime Video. In 2019, Brosnahan and Scrap Paper Pictures inked a first-look deal with Amazon Studios to develop projects under the production banner. Brosnahan also produced and starred in the Amazon Original feature film "I'm Your Woman," from writer-director Julia Hart. The special was nominated for a Writers Guild Award and an Art Directors Guild Award.

Hosted by Matt Rodgers, the show featured video segments detailing the success stories of three LAFH participants and highlighting the efforts of its staff interspersed with appearances by celebrities including Ted Danson, Kristen Bell, Jordana Brewster, Jamie Chung, Jacques Slade, Melissa Joan Hart, Troian Bellisario, Camila Coelho, Jimmy Jam & Terry Lewis and Alycia Pascual-Peña.
“For an industry that has so many resources and so many ways of solving problems, this should be a calling to the industry,” Rich told Variety. It’s where we work. It is a moral and civic responsibility to our neighbors and to our community to confront this issue. Rich added that “Home Together” producers Tawney Harrison and Curt Apanovich had volunteered by contributing their talent as had other members of the entertainment industry. It’s where we prosper. It’s great to see that level of commitment and volunteerism in so many different forms.” “This is where we live.
And LA Family Housing is part of that solution. It is completely solvable. Toward the end of the evening, “Home Together” co-chair and LAFH board member Blair Rich said, “Don’t ever believe the lie that homelessness is an unsolvable problem. Homes solve homelessness.” Rich later teared up before concluding her speech. Affordable housing matched with a full continuum of social services.
“If someone would have told me last March that we would be having our second virtual event tonight, I wouldn’t have believed you. But here we are,” LAFH CEO and President Stephanie Klasky-Gamer said from the event’s neon-lit virtual stage.
Cheese, Petrossian Restaurant & Boutique, Redbird and Socalo with up to 50% of the proceeds going directly to LAFH. To enhance the at-home viewing experience, guests could order meals from restaurant partners including Angelini Osteria, Big Sugar Bakeshop, Dulan’s on Crenshaw, Gasolina Cafe, GoldenRice Co., Hotville Chicken, Maker Wine, Nick +Stef’s Steakhouse, Oui!
“Home Together” was presented by Key Sponsors RBC| City National Bank, and The Smidt Foundation.” />
Bell, who participated in the event’s first virtual iteration, praised LAFH’s personalized approach to transitioning its participants out of homelessness. “LA Family Housing individualizes the experience by meeting with each person where they are and helps them on their unique path.” “Everyone who experiences homelessness has a different path to permanent housing and stability,” she said.
The organization, which fights to end homelessness in Los Angeles, enlisted celebrity supporters, musicians, staff, sponsors and program participants for Thursday night’s festivities. LAFH aimed to raise over $1 million in donations. For the second year in a row, Los Angeles Family Housing held its virtual fundraiser “Home Together” in lieu of its annual awards gala due to continued restrictions on in-person gatherings stemming from the COVID-19 pandemic.
Bellisario introduced a video celebrating the work of the organization’s almost 480 staff members, whom she called, “true heroes,” saying, “because in the midst of a global pandemic, a national reckoning on racial injustice and pretty much an upheaval in almost every aspect of our daily lives, the LA Family Housing staff have kept on going.” A member of the organization’s Young Hollywood Action Committee, Bellisario taped her segment standing in front of LAFH’s campus where she said she had been putting together hygiene kits for people living outdoors.
Brewster shared a clip following the emotional story of program participant Sheila and her young daughter, Destiny. This year, the domestic violence survivor and her daughter moved into their first permanent home in five years with the help of LAFH. “I feel like I’m in a dream, like I haven’t waken up,” Sheila said.
Musical performers included Hootie & the Blowfish alum Darius Rucker, who sang his hit country song, “Wagon Wheel.” Grammy Award winner Letisi crooned an acoustic version of her song “Anything For You,” while pre-teen punk band The Linda Lindas rocked out in their backyard with “Rebel Girl.” Jazz musician Boney James closed out the night playing “Full Effect” on his saxophone.
Raman, whose 2020 campaign platform centered on addressing the city’s homelessness crisis, explained that deindustrialization, economic hardship and racist housing policies such as racial covenants had contributed to the disproportionate number of homeless Black people in Los Angeles. Black people currently make up 34% of the homeless population despite only representing 8% of LA’s total population.
During a panel hosted by Kelli Poole, the Director of Racial Equity in Homelessness at Social Venture Partners Los Angeles, LA County Supervisor Holly Mitchell and LA City Council Member Nithya Raman discussed their efforts to combat homelessness.
So, what can we do? Well, by being here tonight and supporting LA Family Housing, you have already taken that first important step.” As I drive around Los Angeles and see what has become a literal humanitarian crisis, I’ve often asked myself, ‘How did we get here?’ Well, it’s about economics. “That’s the number of affordable homes needed in LA to meet the needs of our lowest income neighbors. “509,000,” Danson said. The cost of housing keeps rising and the wages of working people just can’t keep up.
“I can’t believe I have my own keys now,” she added with a smile, holding up her set of keys.
“We are not going to fix it in two years but we will fix it and for the first time, we are putting real resources into the things that will fix it.” “We have talked in this conversation about decades of systemic racism and underinvestment that led us to this perilous moment,” Raman said.
However, with LA’s homeless population currently standing at 66,000, she stressed that everyone needs to do their part to help eradicate the problem, citing the many forms of that volunteerism can take from social media outreach to donations. Ahead of the event, Rich told Variety that she believes that the organization’s dual approach of securing affordable housing and providing supportive services has enabled LAFH to have a 95% success rate in permanently breaking the cycle of homelessness for its participants.

The committees were introduced in 1989 and expanded to the "Big Four" in 1995 after widespread criticism of that year's nominees, and gradually spread to other categories. There were also allegations of insider dealing within the committees, which the Academy has denied but remain difficult to police in such a subjective process. But in recent years, the Recording Academy has made substantial efforts to modernize and educate its electorate, raising the question of whether the committees are still necessary.
Other rule changes, which “reflect [the Academy's] ongoing commitment to evolve with the musical landscape and to ensure that the Grammy Awards rules and guidelines are transparent and equitable,” include a reduction in the number of categories in which voters may vote, two Grammy Award category additions, and more.
Additional rule amendment proposals will be discussed and voted on at an upcoming Recording Academy meeting in May — including, presumably, the naming of a new president/CEO — and the full rulebook for the 2022 will be released in May.
The Recording Academy announced today that it has made significant changes to the Grammy Awards process — including the elimination of nearly all of the controversial “secret” nominating committees that made final decisions about which artists or recordings were nominated in certain categories, including the “Big Four” General field of Album, Song, Record of the Year and Best New Artist.
Production, Non-Classical Field; Production, Immersive Audio Field; and Production, Classical Field renamed and consolidated to Production Field
Two new categories have been added, bringing the total number of GRAMMY Award categories to 86:
The amendments appear in full below, copied directly from the Recording Academy press release. The Academy’s annual board of trustee meetings, during which such decisions are made, have been split into two meetings this year.
Reduction In Number of Categories Voter May Vote
The eligibility period for the 2022 awards, which take place Jan. 30, 2021. 31, 2022, is from Sept. 1 2020 through Sept.
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Craft Category Realignment
o   Nominations in all of the Grammy Award general and genre fields will now be determined by a majority, peer-to-peer vote of voting members of the Recording Academy. With this change, the results of Grammy nominations and winners are placed back in the hands of the entire voting membership body, giving further validation to the peer-recognized process. Previously, many of the categories within these fields utilized 15-30 highly skilled music peers who represented and voted within their genre communities for the final selection of nominees. To further support this amendment, the Academy has confirmed that more than 90 percent of its members will have gone through the requalification process by the end of this year, ensuring that the voting body is actively engaged in music creation. Craft committees remain in place (see below for craft category realignment.)
The committees, comprised of industry executives and experts whose names were not publicly revealed, came under fierce criticism before the 2021 Grammys when the Weeknd, who had one of the most critically and commercially successful recordings in years with his “After Hours” album and “Blinding Lights” single, did not receive a single nomination. Nominating committees remain in place for “Craft” categories (producer, packaging and liner notes), however those have been the object of much less controversy than the categories for which the committees have been eliminated.
Best Global Music Performance (Global Music Field)
In other words, the nominees for the main Grammy categories will be chosen by the general Academy electorate, 90% of which will go through a requalification process by the end of 2021 “to ensure that the voting body is actively engaged in music creation.”
All voters are permitted to vote in the four General Field categories (Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist). Additionally, those 10 categories must be within no more than three Fields. Proposed by a special voting Task Force who brought forth the recommendation, this change serves as an additional safeguard against bloc voting and helps to uphold the Grammy Award as a celebration of excellence in music, with specific genre field categories being voted on by the most qualified peers. o   To ensure music creators are voting in the categories in which they are most knowledgeable and qualified, the number of specific genre field categories in which Grammy Award Voters may vote has been reduced from 15 to 10.
"The latest changes to the Grammy Awards process are prime examples of the Recording Academy's commitment to authentically represent all music creators and ensure our practices are in lock-step with the ever-changing musical environment," said Ruby Marchand, Chief Industry Officer at the Recording Academy. "As we continue to build a more active and vibrant membership community, we are confident in the expertise of our voting members to recognize excellence in music each year."
"We rely on the music community to help us to continue to evolve, and we’re grateful for their collaboration and leadership." "As an Academy, we have reaffirmed our commitment to continue to meet the needs of music creators everywhere, and this year's changes are a timely and positive step forward in the evolution of our voting process," said Bill Freimuth, Chief Awards Officer at the Recording Academy.
This benefits the integrity of these Awards by embracing and utilizing the specializations of the voters, without restricting their choice or contributions due to the field limits imposed by the recent reduction of the number of categories voters may vote in. o   To better reflect the overlapping peer groups within the voter membership body, six existing craft fields will be consolidated into two fields: Presentation Field and Production Field. In either newly consolidated field, voters would have the ability to choose how many categories they feel qualified to vote in, respecting category vote limits, without being excessively limited by the three-field restriction. Field updates are as follows:
Voting Process Changes
Best Música Urbana Album (Latin Music Field)
Elimination of Nominations Review Committees In General and Genre Fields
Package Field, Notes Field and Historical Field renamed and consolidated to Presentation Field
The above rule amendments were voted on and passed at a Recording Academy Board of Trustees meeting held on April 30, 2021. The Awards & Nominations Committee, comprised of Academy Voting Members of diverse genres and backgrounds, meets annually to review proposals to update Award categories, procedures and eligibility guidelines. The Recording Academy accepts proposals from members of the music community throughout the year.
We are honored to work alongside the music community year-round to further refine and protect the integrity of the Awards process." While change and progress are key drivers of our actions, one thing will always remain — the Grammy Award is the only peer-driven and peer-voted recognition in music. "It's been a year of unprecedented, transformational change for the Recording Academy, and I'm immensely proud to be able to continue our journey of growth with these latest updates to our Awards process," said Harvey Mason jr., Chair & Interim President/CEO of the Recording Academy. "This is a new Academy, one that is driven to action and that has doubled down on the commitment to meeting the needs of the music community.
New Categories Added