As Fincher points out to Variety, Henry Ford saw assembly lines in meat-processing plants and thought “What if I applied that to automobiles?” It was a huge success and the studios tried to do the same with movies. It worked for publicity, marketing, and even grooming stars. But Fincher says “The greatest disservice ever foisted on ‘chronological narrative content’ is the idea you could take something as intimate and personal as storytelling and apply an assembly-line to it.”
As reported in Variety on Sept. 22, 1933, Upton Sinclair vowed that, if elected governor, he would make California a socialist state — “I mean an industrial democracy.”
In September 1934, Variety said a KNX radio poll showed Sinclair leading 2-to-1 over Republican candidate Frank Merriam. On the same page, Mayer in Paris said if Sinclair is elected, “it would plunge the state’s industries into chaos.” So Mayer used MGM talent to create propaganda films to undermine Sinclair.
“I needed  an actor’s actor, to play someone who walks into a room and everyone would say ‘That’s the guy.’ Fincher says Gary Oldman doesn’t look like Mankiewicz, but has the writer’s disarming charm.
In that way, it’s like Mank himself: a move to counteract assembly-line filmmaking.” /> “Mank,” which is a strong Oscar contender in multiple categories, defies audience expectations.
4. It tackles a well-known topic (Hollywood in the 1930s-‘40s) from an unusual angle. 2. There are a lot of reasons to like “Mank.” 1. It’s not what people expected, always a good thing in a film. It’s great filmmaking. It has an irresistible backstory: David Fincher wanted to pay tribute to his late father, Jack, by directing his screenplay; 3.
(Variety in those days referred to Hearst as the Lord of San Simeon or Sultan of San Simeon.) Netflix’s “Mank” is also about the 1931-41 era leading up to Mankiewicz’s script (he turned in a 327-page draft). Despite a rebel streak, he knew how to play nicely with William Randolph Hearst as a guest at his estate.
“Upton Sinclair was a big deal,” says Fincher. We needed to give audiences the brushstrokes and move on.” But we didn’t want to stop and give the audience a history lesson of who he was. “He was like Bernie Sanders and Studs Terkel, a formidable person.
As the movie makes clear, Mankiewicz’s skepticism of Hearst became antagonism when he saw how the newspaper baron and MGM topper Louis B. Mayer affected 1934 politics. Their actions allowed Mankiewicz to eventually break with both.
The “Mank” script shows how Mankiewicz was affected by that turnaround, but director Fincher didn’t want to overexplain.
Mankiewicz, including his risky decision to write “Citizen Kane.” It’s also about the times he lived in, and how events fed into his creativity. Among other things, it is a character study of Herman J.
“Mank” shows how writers under contract balked at that assembly line, which led to the Screen Writers Guild, and later the Writers Guild of America.
“I hope this movie exists as more than just an addendum or footnote to ‘Citizen Kane,’ ” Fincher tells Variety. It’s not about the making of the 1941 classic. “I hope there is enough human behavior and an interesting enough look at humanity that it doesn’t require a master’s degree in film theory.”
I don’t want sympathy for Mankiewicz; I want empathy for him. That’s a very specific difference. “Gary knows his job is not to make the audience like the character; his job is to be truthful. A lot of actors confuse them.”
Among the goodies was its no-nonsense presentation of the studio system. “There is so much great stuff in the script,” Fincher says of his father’s work.

Gravitas is thrilled to be bringing the film to audiences everywhere," said Brett Rogalsky, manager of acquisitions at Gravitas Ventures.” /> "'Tyger Tyger' is a unique vision that is as compelling as it is timely.
We're thrilled to be working with Gravitas, a company that recognizes the urgency of delivering a film that speaks to young people facing today’s daunting challenges." "'Tyger Tyger' is a personal and magical story about love and drug addiction in the midst of a pandemic," Mondragon said. "Though we shot this story before the events of 2020, we know both the timeliness and universal themes in the movie will connect with audiences across the world.
She ditches her loser boyfriend (Max Madsen) and makes a deal with a drug addict named Luke (Sprouse) to help distribute the stolen meds to those who need it. It follows a frustrated woman named Blake (Sam Quartin), who robs a pharmacy for life-saving medication while awaiting her test results during a pandemic. Kerry Mondragon wrote and directed the movie, which was presciently filmed before the coronavirus crisis gripped the world.
26. Gravitas Ventures nabbed worldwide rights to the film and plans to release it in select theaters and drive-ins, as well as on digital platforms, on Feb. "Tyger Tyger," a thriller starring Dylan Sprouse that's set during a deadly pandemic, has secured a distributor.
Jack Nielsen, Kaly Ngo and Joe D'augustine co-produced. Mondragon also served as an executive producer with Mary Rose Costello, Casey Mondragon, Shane Jerominski, Phil Batlin and Akshay D'souza. Mondragon produced the movie through his Uninflected Pictures banner, along with producer Salvatore Sclafani.

Coca-Cola said Friday it would not run ads in CBS' broadcast of Super Bowl LV, citing a "difficult choice" made to "ensure we are investing in the right resources during these unprecedented times." Coke's announcement follows a similar one made by rival Pepsi, which has opted to focus on its annual halftime show rather than run commercials for its flagship drink (Its parent company, PepsiCo, will run a commercial for its Mountain Dew soda along with various snacks from Frito-Lay).
Coke has over the past two decades become a Super Bowl stalwart. Working hand in hand with ad agency Wieden + Kennedy, Coca-Cola has, to borrow one of its slogans, added life to the game.
The beverage companies' decisions to put their drinks on the sidelines will no doubt spark more questions about the financial underpinnings of the Super Bowl during a time of economic flux. The coronavirus pandemic  has forced many advertisers to cut their budgets and reallocate spending. Pepsi in the past tamped down Super Bowl activity during another crisis moment. In 2010, as the nation worked its way back from a severe recession, Pepsi decided not to run ads for any of its beverages, ending a streak of 23 years of hyping the drinks during the Big Game.
This year, the beverage giants will fight that battle somewhere else. The Super Bowl has long served as a prominent front for the long-running soda war between Coca-Cola and Pepsi.
Coke has already stopped offering Tab, Odwalla juices and Zico coconut water. In December, the company said it would lay off 2,200 employees, or 17% of its global workforce, as it worked to trim the number of brands it operates. Like many other industries, the soda business has been affected by the coronavirus pandemic, which has scuttled many occasions — large parties, attending live sports events, and in-theater movie runs — where sugary beverages are often consumed.
Last year’s game generated an estimated $435 million in ad spending, according to Kantar – a new record. CBS, which is seeking around $5.5 million for Super Bowl TV advertising packages, has yet to declare a sell-out of its in-game commercial inventory.
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Recognizing more Super Bowl viewers were using smartphones during the game, Coca-Cola in 2013 ran a feed on social media of its famous animated polar bears commenting on all the Super Bowl commercials. During a previous Super Bowl run (the soda giant took an eight-year break from the game after 1998), Coke tugged on heartstrings with a commercial featuring former Pittsburgh Steeler defensive tackle “Mean” Joe Greene throwing a jersey to a young football fan. In 2008, the beverage company ran a dazzling spot showing Macy’s Thanksgiving Day balloon characters (Underdog and Stewie from “Family Guy”) chasing after a balloon version of a bottle of Coke — only to be outmaneuvered by Charlie Brown. The ad's appearance in Super Bowl XIV in 1980 helped helped make it a classic,(even though the commercial had aired previously on TV.
The company spent $10 million in commercials placed in Fox's 2020 broadcast of Super Bowl LIV, according to data from Kantar, a tracker of ad spending. Coke declined to make executives available for additional comment.
By doing so, the soda-maker ended an 11-year streak of making Super Bowl ad appearances. Coca-Cola last sat out of the Big Game in 2019, opting to run a commercial just before kickoff of the broadcast, but not in the event itself.

Despite the extraordinary circumstances of 2020, TikTok has transformed the pop culture landscape in recent months.
Watch the full conversation above.” />
“We think that by working with the smartest people in the agency world and the client world, we can build a future that is different, where advertising becomes anticipated and hoped for versus something people deal with in order to get content.”
But these concerns specific to social media platforms aside, Chandlee and his team are focusing on building a more diverse content base for its global audience.
While this mission has not changed, Chandlee shared that he was personally struck by the shift in content he saw last year. At its core, the application simply strives to inspire creativity and bring joy to users, said TikTok’s Vice President of Global Business Solutions Blake Chandlee.
“Diversity in content, and the kinds of creators that were creating content on the platform went from pretty simple offerings to diversity around cooking and DIY and education,” he said during a Variety Entertainment Summit conversation. “And we had these amazing creators just tell inspiring stories all year long and that just continued, which then led to the adoption of the platform for a variety of audiences.”
With last year’s Black Lives Matter protests inspiring youth activism across the world, Chandlee added that socially active content has increased on the app. At the same time, the trust and safety team at TikTok now carefully monitors them to eliminate misinformation, he said.
“People were creating TikToks and younger generations were introducing their parents and grandparents to the platform. So there was this unity again around the family around this content that just didn't exist before.” He continued on how a platform primarily used by Gen Z audiences also brought families together during lockdown.

Snapchat is looking to hire a senior exec to head up Spotlight, who will also report to Schwerin.
Schwerin takes over the Snap content team as the company looks to expand Spotlight, its recently launched user-generated content feature that presents videos in a personalized, TikTok-like feed. Snapchatters who contribute to Spotlight are eligible to get a cut of more than $1 million daily, and the company has already paid out more than $1 million to several individual creators.
Schwerin, who joined Snap in January 2015, was previously VP of partnerships. He'll now oversee all the company's efforts related to content and partnerships globally.
In a reshuffling of Snap's content group, the Snapchat owner has promoted Ben Schwerin to the newly expanded role as SVP, content and partnerships.
And in another executive change, chief strategy officer Jared Grusd — the former HuffPost CEO who joined Snap more than two years ago — is shifting into an advisory role at the company, focused on Snapchat’s long-term strategies and initiatives.
Most recently, we’re really excited with the growth we’ve seen in Snap Kit, Games, and AR." In a statement provided to Variety, Snap CEO and co-founder Evan Spiegel said, "Ben has been a part of our team for six years and he has done a wonderful job building our partnerships around the world across sports, music, media and creators.
I’m grateful to Jared for his friendship and for the many contributions he made to Snap in his role as chief strategy officer. Regarding Grusd's new role, Spiegel said, “Jared plays an invaluable role in growing our business. I look forward to his contributions in his new role as strategic advisor, where we can leverage his strategic insights as we look for opportunities to accelerate our long-term objectives."
The Snap exec changes were first reported by the Information.” />
Schwerin will continue to lead Snap's platform, games, talent and AR creator partnership teams. Under the new structure, Schwerin's direct reports are Sean Mills, who will continue as head of original content; David Brinker, senior director of content, business and operations, who will lead media partnerships; Mike DiBenedetto, director of content strategy; and Nana Murugesan, managing director of international markets.

The moves are some of the first put in place by Ingrid Cipiran-Matthews, who was named CBS News' Washington Bureau Chief on January 5.
CBS News makes its announcement after CNN, NBC News and Fox News Channel have also unveiled changes in coverage of the White House and other parts of how the U.S. government works.
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CBS News also named Ed O'Keefe senior White House and political correspondent and said Weija Jiang, another familiar face covering the White House, would be a senior White House correspondent going forward. CBS News named Cordes its chief White House correspondent, part of a reshuffling of news resources that usually takes place around the industry whenever a new occupant takes over the Oval Office.
and feel confident that we are putting the right team in place for success,:" Ciprian-Matthews said in a statement. "Our priorities: to break news, provide the audience with original reporting and context and lead the way among our peers." "I have taken a fresh look at the needs in D.C.
Now she will start a new role for the ViacomCBS news unit – at the White House. Nancy Cordes has been the indefatigable Capitol Hill beat reporter at CBS News for more than a decade.
Nikole Killion and Kris Van Cleave will become CBS News Congressional correspondents.

Having directed films in the MCU like "Captain America: Civil War" and "Avengers," do you both feel an artistic exhale, allowing you to move into the next phase of your careers?
Which "Avenger" actor makes you laugh the most?
But after reading the novel "Cherry" by Nico Walker, the filmmaking duo saw a personal connection to the opioid epidemic that they witnessed first-hand within their community and their own family. For Anthony and Joe Russo, choosing their next project after making the all-time highest-grossing film "Avengers: Endgame," was not easy.
Growing up with so much brotherly love, who had the idea to get into filmmaking?
We had a point of view that was not necessarily mainstream. When we were kids, we sat in theaters and had those emotional moments during "Empire Strikes Back," "Raiders of the Lost Ark" and "Close Encounters of the Third Kind." It was something about big movies and being in a packed theater and people collectively reacting together. No one had ever done a mosaic of stories spread out over 22 movies. Joe Russo: We had an incredible experience working with Marvel, and we prioritize the work experience as much as we do the storytelling and the subject matter. When you grew up in the industrial Midwest, especially to see a city that gets made fun of all the time, it fosters a certain attitude and a certain point of view that isn't 10 blocks from your home. They were an incredible group of people to work with, doing some very experimental storytelling. Those were strong impressions on us. We wanted to pass those feelings on to another generation. We found that a very interesting concept, as mentioned, our biggest inspiration growing up was the French New Wave or these punk rock kids who grew up on Cleveland's streets.
Another one called "Concrete" is also really good. Joe Russo: There's a great indie comic that I collected in the 80s called "Grendel." I don't think anyone's ever developed that. Both of those.
Why is it so difficult to tell genuine stories about the opioid crisis?
Have there been any discussions about doing your own solo projects now or down the line? Joel Coen is directing "Macbeth," which is separate from his brother Ethan for the first time.
What's the movie that you watched as kids that hooked you into the dream of getting into the industry?
Joe Russo: Paul Newman.
Name an actor you would have loved to direct but who is no longer alive.
In an interview with Variety, the brothers discuss their origins and the personal connection to the story of "Cherry." They also open up about some of their cinematic influences, such as Steven Soderbergh and the Coen brothers, and if solo projects could be in their future.
With your younger sister Angela co-writing the screenplay, "Cherry" is a family affair.
What's next for the Russo brothers?
Having worked with Tom Holland as Spider-Man in the MCU, were you always envisioning him in the "Cherry" role?
Anthony Russo: It was very incremental baby steps. And the enjoyment of doing that led us to try to write a screenplay. I was there at the same time pursuing the first year of a law degree. We started a comedy troupe together and put out a couple of shows. The little light bulb went off for us. We didn't go to undergrad together and were at the same school for the first time. This was right in the wake of "El Mariachi" and was inspired by the idea that you can make a movie for $7,000. That's how it basically started. Joe got into the arts first, pursuing a master's in fine arts, acting, and drama at Case Western Reserve University.
Anthony Russo: Robert Downey, Jr.
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Joe Russo: "Murray Hill." The script we wrote 25 years ago is set in Cleveland and spans like three decades. It's something that we've always aspired to make. It examines a mob war from the point of view of three different cultures engaged in the war. It's a very expensive period movie with like 150 speaking parts and very complicated.
What's the movie you want to make but you don't have the money yet to make it?
It would be hilarious if Anthony said, "Actually, I would love to direct one right now, but he won't let me." Anthony, do you concur with Joe's sentiments?
Joe Russo: Denzel Washington.
I remember we applied to Slamdance in 1997, and I think they got 2,000 submissions. We ended up getting very lucky because the one person who would respond to the movie we ended up making actually saw the film, and that was Soderbergh. So people were coming out of nowhere. It was a very nonlinear experimental movie, inspired by François Truffaut in the French New Wave, and we did not get a big response out of mainstream Hollywood. It inspired thousands of other people across the country and us. So I think it was just a moment in time. Joe Russo: I think that there was a bit of a craze at the time, because of Sundance, starting with Soderbergh, anointing filmmakers left and right. It was this new idea that you could make a very low-budget movie, with some ingenuity, and get recognized, and suddenly you're the next big thing in Hollywood.
Anthony Russo: "Once Upon a Time in the West."
When we did television, we would work separately on the episodes. As far as big projects go now, it's never been something we've contemplated or contemplate. Anthony and I subscribe to something called the "mastermind principle," we don't call it that, but it's a book we read a few years back that says, "two minds are doubly better than one." They are exponentially better. Joe Russo: I get it with the Coens, but I'm heartbroken because I think they're two of the greatest living filmmakers on the planet. We know we do better work. We value that magic a lot. There's some unquantifiable component, that when you put two minds together, it creates magic. I think that "No Country for Old Men" is a modern-day "Citizen Kane" movie beautifully made. There's not a wrong frame in the movie. Because we enjoy collaboration.
Look it up. Anthony Russo: The Great Lakes Avengers.
Joe Russo: We're working on "The Gray Man" for Netflix. The future for us is to keep challenging ourselves. This is the nice thing coming off all the branding you get from the Marvel films. We've got a project called "Electric State." It's a dystopian sci-fi setting in the United States, which we thought was very politically appropriate for where we are in the world right now. We're always looking at projects that have a level of complexity but are also broad appeal stories. We don't always go one for one. Soderbergh taught us very early on and said, "one for you, one for them." He meant to show people you can make money, then use that brand leverage to do an interesting project. We did a good 10-year run at Marvel, but "Cherry" would have never gotten made, with this budget, if we hadn't done those Marvel films. You see this with Taika Waititi; you can use that branding to get things made that traditionally wouldn't get made.
Anthony Russo: Ugh, I was going to say, Newman. I'll say, Anna Magnani.
Anthony Russo: I would totally concur. With the Coens, and I'm just speculating, we don't know them personally, even though we idolize them;  they're getting older, and you want to slow down a bit. Who knows? There may be one of us who may run out of gas first.
The same goes for Tom Holland's performance, after his portrayal of Spider-Man in the Marvel Cinematic Universe. From a script by their younger sister Angela Russo-Otstot, which she co-wrote with Jessica Goldberg, it's a dramatic departure from their other work.
What superhero movie needs to be made that hasn't been made yet?
Joe Russo: "Apocalypse Now."
I think the psyche of the country realizes that. Joe Russo: There are people very close to us who died from it, and the Midwest is a bit of a ground zero. Understanding this crisis firsthand, seeing how it's affected people we love, we felt we had to tell a story that was as truthful as possible about it to help generate a conversation. It's creating stagnancy, and these drugs have become really cheap. If you get introduced to them, it's very hard to get off of them, especially if you don't have the means to get off. It's an existential crisis that is gripping that part of the country. They're super addictive; they're scientifically engineered to be completely addictive. There was a "heyday" to this country, but that might not be true moving forward, one that every generation will do better than the previous.
Joe Russo: Paul Rudd.
It was a very original take on those experiences, specific to the modern generation. Anthony Russo: Yes. Once we started thinking about him as a character, the whole movie opened up for us as a possibility because he was our road to an accessible, exciting, enjoyable version of a difficult film. We wanted to do a version of the movie that was palatable, not like taking your medicine. The book is dark, very complicated, and that's what its value is. Tom is so likable. He's such an appealing actor, and so good. Very early on, I don't even know that Joe and I wanted to commit to doing the movie at all until we thought of Tom in the role. We wanted to make this movie because it speaks to very relevant and current issues dealing with opioid addiction that has to do with the military experience, the modern military experience.
[laughs]. Joe Russo: I got to say, I loved his photo on the train, like Sergeant Pepper, something only Soderbergh could pull off. He should produce the Oscars in that Sergeant Pepper costume.
Is there any chance you guys could have any involvement in the ceremony? The two of you have ties to Steven Soderbergh, and he recently announced that he would be one of the producers for the upcoming Academy Awards.
It just cleaned things up for us very quickly. We felt a strong connection to the setting and the experiences he was talking about, particularly the opioid addiction. We responded very strongly to it. Anthony Russo: It was hard for us to think about what to do after "Endgame," and we came across the novel "Cherry" by Nico Walker. Nico grew up in Cleveland, on the east side, the very same neighborhoods we grew up in. Our family has had experience with opioids. This has definitely been the most exciting collaboration with her yet. I think that's one reason why we just went into our big brother mode with Angela and just basically said, "here, write this." We knew that she also understood it in a very personal way. We've even lost people from it. It's been complicated and personal because it felt so close to home. That was a very personal response.
What actor are you dying to work with but haven't had the chance to yet?
Anthony Russo: John Turturro.
Anthony Russo: The first thing that Joe and I ever produced together was our high school talent show, so we have a history in a variety show presentation.

Whether you are a country soul, a jazz enthusiast, a hip-hop head, a classical sort, or just love that old-time rock 'n' roll, music clarifies, inspires, unites, and heals. These songs and artists reflect the relentless spirit and rich diversity of America. Said Presidential Inaugural Committee CEO Tony Allen, in a statement: “During a tumultuous year that has kept so many loved ones apart, music has been a consistent vehicle that has kept us connected. Today we are excited to share President-elect Biden’s and Vice-President Elect Harris’ official inaugural playlist with the nation. They are the score to a new chapter and will help bring people together as the Biden-Harris Administration begins its important work to unite our country.”
Many of the songs were clearly picked for their uplifting spirit, even if they weren't substantial hits, like Sounds of Blackness' "Optimistic." As for the Doobie Brothers' sad "What a Fool Believes," it can only be assumed that someone on the committee felt it would be assumed that that one applies to the other side, since the Biden team's picks have generally not been as tone-deaf as Trump picking the gay anthem "YMCA" and the cynical "You Can't Always Get What You Want."
Boomer tunes are well represented, too, between Marvin Gaye, Stevie Wonder, Led Zeppelin and Bob Marley. Now available on all the major streaming services, the playlist goes free-range at times, with vintage and contemporary inclusions that haven't necessarily been staples of the pre-election campaign, from the Average White Band's classic instrumental "Pick Up the Pieces" to the modern Black Lives Matter-centric group Sault's "Free." Current Grammy nominees Dua Lipa and Kaytranada show up, as do such relatively of-the-moment artists as Burna Boy, the Internet, MF Doom, Major Lazer and Tame Impala.
The key ingredients, though, of course, are the walk-up or walk-off music for Biden, Harris and their spouses, familiar to those who followed the 2020 campaign closely.
The committee said it is partnering with D Nice and Raedio, Issa Rae's label, to release the playlist. It's being put up on Spotify, Apple Music, Tidal and Amazon Music, with a different, "special mix" prepared for Soundcloud.
The inauguration team for president-elect Joe Biden and VP-to-be Kamala Harris has released an official inaugural playlist, with 46 songs to represent the incoming 46th president, ranging from Steely Dan's golden oldies ("Do It Again") to SZA's very latest, "Good Days," which was just released on Christmas Day.
Biden's personal campaign music is reprised in the form of Bruce Springsteen's "We Take Care of Our Own." Mary J. Jill Biden has Daryl Hall and John Oates’ “You Make My Dreams” as her theme; the New Radicals’ “You Get What You Give" is the pick of Second Gentleman Doug Emhoff. Blige's "Work That," of course, has been a staple of her campaigning since the night she was announced as Biden's VP choice. Dr.
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Although the 46 songs are notable for being demographically broad, the playlist is oddly and conspicuously missing a single selection from one of the nation's most popular forms of music — country — or anything even from the more left-leaning Americana or roots-music genres, suggesting that the committee that made the picks was not thinking too hard about upping Biden's heartland appeal.
As you might expect, it's in the same eclectic, inclusive, aspirational spirit as former president Barack Obama's signature playlists (if not quite as outlandishly hep as some of Obama's post-presidency roundups have been, without Malia and Sasha around to pack it with their picks).
Find the Spotify version here.

“Our hope is that the Biden Administration will pick up where this administration left off and take decisive action that would give songwriters and music publishers the ability to directly negotiate with the giant tech companies who continue to pay below market rates.”
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“Throughout the Division’s investigation, many licensees expressed the view that the decrees are largely working,” Delrahim said at a webinar sponsored by the Vanderbilt Law School. “For many composers, songwriters, and publishers, ASCAP and BMI licenses provide the most meaningful way to be compensated for the public performance of their works with respect to many categories of music users.”
We appreciate the willingness of DOJ to have an open mind and to conduct a comprehensive review of all of the possible issues raised by stakeholders concerning modifying or eliminating the decrees. DOJ's decision not to take action will ensure that ASCAP and BMI continue to fairly and efficiently license musical works in a manner that is pro-competitive.” In contast, the National Association of Broadcasters said in a statement: "NAB is very pleased that the Department of Justice will not move to make changes to the ASCAP and BMI consent decrees.
Delrahim’s comments come just days before his resignation becomes effective on Jan. 19.
The consent decrees require ASCAP and BMI to offer licenses to their entire catalog to any entity that requests one, for a fee that is either negotiated or set by a federal judge in a “rate court.”
While ASCAP and BMI are fierce competitors in most areas, they are united in saying that the consent decrees are in dire need of updating and issued a joint statement saying so in February of 2019, and made final appeals in August of that year to modernize the “outdated” decrees.
Broadcast organizations have long argued that changes would wreak havoc. The music publishing community and particularly performing-rights organizations ASCAP and BMI have long advocated for changes to the decrees — which were instituted in 1941 — arguing that they are vastly outdated in the digital age and favor broadcasters to the detriment of creators.
In a move that brought deep chagrin to songwriters and publishers and joy to the broadcasting industry, after years of talk, the Justice Department has decided to leave unchanged the 80-year-old consent decrees that govern the public performances of music, Makan Delrahim, the outgoing Justice Department Assistant Attorney General for the Antitrust Division, announced Friday.
Delrahim said that the Music Modernization Act, which was signed into law in 2018, has already addressed licensing problems that were leaving many songwriters unpaid.
We understand that the PROs and the Department could not come to an agreement on broad changes and therefore allowing selective withdrawal of digital rights could not be fully considered, however we see this as a massive missed opportunity for music creators. The reaction to Friday’s announcement was swift. In a statement, National Music Publishers Association chief David Israelite said: “We appreciate the Antitrust Division has spent a great deal of time and effort reviewing the ASCAP and BMI consent decrees, however we are disappointed that DOJ chose not to update the regulations to allow for freedoms that would have greatly helped songwriters and music publishers realize the true value of their work.
ASCAP and BMI represent approximately 90% of the public performance market, with the remainder being covered by SESAC or Global Music Rights, which are not bound by the consent decrees.

Eliot Glazer and Colton Haynes are attached to star in a comedy project that has a pilot presentation order at Peacock, Variety has learned exclusively.
The project is titled "I Run Hot." It follows the unlikely friendship between Eliot (Eliot Glazer), a gay curmudgeon who never quite fit in with the community, and Colton (Haynes), a famous #instagay who can’t help but exemplify it.
He recently appeared in the HBO Max film "An American Pickle" alongside Seth Rogen. He has previously appeared in roles on shows like "Broad City" opposite Ilana, in addition to working as a writer and consulting producer on the show. His other writing credits include "Younger," "New Girl," and "Teachers." "I Run Hot" would mark the first lead role of Eliot's career.
He is repped by UTA and Artists First.
Eliot will write and executive produce the show in addition to starring, with Haynes co-executive producing as well as starring. "Broad City" co-creator and star Ilana Glazer is attached as an executive producer and will also direct. Pete Aronson will also executive produce. Radical Media is producing the presentation, with Universal Television and AMC Studios set to co-produce the series.
Haynes is best known for his role as Roy Harper / Arsenal in The CW's "Arrow" as well as for playing Jackson Whittemore in MTV's "Teen Wolf." His other recent TV credits include "American Horror Story," "Scream Queens," and "The Grinder." He also appeared in the 2017 film "Rough Night," in which Ilana starred.
He is repped by UTA, Untitled Entertainment, and Ziffren Brittenham.” />

The series mostly follows the novel's events faithfully, following a crew of Jesuit priests and scientists, led by a Puerto Rican linguist of mixed Taíno heritage, Father Emilio Sandoz, who make first contact with an alien civilization on a Vatican-backed mission to a distant planet called Rakhat. Things go awry in the Jesuits' quest to prove the existence of God throughout the universe, and the misadventure ends in disaster and scandal. Father Sandoz, the sole survivor, returns to Earth physically and psychologically broken only to be subjected to an inquiry.
"Queen's Gambit" co-creator, director and showrunner Scott Frank is writing every episode of FX's adaptation of the visionary modern classic, "The Sparrow." Emmy Award-winning director Johan Renck ("Chernobyl," "Breaking Bad") has been tapped to direct the sci-fi project.
Frank and Renck, along with "Better Call Saul" producer Mark Johnson, will executive produce the limited series based on Mary Doria Russell's acclaimed magnum opus. "The Sparrow" is being produced by FX Productions.
The book, categorized as a work of speculative fiction, grapples with the potential ethical, philosophical and spiritual issues of humans intermingling with extraterrestrial life, raising questions about humanity itself. "The Sparrow," published in 1996 by Random House's imprint Villard, won numerous prestigious literary awards, including the Arthur C. Clarke Award, the Kurd-Laßwitz-Preis and the British Science Fiction Association Award, among others.
This isn't the first time "The Sparrow" has been adapted, though this is its first successful shot in the book-to-show pipeline. The project eventually fell apart when Russell revoked all film rights.” /> Back in 2006, Warner Bros. Pictures acquired the rights for the novel for Brad Pitt's Plan B and Industry Entertainment to produce, with Michael Seitzman ("Code Black," "North Country") writing the movie's script.

"If road movies have an intrinsic weakness, it’s the episodic nature of their narratives, but ‘Nomadland’ solves that beautifully, creating a pattern in which the path is more circular than linear, and impactful characters come back around to more deeply enrich Fern’s journey," he wrote.
In his review, Debruge called the film an "ode to American independence." It also landed on many critics' best of the year lists, including Variety's Peter Debruge. Prior to its theatrical rollout, "Nomadland" made rounds on the festival circuit, winning top prizes at Venice Film Festival and Toronto Film Festival.
Searchlight Pictures, the Disney-owned specialty studio, is distributing the film and plans to premiere it internationally throughout the spring (pandemic permitting) starting on March 4.
Chloé Zhao's acclaimed film "Nomadland," a road drama that's expected to be a major awards player, has modified its release plan due to the pandemic.
"Nomadland" is Zhao's third feature, having previously directed 2015's "Songs My Brothers Taught Me" and 2017's "The Rider." Up next, she's directing Marvel's "Eternals," due in theaters later in 2021.” />
David Strathairn co-stars along with real-life nomads Linda May, Charlene Swankie and Bob Wells. She lost everything in the Great Recession and seeks the wisdom and hospitality of real-life nomads in the U.S. Based on Jessica Bruder's book of the same name, the film is set after the economic collapse of a company town in rural Nevada, with McDormand’s character Fern exploring a life outside of conventional society as a modern-day nomad.
29 before opening in traditional theaters and drive-in locations on Feb. The movie — starring Frances McDormand as a woman who leaves her small town to travel the American west — will debut in select Imax venues on Jan. 19. On the same day as its wide release in February, "Nomadland" will premiere on Hulu.

Sony Music’s RCA Records has promoted co-president John Fleckenstein to COO and Mark Pitts to president, while co-president Joe Riccitelli will leave the company, reps confirmed to Variety. The news was first reported by Music Business Worldwide.
Riccitelli will depart the company and provide transitional services to continue his work with key projects, according to the announcement.
Edge said Fleckenstein “has been a tremendous partner working effectively alongside me and across Sony Music globally these past few years driving our business forward. This new role will give him expanded oversight to reinvigorate all aspects of RCA’s operations."
He is clearly referencing the popularity of hip-hop and R&B, which have formed the core of Pitts' career for more than 20 years. He was Notorious B.I.G.'s manager and at RCA has worked closely with Usher, J. Cole, Miguel and others.
"With his deep relationships and decades of success working with legendary, pioneering artists, he is the ideal partner to help move our creative direction in a renewed, expanded way for the future.” Pitss will remain CEO and founder of ByStorm Entertainment, an entertainment company that was established in 1998. “Mark has demonstrated tremendous growth as an energetic, unstoppable leader whose unbridled enthusiasm and experience will be invaluable in taking our company to exciting new directions," Edge's statement continues.
Said Pitts, “New title, same energy! It’s no secret that music is a driving force in my life, so being recognized as someone who can continue to guide and motivate the RCA family of groundbreaking artists and fellow executives to further greatness is a responsibility that I do not take lightly. I’m blessed to still be in an industry that I’m so passionate about and the picture we paint for ourselves is NEVER completed, so I look forward to more learning and creating culture-defining moments.”
Edge also told MBW that RCA’s executive VP of A&R, Tunji Balogun, who has signed and developed Khalid, is considered a “star player” at the label, embodying an approach of “working with artists early, then supporting and developing them over the long term.” He also gave props to two former Interscope execs who have joined the company, Aaron "Dash" Sherrod, who signed JuiceWRLD to Interscope, and senior VP of marketing Archie Davis.
In a statement, Edge said, “RCA Records was a different company even just a few years ago. Over the past decade, there has been a genre shift in consumer demand and streaming has revolutionized every aspect of our business so we must constantly adapt and iterate on our successes."
According to an announcement, Pitts has been promoted to the role of president, "working to grow and drive its Creative Business Operations as well as the Company’s cultural initiatives and further unifying our teams’ effectiveness." Fleckenstein has been elevated to chief operating officer, "where, in addition to his current duties, he takes on more of the Company’s day-to-day business oversight. Both executives will continue to report to RCA Chairman & CEO Peter Edge.
Bringing his fearless and aggressive drive into the center of the company will be a true game changer for our people and our culture.”” /> I’m incredibly proud of the RCA Family we have cultivated over the past few years with our fresh creative minds, experienced team leaders and our trailblazing roster. Mark’s passion is unmatched. Fleckenstein, who joined RCA in 2015, commented, “We are an Artist-first company with the best development team in the business.
Edge also nodded to Riccitelli's contributions. He played a key role in building the careers of many of our biggest artists and I look forward to supporting his next chapter.” “I want to thank Joe for his years helping build RCA for success.

Associate producers include Miss Hazel Jade and Gabriel Resendez. Jamie DiNicola and Zosherafatain are producing "Trumpland" through TransWave Films.
Lysette said, “Trans people are resilient. We’ve been erased from history, and endured constant attacks on our existence, especially from the Trump administration. “” /> Our hope is that this project can be a bridge to folks who may not understand what we are up against and to also provide a real and raw look at not only our pain, but also our strength and joy.
A new trailer for the upcoming docuseries “Trans in Trumpland” opens with ominous music as Donald Trump is heard in voiceover saying, “I will do everything in my power to protect our LGBTQ citizens.”
25. It was also announced on Thursday that Topic, the streaming service from First Look Media, has acquired North American streaming rights to the series. It will premiere on Feb.
I witnessed and experienced daily attacks on my rights. “I’m happy that 'Trans in Trumpland' will be released on Topic so that it can reach a wide audience. I think viewers of all backgrounds will find common ground in the compelling personal journeys told in each episode.” ”As a transgender Iranian-American, the past four years were devastating for me. It was an honor to meet and film four trans individuals who faced similar discrimination during the Trump era,“ Zosherafatain said in a statement.
Zosherafatain is also seen showing photos of himself at age 12 to a trans high schooler. The trailer offers a glimpse into the life of a trans woman who was held at a men’s ICE detention center. “No matter what the President says about you, you exist,” Zosherafatain says. “You are human.”
In fact, LGBTQ activists rightfully argue that Trump used his power to roll back the rights and protections of trans Americans. There's no question that Trump, who was impeached for a second time on Wednesday, did not fulfill his promise.
She executive produces alongside Chella Man and Miss Major Griffin-Gracy as well as Topic’s Ryan Chanatry and Jeff Seelbach. As Variety first reported, “Transparent” actress Trace Lysette signed on as a producer of the doc in July.
For the four-part “Trans in Trumpland,” director Tony Zosherafatain traveled to the red states of North Carolina, Texas, Mississippi and Idaho throughout the last four years to document the experiences of four trans individuals during the Trump presidency.

On Dec. As of the end of the third quarter, WarnerMedia said 28.7 million customers were eligible to get HBO Max — but only 8.6 million users total had activated service. 8, AT&T chief John Stankey said HBO Max gained 4 million subscriber activations since then, to stand at nearly 12.6 million.
To sweeten HBO Max's pot, WarnerMedia plans to premiere Warner Bros.' entire 2021 film slate on HBO Max and theatrically. The WB films are set to include “The Matrix 4,” Denis Villeneuve’s “Dune” remake, Lin-Manuel Miranda’s adaptation of “In the Heights,” “The Suicide Squad,” “Space Jam: A New Legacy” and “The Many Saints of Newark” (a prequel to HBO’s “Sopranos”). The move garnered industry ire but AT&T and WarnerMedia execs defended the strategy given COVID-suppressed in at least the first half of the year.
AT&T-owned WarnerMedia company is putting its shoulder into maxing up HBO Max, with the direct-to-consumer price discount playing a key role in its attempt to move the needle. The company introduced the six-month prepay offer three weeks ahead of the Christmas Day debut of “Wonder Woman 1984,” starring Gal Gadot, simultaneously on HBO Max and in theaters.
Did "Wonder Woman 1984" fail to deliver the HBO Max subscriber haul WarnerMedia was banking on — or was its promo pricing so successful it reupped the deal? The media company, looking to lock up more paying customers for HBO Max through mid-2021, extended its 22% promotional discount for new subscribers who prepay for six months.
With the day-and-date move, WarnerMedia in 2021 will need to net 8.4 million incremental new HBO Max subs above its current pace to recoup lost revenue from theatrical and home-entertainment distribution, according to estimates by analyst Craig Moffett.
24.” /> now have access to the HBO Max app through their provider, and WarnerMedia inked a long-awaited distribution deal with Roku to get HBO Max on the streaming platform just before the premiere of "WW84." WarnerMedia also killed off its seven-day free trial offer for HBO Max last month ahead of “Wonder Woman 1984,” which leave the service Jan. Most HBO subscribers in the U.S.
The special offer is available to new and returning HBO Max subscribers who prepay for six months at $69.99 (about $11.66 per month, versus the regular $14.99 monthly price). The promo was set to expire this Friday, but WarnerMedia has now extended that until March 1, 2021.

BEATS presented a number of eye-opening examples, such as the “Harry Potter” film franchise, which had a single BESEA character in Cho Chang (Katie Leung) over eight films; similarly, BBC and Netflix's London-set drama “Giri/Haji" featured a number of BESEA characters, but only one spoke with a British accent.
focus, with characters expected to be British or living and/or working in the country. The test also has a keen U.K. “We want this test to become the standard for the industry to achieve,” explained BEATS member and actor-writer Rebecca Boey, noting that in order to pass the test, BESEA presence mustn’t feel tokenistic — where a character’s presence feels more like a symbolic gesture or a box tick.
In a statement, the org argued that although the Mammoth Screen-produced show was filmed across numerous Southeast Asian countries, “none of the main cast are East/Southeast Asian, including the actor portraying half Vietnamese, half Indian Sobhraj.”
“The numbers are pretty bleak for anyone who is not white, but when it comes to East Asians, they were so insignificant, they were redacted,” said Ko. “When we say BESEAs are working with zero inclusion in the TV industry, we are not being impressionistic or metaphorical — we are being literal.”
The 1986 film “Ping Pong,” which featured a host of British Chinese characters, also passed with flying colors. Successful films include the Andrew Leung and Ben Whishaw-starring “Lilting,” which features several BESEA characters, fluent English spoken by at least two, and specific storylines for BESEA figures; as well as the 2016 film “The Receptionist,” which turns on a Taiwanese graduate in London and in which BESEA characters have their own goals and story arcs.
British East and Southeast Asian media advocacy group BEATS has rolled out a ground-breaking new representation measure for the U.K. industry.
During the event, BEATS member and screenwriter Emma Ko also highlighted the shocking lack of BESEA representation off screen, as revealed by recent diversity data from industry bod Diamond that broke down, by ethnic background, key off-camera roles in the U.K. industry, spanning commissioning editors, writers, directors, producers, executive producers and production managers.
The film industry hasn’t fared much better, with just three BESEA-helmed films that have been publicly funded and theatrically released from 2000 onwards: Xialou Guo’s “She, a Chinese” (2009) and Hong Khaou’s “Lilting” (2014) and “Monsoon” (2019).
Earlier this week, BEATS took aim at the BBC for the lack of representative casting in its hit Netflix co-production “The Serpent,” about serial killer Charles Sobhraj, played by “A Prophet” star Tahar Rahim, a French actor of Algerian descent.
The initiative is fashioned after the Bechdel Test, which evaluates portrayals of women in media, and the Riz Test, a measurement of Muslim representation inspired by Riz Ahmed’s rallying 2017 speech about diversity. Launched during a virtual summit hosted by BEATS (British East Asians in Theater and on Screen), the British Film Institute (BFI) and ITV, the BEATS Test measures on-screen representation for British East and Southeast Asians in U.K. film and television productions.
Out of 17 films evaluated by BEATS, only three passed.
“If you’re an all-white team and you want to make a film about the true story of the repatriated Liverpool Chinese, please do so with someone who can make that project better. Ko encouraged anyone developing a BESEA or ESEA-themed project to think twice about who is hired.
“Why hire someone to sprinkle soy sauce, when you can hire a talented BESEA team who possess the vital lived-in experience to do these stories justice and will help you bring that story to life authentically, creatively and with quality?" said Ko.” />
Last year, BEATS called out ITV's "Singapore Grip" drama for its depiction of colonialism. Interestingly, ITV was a co-sponsor of Thursday's summit.
“For British East and Southeast Asians to become a normalized, naturalized presence on our screen and in the fabric of British life and society, we’re going to need a few more productions to make an effort to pass the BEATS Test.” “It would seem that passing this test is actually quite a radical and groundbreaking achievement — and it shouldn’t be that way,” said Boey.
In order to pass the BEATS Test, a project must be able to answer “yes” to the following three questions, in which BESEA stands for British and Southeast Asians: (1) Are there two or more BESEA characters? (2) Do at least two BESEA characters speak fluent English with a British accent? (3) Does at least one BESEA character pursue their own goal separate to the white characters?
14 summit was the first of its kind to address issues relating to British East and Southeast Asian representation in the U.K., which is sorely lacking on and off-screen, with scarce momentum for change within the industry. The Jan.

"Julia" is inspired by Child’s life and her long-running television series, “The French Chef,” which pioneered the now popular genre of cooking shows. The series also stars David Hyde Pierce, Brittany Bradford, Fran Kranz, Fiona Glascott, Bebe Neuwirth, Isabella Rossellini, and Jefferson Mays. Child will be played by Sarah Lancashire.
“Combining an extraordinary creative team, powerhouse cast and timely subject matter, the series has all the ingredients to resonate with HBO Max audiences for years to come."” /> “We’re delighted to expand our relationship with HBO Max by teaming with our production partners at 3 Arts on 'Julia,' the complex and compelling story of the celebrated chef, author and TV personality who almost single-handedly invented the world of food television,” said Jocelyn Sabo, Lionsgate Television Group senior vice president.
HBO Max has given out a series order to the drama based on the life of chef Julia Child.
"This show’s look into her life, marriage, and trailblazing career as she transformed the way we talk about food is an absolute delight. Our incredible cast and formidable creative team are a recipe for success, and we couldn’t be more excited.” “We are so happy to help bring the incomparable Julia Child back to the small screen, when we need her more than ever," said Sarah Aubrey, head of original content for HBO Max.
Todd Schulkin is a consulting producer on behalf of The Julia Child Foundation for Gastronomy and the Culinary Arts. Chris Keyser is the showrunner and executive producer. Lionsgate will serve as the studio. HBO Max has given the series an eight-episode order. 3 Arts Entertainment’s Erwin Stoff and Kimberly Carver will also executive producing along with Charles McDougall, and Daniel Goldfarb.

"Violation" (March 25) – Madeleine Sims-Fewer, who won TIFF's Rising Star award for her portrayal in the film, stars as Mariam, a woman who vows to protect her sister from the danger she believes her to be in. Already on edge over her crumbling marriage, Mariam tries to hold it together as she sets her sights on revenge.” />
4) – Inspired by Mary and Percy Shelley's relationship and the well-known work "Frankenstein," the Shudder Original captures the gothic period and stars Alix Wilton Regan, Giullian Yao Gioiello, Philippe Bowgen, Lee Garrett, Claire Glassford and Shannon Spangler. It's directed by Nora Unkel. "A Nightmare Wakes" (Feb.
Check out the full list of Shudder's upcoming movies below:
"Shook" (Feb. 18) – Social media fame gives way to a sick game in which a villain forces a celebrity to solve various games by threatening the lives of her loved ones. The movie stars Daisye Tutor, Emily Goss, Nicola Posener, Octavius J. Johnson, Stephanie Simbari and Grant Rosenmeyerorde.
The final film in the 11-week lineup is "Violation," which both ran at Sundance and the Toronto International Film Festival.
"After Midnight" (Feb. But in her place seems to appear a creature that emerges from the edge of his property. 11) – A young man (Jeremy Gardner) wakes one morning to find that his partner (Brea Grant) has vanished, leaving behind only a note to explain her disappearing act.
It is directed by Natasha Kermeni. Its plot centers around her efforts to re-establish a sense of control. "Lucky" (March 4) – Billed as a surreal feminist thriller, the movie follows a self-hope author (Brea Grant) who discovers she's being stalked by an unknown man.
"Stay Out of the F—ing Attic" (March 11) – Employees for a moving company are hired to help clear the rooms of a Victorian mansion, but the client offers them extra to get the job done overnight. As they set about doing the work, the movers stumble upon dangerous secrets. Morgan Alexandria, Ryan Francis, Bryce Fernelius and Michael Flynn star in the film.
play the adult children, both of whom return home and begin to notice that their mother's grief might be connected something more sinister. "The Dark and the Wicked" (Feb. 25) – Julie Oliver-Touchstone stars as the grieving wife of a man slowly dying on the family's secluded farm. Marin Ireland and Michael Abbot Jr.
But the villain doling out the punishment on the company's is not an angry justice-seeker, but a pair of possessed pants. "Slaxx" (March 18) – A clothing company finds itself under attack on account of its less-than ideal business practices. The film is directed by Elza Kephart and stars Romane Denis, Brett Donahue, Sehar Bhojani and Stephen Bogaert.
And "A Nightmare Wakes" will give life to Mary Shelley in a period piece about the famous author. "Lucky," coming on March 4, will detail the difficulties one woman faces after discovering that she has a stalker. Other movies joining Shudder hail from the genres of psychological horror to thriller, with themes exploring technology, nature, gender and betrayal.
She's pushed to the extremes in order to survive, but why not get revenge while she's at it? 14) – Lucie Debay stars in the upcoming project, which follows a woman who must flee her hunter (Arieh Worthalter) through the woods following what seemed like a flirtatious conversation at a bar. "Hunted" (Jan.
Shudder, AMC's horror and thriller-focused streaming platform, announced a lineup of 11 films set to premiere over the next 11 weeks.
The selection of Shudder Originals coming to Shudder include Sundance Film Festival selections, as well as Tribeca Film Festival selections and a host of new content, as well. The first project to join the streaming site will be "Hunted," a take on the Little Red Riding Hood story that is set to premiere Jan. 14.
But the horrors they inevitably find in the woods are not monsters, but a sideshow performer played by Peter Belli. "Koko-Di, Koko-Da" (March 18) – Leif Edlund and Ylva Gallon star as a couple who go on a camping trip in hopes of rekindling their connection. The couple must endure the psychological terror inflicted upon them by the jokester.
The film, which takes place in rural Indonesia, is written by Joko Anwar and directed by Kimo Stamboel. 28) – An orphanages dark past is uncovered when families return to visit the now-ill director who raised them as children. "The Queen of Black Magic" (Jan.

Most recently, Lucinda created the blueprint for multicultural marketing at HBO, not only increasing its awareness but also its priority inside the organization. I feel it is fair to say that she was instrumental to the success of HBO and WarnerMedia as a whole. This of course only scrapes the surface on all her accomplishments. She established HBO Latino as the premier Spanish language destination and over these past few months she guided the successful launch of Wonder Woman 1984 on HBO Max as well as the platform’s new brand positioning. Lucky for us, she also built an incredibly talented team around her. Please join me in wishing her well.”” />
Lucinda Martinez, a veteran of HBO's marketing department, has left the company. Martinez, who spent more than two decades at the company, most recently served as exec VP of brand marketing for HBO and HBO Max.
The New York-based Martinez serves on the board of trustees of The Alvin Ailey American Dance Theatre and on the Advisory Board of The Hispanic Scholarship Fund.
I’m grateful to all those, too many to name, that mentored and guided me along the way. Now, it is the time to write the next professional chapter (with a little family time first).” Most importantly, I’m proud to have built and led a diverse team of supremely talented creatives and executives, proving you can equally stand for the right values and deliver across all metrics of success. “This has been a year of reflection for me. "It became so much more than I could have ever wished. I arrived at HBO 20 years ago excited to tackle a new job at a new company," Martinez said in a statement. We accomplished many firsts, and our work and growth together has been my greatest professional joy.
But, I understand her decision to take a break, catch her breath, and think hard about what her next steps will be. “As you may have heard by now, Lucinda Martinez has decided to leave after 20 amazing years at HBO and WarnerMedia. I feel really lucky to have been able to get to know Lucinda and to work closely with her. Her energy is infectious, and her creativity and contributions are unmatched, so her departure is a great loss.
The Hollywood Reporter broke the news of Martinez's departure.
Among her accomplishments, Martinez led marketing efforts directed toward African American, Latino, Asian and LGBTQ+ communities and worked to establish the HBO Latino brand.
You only need to spend five minutes with her to see the passion she possesses for the work. I especially want to thank her for her partnership around HBO’s multicultural success and the talented team she built that will carry those efforts forward.” Her marketing expertise is exceptional so it will be exciting to see her next chapter unfold. Casey Bloys, chief content officer for HBO and HBO Max, added, " “Lucinda and I have been friends and colleagues for a long time. I’ll miss that energy, but I appreciate her desire to try something new.
See below a memo from Andy Forssell, exec VP and general manager, HBO Max and direct-to-consumer, announcing Martinez's departure:

In 2019, he was the most-viewed YouTube creator and last year inked an exclusive live-streaming deal with YouTube. PewDiePie has been posting videos on YouTube for more than 10 years, and became the first creator to top 100 million followers. He's been ensnared in various controversies over his career: Almost four years ago, YouTube had severed its business deals with PewDiePie over videos he posted containing anti-Semitic jokes and Nazi imagery.
The Swedish gamer, comedian and entrepreneur has an official Facebook page, with more than 8 million followers. PewDiePie (real name: Felix Kjellberg) is the No. But PewDiePie hasn't posted anything on the social service since December 2017 — and his most recent video on Facebook dates back to October 2016. 1 most-subscribed individual YouTuber, with over 108 million subscribers and more than 26 billion views to date.
“In this multiplatform video ecosystem, there are a lot of opportunities for creators to monetize their content, and our mission is to help them grow their audience and unlock their potential on each one,” Michael Philippe, Jellysmack co-founder and co-CEO, said in a statement. “We’re honored that PewDiePie has entrusted his massive fanbase to Jellysmack and we’re excited to show him how we can turn Facebook into a true brand asset for him without adding work to his plate.”
users. The company's roster of 100-plus creator partners includes Brad Mondo, Bailey Sarian, Azzyland, Charles & Alyssa Forever, Chris Ramsay, Emmymade, JoshDub, Karina Garcia and Reaction Time. Jellysmack claims that it manages a content portfolio that generates 10 billion global monthly video views with a cross-platform reach of 125 million unique U.S. L.A.-based Jellysmack, founded in 2016, works with video creators to optimize their content across platforms using proprietary video-optimization tools and data.
The company said it will start uploading PewDiePie's content, including from his library of more than 4,200 YouTube videos, to Facebook as early as this month. Jellysmack will then optimize those on-demand videos and distribute them on Facebook. Under the pact, Kjellberg will continue to create and debut his popular videos and livestreams on YouTube.
Now PewDiePie is looking to reboot his presence on Facebook through an exclusive multiyear deal with Jellysmack, a company that specializes in optimizing video distribution across platforms including Facebook, Instagram, Snapchat, TikTok, Twitter and YouTube.
According to Tubular Labs, Jellysmack is currently the third largest U.S. company in monthly unique social media video viewers, behind Disney and ViacomCBS.” />
PewDiePie, the massively popular YouTube creator, will bring his videos back to Facebook after a more than four-year hiatus.

These are just part of the Trumpamuck crimes. That was a corporate merger of crime families. It’s obvious that the Trumps, like the Bushes, were a crime family, buying into and forever wed, in holy matrimony, to the Kushners. Plus, there were all these allegations linking him to the Mafia and the Russian mob then, the basis for him getting money for his Atlantic City casinos…
Endurance or not, Trump’s actions this week, and those of his minions, is incendiary stuff.
Most of this, though isn’t funny at all, namely finding out that people I once treasured as friends — Ariel Pink, John Maus — were part of this attack on the Capitol. It just gets a lot more heartbreaking when people you love and respect get caught up in Trump or QAnon. Down to Trump lawyer Lin Wood calling for Mike Pence to be executed by firing squad. These are not stupid people. You either freak out and check for space along the Golden Gate Bridge to jump off, or, if you have a sense of humor like me and Al Jourgenson (from Ministry), you spend 12 hours a day laughing. They should know better.
When did you start its roll call and how did it wind up where it is now? “Tea Party Revenge Porn" is a clearing house for everything we’re talking about: present-day fascism, Putin, the mob, phone and internet-based obsession, fake news.
McMullin fired back at your DK diss with his own tweets: "The young Seattle punk in me would have been pleased. If Jello has an issue with the Dead Kennedys, Mitt Romney and I fighting fascists and Nazi punks, that’s his problem… The truth is Mitt Romney is more punk than Jello ever was.”
That’s not a word to be taken lightly. From Ted Cruz to AOC, everyone is throwing around the word Nazi like a softball this weekend. How did you come to write the "Nazi Punks" song in the first place?
He’s already selling stuff for 2024. He’s just going to make money of those people, now. Forget about throwing anyone under the bus. Was it scab singer Skip, who recently denied DKs are a political band, just, 'a social satire band?’" Look. Doesn’t matter if he ever runs. [Quoting his tweet.] ‘"How dumb and clueless can you get?? How about they apologize to DK supporters over the years who the band’s music and vision means so much to? BIAFRA: Sorry, I was just distracted by the online Trump 2020 store. Isn’t that what Trump does? What a carny. Instead of taking any responsibility, they’re passing the buck. All right… Forget who at Dead Kennedys praised Romney or McMullin.
"The young Seattle punk in me." What is he, a Screwdriver fan? It’s reactionary music that attracts reactionaries from all sides. So, this is what you have to endure. Always has. And Mitt being more punk than me? I can’t top that. Punk is a very high-energy, high-adrenaline, primal-scream form of music.
Mitt cares about the USA,” the official DK account tweeted, to the heated chagrin of their ex-frontman. Showing further distaste for icons of the right such as Rudy Guiliani (“he’s a cross between Count Chocula and Klaus Kinshi’s Nosferatu with that melting hair dye”), Mitt Romney and GOP activist Evan McMullin, Biafra spent the weekend dissing his former bandmates for showing their (now-removed) Twitter support of Romney and McMullin. "Thank you @SenatorRomney and @EvanMcMullin.
No matter what, I didn’t want the album to be "Trump this" and "Trump that." Look, I grew up on Alice Cooper. Songs such as “Satan’s Combover” and the title track were written before Trump stole the 2016 election and Hilary (Clinton), true to form, didn’t fight back. “We Created Putin" — I noticed that the lack of a Marshall Plan for the Soviet Union created another Hitler in Trump. I always thought, "Hey, what if horror lyrics were about real monsters?"” /> Plus, Russian banks are the first banks that Trump has taken money from that he’s going to have to pay back, one way or another.
>When San Francisco-based musician and activist Jello Biafra’s Instagram flashed photos of the singer wearing a “Trump Hates Me” T-shirt with a link to his song, “Nazi Trumps Fuck Off” on the day that the Capitol fell under siege, it was hardly the first time Biafra showed off his brand of caustic politics.
The very name of his former group, Dead Kennedys, created outrage when the band rose through the punk ranks 40 years ago, but the singer wasn't just out for shock value. From then on up through a Green presidential candidacy in 2000 and beyond, Biafra has forever put his money where his smart mouth is —especially where the necessity of putting down neo-Nazism in America is concerned. With his famous former band, in 1981 on his Alternative Tentacles label, he released the anti-fascist anthem, “Nazi Punks Fuck Off," followed by an anti-Reagan rant, “California Uber Alles.” In recent times, Biafra has updated his classics as additional adversaries rose to power.
Though you’re no longer in Dead Kennedys, you were its frontman and lyricist until the mid-'80s, and take its place in history very seriously.
VARIETY: Before getting to your recent Instagram posts, the Twitter feed of your former band, Dead Kennedys — which you criticized for its support of Mitt Romney and Evan McMullin — threw its social media manager under the bus for that debacle.
The other day you Instagrammed a photo of yourself wearing a “Trump Hates Me” shirt, together with “Nazi Trumps Fuck Off,” a fresh take on your “Nazi Punks Fuck Off.” Your Instagram is littered with anti-Trump references. What is your history of hate regarding Trump?
He was just a rich guy who wanted more attention than other rich people do. Back when I first heard his name, the '80s, suddenly, here was this celebrity rich asshole crowing about his wealth, until someone pointed out that he wasn’t the richest man in New York. He wasn’t even Gatsby.
Like saying Mitt Romney is more punk than me. Problem is, the guy that said that, McMullin, has his eyes on public office. Following that pre-primary poll, I did a rant-cast on YouTube, “What Would Jello Do?,” pointing out what a racist Trump was. Since that time, my audiences have been strongly anti-Trump, and the ‘Nazi Trumps Fuck Off” T-shirts that we made flew out of our door. But you will always get people doing and saying the dumb stuff. Unless he gets a Fox News show first. They sold more than anything we ever had available, music and otherwise. Immediately, we got Twitter-ized, first-grade reading level comments like “Trump is punk,” and “Has Jello become a Muslim?" That’s when I thought, "Even my listeners are falling for this. Trump could win." From then on, I had the eerie feeling that he’d be our next president.
What disturbed me the most about that post is that whatever right-wing dickhead did it also used Evan McMullin’s name as clickbait. His was a name bandied about as an alternative to Trump, as a write-in candidate, in 2016, by Bill Kristol. Kristol may be a Never-Trumper, and therefore one of their friends, but McMullin, Kristol and such are not our friends. Just because talking heads talk a good anti-Trump game, they’re still hardline conservatives. You can’t polish that turd. So I don’t like when, in my name — since so many people do think I’m still in the band -— I get associated with right-wing foolery. I was the brains of the operation.
Until the first pre-primary polls came out. I knew he was an asshole before, but I never figured he was that horrible, until then. Nazi party or not, he is a fascist who makes no secret that he is a white supremacist. Seeing that the guy doesn’t have a sense of humor, I don’t think he’s laughing about this either, like a lot of us are, especially considering how dangerous the people are who take him seriously. Right off the bat, he came out as anti-immigrant with his “Mexicans as rapists” bit. All Corporate McNews could do, though, is howl in protest and make fun of him as some sort-of celebrity buffoon. That’s when he doubled his competition, including the candidates they wanted such as Marco Rubio and Jeb Bush. Like Richard Nixon, Trump wanted to be president for life. Holy shit. Going back to the Trump store, there’s a “Mount Trumpmore” shirt with an illustration of Mount Rushmore with a much larger Trump head off to the left, shadowing George Washington’s.
Especially after the attacks on the Capitol.
When did that Trump that you’re talking about grow dangerous enough to be tagged a Nazi, in your mind?
I’m far from the first person to say, forget a third party — where’s the second? If Biden thinks he can let all the Trump regime’s crimes go in the name of uniting the country, he better think again. I have very little faith in Biden whatsoever. I don’t consider those people "left." We have one party in this country.
That’s Betsy DeVos, whose brother, Eric Prince, gave us Blackwater and reportedly has a military-type training spread in Wyoming. I’m counting on Adam Schiff’s committee to get the Mueller Report completely un-redacted, and, from there, follow the money. If they really want to stop the neo-Nazi shits that nearly torched the Capitol building, with all of Orange’s people let in as the Capitol cops parted like the Red Sea, don’t just go after the dude with the horns that everybody though was either Jamiroqui or Rob Zombie. Follow the money. He’s been linked to Russian collusion, but Mueller never bothered to follow that money. So, here’s DeVos freaking out and jumping the ship before the rest of the rats on a voyage that her family more than likely paid for. raid last week, was financed, in part by the DeVos family? You can’t make this shit up. For example, did you know that the clowns who raided the Michigan Capitol building, some of whom were charged with plotting to behead Governor Whitmer and behead her, but got out on bail and were spied at the D.C.
No reason other than a show of strength.
Considering your distaste for Trump, and his public’s love for him, what friction did you get, on social media or live events?
The song, then, was about the early stages of slam-dancing where people would show up, without any interest in the music at all — real buff jock types — who would run off the stage, target someone, and punch them in the back of the head, or the face, and run off. When I wrote “Nazi Punks Fuck Off” in the first place, I wasn’t writing about actual ideological Nazis. My take is this: If they act like one, and behave like one, then, yeah, calling them out as such is fair game. The Nazi skinhead thing hadn’t yet erupted in England yet. They just wanted to wail on somebody.
Over the course of several hours during a quickly shifting weekend, Biafra and Variety spoke on several occasions about everything from politics to his own new album, “Tea Party Revenge Porn,” the return of his YouTube program “What Would Jello Do?,” and new recordings with Al Jourgensen, including a new Ministry album (“Morale Hygiene”) and a renewal of their Lard project.
Anyway, I heard from fans who actually grew up under true fascist regimes — kids from the Soviet Union, Greece or Latin America countries with military dictatorships. Those people were acting like Nazis. I’m not bowing to pressure to do a Newsom one; you can only do so many. We did “California Uber Allies” with Schwarzenegger-themed lyrics. They wanted to hear “Nazi Punks.” They told me that song gave them courage. Then, when I formed Guantanamo School of Medicine specifically to play new music, not be some old-man punk retro act… I got cajoled into playing songs such as “Holidays in Cambodia,” which was never played the same way twice. So I wrote it, and the Dead Kennedys played it. So we brought it back and switched it out to “Nazi Trumps.” Now that I find out that people I knew and loved were part of the Capitol siege, maybe it should be “Trump-sy Punks Fuck Off.”
Whether it’s your new album, “Tea Party Revenge Porn,” or comments you’ve given the L.A. Weekly regarding Gavin Newsom, Diane Feinstein, Kamala Harris and Joe Biden, you’re no fan of the left, either.
Trump put the '80s rich into the tabloids on a regular basis.

Cohen began her career at Paradigm and also served at Verve Talent and Literary Agency before becoming a partner in the lit department at WME in 2019. Her roster at WME included directors Gabriela Cowperthwaite (“Blackfish”), Jennifer Yuh Nelson (“Kung Fu Panda 2”) and comedy veteran Paula Pell. The South African-born Cohen grew up in Australia, and is known for championing female and diverse filmmakers and artists.
Cohen will serve as a partner at Range Media and it has not been confirmed which clients will be following in her new role. Former William Morris Endeavor literary agent and partner Tanya Cohen has formally transitioned into management, joining Range Media Partners.
Matt Donnelly contributed to this report.” />
At the time, Cohen was said to be in early negotiations as part of a highly contested competition of her services between several new management firms that have launched in response to the COVID-19 pandemic, and the standoff between the Writers Guild of America and the talent agencies. Earlier this week, Variety exclusively reported that Cohen would be departing WME to pursue a management career, along with motion picture and literary packaging agents Solco Schuit and Simon Faber, who are looking to pivot to a management path or producer roles.
We’re thrilled to welcome her to Range,” Range Managing Partner Mick Sullivan said in a statement. “It’s been a privilege to watch Tanya build her business over the years. She has a natural eye for discovering talent and a tremendous reputation for empowering the advancement of artists’ careers in the most creative and thoughtful ways.

She might have brought that edge to a show — even a laugh-tracked sitcom! Sedgwick is a winning actress who’s had great success on TV, mainly in drama. The sunniness and relentless, incurious momentum of “Call Your Mother,” restricting what’s curious and interesting about Jean’s story and Sedgwick’s performance to the margins, is suggestive of a show whose unwillingness to take a risk results in the finished product being not much of anything at all. It takes more than familiar warmth to make us care about characters; they need to be allowed to be characters, too.” /> — more interested in doing something beyond the broadest version of itself.
The series, about an overbearing mom (Kyra Sedgwick) barging in on the lives of her two children (Joey Bragg and Rachel Sennott), hits in its pilot episode — the only one made available to critics — notes that are alternately too familiar or jarring for the wrong reasons. Perhaps it’s because the present moment is so unsettled that “Call Your Mother,” ABC’s new sitcom from “The New Adventures of Old Christine” creator Kari Lizer, manages to feel in its pilot episode more comforting than it otherwise might. The show has a pleasant warmth, but it seems to have too little of a sense about what within it works to find its footing.
“I’d still be breastfeeding if we lived in France!” she declares at one point to laughs from the laugh track but likely winces from viewers at home; earlier, she’d asked her best friend (a game Sherri Shepherd) “If I’m not mothering anymore, am I still a mother? That this is really not so very long at all is the joke, but Sedgwick, when the pilot’s frantic pace slows for a beat, infuses the character with a say-everything desperation whose unfunniness seems to serve a larger point. Sedgwick’s Jean Raines, in the first episode’s early going, ditches Iowa in favor of Los Angeles as a way of dropping in on her son Freddie, who hasn’t picked up the phone for her in (gasp) four days. If I’m not teaching anymore, am I still a teacher?”
(Daughter Jackie’s gay best friend, played by Austin Crute, emerges as a less hackneyed character through sheer force of charisma on Crute’s part.) A romance plot between Jean and the host of her AirBNB-style lodging (Patrick Brammall) feels unnecessary, unbelievable — given that Brammall’s handsome Brit is hosting paying guests in a beautifully appointed home that’s indistinguishable from Jean’s two children’s beautifully appointed homes — and almost mean-spirited. Which makes it unfortunate that, for instance, the children’s storylines are swaddled in iffy attempts to stay current, like Freddie’s girlfriend (Emma Caymares), a parody of an influencer written with the broadest of strokes. In her dealings with her children, whom she’s known their entire lives and who are now estranged from her and from one another, Jean’s lonesomeness comes through; when she tries to smooch the guy whose house she’s been staying in for a day, it seems misplaced and poorly paced, to say the least. This is a story worth exploring!

I am proud to be able to say that I am the son of Pilar Monroe Schneider." "Pilar spoke often of joining her beloved husband of 39 years, my lovely father Marvin Schneider," he wrote. "That day has come for them to be together.
In addition to her son Rob, Schneider is also the mother of producer John Schneider, artist Stanley Schneider and realtor April Schneider Farley. Among her many grandchildren is also singer Elle King, known for her hit song "Ex's and Oh's."
Schneider is survived by her sister Rose, her sister-in-law Lenice, her children Stanley, April, John and Rob; her step-daughter Linda, her ten grandchildren and nine great grandchildren.
Rob Schneider wrote a tribute to his mother on Instagram and shared a family photo with details of her life.” />
She and her husband led a foundation dedicated to helping the area's schools, and she ultimately took over the lead when Marvin died. Schneider continued to support the Pacifica school system throughout the remainder of her life. Her focus was to ensure music teachers and classes were provided at each school.
When not teaching, Schneider found roles acting in commercials and some of Rob's movies, including "Deuce Bigalow: Male Gigolo," “ The Animal,” "The Hot Chick" and "Big Stan." She was also a member of the Screen Actors Guild.
She was 91. Pilar Schneider, the mother of comedian and actor Rob Schneider, died of natural causes Monday at her home in Pacifica, Calif.
in the 1950s as an American citizen. Schneider grew up in the Philippines and moved to the U.S. She also served as president of the Pacifica School Board for two terms. She had a passion for teaching and held a job teaching elementary school students for almost three decades before teaching special education.

New appointees of the HRTS Advisory Council, comprised of past Board Members, include: Leigh Brecheen, Partner, Goodman Schenkmann & Brecheen, LLP; Matt Cherniss, Head of Development, Apple; Stephen Davis; Gary Marenzi, Founder/CEO Marenzi & Associates; and John Morayniss, President, JDM Media.
The newly-elected members of the HRTS Board of Directors beginning their three-year terms this month are Albert Cheng, Chief Operating Officer & Co-head of Television, Amazon Studios; Tara Duncan, President, Freeform; Rafael Gomez, Head of Business Affairs, AMC Networks; Tina Perry, President OWN, Oprah Winfrey Network; and Alejandro Uribe, CEO, Exile Content.
Melissa Grego's three-year stint as the CEO of the Hollywood Radio and Television Society will continue on. The organization's also released the names of its newly-elected Executive Officers and Board Members, and the industry leaders newly appointed to serve as Advisory Council members. Today, the HRTS announced that Grego's role has been re-upped.
I’m so proud of the work that we’ve done to make HRTS a community that is inclusive of all people working in TV and entertainment, and I look forward to continuing our efforts as a Board Member. Our newly-elected officers are outstanding leaders in the industry and friends and I’m excited to work with them on new and existing events and initiatives.” "Melissa joined HRTS with a shared vision to transform HRTS to support the membership and meet today’s challenges in the industry. “It has been my great honor to work alongside Melissa Grego as President of HRTS over the past three years,” said outgoing HRTS President Marc Korman, in a statement.
In the coming days, the HRTS will announce details of a virtual event to kick off the year, introduce the organization's new leadership and discuss its future.” />
Newly elected two-year term officers include HRTS President, Odetta Watkins (EVP, Current Programming, Warner Bros. Television); Chairperson of the Board, Dan Erlij (Partner, Co-Head, Television Literary Department, United Talent Agency); Vice President, Francesca Orsi (EVP and Head of Drama Programming, HBO); Secretary, Charlie Andrews, (EVP, Drama Programming, Development & Event Series, Fox); and Treasurer, Alejandro Uribe (CEO, Exile Content). Television and WME, among others. The media and entertainment industry veterans that will guide the HRTS include executives at Amazon Studios, AMC Networks, Apple, CAA, CBS, Television, Fox, Freeform, FX Entertainment, HBO, Hulu, ICM Partners, OWN, Showtime Networks, Universal Studio Group, UTA, Warner Bros.
Under the leadership of Korman and Grego, the industry networking and information platform released its first-ever Diversity and Inclusion Resource Guide, launched its signature Brown Bag with the Board virtual event series and its first Virtual Newsmaker Luncheon, tapped into the expertise of Board Members to create an Advisory Council and expanded resources across all operational levels.

Have you spoken to any cast members or made any offers for "Bachelor In Paradise"?
You know, right now, everybody is in consideration because we’re going to have a whole other season of "The Bachelorette" [before the next season of "The Bachelor"] so there will be other "Bachelor" candidates there, too. One of the lessons we’ve learned is to really think of everybody to potentially be the Bachelor. In the past, I think we’ve maybe made mistakes because we’ve overlooked people for whatever reason — maybe they’re too controversial or they weren’t that popular on their season, but there is no right or wrong so we should just talk to everyone and the right person will present themselves.
Ben Smith was a big standout on Tayshia Adams' season of "The Bachelorette." Are you eying Ben?
Here, the ABC executive discusses plans for "Bachelor In Paradise," including which alums might be cast on the next season, as well as that new spinoff.
So, even if you can't shoot in Mexico, you're committed to making it work to have a new season of "Bachelor In Paradise" this summer?
If Ben would do us the privilege of being on "Paradise" it would be fantastic. I can see him being one of the massive success of "Bachelor in Paradise," like he will meet his wife there.
Even something as silly as "Bachelor In Paradise," it really means a lot to people, and we know that, so we will do what we can to get it done. Since we’ve done that, the absolute most important thing now is "Bachelor In Paradise." We take a lot of pride in how much this show means to people. Ten months ago, the first thing that was important to us was to get "Bachelorette" done, and that was a monumental effort — I cannot give production enough credit; it was a Herculean effort. This show really gives people comfort and hope. And then you had to get "Bachelor" done.
"Bachelor In Paradise" typically films in Mexico. At this point, ABC isn't sure if shooting in Mexico will be possible, but regardless of the location, the network is willing to get creative to ensure a new season can be produced — even if it has to film in a bubble, just like the last season of "The Bachelorette" and the current season of "The Bachelor" with Matt James, both of which filmed at sequestered resorts at which the cast and crew lived on-site and quarantined for the duration of production.
[The next season of] "The Bachelor" isn’t for another year; we’re focused on Matt right now. Now, I don’t want them to see this and go on "Paradise" just to become "The Bachelor" because you should go on "Paradise" hoping that you’ll find your soulmate. But there are a lot of guys that would be in consideration to be the Bachelor. But obviously yes, Ben would be in consideration to be the next Bachelor. But just because you’re on "Paradise," even this summer, doesn’t mean that you can’t be the Bachelor — if anything, you have a better chance to be "The Bachelor" if you’re someone like Ivan [Hall] or Ben because your story is more fresh. Absolutely.
Will the vaccine be widely available? Everything is day-to-day. If not, maybe there is a bubble situation in Mexico. We will figure out something — I never know what will happen, but I feel very confident in saying that you will get "Bachelor In Paradise" next season. Right now, unfortunately, we’re at a place, especially in Los Angeles, where all the productions are getting shut down — you know, [Jimmy] Kimmel is back doing his show from home. Obviously, we don’t want producers and cast members to be getting vaccinated early just for the show, but if people can get vaccinated, then maybe we’re back in Mexico. But conversely, in a couple of months, this could all change. We could have a massive rollout of vaccinations and that would make it easier to travel and shoot places. Who knows. We’re looking at different permutations and scenarios.
When are you looking to shoot that show?
How about Bennett Jordan? He was another standout — perhaps for different reasons — but would you consider him for "The Bachelor?
Did you feel like it was a major loss not having "Bachelor In Paradise" on the schedule last season?
The pond is overstocked. And then also, we’ll look at people who went home too early and were great and didn’t have enough time to shine. Sometimes the pond is really dry — this season will be the opposite case. The silent producer on the show is the audience so we’ll see on Twitter who people say they want to see.
If there is some different type of way we have to do it, we want to do it. I think we can tell that story in almost any setting, even if we have to find another bubble. As wonderful as it is being in Mexico with that type of setting, it really is about people we have come to love — or love to hate — finding a second chance at love. And there are so many of them now because we have four seasons worth of people.
I think right now, everybody is in consideration for "Bachelor In Paradise," and certainly Bennett is on that list.” />
Why is the network so hot on this show? You're actively at work on the senior citizens spinoff.
We're actively working on making it happen," Mills shares, adding that the network is further along than just the ideation phase. "In addition to 'Paradise,' the other thing we want to get serious about revisiting is the older 'Bachelor' spinoff.
"We are hell-bent on figuring out how we make ‘Paradise’ work," Rob Mills, senior vice president, alternative series, specials and late-night programming, ABC Entertainment, tells Variety. "Unless something horrendous happens, I feel very confident that ‘Paradise’ is coming back on this summer — how and where it’s going to be, it’s still to early to tell."
How do you make that in to 15-18 cast members? The biggest problem we’re going to have is that we have probably about 150 potential people we can have in the cast between the four seasons that haven’t been able to be on "Paradise," and then other people who have been on previous seasons. We have to figure out how it’s going to work first before we ask people to get time off from their jobs. It's still early. It’s going to be really tough.
Now, with coronavirus numbers surging once again, TV shows and film productions are shutting down, once again, and non-essential travel is discouraged. But, good news for Bachelor Nation: ABC is set on getting "Bachelor In Paradise" back on-air this summer, and is now prioritizing the show after shelving it last season, Variety has learned exclusively.
Would you consider Ben to be a lead on "The Bachelor"?
The casting was amazing and anytime we ever talk about it, it gets a massive response.
Where does "Bachelor In Paradise" stand?
With so many Bachelor Nation alums, how will go about deciding who gets to be in the cast?
So, even if there are production precautions with the pandemic, you would be looking to shoot that senior citizens show this year?
Part of the problem was that during the whole year of the pandemic, obviously the most at-risk group was older citizens. We love this idea and the fact that people have really responded to it, we want to try to make that happen. Now, the fact that we’ve found a way to shoot in a bubble, if we have to do it in a bubble, we would be able to figure that out.
If "The Bachelorette" starts shooting in March after "The Bachelor" airs, like normal, and if we can figure out "Paradise" soon, then perhaps we can figure out how to do this as soon as the fall, in between cycles of "Paradise" and shooting the next season of "The Bachelor."
In addition to a new season of "Bachelor In Paradise," ABC is currently at work on the much-buzzed-about senior citizen "Bachelor" spinoff, which gained considerable momentum when the network put out a casting call before the pandemic. The potential show was put on the back-burner when COVID-19 shut down the entire industry, as ABC needed to prioritize its flagship shows, "The Bachelor" and "The Bachelorette." But now that a safely-working system has been put in place to shoot the reality dating shows, the network is re-focusing on the more mature offshoot.
With production halted across the industry in the height of the pandemic, ABC's fan-favorite summer dating show wasn't able to shoot its seventh season last year. "Bachelor In Paradise" was a television casualty of 2020.
Then, is Bennett perhaps a better option for "Bachelor In Paradise," rather than "The Bachelor"?

Tina Fey and Wayne Brady have joined the line-up for this year’s Educational Theatre Foundation Gala.
The Educational Theatre Foundation is the philanthropic arm of the Educational Theatre Association, which is the home of the International Thespian Society. ETF provides essential financial support for theatre education and to expand access to school theatre programs.
                ” /> include Playbill, Apples and Oranges Arts, Broadway on Demand, The Diller – Von Furstenberg Family Foundation, iHeartRadio Broadway. Additional sponsors include AMDA, Kate Capshaw & Steven Spielberg, NBC Entertainment, Concord Theatricals, Nancy & Kenneth Duffy, Broadway Cares/Equity Fights AIDS, Broadway Licensing, Open Jar Studios, Mark Weinstein, California Thespians, Disney Theatrical Group, Dramatists Play Service, Mark Drum, Thomas & Ellen Hoberman, Irene Mecchi, Harley Neuman, and Kevin Yorn. Presenting sponsors for Theatre Alive!
The Shubert Organization will receive the Standing Ovation Award. Theatre Alive!: A Celebration of School Theatre, to be held virtually on Jan. 28, will honor director-producer-actor Kenny Leon with the Crag Zadan Theatre for Life Award.
Proceeds from “Theatre Alive” will go towards Thespian Relief Grants to Save School Theatre, which assist theatre programs financially struggling from effects of the COVID-19 pandemic, and the new Pathway program to address racial disparity in theatre.
“Research shows theatre education teaches life skills including creativity, critical thinking, communication, and collaboration.” “The belief that arts education should be available to all students, and the recognition of the importance of theatre education in preparing students for whatever path they pursue in life, is shared by our celebrity guests and our sponsors,” Educational Theatre Foundation president Julie Cohen Theobald said in a statement.
Tickets are free for the gala, which will stream on, Broadway on Demand and iHeartRadio Broadway.
Robert Greenblatt and Neil Meron co-chair the benefit. Nia Vardalos and John Stamos will emcee the gala. Performers will include Jennifer Hudson, Audra McDonald and Amber Riley.

Among other things, Quibi cited the Dec. On Monday, Quibi filed a response to Eko's most recent amended lawsuit. 30 order to reiterate that the company "does not and has not infringed, induced infringement of, or contributed to the infringement of" the Eko patents. Quibi's legal response also alleged that Eko’s claims for misappropriation of trade secrets "are barred because the alleged trade secret is not a trade secret, but rather was readily ascertainable by persons of ordinary skill in the pertinent art(s)" and furthermore that Quibi independently developed Turnstyle.
Eko's lawsuit against Quibi is being funded by activist hedge fund Elliott Management, which took a minority equity stake in the company last year.” />
8), the federal judge hearing the case denied Eko’s motion for a preliminary injunction seeking to freeze Quibi's financial assets, finding that “Eko has not shown it will more likely than not succeed on its [patent] infringement claims." In a ruling Dec. 30 (which was unsealed in redacted form Jan.
In previous court filings, Eko said estimated the value of the IP that Quibi “misappropriated and infringed” to be at least $96.5 million, or at least $101.9 million when factoring in prejudgment interest and fees. Eko alleged that Quibi planned to retain a reserve of about $60 million in cash to wind down operations.
Quibi, after raising $1.75 billion, is said to have told investors including Disney, NBCUniversal and WarnerMedia that it would return $350 million of its cash on hand to them.
However, the judge sided with Eko in finding that the company's three patents at issue in the case are likely valid, contrary to Quibi's assertion that those patents are invalid.
In addition, and perhaps more significantly, Snyder found there was "sufficient" circumstantial evidence to suggest that three former Snap employees — who had received an NDA briefing from Eko CEO Yoni Block on Eko's interactive-video tech before joining Quibi — had engaged in theft of trade secrets.
But even though Quibi has now mostly wound down operations, the Jeffrey Katzenberg-founded company has retained a legal team to deal with the pending legal fight with New York-based interactive video company Eko involving Turnstyle: the technology that Quibi used to determine the orientation of a viewer’s phone (either horizontal or vertical) and present content in the appropriate mode.
Quibi announced a deal last week with Roku, which acquired the bulk of the failed mobile startup's streaming rights — some 75 shows, which the streaming platform plans to make available for free on the Roku Channel.
11 filing, "Any claim by Eko for damages is negated by the existence of noninfringing alternatives to the Patents in Suit. Defendants will identify noninfringing alternatives following claim construction and in connection with damage-related disclosures." Quibi's lawyers have asked the court to deny Eko's bid for an injunction and demands for monetary damages. In addition, Quibi said in the Jan.
Quibi has set up a holding company to handle the litigation with Eko and the potential sale of the Turnstyle assets. The Turnstyle assets weren't part of the Roku deal; that involved the transfer of Quibi's seven-year content licensing rights, which a source said was worth "significantly" less than $100 million.
Eko failed to show that Quibi is "fraudulently concealing or transferring assets or has otherwise engaged in a pattern of financial misconduct" in a way that would cause "irreparable harm" to Eko, as Eko asserted. District Court for the Central District of California wrote in the ruling. "The Court concludes that Eko has not submitted evidence that satisfies its burden that a freeze of Quibi's financial assets is warranted," Judge Christina Snyder of the U.S.
Specifically, she noted that two of the ex-Snap staffers joined Quibi on Oct. 15, 2018, about two weeks before Quibi CTO Rob Post declared "that his development team settled on five candidates for its rotation technology." "The Court agrees that the weight of circumstantial evidence is sufficient at this stage to suggest the Snapchat-turned-Quibi employees took the ORTS method [Eko's Optimized Real Time Switching technology] with them to Quibi and used it to assist with the development of Turnstyle," Snyder wrote in the Dec. 30 decision.
Asked for a response, Eko declined to comment on the latest legal developments.

UMPG, a subsidiary of Universal Music Group, is headquartered in Los Angeles and represents the publishing interest in songs by Adele, Jhené Aiko, Bad Bunny, J Balvin, Bee Gees, Mariah Carey, Brandi Carlile, Coldplay, Elvis Costello, DaBaby, Billie Eilish, Eminem, Halsey, Jimi Hendrix, H.E.R., Billy Joel, Elton John and Bernie Taupin, Kendrick Lamar, Demi Lovato, Megan Thee Stallion, Shawn Mendes, Metallica, Post Malone, Otis Redding, Bruce Springsteen, Harry Styles, Taylor Swift and U2, among many others.” />
Songs credited to Bell have move more than 150 million units in the U.S. Bell has been nominated for six Grammy Awards and was named Variety's 2019 producer of the year.
A native of Quincy, Mass., Bell is a self-trained musician who got his big break after moving to L.A., where he first collaborated with Post Malone on the rapper-singer’s breakthrough LPs — 2016’s “Stoney” and 2018’s “Beerbongs & Bentleys” — the latter on which Bell co-wrote all 18 cuts. Bell executive-produced Post Malone’s most recent album, "Hollywood’s Bleeding." In 2020, Post notched another massive single, "Circles," which Bell co-wrote and co-produced.
The company has also acquired Bell's catalog. Producer and songwriter Louis Bell, who has worked extensively with Post Malone and has notched hits with Camila Cabello (“Havana”), the Jonas Brothers (“Sucker”) and Halsey (“Without Me”), has signed an exclusive global publishing deal with Universal Music Publishing Group (UMPG).
It’s even better when you can work with good people! Said UMPG chairman and CEO Jody Gerson in announcing the signing: “I am thrilled to welcome Louis Bell to the UMPG family. Our global team looks forward to providing outstanding opportunities that support his artistry and songs.” He is not only an immensely talented songwriter and producer for the some of the biggest artists in the world; he is one of the kindest and most thoughtful people I know.
Most recently, Bell contributed to multiple tracks on Miley Cyrus' latest album, "Plastic Hearts."
The UMPG deals were negotiated on behalf of Bell by Jason Boyarski of Boyarski Fritz LLP. “I am extremely excited and grateful to begin this journey with Jody, Lillia Parsa and the entire Universal Music Publishing team, added Bell, who is managed by Electric Feel Entertainment.

The docuseries, a follow-up to the 2017 YouTube documentary “Simply Complicated,” will also feature footage from Lovato’s 2018 Tell Me You Love Me World Tour, captured during the early stages of the project's production.
"For the first time, you’ll be able to see my chronicle of struggle and ongoing healing from my point of view. I’m grateful that I was able to take this journey to face my past head-on and finally share it with the world." “It’s been two years since I came face-to-face with the darkest point in my life, and now I’m ready to share my story with the world," Lovato said.
Demi Lovato is returning to YouTube with a new docuseries.
For the first time, Lovato will open up about every aspect that led to her nearly fatal overdose in 2018 and lessons in the aftermath. "Demi Lovato: Dancing With the Devil," set to debut in March, will unpack the most challenging times in the artist’s life and career, including when she discovered the importance of her physical, emotional and mental health.
Demi stands for empowerment, and this documentary is going to answer the many questions that have been out there – providing a real window into the life of one of the biggest stars in the world, who is simply a human being." Ratner, "Demi’s willingness to explore the darkest elements of her life is going to leave the audience with a complete understanding of everything she’s been through and ultimately where she is going. Added the series' director and executive producer Michael D.
The first two episodes will launch on Lovato's YouTube channel on March 23, followed by the following two episodes that will be released weekly on the next two Tuesdays.” />
“YouTube Originals is committed to telling real stories about the complexities of life and for Demi to use our global platform to open up about this chapter is something we are very proud of.” “We are excited to continue sharing Demi's brave story,” said Susanne Daniels, global head of original content at YouTube.