Mark Cendrowski directed the pilot. The series is based on the real-life story of professional bowler Tom Smallwood who gets laid off from a car assembly line and makes the decision to provide for his family by becoming a professional bowler. CBS announced that the comedy “How We Roll” will premiere March 31, 2022 at 9:30 p.m. and will also be available to stream live and on demand on Paramount Plus. Mark Gross, David Hollander and Brian d’Arcy James are the executive producers. “How We Roll” is produced by CBS Studios.
Variety has obtained an exclusive sneak peek of Showtime's next episode of “Vice,” airing on Dec. In the clip, Synchron CEO Dr. In the episode, Vice News’ Alice Hines meets with neuroscientists and tech pioneers to discuss the increasing push to implant electronic devices into the human body and brain. Watch the clip below. Thomas Oxley breaks down their company’s brain-computer interface and upcoming human trials. 12 at 8 p.m.
The series is narrated by Steven Wright and directed by Xander Robin, Samuel Shainberg, John Paul Lopez-Ali and Audrey Turner. See a trailer below. HBO announced that upcoming unscripted series “Chillin Island” will debut on Dec. 17 at 10:30 p.m. The series follows New York rap personalities Alec “Despot” Reinstein, Ashok “Dap” Kondabolu and Aleksey “Lakutis” Weintraub, who invite their friends to join them in nature sites such as deserts and swamps to “reveal unknowable truths from the dream state of the shared human existence.” Guest appearances include Young Thug, Lil Yachty, Rosalía, Gunna, Killer Mike, Ski Mask the Slump God, Lil Tecca, Coi Leray and Vampire Weekend’s Ezra Koening. Dave Laven and Matte Babel co-executive produce. Executive producers include Alec Reinstein, Sebastian Bear-McClard, Josh Safdie, Oscar Boyson, Adel 'Future the Prince' Nur, Jason Shrier, Anthony Gonzales and Spotify’s Dawn Ostroff, Courtney William Holt and Liz Gateley. Christopher Messina is director of photography with original music by E.vax.
The Critics Choice Association (CCA) announced that Taye Diggs and Nicole Byer will co-host the 27th annual Critics Choice Awards, which air on The CW and TBS on Jan. 9, 2022 at 7 p.m.
Byer first broke out with her appearance on MTV’s “Girl Code” and has since become known for hosting the competition series “Nailed It!” and “Wiped Out!,” the podcast “Why Won’t You Date Me?,” and appearing in supporting and recurring roles in comedy series such as “Brooklyn Nine-Nine” and “Tuca & Berie.” Most recently, she debuted her Netflix comedy special “Nicole Byer: BBW (Big Beautiful Weirdo).” Up next, she stars on NBC's "Grand Crew."
Watch the trailer below. Rob “Griff” Griffith (Jason Isaacs), falls into a coma. The series stars Sophia Bush as Dr. Sam Griffith, a heart surgeon who becomes the chief of surgery after her renowned boss and father, Dr. 5, 2022 at 10 p.m. CBS debuted a trailer for upcoming drama series “Good Sam,” which premieres on Jan.
  The show will be produced by Bob Bain Productions and Berlin Entertainment. The CCA is repped by Dan Black of Greenberg Traurig.
Also in today’s TV news roundup:

It’s going to be a blast!” “This is definitely going to be the best Critics Choice Awards show ever,” said CCA CEO Joey Berlin. “Imagine Taye and Nicole up in front of a big, beautiful room full of all the biggest stars in film and television — all dressed to kill, drinking champagne and hoping to win.
Disney Branded Television has started production on “Meet the Mayhems,” a live-action comedy series set to premiere in summer 2022. Chris Peterson and Bryan Moore serve as creators. She and her neighbor Hartley work to hide her powers as she tries to live a normal life. The series follows Havoc, whose supervillain family must relocate to a small Texas town after she gets them in trouble with the League of Villains. Isabella Pappas, Lucy Davis, James Patrick Stuart and Kayden Muller-Janssen star.
Joe Biden, Jodie Turner-Smith, Rick Ross and Jazmine Sullivan will appear on “The Tonight Show Starring Jimmy Fallon.”” />

Peter Farrelly and Bobby Farrelly direct, and Steve Golin and Jeff Okin serve as executive producers. 10. Roku, Inc. The series is produced by Anonymous Content. The dark comedy stars Dave Franco, O’Shea Jackson Jr., Jimmy Tatro and Daryl Hannah. announced “The Now” will premiere all 14 episodes of the series on Dec. “The Now” follows Ed Poole after a tragic event in his life causes him to rethink his outlook, forcing him to cherish those around him and pursue what he loves.
Diggs is known for starring as Sam Bennett in the ABC medical drama “Private Practice.” Other prominent credits include appearing in the film “Brown Sugar” and the original Broadway production of “Rent.” Currently, he stars on The CW drama “All American.”
Additionally, KOCOWA won the business of the year award as one of the largest video streaming platforms for Korean TV programs and K-Pop in North America. The Korean Cultural Center of Los Angeles (KCCLA) and the Korea Creative Content Agency (KOCCA) announced that the Dari Award for Person of the year went to Craig Plestis, CEO of Smart Dog Media for introducing Korean TV formats such as “The Masked Singer,” “The Masked Dancer,” “I Can See Your Voice” and “Celebrity Showoff” to the U.S. and global audiences.

Larry Karaszewski: Ashby came from being an editor and he had a lot of sequences when the editing team was putting together dailies that were MOS (without sound) stuff. It's basically like car driving shots and things that don't have real sound, but he thought, that's really boring just to watch.
The smaller roles are also perfectly cast, from Harold’s mother, British stage actress Vivian Pickles, to his prospective dates, played by Ellen Geer, daughter of “The Waltons” star Will Geer; Shari Summers and Judy Engles.
Ellen Geer: It’s very fancy out there, with this wonderful old mansion that was empty but was taken care of by a very sweet couple. It was a wonderful location.
However, Evans later played an important part in casting and budget meetings with Ashby. I considered bringing them in to meet Evans but, in that period, Bob dressed like an impeccably groomed studio chief with dark grey suits and white shirts and black ties — I felt he would not "get" his disreputable visitors.
Yet over time, it slowly caught on as a repertory theater staple, becoming a ‘70s touchstone and finally recouping its budget several years later. The idea for the film was hatched by Colin Higgins, a UCLA film student who lucked into a job cleaning the pool of a producer and ended up selling his script to Paramount. Director Hal Ashby fought the establishment at every turn, nearly getting the production shut down. Released with almost no marketing on the same date "The Godfather" was supposed to premiere, "Harold and Maude" flopped spectacularly in its initial release.
Peter Bart: Ruth Gordon was a personal friend of my mother’s, and when she heard I was involved, my mother said “You’re not going to have Ruth do anything untoward, are you?” I quickly replied "no" — this was not the moment to tell her that Ruth would have an affair with an 18-year old.
Peter Bart: It was one of the nicest events I had ever seen at the Academy. My wife was sitting next to Hal Ashby’s girlfriend, who began to weep when Cat began to sing.
Peter Bart: Hal liked Elton John. Fortunately he was too busy even to talk about it.
The production took place in and around the town of San Mateo, south of San Francisco, and it included some iconic locations like San Francisco's abandoned Sutro Baths, and Maude's bohemian railroad car, which was conceived by production designer Michael Haller.
Mulvehill went on to make four more films with Ashby, while Bart worked with him on “Being There.” The director who had a reputation as a hippie stoner influenced a generation of filmmakers and is now thought of as a genius who didn’t get the credit he was due.
In addition to the strained relations with Paramount, the production had a setback with a motorcycle accident.
There had been midnight movies before it, like ‘El Topo,’ as well as stoner movies that played midnight shows, but ‘Harold and Maude’ became this thing where just audiences saw it over and over and over again,” says "Ed Wood" screenwriter Larry Karaszewski, who provides a commentary track along with super-fan Cameron Crowe for Paramount Home Video’s new 50th anniversary Blu-Ray release. “It really kind of became, I hesitate to say, the first cult film.
The marketing wasn't terrific. The minute you mentioned an 80-year-old woman and a 20-year-old boy, you could see the eyes glaze over. Nobody really knew how to approach the subject.
They're pulled over by a motorcycle cop who at the end of the scene gets back on his bike and heads off down the road. Charles Mulvehill: Truthfully, the movie was challenging to pull off. And he played the motorcycle cop and he did a terrific job. Luckily he wasn't seriously hurt, but it was bad enough that he couldn't do the role. So that that's when I asked Tom Skerritt, a friend of ours, if he'd do it as a cameo. And he had forgotten to put his kickstand up on the bike, he went flying off. We have the scene with the motorcycle cop where they're replanting a tree.
I was really shocked at the reception that it got. The first review I read was Variety — "It's as funny as a burning orphanage." I couldn't believe it.
Cat Stevens for many, many years would not let a soundtrack album come out. But Cameron (Crowe) eventually managed to get them to do a small release of the soundtrack album.
Charles Mulvehill: I'm living in Arizona now and have even done Q&As for screenings of "Harold and Maude" here. We'd hoped it would have from the beginning. To me, it's just amazing how people find it and it's really gratifying that there's a 50-year-old movie that still affects people.
And it was the comedy Variety called “as much fun as a burning orphanage.” A movie you had to show your girlfriend or boyfriend so they understood you. It was the original cult film.
Charles Mulvehill: I met Francis Coppola on "Rumblefish." And he said, "Oh yeah, you're the guy that worked for the crazies." It had never been articulated that way to me, but I guess it kind of fit, for a while anyway.
Charles Mulvehill: I ended up dealing with Paramount a lot because once we started filming, Hal stopped taking phone calls from the studio. I think they were frustrated with the lack of communication, but he stayed on the set for a day and saw that it was being run just like any other movie set. At one point, Peter (Bart) came up to Hillsborough and he told me later that he came up to fire me.
Then one day he called me to say, “I want to bring over a friend.” He appeared with Cat whose album was just becoming hot. He was searching for a point of view. The two of them were bearded hippies who looked like they’d just got off a bus from Haight Ashbury. Peter Bart: Hal loved the script but couldn’t figure out his perspective on it.
I was surprised that so many people loved it so much. People still come up and tell me how important it was to them.
I met one guy who was having a rough time. And that's gratifying to hear. It was a great experience for me, although harrowing, and I'm proud to have been associated with it. He had a teenage daughter and he said that they saw that movie together and it kind of smoothed over a lot of things between them.
Charles Mulvehill: The film was written for L.A., but none of us felt that the ambience was right. Hal wanted to be away from the studio, and he didn't want people showing up at the set all the time. So we found an estate in Hillsborough instead.
We’re so ditzy about sex, they didn’t even want to see it. Ellen Geer: I sometimes wonder if it had a hard start because to have a young man with an older woman, we’re so repressed about sex in our country.
I have a niece who was living in New York City and was on a certain track with her life. Now she's in Los Angeles, working in the film business. It really did change her life and she'll credit the fact that she's seen "Harold and Maude” 50 times. Larry Karaszewski: It still has an ability to change people's lives. She was in her early twenties and she came out for a visit, so I showed her “Harold and Maude.” It blew her mind in that I think she didn't realize movies could be this way.
When his directing test didn’t pan out, the studio brought in Hal Ashby, who had recently directed “The Landlord.” Colin Higgins workshopped the story for “Harold and Maude” while he was driving the daughter of producers Ed and Mildred Lewis to school.
Cat Stevens said, “I have these two rough versions of songs — ‘Don't Be Shy’ and ‘If You Want to Sing Out’ and if you like them, I'll go in and finish them and turn them into real songs. They needed a song for Maude to sing at one point. That's the thing — sometimes the rough drafts of songs are kind of cooler and better. He started listening to this album, “Tea for the Tillerman” and said, whenever there's silent footage, let's put put one of these songs against it, so we're just not sitting there listening to nothing. Ashby just ended up using the rough versions, which made Cat Stevens not that happy.
I mean, I think what he was saying is that I worked with guys that were theoretically difficult to a lot of people. I thought it was a compliment.
I remember him calling me saying he found her, and he was really excited because that was a hard role to cast. So we met, and here we are 50 years later! In the script, she was described as “a female Don Knotts.” Shari (Summers)'s manager had taken her to William Morris to meet some agents, and that's when (legendary casting director) Lynn Stalmaster saw her. Charles Mulvehill: One of my best memories of the production was meeting my wife.
Colin Higgins needed a place to stay and he saw some notice on a bulletin board that a room was for rent in exchange for light duties. Larry Karaszewski: It's a terrific screenplay, and as much as you want to give Hal Ashby a lot of credit, this was a hundred percent Colin Higgins’ baby. It turned out to be a film producer, and they needed someone to take care of their pool and drive their daughter back and forth to school.
Peter Bart: No one had put together a campaign, so it just opened with this blank ad. No movie is easy, but that movie was difficult. Hal was decimated, he was very angry with the studio, with everyone, and rightfully so. The marketing people at Paramount were a little old-fashioned anyway — they didn’t get most of the pictures we were making then like "Downhill Racer," "The Parallax View." We were making really interesting movies. Bob was a wonderful, courageous head of production.
“I hear she doesn’t want to work,” Ashby is said to have told him. Meanwhile, Bud Cort suggested Greta Garbo would be good for Maude.
It was really an inspiration to Hal, it connected him to the story. One thing I remember about the set was that Hal loved Cat Stevens' music so much you could hear it playing in the background.
We were this little entity up in the Hollywood Hills, trying to not be on the studio lot. Charles Mulvehill: We rented a house up on Appian Way and turned that into our production offices, and we cast out of there and edited as well.
to Paris, France, and in 1983 finally turned a profit. Finally, in a world before social media, word slowly trickled out that this was a film for oddballs, nerds, and anyone with a slightly off-kilter sensibility. It played and played, from the Nuart in L.A. It continues to gain new fans of each generation.
20, Variety spoke to those who were there – Paramount executive and former Variety editor Peter Bart, producer Charles Mulvehill, and actress Ellen Geer – along with those it touched, including Karaszewski and "Passing" star Tessa Thompson, who treasures it so much she named her production company Viva Maude. To celebrate the anniversary of the release of “Harold and Maude” on Dec.
Ellen Geer: We did it years later at our theater and I got to play Maude and my daughter played Sunshine Doré. It was like passing it on to a new generation. A young man came up to me afterwards and was sobbing because he said he understood himself better after seeing this play, which was lovely.
And now it’s felt like a long time coming to building my own company and producing and that was the name that has always stayed with me. When I first started to make any kind of money at all, I had to incorporate, and the first thing I thought it was Viva Maude, viva the spirit of Maude. Also, the year that "Harold and Maude” started to actually make its money back, was the year I was born, so there were many reasons.
Bob (Evans) thought it was hilarious, and we optioned it. Peter Bart: In 1970 and ‘71, pictures which today would have been thought of as art films were then part of the agenda. By today’s standards they would have been considered somewhat arty.
So I said to my dad, “Pop, will you go up with me and if I don’t come out within 20 minutes, come and get me." It was a different time, but it was the same time in some ways. Ellen Geer: My character, Sunshine Doré, was a drama student, and I suppose they probably called me because of my knowledge of Shakespeare. They told me about this reading at somebody’s home up in the hills.
At the time, Evans was enmeshed in “The Godfather” so it fell in my lap. You couldn't disguise the delicious smell of weed on the set, and I said you can't lose days, and here’s the ticket home. The budget came in a million and three. There were tensions between the production and the budget, it was a tense atmosphere. Peter Bart: They were running late, behind schedule, and I was worried. I gave him a one-way ticket back to L.A.
Dame Edith Evans was a lady that was in serious contention, but that would have been a whole other movie. For Maude, Hal went to London and did some casting there.
Though Higgins, who died in 1988, was passed over to direct “Harold and Maude,” he went on to direct hits like “9 to 5” and “Best Little Whorehouse in Texas.” Ashby, who also died in 1988, was Oscar-nominated for “Coming Home” and lauded for “Shampoo” and “Being There,” though many feel he never got the recognition he deserved.
But once people started to see it, and see how true it was, then it became a cult movie. It was ahead of its time, when they woke up in bed. In this time now, maybe they would have been able to wake up in bed and kiss and see each other’s bodies.
Cat Stevens/Yusuf surprised everyone by playing songs from the soundtrack, and the somewhat reclusive Bud Cort also made an appearance. It was just one of many events, including theater productions and retrospective screenings, that have brought fans together to celebrate how the film connected with them. In 2009, Peter Bart and Cameron Crowe hosted a screening at the Academy of Motion Pictures in honor of Hal Ashby’s career, with guests including Diablo Cody and Seth Rogen.
Then I had a meeting with Peter Bart. He said that the reviews generally were terrible and that Time magazine was doing us a favor by not reviewing it. (Our careers) were dead in the water for a period.
With a brilliant script and up-and-coming director attached, the concept for the film was starting to gel, but there was one key ingredient missing – the right music. But Ashby was clear that Cat Stevens / Yusuf – was the right choice. Paramount head of production Bob Evans suggested considering James Taylor.
Today, “Harold and Maude’ continues to resonate with viewers of all ages who feel a natural kinship with misfits and oddballs, and many claim it has changed their lives forever.
Richard Dreyfuss and Bob Balaban were among those considered for the part of Harold, and originally the filmmakers had prolific “Parenthood” actor John Rubenstein in mind. Elton John later said it was the only starring role he had ever been offered. But one unusual choice would have both starred and provided the soundtrack.
I think a lot of filmmakers were influenced by the way how Ashby used music and film, and he does it again in "Shampoo." Larry Karaszewski: I think you see a lot of Wes Anderson in "Harold and Maude." There's a "Rushmore" feeling.
Hal was suspicious of the studio, he was weirded out that Paramount was actually going to do this. He didn't trust me, he didn't trust Evans.
Charles Mulvehill: We thought it was a great film. Nobody came and nobody cared. It was really a shock when it was released and nobody cared.
Some people would argue that the character of Maude was one of the first appearances of the Manic Pixie Dream Girl, but in her eighties. So she both defines the trope and defies it. Tessa Thompson: One of my favorite films is “Harold and Maude.” There was this idea that it both spoke to its time and it was also ahead of its time.
At Paramount, I basically could buy anything I wanted — since the subject was so unusual, I made sure my confreres knew what it was about. Similarly with “Paper Moon,” which was shot in black and white — Bob knew all about that, but at the same time, the distribution people, we kept that a secret from them.
But Hal didn’t really want to do it. I was friendly with Norman Jewison, who urged me to see “The Landlord” because he thought that sensibility might really be terrific, because getting a director who was right on would be a challenge.
Pretty much from the get-go with Bud Cort, he really felt right. Charles Mulvehill: John Rubinstein was who we had originally thought of as being Harold when he wrote the script. In the living room of this house, we had this production office — that's where we did the test on tape and tested four or five actors, including Bud Cort and John Rubinstein.
Angelique Jackson contributed to this interview.” />
Ultimately, we shot over 300,000 feet of film and it took a lot to cull through it all and find the movie, so to speak. We ended up going over budget.
We waited until someone went into town for that. He let us have total freedom. I was so attracted by the way Mr. Ashby handled actors. That’s the kind of respect Ashby had for an actor. For the harakiri scene, Bud Cort wanted to have a mat to perform the scene on, but there was no mat.
And this daughter told her mom about this script and the idea for the movie. (Mildred Lewis) told Colin Higgins, "Don't write this as a short film. He was going to direct it as a short film. This is a feature, go write this as a real movie." He would just tell the daughter about his student film ideas, and he pitched her “Harold and Maude,” which she loved.
Hal was always trying to get the right shot. Consequently, you ended up with lots of choices in the editing room. He shot a lot of coverage, not a lot of takes, but lots of coverage.
Dec. 20, 1971 was originally the day Francis Ford Coppola’s ‘The Godfather” was planned to open. It tanked massively, with Variety reporting "'Harold and Maude' looks dismal $8,500 in Village debut.” But the cut wasn’t finished, and Paramount decided that instead of the sprawling epic, the quirky black comedy “Harold and Maude” would be a festive film to release during the holiday period.
Edward Lewis made a couple of phone calls to people like Bob Evans and Peter Bart, and they wound up like buying the script. But I think at no point did Paramount really expect they were going to let Higgins direct the movie.
But 50 years on, the touching, droll and subversive story of a troubled teenager, played by Bud Cort, who falls in love with a nearly 80-year old free spirit, played by Ruth Gordon, still feels fresh and funny. Making “Harold and Maude” wasn’t easy, and releasing it to the general public was even harder.
Charles Mulvehill: It was actually Ruth's energy that Hal fell in love with.

Other new cast members joining Season 21 are Jeffrey Donovan as an NYPD detective and Hugh Dancy as an assistant district attorney. Anthony Anderson will return to the cast as Detective Kevin Bernard, while Sam Waterston remains in negotiations to return as district attorney Jack McCoy.
She also received Golden Globe nomination for playing Gladys Presley in CBS’ “Elvis,” with other television credits including “Stumptown,” “Criminal Minds,” “Two and a Half Men” and “How I Met Your Mother.” Manheim is best known for starring as lawyer Ellenor Frutt in the ABC legal drama “The Practice,” a role that won her both an Emmy Award and a Golden Glove.
She takes over from Lieutenant Anita Van Buren, who was played by S. Dixon is a new character to the famed Dick Wolf series. Epatha Merkerson in Seasons 4 through 20. Merkerson was unavailable for the “Law & Order” revival as she is currently appearing in Dick Wolf’s “Chicago Med.”
"I never give up on things I believe in. Casting as always will be three cops and three D.A.s.” It took a long time, but the journey was worth it," Wolf told Variety about the revival in October. "This will be Season 21, so it’s the same ‘Law & Order’ everyone knows from the first 20 years. So there’s really nothing to fix, we just want to continue telling great stories.
The series will be produced by Universal Television, a division of Universal Studio Group, in association with Wolf Entertainment.” /> “Law & Order” is executive produced by Dick Wolf, Rick Eid, Arthur Forney and Peter Jankowski.
As a series regular, she will play Lieutenant Kate Dixon. Camryn Manheim has been cast in NBC’s “Law & Order” revival premiering on Feb. 24, 2022.
She is repped by Framework Entertainment, UTA and Goodman, Genow, Schenkman, Smelkinson & Christopher.

Mike Flanagan announced 20 new additions to the cast of his and Trevor Macy’s upcoming Netflix limited series “The Fall of the House of Usher,” including Samantha Sloyan and Rahul Kohli.
Flanagan serves as creator of “The Fall of the House of Usher” and executive produces alongside Macy for Intrepid Pictures, as well as Emmy Grinwis and Michael Fimognari. Flanagan and Fimognari will each direct four episodes.” />
Along with Sloyan and Kohli, new cast members include Henry Thomas, T’Nia Miller, Kate Siegel, Sauriyan Sapkota, Zach Gilford, Katie Parker, Michael Trucco, Malcolm Goodwin, Crystal Balint, Kyleigh Curran, Paola Nuñez, Aya Furukawa, Matt Biedel, Daniel Jun, Ruth Codd, Robert Longstreet, Annabeth Gish and Igby Rigney. Character details for these actors have yet to be announced.
The series will begin principal photography in a few weeks. Auguste Dupin, who was featured in multiple works by Poe. Carl Lumbly plays investigator C. “The Fall of the House of Usher” is described as a modern remix of the short story of the same name by Egdar Allen Poe and multiple of his other works. As previously announced, Frank Langella leads the cast as Roderick Usher, the patriarch of the Usher dynasty. Mary McDonnell plays Roderick’s twin sister Madeline, the “hidden hand” of the family. Mark Hamill plays a character yet to be named who is described as being “surprisingly at home in the shadows.” Carla Gugino also plays a currently unnamed character.
Their previous projects include “The Haunting of Hill House,” “The Haunting of Bly Manor” and “Midnight Mass.” In 2022, Intrepid Pictures will debut their fourth project, “The Midnight Club.” The series is Flanagan and Macy’s fifth series for Netflix under their Intrepid Pictures overall deal.
With the exception of Goodwin, Nuñez and Jun, each of the new additions have worked with Flanagan and Macy before on previous projects, with many having been specifically involved with Flanagan and Macy’s production company Intrepid Pictures.

The 2022 Sundance Film Festival has unveiled its short film program, curated from an all-time high of 10,374 submissions.
World Premiere. He begins to notice imaginary airplane people around his home, and yearns to fly with them. Cast: Anthony Harris Jr. "IF I GO WILL THEY MISS ME":Director and Screenwriter: Walter Thompson-Hernández, Producer: Stuart McIntyre. Lil' Ant is obsessed with Pegasus, the Greek mythological character, since first learning about him at school in Watts, California.
The 2022 edition of the festival will run from January 20-30. Some stats around this year's short program: 56% of directors identified as women, 62% (or 21 of 34 directors) identified as people of color, and 18%  identified as LGBTQ+.
These include works from the likes of Garrett Bradley, Destin Daniel Cretton, Cheryl Dunye, Nash Edgerton, Tamara Jenkins and Taika Waititi. In addition to the new crop of shorts, Sundance will also roll out a retrospective titled "From The Collection," celebrating four decades of its notable past creators.
World Premiere. "Work": Director and Screenwriter: April Maxey, Producer: Skylar Andrews. Cast: Marisela Zumbado, Elaine Whae. Unable to move on from a breakup, Gabi, a queer Latina freelance editor, impulsively drops into an old job at an underground lap dance party, where she unexpectedly runs into a friend from her past.
"The films selected for the ‘From the Collection’ program run the stylistic and subject matter gamut, and many of the filmmakers behind them have deepened their connection to the Institute in the years since these shorts first premiered in Utah. We’re so excited for audiences to rediscover them as part of their Sundance experience next January," said Sundance senior programmer Mike Plante.
"Starfuckers": Director and Screenwriter: Antonio Marziale, Producer: Eli Raskin. Cast: Antonio Marziale, Cole Doman, Jonathan Slavin. An intimate evening between a film director and an escort is disrupted when a familiar face arrives. World Premiere.
The films — encompassing categories like domestic and international live-action as well as animation — will screen throughout the hybrid festival in person, at satellite venues, and online.
When the death of her grandmother unleashes a generational curse, a disenchanted flamenco dancer resigned to a desk job is forced to experience the five stages of grief through a visit from her female ancestors. Cast: Shakira Barrera, Denise Blasor, Carla Valentine. "Huella": Director and Screenwriter: Gabriela Ortega, Producers: Helena Sardinha, Rafael Thomaseto.
World Premiere. Cast: Eva Noblezada, Lulu Davis, Iris Cook, Madison Holden. After basketball practice one night, Genevieve reveals a dark secret about their coach to her teammates. "Champ" : Director and Screenwriter: Hannah Peterson, Producers: Taylor Shung, Alex Coco. Wielding strategy and grit off the court, Genevieve works together with her teammates to find a way to retaliate.
Upon arrival, she encounters a strange couple who claim to be the caretakers. Cast: Carie Kawa, Grace Morrison, Will Brill. World Premiere. "While Mortals Sleep": Director and Screenwriter: Alex Fofonoff, Producer: Matthew James Reilly. As tensions build, a dark secret begins to emerge. When a cold case novelist's career implodes, she seeks refuge at her friend's remote vacation home.
Lemon, Richard Nevels, Stephen Laroy Thomas, Mariah Pharms, Damon Rutledge, Maelina Gibson. World Premiere. In Compton, California, two brothers stuck in arrested development have to figure out how to handle their annoying, fried-chicken-hating, bookworm nephew, as he attempts to hang himself with a garden hose. Cast: Bruce A. "Hallelujah": Director and Screenwriter: Victor Gabriel, Producer: Duran Jones.
live action shorts: Read the full list of U.S.
Cast: Zachary Quinto, Russell Kahn. U.S. "Chaperone": Director and Screenwriter: Sam Max, Producers: Russell Kahn, Sam Max, Lio Mehiel, Patrick Murray, Katie Schiller. As the two drive together, and settle into an austere rental house in the country, the details of their arrangement become guttingly clear. Premiere. An unnamed figure picks up a young man in his car.
World Premiere. A queer, Black, aspiring Baltimore rapper must outwit his vengeful day-job boss in order to avoid getting fired after accidentally eating an edible. "F^¢K '€M R!GHT B@¢K": Director: Harris Doran, Screenwriters: Harris Doran, Emmanuel 'DDm' Williams, Producers: Doris Casap, Harris Doran, James Burkhalter, Haley Geffen. Cast: Emmanuel 'DDm' Williams, Kara Young, Catherine Curtin.
World Premiere.” /> Audrey, a New York City comedian who can make a joke of any situation, faces a staggering challenge in the beautiful mountains of Oregon. Cast: Tiffany Mann. "You Go Girl!": Director: Shariffa Ali, Screenwriters: Shariffa Ali, Kamilah Long, Courtney Williams. Can this city woman overcome her fears and rise?
Cast: Alison Rich, George Basil, Jack Cutmore-Scott, Zeke Nicholson, Kathy Yamamoto. A socially inept woman rents one man to prepare for another. "Training Wheels": Director and Screenwriter: Alison Rich, Producers: Olivia Aguilar, Bridgett Greenberg, Laura Schwartz, Peter Principato. World Premiere.
"Daddy's Girl": Director and Screenwriter: Lena Hudson, Producers: Clea DeCrane, Thomas Matthews, Lena Hudson. A young woman's charming but overbearing father helps her move out of her wealthy, older boyfriend's apartment. Cast: Tedra Millan, Peter Friedman. World Premiere.
“Short films are such a vital part of the independent storytelling culture that Sundance Institute has consistently put its full support behind. We’re all happy for the opportunity this year's hybrid in-person and online," said Kim Yutani, director of programming at Sundance.
Meanwhile, she’s dogsitting the fancy Frenchie of Instagram influencers India and Harry, who themselves are on a trip to India’s namesake. "Close Ties to Home Country": Director and Screenwriter: Akanksha Cruczynski, Producer: Felicia Ferrara. Millennial immigrant Akanksha waits for her sister’s visit from India — they haven’t seen each other in nine years! Cast: Akanksha Cruczynski, Bisou [Timothée], Cassie Kramer, Simon Hedger, Sophia Rafiqi.
Cast: Rachel Sennott, Eric Roberts. "Appendage": Director and Screenwriter: Anna Zlokovic, Producers: Alex Familian, Anna Zlokovic, Matthew Green. A young fashion designer must make the best of it when her anxiety and self-doubt physically manifest into something horrific.

A follow-up to "Six Feet Under" is in very early development at HBO, Variety has learned exclusively from sources.
Reps for Ball did not immediately respond to Variety's request for comment. Reps for HBO declined to comment.
After "Six Feet Under" ended, Ball went on to create the HBO series "True Blood" and "Here and Now." He also executive produced the HBO film adaptation of "The Immortal Life of Henrietta Lacks." He won the Emmy for best directing for a drama series for his work on the "Six Feet Under" pilot and also won an Academy Award for best original screenplay for "American Beauty."
He is repped by UTA and Goodman Genow.
It received 53 total Emmy nominations in its time on the air, winning nine. "Six Feet Under" received widespread praise throughout its run on the premium cabler and is considered by many to be one of the best television shows of all time. It celebrated its 20th anniversary earlier this year, with the cast and creative team reuniting for a PaleyFest panel. The show also picked up multiple Golden Globe wins, including best drama series in 2002.
The cast included Peter Krause, Michael C. Hall, Frances Conroy, Lauren Ambrose, Freddy Rodriguez, Mathew St. Richard Jenkins recurred on the show as family patriarch Nate Fisher Sr., who dies in the opening episode but appears in flashbacks and in the minds of his family members. The show also served as an early launch pad for people like Justina Machado and Rainn Wilson. Patrick, and Rachel Griffiths.
"Six Feet Under" aired on from 2001-2005 for five seasons and 63 episodes. The show followed the lives of the Fisher family and their associates in the running of a funeral home in Los Angeles.
He most recently launched the production company The Green Room, which is under a first-look deal at Lionsgate. Greenblatt was previously chairman of NBC Entertainment as well as the chairman of WarnerMedia Entertainment. Janollari has produced "Midnight, Texas," "Bluff City Law," and "One on One" among other shows in addition to his work on "Six Feet Under."” />
Original series creator Alan Ball and executive producers Bob Greenblatt and David Janollari are all attached to executive produce the new project. Likewise, no plotline has been decided, meaning it could be a reboot or more of a sequel series following up on existing characters from the show in the present day, but no decision has been made. At this time, no writer is attached to the project.

13, while the nominees for theatrical motion pictures, animated theatrical motion pictures, TV series and specials and TV/streamed motion pictures will be announced on Jan. 27. Nominees for sports, children’s and short form TV programs will be announced on Jan.
26, 2022″ /> The 2022 Producers Guild of America awards are produced by Anchor Street Collective for the Producers Guild of America. Winners will be honored during the 33rd Annual Producers Guild of America Awards ceremony on Feb.
Films nominated include “Ascension,” “The First Wave,” Flee,” “In the Same Breath,” “The Rescue,” “Simple As Water,” “Summer of Soul (…Or, When the Revolution Could Not Be Televised) and “Writing With Fire.”
The Producers Guild of America (PGA) announced the 2022 document motion picture nominees who will advance to the final round of voting at the 33rd annual Producers Guild Awards on Feb. 26.

“We are thrilled to be launching a series that focuses on the stories told by the next generation of diverse voices in entertainment,” said Variety Editor-in-Chief Claudia Eller.
The new series, titled “Up Next,” will ask well-known creators and talent from across TV, film and music about individuals they believe are “up next” for major recognition in the industry.
“Programming like this, which elevates Asian American and Pacific Islander voices, can connect and inspire people through story,” said Frank Spada, Strategic Partner Manager for Entertainment at Meta. “Facebook empowers people to find and build communities, and Meta is committed to ensuring diverse voices are represented across all our technologies.”
The series will debut with profiles of change-makers in the Asian American and Pacific Islander communities, including Sasami (presented by Michelle Zauner of Japanese Breakfast), Larry Teng (presented by Vanessa Lachey), Ming-Na Wen, and more.
The video series will live exclusively on and Variety's Facebook page.
Variety and Facebook have teamed up to launch a new video series that spotlights individuals from underrepresented communities who are driving change across the globe.
Watch the first episode below:” />

“I didn’t want to go back and re-cut it myself,” he explains. Instead, it was the best news Lindsay-Hogg could’ve heard. “I had been there and done that 50 years ago.”
Now 81, living in Hudson, NY, with his wife and three dogs, and mostly painting, Lindsay-Hogg is hoping Apple Corps will make good on its promise to re-release “in some form” his oft-misunderstood original, which had always been seen in light of the Beatles’ acrimonious split just before it finally came out in 1970.
Although most people assume Lindsay-Hogg is British, he was born in New York City and spent the first six years of his life in Los Angeles before moving back east when his mom remarried. The son of Irish Broadway and Oscar-nominated film star Geraldine Fitzgerald ('Wuthering Heights"), Lindsay-Hogg has been dogged his entire life with rumors his biological father is none other than Orson Welles, whom his mother broke into the business by starring in one of his Mercury Theater productions. Lindsay-Hogg gets the “Sir” from his legal father, Sir Edward Lindsay-Hogg, a fourth baronet who eventually inherited the title.
“Peter said at the very beginning he was making a documentary about making a documentary,” said Michael. “’You’re in so much, mate,’ he told me. ‘Even if I wanted to cut you out of it, I couldn’t.’”
Ironically, for all that, there are no signs of the band smoking anything illegal. Aside from Lindsay-Hogg constantly having a cigar in his mouth (“You can’t chew a cigarette”), the amount of smoking in the film is one of the takeaways, offering a sad reminder that the constantly puffing George Harrison, the youngster in the band, would die of throat cancer at the age of 58 in 2001.
George Martin and Glyn Johns were in the studio below getting ready to record. Lindsay-Hogg, the four Beatles and Ono gathered in a tiny anteroom just below the roof at around 12:30 in the afternoon. The band was still hesitant when it came to the day of the shoot, with the weather a chilly 43 degrees with stiff winds.
Michael insists it was his idea. “Get Back” shows a scene where engineer Glyn Johns and Lindsay-Hogg point upward, suggesting the concert take place on the roof of Apple’s headquarters on Bond Street in the middle of London.
Lindsay-Hogg came aboard the original “Let It Be” project after directing the Beatles’ video for “Hey Jude,” in which they performed in front of a small audience for the first time in years, hatching the idea of a TV special featuring a concert of new and old songs played before fans. That morphed into a documentary of the four recording a new album, which begged the question of how it would end.
He also went on to direct Tony-winning shows on Broadway such as “Agnes of God” and Larry Kramer’s “The Normal Heart.” He also directed the 2000 TV movie “Two of Us,” for VH1, a dramatization of the last conversation between Paul and John on the day in 1976 Lorne Michaels offered the band $3,000 to reunite on "Saturday Night Live," which almost took place. With both “The Rolling Stones Rock and Roll Circus” and “Let It Be” under his belt, Lindsay-Hogg, who considers himself the father of the music video, had his place in rock history firmly cemented even before he went on to direct full-length concert films like Simon & Garfunkel’s “The Concert in Central Park” (1982), “Neil Young In Berlin” (1983) and Paul Simon’s “Graceland: The African Concert” (1987).
“We were all having lunch in the Apple board room when I said I thought we needed a conclusion, somewhere to go. “Filming 12 hours of the Beatles rehearsing “Get Back’ is not terribly thrilling,” says Lindsay-Hogg. here’s my first tripwire.’ I thought we needed something to close it.” Yoko piped up with, ‘Are conclusions important?’ And I thought, ‘Oy…
“I wanted it to look and feel like a concert. “I didn’t want false starts or retakes because we’d already seen all that rehearsing,” he insisted.
After bolstering the roof with some wooden pillars (“That would’ve been a headline in itself, ‘Beatles swallowed by their own roof’”), Lindsay-Hogg proceeded to set up a 10-camera shoot, five on the roof, three down in the streets to capture public reaction, one on the building across the way for wide shots and a hidden two-way camera in the Apple lobby, which picked up the drama with the London bobbies.
To be their sounding board, offer them ideas.” I was trying to get things done. I wasn’t just into smoking my cigar and being at one with the Beatles. When ‘Let It Be’ turned into a documentary about making the album, I wanted them to play in a place where they would be seen by the world. “That’s what Peter [Jackson] said to me originally. He had a pretty easy go with Paul and Ringo because they’re old guys now.
Although it was never confirmed )his mother’s best friend, Gloria Vanderbilt, told him after her death that’s what Fitzgerald told her), it’s hard not to see Welles in Lindsay-Hogg’s cigar-chewing, cock-of-the-walk director, as portrayed in Jackson’s cut, becoming a character in his own footage, insisting the band perform among ruins in Libya as a climax to the film.
The original DP, Tony Richman, and I have been working on the print, and it’s much lighter and doesn’t have the problems with the image being cut off for showing on TV. They each have different qualities, but I feel both can exist together. Peter has been very supportive of that and offered us the same equipment he pioneered in making his movie. “I was very interested to see how Peter put ‘Get Back’ together,” he said. “It’s like mine was a short story and his was a full-length novel.
“I said, ‘Why don’t we do it on the roof?’ and John said, ‘Do what on the roof?’ and I said, ‘A concert,’” recalls the director.
So when she was going to tell me, she couldn’t remember what she was talking about.” The thing I was always looking and hoping for was my mother to tell my directly. My mother was a complex woman. “My mother told Gloria Vanderbilt, her best friend, that Orson Welles was my father, and I trust her implicitly. I loved her very much and we got on well. I thought she would after my stepfather died, but then, wouldn’t you know it, life being what it is, she got Alzheimer’s.
“Let It Be” director Michael Lindsay-Hogg couldn’t be happier with Peter Jackson’s “Get Back,” the three-part, nearly eight-hour miniseries made up of outtakes from his original Beatles documentary, which arrived on Disney Plus two weeks ago to much fanfare.
“There’s another cricket term called a ‘wobbly,’ which is a pitch that doesn’t come in straight. When I heard that, Jonathan was worried I was going to throw a ‘wobbly,’ and be upset.” “That’s an English term for ‘get involved,’” he explains.
“I wanted to do it there because it was the middle of the world, the cradle of civilization,” he said. “I knew it was my job to come up with an answer.”
Lindsay-Hogg, who originally started as a producer on the popular ‘80s U.K. music show “Ready Steady Go,” which is where he first met the Beatles and the Stones, going on to direct their earliest promotional films – the forerunners of music videos — saw it as an opportunity for people to re-assess his work on “Let It Be.”
Jackson’s cut features the full 44-minute performance, but Lindsay-Hogg chose to edit. The rooftop concert remains a tour de force in both “Let It Be” and “Get Back.” Three of the versions the band performed and recorded at that time, “I’ve Got a Feeling,” “One After 909” and “Dig a Pony,” ended up on the “Let It Be" album.
While in London three years ago, Lindsay-Hogg met with Apple Corps' director of production, Jonathan Clyde, who told him “Lord of the Rings” director Peter Jackson “would like to take a whack” at reshaping his footage into a much longer piece.
To this day, Lindsay-Hogg is not sure who his father was, whether indeed he is the illegitimate (and only) son of the great director of “Citizen Kane.”
With “Get Back” out, Lindsay-Hogg is ready for “Let It Be” to be seen in a new light, apart from the nastiness that afflicted its premieres in New York, London and Liverpool, which none of the band attended. They were also absent when the film won an Academy Award in the now-defunct Original Song Score category, which Quincy Jones accepted on their behalf.
Critics have been poking fun at Lindsay-Hogg’s supposed pomposity on camera, but it was like herding cats getting the Beatles to do stuff.
It’s a joyous movie when they were happy, performing on a rooftop. ‘Let It Be’ is not a breakup movie. We finished it long before things blew up. “People are still living on confused memories of what was happening back then. It’s fucking great.”
So, at this point, it was two against one, then out of the silence comes the voice of John Lennon. Paul was the one who pushed hardest to play. George said, ‘What’s the point? He’s ordinarily a wonderful, affable guy, but he was dealing wish his own frustrations trying to get the others to record his songs. “Ringo thought it was too cold; he was concerned the guitar players couldn’t feel their fingers. He knew the only thing that could keep the Beatles together was playing to an audience, keeping that relationship going. They went on to the roof and into history, and that was the last time they ever played together like that.” Why do we want to play these songs again?’ He had become a real nudge at this point. let’s do it.’ And that was the deciding vote. He knew we needed to do something special at that point. ‘Fuck it…
What was great was the four of them together.” “Remember, they were used to performing from 8 at night to 4 in the morning straight through in Hamburg, six nights a week, with just a break to go to the bathroom.
I’m very fond of the people there, but all the internal foolishness got in the way.” “It’s been about to happen for the past 20 years. “For years I’ve been agitating with Apple to re-release ‘Let It Be,’” says Lindsay-Hogg.
“I now recognize that my cut is a very accurate, enjoyable cinema verité of what it was like to work with the Beatles for a month in 1969.” “When I finished filming it at the end of January 1969, the Beatles had not broken up,” points out Lindsay-Hogg, and in fact, the group was so energized, they went on to record “Abbey Road,” which ended up coming out before the “Let It Be” album.
But when they were working, they needed a nicotine fix.” I don’t remember seeing any stuff being rolled or smelling it. “It was mainly what they used to call ‘ciggies’ in those days. “That’s a good question, because I know they all smoked pot at the time,” said Michael.
As shown in “Get Back,” various locations were discussed, including the Cavern (“too small”), Primrose Hill (“we lost the permit”) or the aforementioned amphitheater in Libya.
Not to mention tea, toast and marmalade, dutifully served by their faithful transcriber and go-fer, the late Mal Evans, with his Dutch boy haircut.
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After Ye’s “Runaway,” Drake joined him for their duet, "Can't Tell Me Nothing." His set then leaned on newer songs, including the live debuts of "Girls Want Girls," "In the Bible," "IMY2" and "What's Next."
Ye’s set began with “Jesus Walks,” a song he’s performed on most tours since its original release as a defining track from his 2004 debut album, “The College Dropout.” More surprising is what followed, as Ye dove into a series of early works he hasn’t performed in years, and had the crowd erupting in real joy, bouncing to the beats and shouting his lyrics.
Drake was his special guest of the night, with a set of nearly a dozen songs, but in every meaningful way it was again Kanye’s moment. Reflecting his taste for stagecraft, the Coliseum presentation was both simple and epic, with a mountain-shaped stage on the stadium floor, and clouds of stage fog giving it the look of a smoldering volcano.
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The music could always redeem him even at his lowest public points (like calling early American slavery “a choice” of the enslaved), but the last two years have been filled with distractions.
It went unmentioned on Thursday. The concert was Drake’s first live appearance since appearing as a guest at Travis Scott’s Astroworld festival, which ended in tragedy in Houston when 10 festival-goers were killed in a crowd surge.
That included only a sampling from “Donda”: “Hurricane," “Come To Life" and "Praise God." After some years as a tabloid celebrity, with as much attention to his non-music activity as his art, resurrecting older songs that fans first embraced was like saying the original version of Kanye is still here, and maybe always has been. It also provided a bounce of momentum that carried through later, sometimes more controversial work.
The duo’s two-hour concert in the round was designed as an event on a massive scale, but the moments that will last longest unfolded at a very human level: the seemingly warm rapprochement between these two leading artists; Drake performing Ye’s spiritual “24” from “Donda”; and Ye sadly calling out to his estranged wife, Kim Kardashian, in the audience with their young daughter, North.
In most of it, the music and performance acted as a new chapter in Ye’s personal, public drama. That gave “Runaway,” from 2010’s “My Beautiful Dark Twisted Fantasy,” new resonance of pain in light of his separation. Over a spare tapping piano melody, Ye adjusted the final lyrics into a personal note of heartbreak to his ex: “Baby, I need you to run right back to me … More specifically, Kimberly.”
These were unexpected words from Kanye West, now legally re-named Ye, hosting a massive benefit concert Thursday at the Los Angeles Memorial Coliseum. Where his most recent public spectacles have been wildly ambitious and sometimes confounding, and always focused hard on the newest work, this opening statement suggested something different: a re-connection to the music that first introduced him as an ambitious young artist to watch.
Nearly a decade younger than Ye, the Canadian rapper has enjoyed many multi-platinum successes, if less consistent critical respect. And like Kanye, he’s capable of making his own waves, as he did this month by withdrawing his new album’s Grammy Award nominations for best rap album and best rap performance.
Then came “Gold Digger,” “Touch the Sky,” “Stronger” and “All of the Lights” — all from his early albums, when he was introduced to the pop music world as a brilliant new voice in hip-hop, an ambitious rapper, writer and producer. Yeezy himself seemed energized by the material’s inherently youthful fire and confidence.
No. Drake’s set was less generous with long-established hits, and leaned on highlights from his sixth studio album, “Certified Lover Boy,” yet another U.S. But when Ye left the stage, the flavor of the night shifted into Drake’s direction, with songs less tortured, more romantic, and a delivery soothing as often as he was combative. 1 album.
“Let’s take it back to Day 1!”
So there were no divisive, outrageous guests, no Marilyn Manson or Da Baby or any other alleged villain to distract from the music (as he did in Chicago in the summer at a performance of his newest album, “Donda”). This time, Ye was looking less to provoke than to connect. The rapper-producer would instead be sharing the night with Drake, his sometime rival/occasional collaborator, and a relationship strained through years of minor slights and insults, right up to the release of their new albums this summer.
Considering the years of slights and insults, Drake was notably gracious to his host, calling the night "surreal" and saying of Kanye it was “something I always wanted to do — be onstage with one of my idols while he’s running through one of the best catalogs in music."
That intermittent beef was resolved, at least for the night’s benefit for prison and sentencing reform organized in the name of 71-year-old Larry Hoover, co-founder of Chicago’s Gangster Disciples street gang, and now serving six life sentences in federal prison.
(Just in today's news, a Ye associate, Trevian Kutti, is accused of threatening a Georgia poll worker with arrest if she wouldn’t falsely confess to voter fraud.) The public drama continues, though it’s also notable that in their strange Oval Office meeting in 2018, Kanye at least lobbied then-President Trump for a commutation of Hoover’s federal sentence. In 2020, his independent run for president appeared designed to help the incumbent but wasn’t considered serious on any level, received as another confounding stunt.
More explosive was 2013’s racially charged “Black Skinhead,” set to a pounding rock 'n' roll beat, bringing Ye to bended knee before leaping into the air, and raging into the mic: “I've been a menace for the longest / But I ain't finished, I'm devoted!”