Nolan will also receive a backend deal that promises first-dollar gross, as well as final cut on his film. Before Nolan came up with his next project, he and his team of agents at WME had fielded offers for a first-look deal from both streaming services and traditional film companies.
Universal declined to comment and WME, the agency that reps Nolan, couldn't be reached for comment.
eventually supported the film's fall release, but "Tenet" became a box office disappointment and lost the studio at least $50 million. Even before the HBO Max deal was set in motion and set off Nolan, his relationship with Warner Bros. The two had privately clashed about release plans for "Tenet." Nolan, a fierce advocate for the exhibition industry, hoped that his sci-fi epic would spark a moviegoing revival, but studio executives were unsure about debuting a $200 million-budgeted movie in September of 2020, a time when the majority of U.S. had become strained, prompting chatter he was looking for a new creative partner. Warner Bros. cinemas were closed and the idea of a widely accessible vaccine seemed like a far-off dream.
Nolan's provision is curious because it's category agnostic — anything from "Dune Part II" to the latest kid-centric "The Lego Movie" would hypothetically have had to avoid the weeks surrounding Nolan's latest. He requested similar terms at Universal, but insiders say it appears to have some wiggle room. Perhaps that means "Minions 12" won't have to completely avoid debuting in the same season as the upcoming atom bomb drama. In his individual film arrangements at Warner Bros., Nolan has required a three week blackout period on the release calendar, meaning the studio wasn't able to premiere a movie three weeks before or three weeks after one of the director's films is scheduled to open. With or without that kind of clause, Hollywood executives would make every effort to avoid cannibalizing a fellow studio title that falls into a similar genre. Because of his cinematic pedigree and near-consistent box office success, those who have worked with Nolan before attest his contracts are more exacting than his peers'.
Ultimately, it was Nolan's track record of hits and ability to spin cinematic gold out of everything from Normandy battles to heady explorations of time, space and dreams, that made Universal comfortable taking that risk.” />
"Tenet," at least in its theatrical life, may not have panned out exactly as Nolan had hoped, but the filmmaker still wields unprecedented control over distribution plans for his films. In his collaboration with Universal, he is looking to have similar sign-off over where and when his next movie is unveiled to the public. Naturally, a robust theatrical window — industry parlance for the amount of time a film plays only in cinemas — will be of paramount importance.
Before COVID-19 upended the movie theater business, new releases traditionally screened in theaters for 75 to 90 days before relocating to home entertainment platforms. Insiders at Universal confirm it will be exempt from the 17-day window (or 31 days for films that generate at least $50 million in opening weekend sales) that Universal forged through a deal with major theater chains, such as AMC and Cinemark, to bring movies more quickly to the home. The film will likely stay on the big screen for a longer period than the 45-day frame that appears to have become industry standard in the post-pandemic era. Nolan's library, "Tenet" included, were not able to move to digital platforms until 120 days after their initial releases. Sources familiar with negotiations say Nolan asked for, though it's unclear if he will receive, an exclusive theatrical window between 90 to 120 days for the upcoming WWII epic.
Studios interested in backing the Oppenheimer picture were allowed to see Nolan's shooting script, but were asked to read it at the director's office to avoid leaks. There were also meetings that took place at the director's home. Some potential suitors, a group that included Sony, MGM, Paramount, and, despite the falling out, Warner Bros., worried that the film's subject matter was less than commercial, which made them concerned about the steep price tag.
Getting to this point has involved months of courtship, clandestine meetings, big promises and a willingness to take a creative leap with one of the boldest, but also most demanding, filmmakers in the business. The studio is eyeing a release in either late 2023 or 2024. It will also follow Oppenheimer's later decision to call for more international control of nuclear weapons and his eventual opposition to the development of the hydrogen bomb. It also represents a major victory for Universal and its film chief, Donna Langely, who moved aggressively to forge a relationship with "The Dark Knight" director after he grew dissatisfied with Warner Bros. On Tuesday, news broke that the studio will fully finance Nolan's $100 million drama about J. Robert Oppenheimer and the creation of the atomic bomb. Filming will begin in the first quarter of 2022 and will require extensive digital effects.
The director made no secret of the fact that he was dismayed by Warner Bros.' decision to release its entire 2021 slate simultaneously on HBO Max, even though the one-year arrangement was motivated by the pandemic and didn't apply to his current or future movies. to one of its biggest rivals is noteworthy but not entirely shocking. In the past twenty years, Nolan has partnered with Warner Bros. on "The Dark Knight" trilogy, "Inception," "Dunkirk" and most recently "Tenet." Nolan's jump from Warner Bros. Still, his blistering comments — "some of our industry’s biggest filmmakers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working for the worst streaming service" — made it clear how diminished strength of his ties were to the studio he had long considered home.
Christopher Nolan is making his next movie at Universal, severing the director's nearly two-decade long creative partnership with Warner Bros., the company that has backed many of his biggest blockbusters.

Dances with Films (DWF:LA) returned with its film slate and award-winners at the closing night ceremony on Sept. 12 at the TCL Chinese Theatre in Hollywood.
Dances With Films Announces 2021 Winners At Closing Night Ceremony
Dreamseeker Media Releases 'Ferguson Rises' Trailer
“The longer we have to wait for federal, global and industry leadership, the more important community led, collective action becomes. “Climate and environmental impacts are at our front door. The need for deeper investments in stories that drive action increases every single day,” said Jill Tidman, executive director of the Redford Center. We are inspired by all of our grantees’ projects, and have every confidence that our further investments in these six films will lead to real-world environmental impact at a scale that is urgently needed.” And that’s where these stories live and thrive.
The Redford Center Awards Additional Grant Funding to Six Environmental Impact Documentary Projects
17 at Laemmle Monica, with a national rollout following. Dreamseeker Media, in association with Films With a Purpose, Yoruba Saxon and PhilmCo, released a trailer for "Ferguson Rises," opening Sept.
The 2020-21 cohort of Redford Center Grants includes 22 film projects intended to make a community impact and further build the movement for environmental justice and regeneration.
The list of this year’s 2021 award-winners are: Roman Olkhovka’s “Dreamover,” Caleb Slain and Nathan Nzanga’s “Enough,” Agazi Desta, Jennifer Frazin, Morgan Milender, Molly Miller, Amri Rigby, Joel David Santer, Erica Sutherlin and Chris Tarricone’s “Voodoo Macbeth,” Richard Reens’ “Pant Hoot,” Nani Li Yang’s “Beneath The Banyan Tree,” Brooke Trantor’s “Oh, Baby!” Paula Rhodes “Delicate State,” David Mahmoudieh’s “Snake Dick,” Justin Monroe and Ryan Fritzsche’s “Holy Frit,” Van Maximilian Carlson’s “Skid Row, Los Angeles,” Michele Palermo’s “Middle Of Nowhere,” Alex Martinez’s “Spanky,” Andrés Roa Ariza’s “Desolvido” and Paul James Houghton’s “From Under The Bridge: When Bullies Become Trolls.”
“The feeling was absolutely palpable in each screening and the theatre itself,” said the team behind Dances With Films. “It is clever how much people miss going to the movies … Let alone movies where they will have ‘discovered’ new voices, authenticity in vision and films that you won’t be seeing next week at the multiplex.”
The impact campaign grants are a new strategy for the Redford Center, meant to support completed films in their efforts to inspire public dialogue and mobilize action around environmental justice issues with initiatives like educational screenings and community partnerships.
Notable filmmakers who have participated in the festival are Bryan Cranston, Gina Rodriguez, Jesse Eisenberg, Ellen Pompeo, Ryan Eggold and John Hawkes, among others.” />
“Demon Mineral,” “Impossible Town,” “Oaklead,” and “To The End,” are receiving production and development grants, while impact campaign grants go to “Razing Liberty Square” and “We Still Here/Aqui Estamos.” The Redford Center announced that six environmentalist documentary features in the current Redford Center Grants cohort will receive a total of $295,000 in second-year funding.
Highlighting diverse voices of community members, from residents to police officers to business owners, "Ferguson Rises" chronicles the 400-day protests and rise of Black Lives Matter. Directed by Mobolaji Olambiwonnu, the film explores the aftermath of the protests in Ferguson after the police killing of 18-year-old Michael Brown Jr.
They will drive change and action in the short and long term. “Each of these films inspire with their fresh representation and authentically local community perspectives, while having significant national and global relevance,” said Redford Center grants advisor Brenda Robinson, partner in Gamechanger Films. “With the right support, these storytellers’ impact goals will make a difference. That’s why I find The Redford Center’s investments in impact storytelling to be so critical — to ensure that the full potential of these stories are realized. People won’t just see these films and move on, they will see them and be engaged to take action for the future of our people and the planet.”
Sandra Evers-Manly, TJ Martin, Gigi Pritzker, Kai Bowe, and RZA executive produce, with David Oyelewo and Jessica Oyelowo serving as producers.
Watch the trailer below.

https://twitter.com/justinlong/status/1437857897225015305″ />


I'm so sad for all of us today." I will never laugh that hard again. Conan O'Brien, who had Macdonald on his talk shows many times over the years, wrote "I am absolutely devastated about Norm Macdonald. Norm had the most unique comedy voice I have ever encountered and he was so relentlessly and uncompromisingly funny.


Many comedians shared personal memories of Macdonald on social media. Jon Stewart recalled that Macdonald made him break while performing.
When news broke on Tuesday that Norm Macdonald had died, comedians, actors and writers took to social media to mourn and remember the life of the famed “Saturday Night Live” alum. Macdonald died of cancer at age 61 after a private struggle with the disease.
See more tributes below.
Larry Flynt," "Dr. Macdonald was best known for starring on “Saturday Night Live” in 1993 and his anchoring “Weekend Update” until early 1998, when he was replaced by Colin Quinn. He gave dry, sardonic and memorable impressions of Burt Reynolds, David Letterman, Larry King and Quentin Tarantino and more during his five-year run on the show. During his career, he was also a writer on "Roseanne," created "The Norm Show" with Bruce Helford on ABC and appeared in movies and shows like "Dirty Work," "Billy Madison," "The People vs. Dolittle," "The Orville" and more.


Senator Bob Dole, whom Macdonald impersonated on "Saturday Night Live" in the '90s, also paid tribute to the comedian with a photo of the two of them.


You always hoped he would hang around after the work was done, just so you could hear his stories and get a laugh. So hilarious and so generous with his personality. Seth MacFarlane, who created and starred in "The Orville" alongside Macdonald, wrote "To so many people in comedy, me included, there was nobody funnier than Norm Macdonald. I'm gonna miss him."


Patton Oswalt said the comedian was "never not 100% hilarious."


Seth Rogen shared how much Macdonald influenced his early career.


Edgar Wright said watching Macdonald appear on talk shows is "the most pleasurable" of "addictive rabbit holes you can disappear down on the internet."

Ruffin, Jenny Hagel, Seth Meyers and Mike Shoemaker serve as executive producers on the Peacock show. The series is produced by Universal Television, a division of Universal Studio Group, and Sethmaker Shoemeyers Productions.” />
It is her fifth Emmy nomination — she previously received four nominations for her writing on "Late Night With Seth Meyers." Ruffin, also a writer and performer for NBC's "Late Night With Seth Meyers," received an Emmy nomination for outstanding writing for a variety series on the Peacock show bearing her name.
Additionally, she is a New York Times bestselling author, along with her sister Lacey Lamar, of “You’ll Never Believe What Happened to Lacey: Crazy Stories of Racism,” published by Grand Central Publishing. She has also performed at Boom Chicago in Amsterdam, the iO Theater and the Second City in Chicago. She is currently co-writing the Broadway musical “Some Like it Hot,” which will begin performances in 2022.
Ruffin was the first African American female to write for a late-night network talk show in the U.S.
Previously, she wrote and performed on Comedy Central’s “Detroiters” and was a regular narrator on its “Drunk History” series.
She is competing against "A Black Lady Sketch Show," "Last Week Tonight With John Oliver," "SNL" and "The Late Show With Stephen Colbert" for the trophy on Sunday.
“Margaritas for everyone!” “We are thrilled to keep doing what we love for another season,” Ruffin said.
8 with new episodes releasing every Friday. Peacock has renewed “The Amber Ruffin Show” for a second season, which will premiere on Oct.
In addition, she was a writer/performer for the 2018 and 2019 Golden Globe Awards and has written for the series “A Black Lady Sketch Show.”
Along with hosting and writing, she executive produces the show. The late night series features Ruffin’s personal and comedic takes on each week’s news.

The new steps come after Fox requested that employees disclose their vaccination status in a reporting system. Approximately 90% of the media company's employee base has gotten vaccinated against the contagion, according to a memo issued Tuesday by Kevin Lord, the executive who oversees human resources for Fox Corporation.
We appreciate your continued cooperation as we work together in the best interests of our shared well-being." "Soon we will introduce another important health and safety measure for access to our facilities – daily COVID testing for the small group of employees who are not vaccinated or have not provided their vaccination status. This is important information for our company to know as we continue to implement our phased return to office timing and procedures," Lord said. "We are pleased to share that more than 90% of our full-time employees reported that they are fully vaccinated. Additional details about this protocol will be shared with the relevant employees in the near future.
Fox Corp. intends to test unvaccinated employees daily for coronavirus infections, the company disclosed in a memo.
WarnerMedia's CNN fired three staffers in August who came into the office unvaccinated, and has told employees they must be vaccinated if they intend to come to work. Other media companies have been direct in their policies.
All corporations have had to contend with pandemic polices, but Fox has come under more scrutiny than most because some of the hosts and contributors on its Fox News Channel have at times suggested that viewers view getting a vaccine with great skepticism. Why exactly is that the policy?" So why is that? On last night's broadcast of "Tucker Carlson Tonight," for example, the host said coronavirus vaccines were "far less effective than we were told they were initially, potentially dangerous for some, and completely unnecessary for tens of millions of others." And he questioned why the Biden administration was trying to make them "mandatory for virtually everyone in America.
 ” />

But Macdonald zigged when everyone else zagged, delivering nearly six minutes of tame jokes derived from a book called "Jokes From Retirement Parties," which lost the audience but made the comedians onstage crack up. Comedy Central's roasts were known as NSFW affairs, where the panelists mercilessly roasted each other.

Celebrity Jeopardy!: French Stewart, Burt Reynolds, & Sean Connery – SNL
Macdonald loved telling long, rambling stories during his legendary late night appearances, and his extra-dry "Moth Joke" has racked up over a million views on YouTube.

Courtney Thorne-Smith and Norm Macdonald on Conan in 1997



Macdonald created one of the most iconic "Saturday Night Live" impressions ever with the help of a novelty foam cowboy hat and the nickname "Turd Ferguson."
"The Moth Joke"
Norm Macdonald's Roast of Bob Saget
Simpson Macdonald's "Weekend Update" coverage on O.J.
Courtney Thorne-Smith might have been the scheduled guest during this "Late Night with Conan O'Brien" segment, but Macdonald completely stole the show, landing two devastating jokes about Thorne-Smith's "Chairman of the Board" costar Carrot Top, including one of late night's best ever puns.” />
This compilation cobbles together some of Macdonald's most incendiary jokes about the O.J. Simpson trial on "Saturday Night Live."
Below, Variety has gathered some of Macdonald's most iconic bits. Norm Macdonald, who has died at the age of 61, was an iconic comedian, known for his deadpan delivery and lack of fear in committing to bits that would make other comedians cringe, such as mocking fellow late night guests, letting jokes bombs for his own amusement or going clean when others were getting dirty.

21, replacing Claudine Naughton, whom Activision Blizzard said is "leaving the company." The change in HR leadership at the company comes two months after it was hit with a lawsuit from the California Department of Fair Employment and Housing, alleging that Activision Blizzard allowed a “pervasive frat boy workplace culture” to thrive that resulted in women employees being continuously subjected to sexual harassment and being paid less than men. Hodges joins the games giant effective Sept.
Allen Brack, who was named in the California DFEH complaint as among company leaders who were allegedly aware of the misconduct and — despite repeatedly being informed of the problems — “failed to take effective remedial measures in response to these complaints.” Other senior execs who have exited Activision Blizzard in the wake of the lawsuit included Blizzard Entertainment president J.
Activision Blizzard has hired Julie Hodges, a 32-year veteran of the Walt Disney Co., as its chief people officer.
At Activision Blizzard, Hodges will be responsible for the company’s global talent organization, with the mission of making the company "the destination for top talent." In her role, she will lead all aspects of human resources, including diversity, equity and inclusion, talent acquisition, employee experience, learning and development, compensation and benefits, and workforce planning.” />
He is filling the role left vacant after Armin Zerza was promoted to CFO earlier this year. 27. In addition, Activision Blizzard on Tuesday said Sandeep Dube, formerly SVP of revenue management at Delta Airlines, will become chief commercial officer, effective Sept.
“These two outstanding leaders from companies with exceptional reputations will help us achieve our goal of becoming the best company to work for in the entertainment industry while growing our reach, engagement and player investment,” Kotick commented.
In announcing Hodges' hire, Activision Blizzard CEO Bobby Kotick said that “Julie is the seasoned leader we need to ensure we are the most inspiring, equitable and emulated entertainment company in the world.”
In her 32 years at Disney, Hodges led HR for Walt Disney Parks and Resorts, the company's Talent Acquisition Center of Excellence, HRBP for Worldwide Operations, and Disney University/Learning and Development, Organization Development and Cast Research. Hodges earned a bachelor's degree from the University of North Carolina in Chapel Hill.

(Spears was first placed under conservatorship in 2008 when her father requested the court-ordered arrangement; he has been overseeing her estate since then.) News of Spears’ engagement came just days after her father, Jamie Spears, filed a petition to terminate her conservatorship, signaling the beginning of the end of the pop star’s long, drawn-out legal battle that has lasted 13 years.
Spears has shared the article in the past, which addresses encouraging children to explore their curiosity instead of being taught in more formal ways. She also thanked the #FreeBritney team for its support.
However, regardless of her father’s motivations, Rosengart praised the move as a “massive legal victory” for the star. While Spears’ father has requested to end the conservatorship, the singer’s legal team has never asked the court to terminate it, and her attorney, Mathew Rosengart, has only filed for her father to be removed and suspended.
Celebrities and musicians often delete their social-media accounts either to signal a major new announcement, such as an album, or when they're simply fed up. Reps for Spears did not immediately respond to Variety's requests for comment, but one source downplayed Spears' move as no big deal.
In the since-deleted post, Spears shared an article titled “Infusing education with heart” and then wrote:
"Growing up in a world where basically almost everything I did was controlled by someone else… People need to hear this before it's TOO LATE !!!! "No … I hope this message gets to people who have been confused or manipulated by a system !!!!" Spears wrote in her caption alongside a screenshot of the article. you're not alone and no … you're not crazy !!!! I've waited 13 years and counting for my freedom !!!!!"
Two days after her engagement was revealed, and just days after her father agreed to step down after 13 years as her conservator, Britney Spears posted on Instagram “I've waited 13 years and I’m counting for my freedom,” and then apparently deleted her entire Instagram account.
Spears’ next hearing is set for Sept. 29.” />

Bloys hesitates to compare Marvel Studios’ plans for Disney Plus to WarnerMedia’s DC strategy for HBO Max, but said, “I think they have obviously a big advantage like we do as a company, Marvel for Disney and DC for WarnerMedia, to have access to those characters, those stories, those worlds.”
But I think the subjects that he was examining are really timely. It turned out to be exceptional timing for a show like this. And I think everybody who Mike cast was doing some of their best work.” “You never quite know when it hits the air, when it gets absorbed by culture, is it going to be something people talk about, obsess about?” Bloys said. And then, of course, there’s Mike White’s surprise summer sensation “The White Lotus,” which has been renewed for a second season. “And I think first and foremost, the quality of the work will do that.
"But one thing that Mike does, he moves very quickly. As for the timing for when a second installment might appear: “There's a lot to do, he's got to settle on a location," Bloys said. So we'll see.”” />
Bloys is still vague on why “Lovecraft” won’t continue, but didn't single out the futuristic idea that Green had mapped out online. "Mare" could end up with the opposite fate of “Lovecraft Country,” which led HBO’s count with 18 nominations, including drama series, but did not go forward for a second season, plans for which creator Misha Green later shared on social media.
Bloys said White had an idea for a second season from the very beginning, “and I will say, my initial reaction was basically questioning, ‘How would you do it? How would it work?’ When he told me his ideas at a different resort, I said, 'Oh, okay, that makes perfect sense.' I think anytime you get Mike kind of locked into an idea he's excited about really terrific stuff happens.”
HBO’s “Mare of Easttown” was one of the bright lights for HBO this Emmy season, one reason it’s probably no surprise that HBO and HBO Max chief content officer Casey Bloys hasn’t closed the door on the idea of bringing back another season of the series that was created by Brad Ingelsby and starring Kate Winslet, also an exec producer on the project.
Much of the initial HBO Max slate was already in place when Bloys took over, but he was there for the successful launch of shows like “Hacks” and “The Flight Attendant.” Asked to describe the difference between HBO and HBO Max shows, Bloys admits that both of those Emmy darlings could have aired on HBO — “a high class and happy problem to have.”
I'm excited to hear and see what they have to say.” “Brad and Kate and the producers are all talking to see if they think there's a place to go,” Bloys revealed to Variety. “I think we'll hear from them in a couple of weeks if they think that it's a story worth telling, and they're excited by.
As for the shutdown on “White House Plumbers,” which wasn’t COVID-related but instead due to an altercation on set between EP David Mandel and a crew member, Bloys would only say that issues “have been resolved.”
So the only grand strategy we had is these are all shows that were going to appear at certain points in 2021, and we just had to get them done in a safe manner as possible. “So to some extent, we are still responding to getting shows back on back online. “The shows should have been on last year,” Bloys said. So here we are, luckily, we got them done and ready to go.” Going into 2022, I feel like we're back up to full capacity.
It was also a successful first full eligibility season for HBO Max, and those combined 130 noms narrowly put HBO/HBO Max above Netflix’s 129 in the Emmy tallies.
17, while “Curb Your Enthusiasm” also returns for Season 11 next month. Heading into fall, Bloys has a crowded deck on tap: “Succession” returns for Season 3 on Oct. Additionally coming this fall is the “Sex and the City” sequel series “And Just Like That.” The hefty fall volume comes as happenstance, given how COVID-19 production delays prevented a sooner return for series like “Succession.”
“Sarah Lancashire is playing Julia Child, and she’s coming for her Emmy, I’m telling you now,” Bloys said. Next year, Bloys said he’s bullish on the returns of “Barry,” “Euphoria,” the second seasons of “The Flight Attendant” and “Hacks,” as well as the premiere of “Peacemaker.” He also pointed to HBO Max’s upcoming “Julia,” based on the life of famed TV chef Julia Child.
But I think ultimately, what matters is the programming and that's not going to change regardless of you know how many nominations we get, or wins." "It's a fun competition," Bloys said. "It's hard competition.
But, it’s a question for me moving forward as to whether we should be inserting ourselves in that count.” “And that’s how we report it out. “We can only go off what we have given from a submission perspective,” he said at the time. How was it reported to us in terms of its platform or its network, etc.
an HBO original. “And when you've got someone like James Gunn who wants to do that, it's a great way to take advantage. Besides “Gossip Girl” and “The Flight Attendant,” Bloys also points to James Gunn’s upcoming DC series “Peacemaker” as an example of an HBO Max original vs. When you think about those shows, they all feel slightly broader than what HBO might typically do.” “That’s a world, specifically DC, that HBO typically wouldn't have done,” he said.
COVID contingencies have been a priority concern over the past year, Bloys said, and it took some time to adjust. It does take longer, it's more expensive. And we don't have to shut down production.” “Last fall, it felt like a kind of gargantuan task to figure out: How are we going to do this? “The sad reality is, having done it now for a while, I do think that we've all learned a lot in terms of how to produce shows in a safer manner. But I will say in terms of dealing with exposure, dealing with cast or crew who have actually gotten it, we've all learned a lot. What happens if somebody tests positive?” he said. I look forward to the day where we don't have to worry about this. How are we going to do it safely?
(When asked about “Euphoria,” he points out that the Zendaya drama is “a much more adult-themed show than ‘Gossip Girl’ is designed to be, especially because it’s centered on addiction.”) But Max is also home to “Gossip Girl,” which is designed to appeal to a much younger demo than HBO.
In this case, we couldn't get there … It has to be something we think makes sense for us. “When you make the decision to not go forward with a show, it's usually a confluence of factors,” he said. “And that was the case here.
Boasting 16 nominations, “Mare” helped the network land a strong 94 noms (along with HBO Max’s 36, making for a combined 130 — more on that in a moment). “Mare of Easttown” and its stars are among the frontrunners in the key limited series categories as the 73rd Emmy Awards take place on Sunday night.
But that combined 130 count caused some raised eyebrows in the industry: Rivals complained that HBO and HBO Max are two different platforms, and should be listed as such. (ABC and Hulu, also now under same management, have their tallies separated out.) TV Academy president Maury McIntyre told Variety in July that HBO and HBO Max were merged in the tally because, quite simply, they asked.
That may come down to casting. “Mike is thinking and possibly writing now.” “Maybe there's a character that pops in here or there, but it's going to be mostly a new cast, new narrative,” he said. The second season “could be somewhere in Europe,” Bloys hinted, and added that it’s still not determined whether “White Lotus” will be classified as a drama or an anthology series.
But newcomers including “Mare,” “Lovecraft Country” and “I May Destroy You” picked up that slack. Given that some of HBO’s most recent Emmy darlings weren’t eligible for consideration this year, including “Succession,” “Barry,” "Westworld" and "Curb Your Enthusiasm," it wasn’t a given that the pay cabler would have a successful year with voters. This is the first Emmy season for Bloys overseeing HBO and HBO Max original content, having added those duties for WarnerMedia's streamer a little over a year ago.
Bloys said that HBO and HBO Max will continue to submit their Emmy nominations as one combined entity. “To be honest, I was surprised that anybody was surprised that we would ask the TV Academy to count them together,” he said. “It's the same management, same business affairs, same production and HBO shows air day and date on HBO Max… the whole stated purpose of HBO Max, the platform, is to allow HBO to continue to do what it does, and not have to ultimately rely on a linear cable world.”
The show was a spring phenomenon for the premium cabler, a rarity that was universally lauded for its satisfying ending and the kind of series that competitors readily admit they wish was theirs. Another chapter of “Mare” would put it on a growing list of programs that were initially produced as one-offs but continued on as series in success, including PBS’ “Downtown Abbey” and HBO’s own “Big Little Lies.”
Also, there has been no news on a rumored “Harry Potter” series for HBO Max since news broke at the start of the year; according to Bloys, “You haven't heard anything because there's nothing to report on that.”
Other projects on the horizon include the “Game of Thrones” prequel series “House of the Dragon,” which was briefly shut down due to COVID-19 but is back in production — but “nothing to report in that world, other than they are busy shooting,” he said.
He continues: "I don't think it would be fair to point at any one particular thing. I think that the work Misha did, and the recognition that it got, this doesn't change any of that.”

In the photo, Thug is wearing a necklace that reads “Jeffrey,” which refers to his 2016 mixtape of the same name, although perhaps the photo was chosen by Bhasker for other reasons.
 
https://www.instagram.com/p/CTymngkAGE1/?utm_source=ig_web_copy_link” />
The post includes only photos of the two artists and a comment from Bhasker reading “This is happening.”
However, the pandemic gripped North America the following month, and no further updates have been provided. He has since collaborated with or written songs for albums by Halsey, Kesha and Pink, although in February of last year he played a set with his friend Sam Means, with whom he’d formed the Format, his band before Fun., and the pair said they’d be playing a series of shows.
An apparent collaboration between rapper Young Thug and Nate Ruess, Jack Antonoff’s erstwhile collaborator in the Grammy-winning group Fun., was teased on Instagram by super-producer Jeff Bhasker on Tuesday.
Reps for Young Thug and Ruess did not immediately respond to Variety’s requests for comment.
Ruess released his debut solo album, “Grand Romantic,” later that year. While Young Thug is one of the most successful rappers working today, with a string of platinum singles like “Go Crazy,” “Hot” and “The London,” although Ruess has kept a lower profile in recent years. Although they had a smash single with “We Are Young” and won the Grammy for Best New Artist in 2013, they were more of a side-project for Ruess, Antonoff and Andrew Dost and have not released another album since 2012’s “Some Nights.” The group announced in 2015 that they were not splitting up but were focusing on solo projects.