All through the day, in the saddle I sway
Visions grow as I go trail dreamin’
I see a home on a blue mountain dome
Love inlaid, that I made trail dreamin’
There’s a rainbow trail that’s lined with stars
That leads to a gate with moving bars
And it’s welcome, I feel till my vision’s so real
Turn to dust, ’cause I’m just trail dreamin’

If eyes are the mirror of the soul
You will find in my the scorn and apathy
You will read my hatred as in a curs’d book
You will see yourself as I see you
It is a mirror sombre and opaque
Which protects me, which stifles me
A great ditch around the heart
Which rejects, which estranges me
There is a world in my head
A dead world where nothing lives
And it is there I am, too far,
Far too far to be rejoined
A crown of thorns is still a crown
I am a king in a kingdom of suffering
I have taken my time to reach this stage
I have taken pains to torture myself
To descend, to descend
Into pain, I exist
And I my brain is numbed
The thorn in my flesh
Can overcome apathy
There is glory in humiliation
A throne to be taken, a crown to win
I have no more tears,
And my smile has lost its brilliance
I have forgotten who I was,
I have killed my emotions
Crushed, empty, weary,
Always standing, I am a tree
Awaiting the lightning.

[Verse 1:]
Honest where I start from
I try and impart my wisdom
A combination of truth and fear
That’s the way it’s always been
My father and his before him
At times we hurt the ones we love so dear
I’ll be with you, I’ll be waiting for you
On the other side, on the other side
And the winds that blow they’ll guide you home
Get you through the night, get you through the night
It’ll all be right
[Verse 2:]
My job to control you
Darling, though I barely know you
Hoping you grow tired and start giving in
Spout of holy water
Pour it on my only daughter
Maybe there’s a shot she’ll begin again
I’ll be with you, I’ll be waiting for you
On the other side, on the other side
And the winds that blow they’ll guide you home
Get you through the night, get you through the night
It’ll all be right
So wrong
And I’m here to make it right for what it’s worth
And I’m sorry, yes, I’m sorry if you never felt
The love, the love, the love that you deserve
I’ll be with you, I’ll be waiting for you
On the other side, on the other side
And the winds that blow they’ll guide you home
Get you through the night, get you through the night
It’ll all be right
It’ll all be right

[Verse 1]
Oh, pity me
I’m so alone and so blue
My friends have all gone away
Their friendliness too
It was I on my own
With no need to belong
And I wanted to die
That’s when you came along
And thank you for all of your loving
Thank you for all of your tears
Thank you for all of your kindness
Thank you for being here
[Verse 2]
What a difference it made
My life has started again
And if you go away
It just won’t be the same
It’s hard to say what I feel
When I’m by your side
You’re there when I’m worried
All my troubles, in you I confide
And thank you for all of your loving
Thank you for all of your tears
Thank you for all of your kindness
Thank you for being here
[Verse 1]
Oh, pity me
So alone and so blue
My friends have all gone away
Their friendliness too
It was I on my own
With no need to belong
And I wanted to die
That’s when you came along
And thank you for all of your loving
Thank you for all of your tears
Thank you for all of your kindness
Thank you for being here
Thank you for all of your loving
Thank you for all of your loving
Thank you for all of your loving
Thank you for all of your loving
Thank you for all of your loving

Polishin’ a sword (Uh, uh, uh, uh)
Concrete Family, Concrete Industries, Concrete Boys up, always, never down
(And this beat from Cash, not from YouTube) Always
[Verse 1]
Niggas is not really killers
I seen ’em shoot up, they treat beef like heroin (Uh, uh)
Everyone wanna be kings
But niggas too soft, see, me, I got pharaoh skin
We took the drive, needed Wock’ for the low
Had to do us a call in Carrollton (Damn)
My niggas quick to reassemble your wig
I nicknamed him Tae ’cause he arrogant (Brrt)
Nut in your bitch, make her carry my kids
Treat that lil’ bitch like a surrogate (Uh)
Bought a new crib ’cause I needed more space
I call my new shit a terabyte (Uh)
Only if niggas could see what I saw
Take a walk in my shoes, they’ll feel me (God)
Dawg, if the government knew what I knew publicly
Honestly, they’d kill me (Uh)
Nigga, niggas is, pussy, uh (Brr)
We gettin’, p-paper, I’m in a, Maybach
Fuckin’ your, b-bitch, yeah, hm, yeah, hm, hm
Bettin’ a million, hm, niggas can’t fuck with the boys (Us)
Pullin’ up, new Rolls Royce
Bitch on moist, feelin’ my void
Pocket full of blue like boys
Niggas too noisy, they can’t hang around (Brr)
Keep shit simple like Jjjound
Need my crown pearl like oysters (Us)
White gold shiny like quarters
Ten thousand shoes, feelin’ like hoarders, hm
[Verse 2]
Ain’t nobody gon’ check me, hm
Two hunnid thousand, I spend on a neck piece
Fuck my opps, I’m deadly (Opps)
When I die, hope they put on my tombstone
“All I wanted was respect” (Yeah)
Concrete Boy Boat, I ain’t no hoe, and that’s on my set (Us)
Went from Buddy Pass to the first class
Then we hit them jets (Uh)
Took that F&N with them big bullets, put down T-Rex (Brrt)
This ain’t book club, this ain’t study session
Can I have some sex? (Uh)
I ain’t never pressed, ever, no, baby, there is too many hoes (Yeah)
I ain’t never content with my life, I got too many goals (Yuh)
I ain’t ever naked in no club, we got too many poles uh, hm
They don’t wanna cop no za, we got too many lows (Mh)
Out in LA with my little brother, we coppin’ too many bowls
Nigga, niggas is, pussy, uh (Brr)
We gettin’, p-paper, I’m in a, Maybach
Fuckin’ your, b-bitch, yeah, hm, yeah, hm, hm
Bettin’ a million (Slatt), hm, niggas can’t fuck with the boys (Us)
Pullin’ up, new Rolls Royce
Bitch on moist, feelin’ my void
Pocket full of blue like boys
Niggas too noisy, they can’t hang around (Damn)
Keep shit simple like Jjjound
Need my crown pearl like oysters (Free)
White gold shiny like quarters
Ten thousand shoes, feelin’ like hoarders (Us, pussy)
Us, bitch
Went crazy
Damn [Intro]
Polishin’ a goddamn sword, you know what I’m sayin’?

As soon as my eyes shut the slide show begins
Yesterday is gone now and panic sets in
With a weight upon my chest and a ghost upon my back
And the numbing sensation of everything I lack that leaves me
Dreaming, dreaming, dreaming, ooh
Your real world away
And beautiful, beautiful bright eyes lie
Only beautiful, oh, beautiful bright eyes cry
Singing late morning lullaby
The first sign of morning is gray and alarming
It’s so disappointing, the day has come so soon
While the rest of the world greets the day and feels new
I will push it away just like I always do, I will be
Dreaming, dreaming, dreaming, ooh
Your real world away
And beautiful, oh, beautiful bright eyes lie
Only beautiful, oh, beautiful bright eyes cry
Singing late morning lullaby, late morning lullaby
Oh, I would darken my window so I can fall asleep
While the critics frown down on the hours, I keep that leave me
Dreaming, dreaming, dreaming, ooh
Your real world away

Days go by and I’m still here
The bottom line is it’s unclear
Where I’ll go and what I’ll do
The choice still belongs to you
You don’t have to run
You just have to start it over, start it over
The pain is just too strong
You just have to start it over, start it over
I sit at home and watch the fan
Spin around as time still stands
Listen to my favorite song
Lifter tries to lift me up
You don’t have to run
You just have to start it over, start it over
The pain is just too strong
You just have to start it over, start it over
Seven words, one weak, teenager nosebleed, birthmark savory
Engine Number 9 be quiet and drive, cherry waves Sinatra
You will see it’s me falling down the path again
Complete with seeds sprouting the roots again
You don’t have to run
You just have to start it over, start it over
The pain is just too strong
You just have to start it over, start it over

Dave Chappelle, Talib Kweli, and Yasiin Bey have partnered with subscription podcast network Luminary on the new podcast "The Midnight Miracle."
The conversations are intermixed with sketches, impersonations, archival audio clips, and a soundtrack that includes music from Charlie Parker, Dizzy Gillespie, Thelonious Monk, D’Angelo, Heatwave featuring Johnny Wilder, and more. "The Midnight Miracle" was recorded during Chappelle’s 2020 Summer Camp at “The Shack” — a mechanic’s garage retrofitted as a clubhouse. The show is described as salon style and features the three hosts and creators as well as their friends and featured guests.
"'The Midnight Miracle' gives you a look into how me and my friends process the world around us, and I think it will change the way listeners think of what a podcast can be." “Making a podcast isn’t the obvious next move for me, but it’s the right one," Chappelle said.
The show will be released in the coming weeks on Luminary, and will be available on the Luminary channel on Apple Podcasts when its new subscription platform debuts worldwide later in May.
Kweli, Bey, and Chappelle edited more than 100 hours of recorded content to make the show in partnership with Jamie Schefman and Noah Gersh of SALT. There are currently only plans for a single season, with episodes dropping thoughout the year except for a summer hiatus.
It is the exact type of project we built Luminary to support, and we are so excited to share it with listeners across the world,” said Simon Sutton, Luminary CEO.” /> “'The Midnight Miracle' pushes the boundaries of podcasting, creating an audio experience listeners have never heard before.

“But now, we can tell everybody’s story and tap into really challenging experiences that teenagers are going through,” Biel continues, noting shows like “Euphoria” and “Sex Education.” “When I was working and looking and trying to be stimulated creatively and be challenged, I definitely did not have those opportunities.”
She is also interested in dipping her toes into the producing waters, and spent time on set learning from the female forces about developing projects in her future. She specifically recalls her conversations with Biel, who told her that she was around her same age when she began to learn about producing and development.
In “Cruel Summer,” the whodunit plot is escapist and twisty, akin to the network’s smash hit “Pretty Little Liars,” but the subject matter digs deep. “There are some heavy issues we talk about, from gaslighting to manipulation and trauma,” says Holt.
Holt, who began her relationship with Freeform as the female lead of Marvel’s “Cloak & Dagger,” is acutely aware of her large platform and influence on young fans, which is why she’s proud to be part of the young-skewing network, which she says “fiercely” airs conversations about real-world issues from minimizing women to dehumanizing Black culture.
Though Holt is barely into her mid-20s, the actor — who boasts nearly 5 million Instagram followers — has seen a progressive change for female characters, since she started out in the business as a pre-teen.
“I would tell these ladies the pitfalls that I stepped into and what to watch out for, but these young women are so much more together than I was at that time,” Biel laughs. “They are dedicated and driven and they have a plan — they want to be involved behind the scenes, they want to write, they want to direct, they want to sing, they want to do it all.”
She cracks, “I’m clearly too old for this project. But it is really intriguing to talk to a younger set of women and what their experiences and perspectives and letting them tell their story.”
In addition to showcasing complex women, the show should also appeal to true crime lovers, says Jamila Hunter, Freeform's executive vice president of original programming and development.
Biel says she would have jumped at “Cruel Summer” when she was starting out, which is why her production company signed on to the series.
Starting off as a kid actor herself, Biel wasn’t inspired just by her Gen Z cast but also by today’s evolving teen television genre.
She’s so funny because she’s like, ‘I’m ancient!’” Holt — who wasn’t born yet when “7th Heaven” premiered — says, “I remember growing up watching her.
Biel, meanwhile, is in awe of the maturity, confidence and fresh ideas her cast, including Holt, brings to the table.
Napolitano shares that Holt was part of the creative team that developed her character, as well. She had a huge hand in creating the Kate Wallis I now know and love." "Olivia brings these themes to life with sophisticated, nuanced choices that surprise at every turn.
"I’m so grateful for the opportunity to play such different characters, but at the forefront, these women have all had such a strong voice and I want to continue on that path," Holt says.
Now, the two women are teaming up for “Cruel Summer,” Freeform’s psychological thriller in which Holt stars as Kate Wallis, a high schooler who goes missing. Her classmate, Jeanette Turner (Chiara Aurelia), is accused of being connected to her disappearance, which becomes the central mystery of the series, told in a nonlinear fashion over the course of three years in the mid-’90s.
When Olivia Holt rose to prominence on Disney XD’s “Kickin’ It” in 2011, she was barely 14 years old — the same age as Jessica Biel when she began working on the family drama “7th Heaven,” 15 years earlier.
"Cruel Summer" premieres April 20 at 9 p.m. on Freeform.” />
“What I’m always looking for is stories with complex female characters to really provide a platform for female perspectives and female stories,” she says. “As an artist, I look at that and would be really interested, from a creative standpoint, to play one of those characters.”
"Because the series is centered around two complex young women and their shifting points of view, there are cliffhangers in every episode that will hopefully keep viewers coming back." "Tia, Michelle and Jessica have done a fantastic job of creating an addictive mystery that true crime fans crave," Hunter says.
“Having the perspective of a multiple women on the creative side is so important," Holt says. "There was just so much communication in the way that we dissected these scripts and executed them.”
Holt is excited about playing Kate Wallis because she is a character who speaks her mind. When asked about future career goals, she excitedly suggests that she'd love an action role like Lara Croft or going back to "The Great Gatsby" times for a period piece, but first and foremost, she is interesting in portraying strong women.
It was one side of being a teen and being a kid,” Biel says. “It was much more protected and not really pushing boundaries; it was dealing with issues, but being really sensitive about them for families.” “‘7th Heaven’ was a really particular show.
When I was a kid, I don’t think I really understood why there was only the same role for women — they arm candy of the guy. There wasn’t anything interesting about the women,” Holt says. “Just by the scripts and the auditions that I’m getting, I’m noticing such a massive shift. “We can now see ourselves, and that’s so important, especially for generations to come.”
"The show celebrates the female perspective, female friendships and girlhood aspirations." "'Cruel Summer' hijacks the microphone from the media in the '90s and hands it to two young women who don't find their voice, but instead come to embrace yelling their truth from the rafters," says Napolitano.
“One of the main reasons I wanted to be part of this project is because of the incredible team of women behind [it],” says Holt, referring to Biel, who serves as executive producer, along with showrunner Tia Napolitano and Michelle Purple, Biel’s producing partner at their Iron Ocean production banner, which is also behind USA’s “The Sinner” and Facebook Watch’s “Limetown.”

Neither the Amazon crew nor the Hotspur team could know exactly how tumultuous the ensuing season would be, especially once the pandemic halted games and made it impossible for fans to flood the shiny new stadium. But the series nonetheless demonstrates the club’s ambitions to be mentioned in the same breadth of the elite teams that now make up the proposed Super League — and to make for exciting entertainment, besides.
In retrospect, the opening of “All or Nothing: Tottenham Hotspur” tells us everything we need to know about the mentality and calculations that led to the team announcing the hiring and firing of mercurial coach Jose Mourinho, and its part in a proposed European "Super League" that has the entire soccer world in panicked shambles.
(For the uninitiated, this astonishing breadth of time isn’t even unusual for a British football team, some of which date back to the 1860s.) While Tottenham Hotspur had its glory days, the team has more recently become known for providing flashy football that makes for great moments, if not many actual championship wins. The Amazon Prime series, released last fall, opens with narrator Tom Hardy gravely intoning the club’s history, which stretches back over a hundred years. But that has nonetheless made the team extremely important in its corner of North London, where it, like many other teams in the United Kingdom’s various leagues, boasts a fiercely devoted fanbase spanning generations.
Re-watching something like “All or Nothing,” however, it’s abundantly clear that these clubs and their billionaire owners have been preparing for something like it for far longer. In their initial statement on why they decided to form the Super League, the 11 European club owners insisted that the pandemic, which devastated the economy of live sports, hastened its necessity.
He prefers a counter-attack to an all-out offensive, preferring to lock in the game with smart goals before keeping the other team from scoring. Diehard Spurs fans, stuck watching the games at home, were furious that their “beautiful game” had become something more cerebral than outright thrilling. He had been at the club for just over 18 months, struggling to get results out of a team through the pandemic and a weak defensive line that couldn’t nail his particular style of football, which became a particular sticking points in recent weeks. The day after the Super League was announced, Tottenham Hotspur fired Mourinho. For as bombastic as Mourinho can be as a personality, his football is extremely tactical, defensive and calculating.
Instead, it ends up being a valuable encapsulation of how money and optics inform most everything the club does. As with every other “All or Nothing” series — which has covered teams across rugby, soccer and football — the Hotspur edition purports to be an unprecedented look into the sport’s day-to-day operations. From pushing the stadium to allow fans even as the pandemic worsened, to affording Pochettino a single interview after five and a half years of coaching, to the board making transfer decisions without the head coach as if balancing a checkbook instead of a team, “All or Nothing: Tottenham Hotspur” does, in fact, make plain how the aspiring franchise runs. In light of the Super League, however, they painted a far more unflattering picture than they realized.” /> Looking back at the Amazon series with the benefit of hindsight, the series is almost more fascinating than it was originally.
In one of the most immediately memorable scenes in “All or Nothing,” for example, Mourinho is setting up his new office, laying out trophies and photos of all his previous successes, as a news report about his hiring plays in the background. For decades, Mourinho has been at the center of some of football’s most exciting success stories and explosive controversies. He listens to the pundits debate his merits until one suggests that he’s “past his best,” at which point Mourinho simply gets up and turns off the TV with a gruff “fuck off.” In my initial (embarrassingly glowing) review of “All or Nothing: Tottenham Hotspur,” I focused largely on the arrival and impact of Mourinho, who not only makes for great TV, but knows it. Rarely does a press conference go by without him saying something quotable; his sideline antics are infinitely meme-able; his finite patience is the stuff of legend.
(Not for nothing: Kane subsequently became one of the League’s highest scorers, and is currently leading the competition for the “Golden Boot” goals award.) Acknowledging that Kane wants to be on the superstar level of footballers like Cristiano Ronaldo and Lionel Messi, Mourinho says that he is “a little bit like that as a coach,” and that he can use his knowhow to help Kane gain a higher profile. In another, Mourinho brings in star striker Harry Kane for a frank conversation about the future in which he demonstrates exactly how savvy he is about his own brand.
The U.K.’s Premier League, for example, includes 20 teams, with the top teams afforded chances to compete in competitive spinoff leagues like the Champions League and Europa while the bottom three get “relegated” to a lesser tier where they must try to fight their way back into the Premier League. (Any American fan unfamiliar with the concept of relegation might’ve gotten a handy primer in “Ted Lasso,” the Apple TV Plus series about a scrappy club struggling to hold its place among richer giants.) The Super League would allow a small selection of teams to play against each other without fear of losing out, no matter how badly they might do, while closing the door to any other “smaller” teams who fancy themselves up to the challenge. If you’re unsure what a “Super League” entails and why it’s so controversial, the crux of the situation is this: for decades, European clubs have played in leagues without any guarantees.
Mourinho needed a team to coach, and the Spurs club needed to bump up its profile. The two goals aligned perfectly — until they didn’t. But it’s undeniable that once the novelty of his hiring wore off and the gameplay remained stagnant, he had, in a sense, worn out his immediate use. It’s difficult to imagine that the timing of Mourinho’s hiring, in a year set to be filmed by a rapt camera crew, was entirely accidental, or that his firing, a day after a contentious announcement and a week before a cup final, was entirely random. It’s hard to say if Mourinho would have done better at Spurs given more time and money to shape the team in his image.
Despite their best efforts, Spurs have never been considered on the same level as a team like Manchester United. From owner Daniel Levy’s perspective, this would change after joining the Super League, where they’re guaranteed to compete every year no matter what, alongside teams like Man U and Spain’s Real Madrid. In other words: they could stop being a scrappy David to become a fearsome Goliath all their own. Tottenham Hotspur has rarely been in danger of relegation, but they’ve struggled to crack the most elite competitions.
After losing that Champions League final to Liverpool, Spurs absolutely cratered in their domestic Premier League, plummeting to 14th place. But that fateful season didn’t exactly go according to plan. Within the first half-hour of this 10-episode series, Spurs owner Daniel Levy and the board make a huge decision: to fire head coach Mauricio Pochettino and bring in the notorious Jose Mourinho, a serial winner whom Levy had reportedly been chasing for years.
The Amazon series opens at the start of the 2019-2020 season with Tottenham Hotspur at a crucial crossroads. The team had defied expectations that summer to make it to the final of the coveted Champions League, Europe’s most prestigious competition, and construction had finally been completed on a brand new stadium that cost the club a whopping £1 billion. (Yes, billion with a B.) Levy even excitedly describes his plans to use the stadium for many events outside football, with NFL commissioner Roger Goodell taking in the scene for an exhibition American football game. All the while, Hardy informs the audience that “in the 21st century, the club has been transformed,” with “a team full of global superstars” to match its stunning new headquarters. In so doing, the series sets up its desired arc for Spurs as an underdog club proving its elite status within the first few minutes of the first episode.
In his time at Tottenham Hotspur, Mourinho’s tongue-in-cheek Instagram also gained 2 million followers ready to praise and/or deride him, depending on the day. As much as Mourinho can resent the outsized attention he gets from the press, he also knows exactly how to leverage it, and the Amazon cameras were there to document how every step of the way. It makes sense that Amazon largely promoted "All or Nothing" series with Mourinho as its face, because millions of football fans across the world already know his face.

A visual letter and homage to her mother, a political activist, “The Vanishing” expands to tackle issues of racism, colonialism and misogyny in order to tell the plight of modern Senegalese women. Thiaw begins her documentary remembering a dream about her own mother, Mariama, who disappeared in August 2012 after returning from Paris to Dakar.
Seventeen awards went in all to a total 16 recipients with major winners addressing some of the most relevant issues of the current times — gender abuse and plurality, lockdown, China — filtered through often highly personal prisms.
The two awards went to a doc feature project that plays like Ealing comedy meets China’s 2016 13th Five-Year Plan in the tale of the charismatic Lu Wenzhen, a former actor, who is dispatched to Yugouliang, a remote village in China’s Hebei province, to eradicate poverty in the hamlet.
Visions Sud Est Award
“Malqueridas,” (Tana Gilbert, Chile)
“Science Fiction”(Ezequiel Yanco, Argentina)
DAE Encouragement Award
At a ceremony where prizes were spread widely, only one title won two awards: “Yoga Village,” a politically pointed portrait of the plight of China’s poor. They were weighty prizes at that: the HEAD-Geneva Post-Production Award and the RTS Award, the latter consisting in a pre-buy of TV rights by Switzerland’s French-language public broadcaster.
“Transfariana” (Joris Lachaise, France)
EFM Award
“Blue Island,” (Tze Woon Chan, Hong Kong, China, Japan)
“Another Spring,” (Mladen Kovačević, Serbia)
“About Everything There Is to Know,” (Sofía Velázquez, Peru)
Regarded as the festival’s most important industry trophy, it is the only plaudit to take in titles in both of the doc festival’s main industry strands: its VdR-Pitching section for projects and its VdR-Work in Progress showcase. Such is the case of “The Vanishing,” from Senegalese Berlin Fipresci winner Rama Thiaw (“The Revolution Won’t Be Televised”), which took the Visions Sud Est Award.
Lightdox Award
The Party Film Sales Award
“The Home,” (Jessie Zinn, Chase Musslewhite, South Africa, U.S.)
VDR-Pitching Award
“Don’t Hesitate to Come Home for a Visit, Mum,” (Ana Artemyeva, Belgium, Hungary, Portugal, Russia)
“Yoga Village,” (Rongfei Guo, China)
Rather than upgrade agricultural systems, he decides to transform the smiling but stout land laborers, average age 65, into subtle-limbed yoga specialists, morphing Yugouliang into a yoga tourist hub.
HEAD-Geneva Post-Production Award
The VDR-Pitching Award went to “Science Fiction,” directed and conceived by Ezequiel Yanco, a film that melds the set up of “Rear Window” and influence of Argentina’s magnificent fantasy fiction tradition in order to capture the collective psychology of COVID-19 lockdown: the “sensation of living in a dystopic world where fiction and reality mix constantly and how fantasy has become part of daily life,” as Yanco put it at a VdR Pitch on Friday.
IDFA Spotlight Award
“Seeking Aline,” (Rokhaya Marieme Blade, Switzerland, Senegal)
“But Dear Lord Why?,” (Rati Tsiteladze, Georgia)
A rare take on the Colombian peace process, “Transfariana” also reflects on how historical change can occur, with individuals acting to accelerate “the movement of history that determines their actions,” according to Lachaise. Described by the jury member Roberto Minervini as “a humanistic film which captures enduring love,” it turns on the marriage in jail of a FARC leader Jaison and trans woman Laura. The relationship affronts the FARC base, until its high command decides to embrace the LGBTQ cause.
“The Vanishing,” “Yoga Village,” “Science Fiction” and “Transfariana” took top Visions du Réel industry awards at an online ceremony webcast from Switzerland on Tuesday night.
“The Last Year of Darkness,” (Ben Mullinkosson, China, U.S.)
Raggioverde Subtitling Award
“We, Students!” (Rafiki Fariala, Central African Republic, France, Democratic Republic of Congo)
“Yoga Village” (Rongfei Guo, China)
Cannes Doc Award
“Transfariana,” from France’s Joris Lachaise, took, arguably, the biggest prize on offer for pix-in-post presented at Visions du Réel: the VdR-Work in Progress Award.
VdR-Work In Progress Award
Tënk Award
META Cultural Foundation  Award
Freestudios Awards
RTS Award
“King Coal,” (Elaine McMillion Sheldon, U.S.)
“Not Already Yet,” (Monise Nicodemos, Brazil)” />
“The Vanishing” (Rama Thiaw, Senegal, France)
DOK Leipzig/DOK Industry Networking Award
Thessaloniki Documentary Festival Award

The Hollywood Foreign Press Assoc. has announced, via its board, that effective immediately, Phil Berk is no longer a member of the Hollywood Foreign Press Association.
But most recently, the Times noted a Berk email, sent to HFPA members, quoting an article that called the Black Lives Matter organization a “racist hate movement” and claiming that Black Lives Matters' Patrisse Cullors was a “self-proclaimed trained Marxist.”
The HFPA condemns all forms of racism, discrimination and hate speech and finds such language and content unacceptable.” In response, mortified HFPA members condemned Berk in response to the email. Berk are those of the author of the article and do not — in any way shape or form – reflect the views and values of the HFPA. The views expressed in the article circulated by Mr. In a statement, the org added, “Since its inception, the HFPA has dedicated itself to bridging cultural connections and creating further understanding of different backgrounds through film and TV.
The HFPA has already committed to adding at least 13 Black members to its roster. MRC echoed NBC's concern that "there must be meaningful change defined in the May 6th plan," emphasizing the deadline by which time the HFPA has promised to detail its plans for reform.
Berk is no stranger to controversy. Berk served as president of the HFPA for eight terms.” /> He took a leave of absence after the book was published. In 2014, he angered members after writing about the org and some of his colleagues in the memoir. Previously, Brendan Fraser has alleged that the former HFPA president sexually assaulted him.
Frustrated Peacock execs have been waiting on the HFPA to reveal a full plan on how to reform the organization, following previous reports by the Los Angeles Times that revealed the fact that the organization does not have a single Black member, as well as questionable financial practices.
“NBC strongly condemns Phil Berk’s actions and is calling for his immediate expulsion," the network said. "While we continue to await the details of HFPA’s upcoming plan for reform, swift action on this front is an essential element for NBC to move forward with the HFPA and the Golden Globes.” The move comes just hours after NBC, in a statement, suggested that the network's telecast of the Golden Globes was in jeopardy if the HFPA didn't take swift action on Berk.
MRC, which owns Golden Globes producer Dick Clark Prods., added, "We are disgusted by the racist rhetoric disseminated by a member yesterday… We are calling upon the HFPA to take quick and decisive action against this member."

At the same time, Netflix's Q1 financials topped Wall Street estimates. The company posted revenue of $7.16 billion — a quarterly record — and earnings of $3.75 per share. Analysts on average had expected Netflix to report revenue of $7.13 billion and EPS of $2.97, per Refinitiv.
However, in a sign Netflix is feeling higher competitive pressure, it included this note in the Q1 shareholder letter: "When comparing services, subscriber figures alone tell only part of the story (given bundles, discounts and other promotions) so it’s important to also focus on engagement and revenue as key indicators of success."
As of the end of March, Netflix had 207.4 million paid streaming customers worldwide, up 13.6%. For Q1, the company reported a gain of 3.98 million in net global streaming subscribers. That was below its previous guidance of 6 million. Meanwhile, Netflix predicted even lower gains for the current quarter — it expects to add just 1 million members in Q2, with roughly zero growth in the U.S./Canada and Latin America regions.
The company announced that its board approved a $5 billion stock-buyback program, slated to begin in the current quarter. On the miss and lighter-than-expected Q2 guidance, Netflix shares fell more than 10% in after-hours trading.
It called out upcoming seasons of TV shows "Sex Education," "The Witcher," "La Casa de Papel" ("Money Heist") and "You." On the movies front, Netflix cited the finale to "The Kissing Booth" trilogy and big-budget films like "Red Notice," starring Gal Gadot, Dwayne Johnson and Ryan Reynolds," and "Don’t Look Up," starring Leonardo DiCaprio, Jennifer Lawrence, Cate Blanchett, Timothée Chalamet and Meryl Streep.
Netflix has faced intensifying competition amid the "streaming wars," with gains from newer entrants like Disney Plus, WarnerMedia's HBO Max and NBCUniversal's Peacock and continued growth of Amazon Prime (also a beneficiary of COVID lockdowns). But Netflix, in its shareholder letter, said it didn't believe "competitive intensity" was a "material factor" in its Q1 subscriber miss.
"We believe paid membership growth slowed due to the big COVID-19 pull forward in 2020 and a lighter content slate in the first half of this year, due to COVID-19 production delays," the streaming giant said in its quarterly letter to shareholders.
For 2021, the company said it expects to spend more than $17 billion in cash on content — up more than 44% compared with $11.8 billion last year, when numerous productions were put on hold because of the coronavirus crisis.
Netflix said it continues to expect "a strong second half [of 2021] with the return of new seasons of some of our biggest hits and an exciting film lineup."
Indeed, Netflix reduced its long-term debt by nearly $1 billion in the period, ending the first quarter with $14.86 billion in long-term debt on its balance sheet.” /> Netflix reiterated that it doesn't need to incur new debt, saying its free cash flow is on track to be break-even for full year 2021 (even with the increase in content spending).
Analysts consensus estimates had pegged 6.22 million net adds. Netflix's previous forecast of 6.0 million net new subscribers of Q1 was already well below the record 15.8 million it packed on in Q1 2010 after initial COVID-19 lockdowns a year earlier.
Netflix's subscriber growth cooled in the first quarter of 2021 after record pandemic-fueled gains last year: The streamer added about 2 million fewer customers than it previously expected.
That gave it a 27% operating margin — an all-time high — for the first quarter, up 10 percentage points year-over-year, as content spending for Q1 2021 was lower. What's more, Netflix's operating income for Q1 came in at $1.96 billion, more than double $958 million in the year-earlier period.
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The movie, Anderson's latest directorial effort after 2017's "Phantom Thread," will open in limited release on Nov. 26 (Thanksgiving weekend) and expand nationwide on Christmas Day.
Anderson wrote the script and produced the film with Sarah Murphy. The project was backed by MGM, in association with Bron Creative and Anderson's Ghoulardi Film Company.” />
The coming-of-age story is set in the 1970s San Fernando Valley, with Cooper playing a film director and Hoffman portraying a child actor. The film's working title is reportedly "Soggy Bottom," but UAR confirms the project is officially untitled. The pic began filming last fall in Los Angeles. Safdie will reportedly play a politician running for office.
The untitled project marks the celebrated filmmaker's ninth feature, following "Hard Eight," "Boogie Nights" (the director's breakthrough project, also set in the 1970s San Fernando Valley), "Magnolia," "Punch-Drunk Love," "There Will Be Blood," "The Master," "Inherent Vice" and "Phantom Thread."
The 2017 drama, starring Daniel Day Lewis, Vicky Krieps and Lesley Manville, earned Anderson his third best director Oscar nomination, as well as a Best Picture nod. Anderson has been nominated for eight Academy Awards, including screenplay nods for "Boogie Nights," "Magnolia," "There Will Be Blood" and "Inherent Vice."
The film's ensemble cast includes Bradley Cooper, Benny Safdie, Alana Haim and Cooper Hoffman, son of the late actor Philip Seymour Hoffman — Anderson's frequent collaborator. The film marks the young actor's feature debut.
Paul Thomas Anderson's untitled film has been set for a holiday 2021 rollout from United Artists Releasing (UAR).
IndieWire first reported news of the film's platform release.

Producer-songwriter-rapper Ray Vaughn created the “Freak Brothers” theme song, which can be heard below.
It is fitting then that Lionsgate and its partners, WTG Enterprises, chose 4/20 to announce further casting for their new joint animated series, “The Freak Brothers.” Pete Davidson, Tiffany Haddish, Woody Harrelson, La La Anthony, John Goodman and the stars of Comedy Central’s "Workaholics," Adam Devine and Blake Anderson, had already signed on. (Devine and Anderson also serve as executive producers on the series.) Today comes word that Anthony “Top Dawg” Tiffith, the founder of Top Dawg Entertainment (TDE) has produced the show's theme song and is serving as executive producer on the series, and ScHoolboy Q will play a character based on himself.

I was high on ‘shrooms when I recorded my scenes.” “I don’t just mean playing ‘Q’ either, but the real me. “I love that I get to play myself,” said ScHoolboy Q (illustrated below).
“I’m beyond grateful to be able to work on 'The Freak Brothers,'" said Vaughn. "The stuff I’ve seen so far has been hilarious."
Starburns Industries and Pure Imagination Studios, the studios behind "Rick & Morty" and the "Simpsons" episode "Brick Like Me," handled the animation of the eight-episode first season, which has already wrapped production. Lionsgate handles global distribution rights.
Check out preview episodes of "The Freak Brothers" below:
“I wanted to do something outside of rap, creatively, and this was a great fit," he said in a statement. "It’s hilarious and it just ‘feels stoner’ like I am. Working on my episode was laid back and fun, while still challenging creatively and pushing boundaries.” ScHoolboy Q added that it was the production’s vibe and authenticity that drew him in. The show is really about what it says it’s about.
Between 1971 and 1997, if you said “The Fabulous Furry Freak Brothers,” you were talking about comics artist Gilbert Shelton’s illustrated pothead underground series. Phreak and Freewheelin' Franklin Freek were busy buying weed, selling weed and talking about weed. Stoned being the way of the walk, Shelton characters like Phineas T.” />
“WTG's [executive producers] Mark Canton and Courtney Solomon and [producer] Dorothy Canton were welcoming and great at working with our creative vision to ensure TDE was represented well.” “The show is funny and perfect for modern times,” added Tiffith.

TDE was founded in 2004 and is home to SZA, Kendrick Lamar and Jay-Rock, Ab-Soul and ScHoolboy Q, among other artists.

Netflix revealed that it will spend over $17 billion on content this year, according to its first-quarter earnings report.
That's a notable uptick from the streamer's 2020 spend of $11.8 billion, as the pandemic prompted production delays across the industry, and a 2019 content spend of $13.9 billion.
during that time frame. Spain's "Below Zero" brought in 47 million households and Korea's "Space Sweepers" attracted 26 million viewer households. As the streamer invests in local-language original productions, it noted that "Who Killed Sara?" from Mexico drew in an estimated 55 million viewers in its first four weeks on the service, making it Netflix's most popular non-English title ever in the U.S.
During the first quarter, Netflix's most-watched shows included the first season of "Firefly Lane," with 49 million households tuning in during the series' first 28 days on the service, Season 3 of "Cobra Kai" (45 million), "Fate: The Winx Saga" (57 million) and "Ginny & Georgia" (52 million), according to the company.
Earlier in the month, Netflix revealed to Variety exclusively that its Oscar-nominated series, including "A Love Song for Latasha," “Da 5 Bloods,” “Pieces of a Woman,” and “Mank," each got a significant viewership bump following the announcement of the nominees.
On the film side, Netflix members gravitated toward "Outside the Wire" (66 million), "Yes Day" (62 million), "I Care a Lot" (56 million), and the last movie in the "To All the Boys I've Loved Before" trilogy (51 million).
"And while the roll out of vaccines is very uneven across the world, we are back up and producing safely in every major market, with the exception of Brazil and India. Assuming this continues, we’ll spend over $17 billion in cash on content this year and we’ll continue to deliver an amazing range of titles for our members with more originals this year than last." "As we've noted previously, the production delays from Covid-19 in 2020 will lead to a 2021 slate that is more heavily second half weighted with a large number of returning franchises," said the company in its letter to shareholders.
Netflix also spotlighted its popular French heist series "Lupin," starring Omar Sy, which drew 76 million member households in its first 28 days on the platform — its most popular new title this quarter.
Though streamer beat Wall Street's earnings and revenue projections, it missed its own Q1 subscriber targets, with a gain of nearly 4 million paying households during the period, significantly below guidance for a bump of 6 million, sending the stock down around 11% in after-hours trading Tuesday.” />

Yes, Def Leppard re-recorded a few tracks to put online when the band was unhappy with its longtime record label (and subsequently withdrew them when things got settled). Sure, Frank Sinatra re-cut songs when he changed labels, as did seemingly half the pop and country artists of his time, in an era before counterculture rock came along with its greater idealism and instilled the idea that true canon was untouchable and unrepeatable. But none of these hold a candle to Swift’s chutzpah in winning fans over to the notion that a remake is not something you try to slip in undercover, when no one's paying attention, but a well-publicized, all-out war to wipe originals off the map. Yes, Jeff Lynne redid ELO’s greatest hits for a best-of so he could push those masters for sync purposes, among other likely reasons. The historical comparisons that were being made prior to the album’s release seem almost laughably incomparable now.
And the biggest sales week for any album since Swift's own "Folklore" last summer. Devoting a chunk of her life to re-recording six projects is hardly turning out to be the career-stalling Waterloo some imagined. Her third No. And the biggest week for a country album since 2015. 1 album in nine months, making her the first woman to ever release three new chart-topping albums in under a year. The chart news this week coming out of "Fearless (Taylor's Version)" debuting on top is a bucketful of benchmarks: The new album had the biggest first week of 2021 so far (with 291,000 album-equivalent units). One take-away is an easy one, at least: The moment anything gets earmarked as "Taylor's folly," that's probably the moment it's destined to break records.
(If you can’t find a music supervisor to take a fresh “Tempted” or “Black Coffee in Bed,” maybe there’s some other problem afoot.) Is re-recording oldies a sure path to getting an unlimited amount of licensing for commercials or film trailers or TV shows? It doesn’t always work the same way it has for Swift (who licensed her new “Love Story” for a Ryan Reynolds-produced Match ad) or Lynne. As mentioned in the NPR piece, the band Squeeze did an entire album of re-records called “Spot the Difference” but, singer Glenn Tilbrook said, they’d “not had a single uptake” on licensing the material for film or television.
Actually, it marks the first time one has debuted on the chart anywhere, because this album has no real antecedents to speak of. 1. And, obviously, it marks the first time a remake of an album has debuted at No.
She was also smart enough, of course, to know that the replications in and of themselves might not be intriguing enough for non-hardcore fans, or the possibility of business vengeance motivating enough for those perfectly happy with their 2008 files. To carry that last simile further, it was if the Beatles rescued a ’63 B-side like “I’ll Get You” from obscurity and gave it the George-Martin-with-an-orchestra-in-Abbey-Road treatment. But as an observed act of DNA-splitting and genetic experimentation, it’s irresistible. So, for bonus tracks, she dug out six “Fearless”-era compositions that had never been committed to record 13 years ago and finally recorded them, but with her 2021 co-producers, in a hybrid style that split the difference between the two eras. No one would argue that the six reclaimed songs tagged onto “Fearless (Taylor’s Version)” represent her best work, then or now.
That she was successful in getting many fans to adopt the new versions as the only versions became evident on the latest Billboard chart; the original album had slipped into the lower rungs of the top 200 albums the week before the new one’s release, but it slipped right back out when the alternatives became available. The power that Swift has over her fans via social media could be seen when, in the week leading up to the release of “Fearless (Taylor’s Version),” fans shared tips via Twitter about how to make sure that the old Big Machine recordings could never accidentally slip in on Spotify at the completion of a playlist, inadvertently putting a few fractions of a scent in the hands of the investment firms playing football with her catalog.
This is not a riddle: You get “Fearless (Taylor’s Version)."
If you sympathize with a humble disco queen feeling that way, maybe you can disregard the extra zeroes in Swift’s bank account and see the pride in personal ownership, or at least control of the direction of what happens with a catalog, has an underlying psychological effect on the psyche of strugglers and superstars alike. Every day, in any case, artists far less scrutinized than Swift are fighting these same battles on a micro level. “To have something that is so identified with you actually belong to somebody else — imagine you went out to a party, and everybody was admiring the dress that you had on, but it belonged to your sister." That’s not Swift talking; it’s Gloria Gaynor, who re-recorded a version of “I Will Survive” that she could call her own.
But, as writer Annie Zaleski pointed out in an NPR piece last week, there are a lot of bands who’ve been doing it more or less under the radar, for a whole panoply of reasons, from contract disputes to deterioration of their original masters to wanting to try out the classics with a new lead singer — with examples ranging from the ‘80s band Translator to indie band Wheatus to Journey. Will Swift’s act inspire other musicians to do the same, even if they don’t have an army of “-ies” acolytes ready to carry out their orders? Maybe, to an even greater extent than it’s already happened.
Another perception that may permanently shift as a result: the idea held pretty much since the dawn of the counterculture that the original recording is strict canon, not a blueprint.
You could choose to see it as a terrible signifier for the state of pop in 2021, that the world is choosing a note-for-note return to the halcyon days of 2008 over anything the stars of today have done for us lately. That’s a lot of weight for a single album to carry, but it’s not just critics who experience it on all those levels; Swift’s well-educated core of fanboys and girls understand and embrace all these things, too. What to make of the hottest album of the year being a rerun? Or you can take it is a sign of just how delightfully unpredictable pop culture has become, that the world is eager to embrace a recording that is at once an invitation to nostalgia, a conceptual artpiece, a calculated business move, a bit of playful fun, a return to relative guilelessness and, not least of all, a big Eff You to The Man.
What lessons are there for musicians or the music industry from Swift's smashing success? Few things have been replicable about the Swift phenomenon for the last 15 years, so this is no time to imagine copycatting can work now. But certainly her seeming to come out ahead in the war over her masters, on her own terms, should continue to inspire other artists to further deputize or weaponize fans in their own business disputes, even if the same results are hardly guaranteed.
That she would even want to remind fans of her more primitivist songwriting and recording, however massively successful it was 13 years ago, is an act of some audacity. And she did it at a time when she was being acclaimed for making mature leaps and bounds in her music, with last year’s “Folklore” and “Evermore” albums, the most acclaimed of her career.
Now, there’s a love story. Maybe that’s the real triumph of these re-recordings, and something her contemporaries can take away from all this, in spirit, even if they’re never going to pull the exact same boss move. With “Fearless” and probably all the “Taylor’s Versions” to come, she’s created a space where the punk-rock impulse the Puritan work ethic collide.
 ” />
But the minority adversarial reactions to Swift’s album are kind of like the similar reactions to Phoebe Bridgers smashing her guitar on “SNL”: If nearly everyone aligned against you is a white guy over 55, how wrong can you be? The album has been generally well-received by the thinkpiece writers of the world — even the five New York Times pop music writers who assembled to unpack the album. There have been holdouts, too, of course, who consider the album's self-forgeries an act of either banality or blasphemy.
In one sense, it may not be such a very long way from “What would Johnny Rotten do?” to “What would Taylor Swift do?” The Sex Pistols' frontman was unhappy enough with his former record label to write and “EMI”; she was unhappy with hers to just coopt their entire history together as something that was strictly hers, rather than just keep complaining from the sidelines.
Pepper’s Lonely Hearts Club Band” with a perfectly replicated remake of “The Beatles’ Second Album.” Maybe not an exact analogy, but close enough, in how far Swift had to shed her adult self to reinhabit her more wide-eyed youth… while accomplishing the very grown-up act of exacting frontier justice. The closest comparison would be a theoretical one: Imagine if, in the late ‘60s, George Harrison had been so unhappy with his contracts that, instead of just writing “Only a Northern Song” as a protest tune, he convinced his cohorts to follow up “Sgt.
or is she more the serpent, using this throwback to her teen years to strike back at her old catalog's new succession of owners? Does remaking the mostly sweet album she released at 18 mark her return to Edenic innocence… There are a ridiculous number of ways to read Taylor Swift's new do-over of her 2008 landmark. If it's hard to determine whether the record is about her going back to being a babe in the woods or becoming the ultimate boss, it's every bit as challenging to figure which lessons can be drawn for musicians and the music industry  from the massive success of the new album.
What do you get when you cross a state of grace with an upraised middle finger?
Not all cases of raging against the machine on an Instagram Story are created equal. The kind of power that Swift has to mobilize her fans on social media can be misused, of course. That’s something that can usually be moderately enjoyable, regardless of the righteousness of the case. But when someone puts their mania where their mouth is and follows up social media laments with months’ worth of painstaking work, that’s a devotion to a cause other artists can be inspired by. An eff-you from an artist to the big, bad corporation? Priceless. This week we saw a star use an account with 100 million-plus followers to rage against… a ma-and-pa yogurt shop. But a middle finger that's backed by the 10,000 hours that went into the perfection of craft, followed by hundreds more hours spent on a meticulous plan to regain some personal satisfaction?

Jason Bateman and Michael Costigan are executive producing for Aggregate under their first-look deal at the streaming service.
Ramírez currently stars in Netflix's "Yes Day," and recently starred in HBO's "The Undoing." The actor will soon embark on production on "Borderlands," in addition to Disney's "Jungle Cruise" and Universal's "The 355." He has been twice nominated for a Golden Globe for his performances as Carlos the Jackal in "Carlos" and as Gianni Versace in "American Crime Story." He is repped by CAA, Impression Entertainment, Narrative and Hirsch, Wallerstein, Hayum, Matlof + Fishman.
Netflix has ordered the new series "Florida Man," starring Edgar Ramírez and created by Donald Todd.
The eight-episode series, described in the same vein as "Body Heat" and Elmore Leonard's "Out of Sight," revolves around a struggling ex-cop who is "forced to return to his home state of Florida to find a Philly mobster’s runaway girlfriend… what should be a quick gig becomes a spiraling journey into buried family secrets, and an increasingly futile attempt to do the right thing in a place where so much is wrong."
Aggregate Films is behind Netflix series "Ozark," starring Bateman, as well as HBO's "The Outsider" and FX's "A Teacher." Also on tap at the company are Apple TV Plus' "Lessons in Chemistry" and feature rom-com "Your Place or Mine," a Hello Sunshine co-production.” />
He has won a Writers Guild Award for his work on "Ugly Betty" and has been nominated for an Emmy, Writers Guild Award and Golden Globe for "This Is Us." Todd, who will also serve as executive producer and showrunner of the hour-long drama, is known for creating the Christina Applegate comedy series "Samatha Who?" for ABC.

"Unsolved Mysteries"
"Making The Cut"
"Emily in Paris" – Emily Cooper (Lily Collins) & Mindy Chen (Ashley Park)
"Selling Sunset" – Chrishell Stause vs. Christine Quinn
Ewan McGregor – "Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)"
Addison Rae
"Watch What Happens Live with Andy Cohen"
"The Daily Show with Trevor Noah"
Rickey Thompson
Maria Bakalova – "Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan"
"Bling Empire"
"Queer Eye"
Tiffany Haddish – "Kids Say the Darndest Things"
"Below Deck Mediterranean"
"RuPaul’s Drag Race"
Teresa Giudice "The Real Housewives of New Jersey" – Jackie Goldschneider vs.
Maitreyi Ramakrishnan & Jaren Lewison – "Never Have I Ever"
Pedro Pascal – "The Mandalorian"
Steppenwolf "Zack Snyder’s Justice League" – Final Fight vs.
"90 Day Fiancé"
"RuPaul’s Drag Race"
Nicholas Hoult – "The Great"
"¡Nailed it! México"
Gal Gadot – "Wonder Woman 1984"
Ashley Park – "Emily in Paris"
"The Real Housewives of Atlanta"
Rob Dyrdek – "Ridiculousness"
"The Masked Singer"
"The Falcon and the Winter Soldier" – Falcon (Anthony Mackie) & Winter Soldier (Sebastian Stan)
Stormfront "The Boys" – Starlight, Queen Maeve, Kimiko vs.
"The Bachelorette"
"Night Stalker: The Hunt for a Serial Killer"
"Acapulco Shore"
"Promising Young Woman"
Elliot Page – "The Umbrella Academy"
"Fixer Upper: Welcome Home"
"Geordie Shore"
"Kids Say the Darndest Things"
Chadwick Boseman – "Ma Rainey’s Black Bottom"
"RuPaul’s Drag Race UK"” />
Eric Andre – "Bad Trip"
Additional details about the 2021 “MTV Movie & TV Awards” and “Movie & TV Awards: Unscripted,” including hosts, presenters and more will be announced in the coming weeks. The MTV Movie & TV Awards will be executive produced by Den of Thieves co-founder Jesse Ignjatovic and Barb Bialkowski on behalf of Den of Thieves. Meanwhile, MTV has opened up fan voting in 25 gender-neutral categories at through April 30.

Regé-Jean Page – "Bridgerton"
Television dominated the roster of nominees for the 2021 MTV Movie & TV Awards, which returns this May after a year-long hiatus due, at least in part, to the COVID-19 pandemic. But with the kind of crowd-pleasing, popcorn-ready films that the MTV awards show normally celebrates mostly delayed due to the pandemic, TV has taken a front seat this year.
"Red Table Talk"
Jurnee Smollett – "Lovecraft Country"
"A Little Late with Lilly Singh"
Kathryn Hahn – "WandaVision"
"Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)" – Final Funhouse Fight
"Cobra Kai"
"Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan"
Jodie Comer & Sandra Oh – "Killing Eve"
Carey Mulligan – "Promising Young Woman"
"Love Island (UK)"
"Love Is Blind"
"Jersey Shore Family Vacation"
"Tiger King: Murder, Mayhem and Madness"
Chadwick Boseman ("Ma Rainey's Black Bottom") received a posthumous nomination in the movie performance category this year. First-time nominees include Carey Mulligan ("Promising Young Woman"), Zendaya ("Malcom & Marie"), Anya Taylor-Joy ("The Queen’s Gambit"), Emma Corrin ("The Crown"), Michaela Coel ("I May Destroy You"), Anthony Mackie ("The Falcon and the Winter Soldier"), Jack Quaid ("The Boys"), Pedro Pascal ("The Mandalorian"), Teyonah Parris ("WandaVision"), Annie Murphy ("Schitt’s Creek"), Eric Andre ("Bad Trip"), Leslie Jones ("Coming 2 America"), Aya Cash ("The Boys"), Giancarlo Esposito ("The Mandalorian"), Kathryn Hahn ("WandaVision"), Nicholas Hoult ("The Great"), Antonia Gentry ("Ginny & Georgia"), Ashley Park ("Emily in Paris"), Maria Bakalova ("Borat Subsequent Moviefilm"), Paul Mescal ("Normal People"), Regé-Jean Page ("Bridgerton"), Jurnee Smollett ("Lovecraft Country") and Simona Brown ("Behind Her Eyes").
RuPaul – "RuPaul’s Drag Race"
But the pandemic put that decision on hold, and ultimately instead the network ran the special “MTV Movie & TV Awards: Greatest of All Time,” hosted by Vanessa Hudgens, in December. For most of its existence, the telecast was known as the MTV Movie Awards, taking advantage of the spring kickoff of the summer box office season. Also that year, the network went gender-neutral, embracing a decision to merge male and female performers into singular categories. Last year, MTV decided to move the Movie & TV Awards to December, in order to capitalize on the start of movie awards season. In 2017, the name was changed to the “MTV Movie & TV Awards” and included television series for the first time.
"Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan" – Borat Sagdiyev (Sacha Baron Cohen) & Tutar Sagdiyev (Maria Bakalova)
"The Breakfast Club"
Giancarlo Esposito – "The Mandalorian"
Jalaiah Harmon
"The Boys"
"Black Ink Crew New York"
"Untucked: RuPaul's Drag Race" – Kandy Muse vs. Tamisha Iman
"Love & Hip Hop: Atlanta"
In 2018, the show first integrated TV and film into joint categories such as “Best Hero,” “Best Villain,” “Best Duo,” “Best Fight” and “Best Comedic Performance.” This year, that means the majority of those categories are represented by TV. For example, best breakthrough performance has just one film entry (Maria Bakalova, from "Borat Subsequent Moviefilm"), while the rest are from streaming shows like "Ginny & Georgia," "Emily in Paris," "Normal People" and "Bridgerton."
"Bling Empire"
Annie Murphy – "Schitt’s Creek"
Bretman Rock
Here are this year's nominees:
Michaela Coel – "I May Destroy You"
"Emily in Paris"
"Impractical Jokers"
"Nailed It!"
"The Real Housewives of Salt Lake City"
Simona Brown – "Behind Her Eyes"
Leslie Jones – "Coming 2 America"
Simultaneously, MTV also announced the nominees for the first-ever edition of its spin-off ceremony “Movie & TV Awards: Unscripted.” In that show, VH1's RuPaul’s Drag Race leads all nominees with four, followed by two for TLC's "90 Day Fiancé," Netflix's "Bling Empire," HBO Max's "Legendary," VH1's "Love & Hip Hop: Atlanta, MTV's "The Challenge," Netflix's "Nailed It!" and MTV's ubiquitous "Ridiculousness."
"VH1 Family Reunion: Love & Hip Hop Edition"
Vince Vaughn – "Freaky"
"Ex On The Beach"
"Love & Hip Hop: Atlanta"
"The Challenge"
Teyonah Parris – "WandaVision"
Regé-Jean Page & Phoebe Dynevor – "Bridgerton"
Victoria Pedretti – "The Haunting of Bly Manor"
Nicole Byer – "Nailed It!"
Kim Kardashian West "Keeping Up With The Kardashians" – Kourtney Kardashian vs.
Jason Sudeikis – "Ted Lasso"
"Evil Lives Here"

Guest Judge Dominique Jackson "Legendary" – Law Roach vs.
Receiving four nods were Netflix's "Emily In Paris" (which is produced by MTV Studios) and Amazon Prime Video's "The Boys." Earning three are Netflix's "Bridgerton," Disney Plus' "The Mandalorian" and the most-recognized film of the year, Amazon Studios' "Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan."
Antonia Gentry – "Ginny & Georgia"
"Barb & Star Go To Vista Del Mar" – Star (Kristen Wiig) & Barb (Annie Mumolo)
Issa Rae – "Insecure"
Daniel Kaluuya – "Judas and the Black Messiah"
"To All the Boys: Always and Forever"
"Nick Cannon Presents: Wild ‘N Out"
"Selena + Chef"
"Jersey Shore Family Vacation"
ET. The 2021 “MTV Movie & TV Awards” will air live on Sunday, May 16 from the Palladium in Los Angeles at 9 p.m. ET; the inaugural “Movie & TV Awards: Unscripted” will air the following night, May 17 at 9 p.m.
"Cardi Tries"
"The Circle"
Charli D'Amelio
Chase Stokes & Madelyn Cline – "Outer Banks"
Emma Corrin – "The Crown"
Zendaya – "Malcolm & Marie"
Elisabeth Moss – "The Invisible Man"
"The Mandalorian" – Din Djarin (Pedro Pascal) & Grogu
Anya Taylor-Joy – "The Queen’s Gambit"
Lavin – "The Challenge" T.J.
"Ready to Love"
"Catfish: The TV Show"
"WandaVision" – Wanda vs. Agatha
Paul Mescal – "Normal People"
Speaking of streaming, that's how audiences watch TV now — and nearly every TV nominee comes from a streaming service, with the exception of single nods for "I May Destroy You," "Killing Eve," "Schitt's Creek" and "Lovecraft Country."
Leading this year's roster of nominees, announced on Monday: Marvel's Disney Plus series "WandaVision," which earned five nods — including best show, best performance in a show (Elizabeth Olsen), best hero (Teyonah Parris), best villain (Kathryn Hahn) and best fight (Wanda vs. Agatha).
"Cobra Kai" – Finale House Fight
Aya Cash – "The Boys
Jack Quaid – "The Boys"
"Floor Is Lava"
Lily Collins & Lucas Bravo – "Emily in Paris"
"Judas and the Black Messiah"
Elizabeth Olsen – "WandaVision"
Sacha Baron Cohen – "The Trial of the Chicago 7"
Anthony Mackie – "The Falcon and the Winter Soldier"
"90 Day Fiancé"

“Los Montaner” will chronicle the family’s evolving careers and love stories as they balance their Christian values and rock and roll dynamic. Captivating a worldwide audience through chart-topping music and social media, their platforms have garnered over 150 million followers and over eight billion views.
Ntertain will give an inside look at one of the most influential families in Latin music with its new docuseries, “Los Montaner.”
The unscripted show will follow Ricardo Montaner and his family and is set to feature his wife, filmmaker Marlene Rodriguez; award-winning recording artists Ricky Montaner and Mau Montaner of Mau y Ricky; entertainer Stefi Roitman (Ricky’s fiance); creative director Sara Escobar (Mau’s wife); actress and singer Evaluna Montaner and singer Camilo Echeverry (Evaluna’s husband).
The show will be Ntertain’s first original series following the multimedia company's launch by Neon16’s Lex Borrero, music mogul Tommy Mottola and Range Media Partners. Borrero will serve as executive producer.
“In a cross-generational series, viewers will get to witness for the first time the intimate, raw aspects and relationships of one of Latin entertainment's most famous families,” Ntertain said in a statement. “Being the first show of its kind in the Latin space, this series brings together different generations to watch and live this unique experience along with the family.”” />
“Within these conversations we discussed our thoughts on us wanting to possibly do a show together and in this form convey to the world what family unity means to us…to communicate that together we can be happy amidst the circumstances, no matter what comes at us.” “This last year that passed, among other things, served as a way to spend more time together, more than ever and to partake in profound dialogue about all that is going on, with our careers, personally and everything really,” Ricardo said.

Most importantly, our style of service, friendly team and finest cuisine are not changing one bit!” Another tradition that will return is our focus on handcrafted cocktails, including our signature martinis — stirred, not shaken — James Bond got it wrong! "With our reopening, we’re being very careful to ensure that our 100-plus years of tradition won’t change at all," Echeverria said. While the bar will remain closed for walk-up service, our guests can still order their favorite beverages and cocktails to be enjoyed at their tables. "For instance, our menu will remain as intact as possible — we want to keep all of our original offerings.
Tuesday through Saturday and 5-10 p.m. The venue will open to customers starting on May 10 at 5 p.m. on Sunday. as a part of its Mother's Day celebration. Following the grand reopening, the venue's operating hours will be 5-11 p.m. After being closed since July 29, Musso & Frank Grill announced that it will be open for dining room service on May 6.
Mark Echeverria, the current owner and great-grandson of John Musso, said that he will uphold all current COVID-19 safety precautions without jeopardizing any aspects of the venue's legendary dining experience.
2019, Musso & Frank Grill became the first restaurant to receive a star on the Hollywood Walk of Fame. After celebrating its 100th anniversary in Sep. Shortly before the COVID-19 pandemic began, the venue expanded its space with three new private dining rooms.
Reservations can be made at” />
Located at 6669 Hollywood Boulevard in Los Angeles, Musso & Frank Grill has been featured in a wide array of films and television series. Starting with Buster Keaton's film "Cop" in 1922, the restaurant has appeared in productions such as "Ed Wood," “Mad Men," “Ocean’s Eleven,” “Ray Donovan,” “Swingers,” “The Kominsky Method" and most recently "Once Upon a Time in Hollywood."
The oldest restaurant in Hollywood is reopening its doors to the public.
With over 800 donors contributing to the cause, the restaurant has raised over $110,000. While the venue was closed, Echeverria set up a GoFundMe page in December to support the 84 furloughed employees during the pandemic.

Who is Shang-Chi?
Eventually, he becomes a master of the martial art of kung fu, and the teaser makes clear that Shang-Chi spent his childhood brutally training to achieve that goal — only to leave it all behind for a life of anonymity in San Francisco, where he befriends fellow hotel valet, Katy (Awkwafina), the requisite regular person who gets unwittingly pulled into the world of superheroes.
What are the Ten Rings?
"Shang-Chi and the Legend of the Ten Rings" is scheduled to open in theaters on Sept. 3.” />
Marvel Comics first introduced Shang-Chi in 1972 as a way to capitalize on the growing popularity of the popular TV show "Kung Fu" (which, coincidentally, was just rebooted as a TV series on the CW with a Chinese American woman, played by Olivia Liang, as its central hero).
With the debut of the teaser trailer for "Shang-Chi and the Legend of the Ten Rings" on Monday, Marvel Studios has finally pulled back the curtain on the first major superhero movie backed by an American studio to star a predominantly Asian cast. Starring Simu Liu ("Kim's Convenience"), directed by Destin Daniel Cretton ("Just Cause") and written by David Callaham ("Wonder Woman 1984"), the film further expands the scope of the Marvel Cinematic Universe while breaking obscenely overdue ground for Asian representation on a blockbuster scale.
The multiple shots of battles in what looks like ancient China implies that this story stretches back centuries, if not millennia, which also raises the question: Where were Shang-Chi, Wenwu, and the Ten Rings organization during the Infinity Saga? It will be interesting to see how "Shang-Chi" accounts for why he and his world have remained unknown to the MCU until now. In the comics, Shang-Chi was fully integrated into the larger Marvel stories, regularly interacting with Captain America, Iron Man, Spider-Man, and Black Widow.
How does this all fit inside the MCU?
If that sounds familiar, it's because Marvel Studios first introduced the Mandarin in 2013's "Iron Man 3." In that movie, to get around the fact that in the comics, the Mandarin was essentially a version of Fu Manchu — with all the same racist tropes — they made the character into something of a joke, played by Ben Kingsley as an actor hired to embody various racist tropes of terrorist boogeymen throughout modern history.
Whether "Shang-Chi" references that history is unclear, but we do know that as Wenwu, Leung is the film's main Big Bad — the head of the Ten Rings organization that his son fled to San Francisco to escape.
Who is Shang-Chi's father?
So instead, Shang-Chi's father has been reconceived as a character named Wenwu, but that isn't his only name. When Marvel Studios chief Kevin Feige first announced in 2019 that legendary Hong Kong actor Tony Leung was playing the character, he said Leung would be "the real Mandarin."
In the comics, Shang-Chi was originally the secret son of the villain Dr. Eventually, Marvel lost the rights to the Fu Manchu character, which is just as well, since that character has fallen into disrepute due to its obvious and egregious racist stereotyping. Fu Manchu.
But the brief shot of Shang-Chi and Katy standing inside a room filled with slow-motion water suggests that at least one of them will. If this sounds awfully similar to Thanos' infinity stones, it seems Marvel Studios agrees, because the rings have been reconceived as armbands that are generally worn as bracelets. Although they glow with some kind of blue energy, and clearly provide whoever wears them with super-strength, it's still unclear whether these bands will correspond with the same abilities the rings hold in the comics.
Other than Shang-Chi, Katy, and Wenwu, the teaser focuses on three other characters: Death Dealer, one of Shang-Chi's main villains, has been reconceived somewhat as the brutal taskmaster behind Shang-Chi's training as a child. (Who plays Death Dealer remains unclear, what with the mask and all.) Similarly, Shang-Chi's sister, who stayed behind after Shang-Chi left, has been renamed Xialing (Meng'er Zhang). And Florian Munteanu, who played Viktor Drago in "Creed II," is playing Razor Fist, so-named because he has, well, blades for fists.
Here's what we've learned. Not only was it gratifying to finally see Liu in action as Shang-Chi, the teaser also revealed some tantalizing new details about the movie.
Several other details, however, have been changed. Including… In the comics, the main arc of Shang-Chi's origin story is the discovery that his father is a villain who needs to be defeated — based on the teaser, it appears "Shang-Chi" will take a similar approach.
The rings hold these powers thanks to a series of gems embedded within them. In the comics, the rings imbue whoever wears them on each hand with some pretty awesome powers, including the ability to control people's minds, rob a room of all light within it, freeze any object solid, and discharge powerful bolds of electricity.
Who are the other characters?

Rahman (“Slumdog Millionaire”) is the jury chair for the BAFTA’s Breakthrough India initiative. Jury members include actor Anupam Kher (“New Amsterdam”); former BAFTA Breakthrough and games producer Charu Desodt; BAFTA chair and TV producer Krishnendu Majumdar; filmmakers Mira Nair (“A Suitable Boy”) and Shonali Bose (“The Sky is Pink”); Monika Shergill, VP, content, Netflix India; and Siddharth Roy Kapur, producer at Roy Kapur Films (“Yeh Ballet”). BAFTA and Oscar-winning Indian composer A.R.
In today’s Global Bulletin, BAFTA announces the jury for BAFTA’s Breakthrough India initiative; BFI Southbank outlines several seasons for its reopening; the Iron Throne is heading to Leicester Square in London; and Tony Orsten and Charlie Caminada launch Grand Scheme Productions.
Orsten and Caminada will oversee the company’s pipeline of projects, developed by Smith and Robson. Grand Scheme Productions has also hinted at its first production out of the gates, a drama series based on Jerome Caminada, a Manchester detective responsible for establishing many modern police methods and practices.
Former Paramount Pictures and HIT Entertainment executives Tony Orsten and Charlie Caminada have unveiled their new company Grand Scheme Productions, where the two will develop and produce commercial narrative content for TV and film. domestic and international marketplaces. The pair has recruited veteran consultants Graham Smith and Mark Robson of Grand Scheme Media to prepare a launch slate of market-ready ideas for the U.K.
Other upcoming seasons at the complex include Her Voice: Black Women From the Spotlight to the Screen and Robert Altman: American Outsider. In addition to the three seasons, several COVID releases will receive extended runs at the cinema, including “First Cow,” “Nomadland” and “Ammonite,” as well as the BFI release of “After Love” and re-release of Altman’s “Nashville.”
Additionally, any customers who purchase a new Samsung Smart TV during that time will be given a free subscription to Shahid VIP of 3-12 months, depending on the TV model and location of purchase. Shahid VIP, the subscription-based service of leading MENA streaming platform Shahid, has partnered with Samsung Electronics to add a dedicated Shahid VIP-branded button to the remotes for all new Samsung Smart TVs launched in MENA this year. The move is a continuation of an already fruitful relationship between the two companies after Samsung was the first TV manufacturer to launch the Shahid VIP Smart TV App.
Coming this summer, the depiction of the Throne will join other iconic scenes and characters such as Wonder Woman, Singin’ in the Rain and Batman. The statue’s arrival coincides with a 4k Ultra HD release of the HBO series and the first time that individual seasons are available to buy.” /> A decade after “Game of Thrones” launched, changing the landscape of peak TV, its iconic Iron Throne is headed to London's Leicester Square where it will be the tenth addition to the Scenes in the Square statue trail.
The BAFTA will honor ten emerging talents instead of five as originally planned, due to an “overwhelming number of quality applications.” The chosen participants will receive one-on-one mentoring and career guidance, full voting BAFTA membership and access to BAFTA events and networking opportunities, both in the U.K. Honorees will be revealed in May. and abroad.
The British Film Institute’s BFI Southbank, a leading repertory cinema in the U.K., will reopen on May 17, provided that restrictions are relaxed as currently planned. To celebrate the reopening, a program celebrating the joy of the big screen experience has been curated, titled Dream Palace; Movies for the Big Screen.

The emergence of the song economy: The audience has shift its focus from albums to songs.
Labels are paid more than three times higher than publishers on streaming. On average, songwriters will therefore earn between a third and a half of what artists do. Streaming royalties: The song is the first in line culturally but it is last in line for streaming royalties. An independent label artist could earn more than three thousand dollars for a million subscriber streams, whereas a songwriter could expect to earn between $1,200 and $1,400, and even then, only if they are the sole songwriter on the track. Of total royalties paid by streaming services to rights holders, between a fifth and a quarter is paid for publishing rights to the song.
Music subscribers believe in the value of the song: twice as many (60%) state that the song matters more than the artist, than think the artist matters more (29%)
Needless to say, songwriters saw little income from that business model — which has been completely up-ended by the pandemic. Now, with most areas of the business looking at streaming as a if not the primary generator of income, the songwriter’s plight is more dire than ever, according to “Rebalancing the Song Economy,” an authoritative new report by industry analysts Mark Mulligan and Keith Jopling of Midia Research(with an introduction by Abba's Bjorn Ulvaeus).
The current royalty system assumes all songs are worth the same – they are not – and rewards poor behavior that dilutes artist and songwriter royalties
Fan-centric licensing is a simple concept that may be complex to implement but will bring a crucial foundation of fairness into the song economy
They also believe that songwriters should be remunerated properly: 71% of music subscribers consider it important that streaming services pay songwriters fairly
Streaming royalties will better serve creators if they recognize that different types of behavior (e.g. lean forward, lean back listening) represent different royalty values and that not all songs are worth the same
The global music industry revenues (recordings, publishing, live, merchandise, sponsorship) fell by 30% in 2020 due to the combined impact of COVID-19 and a recession
The 35-page report, which is available here for free, lays out both the history of this dilemma and some (admittedly difficult) proposed solutions, but what may be unprecedented is the way that it lays out how skewed against songwriters the new music economy is. A handful of the many statistics from the study follow:
The report then proposes a series of solutions that are far too complex to summarize fully here, but in short:
To summarize that quickly, the music industry saw its total value cut in half by illegal downloading and other forms of piracy in the first years of the 21 st century; the drastic drop in CD sales meant that the once-substantial income derived by artists, labels, publishers from those sales had plummeted precipitously. But as streaming rose and the industry adapted, artists came to accept that their recorded music — which garnered a fraction of the income in the streaming world that it had in the CD era — had essentially become the way to bring people to the place where they really made money: concerts, where fans not only buy tickets but merchandise as well as CDs and albums.
Streaming has created a song economy, making the song more important than ever, yet music publisher royalties are more than three times smaller than record label royalties
In last week’s Variety article on the Pact, hit songwriter Justin Tranter expressed a similar sentiment in far more direct terms: “The business is definitely still broken and songwriters are definitely the least respected people in our industry, no matter how big of a songwriter you become.”
The report concludes with a very British statement: “What is clear is that today’s’ song economy is not working as it should and that everyone across the value chain will benefit from a coordinated programme of change.”
Decline of traditional formats: Songwriters have long relied upon performance royalties from broadcast TV and radio. However, as the audiences on these platforms migrate towards on-demand alternatives, performance royalties face a long-term decline. Similarly, the continued fall in sales means fewer mechanical royalties for songwriters.
Streaming will bring further strong industry growth, reaching 697 million subscribers and $456 billion in retail revenues, but the royalty imbalance means that label streaming revenue will grow by 3.3 times more than publisher streaming revenue
Big record labels have weaponized songwriting: In order to try to minimize risks, bigger record labels are turning to an ever more elite group of songwriters to create hits.
In a section titled “The Songwriter’s Paradox,” it lays out the ways that the song has become more important than ever, but, paradoxically, the songwriter has less income and influence
Songwriter careers need to be reshaped, with an opportunity for labels and publishers to work more closely together, including secondments for young songwriters into artist projects, providing predictable income and accelerating their development.
This situation has been thrown into dramatic relief in recent weeks by the formation of the songwriters’ group the Pact and its calls for artists to stop demanding credit and publishing income for songs they did not write — but the organization’s founders also say that it is just the first step in a music economy that has tilted against the people who create the very foundation of that economy: songs. Ever since the music industry began its streaming-fueled recovery around five years ago, the songwriting and publishing communities have been protesting not only the uneven payment structure of streaming — which sees recorded-music rights holders being paid three times what publishing is paid — but also the imbalanced power and payment structures of the music industry.
 ” />
The industrialization of songwriting: Record labels are reshaping songwriting by pulling together teams of songwriters to create “machine tooled” hits – finely crafted songs that are “optimized for streaming.” While the upside for songwriters is more work, the downside is sharing an already-small streaming royalties pot with a larger team of creators and co-writers.
The song economy requires an interconnected set of solutions across three areas: songwriter remuneration and share, streaming pricing and culture and consumption, with rights holders and streaming services working together
This has led to a growing body of superstar writer-producers. Writing and production are fusing: As music production technologies have become more central to both the songwriting process and to the formation of the final recorded work, there has been a growing fusion of the role of production with writing.
Streaming pricing needs a rethink, including ensuring price increases benefit creators, a reduction in the discounting of subscriptions and even metered access to music catalogs, to protect against the current situation of royalty deflation

The falling rate of COVID-19 infections and rising rate of vaccination has prompted California state officials to allow concerts and other indoor events to be held at 75% of capacity in some counties so long as all attendees are vaccinated or have tested negative for the virus.
At present, only three counties in northern California qualify for the increased 75% capacity limit, while 33 remain at Orange level deemed moderate and 22 are designated Red, or substantial.
Los Angeles County remains in the Orange tier that is still held to a maximum of 50% capacity for indoor gatherings. The boost to indoor event capacity levels came as a welcome sign of California's progress against the pandemic. The increase to 75% capacity takes affect for those counties already in the Yellow tier, indicating that infection rates are minimal.
More to come” />

“I would wear it like a badge of honor.” “I’ve given up my journalistic integrity already, and to be fired, that would make me feel good,” Abrams said Golingan told her.
OAN could not be reached for immediate comment.” />

Following an investigation into One America News network by the New York Times, the right-wing cable news channel fired producer Marty Golingan.
The former producer also confessed that he and most of his colleagues did not believe the voter fraud claims peddled by the news channel. He recalled seeing a photo from the Capitol insurrection where someone held a flag with the OAN logo and admitted he worried that his work might have helped inspire the mob. Golingan had been a producer at OAN since 2016 and told the New York Times that the outlet had changed in recent years and moved further right during the Trump Administration.
Given that OAN consistently refers to Donald Trump as “President Trump” and President Joe Biden as “Joe Biden,” Golingan said news director Lindsay Oakley reprimanded him for using “President Biden” in news copy.
Rachel Abrams, the Times reporter who wrote the story, tweeted Monday that “One America News has fired Marty Golingan, who told us staffers don’t think many of OAN’s stories are true.” He quote tweeted Abrams with the caption, “Confirmed.”
Out of the 18 employees the New York Times interviewed, 16 said OAN aired reports “they considered misleading, inaccurate or untrue.” In return, Charles Herring, the president of Herring Networks, which owns OAN, asserted it has "a review process with multiple checks in place to ensure that news reporting meets the company's journalist standards."

Yet astonishingly, these were the only two movies in which Lena Horne ever had a speaking part. One year later, in 1943, Horne would star in two movies: the all-Black MGM mystical musical "Cabin in the Sky" and Fox’s Bill "Bojangles" Robinson biopic "Stormy Weather." We see a dramatic clip of her from the latter, and it’s clear that she had as much command — as much fire — as any actress of that era. But the demand got her in trouble with other Black actors, who feared they would lose work. So I just became a little butterfly pinned up against the wall, singing all these lovely songs." She’d made it a demand, from the outset, that she would not play a maid or other servile roles, and the industry, in response to the sacrifices that Black Americans were making in the armed forces during WWII, gave her that concession, which lifted Hollywood out of the Hattie McDaniel era. And according to Horne, who we see in several interviews (she died in 2010), "They hadn’t made me a maid, but they hadn’t made me into anything else either.
"How It Feels to Be Free" is a documentary, at once sobering and enchanting, that interweaves portraits of six legendary stars, all of them Black women (Lena Horne, Abbey Lincoln, Nina Simone, Diahann Carroll, Cicely Tyson, and Pam Grier), telling the story of the trails they blazed, the ceilings they broke, the doors they kicked open, the splendor they achieved, and the wounds they endured.
It was a movie that blasted through stereotypes of "welfare mothers," even as it took on the welfare bureaucracy. She got some angry mail from African American viewers who felt that the character "wasn’t Black enough," yet "Julia," a show I grew up with, was a beguiling series that, thanks to the quiet wit of Carroll’s presence, carved out its own populist truth. And in "Claudine" (1974), the turbulent Hollywood domestic romantic drama she starred in with James Earl Jones, Carroll proved she was no one’s plaster saint. In 1968, she broke a new kind of ground when she starred in the NBC TV series "Julia," playing a serenely middle-class nurse and single mother.
As one observer puts it, "They actually had careers in a time when they weren’t really supposed to have careers." No one invited them to the table; the doors they cracked open always threatened to close behind them. Yet they changed the world. Along the way, there are moments when you may wipe away a tear or two yourself, as it hits you how radical these women truly were, how their heroism became a matter of simple necessity.
In 1962, Carroll had become the first African American to win the Tony for best actress, but the cutting edge of prejudice, for her, was how hard she was still struggling to earn a living. And in that aristocratic voice of satin, she says it does bother her, since she wants to be seen as the individual she is. "How It Feels to Be Free" is a documentary parable of art melting into activism. Each of the six artists here, up to and including the ferocious blaxploitation icon Pam Grier, embodies a dual narrative: Diahann Carroll, in a 1965 interview with the BBC, is asked if it bothers her that she’s always compared to Lena Horne.
(At the time, even a Hollywood musical would get Jim Crowed.) She responded by becoming a nightclub singer and activist, her political urgency lighting a fuse when, in a famous 1962 incident at a Beverly Hills restaurant, she hurled a lamp and several ashtrays at a patron who had used the N-word in speaking of her. Hollywood was terrified of alienating the Southern market; we see a headline about how all of Horne’s scenes were cut from the 1948 "Words and Music" so that the film could play the South. She longed to play Julie in "Showboat," since the role was that of a light-skinned Black woman, and she had already sung "Can’t Help Lovin' Dat Man" in "Ziegfeld Follies." Yet the studio cast Ava Gardner instead.
'There’s something about us that made us always want to close in, and it was because of how we had been treated. Even in the early-'60s TV series "East Side, West Side," where she wore a then-vanguard short Afro, she refused, in moments of silence, the emotions of accommodation. And in her epochal role in "Sounder" (1972), as a sharecropper trying to raise her children after her husband gets hauled off to prison, her performance is alive to the sensations of the moment. Cicely was like, 'Let’s open it up. Her characters occupied their own fully-carved-out space, one that was raw and real. "Her acting had such breadth to it," observes LaTanya Richardson Jackson. They broke it all open, and the light poured in.” /> But then so did every one of these women. Let’s break it all open.'" She did.
Jackson, Jacqueline Stewart, Gail Lumet Buckley (who is Lena Horne’s daughter), and the historian Ruth Feldstein, whose 2013 book "How It feels to Be Free: Black Women Entertainers and the Civil Rights Movement" was the taking-off point for the film. The film includes sharp memories and observations from Berry, Alicia Keys (who is one of its producers), Lena Waithe, Samuel L. The reason I say it’s the story, since each of these entertainers occupies a unique place, is that the documentary, in the very structure of its telling, reveals how all of them built upon what came before, seizing onto the success of others as if it were a baton in a relay race, one that could easily be dropped.
How could it not be? An "American Masters" production, directed by Yoruba Richen with a historical precision fused with a contemporary vibrance, "How It Feels to Be Free" opens with an electrifying clip of Abbey Lincoln, in the same shoulderless red dress that Marilyn Monroe wore in several scenes of "Gentlemen Prefer Blondes," performing an intoxicating number in front of a blue-velvet curtain in "The Girl Can’t Help It" (1956). You watch her and think: Is this the star of the movie? By the time a decade had passed, though, Lincoln had parted ways with Hollywood, performing with her husband, the jazz drummer Max Roach, in a voice that blared like a trumpet of defiance.
Yet in this particular film, she wasn’t even credited. Horne’s beauty was luminous, and so was her singing. She, too, rules the room as if she were the star of the picture. That feeling of possibility, at once tantalizing and squelched, is echoed even more grandly when the film goes back to the career of Lena Horne, who arrived in Hollywood in the early '40s poised to become a new kind of Black star. We see her in a clip from "Panama Hattie" (1942), standing in a club that looks just like Rick’s in "Casablanca," swaying and insinuating with a confidence that would melt Rita Hayworth.
She didn’t want to be seen as a "Black actress." If Diahann Carroll was the height of poised fretful elegance (and then, on "Dynasty," a testament to the empowering qualities of sin), Cicely Tyson was a one-woman revolutionary — almost a kind of Brando figure in what she brought to the screen. She was arguably the first major Black actress in television and film who transcended the very ethos of being a role model. And as she says in several interviews here, that was her intent.
And what Halle Berry’s speech hit home is that where those earlier performers had allowed her to become a giant, they were giants too — more than contemporary audiences often know. In 2002, when Halle Berry won the Oscar for her performance in "Monster’s Ball," becoming the first African American to take home the Academy Award for best actress, after 30 seconds of convulsive tears she said, "This moment is so much bigger than me. This moment is for Dorothy Dandridge, Lena Horne, Diahann Carroll…And it’s for every nameless, faceless woman of color that now has a chance, because this door tonight has been opened." To achieve something by standing on the shoulders of others is a profound feeling.
She stares the TV audience down, and the song as she delivers it is more than a testament. Nina Simone, the incomparable high priestess of soul, had her own spiritual awakening in reaction to the Sept. King and let him know that she respected him, but that she could not be a full follower of his because she was not non-violent. We see her performing it in 1964 on "The Steve Allen Show," and this is most definitely a case of the revolution being televised. At that moment, she wanted (and tried) to make a gun, but instead composed "Mississippi Goddam" in the space of an hour. In this performance, Simone sounds like she wrote the song an hour ago. It’s a threat. 15, 1963 murder of four Black girls in the 16th Street Baptist Church bombing in Birmingham. Around this time, she met Dr. It’s hot off the presses.

After Chinese media and entertainment conglomerate Tencent Holdings acquired Leyou in December 2020 in a deal worth $1.5 billion, Amazon and Tencent failed to reach a deal on revised contract terms for the "Lord of the Rings" game, as first reported by Bloomberg — resulting in Amazon Game Studios bailing on the project. Amazon had inked a deal to develop the free-to-play console/PC game title with Leyou Technologies, a Hong Kong-based games company.
Leyou's Athlon Games had previously announced a long-term licensing agreement with Middle-earth Enterprises, a division of the Saul Zaentz Co. that owns exclusive worldwide rights to Tolkien’s literary works, to develop and publish a "Lord of the Rings" video game.” />
The "LOTR"-based game project was separate from Amazon Studios’ massive adaptation of “The Lord of the Rings,” which encompasses a multi-season production commitment produced in cooperation with the Tolkien Estate and Trust, HarperCollins and Warner Bros.’ New Line Cinema.
News of the cancelation comes after Amazon Game Studios last year scrapped plans for “Crucible,” a third-person, last-one-standing game “of trust and betrayal." The unit's much-delayed “New World,” a sandbox MMO game in which players engage in a struggle to conquer and colonize a “new world” wilderness, has been rescheduled for summer 2021 release.
In 2019, Amazon Game Studios had announced plans for a massively multiplayer online game set in “a time long before the events of ‘The Lord of the Rings,’ exploring lands, people and creatures never seen before by fans of the Tolkien universe."
Tolkien’s Middle-earth. While Amazon is shelling out an epic $465 million for season 1 of its "Lord of the Rings" TV adaptation, the company's games unit has canceled plans to send players to J.R.R.
The team that was working on the "LOTR" prequel game will be moved to different projects, according to Amazon. “We love the 'Lord of the Rings' [intellectual property] and are disappointed that we won’t be bringing this game to customers," an Amazon spokesperson said in a statement.

“Lower One,” as he is identified by the kanji etched onto his aquamarine peepers, looks more like an androgynous Goth-pop star than a conventional villain, his scarecrow silhouette, pale skin and detachable hands all memorable touches in a production where design is often more important than execution (since the figures tend to strike a pose and hold it). In the cabins below, the kids manage to locate Kyojuro, who uses flame-based fighting techniques to dispatch a basic demon, but they’re caught off guard by a sleeping spell that puts all the passengers into a deep slumber.
But . You’re either already on the “Demon Slayer” train or you’re not, and the hit Japanese feature — arriving stateside having surpassed “Spirited Away” as the highest-grossing anime movie of all time — is hardly the vehicle for the popular franchise to pick up new passengers. That doesn’t mean the action-packed toon won’t appeal to those curious to check out the sensation that has earned more than $415 million internationally.
Think of these four as amateur Ghostbusters, or a teenage team of vampire hunters, whose well-intentioned incompetence often proves endearing. But they’ve never faced adversaries as daunting as this, starting with the creepy Kizuki riding on the roof of the train. Demons, who are described as former humans who’ve turned evil in exchange for immortality, gain power by eating people, whereas demon slayers are mere mortals sworn to protect the world from the bloodthirsty creatures.
This overconfident quartet spent most of the show nearly getting themselves killed as they tried to fend off low-level foes. Now, they face not one but two of the world’s most powerful demons, known as Kizuki, whose existence had long been rumored, though they did not reveal themselves until the final episodes of Season 1 (and even then, audiences never saw the six Upper Rank demons that are deadliest to humankind).
There, the battles came at a fairly constant clip while leaving plenty of room for goofing off along the way. “Demon Slayer” devotees swear by the characters and oddball sense of humor, but are most appreciative of the show’s dynamic fight scenes, which are frequent and creatively choreographed (those being key criteria for a genre whose essential raison d’être is action).
So after all those hours of watching Tanjiro and friends fumble their way through various skirmishes, fans will consider it a big payoff to see how veteran warriors from both sides throw down. The show has effectively been laying the groundwork for showdowns such as these — though the four aspiring demon slayers are so inexperienced they’d be toast without the help of a skilled mentor like Kyojuro Rengoku, a so-called Hashira (the top tier of demon slayer, or good-guy equivalent of a Kizuki). That’s a major selling point for the feature.
“Mugen Train” is more than just a bridge to the forthcoming second season, due out this year. The film depicts an important step in the development of its four young protagonists — orphan Tanjiro; his demon sister Nezuko, whom he carries in a wooden box on his back; girl-crazy Zenitsu; and absurd-looking Inosuke with his bare chest and boar’s head mask (all voiced by the original cast).
Director Haruo Sotozaki doesn’t deem it necessary to reintroduce the characters, nor to explain basic aspects, such as Inosuke’s strange appearance — he’s not a hog-headed mutant so much as an aggro dude in a crazy costume — or how exactly one slays a demon (simple: chop off its head or expose it to sunlight). Instead, the filmmakers assume a certain familiarity, getting right down to business once Tanjiro and friends board the titular Mugen Train: a cross-country transport whose 200 passengers become easy targets for the Kizuki who has commandeered the locomotive.
The slight downgrade in quality may come as a surprise to those expecting slicker visuals from the theatrical blockbuster. At times, the imagery hardly qualifies as animation, coming across as a sequence of still drawings: fixed expressions and poses that suggest emotion or energy, even when nothing is actually moving in the frame — though this is hardly unusual in the manga-inspired medium, which relies on such tricks to tell elaborate stories on modest budgets. Produced by the same team at Ufotable, “Demon Slayer the Movie: Mugen Train” looks even more rudimentary than its small-screen counterpart, “Demon Slayer: Kimetsu no Yaiba,” which has amassed a cult following among Funimation, Crunchyroll and Netflix subscribers in the U.S.
Followers will find it essential viewing, while others may want to backtrack and watch the series first, lest this phenomenon pass them by.” /> Keep in mind too that no one has ever survived a fight with a demon from the Upper Ranks, which lends considerable excitement to the next encounter (between Kyojuro and a character best kept secret) — for the initiated at least, since the outcome has significant impact on where the demon slayers will go from here.
(Gaze at one, and you instantly snap back to sleep.) If all this sounds confusing, rest assured that there’s a wacky enjoyment to be had even when things don’t make sense. Inosuke never met a living creature he didn’t want to fight, so together, he and Tanjiro set about looking for the demon’s head — no small feat, given the creative way Lower One has infiltrated the entire train, wrapping it in CG tentacles and dozens of hypnotic eyeballs.
The resulting dreams are tailored to each of the characters, with Tanjiro’s being the most touching, since it represents a fantasy version of what his life might've been like had demons never attacked and killed his family — the incident that launched his quest in the first place. While under, Tanjiro senses something off about this faux family reunion: His sister is missing, helping him snap out of it and rouse the others to duty.

Beard and his various camera crews show us turtles getting full access to a beach for the first time in decades, penguins getting back to their chicks in a fraction of the time without having to factor in human crowds, and a dormant luxury safari site becoming a fertile feeding ground for a leopard who can now ditch his nocturnal hunting habits. It’s striking, and more than a little depressing, to realize just how badly humans treat our surroundings every day, and how devastating it can be for everything else that lives there. Attenborough did not produce “The Year the Earth Changed,” but in tapping him to deliver its message, the team behind the documentary knows exactly what it’s doing.
In one particularly terrible sequence, “Cities” demonstrates exactly how awful it can be for those turtles when humans swarm their beaches and build highways alongside them, showing a doomed procession of babies waddling onto a busy road. “The potential to see animals thriving within our cities is achievable across the globe,” he insists. When “Planet Earth II” added a specific “Cities” episode, it not only showed off the production’s incredible ability to capture life in all corners of the world, but its determination to make its viewers understand not just how catastrophic climate change could be, but how much damage it’s already done. “More than half of us now live in urban environments. At the end of that episode, and thus the series, Attenborough chose a blunt conclusion. Whether we choose to create a home for others, too, is up to us.”
“Life in Color” focuses mostly on the specifics of wildlife versus its place in the world at large. Making occasional appearances onscreen to marvel at a primary-colored macaw or two, Attenborough narrates the series with gentle ease, guiding the viewers through three episodes of stunning footage captured by cameras specifically constructed for this production to pick up as much detail as possible. “Life in Color” is for all those who tune in to nature documentary in the hopes of being dazzled by the majesty on display. It’s as vibrant as its animal subjects, making it easy to identify with the unmistakable note of awe in Attenborough’s voice as he explains exactly what we’re looking at.
“The Year the Earth Changed,” by contrast, is much more explicit about the human race’s role in the natural world. Directed by Tom Beard, the film takes a unique look back at the past year under pandemic lockdown by showing all the ways in which the natural world thrived once human activity suddenly slowed down. Checking in on various locations a month, two months, six months, a year into human quarantine, the 48-minute documentary makes a compelling case for how much damage humans cause on a daily basis, and how much we could help revive the endangered planet by simply adjusting our behavior to coexist more peacefully alongside the animal kingdom.
This became especially unavoidable in 2016’s “Planet Earth II,” the highly anticipated follow-up to the game-changing “Planet Earth.” (Attenborough wrote and performed the narration for both, and not for nothing: it says everything about how synonymous Attenborough became with “Planet Earth” that the gambit of casting Sigourney Weaver as narrator for the first series’ American broadcast was not repeated for the second.) Over the years, Attenborough and the projects in which he’s chosen to participate have threaded their awe of nature with an increasingly dire warning about its man-made decline.
It’s happened in my lifetime: I’ve seen it with my own eyes.” Here, Attenborough also distills his worldview and mission into a succinct sentence that encapsulates his every recent project: “[This is] the story of how we came to make our greatest mistake — and how, if we act now, we can yet put it right.” “The natural world is fading,” he says directly to the camera, and to us, his rapt audience. Then 93, Attenborough opens the film in Chernobyl, the remnants of a world ruined by man strewn all about him. Attenborough got yet more explicit in 2020 with a film to which he lent significantly more than voiceover narration. “The evidence is all around. For Netflix, Attenborough produced “A Life On Our Planet” as his “witness statement” after observing all corners of the Earth for decades.
Many people may tune in to a show featuring Attenborough simply because his gentle voice provides both comfort and a guarantee of quality. Having spent much of his lifetime coming to this conclusion, Attenborough has made himself an unparalleled authority on the most pressing issue of climate change. Perhaps more importantly, he’s made himself an approachable, trustworthy voice of reason in a debate that too frequently gets lost in hysterical denial of the facts. And even if they’re not looking for lessons on the values of conservation, Attenborough has found a way of delivering them with patience, gravity and an undeniable expertise that makes him impossible to ignore.” />
There’s little in this world more soothing than turning on a nature documentary and hearing David Attenborough’s calm, steady voice. In both, he proves why he has become the go-to authority on the natural world as he highlights wonder and warnings with equal urgency. This month, in fact, Attenborough’s voice anchors two separate productions: Apple TV Plus’ documentary “The Year the Earth Changed” (out April 16) and Netflix’s “Life in Color” (out April 22). Even as a disembodied narrator, the 94-year-old presenter has become such a ubiquitous presence that watching any nature doc without him feels strange, as if trying to put on a shoe before realizing it’s on the wrong foot.