Hume will report to Ken Kim, CEO of Webtoon Entertainment in the U.S., and Junkoo Kim, Webtoon founder and global CEO, who is based in Korea. The new created role consolidates PR and communications initiatives into a single department, under the leadership of Hume. Webtoon announced the appointment of Kiel Hume as head of international communications of Webtoon Brands. Since 2017, Hume has overseen all PR and communications for Wattpad and the former Wattpad Studios, managing their PR as well as the company's communications until the merger of Webtoon and Wattpad's entertainment divisions in 2021.
The premiere will feature the first two episodes of the season, with the rest of the season unveiling one episode each following week. and will also stream on Hulu. FX announced that the comedy series "Better Things" will premiere its fifth and final season on Feb. 28, 2022 at 10 p.m.
Prior to joining ABC News, Dax was the executive producer of "American with Jorge Ramos" and a producer at MSNBC. Additionally, Dax has worked on numerous broadcast and streaming special events for ABC. ABC News announced that Dax Tejera has been named executive producer of "This Week with George Stephanopoulos." Dax first joined ABC News as a senior producer in the Washington Bureau in 2017. During his tenure at "This Week," Dax has overseen exclusive interviews and covered breaking news such as the pandemic, the 2020 presidential election as well as the January 6th riot at the Capitol.
Reese Witherspoon, Mike Birbiglia, Robert Plant and Alison Krauss will appear on “The Tonight Show Starring Jimmy Fallon,” while Will Forte, Lily Collins, Isaiah Rashad and SZA will be on “Jimmy Kimmel Live!”” />
Adlon serves as the executive producer, writer and director of Season 5. "Better Things" is produced by FX Productions.
The Right Now tapped George Cabico as head of filmed content communications. Based in New York, Higgins will report to Cabico and support the agency's strategic partnership with Sam Srinivasan's Sechel PR. Cabico will report to Eric Green, co-founder and head of entertainment. She comes from Audible Treats where she led music and multicultural campaigns for Netflix, TikTok, Alamo Records and Empire Records, as well as Sunshine Sachs. Additionally, Andrea Higgins has joined as manager of entertainment and talent relations. Based in Los Angeles, Cabico spearheads strategic communications and consumer publicity for the entertainment division's television, film, streaming, audio and production company client roster. Cabico most recently served as senior vice president of entertainment at The Lippin Group.
She will lead marketing, digital content, promotional and sales efforts and will begin her work this fall. The 92nd Street Y appointed Joanna Scholl as senior vice president for marketing, branding and digital. In her new role, Scholl will develop a strategic vision for the future of digital programming at 92Y as well as make a commitment to integrating learnings from the pandemic into the center's long-term strategic plan to reach new audiences. Additionally, Scholl will drive product launches and strategic partnerships. Previously, School worked for The Paley Center for Media, as well as HBO.
Also in today's TV news roundup:
Alongside Adlon, the series stars Mikey Madison, Hannah Riley, Olivia Edward and Celia Imrie. The final season will also feature guest stars Lena Waithe, Ron Cephas Jones, Danny Trejo, Marty Krofft, Clive Russell, Casey Wilson, Rainbow Sun Francks, Angela Kinsey, Kevin Michael Richardson, Nelson Lee, Lennon Parham and Usman Ally, as well as the returns of Diedrich Bader, Kevin Pollak, Rosalind Chao, Judy Gold, Cree Summer, Alysia Reiner, Greg Cromer, Dominic Burgess, Matthew Glave and Mario Cantone. In its final chapter, "Better Things" focuses on the road ahead for Sam Fox (Pamela Adlon) as she navigates her three daughters, her acting career and her aging mother (as well as herself).

Four other nominees emerged from this year's movies: the Disney film "Cruella," and the musicals "Dear Evan Hansen," "In the Heights" and "Respect." The final two nominees were drawn from last year's movie releases: "One Night in Miami" and "The United States vs. Billie Holiday."” />
They face off against three movie songs, including one that's already won an Academy Award and another that was nominated: H.E.R.'s "Fight for You" from "Judas and the Black Messiah," the Oscar winner earlier this year; Leslie Odom Jr.'s "Speak Now" from "One Night in Miami," its competitor for the 2020 Oscar; and "Here I Am (Singing My Way Home)" from the Aretha Franklin biopic "Respect," by star Jennifer Hudson, legendary songwriter Carole King and British songwriter Jamie Hartman.
Legendary composer John Williams earned his first-ever show-biz awards recognition at the Grammys: a nomination for his "Checkmate" TV-series soundtrack in 1961. And nominations have been accorded in the past to such major TV scores as "Angels in America" and "Game of Thrones," and such notably song-driven TV albums as "The Sopranos," "Six Feet Under" and "True Blood."
After years of second-class citizenship, it appears that music for television is finally being taken seriously by Grammy voters, based on this year's unprecedented number of TV nominations in the visual media categories, the answer appears to be a resounding yes. Seven of the 18 nominations, or more than one-third of the total in the score soundtrack, compilation soundtrack, and original song categories, originated in TV projects.
Henry Mancini's jazzy "Peter Gunn" soundtrack won album of the year for 1958, the only time a TV soundtrack has actually triumphed in one of the top three categories (record, song or album of the year). Grammy has rewarded TV music occasionally through the years.
It's most obvious in the score soundtrack category, where three of the five nominees are from TV: Kris Bowers' music for "Bridgerton," Ludwig Goransson's for the second season of "The Mandalorian" and Carlos Rafael Rivera's for the miniseries "The Queen's Gambit." Goransson and Rivera won Emmys for those scores just three months ago.
TV themes have managed to win in other categories over the years, among them "Batman" (1966), "Mission: Impossible" (1967), "Brian's Song" (1972), "Hill Street Blues" (1981), "Miami Vice" (1985) and "Twin Peaks" (1990).
And only three won: a song from "Malcolm in the Middle" (2001), the soundtrack from "Boardwalk Empire" (2011) and the score for "Chernobyl" (2019). By comparison, during the previous 20 years of Grammy nominations, Grammy voters chose only seven scores, 13 compilation albums and seven songs to compete in those three categories.
But for Grammy's 2020-2021 eligibility period,  watching TV instead of going to the movies during the pandemic, music written for the home screen has emerged from the shadows to take center stage.
Their competition, however, is fierce: Hans Zimmer for the much-talked-about "Dune" – the only new movie in the category – and the trio of Jon Batiste, Trent Reznor and Atticus Ross for last year's animated "Soul," which won them the Oscar and could be unstoppable in the voting.
Curiously, only one TV project made it into the compilation-soundtrack category: the album for the first episode of "Schmigadoon!", the Apple TV Plus sendup of Golden Age movie musicals.
Equally intriguing is the song category (officially "best song written for visual media") where three of the six nominees originated in TV projects: "Agatha All Along," the hugely popular "WandaVision" tune by Oscar winners Kristen Anderson-Lopez and Robert Lopez ("Frozen") that also won an Emmy in September; "All Eyes on Me," one of the songs in "Bo Burnham Inside," from the standup comedian's special; and the title song from the music documentary "Pink: All I Know So Far" by Pink (formally credited by her real name Alecia Moore) and two other Oscar winners, Benj Pasek and Justin Paul ("La La Land").

Best Drama
Andrew Garfield – "Tick, Tick … Boom!"
"The White Lotus"
"The Great"
Best Lead Actor
Jeremy Strong – "Succession"
"The Power of the Dog" – Jane Campion
"Being the Ricardos" – Aaron Sorkin
Best Supporting Actor
"The Power of the Dog"
Jennifer Coolidge – "The White Lotus"
Lee Jung-Jae – "Squid Game"
Will Smith – "King Richard"
Best Direction
"Ted Lasso"
"Sex Education"
Kristen Stewart – "Spencer"
Best Comedy
Jason Sudeikis – "Ted Lasso"
"Belfast" picked up seven nominations, including best film; direction and screenplay nods for Kenneth Branagh; supporting actress nominations for Caitríona Balfe and Judi Dench; and supporting actor nods for Jamie Dornan and Ciarán Hinds.
Best Actress In A Series
Ciarán Hinds – "Belfast"
Bradley Cooper – "Licorice Pizza"
Best Screenplay
In television, 13 productions compete for four awards, with six nominees competing for best drama series.
"We wish them the very best of luck along with all the nominees, and we look forward to seeing the results early in the new year.” “It’s hugely encouraging to see so many Australians nominated and featured on the international stage," AACTA CEO Damian Trewhella stated.
Best Actor In A Series
Best Lead Actress
Jean Smart – "Hacks"
Denzel Washington – "The Tragedy of Macbeth"
Lady Gaga – "House of Gucci"
"Licorice Pizza" – Paul Thomas Anderson
Caitríona Balfe – "Belfast"
Kodi Smit-McPhee – "The Power of the Dog"
Jennifer Hudson – "Respect"
"Nitram" – Shaun Grant
Kirsten Dunst – "The Power of the Dog"
In film, 14 productions compete for seven awards, with six nominees competing for best film.
Jamie Dornan – "Belfast"
The Australian Academy of Cinema and Television Arts (AACTA) announced the nominations for their annual AACTA International Awards, with "Belfast" leading the pack of film nominations and "Succession" and "The White Lotus" as the top contenders for the TV awards.
"Squid Game"
Jane Campion's "The Power of the Dog" followed closely behind with six nods, with recognition for lead actor Benedict Cumberbatch; supporting actress Kirsten Dunst; supporting actor Kodi Smit-McPhee; and directing and screenplay nods for the New Zealand-born filmmaker.
Ewan Mcgregor – "Halston"
Sally Hawkins – "Spencer"
Kate Winslet – "Mare of Easttown"” />
"Licorice Pizza"
Best Supporting Actress
See the full list of nominees below:
"The Power of the Dog" – Jane Campion
Caleb Landry Jones – "Nitram"
"Nine Perfect Strangers"
Murray Bartlett – "The White Lotus"
Al Pacino – "House Of Gucci"
Penélope Cruz – "Parallel Mothers"
"Belfast" – Kenneth Branagh
Judi Dench – "Belfast"
"The Kominsky Method"
"Mare of Easttown"
"Belfast" – Kenneth Branagh
"Being The Ricardos"
Benedict Cumberbatch – "The Power of the Dog"
Other Australians recognized include Nicole Kidman, who earned two nominations — one for her portrayal of Lucille Ball in "Being the Ricardos" and the other for her work in "Nine Perfect Strangers." Cate Blanchett was nominated for her supporting work on "Don’t Look Up." Shaun Grant and Justin Kurzel were recognized for "Nitram," as were the Australian producers of best drama series nominee "Nine Perfect Strangers" and best film nominees "Nitram" and "The Power of the Dog."
"Nitram" – Justin Kurzel
"Licorice Pizza" – Paul Thomas Anderson
Nicole Kidman – "Nine Perfect Strangers"
The 2021 AACTA International Awards will be presented virtually at 7 a.m. PT on Wednesday January 26). AEDT on Thursday, Jan. 27 (12 p.m.
Cate Blanchett – "Don't Look Up"
In the TV categories, "Succession" (nominated for best drama series) and "The White Lotus" (best comedy series) each boast three nominations, including nods for their Australian lead actors Sarah Snook and Murray Bartlett, respectively. "Succession's" Jeremy Strong and "The White Lotus" star Jennifer Coolidge were also recognized for their standout performances.
Nicole Kidman – "Being the Ricardos"
"The Handmaid’s Tale"
"Dune" – Denis Villeneuve
Sarah Snook – "Succession"
Best Film

The London-based Mahmood is currently a story editor on Peacock's "Queer As Folk" reboot. He was most recently a writer on the forthcoming season of A24 and Hulu’s award-winning series "Ramy." As a writer, his work often centers on his experience being a queer Muslim as well as an immigrant in London.
Keitel told Entertainment Weekly that the show "doesn't feel like manufactured Hollywood. It just feels correct. And the chemistry between the cast is like nothing that's been seen on TV. It's just magic."
Peacock recently announced "Big Sky" star Jesse James Keitel as its first cast member. Elsewhere, the "Queer as Folk" reboot will reimagine "It's a Sin" creator Russell T. The Peacock show is set in New Orleans and chronicles the lives of a diverse group of friends whose lives are transformed in the aftermath of a tragedy. Davies' groundbreaking 1990s series about three clubgoing men in Manchester's gay scene.
Mahmood will continue to be represented by Faisal Kanaan at Grandview and Adam Cooper at Jackoway.” />
Mahmood served as a staff writer in the show's Season 3 writers' room.
Debuting in 2019, "Ramy" follows Muslim American Ramy Hassan who is caught between his Egyptian upbringing and his American contemporaries in his hometown of New Jersey. The show has been acclaimed for its nuanced portrayal of the Muslim faith. Creator Ramy Youssef won a Golden Globe for best actor, and the show has also been nominated for Emmy and Peabody awards.
Writer, actor and stand-up comedian Azam Mahmood has signed with UTA for representation in all areas.

Next up, the Academy said its newly formed DEI leadership task force will develop, deploy and monitor an action plan over the coming months to ensure that diversity, equity and inclusion principles are fully integrated into the organization’s overall mission.
ReadySet also interviewed 36 members and 11 governors as part of a focus group.” /> Invitations to fill out the DEI survey were sent to more than 16,000 members, with 4,128 responding (including 61 governors) — a 28% rate that the Academy said was higher than any other survey in the org's history.
The hiring is a result of an evaluation of the Academy's membership, policies, procedures and DEI protocols that has recently been completed by ReadySet, a consulting firm that had been hired by the org to identify key focus areas.
Our organization is grounded in the values of excellence, service, community and impact; and, therefore, we have an important role to play in leading industry change with thoughtful and purposeful action,” said Frank Scherma, chairman and CEO of the Television Academy. “As content creators with a global reach, we have a responsibility to address the lack of diversity, equity and inclusion within our industry.
The study identified areas of strength for the Television Academy including an overall membership satisfaction and engagement score (73% positive) and members’ view that the Television Academy is uniquely positioned to be an industry bridge builder.
The Television Academy has announced plans to hire a senior executive in its membership department that will focus on driving new member outreach and community engagement as part of its diversity, equity and inclusion (DEI) initiatives.
But ReadySet identified three areas where the org needed work: One, "Members sought greater transparency, accountability and communication from the Academy, particularly from the Board of Governors and the organization’s leadership"; two, "Members perceived a lack of diverse representation across leadership bodies, including executive leadership, the Board of Governors, and Peer Group Executive Committees"; and three, "DEI initiatives, actions and communications from the Television Academy appear performative and reactive, and members voiced a desire for future DEI work to be substantive, and come from a proactive standpoint."
This change is not about any particular program or competition, it’s about systemic change across the organization. “It’s one thing to commission a study to formally identify issues within our organization, but it’s critical to commit to change. We are setting strategic objectives and creating goals that will deal directly with the challenges, and we are committed to holding ourselves accountable and sharing our results,” said Scherma.

When you’re playing a real-life person, you have a lot of I think the most powerful resource that any artist has is their imagination. You use creativity to solve problems. I mean, Paolo was a lot to handle, as you can imagine.
KELVIN HARRISON JR.: I’m just shocked, to be honest, I didn’t even know Jared knew who I was. And then I started watching everything else that he did and saw he’s one of those actors who love the transformation. I met him once and took a selfie together. I started watching movies late in life, and I saw him in “Dallas Buyers Club,” and I remember telling everybody I know he’s my favorite actor.
What’s been your approach to acting, and how has it changed over the years?
Do you have any regrets about past roles?
I wanted to be a visual artist, a painter. It was a means to an end. I never wanted to act. Because I’m completely fucking crazy, I suppose. My plan was to become an actor first, so I could get a job as a director. I studied visual art and found photography, then film, and I dropped out of school. There are harder jobs in the world than being an actor, but it does have its unique set of pressures — mostly psychological. I think to do this, you have to be a little nutty. I wanted to be an artist my whole life. I’ve had the opportunity to be behind the camera a ton in the past decade and a half, and I fell in love with the process.
I don’t sit around and nurse my regrets in life. You got to move on. You take that failure, fear, frustration, pressure — take all those things, and it’s fuel for the fire. No, but I will tell you, I’ve failed more than anybody I’ve ever met in my life.
What does it feel like to be chosen by Jared Leto?
In Variety's Up Next, we asked four Oscar winners to pick the one person who represents the future of Hollywood.
• • •
King. I sent in tapes for both Mufasa and Scar, and I kept praying that they don’t pick me for Mufasa. With “Chevalier,” I just finished. It was cool to play B.B. With “The Lion King,” it’s going to be fun. That movie came out when I was born, and it was my favorite movie growing up. I’m grateful I got to be a small part of that movie. Scar is one of my favorite characters. It’s going to be an event. Baz’s movie is a Baz Luhrmann film. I learned the violin. I’ve been learning concertos.” />
What was your most useful resource in preparing for Paolo Gucci in “House of Gucci”?
But I really have to say, my perspective on it has changed a lot. I took about six years off before “Dallas Buyers Club.” I’ve always been grateful for acting, but I had a lot of conflict around it. I wouldn’t have expected that. It started to become easy to avoid doing. I’m having quite a love affair with acting.
“He’s making interesting choices already,” Leto says. “I know he’s not going to let us down.” When he looks down the road, Leto chooses Kelvin Harrison Jr. as “Up Next.” The 27-year-old actor — who had breakout roles in “It Comes at Night” and “Waves” — can be seen in Joe Wright’s musical adaptation of “Cyrano” playing Christian.
How did you approach Christian in “Cyrano,” which was different than other portrayals in the past, besides that he’s a Black man?
I was like, “Oh, wait a second.” OK, now I want to know who the fuck is this? He didn’t do that. And then this year with “Cyrano” — I’ve always seen the character of Christian played a bit vacant or vacuous. … Then I watched “Waves,” and I said, there goes this guy again. Kelvin Harrison Jr. I saw him in “It Comes at Night,” and he elevated the genre.
Maybe I probably shouldn’t, but until you prove to me that I shouldn’t, I’m going to give it a shot. I come from New Orleans, a small town, and I want to trust everybody I meet in Hollywood. One of the first conversations Joe [Wright] and I had was I think that he has to have something special. And though, you know, I think he was very intuitive in terms of navigating, that didn’t feel right. I don’t have a vast vocabulary by any stretch of the imagination, but I could tell a story — not as well as Cyrano, but I could. I connected with Christian on that level. We left it with the fact that he had a strong emotional intelligence. It was about him being sincere and trustworthy. It was never about him being dumb.
Jared Leto loves a good transformation, as exhibited by his latest performance in Ridley Scott’s “House of Gucci” — where he’s unrecognizable under layers of prosthetics as Paolo, the black sheep of the fashion family. The Oscar-winning actor (who won an Academy Award in 2014 for “Dallas Buyers Club”) is a fan of “dancing on the edge” as he’s building a character. “Let’s try and fail here,” Leto tells himself before shooting a scene.
You’re working with Baz Luhrmann on “Elvis” and Barry Jenkins on the “Lion King” prequel next, along with Stephen Williams’ “Chevalier.” What can you tell us?
Who would you choose as “Up Next” in acting?
Why did you decide to become an actor?
JARED LETO: As I get older, I don’t take it for granted. I always feel it’s my obligation to dive in as deep as possible, and hope that I can help contribute in a meaningful way. I think it’s even more attractive to be bold than brave — and to make some mistakes.

Woan offers up his kidney despite the credibility-stretching double whammy of wearing a pacemaker and being a hemophiliac, while Quy’s generous donation assumes he can avoid the knife-wielding goons who want their loan repaid. But overkill is the operative word throughout “Dad, I’m Sorry,” especially during the second half when the story takes multiple tear-jerking turns including Sang’s sudden need for a kidney transplant. If that’s not enough, Woan’s ex-girlfriend returns after a years-long absence with a plan to manufacture a scandal involving the young YouTuber that’ll launch her acting career.
Meanwhile, Woan earns his father’s scorn after filling his bedroom with water for his latest viral video causing the alley to flood for no less than 35 supposedly-comical seconds. Worse, it suffocates the film’s promising central relationship between Sang and Woan, robbing the viewer of a unique and illuminating assessment of modern Vietnamese intergenerational dynamics. Sang is part of an older crop of parents taught to sacrifice for their family even if it means paying their debts and being seen by others as a doormat. The twentysomething Woan wants money and fame as a YouTuber, which neither Sang nor his family consider a real job. Because the story flies in more than directions than a holiday fireworks display, it can’t fully service the needs of all these characters. This dynamic plays out early on when a clueless but well-meaning Sang cleans Woan’s distressed Gucci sneakers and mends his stylishly ripped Dsquared2 jeans.
While Tran has no obligation to tailor the action to audiences outside Vietnam, especially since the film is resonating just fine on its home turf, his comments on Vietnam’s patriarchal system and how the younger generation is chafing against it get lost in the cacophony. For Americans, the major disappointment in “Dad, I’m Sorry” is that the soap opera-level plot machinations, wild tonal shifts and ceaseless bickering deny foreigners a proper introduction to the life of a contemporary working-class Vietnamese family. Indeed, Tran could develop into an international voice worth listening to if he’d just stop screaming.” />
Here, the actor, comedian and former judge on “Vietnam’s Got Talent” toplines as Ba Sang, a middle-aged, debt-ridden, single father who lives in a dilapidated home in a Saigon alley with his son Woan (Tuan Tran) and 6-year-old daughter Bu Tot (Ngan Chi). These include his older sister Giau (Ngoc Giau) and his two brothers, the henpecked Phu (Hoang Meo) and drunken party crasher Quy (La Thanh), who is in debt to local thugs. If the residents have anything else in common it’s their propensity to complain and the sheer tonnage of vituperative dialogue spewed at Sang by various children, siblings and in-laws becomes as tiresome to him as it can for audiences. The alley is also populated by a sprawling array of other characters, many of whom are Sang’s relatives. “Dad, I’m Sorry” is based on Tran’s hugely popular five-episode web series.
A big-hearted, deeply traditional Vietnamese father juggles the wants, needs and occasional indignities of his dysfunctional extended family in actor and comedian Tran Thanh’s “Dad, I’m Sorry.” This comedy drama currently stands as Vietnam’s highest grossing movie of all-time (beating “Avengers: Endgame”), so it’s no surprise it’s the country’s 2022 Oscar international feature submission. Tran, who co-wrote the script, tries hard to provide a multi-layered picture of domestic Vietnamese life and he’s especially concerned with the cultural shifts that have widened the generation gap between older Vietnamese patriarchs and their digital-native charges. But his film swings from histrionic melodrama to broad comedy with such abandon that his concerns and insights are given little opportunity to sink in.
That includes the thirtysomething Tran who vaguely passes for a middle-aged man with his dyed gray hair and dodgy gray mustache. Co-directors Tran and Vu Ngoc Dang deliver a good amount of local color, and they occasionally give us a breather from the hyperactive goings-on with a well-executed “oner,” including the shot where Woan and Sang discuss the paternity of a major character. The hard-working, heavy-handed score, which Tran composed with Ngo Minh Hoang, switches from sitcom-style pleasantries to heavy dramatic thunder within seconds, as the performers push things to the edge whether the moment calls for laughter or tears. Otherwise, too often the most reasonable family discussions, let alone the emotional breakdowns and dramatic reversals, are pitched at exaggerated levels. Of the leads, credit the tall and lanky Tuan with best managing to steer his performance toward the neighborhood of recognizable human behavior.

Tiffany Fairfax, the widow of John Fairfax, will serves as executive producer. The producers on the project are Rob Goodrich and Jason Armstrong of Walk Like a Duck Entertainment.
No one else can replicate the integrity I experience with Rob and Jay. "John Fairfax is the love of my life," Tiffany Fairfax said. John lived a million lives in the span of one and I’m so excited for the world to see this man exactly as he was and I’m confident Walk Like a Duck is the perfect company to achieve this."” /> Since meeting with Rob, Jason and the Walk Like a Duck Entertainment team, I am certain that the king’s adventurous, brilliant, loving, superhero lifestyle will be achieved on-screen. "He is my hero, my soulmate and my king.
Fairfax died in 2012 at the age of 74. Over the course of his colorful life, he apprenticed to a pirate, managed a mink farm, and later made his living playing baccarat, at least according to a New York Times obituary.
wrote at the time. The company plans to make a film about Fairfax and believes his extraordinary exploits have the making of gripping cinema. Fairfax crossed the Atlantic, becoming the first solo oarsman in recorded history to cross any ocean, and reached the shores of Hollywood, Fla., the day before Apollo 11 landed on the moon. Aldrin Jr. "We who sail what President Kennedy once called 'The new ocean of space' are pleased to pay our respects to the man who, single handedly, has conquered the still formidable ocean of water," astronauts Neil Armstrong, Michael Collins and Edwin A. His crossing was seen as so momentous that the astronauts sent back a message to Earth offering him their congratulations.
"John Fairfax was the real-deal and we are honored with the opportunity to help bring his remarkable journey through life to screen with the support of his devoted love, Tiffany Fairfax," Walk Like a Duck Entertainment said in a statement. "While we’ve all become overly-connected to technology, special media and new forms of peer pressures, John Fairfax fought one battle: John vs the world, regardless of fanfare or perception. Tiffany has been a steadfast gatekeeper of John’s legacy and we look forward to quickly putting focus on packaging this project."
Walk Like a Duck Entertainment has acquired the life rights to the story of John Fairfax, an adventurer who crossed both the Atlantic and the Pacific in a rowboat.

Particularly, “crash the party” ends with a 60-second confessional in which he reveals that music once stopped him from committing suicide. But there are several moments where Ricch peels back the onion, periodically adding brief soliloquies about his life or a loving voicemail from his grandmother.
Meanwhile, album closer “25 million” employs beautiful Spanish guitars for Ricch to truly digest his evolution from a poverty-stricken Park Village Compton Crip to famous rap star, uncharted territory he’s clearly doing his best to navigate — albeit slowly.” />
But all fast things must slow down at some point, or life will force you to stop. “My OG Pete told me the goal in life was to have fast money, fast bitches and fast cars,” he grumbles, spoken word-style. “But the consequences behind that life is glory.
With additional accolades pouring in — including two BET Awards, a pair of BET Hip Hop Awards and an American Music Award — the bar had been set incredibly high for the 23-year-old, and the pressure to deliver another home run was palpable for him.
But with your second album, you got from your first album to your second album to make that shit and talk about mainly what went on between them two. As Ricch explained to Apple Music in a recent interview: “They say you make your first album and you got your whole life to make your first album. If you a real artist, you ain't just throwing shit out.”
Over two years after his debut, Ricch finally returned with his sophomore album, “Live Life Fast,” on Friday (Dec. So he took his time. Despite its title, the highly anticipated project starts at a snail’s pace with the intro track “Ilf.” Over melancholic piano notes and an angelic choir, Roddy demonstrates a healthy amount of growth since becoming a father in April while simultaneously outlining the album’s concept. 17).
Famously elusive, Ricch includes a line on the Lil Baby-assisted “moved to miami” where he says, “I got power and move like a ghost,” which essentially sums up his career. From “hibachi” with Kodak Black and 21 Savage to “no way” featuring a few motivational words from actor Jamie Foxx, the album rides a sonic wave of high-octane bangers and more subdued, reflective respites that provide fleeting glimpses into who Roddy Ricch is. Where most of his peers have had to camp out on social media and drum up controversy to make headlines, he’s been able to find massive success being intentionally enigmatic. Turns out, the “antisocial” element from his debut wasn’t smoke and mirrors — he prefers to keep his private life, private.
With no sign of slowdown, the 16-track project boomeranged back to No. 1 in its fifth week, becoming the longest-running No. Not only did the track earn a rare diamond certification from the Recording Industry Association of America (RIAA), it along with parent album “Please Excuse Me for Being Antisocial” landed three Grammy Award nominations. 2019, the Compton rapper hit his stride, logging his first Billboard Hot 100 No. After releasing "The Box" in Dec. 1 and registering one of the biggest hits of the year with 11 weeks at the top spot. Roddy Ricch had a very good 2020. 1 debut rap album in the United States since 2003.
“Shit was crazy, you know? “I had pulled up on my DJ at the time and he was just tellin’ me keep my head up and shit like that,” he dryly explains. I felt like I wanted to die, I felt like I ain’t even wanna be no more ’cause I just — I ain’t have shit at the time, you know what I’m sayin’?
“And music was all I really had, so you know just from goin’ to jail and fucking around in the streets, I knew it wasn’t shit so I had to just, keep my head up, keep goin’, get focused, grind that shit out.”
I’ve realized I've lived fast, I wanna take my time. It’s something you spend and never get back, but you never know how much you have left.” “His result was twenty-six years in the federal penitentiary. Time is the most expensive luxury in the world.
On one hand, he wants to be a carefree young man spending money with wild abandon and rapping about his revolving door of romantic trysts but on the other, he aims to fully embrace his new role as a father and impart wisdom on his budding fanbase. In what quickly becomes a common theme, Roddy Ricch is right back to his braggadocios ways as he wrestles with what sounds like an identity crisis occurring in real-time. Just like that, the momentary stillness is over and “thailand” comes in like a freight train with its deep rolling bass and unrelenting high-hats.

What is the process of putting on the appendages, the lekku? How heavy are they?
Fans have known next to nothing about the Disney Plus series — which is executive produced by Jon Favreau, Dave Filoni and frequent episode director Robert Rodriguez — ever since it was announced with a surprise post-credits scene at the end of the Season 2 finale of "The Mandalorian." In the scene, Boba Fett (Temuera Morrison) and Fennec Shand (Ming-Na Wen) saunter into the late Jabba the Hutt's compound, where Boba kills Bib Fortuna (Matthew Wood) and takes over Jabba's criminal organization.
There's music everywhere. "In between takes, Tam is singing to everybody. It was an incredibly creative environment." "Tam and Ming-Na make the set incredibly joyful," she says. Beals says she had a "tremendous" time working on the show. Robert's room was next to mine and he's playing his guitar.
I don't know. (Pause) Did I remain silent or did I ask you a question?
They're just 180-degrees different. You're on "The L Word," and she's like the Little Engine That Could, and then you go to "The Book of Boba Fett" and it's a pleasure dome that's already been built, and they have so many resources, not the least of which are the imaginations of the people who are running the organization. It was wild.
That was the question. (Pause) Please remain silent if that is significant for my character?
Season 2 ended on something of a cliffhanger, with Bette confronting whether she wants to be with Pippa (Vanessa Estelle Williams) or her ex-wife, Tina (Laurel Holloman). Do you have a sense of what you would like to do to continue that part of the story if you had the chance?
I know there's not much you can say about your character, but did you know a lot about her at first?
Who knows if they'll decide to do it. We'll see! We did do that incredible room where they have hundreds of cameras all around you taking your picture so that they can make the action figure. I don't know that I get one? Who knows. But I don't know. They I think they say that to all the girls.
"The Rise of Skywalker"?
Do you know yet if the show is going to be returning for Season 3?
I do want to make the observation that the most prominent Twi'lek in the "Star Wars" universe, Bib Fortuna, was killed by Boba Fett at the end of Season 2 of "The Mandalorian." Please remain silent if that is significant for your character.
This interview has been edited and condensed.” />
"I wanted to tell everybody and I couldn't tell anyone," she says to Variety in her first interview about the show.
In the case of "The L Word," how has revisiting Bette so many years later have changed your perspective on the character? Both of those shows are reexamining legacy characters that a certain generation of viewers grew deeply fond of when they were first in the world.
So hopefully, we'll have some good news to share about that in the coming weeks. There's one particular producing project that's in the midst of finding a home right now.
OK, let’s try this: Most Twi’leks are enslaved, but in the brief shot of your character in the first trailer, her outfit looks expensive, like she’s a person of stature.
I mean, I knew about the character. Are you kidding me? But this is how good they are at the lockdown of secrets: Even when I first stepped onto the set, I didn't realize that I was in "The Book of Boba Fett." I just knew that I was getting to be part of this story.
I would say that's fair, just to summarize it that way.
For more than a year, Jennifer Beals ("The L Word," "Flashdance") has been dying to talk with anyone outside her family about her role on the new "Star Wars" series "The Book of Boba Fett."
What have you learned with producing?
I'm very hopeful.
Well, almost everything. She also gamely discussed shooting "Boba Fett" at the same time she was in production on Season 2 of Showtime's "The L Word: Generation Q" and her recent step into the world of producing. 29, however, that's everything Beals can say about the character. Until "Boba Fett" premieres Dec.
How closely did you follow the franchise as you became an adult?
And I walked into the house and the phone rang and that was the offer [for "The Book of Boba Fett"]. I was just gobsmacked. As it happened, I didn't know about "The Mandalorian" really, either. So that night, I started watching. Yes. That was the last film I saw in a theater before I was cast. It just was so beautiful with so cinematic and heart-centered at the same time. My older brother called me and said, "I'm going to go watch 'The Mandalorian' with [my] kids." And I said, "Oh, tell me about 'The Mandalorian,'" and he started telling me about the show and how great it was.
How did they compare? So you were shooting the second season of "The L Word: Generation Q" at the same time, and I cannot really think of two shows that would seem to be more different.
The team really went to the ends of the earth to make sure that not only were they incredibly light, but that they were balanced perfectly for my skull. But [wearing them] just changes everything. It's like this incredible crown of sensitivity and identity. They were easy to keep on during the day. We could take them off during during a break if I needed one.
Neither relationship is purely new. You know, Pippa is somebody that she idolized when she was a young woman, and certainly Tina is the love of her life in many regards. And allows you to continue a story of the complexity of love, especially love that is rooted in the past, which both of Bette's love interests are. And that's all based in the past. Well, it allows you to continue the story of really profound love — with either person.
What do you remember about the first time you saw the first "Star Wars" movie?
I hadn't really followed it. I got taken off on to other tracks and, you know, watch other films, but also I was doing a lot more reading. But the last movie I saw before lockdown was "Star Wars."
It's really hard to say because sometimes I feel like I'm so inside of it that I won't know until we know that we're completely finished. But I feel her struggling to evolve, really determined to evolve, being her own worst enemy sometimes, being the source of her own undoing, but really trying to expand her agency of goodness in the world, if only for the sake of her daughter and generations to come.
Since then, however, Lucasfilm has shrouded the show with its customary veil of secrecy, including who other than Morrison and Wen would be starring in it — until the first trailer, when Beals appeared in a brief shot as a Twi'lek, a member of an alien race with two long appendages on their heads called lekku.
I love writers. I love it. I love story. To get these things into the world is not always easy, but but I am enamored of the process. I love helping shape story and talk about story.
I thought to myself, “Oh, yes, that's, that's what this thing is this, this energy that, that I will feel sometimes if I'm in the forest or I'm focusing.” It was just the first time that was identified for me. But that moment when Luke is instructed to use the Force identified for me my beginnings of my understanding of the universe, in a way, as a young woman. It's not as if I'm well versed in "Star Wars" lore at all. I get really excited still. So, to be part of that — I never even imagined that it would be possible for me to be in the "Star Wars" family.
Did you know what a Twi'lek is or did you have to research it?
Ah, my instincts were right!
I had to be reminded of what that was and who they are and where they're from. I would go to Dave, and we would talk about character and how is this person different perhaps than the lineage that's come before, and what has informed her experiences and then how does that change the way she looks or behaves — or dresses for that matter. Dave Filoni is just extraordinary. Instead of relying on the internet — which, you know, I don't know who the authors are of certain articles that I'm looking at — I would go to the source. He's like a walking encyclopedia.
You're an executive producer on that show, and I gather you're moving more into producing?
I think that's fair that I say that to you. What am I gonna do, go, "Oh, I don't know, is she?"
So this franchise that unlocked a kind of spiritual connection for you came back to you in the most Kismet-like way, it sounds like?
Finally, this is the inevitable "Star Wars" question: Do you know yet what your action figure is going to look like?
But it'd been decades since I'd seen them. I had worked with both Jon [Favreau] and Robert [Rodriguez] many, many years ago. Jon and I were both in "Mrs. Parker and the Vicious Circle," and Robert, I worked with on "Four Rooms." And knew him from that circle of friends with Quentin [Tarantino] and my ex-husband, Alex Rockwell. Yeah, yeah.