As previously reported, Somehoodlum designed the characters for the new Amazon adult animated comedy “Fairfax,” which premieres Oct. 29. After a four-year break without new music, Death From Above will hit the road starting March 5 in Philadelphia in support of its 2021 album “Is 4 Lovers.”
team has been working as creatives with some of the top names in music for over five years, and they understand the existing pain points artists and music releases face,” Gertler tells Variety.“Watching their first drop sell out in 24 hours while building in stealth mode was so great to see and just the start for this new artist- and fan-focused collectibles platform." “The STURDY.
Adds Gertler: “I’m a huge fan of what Dapper Labs has built with the Flow blockchain ecosystem and NBA Top Shot, and what they’ve done paving the way for more amazing consumer-friendly products to be built on Flow.”
NFTs remain red-hot commodities in the music space, with Lil Nas X recently announcing his participation in TikTok’s first officially minted NFT collection and Kings of Leon’s NFT album “NFT YOURSELF” having raised more than $2 million, including more than $600,000 that directly benefited Live Nation’s Crew Nation fund for touring crews, according to creative agency Night After Night. also recently joined Jeffrey Katzenberg in a group of investors to fund the new NFT startup platform Cent.” />
New NFT drops will go live each week, including a forthcoming collaboration with Jamaican-born/Canadian-based hip-hop producer Boi-1Da and Bacardi. Each NFT comes with potential access to autographed memorabilia, meet and greets and live performances. recently secured $4.3 million in Series A seed funding with participation from Gertler, Appworks, Dapper Labs and Coinbase Ventures. was built on the Flow platform, which the company says uses 8,000 times less energy than other blockchain technology to minimize its environmental impact.
has teamed with Shawn Mendes manager Andrew Gertler to launch, a new NFT marketplace for artists, Variety can exclusively reveal. Creative studio STURDY. After a beta launch last week that sold out of a 5,000-piece art project by Somehoodlum (Drake, 21 Savage), is now live with a collection of original music, film and photography featuring the band Death From Above, artist Franky Aguilar and photographer/filmmaker Misha Vladimirskiy.
STURDY. three years ago with the goal to empower artists," says STURDY. “We started STURDY. "Their work has been exploited throughout the history of entertainment, so we set out to build a company by artists, for artists,”  “ was our next chapter in that mission.” is known for its tour design work with top acts such as Mendes, Travis Scott, Drake and Kendrick Lamar, and its merch and artwork for acts such as Olivia Rodrigo and Rosalia. co-founder Tyler Henry, who is also a managing partner at Range Media Partners.

Alternatives donning the numbers of Players 001 (Oh Il-nam), 218 (Cho Sang-woo), 240 (Ji-yeong), and 456 (Seong Gi-hun) are also available. After signing up for the competition, players find themselves woken up in a remote warehouse, all donning matching green-and-white tracksuits. This set is already a best-seller on Amazon, featuring the number 067 for fan-favorite character Kang Sae-byeok. Each player is assigned a number, as denoted on their jackets.
Check out our full list of pop culture Halloween costumes for 2021 here.
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Your Red Guard costume won't be complete without their black fencing mask, which they wear at all times to hide their identities. This one is made out of a durable resin material and printed with a white triangle.
Below is everything you need to transport yourself to the show's Korean dystopia this October. Costume manufacturers have been fast to jump on the show's popularity, with dozens of options already available online for realistic "Squid Game"-inspired looks.
In Netflix's ultra-popular "Squid Game," hundreds of debt-ridden people sign up to compete in order to win a life-changing cash prize. 17, even motivating one Korean service provider to press claims for network usage fees. But the show's global success also means it's likely to be one of the most popular Halloween costumes this year. The Korean thriller is already primed to be the steamer's most-watched original series since coming out on Sept.
Squid Game Green Track Suit
The prominent red jumpsuits, similar to those featured in Netflix's "Money Heist," have become particularly buzzy online, spurring hundreds of memes and Tik-Toks about ways to recreate the look.
Red Light, Green Light Doll Outfit
The matching green track suits are one of the most distinct parts of the series, worn by the players as they take part in nostalgic games from childhood, including Red Light, Green Light and Tug of War. Counter to them are the the mysterious guards, clad in red jumpsuits and eerie fencing masks, each wielding the power to set the rules and enact fatal punishments for the unfortunate losers.
@jagkoleenyes i’m using a camera tripod as a fake gun lmao🦑 #squidgame #pinksoldier #squidgamecosplay #squidgamecostume #tutorial #diy #squidgametutorial #fyp♬ Pink Soldiers – 23
Additional costume opportunities are not limed to the above, you can always dress up in a simple mask for the look of the Front Man or slip on the golden lion look.
Red Guard Mask
Finish up the look with knee-high socks to achieve her deceiving facade of innocence before going in for the kill. Pair this orange flared dress with a yellow t-shirt underneath to recreate the Red Light, Green Light doll from the competition's first game.
For a more villainous costume, go as the masked guards, responsible for explaining the rules of each game and bringing losers to their deaths. This best-selling set includes  the white circle, square or triangle on the chest as seen in the show.
 Red Guard Jumpsuits

Mann starred alongside Stephen Dorff in the MMA indie drama "Embattled" and the coming-of-age drama "Giant Little Ones." He will appear in the upcoming sixth season of TNT's "Animal Kingdom." Goss first gained attention for her appearance in BET's "The Bobby Brown Story" and will emerge in the second season of "Tyler Perry's Bruh." Sohn is best known for portraying Kima Greggs in HBO's "The Wire" and for her work on Showtime's "The Chi." Gooding starred in the Broadway rock musical "Jagged Little Pill," earning her a 2021 Grammy Award and a 2020 Tony Award nomination. She will appear in the upcoming Paramount Plus series "Star Trek: Strange New Worlds" as Starfleet Officer Nyota Uhura, a role first portrayed by Nichelle Nichols.
"Breakwater" marks a second film for Loose Cannon Pictures, led by Matt Paul, who recently produced "Violet." Paul adds, "We are excited to continue our mission of bringing high quality, unconventional stories to screens around the world."
Darren Mann, Alyssa Goss, Sonja Sohn and Celia Rose Gooding have been cast in "Breakwater." They join Dermot Mulroney in the crime thriller, which is written and directed by James Rowe, and produced by Loose Cannon Pictures. The film starts principal photography this week in North Carolina.
Breaking his parole and crossing state lines, Dovey tracks down the enigmatic Eve (Goss). Sohn plays Dovey's parole officer Bonnie Bell, while Gooding portrays Jess, Eve's best friend and confidant. Mann stars as Dovey, a young ex-con charged with finding the estranged daughter of fellow inmate Ray Childress (Mulroney).
Hanley at Paradigm Talent Agency and Tom Spriggs at Coronel Group. Goss is repped by Dana Sims at Creative Artists Agency and Megan Silverman Management. Mann is repped by Ashley M. Sohn is repped by Barry McPherson at Agency for the Performing Arts and Erwin More at More/Medavoy Management. Gooding is repped by Michael Goddard at Carlton, Goddard & Freer Talent.” />
Matt Paul, Larry Hummel, Edward Winters and Dana Lustig are producing.

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Advertisers have also faced new and growing pressure to consider how their dollars get spent. A group led by Byron Allen, the entrepreneurial owner of Weather Channel and a large group of TV stations, among other media assets, has been making a case to top media agencies and marketers over the past year that the time to support a broader mix of media outlets is way past due. automaker, to pledge to quadruple the percentage of its advertising dollars that go to Black-owned media outlets between 2021 and 2025. Allen in April succeeded in prodding General Motors, the massive U.S.
Carlos Watson indicated Monday morning that he had much to discuss with advertisers, even though his company, Ozy Media, has been besieged by a torrent of difficult news about its relations with investors, vendors and staff. "This is our Lazarus moment," the executive told interviewer Craig Melvin on NBC's "Today."
Dentsu Media, another large media buyer, in March struck a three-year partnership with Ozy. Just a few months ago, however, Ozy enjoyed amazing access to top advertising firms. WPP's GroupM in April unveiled a two-year pact with Ozy that called for the creation of bespoke video and audio series for the agency's clients. Ozy would also have provided consultation services on trends.
of National Advertisers have called multiple times for more transparency of data about viewership and audience  To be sure, there are raw counts of audience or minutes of video streamed provided by companies like Comscore. The ad industry's treatment of diverse audiences, employees and media outlets has come under scrutiny time and again. And new ad relationships based on so-called "programmatic" distribution means that advertisers are less savvy about the kinds of media outlets their advertising supports. But there is also opportunity for skewing of audience behavior. But so, too, has the allocation of advertising dollars to digital venues that lack an agreed-upon measurement of audience. Trade groups like the Assn.
There are reasons for skepticism when it comes to dealing with Ozy. Some media outlets have heard tough stories about overworked Ozy employees. Others have detailed flimsy — even nonexistent — relationships with media companies like A+E Networks or Amazon. Since a column appeared in The New York Times a week ago, outlining how the digital-media outlet faked a testimonial from a YouTube executive in a bid to secure financing from Goldman Sachs, the company has been picked apart.
Watson is getting a cool reception among top media-buying agencies, according to one executive familiar with recent outreach that Ozy has made to those who direct the spending of billions of dollars of advertising on behalf of top marketers. Watson and Ozy have been talking to media buyers about the company taking a "temporary pause" and describing a vision in which "Ozy will be back up again," this executive said. "That is probably falling on deaf ears." A representative for Ozy could not be reached for immediate comment.
In recent months, Target, Verizon and Procter & Gamble have demonstrated new willingness to work with Black-owned businesses or forge partnerships with Black creative executives. Ozy likely benefitted from a recent focus by the advertising industry on redirecting client spending toward media organizations owned by executives of color. Interpublic Group’s Mediabrands, a large buying agency, pledged to hold a series of “equity upfronts” that put advertisers in discussions with media outlets that cater to people of specific backgrounds. Most of the activity comes after months of reflection across the U.S., with individuals and companies examining their actions toward minorities and multicultural audiences in the wake of the killing of George Floyd while in the custody of Minneapolis police.
Madison Avenue isn't so sure.
On Monday, Watson told Axios that the company's deals with WPP and Dentsu were still extant. Representatives for GroupM and Dentsu did not respond to queries seeking comment.

Disney Plus has greenlit “American Born Chinese,” a series based on Gene Luen Yang’s graphic novel of the same name.
Executive producer and writer Kelvin Yu spoke about the project saying, “Gene Luen Yang’s book is a staple in American literature, and deeply important to a whole generation of readers.”
This is a great universal story that moves between worlds and explores the impact of culture, identity and acceptance through the lens of adolescence.”” /> President of Disney Branded Television, Ayo Davis added, “The team are visionaries in bringing character-driven adventures to life, and we cannot wait for the audience to experience this fantastically memorable and imaginative adaptation of the graphic novel.
Melvin Mar is a man with a vision, and I’m deeply grateful that he took this project under his wing. Kelvin Yu is a phenomenal talent. Remarked Yang, who created the graphic novel, “I feel so lucky to be working with this team. His script brings to television everything I wanted to get across in my book.”
Destin Daniel Cretton serves as director and executive producer. “American Born Chinese” is produced by 20th Television. Mar and Kasdan were previously executive producers on the ABC comedy series "Fresh Off the Boat." They and their Detective Agency production company are currently under an overall deal at 20th TV. “American Born Chinese” is written and executive produced by Kelvin and Charles Yu, along with Melvin Mar, Jake Kasdan, Asher Goldstein and Yang.
The action-comedy follows Jin Wang, a teenager juggling his high school social life with his immigrant home life. Identity, culture and family are themes throughout. When Jin meets a new foreign exchange student on the first day of school, their worlds collide as Jin becomes entangled in a battle of Chinese mythological gods.

You know, like, the mommy wears wedges. Latinas have a certain sense of style, and it was important to me that these characters show that, too. That is something I learned coming from a live-action background— animation is a long process, so I tried to get my word in from the get-go. I stuck my finger in every word and, as far as the way the characters look, I was insistent on the women in the show having a 'Caribbean' body and shape, to have a very Latin flair. I mean, once they put the color in and the music, then the ship has sailed. I was involved in designing all of the body shapes and, of course, the clothing they wear. I wanted the show to be as funny as possible. And, when I looked at the initial animations, I looked to find where there were opportunities for humor— should this character be the one to bump into something, or have trouble getting the cooler out the door? I mostly put my input at the beginning of the process, because that is where I have the most impact.
How did your past experience on 'Sesame Street' aid you in this project?
I'm back home in two places— with PBS Kids, which is where I started my career… When I started my career, public television had just begun for heaven's sakes! I have to give kudos to Ellen Doherty and Fred Rogers Productions for putting that together because I thought, well, they could see the Bronx with the internet and with pictures but they said, no, they should really go out there, and we took a bus tour and we went to my old neighborhood so they could get a sense of it all. Well, you know, who said you can't go home again? I can't believe that I'm back! And, I've gone back home to the Bronx. I've been to the Bronx more often than I have in a long time while working on the show because we took our pipeline of animators there so that they could get inspired. It was great to come home again.
Did you have any input on character design or voice casting?
As you can imagine, after 'Sesame Street,' I was like 'how am I going to top that act?' I wouldn't have done it had they not asked me to, and then I came up with what 'Alma's Way' was going to be about. And, because I'm Nuyorican and from the South Bronx, I set the show there because, well, that's me. I thought this was a cool message to kids that, if you have a brain, you could figure things out by observing the world around you and applying it to solving your own problems. Now, I never thought that I would create a show without the query from Linda Simensky (head of content for PBS Kids), to create it. The goal of this show was 'thinking,' and what inspired me to come up with that goal for a kid's show is because we live in a database society, and kids are expected to memorize a lot of information and expected to learn something at the same exact moment as their peers as opposed to later and before.
That's what I'm also bringing to 'Alma's Way,' because I looked around, and I saw that kids didn't think that they were as smart because they couldn't remember the information that they were expected to remember. When we started, kids weren't in school until they were five years old, but then they started going to preschool and we had to change content around to accommodate them and to give them tools. I learned that you have to be funny, and you have to be sincere, and that 'Sesame Street' always looked around to see what the needs of kids were at the moment in America, so it changed every year. You have a mind. You can think,' because I think that is what they need to see now. And those pressures that I was talking about in the beginning of the interview, that's what I think I can help them with through the show — I can say, 'You have a brain.
What has it been like to return to public television, working with PBS Kids and Fred Rogers Productions?
What is the origin story of 'Alma's Way'?
Ahead of the series debut of “Almas Way,” Manzano talks with Variety about animating the Bronx, the unique challenges of writing television for kids and making sure that her show had the Latina representation she wished she had growing up.” />
"Alma's Way" engages directly with viewers as its optimistic and confident protagonist works through challenges and spends time with her diverse friend group, showcasing various aspects of Latin culture, food and music along each episode's 11-minute trajectory. Co-executive produced by Manzano and Ellen Doherty, chief creative officer of Fred Rogers Productions, and animated by Pipeline Studios, the series hopes to teach children social awareness through the characters' modeling of empathetic decision-making processes and "Think-Through" moments.
Now, Manzano is trading Muppets for the mofongo-loving Alma Rivera, a six-year-old animated Puerto Rican girl of her own invention (and heavily based on her own experience), who lives in the Bronx with her parents, brother and a host of colorful neighbors. Sonia Manzano played Maria on "Sesame Street" for over 40 years, becoming a household name in the U.S. and a trailblazing Latina in the burgeoning public television landscape.
Were any inspired by people in your own life? How did you come up with these characters?
Now, you're probably thinking, 'well, how do you let them bring something to the table if it's on television?' But, really, it's all about interacting— you can form your conversations and your stories to be a little open-ended so that when the 11-minute episode is over, you've inspired them to think of something else. You don't want to beat them over the head with information, and you don't want to be in the position where you're just pouring knowledge into them without letting them bring something to the table. His anger and that entire situation is nuanced because everyone has different tolerance levels on how long they can tolerate a joke when they get tired of it. It is like when you read a good book, and it is frozen in time, but after you've read it you keep thinking about the characters and what they'd be doing now or how they would react to certain things. So, that's the trick to writing for kids— you shouldn't talk down to them, and you should give them a little meat they can chew. For example, there's an episode of the show where Alma is playing with Eddie and, they're just fooling around and having a good time but, she takes a joke too far, and Eddie says, he doesn't want to play anymore. That's the trick with 'Alma's Way,' and I think we succeeded on the show. And, because it is open-ended like that after it is over, kids can think about what hurts their feelings to joke about, or they can talk to their parents about what they do and don't like to joke around about.
I think I succeeded in that, and now I'm going further with 'Alma's Way,' because now little kids will see Alma and they will relate to her, and they will relate to the family, and they will relate to riding on the 6 train, and they'll see the murals on the walls and the stores in the Bronx and it'll all be familiar territory. I never saw a single person of color on television, never mind a Latina or a character in an 'urban environment.' These were the days when, if you did see a person of color on TV, you would run through the hallway calling all of your friends so they could see because it was just so not normal. So, when I got to be Maria on 'Sesame Street,' I thought that it was great because I was going to be for kids what I needed to see myself when I was growing up. I would watch all of those shows on TV Land, like 'Leave It to Beaver,' 'Romper Room,' and 'Father Knows Best,' and I never saw anybody who looked like me. They'll be part of the world that we are showing. So, it is very important for kids to see themselves reflected in society so that they can become and feel like they are a part of it. I have to tell you that, obviously, this lack of representation made me feel invisible and I thought, 'how am I going to contribute to a society that doesn't see me?' I really did feel like Ralph Ellison's 'Invisible Man.' People are always asking kids what they are going to be when they grow up, and I didn't even know what to say at the time because I never saw it— I never knew anybody doing anything that I would have maybe wanted to do. I was born on the mainland here, and I watched a lot of television in the '50s.
I just looked at my own family and friends from when I was a kid and created the characters out of that. For example, Eddie Mambo, who is the little boy with cerebral palsy and is Alma's cousin on the show, is based on my real cousin, Eddie 'Guagua' Rivera, who was the bass player with salsa legend Larry Harlow, and a kid that I knew in my neighborhood they had polio. He was so bold. Eddie Mambo's skin is a little lighter than most to the characters on the show and that was done on purpose, too, because my real cousin had lighter skin than me— as you know, Latinos come in all shades and shapes even if we are in the same family. I never forgot this kid, and when this opportunity came up, I thought I would make a character that had the elements and was a combination of this kid and my own cousin, Eddie. Now, the kid who had polio would lock his braces and then mambo— I mean, the girls were just lining up to dance with him. We thought, well, if we were in the South, then I would have to sit in the back and he would have to sit in the front, and then we wouldn't know when to get off! One memory I have of us together is when we watched the bus boycotts in the South, and we were both very nervous. So, that memory made me realize that kids do notice this kind of stuff, and so it was important for one of Alma's family members to have lighter skin.
What are some of the unique challenges that come with creating a TV show for kids?
Why do you think authentic representation is particularly important for children to see in the media and entertainment content they consume?

Vereschagin credits the company’s ability to adapt to an ever-changing landscape as a key component of its staying power. “A lot of companies that started at the same time are gone and have been gone for a while.” “This is the oldest company in the market in Russia,” he notes.
“The long-term problem with going hybrid is that at a certain point you’re going to train the audiences to be ready to watch it on a platform, and that kills off your exhibition business,” he says. Theatrical distribution has been out there for as long as movies exist, so let’s keep it that way.” “We’re not ready to support that.
While Hollywood studios are increasingly mulling hybrid releases of blockbuster titles like “Dune,” which Warner Bros. launched day-and-date on its HBO Max streaming service, Vereschagin is an adamant defender of the theatrical model. “We’ve had lots of conversations this year about doing hybrid releases, and we decided not to,” he says. “We’re going to be holding the window.”
It’s about the scale of the movie, the emotion that that movie brings to the audience.” At a time when streaming services around the world have seen subscriber numbers spike – a trend not created, but certainly fueled, by the coronavirus pandemic – Vereschagin is convinced that the future of the exhibition industry is bright, even if it relies on the kind of tentpoles and event movies that can lure audiences off the sofa. “It doesn’t necessarily mean that those are going to be fantasy, action, sci-fi films,” he says. “It’s not about the genre itself.
It’s financed and produced a string of commercial blockbusters, such as the smash comedy "Son of a Rich" – the highest-grossing Russian film of all time – and the WWII epic "T-34," and has a commanding hold on Russia’s exhibition industry: last year its distribution arm boasted a nearly 30% market share of total box office. Since its modest beginnings as a television production outfit, Central Partnership has grown into a production and distribution powerhouse. The company’s library includes titles from top U.S. and European studios – since 2009, it has been the exclusive distributor for Paramount Pictures in Russia – as well as an extensive catalog of arthouse and commercial movies from the fast-growing domestic industry.
To ensure that library is stocked and the production pipeline continues to flow – particularly when fast-growing domestic streaming services have set off an arms race for Russian talent – Central Partnership has inked a number of first-look deals with leading studios such as Kinoslovo, which produced the Netflix period romance “Silver Skates,” and the genre specialists QS Films. It’s also partnering with Latin American film group BF Films on the psychological horror “Schizophrenic,” marking the first ever co-production between the two industry giants.
“This project, for us, is the pinnacle of all the 25 years that we’ve done so far,” he says. Vereschagin says the cosmic shoot is a “dream” for him personally, as well as a fitting milestone for a company that’s celebrating its quarter-century anniversary this year. “You look at it, and this is crazy. This is something that hasn’t been done before.”
He concedes that “the platforms are willing to pay a lot of money for hybrid releases,” a phenomenon that has only gathered steam during the pandemic, as cinema closures and jittery audiences have made home-viewing an attractive option for many would-be movie goers. But Vereschagin also sees this as an existential struggle for the future of the industry that goes far beyond today’s bottom line.
The film is produced by Natalia Mokritskaya, whose credits include “Battle of Sevastopol,” “Jumpman,” and “Zoology.” Also in early stages of development are “Wizard of Emerald City,” a CGI-laden family fantasy epic, and “Guest from the Future,” an adaptation of the iconic Soviet sci-fi novel “One Hundred Years Ahead,” created with “Stalingrad” and “Invasion” producers Fedor Bondarchuk, Michael Vrubel, and Alexander Andruschenko. Another hotly anticipated title is “The First Oscar,” which is inspired by the true story of the making of “Moscow Strikes Back,” the winner of the first Academy Award for best documentary feature in 1943.
“We’re looking globally now. There’s another 6 billion people living outside of Russia. Vereschagin says there will be more international co-productions to come, offering a hint of what lies in store as Central Partnership embarks on the next 25 years of its journey. That’s our strategy. “I think that in Russia, we’ve reached the limit of what we can possibly do,” he says. That’s our audience.”” /> There’s 140 million people living in Russia.
Onboard the ship will be director Klim Shipenko and actor Yulia Peresild, who are setting out on a 12-day mission to film scenes from the upcoming drama “The Challenge” aboard the station. Produced by public broadcaster Channel One and leading studio Yellow, Black and White, in collaboration with the Russian space agency Roscosmos, the first-of-its-kind feature will be distributed by Central Partnership.
"The Challenge's" Shipenko, who also helmed “Son of a Rich,” is attached to direct. Among the highlights are “The World Champion,” a pulled-from-the-headlines story centering on the legendary 1978 chess match between Soviet world champion Anatoly Karpov and the dissident Viktor Korchnoi, which is helmed by “T-34” director Alexey Sidorov, and “December,” which centers on the last days of Sergey Yesenin, a famous Russian poet and lover of the American dancer Isadora Duncan.
That’s sparked one of the key takeaways from the past year for the Central Partnership topper. Don’t sell it to whomever forever; keep those license deals short, because you never know when you might need that content,” he says. “First lesson learned is make sure you still own a big chunk of your library. “We were lucky to have a big chunk of our library available when the pandemic hit, and all of a sudden, all of the streamers needed that content.”
This week Central Partnership will take part in CineEurope Barcelona, marking the first time a Russian distributor is presenting its international content at the exhibition industry confab. Leading its slate are a host of ambitious titles boasting the signature touches – epic human dramas, lavish production values, stories made for the big screen – that have become a company calling card.
We continued to produce movies,” says Vereschagin. We had a slate – not only for the domestic distribution, but for the international distribution as well.” Even as domestic and global box office shrunk in the past year, “we managed not only to survive but increase our revenues,” he adds, with revenue from international sales during the pandemic growing by 50%. “That actually helped us to live through this whole pandemic. “We had a pipeline going on. Though the coronavirus pandemic caused a three-month shutdown for the Russian industry last spring, production on a host of Central Partnership titles was soon up and running.
5, bound for the International Space Station, Vadim Vereschagin – CEO of production and distribution giant Central Partnership – believes his company's prospects will likewise lift into the stratosphere. When the Soyuz MS-19 spaceship blasts off from Russia’s Baikonur Cosmodrome on Oct.

Rebecca Campbell (no relation), Disney's chairman of international operations and direct-to-consumer, is serving as interim head of Hulu until a replacement is found.
NBCU is looking for someone to take over for Gidon Katz, currently NBCU's president of direct-to-consumer overseeing Peacock, who has told the Comcast-owned media company he plans to leave for another opportunity. In addition to Campbell, other candidates are under consideration for the Peacock role, according to a source familiar with the situation; this source said there are no official offers on the table right now.
Word that Kelly Campbell was in talks about a senior job at Peacock was reported earlier by the Wall Street Journal.” />
Campbell stepped down from Disney-controlled Hulu on Monday, where she had served as president since February 2020.
Kelly Campbell, who just abruptly exited as president of Hulu, has been in discussions with NBCUniversal for a top job at streaming service Peacock, sources told Variety.
Before joining Hulu, Campbell spent 12 years at Google, working in leadership and marketing roles in Google Ads and Google Cloud. She began in the finance sector as an investment banking analyst for JPMorgan Chase, and holds an MBA from Harvard Business School.
Insiders said under the role being considered, Campbell would report into Matt Strauss, chairman of direct-to-consumer and international at NBCU, who reports up to Mark Lazarus, chairman of NBCUniversal Television and Streaming.
I worked with the best of the best, in a values-driven culture full of the most talented people around,” Campbell wrote on LinkedIn following internal news of her exit. “Four years ago I accepted my dream job when I joined Hulu. And it didn’t disappoint. “While I’ve made the decision to move on from Hulu, I’ll forever bleed green.” Campbell added, “As for what’s next, stay tuned…”
An NBCU spokeswoman declined to comment.

Apple TV Plus is already home to "The Snoopy Show" (which premiered in February) and “Snoopy in Space.” Last year's deal also revealed plans to release new specials related to Mother’s Day, Earth Day and Back to School, in addition to "For Auld Lang Syne's" focus on New Year's Eve. Other projects include "Who Are You, Charlie Brown?" (a Peanuts 70th anniversary documentary film from Imagine Documentaries and WildBrain) and the Daytime Emmy Award-winning "Peanuts in Space: Secrets of Apollo 10.”
"For Auld Lang Syne" comes from a story by Alex Galatis and Scott Montgomery, and is written by Galatis, Montogomery and Clay Kaytis (who also directed). Schulz Creative Associates and Josh Scherba, Stephanie Betts, Amir Nasrabadi and Anne Loi for WildBrain Studios. Craig Schulz, Bryan Schulz, Cornelius Uliano are executive producers, along with Paige Braddock for Charles M.
The Peanuts gang are ringing in the holidays with another New Year's Eve special. 10. Apple TV Plus has announced a new Peanuts TV installment, “For Auld Lang Syne,” which will premiere globally on Friday, Dec.
In this new special, the Peanuts gang are disappointed to learn that Charlie Brown's grandmother can’t visit, leading Lucy to throw herself a New Year’s Eve party, while Charlie Brown struggles to accomplish just one of his resolutions before midnight.
"For Auld Lang Syne" — the first Peanuts TV special ever with a title that does not include the name of Charlie Brown or Snoopy — is also the first new original holiday special to come following a partnership struck by Apple last year with WildBrain, Peanuts Worldwide and Lee Mendelson Film Productions to bring together new original series and specials, along with the library titles all in one place.

"For Auld Lang Syne" is the second New Year's Eve-themed special to come from Peanuts, following "Happy New Year, Charlie Brown," which first premiered on CBS in 1986.
ET, “A Charlie Brown Thanksgiving” will air on PBS and PBS Kids on Sunday, November 21 at 7:30 p.m. 24 at 7:30 p.m. ET.” /> Apple TV Plus also will continue to stream the iconic specials “It’s the Great Pumpkin, Charlie Brown,” “A Charlie Brown Thanksgiving” and “A Charlie Brown Christmas” this fall, and also make them available for free on PBS. ET and “A Charlie Brown Christmas” will air on PBS and PBS Kids on Sunday, December 19 at 7:30 p.m. “It’s the Great Pumpkin, Charlie Brown” airs on PBS and PBS Kids on Sunday, Oct.

From Reba’s struggles to keeping her and her family’s heads above water to the relationship between simple Van and Cheyenne to Reba’s reluctant friendship with Barbra Jean (a relationship that became the unexpected center of the show), these bits connected because of how real they were, among the broad comedy.
It was a comedic approach to real world issues that WB audiences clearly latched onto. “Malibu Country,” on the other hand — a series about McEntire as the recently-divorced wife of a country music star, who uses the divorce settlement to move to Malibu with her kids and start up a country music career of her own — went full fish out of water in a way audiences couldn’t relate to (going from the heartland to lifestyles of the rich and famous). The premise of “Reba” came from the seismic status quo shifts made in just the pilot, which were the new normal for the Hart family as a result. “Reba,” like much of The WB’s offerings at the time (even the short-lived ones), was defined by its heart. And it’s worth noting that (and why) The WB’s “Reba” succeeded where ABC’s later one-season McEntire-led series “Malibu Country” (2012-2013), which had a similar enough premise, did not. While “Malibu Country” may have also had McEntire play a character with gentle hands and the heart of a fighter, it had absolutely no heart at all.
Eventually, though, the series was picked up for a 13-episode sixth season on The CW, and "Reba" easily remained the most-watched sitcom — and often program, in general — on The CW in its barely-promoted final season. Despite consistently being the highest-rated series on The WB’s Friday night line-up — even beating the competition on UPN and Fox — when The WB and UPN merged to form The CW in 2006, Reba almost didn’t make the cut. Les Moonves was reportedly originally against the decision to renew the show, as “Reba” did not fit the brand or attract the intended demographic of early-era CW (which also lacked heart).
Looking back at “Reba,” the first season of the series was actually particularly subversive, playing to a number of clichés and stereotypes — from teen pregnancy to hypocrisy and double standards in the Bible Belt — in a setting that, for all intents and purposes, should’ve been more Norman Rockwell than Jerry Springer. Only in a comedic way that, looking back, honestly made the series the “Roseanne” of The WB generation. The Harts were a “perfect,” All-American, middle class family, but from the moment the series began, the reality of that type of concept was constantly undercut.
Two decades years later, "Reba" is remembered fondly, as it has syndication homes on networks like Lifetime and Hallmark and streams on Hulu. It’s quite simple: Reba’s a survivor.” /> On social media, nostalgia reigns supreme, and in this particular case, it’s often The WB generation questioning why they connected so much to a series about a middle-aged, divorced, single mother when they were the complete opposite. Just this summer, the series theme song led to “I’m a Survivor” Tiktok trend, in which McEntire even participated.
With an established series and a new series with an established star, the 2001-2002 WB season was “Sabrina the Teenage Witch” (for its sixth and penultimate season), “Maybe It's Me” (a one-season single-camera family sitcom), “Reba” and “Raising Dad” (a one-season multicamera sitcom starring Bob Saget and Kat Dennings). When “Reba” premiered in October 2001, it was an integral part of the start of The WB’s attempt at making a comedic Friday night family line-up. During the previous TV season, The WB's Friday nights were home to short-lived, instantly cult single camera comedies "Grosse Pointe" and "Popular," alongside "Sabrina the Teenage Witch," in its first season post-ABC cancelation. But both commercially and even critically, "Reba" was an undeniable hit. During its 11-year run, The WB’s sitcom offerings (once it shifted its brand from the network of “The Jamie Foxx Show,” “The Steve Harvey Show” and “The Wayans Bros.”) could be hit or miss, especially in terms of connecting with the fledgling network’s target demographic.
Reba also has to process and contend with the fact that soon-to-be-officially ex-husband Brock (Christopher Rich) impregnated his new, younger girlfriend — the loud, oblivious Barbra Jean (Melissa Peterman). In the pilot, Van is kicked out of his home for this and moves in with the Harts, which includes sardonic middle child Kyra (Scarlett Pomers) and little brother Jake (Mitch Holleman). Of course, outside of just the financial struggles of becoming a single mother (when the father was the breadwinner), this new normal was made even more difficult for Reba with the reveal that her eldest child, popular high school cheerleader Cheyenne (JoAnna Garcia Swisher), was impregnated by her himbo boyfriend, star high school football player Van (Steve Howey).
Her roots were planted in the past. Though her life was changing fast, who she was was who she wanted to be. Twenty years ago, the now defunct WB network introduced a family sitcom starring country music icon and American treasure Reba McEntire. Appropriately titled “Reba,” in the multicamera sitcom, McEntire plays Reba Hart, a recent divorcee who now has to handle being a single mother who worked too hard — but who also loves her kids and never stops.
Like the series theme song (sung by McEntire in all of its iterations) said, Reba was a survivor. From the moment the series opened with the whole Hart family in therapy together, failing miserably to pretend they weren’t a messy family, it was clear what audiences were going to get out of the Reba character: the practical matriarch in a family that was spiraling out of All-American, middle-class family control.