Odetta Watkins has been hired by Amazon for the newly created role of head of drama series, the streamer announced Wednesday.
Watkins most recently worked at Warner Bros. She worked on the day to day logistics of shows like "The Flight Attendant" for HBO Max, "Ted Lasso" for Apple, "Queen Sugar," "Cherish the Day," and "David Makes Man" for OWN, and "Sandman" and "Sweet Tooth" for Netflix. She first joined the studio in 2002 as director of current programs, rising to the rank of executive vice president of current programs, cable & streaming. Television.
Lancaster was hired as head of series back in February, at which time Marc Resteghini was upped to head of development for both the U.S. and global. Watkins hiring comes as Amazon has restructured its streaming executive ranks in the past year to focus on development, series, and IP and talent management. At that same time, Kara Smith was named head of drama development, while Ryan Andolina expanded his duties as head of comedy.” />
“Odetta is a powerhouse at what she does – with a proven track record of recognizing and shepherding global hits, we are incredibly proud to have her join Amazon Studios," said Lancaster. "Her leadership and creative sensibilities are invaluable as we look to continue to break boundaries and tell nuanced and entertaining stories.”
In her new role, Watkins will report to Laura Lancaster, head of series for Amazon Studios. She will help shepherd a drama slate that currently includes shows like "Jack Ryan," "The Wilds," and "Hunters."

BMAC backed Joe Biden in his 2020 Presidential run based on the Democrat’s “promise to the Black community, George Floyd’s family, and to America.” Formed as an advocacy group whose principal goals are to address systemic racism within the music business on behalf of “Black artists, songwriters, producers, managers, agents, executives, lawyers and passionate industry professionals,” BMAC has also been active in direct political action, advocacy and the electoral process.
“Now that we have elected you President of the United States, I've anxiously waited and watched several executive orders get signed. “You told George Floyd's daughter that her father would change the world,” writes BMAC’s Stiggers. … How can you Build Back Better and push to pass a bill that addresses America’s infrastructure, without addressing the cracks in America’s soul?” But we are still waiting for the George Floyd Justice In Policing Act?
Along with demanding the legal end of racial profiling, the George Floyd Justice in Policing Act seeks to change the very culture of law enforcement, empower Black communities, and build trust between law enforcement and those same communities by establishing national standards for operation of police departments, mandate data collection on police encounters and more. This same George Floyd Justice in Policing Act has sat on President Biden’s desk ever since his inauguration in January 2021, and as far as the BMRC is concerned, to borrow another movement’s hashtag, time’s up. The George Floyd Justice in Policing Act, created in July 2020, after the vicious slaying of its unarmed namesake at the hands of police, is the first-ever comprehensive act designed to holding police accountable for their actions.
“Mr. President, if Black Lives Matter, please prove it! Do Black lives only matter during an election cycle?”
BMAC made headlines last month when it staged its inaugural Music In Action gala and presented the Quincy Jones Humanitarian Awards to H.E.R. and The Weeknd; the BMAC Social Impact Award to YouTube Music and Shawn Gee of Live Nation Urban; the Clarence Avant Trailblazer Award to Motown chairman Ethiopia Habtemariam and YouTube’s Tuma Basa; and its Agent of Change Awards to Aurora James, Dina LaPolt and Ben Crump. 23 event.” /> Variety was a media sponsor for the Sept.
6) at the close of a letter pushing the agenda of the long-awaited George Floyd Justice in Policing Act, and demanding an Executive Order be signed into legislation. Those incendiary words were written by Willie “Prophet” Stiggers, the co-founder/co-chair of the Black Music Action Coalition (BMAC), and sent to President Joe Biden today (Oct.

Throughout the years, "The Real Housewives of New Jersey" has chronicled the ups and downs in the family relationship, which has included prison for Teresa in 2015 after she and her then-husband, Joe Giudice, pleaded guilty to a number of financial crimes in 2014. Gorga has been on "The Real Housewives of New Jersey" since 2011, when she and her husband, Joe Gorga, joined the cast — much to the anger of Joe's sister, original cast member Teresa Giudice. After his prison stint, Joe Giudice was deported to Italy, and the couple has since divorced.
Buchwald has a significant client list in unscripted television, and Gorga has more than 2.3 Instagram followers and more than 4 million followers on social media.” />
The couple has three children. Gorga's own dramatic arcs have revolved around her volatile relationship with her sister-in-law, her singing career and her recent struggles with Joe about her spending too much time on her career for his liking.
Melissa Gorga, a veteran of "The Real Housewives of New Jersey," has signed with the talent agency Buchwald. Gorga recently wrapped production on the Bravo show's 12th season.
Gorga owns a boutique clothing store in Montclair, N.J., Envy by Melissa Gorga. She also appeared on the hit series "Lip Sync Battle," and will soon launch an international fitness accessories line.
Giudice is in the cast as well, along with Luann de Lesseps and Ramona Singer from "The Real Housewives of New York City," Kyle Richards from "Beverly Hills," and Kenya Moore and Cynthia Bailey from "Atlanta." Gorga also co-stars on the first "Real Housewives" all-star season, "The Real Housewives Ultimate Girls Trip," which will premiere on Peacock later this fall.

In the final season of "BuzzFeed Unsolved: Supernatural," Bergara, a true believer in supernatural phenomena, embarks on a quest to convince the skeptical Madej that paranormal phenomena truly exist. Across the six episodes, the duo investigate chilling evidence around some of the most notorious and disturbing supernatural folklore.
The two "BuzzFeed Unsolved" flagship shows are ending after Bergara and Madej, both former full-time BuzzFeed employees, decided to move on to focus on Watcher Entertainment, the entertainment studio/network they founded in 2019 together with ex-BuzzFeeder Steve Lim.
That includes "BuzzFeed Unsolved: True Crime," also hosted and produced by Madej (above left) and Bergara, whose eighth and final season came out this summer. The “BuzzFeed Unsolved” series, which first debuted in 2016, has generated some 1.38 billion cumulative video views globally, according to the company.
I hope this final season serves as a well-deserved thank-you note from Shane, myself, and all of the 'BuzzFeed Unsolved' crew to the fans that kept this show alive for 15 seasons and almost six years." Bergara, in a statement provided by BuzzFeed, said: “I'm so unbelievably excited that we had the opportunity to give this series a proper sendoff, and I can't wait for the fans of the show to see this final season that we worked incredibly hard on.
With Bergara and Madej's departure from "Unsolved," BuzzFeed said it will continue developing content for the BuzzFeed Unsolved Network with plans for new pilots centering on horror, mystery and paranormal stories.” />
The Ghoul Boys are back in town for one last hurrah, just in time for Halloween.
15 at 3 p.m. New installments of the six-episode final season will air on Fridays, alongside six companion Q&A postmortem segments. PT. The seventh and final season of "BuzzFeed Unsolved: Supernatural" with Shane Madej and Ryan Bergara — one of the digital media company's most popular franchises — will premiere on the BuzzFeed Unsolved Network's YouTube channel on Oct.
The company previously has claimed that it "has always worked hard to foster an environment where BuzzFeed creators can experiment and grow their careers — and we will support our creators who wish to explore new avenues independently.” The official exit of two of BuzzFeed's most popular personalities is a blow, to be sure.
Madej commented, “We’re beyond thrilled to give 'Unsolved' fans a victory lap as we embark on one last nightmarish odyssey through some of America’s most allegedly haunted locations.”

Ambros spoke about the upcoming project, saying, “While the focus is on the character study on Perkins and her strategic tactics to pass massive legislation, it’s equally about the limitations that a person has to create structural change if they work within the confines of Washington,” said the director and founder of Assembly Line Entertainment. “We couldn’t be more thrilled to be working with Pop Front as they’re current slate shows they’re on the cutting edge of politically charged content.”
Cabinet, along with serving the longest as the U.S. Known as the “Mother of Social Security,” Perkins made history as the first woman to serve in any presidential U.S. Secretary of Labor — from 1933 to 1945.
Her policy work transformed this country, improving the lives of untold millions of people. Vila, one of the co-founders of Pop Front Pictures added: “Frances Perkins is one of the great unsung heroes of American history. We are excited to collaborate with Assembly Line and Janek, who has written a riveting and politically sophisticated screenplay.”” /> Before the passage of Social Security, seniors had to work until the day they died to survive.
Janek Ambros and Assembly Line Entertainment have teamed up with Nando Vila and Pop Front Pictures to produce a biopic on Frances Perkins, the true story of Franklin Delano Roosevelt’s Secretary of Labor, who was the architect of the New Deal.
"Frances Perkins" will follow two simultaneous stories of the American workers-rights activist; her early years fighting for labor, and her fierce, tactical struggle to pass the largest economic legislation in American history as FDR’s Secretary of Labor.

I don’t have any problems with the city, but I realize the city hasn't valued my proposed solutions, either.” /> Until the gatekeepers and the powers-that-be consider the citizens and the consumer base, and no longer view the idea of human rights for all as a controversial idea.
We achieved those things! I wish the same energy I've felt from Virginia Beach leadership upon losing the festival would have been similarly channeled following the loss of my relative's life. When we did the festival, it was to ease racial tension, to unify the region, bring about economic development opportunities and broaden the horizons of the local business community.
Lynch was fatally shot by a Virginia Beach police officer on March 26, 2021, and his death was ruled a homicide by Virginia's chief medical examiner in August. There is no body camera footage because the officer involved didn't activate his camera. Lynch's father has sued the police officer who fatally shot his son. Virginia Beach police claim officers were responding to gunfire at a resort, and Lynch brandished a weapon at them. There have been no criminal charges filed in the case, and the Virginia State Police launched an independent investigation in March. However, Lynch's family claim he was legally authorized to carry a weapon and would not have brandished it.
I sang about a room without a roof, but I am tired of kindly and politely being shown the door.
I's a part of my beloved 757. I've always loved the city of Virginia Beach and most importantly our people. I love the city of Virginia Beach.
The 2020 and 2021 festivals were canceled due to the pandemic, but artists like Post Malone, Foo Fighters, Usher and more were slated to perform in 2020. In a response to Williams, Duhaney asked to meet with the artist and "explore a path forward," saying that the 2019 festival generated $24 million in economic impact.
In a letter to Virginia Beach City Manager Patrick Duhaney on Tuesday, Williams wrote, "I love my city, but for far too long it has been run by and with toxic energy. The toxic energy that changed the narrative several times around the homicide of my cousin, Donovan Lynch, a citizen of Virginia, is the same toxic energy that changed the narrative around the mass murder and senseless loss of life at Building Number 2."
I love my city, but for far too long it has been run by and with toxic energy. The toxic energy that changed the narrative several times around the homicide of my cousin, Donovan Lynch, a citizen of Virginia, is the same toxic energy that changed the narrative around the mass murder and senseless loss of life at Building Number 2.
Read Williams' full letter below.
Singer Pharrell Williams may pull his Something in the Water music festival from Virginia Beach, where it was launched in 2019, due to the "toxic energy" in the city and how it handled the police killing of his cousin, Donovan Lynch, in March 2021.

But since “Squid Game” was produced internationally, it is also eligible to enter the International Emmys. But it has to choose and can’t enter both, as both the Los Angeles-based TV Academy and the New York-based International Academy of Television Arts and Sciences have rules preventing Emmy double-dipping.
Netflix might test the Emmy waters by first entering “Squid Game” into the winter awards season races where it is eligible. Nonetheless, Netflix has a bonafide phenomenon on its hands with “Squid Game,” and the exciting prospect of a Korean-language hit hitting the FYC rounds could immediately elevate it to the top of the awards conversation. That includes the SAG Awards, Critics Choice Awards, Independent Spirit Awards and other guild awards, depending on eligibility.
But even that’s sometimes hard to prove: A network can say it retroactively got involved in shaping a show, unless it’s obvious that the project was acquired after it already aired on a partner in another country.
co-production for the streamer, was shot in both English and Yiddish, and was submitted in the Primetime Emmy race, where landed eight nominations in 2020. Netflix has generally steered its non-English programs to the International Emmys. “Unorthodox,” a German-U.S.
Of course, the Emmy Awards are much more competitive, given the sheer volume of eligible entrants. There’s also the issue of content — “Squid Game” is ultraviolent, and although TV Academy voters have become more open to genre (“Game of Thrones,” “Lovecraft Country,” “Watchmen”), it’s still rare.
“If such categories are to be created, the Television Academy will give the International Academy at least eighteen months’ notice prior to such effect,” the org says in its rulebook. “Creation of new non-English categories will not affect the International Academy categories and the producer shall have the option of entering the existing Primetime Emmy Awards category or the new Primetime Emmy Awards non-English category or the International Academy category for which eligible, but may enter only one such category.”” />
The definition of “foreign television production” has become tricky in the age of international co-productions. Perhaps the most prevalent over the decades has been WGBH’s and PBS’ “Masterpiece,” which co-produces British dramas such as the Emmy magnet “Downton Abbey” with U.K. partners.
(It’s believed that the show’s producers submitted the show, not Netflix.) This past Emmy eligibility season, it appears that just one series in a language other than English was submitted for Emmy consideration: Netflix’s Argentine comedy telenovela “Millennials,” which entered the comedy race.
The Primetime Emmy Awards currently have no categories for non-English programs, but that doesn’t mean that they can’t add them at some point. The streamer revolution might very well lead to conversations inside the TV Academy about creating some, if the interest in and accessibility to non-English global fare continues to rise.
That’s why so many well-known Canadian and even U.K. series are still not eligible for Emmys, “Schitt’s Creek” being a rare exception. As deserving as “Kim’s Convenience” might be for a Primetime Emmy, it’s very well documented that the comedy was first developed at the CBC, and only available later on Netflix.
TV is quickly turning global, and the expansion of U.S.-owned streamers around the world and into local non-English production — such as “Squid Game” — is about to make things much more complicated for the Television Academy.
International co-productions have also become an HBO staple, also mostly via the U.K., with recent entries such as “Chernobyl” and “I May Destroy You.”
That made the split between the Primetime Emmys and International Emmys pretty clear. producers and networks focused on the U.S. In the past, U.S. market, and if their international subsidiaries produced for networks outside of the country, it was for those local markets — and not targeted to American audiences.
Could “Squid Game” beat the most challenging TV contest of them all? The Korean-language survival drama, which has quickly become one of the most-watched Netflix series of all time, is indeed eligible for Primetime Emmy consideration, the Television Academy confirmed to Variety.
as a co-production between U.S. 50% or more) in a language other than English, shall have the discretion to enter the production and its individual achievements in any category where they are eligible in the Primetime Emmy Awards competition or in the awards competition of the International Academy of Television Arts & Sciences, but not both.” Here is the specific rule from the TV Academy: “Foreign television production is ineligible unless it is the result of a co-production (both financially and creatively) between U.S. The producer of any production produced in the U.S. and foreign partners, which precedes the start of production, and with a purpose to be shown on U.S. television. or outside the U.S. and foreign partners, in a language that is substantially (i.e.
Fully non-English fare has had a tougher time breaking into the Primetime Emmys. U.S.-based Spanish-language programming from networks such as Univision and Telemundo have long been eligible for Primetime Emmys — but because there are no Spanish-language categories, the two networks generally opt to compete at the International Emmys.
Fans are already buzzing that perhaps “Squid Game” could be TV’s version of “Parasite” — another unexpected smash from Korea that utilized violence to tell a tale about class divisions — which broke new ground at the Oscars. In 2020, “Parasite” became the first non-English film to receive the best picture Academy Award.
viewers in mind (the idea that it might hit it big here was truly an afterthought), it technically was — since Netflix was making the show for subscribers everywhere. So even though “Squid Game” was not really made with U.S. viewers. But as Netflix, Amazon, HBO Max and other streamers ramp up local productions around the globe, those shows are also immediately available to U.S.
primetime program. It was rare — and still is — for Spanish-language series to campaign in the Primetime Emmy race, and there has never been a major winner coming out of a show that is not in English. In 2011, Telemundo decided to try to break in, via its hit telenovela “La Reina del Sur,” starring Kate del Castillo. Telemundo felt it had the goods — at the time, “La Reina del Sur” was its highest-rated series ever — but it didn’t score a nom. Later, the series’ second season was submitted in the International Emmys, where it won for non-English language U.S.
According to an Academy spokesperson, because “Squid Game” was produced under guidance from Netflix, which is an American company, and it was always intended to be distributed in the U.S., it can be entered in the Primetime Emmy race.
That worldwide reach can now allow for the streamers to submit any program they make, anywhere, to the Primetime Emmys — as long as the program was developed in-house, and not acquired from an outside party.

Expect to see a lot of green tracksuits and white Vans this Halloween.
White slip-ons, more broadly, have also seen a 97% uptick in search volume, according to Lyst. Costumes inspired by the hit Netflix series "Squid Game," primed to be the streamer's most popular series to date, are trending online. Not only did green-and-white tracksuits become an instant best-seller shortly after the series premiere, but white slip-on Vans saw a 7,800% spike in sales since the show hit Netflix, according to data provided by Sole Supplier.
 
White Slip-On Vans
Clearly, fans are looking to recreate the matching uniforms worn by the players in the Korean thriller. The nine-episode series follows a group of debt-ridden citizens who compete in a "Hunger-Games"-like competition for the chance to win an abundant cash prize. After being put to sleep in a van, the 456 contestants find themselves in a nondescript auditorium the next morning, all wearing the same sweatsuit and white slip-on sneakers.
Whichever costume you choose, you have plenty of options: Check out our complete guide on how to achieve the perfect "Squid Game" Halloween look. But if you decide to be a money-hungry contestant this year, you'll want to snag these white sneaks before they sell out.
 ” />
Searches for red boiler suits spiked by 62% in recent weeks. Some fans are choosing to go as the more villainous characters in the show, though, opting for red jumpsuits and fencing masks to transform themselves into the mysterious masked guards. Others, however, may want to don an orange dress, yellow tee and knee-high socks to become the murderous Red Light, Green Light doll seen in the first episode.

subject to regulatory approval and other customary closing conditions.” />
According to Twitter, the MoPub sale will let it accelerate the development of owned-and-operated revenue products and boost revenue from areas including performance-based advertising, small and medium-sized business (SMB) offerings, and ecommerce.
26 after market close. In 2020, MoPub generated approximately $188 million in annual revenue for Twitter, which the company reported in "Data Licensing and Other." Twitter said it will provide additional details regarding the estimated future financial impact of the MoPub divestiture when it reports Q3 results on Oct.
"We thank the incredible teams and customers who have contributed to making MoPub a success within Twitter over the years.” “This transaction increases our focus and demonstrates confidence in our revenue product roadmap, accelerating our ability to invest in the core products that position Twitter for long-term growth and best serve the public conversation," Twitter CEO Jack Dorsey said in announcing the deal.
Twitter, looking to focus development dollars on its core business, said it reached a deal to sell MoPub, which sells monetization solutions to mobile app publishers and developers, to marketing software company AppLovin for $1.05 billion in cash.
Twitter had acquired MoPub in September 2013 for about $350 million.
Under the terms of the agreement, Twitter will provide certain services to AppLovin for a period of time post-close to enable "an orderly transition for publishers and advertisers." The transaction, which was unanimously approved by Twitter's board of directors, is expected to close in the coming months,

Though plenty accomplished, that project was like a practice run for “The Harder They Fall,” which focuses on the score that needs settling between Nat and Rufus. A singer with an interest in and aptitude for directing, Samuel is no stranger to the genre, having previously helmed the striking 2013 Western “They Die by Dawn,” an impressive, medium-length showcase featuring the late Michael Kenneth Williams as Nat Love and Erykah Badu as Stagecoach Mary. It’s a personal matter, and Rufus had his reasons, we learn. The Devil’s white.” As one character puts it, “I’ve seen the Devil, and Rufus Buck ain’t him.
People. Existed.” The movie, which kicked off the BFI London Film Festival with a bang, isn’t some fantasy Western full of made-up characters — not that there’s anything wrong with that, as gonzo oaters like South Korea’s “The Good the Bad the Weird” have demonstrated — but all-star assembly of real-life Black cowboys (and gals), including Nat Love (Jonathan Majors), Stagecoach Mary (Zazie Beets) and Cherokee Bill (LaKeith Stanfield). Well, as Jeymes Samuel’s stylish outlaw revenge saga “The Harder They Fall” insists from the outset, “These.
Like the American West. As a result, entire generations have been raised on lopsided and inaccurate representations of our past — that Jesus was white, for example — to the extent that they don’t necessarily believe it when Black actors appear in situations where they played a prominent (off-screen) role. The movies typically relegated women and people of color to supporting and subservient roles, while excluding (or else vilifying) queer and handicapped characters. There’s a cruel irony working against Hollywood’s efforts to diversify: For nearly a century, the industry depicted the world as a place dominated by white, straight, able-bodied men.
(New Mexico’s Cerro Pelon Movie Ranch stands in for most locations.) Everyone here is Black, and the notion of “good guys” and “bad guys” isn’t so clear, since they’re basically all wanted men. After robbing the bank, Nat and company return to Redwood City, a frontier town bursting with color — which is also no accident. Three of the film’s most compelling characters wear dresses, at least some of the time: Mary, her gender-defying right-hand “man” Cuffee (Danielle Deadwyler) and “Treacherous” Trudy Smith” (Regina King), who rides with fearsome bandit Rufus Buck’s gang. And women.
The fact that their names aren’t nearly as well-known as Billy the Kid or Wyatt Earp makes the film all the more compelling, especially in the dot-dot-dot coda that follows the final shootout, leaving room either for further exploits or for other directors to come along and expand upon the same characters.” /> Like “Young Guns” or “Tombstone” — the rare recent(ish) Westerns to have connected with audiences — “The Harder They Fall” is committed to putting its stamp on larger-than-life legends.
While the film doesn’t feel overtly political, through sheer power of representation, it’s shaking up the very restrictive codes of — and finding fresh life in — a genre that carbon-copied itself into oblivion via mid-’50s TV series like “Gunsmoke” and “Rawhide.” Samuel isn’t inventing anything here by shifting the focus to non-white antiheroes. Oscar Micheaux was making Black Westerns a century ago, and the big screen saw notable examples via Sidney Poitier and Harry Belafonte in “Buck and the Preacher” and Mario Van Peebles’ “Posse.” Still, the perception remains that the West was colonized by white cowboys facing off against black-hat villains (also white), while ridding the territory of Indians.
In the film’s most effective set-piece, Rufus’ posse stop a train and bust him out of a heavy iron vault. Then they gun down all the white soldiers hired to transport him, but not without cause (or The Man’s blessing). Nat has spent the better part of his life tracking down and taking revenge on the men who raided his home all those years ago. The only one who remains is Rufus Buck himself, safely behind bars — but not for long.
Perhaps midway through a movie in which the Civil War is over, slavery has ended and all the leading roles are played by Black actors, Nat and his gang ride into a town of rich, terrified-looking white folks. The town has literally been whitewashed: Every plank, sign and stoop has been painted white, so conspicuously that audiences ought to find themselves noticing just how artificial it all looks — something that may never have occurred to them when watching, say, the relatively progressive “Blazing Saddles” with its lone Black star.
Later, he leans on Barrington Levy’s reggae classic “Here I Come,” remixed with long silent stretches between drum beats, to make Rufus’ reunion with his gang feel iconic. Rather, Samuel thinks like a musician, using gunshots and camera cuts to set the tone. It elevates Nat Love’s killing of an outlaw in priest drag, as each bullet freezes the frame to deliver another word of the film’s title. He can’t match either master in their capacity to draw out the tension till one’s neck hairs prickle in anticipation. Samuel’s two biggest influences seem to be Leone and Tarantino, which makes for a very style-forward presentation, sometimes at the expense of a clean, straightforward story (it's unnecessarily complicated, all things considered, with the Crimson Hood Gang and others bringing added quick-draws to the hoedown).
As much fun as Majors, Elba, Beetz and King are to watch in roles that allow for plenty of scenery chewing (and oh what scenery!), it’s Stanfield who steals the show here as the part-Indian, part-Black Cherokee Bill. Samuel has assembled quite the ensemble, but Stanfield stretches the farthest to create a memorable character (Deadwyler’s Cuffee comes a close second), chewing on his cheroot and drawling long-winded monologues that would be right at home in “Django Unchained” or “The Hateful Eight.”
In the opening scene, Rufus’ looming figure (Idris Elba, his face hidden for effect) bangs on the door of a frontier cabin, shoots the family and carves a cross into the forehead of young Nat. “Some time later” in Texas, Nat has grown up into “Lovecraft Country” star Majors, who’s got one of those faces that holds the camera, whether it’s seen from afar on horseback or staring directly into the lens in one of those Sergio Leone-style extreme closeups.