Hedegaard graduated from the National Film School of Denmark in 2017 and his previous short film, “Skull Fracture or 'Aren't You Rather Young to Be Writing Your Memoirs?,'" played at multiple festivals around the world, including DOC NYC.
With killer hand-eye coordination and a mean mullet, he's a legendary fixture at Copenhagen's Bip Bip Bar, and renowned for playing the 80s arcade game Gyruss for 49 hours straight on a single coin. With help from his buddies at the bar, a community of outsiders who support one another no matter what, Kim attempts to obliterate his previous record and play for 100 consecutive hours – or four days. The feel-good film centers on Kim Cannon Arm, who is not your average grandpa.
Ultimately, I feel that it has ended up as a film filled with warmth and subtle wit as well as the natural excitement that comes from all record attempts.” Hedegaard commented: “Probably not everyone in the audience has an interest in video games or arcade games, but that’s okay, because you don’t need to — I don’t either.

And he does it in an entertaining way without ever judging his subjects. Mads deftly uses the narrative of breaking a world record to capture the bonds of a lovable group of friends. “We’re thrilled to be bringing ‘Cannon Arm and the Arcade Quest’ to the worldwide marketplace on the heels of its recent festival premieres. It's a feel-good story we can all use right now,” said president of Cargo Film & Releasing, David Piperni.
New York City-based global documentary film sales agent Cargo Film & Releasing has nabbed world rights, excluding Denmark and Sweden, to Mads Hedegaard’s feature length documentary debut “Cannon Arm and the Arcade Quest,” which premiered at last week's CPH:DOX and plays this week at Hot Docs.
In this often humorous film, Hedegaard provides a philosophical look at world records, iconic hairdos, the importance of community, and an unlikely hero.
Good Company Pictures is co-owned by producers Sahlstrøm and Patricia Drati, and directors Katrine Philp, Kaspar Astrup Schröder and Boris B. Bertram.
The film is produced by Good Company Pictures’ Katrine A. Sahlstrøm, whose credits include films such as “Ai Weiwei — The Fake Case,” which was shortlisted for the main prize at IDFA in 2014, “Photographer of War,” and “Beautiful Something Left Behind,” the winner of the Grand Jury prize for best documentary at SXSW in 2020.
“Cannon Arm and the Arcade Quest” is supported by New Danish Screen, DR and TV2, in collaboration with SVT.” />

Lucasfilm, however, was just getting started.
With "The Bad Batch" now available on Disney Plus, a new, even larger wave of "Star Wars" content is starting to roll out onto streaming and into theaters. Ewan McGregor will be reprising his role as Obi-Wan Kenobi in his own limited series, while Cassian Andor from "Rogue One" and Lando Calrissian from "Solo" will have their own respective time in the spotlight. Dillard are all developing their own films. "The Mandalorian" serves as the foundation for a connected series of upcoming spin-offs such as "The Book of Boba Fett," "Ahsoka" and "Rangers of the New Republic" that will all lead to a climactic story event. On the theatrical side, Patty Jenkins, Taika Waititi, Rian Johnson, Kevin Feige and J.D.
Ever since Disney purchased Lucasfilm in 2012, audiences have  created a plethora of new "Star Wars" content.
Here’s what’s in store.” />
All together, Lucasfilm is planning at least 16 film and TV titles for 2021 and beyond.
Lucasfilm's first Disney Plus series, "The Mandalorian," refueled fans' sense of adventure on the small screen, while animated series "Rebels" and "Resistance" explored other time periods not featured in the movies. Standalone films "Rogue One" and "Solo" explored specific stories within that timeline, namely the group of Rebel spies stole the plans to the Death Star, and when a young Han Solo made the Kessel Run in less than twelve parsecs. The sequel trilogy — 2015's "The Force Awakens," 2017's "The Last Jedi" and 2019's "The Rise of Skywalker" — wrapped up the main storyline of the Skywalker Saga.

It has been about three years since Cole last released an album. He put out "KOD" in the spring of 2018, an abbreviation that stands for "Kids on Drugs," "King Overdose" and "Kill Our Demons," and earned his fifth consecutive number one album.


Cole has announced the release of his highly-anticipated sixth studio album "The Off-Season," set to drop on May 14. J.
It announced the formation of Dreamville Ventures, a multi-disciplinary media company, and Dreamville Studios, which will allow the brand to branch into TV and film, music, publishing, apparel and live events. Last fall, Interscope imprint Dreamville Records, which was co-founded by Cole, expanded its ventures into the digital space. It's no surprise "The Off Season" has been years in the making.
Moments later, he confirmed the news: a new album was coming. "Is this thing on," the rapper wrote on Twitter, teasing fans with the possibilities of what he would say next.
The news comes on the 14-year anniversary of his debut mixtape "The Come Up," which is referenced in "The Off Season" album cover. In both, he stands off to the side, the background smoking.
"Just know this was years in the making," he Tweeted.
When Cole released singles "The Climb Back" and "Lion King on Ice" in July 2020, he said the tracks were tied to upcoming album "The Fall Off." However, it was made clear in a December 2020 Instagram post that "The Fall Off" would not be his newest album, but rather the close out project for his entire "The Fall Off Era." An outline of titles showed "The Off Season" was to follow ""Revenge of The Dreamers III," a compilation album made by various Dreamville recording artists, such as Ari Lennox and EarthGang, alongside Cole.” />

The morning edition debuted in January.
“Going beyond reporting the news, ‘The National Desk’ offers audiences firsthand coverage that is not always available online or on the national level, and we have found that people are eager for this content. Sinclair cannot wait for ‘The National Desk’ to transform evening news after the success we have seen with its morning launch.” “Across the board, both in audience research and organically from viewers, we have received exceedingly positive feedback that frequently cites the remarkable, unique value of ‘The National Desk’,” said Chris Ripley, president and CEO of Sinclair, in a statement.
The company said the main anchor of “The National Desk’s” evening news is still under consideration and will be announced in the coming months. Jan Jeffcoat currently anchors the show's morning edition.
Sinclair Broadcast Group said Tuesday it plans to expand "The National Desk," its own news program, to evening hours.
"The National Desk" will this summer launch a new website and app. Mike Garber, the news director of KUTV in Salt Lake City, will take on the role of director of content at "The National Desk," overseeing the program's morning, evening and digital editions.
 ” />
The show, which has been available on 68 of Sinclair's stations, has been airing in the mornings, between 6 a.m. and 9 a.m. to midnight eastern, and between 7 p.m. eastern. and 9 p.m. Pacific. Starting September 27, it will also run from 10 p.m.

Each of the webinars will be locally tailored and hosted by representatives of The MLC, who will brief participants on the history behind mechanical licensing, why The MLC was created, how the organization fulfills its mission, the benefits of MLC Membership and more, with ample time for questions and answers. A songwriter from each Academy Chapter will also be involved in each session to provide webinar participants with the unique perspective of the types of creators The MLC serves and take additional questions.
New York Chapter
June 16, TIME TBD
Nashville Chapter
PT May 25, 5:30 p.m.
Additional Sounds management clients include StaySolidRocky.
May 26, 4 p.m. ET
Atlanta Chapter
May 25, 11:30 a.m. CT
ET June 23, 12:30 p.m.
The full schedule for the series is as follows*: Academy Chapter members will receive an invitation with a registration link in advance of the date of their respective webinar.
+ Sandbox Entertainment has announced Sandbox Succession, the company’s newly formed division providing estate management services in all areas focusing on name and likeness. The division will be led by Josh Matas, who joined the company in 2015. Matas, working with Sandbox Entertainment President/CEO Jason Owen, plans to cultivate a business that works across artist management, legacy preservation and development of creative artistic opportunities.
His successes to date reflect our shared commitment to artists from all corners of the pop music landscape, which is more dynamic and diverse than ever." Said Vaughn: “Solomon’s proven instinct for identifying impactful artists and his ability to nurture their creativity aligns perfectly with our mission at Capitol.
Since the artist's death at 20 years old, Sounds has supervised the release of two posthumous albums: 2018's "Skins" and 2019's "Bad Vibes Forever." XXX has sold 61 million albums and singles in the United States, per the RIAA. Sounds has spent the last decade representing artists, most notably the controversial and influential XXXTentacion who was killed in 2018.
San Francisco Chapter
We’re pleased to partner with The MLC to reach our membership of creators far and wide and ultimately get royalties into their hands,” said Daryl P. “Academy members were so active in passage of the Music Modernization Act, they should now benefit from The MLC that the Act created. Friedman, Chief Advocacy Officer of the Recording Academy.
June 15, 3 p.m. PT
Succession counts the estates of Johnny Cash, June Carter and the Carter Family, as well as NASCAR Hall of Famer Richard Petty, the most decorated driver in the history of NASCAR, as clients.
“Jason and I both come from branding backgrounds, and I got a unique opportunity early on in my time at Sandbox to work with Johnny Cash’s estate.” Matas adds. “The depth of this work emphasized the importance of managing these critical brands."
We look forward to preserving and furthering their enduring legacies.” “It’s an honor and a privilege to work with the Estates of these icons. “I’m thrilled to announce the creation of Sandbox Succession which is a natural extension of the artist-first mentality that drives all of our businesses,” says Owen.
CT May 17, 2 p.m.
He'll be based out of New York. Solomon Sounds, ne Solomon Sobande, the former manager of the late rapper and songwriter XXXTentacion, has joined Capitol Records as senior vice president of A&R, reporting to Capitol Music Group (CMG) chairman and CEO Jeff Vaughn. Sounds is tasked with signing and develop artists for the company's flagship label.
Pacific Northwest Chapter
June 8, 12:30 p.m. ET
Speaking to Variety in 2018, Sounds recalled advice he was given soon after XXX's death: "Somebody was, like, ‘Yo, pay attention to the Tupac estate and watch what they did,’" he said. "And I learned that’s it’s about not doing everything at once, but being able to spread things out. It’s about balancing and patience.”
*An additional webinar is tentatively planned with the Washington, D.C. Chapter, the date and time for which will be announced once they are confirmed.” />
CT June 16, 3:30 p.m.
Los Angeles Chapter
Texas Chapter
Florida Chapter
“We are thrilled to work with the Academy on this webinar series, which builds on our ongoing efforts to reach as many potential MLC Members as possible, provide them with the information they need to join our organization and help position themselves to receive the digital audio mechanical royalties they have earned and deserve,” noted Kris Ahrend, CEO of The MLC.
Chicago Chapter
ET July 29, 2 p.m.
Philadelphia Chapter
“I’m truly excited to build upon the rich history of Capitol Records, and help usher in a new era filled with artists who are pushing the boundaries of creativity and new ways of accomplishing their dreams and goal," added Sounds. "Jeff Vaughn is assembling a powerhouse team, and I’m grateful to him for believing in my talents and trusting me to help the label grow in the years to come.”
+ The Mechanical Licensing Collective (MLC) is partnering with the Recording Academy on a series of upcoming webinars with the Academy’s Chapters and its new Songwriters & Composers Wing aimed at educating the creative membership of each chapter on The MLC’s work.

Before co-founding Trafalgar in 2016 with his wife and longtime business partner Rosemary Squire, the pair built Ambassador Theatre Group (ATG) into a global powerhouse. When they stepped down from their leadership roles, ATG oversaw 45 venues across Britain, the United States and Australia, and had produced acclaimed revivals and productions of the likes of "The King and I," "Exit the King" and "Sweeney Todd." At ATG, Panter also showed a penchant for transforming old venues into gleaming theaters, as he did with New York's Hudson Theatre, a former television studio and corporate events space that was re-conceived as a Broadway palace. Panter's been in the game for decades. He thinks that there will be more opportunities along those lines in Manhattan as more workforces become remote, leaving unoccupied office space behind them.
Panter says ticket sales in London have been strong, with per-average prices exceeding those that theaters were commanding before COVID upended cultural life. The West End is supposed to reopen in the coming weeks with some capacity restrictions, while officials in New York have given the greenlight for Broadway to slowly reignite long dormant marquees.
Theater didn't come back,'" Panter says. There's something eternal about live theater. It dates back to people telling stories around a fire. We need that connection." "Maybe in a year from now, we'll meet up and I'll be a beggar on the road and you'll say, 'You were wrong, Howard. "But I hope that won't happen.
In addition, Trafalgar operates a ticket-selling business and distributes event cinema such as filmed versions of opera and stage shows.
Indeed, Trafalgar and its ebullient head have been a whirlwind of activity. Last month, it also purchased HQ Theatres, the largest network of regional theaters in the U.K., and has the restored Chiswick Cinema, a high-end, members-only movie theater that Panter likens to Soho House, on tap to welcome audiences later this year. The company purchased Theatre Royal Sydney in April 2020 and has been working to get it ready to reopen in September.
"We've never wavered in the notion that we will come back," Panter told Variety. As I always say, 'You can't turn on the taps if there isn't water in the pipes.' So what we've been doing is putting water in the pipes through this pandemic." We want to get ahead of that day and be ready. "We decided to do a lot of spade work now with the idea that it will pay dividends when it all returns.
Sir Howard Panter, one of the leading forces in live theater, is so convinced that Broadway, the West End and other stage hubs are poised to come back in a big way post-pandemic, that he's been using the last few months to restore old theaters and hunt for new ones. As joint CEO and creative director of Trafalgar Entertainment, Panter has straddled several continents in an effort to position the company to capitalize on what he believes will be a theatrical renaissance as soon as people get vaccinated and life eases back to normal.
"Life is more precious. "One of the things that has perhaps come out of COVID is the realization that we all need to be more respectful of one another," he says. I don't know the specifics around Scott Rudin, but there has been a history in this industry of 'if you're the boss you can get away with all sorts of things that maybe you shouldn't.' That needs to change." We need to be respectful of our co-workers and of the creative process and not try to impose things on others.
We're saying, 'You will wait because there's not enough room for you.'"” /> "I like to create an extra level of bathrooms," says Panter. "You might say that's a boring thing to do in theater, but I always find it a little bit depressing in a Broadway intermission when I see this queue, particularly of women, standing there in long lines. It's not respectful.
As Panter spoke with Variety, another superstar producer, Scott Rudin, was embroiled in scandal in the wake of a report in the Hollywood Reporter that documented decades of abusive and bullying behavior toward his employees. Panter didn't know Rudin well, but he thinks that the producer's downfall might usher in a kinder way of doing business.
"We've extended the stage into the auditorium, so when those four microphones go up and the boys are singing they're right there in the audience," he says. "You feel like you're in the middle of their concert, which is going to be very exciting."
Trafalgar will co-produce the Australian production of the Tony-nominated Alanis Morissette musical "Jagged Little Pill," which will reopen the Theatre Royal Sydney in September, and a road show of "Rocky Horror Picture Show" that will touch down in New Zealand and other ports of call. That's to say nothing of several starry productions that Panter expects to launch in the coming months. It's also backing a revival of "Anything Goes" starring Megan Mullally and Robert Lindsay that will open in London this summer, as well as a reimagined version of "Jersey Boys," which will play at the newly refurbished Trafalgar Theatre (which the company owns). Panter says this iteration of the The Four Seasons jukebox musical will be "bespoke" and redesigned.
"There could be a new Broadway golden era coming as people start thinking creatively about how to bring people back to cities post-COVID." "We're looking at a number of sites in New York that are empty or disused or boarded up and thinking well maybe this could be a theater," Panter says.
But he also has a rule for the theaters he updates.

A distributor has not yet been set. Adams and O'Neil and Gyllenhaal and Marker will produce the project, with Noah Stahl overseeing for Nine Stories and Kate Clifford for Bond Group Entertainment.
Simard’s work has been praised as having “planetary significance,” and is said to have influenced creative works including James Cameron's "Avatar" (the Tree of Souls) and author Richard Powers. Recounting her groundbreaking and once-ridiculed research, the book is described as a dazzling scientific detective story about the woman who first discovered how trees communicate underground through an immense web of fungi.
Production companies fronted by Amy Adams and Jake Gyllenhaal have landed adaptive rights to scientist Suzanne Simard's memoir "Finding the Mother Tree."
Gyllenhaal and his Nine Stories partner Riva Marker called the project "part charming memoir, part crash course in forest ecology. And yet, it manages to be about the things that matter most: the ways we care for each other, fail each other and listen to each other. After the last year and a half, its lessons about motherhood, connection and the natural world are more timely than ever, and we are thrilled to partner with Amy, Stacy and their company, and Suzanne Simard to adapt this majestic story to film.”
Adams is represented by WME, Linden Entertainment, Narrative and Sloane Offer Weber & Dern, as is Bond Group. Nine Stories is represented by WME and Goodman, Genow, Schenkman. Simard is represented by Idea Architects and WME.
It forever transformed our views of the world and the interconnectivity of our environment. 'Finding the Mother Tree' is not only a deeply beautiful memoir about one woman’s impactful life, it’s also a call to action to protect, understand and connect with the natural world." Adams and Bond Group co-founder Stacy O’Neil said the book "excited us with a narrative about the awe-invoking power of nature and the compelling parallels in Suzanne’s personal life.
Bond Group's credits include HBO's award-winning limited series "Sharp Objects." They are currently in pre-production for Netflix's "Kings of America" and Entertainment One's "Willa of the Wood."
In a competitive situation, Adams' Bond Group Entertainment and Gyllenhaal's Nine Stories scored the the book, published today via Knopf. The project is being developed by both companies with Adams set to star.
Harris' "Slave Play").” /> They also produced Antonio Campos’ "The Devil All The Time" with Tom Holland, Robert Pattinson, Riley Keough and Sebastian Stan, and will soon release "Joe Bell" with Mark Wahlberg and Connie Britton. Founded in 2015, Nine Stories just wrapped an English-language adaptation of the Danish movie "The Guilty" at Netflix, reuniting Gyllenhaal with "Southpaw" director Antoine Fuqua. Nine Stories has a first look deal with New Republic Pictures, and robust divisions in TV (the Ubisoft adaptation "The Division," and "Snow Blind" at Apple TV Plus) and in theater (Jeremy O.

It’s ironic, given the title, but perhaps the biggest problem with “Benny Loves You” is that it doesn’t feature enough Benny. The tension between Benny’s murderous antics and sweet personality isn’t exactly new, but it does make him more three-dimensional than most of his human counterparts. A joyful montage interspersing Jack's development of a Skare Bears line of toys (led by such characters as Dead Fred, Redneck Rex and Mother T'Razor) with his and Benny's bizarrely charming home life is the movie’s high point, not least because the violence finally feels secondary to the characters.
Compared to the human characters, Benny is genuinely entertaining, in large part because he isn't an evil murderer so much as a mischievous troublemaker whose violent acts are a result of his unconditional love for Jack. Asked why he decapitated the loan officer tasked with repossessing their house, Benny responds (what else?) “Benny loves you!” Told to sit down and drop his knife, he replies with a simple “okey dokey!” It's when the film embraces that playful, anarchic spirit that it finally — if briefly — comes into its own.
“Benny Loves You” has a sardonic sense of humor that sometimes lands and sometimes doesn't, as when the first victim's mother googles “is it legal to smack my kid?” upon hearing the little girl scream in terror for the umpteenth time during the prologue. Less amusing is Jack, who ultimately plays second fiddle to the stuffed childhood bestie he throws away in the midst of preparing his house for sale following his parents’ accidental (and over-the-top violent) deaths — a mistake with deadly consequences for just about everyone in Jack’s life.
Aside from the murderous Benny himself, the film doesn’t add much to its gory genre. While the “Child's Play” and “Puppet Master” franchises aren’t exactly rife with masterpieces, their pleasures are less guilty than those afforded by the genre’s latest installment: “Benny Loves You,” an English horror comedy liable to make audiences laugh far more than it scares them. Mostly, though, it just borders on boring. Whether it be actual toys or movies about them coming to life and killing people, they don't make ’em like they used to.
The practical effects that bring Benny to life are far and away the film’s most impressive achievement, especially since most other technical elements betray its modest budget, and are in line with the fable-like warning to anyone with a similarly beloved childhood toy: “Whatever you do, under any circumstances, don’t throw him out — or the next time you curl up to sleep, he might just come back for a cuddle.” “Benny Loves You” is ultimately more interested in blood and guts than it is in heart and soul, with a high gore quotient but no flesh-and-blood characters worth remembering (or mourning). Much like that playful plush, however, the film can't change its nature.
Everyone in his life seems to be in league against him, as though conspiring against his happiness. A 35-year-old pushover still living at home and struggling to advance in his career as a toy designer, he initially feels like an attempt to recapture the cheeky relatability of Simon Pegg’s “Shaun of the Dead” everyman. But as with his eponymous creation (the talking toy's cheerful catchphrase gives the film its title), Jack comes across as an imitator, more Mega Bloks than Lego. The film centers on Jack (writer-director Karl Holt, wearing many hats), who also narrates. This makes him easier to root for, if only by contrast, though it doesn't make him any less bland.
Whether any sequels follow — à la “Child’s Play” and other genre forebears — is impossible to predict, but one thing is certain: Benny himself is memorable even if his movie is not.” /> While it's easy enough to imagine “Benny Loves You” performing well as a midnight movie at genre festivals (and it's been doing the circuit since late 2019), the film’s tongue-in-check charms are less fun viewed alone at home.

The show starred Thaddea Graham, McKell David, Harrison Osterfield, Jojo Macari, and Darci Shaw as the titular gang, with Royce Pierreson playing Watson and Henry Lloyd-Hughes playing Sherlock Holmes.
"For all that we’re told these kids are special, they confront their duty with a sense of glum obligation; there’s little of the high-stepping curiosity and possibility that is present in the best of Holmes, and that one might expect from a show in which teens attuned to voices from other worlds avert the apocalypse in Holmes’s London."
However, in his review for Variety, Daniel D'Addario wrote:  The series also received mostly positive reviews from critics, holding a 78% critical approval rating on Rotten Tomatoes.
News of the cancellation comes despite the fact that streaming data released by Nielsen last week showed that "The Irregulars" was the number one streaming show the week it debuted, pulling in approximately 643 million minutes streamed across all eight episodes. In that time, the show edged out serious competition from "The Falcon and The Winter Soldier" on Disney Plus, which came in second with an estimated 628 million minutes streamed.
Set in Victorian London, the series follows a gang of troubled street teens who are manipulated into solving crimes for the sinister Doctor Watson and his mysterious business partner, the elusive Sherlock Holmes. As the crimes take on a supernatural edge and a dark power emerges, it'll be up to the Irregulars to come together to save not only London but the entire world.
The news comes just over a month after the series debuted its first season on March 26. "The Irregulars" has been canceled at Netflix, Variety has confirmed.
The series was written and executive produced by Tom Bidwell. Lead director is Johnny Allan, with Joss Agnew and Weronika Tofilska also directing. The series is produced by Rebecca Hodgson. Drama Republic’s Jude Liknaitzky and Greg Brenman also executive produce.
Deadline first reported the cancellation news.” />

"Now, more than ever, AFI looks forward to gathering the globe to celebrate the many gifts and joy she has given us — proving her, of course, 'practically perfect in every way.'" "Julie Andrews has lifted the spirits of the world for generations," said Bob Gazzale, AFI president and CEO.
So it's only fitting that the American Film Institute's annual Life Achievement Award gala, set later this year to honor Andrews, will take place nearly a year-and-a-half after it was originally scheduled.
In its 48th iteration, the AFI Live Achievement gala will pay tribute to the actor whose seven-decade film career includes classics like "Mary Poppins," "The Sound of Music" and "My Fair Lady," as well as contemporary favorites such as "The Princess Diaries," "Shrek" and "Eloise at the Plaza."
As Julie Andrews' character says in "The Princess Diaries" sequel: "A queen is never late. Everyone else is simply early."
In 2019, Julia Roberts, Chadwick Boseman and Jamie Foxx rhapsodized about the magic of Denzel Washington, while the year prior Meryl Streep, Morgan Freeman, Al Pacino and Reese Witherspoon spoke about the kooky charm of Diane Keaton. Though the list of presenters hasn't been announced, the event's organizers routinely gather A-list friends and collaborators to help toast the night's guest of honor. Other honorees have included George Clooney, John Williams and Freeman.
11 at the Dolby Theatre in Hollywood. It will now be held on Nov. The ceremony will air on TNT, with encore presentations on Turner Classic Movies, at a later date. The event was initially set for April 2020, but it was postponed in the wake of the COVID-19 pandemic.
Honorees are chosen by the AFI Board of Trustees, who seek to select someone who fits the following mandate: "The recipient should be one whose talent has in a fundamental way advanced the film art; whose accomplishment has been acknowledged by scholars, critics, professional peers and the general public; and whose work has stood the test of time."” />