Watch the trailer above.” /> "In Her Element" will stream on-demand Jan. 2022.
“Young women everywhere will feel empowered to reach for the stars after watching the film — no dream is ever out of reach.” Their impact in their chosen industries is immeasurable, and the footprint they will leave for future generations is astounding,” said Harris. “Hosting conversations with these inspiring women was truly an honor.
The XR set elevated the film in itself, by breaking through what’s traditionally seen as a stage, allowing for the conversation to become otherworldly. Filmed with state-of-the-art XR, “extended reality,” technology, the physical backdrop of the interviews is an immersive screen where documentary elements are deployed and interacted with to illustrate, contextualize and energize the conversation.
Harris will lead the discussions about the impact of the women's work, how they advanced their careers and where they are going next. Kate Kunath is on board to direct. The film seeks to encourage others to follow their dreams, even when they lie outside the norm, and shows what’s possible when a woman believes in herself.
Harris will lead the conversations, and joining her are Aisha Bowe, a rocket scientist, Laura Escudé, a music engineer, and Susie Wolff, team principal for a professional racing team. The 30-minute film, from Reese Witherspoon’s media company Hello Sunshine and Hewlett Packard Enterprise, features three female pioneers using technology to advance their fields while inspiring the next generation of women to join them in breaking through barriers.
Author, producer and founder of the Phenomenal Woman Action Campaign, Meena Harris will lead a new documentary film "In Her Element."

“But, if the right one came along, I’d be happy to be in an overseas production. It could be fun.” “No proposals or requests have come my way,” he told Variety.
I’m not sure how much that matters. That makes me feel very at home. “There are always questions about whether something is better as a film or as a series. These days in Korea, many series of ten episodes or less are being made by writers and directors from the film scene. Maybe as an actor I should do more series, explore some more.” What is important is whether the script fits the form, whether the story is entertaining and captivating,” he says. “We are living at a time when an actor can choose freely between the two. But series are naturally longer, which gives you more time to develop a character.
He is currently producing and making his feature directing debut on “Namsun,” a Korean-language spy thriller that he got caught up in after buying the rights and rewriting the screenplay. Lee, who has used the fruits of his past success to become entrepreneurial and venture into restaurants, property and interior design, says he increasingly wants to focus on acting.
But if a good opportunity presented itself, of course I’d be open to it.”” /> "After I turned 40, I felt my stamina dropping, and rationalized that I should just focus on one thing, and I decided to focus on acting alone,” he says with a grin. For now, I don’t have any plans to do an overseas project. “Now that I’m nearly 50, I feel it more. And I’ve decided that I’ll only do one job at a time.
Top South Korean actor Lee Jung-jae is thoroughly enjoying the extra burnish to his already distinguished career that has come from the global success of “Squid Game,” Netflix’s hit survival game TV series. However, he says that the phone is not ringing off the hook with new offers from Hollywood.
And Lee says that “Squid Game” has opened his eyes to the options. The global streaming giants are now engaged in a race to secure long-term supply deals with Korean producers and content suppliers. Korean films have grabbed the global spotlight thanks to titles like “Old Boy,” “Snowpiercer” and Oscar winner “Parasite.” But within Asia, Korean TV drama has long been regarded as the gold standard, combining creativity, classy performances and high production standards. That makes it an exciting time to be in the Korean screen industry.
“I didn’t expect this kind of success at all when I first boarded ‘Squid Game’ as a project. But when I read the script, I understood that it contained elements that could resonate with everyone and work outside of Korea,” says Lee.
Industry gossip says that Lee is now the most bankable actor in Korea, but he shakes off the idea that he has been fundamentally changed by “Squid Game.”
His credits include “Il Mare,” “The Housemaid,” “New World” and 2020’s “Deliver Us From Evil.” It was a role that Lee accepted with relish after a more than two-decade career, in which he played romantic leads early on but lately has been cast as austere princes, killers and crooks.
Lee may have been playing against type for too long. Independent producer Jonathan Kim, who has known Lee since he was 19, says “He thoroughly deserves the success he’s enjoying with ‘Squid Game.’ It couldn’t happen to a nicer person.”
“[Hwang] is very capable of building characters from the ground upwards, which is why when the characters have to take big decisions, they are believable. “[Hwang’s] success comes from being very detailed about explaining the characters, their roles and their feelings. Sadness wears many different faces and [in 'Squid Game'] the characters’ different sadnesses can easily be felt by viewers,” says Lee. And it is why the audience is willing to believe in the show’s climactic ending. It is actually touching.”
Lee says he was also attracted to “Squid Game” by the stellar track record of writer-director Hwang Dong-hyuk, whose feature films include historical action drama “The Fortress” and the much-remade body-swap musical comedy “Miss Granny.”
His affability and carefully crafted backstory make him an easy-to-like protagonist who faces an evil organization that its literally playing with people’s lives. Lee plays Gi-hun, a penniless wastrel who gambles too much, steals from his family, gets beaten up by loan sharks and accepts a mysterious invitation to become contender #456 in the deadly competition.
When I was younger, I was curious about other trades. I still like acting the best and intend to focus on that," he says. But it has been quite a while since I was involved in those things." I wanted to see other parts of the world, try things out. “Just because I’m doing the director’s job on this film doesn’t mean I’m going to be giving up acting.
This was possibly the first time I’ve played a character with such a range,” says Lee. “Nothing much has changed for me as an actor. It has a large spectrum, which any actor would want to try out at least once in his career. But Gi-hun’s character changes a lot over the course of the show.

The firebrand comedian has drawn criticism from the LGBTQ+ community in recent days over several jokes, specifically around the "thin skin" of trans people and the effects of so-called "cancel culture."
As examples, Sarandos referenced Netflix content, including "Cuties," the Sundance sensation meant to comment on the "hypersexualiztion of children," which in turn was accused of promoting lewd images of minors; the teen suicide drama "13 Reasons Why;" and the unscripted series "My Unorthodox Life" about a fashion executive leaving the Jewish Orthodox faith.
Netflix co-CEO Ted Sarandos has addressed staff members on the streamer's controversial new Dave Chappelle stand-up special, "The Closer."
In the memo, Sarandos drew a line between expressing artistic freedom and protecting employees in the workplace.
-Ted” />
Some people find the art of stand-up to be mean-spirited but our members enjoy it, and it’s an important part of our content offering. I recognize, however, that distinguishing between commentary and harm is hard, especially with stand-up comedy which exists to push boundaries. We don’t allow titles Netflix that are designed to incite hate or violence, and we don’t believe The Closer crosses that line. Several of you have also asked where we draw the line on hate.
"Chappelle is one of the most popular stand-up comedians today, and we have a long standing deal with him. His last special "Sticks & Stones," also controversial, is our most watched, stickiest and most award winning stand-up special to date," Sarandos wrote in the memo, obtained by Variety.
Read the full memo from Sarandos below:
So we’re proud of titles like "Sex Education," "Young Royals," "Control Z" and "Disclosure." Externally, particularly in stand-up comedy, artistic freedom is obviously a very different standard of speech than we allow internally as the goals are different: entertaining people versus maintaining a respectful, productive workplace. In terms of our commitment to inclusion, we’re working hard to ensure more people see their lives reflected on screen and that under-represented communities are not defined by the singe story.
Seeming to address industry rumors that many Netflix employees were incensed by the company's silence over Chappelle's remarks about the trans community, Sarandos said, "Several of you have also asked where we draw the line on hate. We don’t allow titles Netflix that are designed to incite hate or violence, and we don’t believe 'The Closer' crosses that line."
As with our other talent, we work hard to support their creative freedom – even though this means there will always be content on Netflix some people believe is harmful, like "Cuties," "365 Days," "13 Reasons Why" or "My Unorthodox Life."" Chappelle is one of the most popular stand-up comedians today, and we have a long standing deal with him. His last special "Sticks & Stones," also controversial, is our most watched., stickiest and most award winning stand-up special to date.
"As with our other talent, we work hard to support their creative freedom — even though this means there will always be content on Netflix some people believe is harmful," he added.
These are hard and uncomfortable issues. Today’s conversation on Entertain the World was timely. We all bring different values and perspectives so thank you for being part of the conversation as it’s important we’re clear about our operating principals.
Netflix declined to comment on the matter.
You should also be aware that some talent may join third parties in asking us to remove the show in the coming days, which we are not going to do. It never feels good when people are hurting, especially our colleagues, so I wanted to give you some additional context. I wanted to follow-up on the "The Closer" — Dave Chappelle’s latest special — as several of you have reached out following QBR asking what to say to your teams.
"Particularly in stand-up comedy, artistic freedom is obviously a very different standard of speech than we allow internally as the goals are different: entertaining people versus maintaining a respectful, productive workplace," he said.
All three were suspended, an an investigation is pending. In a Friday memo sent after Netflix's quarterly business review, a two-day gathering of the top 500 employees at the company, Sarandos offered guidance on how managers should handle upset employees and angry talent speaking out against Chappelle. It was the same meeting crashed by three junior staffers, one of whom was an out trans person who was critical of Chappelle on Twitter last week.

"Chapelle is one of the most popular stand-up comedians today, and we have a long standing deal with him. His last special 'Sticks & Stones,' also controversial, is our most watched, stickiest and most award-winning stand-up special to date," Sarandos wrote.
 ” />

Terra Field, a senior software engineer based in San Francisco, was among those suspended late last week for attending the "QBR" — Netflix's quarterly business review, a two-day affair that convenes the top 500 employees at the company.
Read Field's full Twitter thread:
Field did not immediately respond to requests for comment.
You're going to hear a lot of talk about 'offense.' We are not offended."  In her tweets, Field writes, "Yesterday we launched another Chappelle special where he attacks the trans community, and the very validity of transness – all while trying to pit us against other marginalized groups.
"As with our other talent, we work hard to support their creative freedom — even though this means there will always be content on Netflix some people believe is harmful," he said.
This is the first time I felt like, 'Oh, people are laughing at this joke and they're agreeing that it's absurd to call me a woman.'" Moore told Variety last week that she "never loved Dave's trans material before but this time it felt different.
Netflix did not suspend Field over recent tweets decrying what she called anti-trans jokes in the Chappelle special, individuals familiar with Netflix said, but for attending uninvited. An investigation has been launched into the three employees. Field, who identifies as queer and trans, and the other employees were not invited to the virtual gathering, according to insiders.
Netflix has suspended three employees for crashing a meeting of its top executives, including an out trans person who criticized a new comedy special from Dave Chappelle, sources tell Variety.
Our employees are encouraged to disagree openly and we support their right to do so," a Netflix spokesperson told Variety. "It is absolutely untrue to say that we have suspended any employees for tweeting about this show.
Last Wednesday, Field wrote a lengthy Twitter thread about "The Closer," the new Chappelle stand-up special in which the comic accuses the trans community of having "thin skin."
Netflix talent speaking out against the Chappelle special includes Jaclyn Moore, the showrunner of its original series "Dear White People."
Field went on to say of Chappelle, "our existence is 'funny' to him – and when we object to his harm, we're 'offended.'" She then listed numerous names of trans people, specifically highlighting trans women of color, killed in hate crimes.
At the meeting, Netflix co-CEO Ted Sarandos fielded questions about how leadership should handle employees and talent upset over Chappelle's remarks. He addressed the entire group in a memo after the event, which Variety obtained on Monday.

The closing films scheduled are writer and director Xavier Giannoli's "Lost Illusions" as well as writer and director Arthur Harari's "Onoda, 10,000 Nights In The Jungle." All three of these films will be premiering for the first time in North America. 1, will be "Between Two Worlds," which recounts the adventures of Marianne Winckler, a celebrated author who goes undercover as a cleaning lady to write a book on job insecurity in the gig economy. The opening film, screening Nov.
3 to Nov. Other programs offered throughout the festival include: After 10 Series from Nov. 2 to Nov. 2 to Nov. 7; World Cinema Produced by France; French NewWave 2.0 which explores a new generation of filmmakers; and the Happy Hour Talks, a series of panels presented in association with Variety from Nov. 6; Colcoa Documentaries from Nov. 6. Panels will include a focus on film composer Amine Bouhafa for "The Summit of the Gods" and "Gagarine" as well as a focus on filmmaker Nicole Garcia for "Lovers" and producer Philippe Martin for "Lovers," "Gallant Indies" and "Simple Passion." Colcoa will also continue its Colcoa High School Screenings program with the premiere of "Owning It," written by Johanna Goldschmidt and Laure-Elisabeth Bourdaud and produced by Nolwenn Lemesle.
The event will be in-person and will feature 55 films and series screened live, 30 of which will be considered for Colcoa cinema awards. Colcoa French Film and Series Festival announced the lineup for the 25th edition of the annual City of Lights, City of Angels event, which is scheduled to take place Nov. 7 at the Director's Guild of America  headquarters in Los Angeles as it has been traditionally held. Among the films are also 19 shorts. 1 to Nov.
Presented out of competition, the free Colcoa Classics series will pay tribute to writer and director Bertrand Tavernier with the screenings of "The Judge and the Assassin" and "Captain Conan," writer Jean-Claude Carriere and a screening of "The Discreet Charm of the Bourgeoisie" and actor Jean-Paul Belmondo with the presentation of "Le Magnifique," followed by a discussion with actor Jacqueline Bisset and writer Francis Veber. A digitally restored version of Jacques Rivette's "Gang of Four" will have its international premiere at Colcoa as well.
Proof of vaccination will be required for all festival events. The full lineup and ticket purchase are available at the festival's website.” />

There’s little doubt that TV exhibitors are eyeing Canadian projects with a bit more interest these days given the immense international success of series including “Schitt’s Creek,” “Letterkenny” and “Transplant.”
Edwards, who’s also attending this year, there’s a hope that the environment will be somewhat less competitive this year. For S.B.
“Telefilm is excited for Canada to have its first physical presence at Mipcom after nearly two years of participating in international events virtually,” says Francesca Accinelli, Telefilm Canada VP of promotion, communication and international relations.
Cole has been a member of Telefilm Canada’s RDV Meet the Series Team, which has allowed her to develop and pitch her projects online for the past year, but, like De Zotti and Edwards, she’s excited to finally turn up in person and be in the same room with buyers and broadcasters.” />
producer Chris Moore (“Manchester by the Sea”), as well as exploring co-production opportunities with Ireland on a horror project “The Estate,” which might have spinoff potential as a series. They are parallel developing “Nowhere” as both a feature and TV series with U.S.
Canada returns to Mipcom this year after several years of physical absence, and will present its new eco-friendly Canada Pavilion, connecting homegrown producers and production companies with the international market for networking, financing, co-production, acquisitions and sales opportunities.
Among those attending in person are producers such as Toronto-based Julian De Zotti, who admits that he simply can’t handle doing yet another virtual festival or market. “The magic that comes with those accidental meetings or drinks at an after-party is what can lead to great collaborations and deals, and you just can’t get that virtually,” he says. “It’s perfect for an international cast, and tackles the apocalypse narrative from a fresh, timely perspective.” He’s also got several other projects to shop around, including “The Existential Disasters,” a half-hour workplace comedy that takes place at a think tank in the Canadian Arctic as a group of experts from around the world tackle preparing humanity to survive the next extinction-level event. De Zotti is hoping to secure additional international territories for his six-episode dramatic comedy series, “For the Record,” after its successful premiere at SXSW.
De Zotti adds that global co-productions are the future of Canadian content. “You can make shows on a larger budget at a reduced price because the risk is spread across many partners, and potentially take the rights to your own home territory.”
But, nowadays, she says, streaming platforms have been encouraging filmmakers to make local stories that can resonate internationally and this has helped change the game for Canadians like her.
Similarly, she adds she was previously discouraged from mentioning that she was Canadian when pitching to Europeans. “It would eventually slip out and I would see peoples’ eyes glaze over.” “The Other Medici” is a European story that happens to originate in Canada, says Cole, who has been obsessing over and researching her tale for years.
“Years ago, I was told that no one would be interested in the childhood story of an extraordinary young girl,” says fellow producer Nikila Cole, who is bringing a limited series proposal based on the origin and childhood story of Catherine de Medici to Mipcom, along with several other projects.
Looking beyond your own borders, he says, also means that you can find partners with more diverse backgrounds and experiences that might be more symbiotic with specific projects.
“I think the world is looking closer at Canada as a maker of our own distinct stories that have global reach, that translate across continents,” De Zotti says. They are about now. “These projects have urgency. They have a point of view that is unique but relatable, with a specifically Canadian sensibility.”
“As a marginalized creator in the endless grind, I am always seeking out ways to be strategic,” says Edwards.

"I was just so grateful, and just really just blown away by that," said Way. "When I saw the shows, they just kept selling out. And we kept adding them, and it just kept selling again, and I was like, 'Wow, something happened in the years that this band went away.'"
Some of it I wasn't ready to hear, some of it I had to find out for myself." But he's given me advice over the years. And when I moved to LA, he would go to vintage rooms with me to try out amps, [because] I was looking for a heavier sound. "He's just been really good to me. "He's so smart, and he's said so much to me over the years in the times that I've hung out with him," said Way. He would go and try the stuff out with me.
Baltin — who has known Way since first interviewing the MCR frontman on a Warped Tour stop in 2000 — had plenty of ground to cover, including Way's decision to take a breather after the band broke up in 2013, the triumphant reunion shows six years later, his friendship with Smashing Pumpkins frontman Billy Corgan, and stories about My Chemical Romance's landmark album, "Welcome to The Black Parade."
"Just these big sweeping section changes and things like that. But at the same time, we realized when we were working on it, you can't remake 'Bohemian Rhapsody.' You could be a little inspired by it, but we can't try to do that." Way also spoke of Queen's influence — particularly the song, "Bohemian Rhapsody" — had on the recording of "Welcome to The Black Parade." 'Bohemian Rhapsody' was always an influence on this song," he said.
Asked about the New Jersey band's triumphant, sold-out reunion show at Los Angeles' The Shrine in 2019 — right before the pandemic — Way said: "It was the most fun I'd ever had playing a My Chem show." The show was the venue's highest grossing gig, clearing  nearly $1,500,000.
So that's a theme that's definitely in 'Black Parade,' the song, and it's in my work."” /> And I think overcoming that darkness, that darkness externally and internally is a beautiful thing. Way continued: "The triumph of the human spirit over darkness was something that was kind of built into the DNA of the band from the beginning. There's darkness in the world. It's a challenging thing, but it is beautiful if you can do that, if you can kind of triumph over that. The self-actualization, the triumph of the spirit and things like that, getting through really hard things.
"I never in a million years imagined we'd hit 100 episodes, so I always wanted to do something special for this milestone episode," says Baltin. "I interviewed Gerard earlier this year for a yet-to-be-announced project, and in trying to come up with the right idea for this episode, I asked him if it was OK to use our interview — since it was such a fascinating talk — for the podcast. Being one of the nicest guys in music, he graciously gave his blessing."
That time away helped Way understand what the band meant to fans, given the reaction to the music years later.
Said Way: "So Dave Chappelle, post 'Chappelle's Show,' he had gone away, which I really related to, by the way. When it had felt time to kind of end My Chemical Romance, I found his situation, although very different from mine, obviously, to be very relatable, being in this kind of machine that had gotten super big and felt a bit out of control, and then kind of not wanting to do it anymore for mental health reasons."
"My Turning Point" podcast host Steve Baltin will celebrate the show's 100th episode tomorrow (Oct. 12) with a very special guest: Gerard Way of My Chemical Romance.
Baltin, a noted music journalist and Variety contributor, launched the podcast with Live X Live and producer Adam Chavez two years ago, and reached out to Way to join in marking the milestone event.
On his decision to stay out of the spotlight after the group broke up, Way said he was inspired in part by Dave Chapelle, who took a time-out when his Comedy Central show went off the air.
Speaking of his move to California, Way credited Smashing Pumpkins frontman Billy Corgan for offering guidance and support.
"And the depth he gets into on the stories behind the song 'Welcome To The Black Parade' are incredible for any proud music geek." "As soon as you tune in, you can hear we have known each other a long time, so it was, like all of my interviews, incredibly conversational," Baltin adds.
"So I started to kind of examine my own part in that, and think about playing big shows and kind of working a crowd and hyping a crowd up. "After the band broke up and I had a lot of time to think and change and grow and all that stuff, I started to have a real issue with control," added Way. I'm not really gonna work them. So when it came time to do My Chem again, I had said to myself, 'OK, I'm not gonna control the audience. And we did always try to keep our shows really authentic, almost like you didn't know what was gonna happen up there night to night, even if we played the same songs. I'm not gonna direct them. I'm just gonna let them do what they wanna do.' And so it made that show even more rewarding."

“It has truly been a privilege to work with Alan over the years,” said Chapek. “He’s led an exceptionally talented Studio team that is the best in the industry, creating some of the most beloved and iconic films of our time, and he will forever be a cherished member of our Disney family.”
There are no plans to replace Horn. Bergman, a well-respected and well-liked executive and Disney veteran, will continue to oversee the film division as it builds up its streaming arsenal.
“We have been very fortunate to have Alan at the helm of our Studio for nearly a decade, presiding over an unprecedented period of growth and exceptional storytelling, while solidifying his reputation as one of the industry’s true icons. “Throughout an illustrious career spanning nearly five decades, Alan has had a profound impact on the entertainment industry and audiences worldwide,” said Iger. Like so many, I will be forever grateful for his strong support, wise counsel, and enduring friendship.”
In these roles he was involved with “Batman Begins” and the “Harry Potter” series, as well as "The Departed," “Million Dollar Baby,” “The Shawshank Redemption,” “When Harry Met Sally…,” and “Seinfeld.”” /> Prior to joining Disney, Horn held key leadership roles at prominent studios since starting his career in entertainment in 1973 at Embassy Communications. In 1987, he co-founded Castle Rock Entertainment, which he led as chairman until 1999, when he joined Warner Bros., where he served as president and chief operating officer until 2011.
During his tenure, Disney released 20 films that surpassed the billion-dollar mark, including the biggest domestic release of all time (“Star Wars: The Force Awakens”) and the second biggest global release of all time (“Avengers: Endgame”). During Horn's nine years at Disney, the studio set numerous records at the box office, surpassing $7 billion globally in 2016 and 2018 and $11 billion in 2019, the only studio ever to have reached these thresholds.
Horn will retire from the company as of December 31. Since January 2021, Horn has served as chief creative officer of Disney Studios Content (formerly the Walt Disney Studios) alongside Bergman as chairman. He led the Walt Disney Studios as chairman from June 2012 to May 2019, when he transitioned to co-chairman and chief creative officer alongside co-chairman Alan Bergman.
“He has been one of the most important mentors I’ve ever had, and we’re both very proud of what we’ve been able to do in our time together at the Studios leading this terrific team. I simply can’t thank him enough.” “Alan Horn is one of a kind, and we were fortunate that he chose to bring his talents to our Studios,” said Bergman.
The company pushed Horn out as Warner Bros. Iger wrote in his autobiography that Horn was his best hire. chief, replacing him with Jeff Robinov, who exited the studio in 2013 after a stormy tenure. Horn had been expected to step down with Disney Chairman Bob Iger, a close ally who is leaving the company this December. It was also a decision that may have sparked regrets in the Time Warner empire. Bob Chapek took over as CEO of Disney in 2020.
Alan Horn will retire as chief creative officer of Disney Studios Content, capping a successful nearly decade-long run at the Walt Disney Company. Under Horn, Disney successfully integrated Marvel's film operations, rebooted the "Star Wars" film franchise after buying Lucasfilm in 2012, and maintained its dominance in the animation space. It was one that saw Horn stabilize the film operation after a tumultuous period when Rich Ross took the reins for three tumultuous years.
I also must recognize the extraordinary leaders of our individual studios as well as our business teams and every single one of our fantastic team members. “It has been my great privilege and pleasure to be able to spend these past 50 years helping creative people tell stories that move, entertain, and connect audiences around the world – and a dream come true to have the chance to do it at Disney, no less,” said Horn. It’s never easy to say goodbye to a place you love, which is why I’ve done it slowly, but with Alan Bergman leading the way, I’m confident the incredible Studios team will keep putting magic out there for years to come.” “I’m deeply thankful to Bob Iger for the opportunity he gave me and to Alan Bergman for being an incredible partner throughout this adventure, as well as to Bob Chapek for his steady leadership during these unprecedented times.

Some of the famous faces he's captured with his lens include Eminem, Kim Kardashian, Cypress Hill, Dennis Hopper, Blink-182, Robert De Niro, Al Pacino, Kendrick Lamar, 50 Cent and Danny Trejo. L.A.-based tattoo artist and designer Mister Cartoon will also be executive producing, along with his longtime collaborators Mark Suroff and Marco Valadez, who produced the documentary "LA Originals," which Oriol directed. Rodriguez executive produces along with internationally celebrated photographer and director Estevan Oriol, whose work has been showcased at The Smithsonian Center for Latino Initiatives, The Peterson Automotive Museum and The Museum of Contemporary Art.
Matthew Carnahan ("House of Lies") is also in the writer's room and serves as an executive producer. Michael Connolly, a current executive producer on the Amazon Original horror series "Them" and the co-producer of the Oscar-nominated "How to Train Your Dragon" franchise, put the Latinx package together under his STXtelevision-based Mad Hatter Entertainment banner and is executive producing.
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The hourlong drama, written by, created and executive produced by Javier Rodriguez, centers on a Chicano family in the deep suburbs of Los Angeles as they come to terms with the falsehoods of the American dream and their ability to defy expectations.
Peruvian director Ricardo de Montreuil, who directed the coming-of-age drama "Lowriders" starring Eva Longoria and Demian Bichir and "Máncora," will direct the "Open Upon a Time in Aztlan" pilot and will executive produce.
The Mexican American multi-award-winning actor, author, comedian and film and TV star is executive producing via his Travieso Productions banner. Amazon Studios has ordered a pilot for the George Lopez-led drama series "Once Upon a Time in Aztlan," hailing from STXtelevision.

"Takeover" marks the first Market Road Films project to come out of its first-look deal with Sister, which was co-founded by Elisabeth Murdoch, Stacey Snider and Jane Featherstone.
The feature adaptation has also secured the support of some of the original Young Lords featured in the documentary (which launches on the New York Times’ Op-Docs platform on Tuesday), who will serve as consultants on the scripted re-telling.
The Lincoln Hospital takeover resulted in the Patient Bill of Rights, which marks the 50th anniversary of its adoption next year. The short-subject documentary — directed by Emma Francis-Snyder and produced by Market Road Films’ Tony Gerber — chronicles the 12 historic hours in 1970 when 50 members of the Young Lords Party stormed the dilapidated Lincoln Hospital in the South Bronx and made their cries for health justice known to the world. And though the Young Lords did not achieve its goal of universal healthcare, the bill is still the basis of care to this day.
After making its debut at the Tribeca Film Festival, the gripping documentary "Takeover" is set to be adapted into a narrative feature from Sister and Market Road Films.
Sister builds upon Featherstone’s Emmy and BAFTA Award-winning scripted indie studio, Sister Pictures (an independent, modern studio with offices in London and L.A.), with the mission to develop, produce and invest in visionary creators, producing hit shows including "Chernobyl" (Sky/HBO), "Gangs of London" (Sky/AMC) and "Giri/Haji" (BBC/ Netflix).” />
Rivera is best known for "The Motorcycle Diaries," "On the Road" and the upcoming Netflix series adaptation of Gabriel Garcia Marquez’s "One Hundred Years of Solitude." He is represented by UTA and Code Entertainment. Renowned playwright and Oscar-nominated screenwriter José Rivera is attached to write the screenplay.
Miranda Jr., who will executive produce. Market Road Films’ Gerber and Lynn Nottage will produce the narrative feature alongside Luis A. Francis-Snyder will serve as a consulting producer on the project.