And be sure to read our full account of how Global Citizen and the producers brought this historic show together, "Behind Vax Live: How Jennifer Lopez, Foo Fighters, H.E.R., Selena Gomez and Others United to Rock and Repel COVID."” />
on Fox. on CBS, ABC, YouTube and iHeartMedia stations, with a late-night airing at 11 p.m. Variety was there to shoot the action as it went down last Sunday at SoFi Stadium in Inglewood, California — the first real stadium show of the post-quarantine era. Global Citizen's "Vax Live: The Concert to Reunite the World" airs Saturday night at 8 p.m.
Scroll through to see our photos of performers Jennifer Lopez, Foo Fighters (with AC/DC's Brian Johnson guesting), H.E.R., Eddie Vedder and J Balvin, along with presenters including Prince Harry, David Letterman, Chrissy Teigen, Ben Affleck and Jimmy Kimmel and host Selena Gomez.

"I kind of thought the trip out here was the gift," he said, to which she replied a firm, "No."
Meanwhile Chris Redd's mother joked that she hadn't seen him since "Thanksgiving, and Christmas, and our spring break vacation," and Kenan Thompson said his mother, Elizabeth Ann Thompson, "taught me everything I know, including reaction shots," which lead to them showing off a classic one. Beck Bennett and Mikey Day appeared on stage together with their mothers, which resulted in a gag in which Day's mother said she "couldn't wait" to be able to hug, but she was talking about Bennett. Heidi Gardner appeared with her mother, as well, although she said, "They didn't write me a joke," and then later pulled her mother back on stage while Cecily Strong didn't want to say her punchline because she was just "too happy" her mother was there.
Kyle Mooney's mother Linda Kozub Mooney noted that he owed her two Mother's Day gifts since they couldn't spend this time last year together.
Pete Davidson joke-lectured his mother about being more responsible when she admitted she almost didn't make it because she was "playing Madden with [Timothée] Chalamet," while Colin Jost's mother was holding cards she said Michael Che gave her to read live. "You shouldn't do that, you're going to get our whole family canceled," he said.
Musk did not appear in the cold open. Cyrus continued singing in between the appearances and wished both Parton, who is her godmother, and her mother Tish Cyrus a happy Mother's Day before everyone appeared for the iconic "Live from New York…" sign off. She was tapped as the episode's musical guest, while billionaire businessman Elon Musk was the host.

Miley Cyrus opened the May 8 episode of "Saturday Night Live" with a song dedicated to "all the moms out there."
This cold open was no different. Taking place the night before Mother's Day, this episode has historically been treated as a Mother's Day episode, with special songs and sketches dedicated to and often featuring cast members' mothers.
It's been a long year." Bowen Yang's mother kissed him on stage and then sprayed Purell on his face, and Ego Nwodim's mother told her she was proud of her but "of course" would be more proud if Nwodim was a doctor. New cast members Lauren Holt and Punkie Johnson toasted with their mothers, and when Johnson's mother downed the whole glass, she said, "What?
For the first time ever, the show was also live-streamed on YouTube for the international audience.” /> ET / 8:30 p.m. "Saturday Night Live" airs live coast-to-coast Saturdays at 11:30 p.m. PT on NBC.
Standing on stage at Studio 8H, she sang part of Dolly Parton's "Light of a Clear Blue Morning" before bringing out some of the NBC late-night sketch comedy series' cast members and their real-life mothers, including Kate McKinnon and Laura Campbell, who did a quick impression of Molly Shannon's Mary Catherine Gallagher, and Aidy Bryant and Georganne Vinall, the latter of whom plugged her daughter's show. When Bryant noted that "SNL" is not just her show, Vinall followed it up by plugging the third and final season of "Shrill" on Hulu.
Melissa Villaseñor's mother complimented her on her ability to do impressions, though when Villaseñor attempted to impersonate her own mother, she was told, "That one needs work." Chloe Fineman told her mother she was her best friend, to which she was told her mother's best friend was Fineman's father. "And we must go, dad's asking Elon Musk for financial advice," Fineman said as they exited stage right.

He joked about “SNL” being live and the risk that posed for him. Musk has been scolded by regulators for his pronouncements about his publicly held businesses in unusual channels for a CEO.
Cynthia Littleton contributed to this report.” />

Wearing an all-black dark suit and black T-shirt, the South African billionaire joked about his reputation as a genius, disruptor, entrepreneur as well as a proponent of sketchy digital economy trends such as crypto-currencies.
And although he did not appear in the special Mother's Day cold open, he brought his mother Maye Musk onstage for a special spotlight moment during his monologue.
Musk made his hosting debut on the May 8 episode of "Saturday Night Live," which was the first of the three final episodes of the 46th season and the first one back after a few weeks off.
She played straight woman to her 49-year-old son, with their banter including a prompt to position him as a boy genius.
In a now-deleted social media post, Aidy Bryant, for example, re-shared a message from Sen. The initial announcement came with criticism, as viewers, critics and even some of the show's own cast members alike seemed to question the choice of host. Bernie Sanders which called out the "moral obscenity" of the wealth distribution in America, which also noted "the 50 wealthiest people in America today own more wealth than the bottom half of our people.” Chris Redd retweeted Musk's post about "throwing out some skit ideas," pointing out that he should be calling them "sketches," not skits.
Musk identified casually and then followed it up with a joke, noting that he's "pretty good at running human emulation mode." Musk also noted that he doesn't have a lot of "intonational variation in how I speak, which I'm told makes for great comedy."
“Do you remember when I was 12 I created my own video game?,” he asked.
For the first time ever, "Saturday Night Live" was also live-streamed on YouTube in more than 100 countries.
On "The Breakfast Club," Michael Che acknowledged that Musk "is a polarizing guy" but said that was what "makes the show interesting." He also said he felt that if other one-percenters, such as Oprah or Tyler Perry were coming on the show, "we'd all be excited about it." (Both Oprah Winfrey and Perry do have performing backgrounds, though.) Pete Davidson called Musk "the guy that makes the earth better kinda and makes cool things and sends people to Mars" on "Late Night With Seth Meyers." In the week leading up to the show, though, various cast members appeared on talk shows and attempted to smooth over concerns.
PT on NBC. "Saturday Night Live" airs live coast-to-coast Saturdays at 11:30 p.m. ET / 8:30 p.m.
You were too young to open a bank account so I had to open one for you,” she said. Beaming, she added, “You turned that video game about space into reality.” “I remember they paid you $500.
The segment undoubtedly was crafted in part to temper critics of the billionaire as out of control. Mother and son hugged to close the monologue segment as she gushed, “Break a leg tonight. I love you very much.”
Musk joked that it was “like I go from podcast to podcast lighting up joints. It’s like reducing O.J. Simpson to murderer.” He noted that Simpson hosted "SNL" twice — and "killed it." He made a surprising comparison of his reputation to that of accused double murderer O.J. “People are reduced to the dumbest thing they ever did,” Musk said, referring to the September 2018 incident when he was seen smoking marijuana while appearing on the podcast hosted by Joe Rogan. Musk also joked about his son's name, saying it's "pronounced like a cat running across a keyboard," and lamented the volume of chatter about him in media and social media circles. Simpson.
He discussed his vision for the future — specifically a "renewable energy" one and that he believed "humanity must become a multi-planatary space-bearing civilization." Because these goals sounded positive, he added that, "I think if I just posted THAT on Twitter I'd be fine." Instead, though, he noted jokes he has made such as, "69 days after 420, haha." He wrote "haha" at the end because he thought it was funny, he said. "To anyone I've offended, I just want to say, I reinvented electric cars and I'm sending people to Mars in a rocket ship, did you think I was also going to be a chill, normal dude?"
Elon Musk declared himself to be the first person with Asperger syndrome to host “Saturday Night Live” in the opening of his May 8 monologue.
“I could say something truly shocking — like I drive of Prius,” he said.
Taking place the night before Mother's Day, this episode has historically been treated as a Mother's Day episode, with special songs and sketches dedicated to and often featuring cast members' mothers.
He indulged his penchant for fantasy in observing, “Our reality might be  a video game and we’re all just computer simulations being played by a teenager on a another planet.”
"Or at least the first person to admit it," he said on stage at Studio 8H.

The template for Penn’s extracurricular missionary zeal has always been: He walks the walk, instead of just talking the talk. Where other celebrities preach about saving the world in self-righteous signifiers, he takes action by going on the scene (to Baghdad during the Iraq War, to New Orleans after Hurricane Katrina, to Haiti following the catastrophic 2010 earthquake), and by staying there long after the disaster-relief-volunteer-as-photo-op window has closed. Yet you’d be forgiven if you needed a bit of convincing.
military, he helped to relocate the adjacent refugee camp when it was threatened by mudslides, and he secured the funds to clear literally miles of earthquake debris from the streets of Port-au-Prince. (These were drugs needed to ease the pain of amputations, among other things.) Penn fought to keep the tent hospital standing, he worked hand in hand with the U.S. "That’s a perilous ride in so many ways." Penn was mocked by many for cozying up to the late Venezuelan president Hugo Chávez (a socialist with dictatorial tendencies), but whatever your view of Penn’s visit to Venezuela, he wound up asking Chávez to provide 350,000 bottles of morphine for emergency medical relief in Haiti, and Chávez came through. "We were an airplane that built itself after takeoff," he says of the J/P Haitian Relief Organization, which was ultimately renamed CORE.
Yet "Citizen Penn" does acknowledge, without making too big a deal of it, that there’s a way that Sean Penn’s trouble-spot dedication can dovetail a little too exquisitely with his image, creating a kind of aging-James-Dean-of-the-killing-fields persona.
If you want to get a hint of those, you need to wait for a different documentary.” /> It may sound perverse to say that the film doesn’t have much in the way of a dramatic conflict, but a good documentary often needs one, and Penn’s ongoing mission of mercy in the impoverished hellscape that Haiti, for a time, became is presented as a series of battles that are met, fought, and (mostly) won. Penn keeps saying, in essence, "It’s not about me." Yet the whole reason we’re watching this movie is that it is about him. I personally would have liked to hear more about how Penn’s activism gets threaded through the other currents of his life. I also believe that Sean Penn is a complicated person who carved out the role of the conscience of Hollywood for complicated reasons. Some of this is stirring stuff, and all of it is worth learning about, but as a documentary "Citizen Penn" is more diligent than riveting. Watching "Citizen Penn," I believe in the depth of his compassion, much as I believe in Jane Fonda’s or Bob Geldof’s.
He works 20-hour days for months, appearing periodically on Anderson Cooper’s nightly CNN broadcast, but also staying long after the cameras have gone. The organization he founded has hung in there for a decade, raising money, coordinating volunteers, helping to rebuild the country. In Haiti, we see him set up a sprawling tent hospital that serves thousands of people and saves many lives.
Penn says that it’s the cardinal rule of fund-raising not to bum out the crowd. It doesn’t take long for the spirits to come crashing down to earth, as Penn, founder and spokesman of the J/P Relief Organization, hits the audience with a Debbie Downer buzzkill. "Citizen Penn" opens in Hollywood in 2019, with Jamie Foxx, in high spirits, introducing Sean Penn at a benefit gala for Haiti. He then spreads his hands and grins, acknowledging that’s what he just did. The Russians, he says, are testing hypersonic nuclear weapons; populist demagogues are turning the world economy into a game; and climatologists, warns Penn, give us 11 years before "global catastrophic failure." He adds, "Lies, greed, rage, sexism, and racism threaten to induce further violence in our own streets." But then, just as you’re getting ready to see people streaming toward the exits, something funny happens.
In "Citizen Penn," the film’s director, Don Hardy, interviews Penn sitting at home in what appears to be a downstairs rec room with a guitar and a grand piano and wall-to-wall carpeting that looks like teal AstroTurf. The actor himself cuts quite a figure, with his denim shirt and Brillo-pad hair and mustache that makes it look like he’s still trying to play some knockoff of Rupert Pupkin. He smokes incessantly (American Spirits), which is one of those used-to-be-cool-but-is-now-so-uncool-that-it’s-actually-cool Sean Penn things, and you can hear his devotion to the smoking in his voice, which is gravelly, with a bit of a quaver to it. He makes the case for taking action, and doesn’t explain why he feels compelled to. He’s 60, and that’s a lot of years of hard living, but once you get past the studiously disheveled Penn trappings, he’s remarkably articulate and informed and compelling to listen to. It’s written all over his weary-rubbery face.
"Citizen Penn" is a documentary about Penn’s life as an activist — specifically, his decade-long mission to improve life for the people of Haiti — and if you go into it thinking that you’re going to be rolling your eyes at the ultimate self-deluded celebrity do-gooder, the movie may stop you in your tracks. It’s for real. That he can be so deadly serious is very Sean Penn; that he can laugh at himself about it is also very Sean Penn. As "Citizen Penn" demonstrates, Sean Penn’s activism isn’t for show.

Based on a comic by Toriyama Akira that debuted in the “Weekly Shonen Jump” magazine in 1984 and has sold 260 million paperback copies worldwide, the “Dragon Ball” franchise has long been a money spinner for Toei, with TV anime, films, games and merchandise in the mix.
The new film is the second based on “Dragon Ball Super,” a sequel to the original Dragon Ball manga that debuted in both manga and anime form in 2015. The first film, “Dragon Ball Super Broly,” directed by Nagamine Tatsuya and scripted by Toriyama, earned $120 million worldwide following its December 2018 release in Japan.
“Be prepared for some extreme and entertaining bouts,” Toriyama says in his statement.” /> The “Dragon Ball” series and its assorted sequels and spinoffs follow the adventures of Son Goku AKA Goku, a boy based on a main character in the ancient Chinese epic “Journey to the West.” Using martial arts skills and superpowers, Goku battles a long list of baddies from various corners of the universe. In the "Dragon Ball Super" story arc, he attains godlike powers to fight Beerus, the God of Destruction, and his allies with the help of his similarly super-powered friends.
Toei Animation, a leading Japanese animation house with a seven-decade history, has announced the release of a new “Dragon Ball Super” movie in 2022.
In a statement Toriyama said he is “heavily leading the story and dialogue production for another amazing film.” “We’ll be charting through some unexplored territory in terms of the visual aesthetics to give the audience an amazing ride,” he added.

All three seasons of “Shrill” are now available to stream on Hulu.” />
Halfway through its second season, “Shrill” beat its wayward characters to the punch by figuring itself out completely.
It’s a lovely scene, and there’s something to be said for a series that’s self-assured enough to end on a note of uncertainty rather than wrapping every loose thread up in a neater bow. But it’s also undeniably frustrating to realize that this is the last we’ll ever see of “Shrill” and these characters when there are demonstrably so many more rich stories to explore with them.
Annie’s been promoted, but finds herself reeling from a terrible argument with her low-key new boyfriend Will (Cameron Britton), a man she’d previously written off before realizing he could be good for her. The third season is so sharp and smart about laying the groundwork for Annie and Fran’s future, in fact, that it’s genuinely startling when it ends on a purposeful anti-climax, thus cutting their stories and the series short. Fran comes to meet her with a sympathy bottle of wine, because she and Em also just had a huge fight about whether or not they should move in together. Sitting together on a park bench, the last shot of “Shrill,” period, is of Annie and Fran blinking through frustrated tears into the horizon, contemplating the ways in which their lives are about to change if they commit to the kind of change that has previously scared them to death.
Annie deals with the rollercoaster of righteously quitting The Thorn and then rejoining it as one of its prized writers. She settles into a real relationship with Ryan (Luka Jones) before realizing that his newfound devotion can’t make up for his lack of ambition or interest in hers. In Season 2, “Shrill” used its expanded order of eight episodes to not only broaden its scope, but deepen its perspective. The episode in which she covers a female empowerment convention — “WAHAM,” aka “Women Are Having a Moment” — is a series highlight, combining Bryant’s skill as a comic performer with the show’s shrewd insights on the particular disappointment of hollow feminism.
By the end of the season — and in turn, the show — their friendship has evolved and matured as much as they have. The season also allows room for Fran and Annie to have a substantive fight when Annie writes a piece that appears to give racists a pass, and Fran refuses to do the same for her oblivious friend. Fran’s burgeoning relationship with Em (a scene-stealing E.R. . Fightmaster) gets just as much narrative weight as Annie navigating singledom as a woman confident in herself for the first time in her life.
SPOILER ALERT: Do not read if you have not watched the third and final season of “Shrill,” now streaming on Hulu.
Watching Fran fight her fight or flight instincts to build a life with Em, the loving and genuinely fun partner of her dreams, would’ve been a joy. It’s sad to lose a show near its peak, but it’s also a testament to how well “Shrill” developed itself with the time it got that its exit should sting this badly. Whatever else Fran and Annie might get up to, or however else they self-sabotage despite themselves, “Shrill” proved itself more than capable of telling their stories with wit and a keen eye for the ways in which life proves itself weird, wild and funny when you least expect it. I would have loved to see how Annie handles being the editorial director of The Thorn alongside her work husband Amadi (a very good Ian Owens) and mercurial Gen X boss (the incomparable John Cameron Mitchell).
But the moment when it becomes clear that “Shrill” knows exactly what it’s doing comes in this season’s fourth episode (“Freak”), when Annie’s beloved roommate Fran (Lolly Adefope) takes herself out on a date. Happily stoned and munching on a burrito, Fran walks into a dive bar and promptly signs herself up for karaoke, where she absolutely crushes a freewheeling performance of “Shallow” from “A Star is Born.” Between this scene and the following episode, which has Annie joining Fran for a Nigerian family wedding, “Shrill” recognized once and for all that it had two charismatic leads in Bryant and Adefope, and should balance its stories accordingly.
With just six episodes, though, the first season doesn’t have much time to develop much beyond this specific thread — which was a shame, because as the excellent second season proved, there was plenty more to explore. Echoing West’s real-life experience, Annie ends up finding and calling him out personally, a moment that’s shocking to him and exhilarating for her. Annie (co-creator Aidy Bryant), a writer for a weekly paper called The Thorn, had spent most of her life shrinking herself to fit society’s standards, but is forced to confront her issues as she confronts an internet troll who had made it his business to bully her relentlessly about her weight. Based on Lindy West’s memoir of the same name, the Hulu comedy spent much of tis first season fixated on a single cataclysmic event.

"Wrath of Man" wasn't the only new nationwide release. Sony Pictures opened "Here Today," a comedy with Tiffany Haddish and Billy Crystal, in 1,200 North American venues. Even by pandemic standards, that's a dismal start for a major studio release featuring two household names in Haddish and Crystal. It pulled in $900,000 over the weekend, landing in seventh place on box office charts. The film, directed by Crystal, follows the unlikely friendship between an aging comedy writer and an up-and-coming singer and received mixed reviews.
Overseas, where Miramax is handling distribution, "Wrath of Man" has taken in $17.6 million to date. The movie opens wide in China on Monday.
At the very least, it's something to keep film exhibitors afloat until moviegoing is expected to pick up with Disney's "Cruella" and Paramount's "A Quiet Place Part II" at the end of the month, followed by "F9," the musical "In the Heights" and "The Hitman's Bodyguard's Wife" in June. It's hardly the start to summer movie season, which typically kicks off the first weekend in May, that many theater owners were hoping would ignite with Marvel's "Black Widow." (Disney recently moved the release of its superhero tentpole starring Scarlett Johansson from May 7 to July 9).
The animated kids movie, which is currently available to rent on Disney Plus for a premium fee, landed in fifth place and added another $1.8 million from 2,315 venues. That brings its domestic tally to $43.8 million. There were several holdover titles that earned considerably more money than "Here Today." In its 10th weekend of release, ticket sales for Disney's "Raya and the Last Dragon" increased 25% from the weekend prior.
Among indie releases, Oscilloscope's "Silo" premiered to $51,689 from 208 screens, translating to $249 per location. Billed as the first movie about "grain entrapment," "Silo" is set in a small American farm town. Disaster strikes as a teenage boy gets trapped inside a train silo and faces the potential of getting buried alive.” /> The movie also opened this weekend on video on demand platforms.
"The numbers don't feel yet like summer, but a movie like 'Wrath Of Man' can certainly get consumers in the mood for the upcoming summer kickoff on Memorial [Day] weekend," he said. Paul Dergarabedian, a senior media analyst at Comscore, anticipates the summer box office won't rebound until "Cruella" and "A Quiet Place Part II" debut on May 28.
"Wrath of Man," a heist thriller starring Jason Statham, is leading box office charts with its $8.1 million debut.
Kong" crossed $92 million in the U.S. this weekend and has a shot of becoming the first pandemic-era movie to surpass $100 million at the domestic box office. Kong" and "Demon Slayer: Mugen Train" have been encouraging. In North America, the box office has returned in fits and starts as COVID-19 vaccination rates rise and major movie markets, such as New York City and Los Angeles, loosen capacity restrictions in theaters. That should help cinemas sell more tickets and, in turn, give Hollywood the confidence to roll out big movies. Though its momentum has slowed, "Godzilla vs. In the meantime, receipts for "Mortal Kombat," "Godzilla vs.
The movie, which is playing on HBO Max for no extra cost to subscribers, has generated $37.8 million in North America and $72 million worldwide. and more than $435 million globally. After three weeks on the big screen, the anime hit "Demon Slayer" slid to second place and pulled in $3 million. 3 spot with $2.3 million. It has made $39 million in the U.S. Falling not far behind, the Warner Bros. video game adaptation "Mortal Kombat" landed in the No.
Critics were less impressed (it holds a 66% average on Rotten Tomatoes), but several reviewers pointed out that plot aside, the action was fun to watch unfold on the big screen. Ticket buyers appear to be pleased with their purchase; the film has an "A-" CinemaScore from moviegoers. Unlike "Godzilla vs. Directed by Guy Ritchie, "Wrath of Man" represents a pandemic anomaly because it's having a traditional theatrical release. If audiences want to see a vengeful Statham kick ass and take names, the only place to do so is their local theater. Kong" or Disney's "Raya and the Last Dragon," the MGM film isn't available simultaneously on a streaming service or digital rental platform.
With $422 million at the global box office, the monster mashup has surpassed revenues for its predecessor, the poorly reviewed, mega-budgeted "Godzilla: King of the Monsters." That film, which was released in 2019, tapped out with $386 million. Kong," also from Warner Bros., came in fourth place with $1.9 million. "Godzilla vs.

"As we head into the summer and continue to scale out the backend, we plan to begin opening up even further, welcoming millions more people in from the iOS waitlist, expanding language support, and adding more accessibility features, so that people worldwide can experience Clubhouse in a way that feels native to them," the blog post continued.
Other English-speaking markets, and soon the rest of the world, will also be able to experience Clubhouse on Android in the coming weeks. today. During Sunday's town hall, the audio-only social platform announced the rollout for their Android app, which is available to download for all Android users in the U.S.
After over a year of exclusivity on iOS, Clubhouse is expanding to Android users.
"Our plan over the next few weeks is to collect feedback from the community, fix any issues we see and work to add a few final features like payments and club creation before rolling it out more broadly," Clubhouse founders Paul Davison and Rohan Seth wrote in a blog post announcing the launch.
Android users can pre-register in the Google Play Store to be notified immediately when Clubhouse becomes available to download in their area. Despite the expansion, Clubhouse will be maintaining its invite-only method in order to keep the community small as the platform grows.
"With Android, we believe that Clubhouse will feel more complete. We are so grateful to all of the Android users out there for their patience. Whether you are a creator, a club organizer, or someone who just wants to explore, we are so excited to welcome you to the community."” />

NBC noted that "SNL" to date is enjoying its most-watched season in four years based on total viewers with an average of 12.6 million across 17 episodes to date.
The May 8 edition of "SNL" averaged a 4.8 household rating in Nielsen's overnight metered markets and a 2.7 rating in adults 18-49. Musk tied the ratings mark set Oct. in the music slot. 24 with the episode hosted by Adele with H.E.R. 3 season premiere fronted by Chris Rock. 3 behind Dave Chappelle's outing as host on Nov. 7 and the Oct. That put Musk's episode at No.
Elon Musk's turn as "Saturday Night Live" host brought the NBC late-night mainstay its third-highest ratings of the season.
“I could say something truly shocking — like I drive of Prius,” he said.
"SNL" will close out its 46th season with two more original episodes: May 15 with host Keegan-Michael Key and musical guest Olivia Rodrigo and the May 22 finale with host Anna Taylor-Joy and musical guest Lil Nas X.” />
During his monologue, he joked about “SNL” being live and the risk that posed for him. Musk has been scolded by financial regulators for his pronouncements about his publicly held businesses in unusual channels for a CEO.
For the first time ever, “SNL” was also live-streamed on YouTube in more than 100 countries. Musk's prominence in social media and his status as one of the world's wealthiest moguls  boosted interest in his appearance on the sketch comedy series.
Musk marked the rare choice of a business world personality to host the NBC late-night institution although his pop culture profile has grown in recent years thanks to some of his antics and business ventures, all of which were spoofed on "SNL." Musk, the CEO of Tesla and SpaceX, made headlines by revealing that he has Asperger syndrome during his opening monologue.
The most recent "SNL" original, the April 10 edition hosted by "Promising Young Woman" star Carey Mulligan, averaged 3.6 rating in 44 overnight metered markets that measure late-night weekend viewership, and a 1.5 in adults 18-49.

Like the Black Plague cleanup crew in “Monty Python and the Holy Grail” — the occasionally too-efficient “bring out your dead!” guys — it doesn’t matter whether the corpses they come across are even fully deceased: The collectors toss the bodies into the back of their cart either way. Should the poor souls turn out to still be alive, they can always sell them for precious cans of scarce food back at the depot. In the opening scene of Chino Moya’s grimmer-than-Grimm dystopian fairy tale collection, “Undergods,” a pair of grungy near-future garbagemen scour the ruins of a ghostly former metropolis looking for bodies.
Each of the three chapters plays like a downbeat parable, but instead of lingering on the final sad-trombone twist — the fatalistic “wah wah” of life’s inevitable unfairness — “Undergods” just moves along to its next set of victims. The dream does not end happily, if it was even a dream to begin with. Moya interweaves his three tales in such a way that it’s not always clear where reality is meant to leave off. That’s because the stories take place in a world more recognizably our own than the dreary, “Delicatessen”-like framing device, where Vangelis-style synth music underscores the surrealism and Soylent Green is on the menu.
The two corpse collectors (Johann Myers and Géza Röhrig) begin the journey by talking about their dreams — not happy dreams, but the kind that continue to haunt you hours after waking. As K shares his latest nightmare, Moya cuts from a fly-infested pile of bodies to an extreme closeup of a sludge-like stew in a couple’s kitchen. The set suggests an Edward Hopper painting, as harsh overhead lighting casts shadows into the actors’ eye sockets. He says he has locked himself out and asks to stay the night. A man (Michael Gould) and his wife (Hayley Carmichael) are having dinner when a kindly-seeming stranger (Ned Dennehy) buzzes. Then he proceeds to make himself at home — which is to say, he adjusts the apartment to his own tastes, seduces the wife and so on.
Side characters from the first segment introduce the second, as a girl asks her father (Khalid Abdalla) for a different bedtime story and receives in return a not at all child-appropriate fable about a businessman (Eric Godon) who attempts to steal the blueprints for a device almost certain to make him rich, only to have the inventor (Jan Bijvoet) retaliate in kind. This yarn is familiar enough to have been recycled from Aesop or some medieval text, though the visuals place it in the same vaguely soviet realm as the rest of Moya’s movie. Just when it seems to be reaching its climax — as the man and his would-be son-in-law (Tadhg Murphy) fumble their way through the dark — the characters tumble into the clutches of K and Z.
No wonder Scott connected with the film, coming on as an executive producer of a project that could conceivably take place in another corner of the future world he once imagined (and whose English-speaking ensemble hails from all over the world, cast for the forlorn, chiseled look of their faces). If “Blade Runner” depicted culture advancing in one direction, toward flying cars and neon skyscrapers, then “Undergods” spins the globe in the opposite direction — to a place where technology has stalled and all that remains is the elephant graveyard of a once-idealist industrial city.
Moya doesn’t specify when his movie is set — as in the films of Terry Gilliam, this future is cobbled together from discarded parts of our past — and yet the politics of “Undergods” directly relate to the power shift at play in the world today. It preys on the anxieties of those least willing to relinquish their position, while celebrating those who’ve been crushes beneath their heels for so long. Once all the episodes have played out, there’s a disconcerting yet clearly intentional sameness to the film’s various parts. In Moya’s imagining, the underdog is elevated to hero, while the gods who’ve controlled them for centuries are toppled like so many soviet statues.” /> Coming at the same themes from different angles, the three lessons serve to upend the comfort and perceived control that fathers, husbands and first-world patriarchs have traditionally enjoyed.
Between that twisted introductory vignette and the three uniquely cynical episodes that follow, “Undergods” displays a sense of humor so dour that the movie can’t rightly call itself a dark comedy. Moya’s vision may be bleak — and “vision” is the right word to describe the Spanish-born director’s stunning capacity to create images and atmosphere — but there’s something unnervingly familiar about the world he creates in his feature debut. “Horror” would be more appropriate, even though its maker clearly intends this “Twilight Zone”-adjacent collection as a form of bleak social satire, one that looks like a cross between Franz Kafka and the Orwellian “1984” Apple commercial directed by Ridley Scott.
But even if he’s taken us down this road before, the execution is unpredictable enough to keep things interesting. In fact, the two situations are so similar, it’s not clear why Moya felt compelled to include them both. Audiences may not even realize that chapter has ended when the next begins, since the two seem to overlap in a gulag-like prison where a man named Sam (Sam Louwyck) has been eating gruel and sleeping on cold cement floors for 15 years. Sam’s return instantly destabilizes household, much as the stranger’s arrival did in the first story. And then one day, he shows up in the living room of his former wife (Kate Dickie), who has since remarried to a sad-sack company man (Adrian Rawlins).

“And the film is an attempt to decolonize that object.” A symbol of power and oppression in many countries, the four-by-four in Haiti is also “a physical sign of colonization,” Licha says.
Montreal filmmaker Emanuel Licha’s new film—which won the juried award for best Canadian feature at Hot Docs—takes its title from the nickname Haitians have given the Toyota Land Cruiser, a popular mode of transportation among the humanitarian aid organizations ubiquitous in the country since the 2010 earthquake.
“Thirty years ago, as a geography grad student, I participated in a research project in West Africa,” he says. “I was very naive about international humanitarian aid. Soon after I—a white man—arrived, I was put into a four-by-four truck and also into this world of privilege. It was a shock.”
His first feature-length documentary, “Hotel Machine” (2016), which screened at several notable European festivals, looked at the work of foreign media in war or conflict zones by focusing on the hotel—the stereotypical haven in Hollywood war films. After ditching geography for visual arts, Licha began centering his work around specific spatial and architectural objects in order to examine how the human gaze is shaped.
In a conversation Friday, Licha tells Variety that his first encounter with the vehicle, 30 years ago, sparked his thought journey toward the film.
During pre-production in Montreal, Rodeney Ciriu, a sociology professor from Haiti working on his PhD at the University of Montreal, helped Licha identify potential subjects. (Ciriu also was present during filming.)
“Rodeney knew people from his activist and academic connections that had something they wanted to say,” Licha says. “We also had a sign in Creole on top of the vehicle with the film title, what we were looking for, and a phone number—and people contacted us.” There were also unexpected passengers, including an injured man who needed a ride to a hospital in a dangerous part of the city.
“It’s important everyone involved knows they are not being betrayed. It’s hard to explain but I think the reason the film works has to do with care—of the people in the film, of the filmmaking team, and the viewer.”
While scouting in Haiti in 2017, Licha hired Pascal Antoine, a multilingual video producer and citizen journalist, as his local fixer; when it came time to shoot the film in 2019, Licha asked Antoine if he would be the driver and conversation instigator, and he agreed.
“It became a metaphor of the country, in a way,” Licha says, “this driving around and around. At times it feels like there are two films happening, one inside the vehicle and the other outside in the street.
“[The film’s] minimalist controlled tableaus and carefully chosen conversations provide an unflinching gaze at the violent, often self-defeating consequences of foreign aid.” “Emanuel Licha uses cinematic metaphor to evoke the dignity of a people and the human trap that is the international aid industrial complex,” wrote the jury in the official statement about its decision.
In “Zo Reken,” which means “shark bones,” a four-by-four becomes a kind of mobile confessional, as a driver navigates through barricades, demonstrations, and daily life of the Port-au-Prince streets while passengers urgently discuss the state of the nation, the president, neocolonialism, and humanitarian aid.
Distributed by Montreal’s Les Films de 3 Mars, “Zo Reken” was produced and directed by Licha, photographed by Etienne Roussy, and edited by Ariane Petel-Despots.” />
“I was unpacking this object, trying to understand its agency in the way we look at wars,” says Licha, who took a similar cinematic tack in “Zo Reken.”
“We deliberately blur the lines in the film, so [the audience] doesn’t know who the driver is, and characters are never identified—some are famous and others we met by chance,” Licha says.

Kitaen was dating RATT guitarist Robbin Crosby at the time. Born in San Diego, California, Kitaen’s first introduction to the rock world came in 1983 when she appeared on the cover of back-to-back albums by heavy metal band RATT, including the band’s self-titled 1983 debut and the triple-platinum “Out of the Cellar, in 1984.
In more recent years, Kitaen participated in several reality shows, including "The Surreal Life," "Botched" and a season of VH1's "Celebrity Rehab with Dr. Drew," the latter of which filmed in 2008.
Kitaen last tweeted on May 6, thanking a fan for a drawing.
Kitaen had long struggled with substance abuse, as she revealed on "Celebrity Rehab," and had several run-ins with the law, including a charge for cocaine possession in 2006 and driving under the influence in 2009.
"Still of the Night," "Is This Love" and "The Deeper the Love" also featured Kitaen, who was briefly married to Whitesnake's lead singer, David Coverdale, from 1989 to 1991. Kitaen appeared in RATT's "Back for More" music video and later became the video vixen best known for her appearance in Whitesnake's 1987 smash "Here I Go Again," where she displayed her talent for auto acrobatics.

Acting roles followed, most notably portraying Tom Hanks' girlfriend in the 1984 comedy romp “Bachelor Party.” She had additional roles in “Witchboard,” “White Hot” and  “Dead Tides" and also appeared in a "Seinfeld" episode, “The Nose Job.”
She was 59. “Tawny” Kitaen, who famously appeared in several music videos for the rock group Whitesnake in the ‘80s, has died. Julie E. The Orange County, Calif. coroner's office, which listed her as Tawny Finley, stated that she died at her home in Newport Beach on Friday morning, but a cause of death has not been revealed.
They had two daughters together. Kitaen was married to baseball player Chuck Finley from 1997 to 2002.
but, if it is true, my sincere condolences to her children, her family, friends & fans." Coverdale tweeted in remembrance of Kitaen, writing: "Just woke up to some very sad, unexpected news… Waiting on confirmation…” />

Our plan includes the establishment of an independent review board to help guide the implementation of our reform plan.
Read Sar's letter to Sarandos below.
We also are committed to meeting with the personal publicists to understand and address their concerns about the scheduling and conduct of HFPA screenings and press conferences, and to ensure that these concerns are incorporated into our new code of conduct.” />
An open dialogue would help to ensure that we are addressing these concerns as quickly as possible. We would love to meet with you and your team so we can review the very specific actions that are already in the works.
Per our plan, our current members will have to comply with any and all new eligibility criteria just like our new members.
Press conferences are not mandatory for nominations and indeed many nominated shows have never had press conferences.
Dear Ted:
The president of the Hollywood Foreign Press Association wants to meet with Ted Sarandos after the Netflix co-CEO announced that the streamer will no longer work with the group behind the Golden Globes.
The new code of conduct also will enhance our campaign protocols following strict ethical standards and best practices. As our plan states, we are immediately evaluating our code of conduct and that revised code will address the press conference concerns you cite.
We also are committing to a significant DEI training program for our members and staff. Diversity and inclusion is at the core of our reform plan and is one of our foundational pillars. We have committed to bringing on a new DEI consultant immediately, as well as a Chief Diversity Officer, to ensure that these issues permanently remain at the heart of our organization.
Sarandos informed the HFPA that he wasn't satisfied with its plans to overhaul the organization following weeks of criticism for its lack of diversity among members.
Also, we wanted to take the opportunity below to address several issues that you raised and to clarify some misinformation.
Sar wrote he wished to "clarify some misinformation" with Sarandos. "We would love to meet with you and your team so we can review the very specific actions that are already in the works," Sar wrote. "An open dialogue would help to ensure that we are addressing these concerns as quickly as possible."
NBC, which broadcasts the Globes, and telecast producer Dick Clark Productions, praised the HFPA's reform plans to bring greater diversity and transparency to the embattled group. The HFPA's plans have also been criticized by a collective of more than 100 publicity firms, Time's Up and GLAAD.
"We have always valued our relationship with Netflix as we seek to bring news about motion pictures and television to the world. We hear your concerns about the changes our association needs to make and want to assure you that we are working diligently on all of them," HFPA President Ali Sar wrote in a letter to Sarandos late Friday night.
We can assure you that our plan reflects input from our supporters and critics alike, and we truly believe that our plan will drive meaningful reform and inclusion within our Association and in a way that the entire industry can be proud of. We hear your concerns about the changes our association needs to make and want to assure you that we are working diligently on all of them. We have always valued our relationship with Netflix as we seek to bring news about motion pictures and television to the world. We are proud that our plan was overwhelmingly approved by more than 90 percent of the membership—there is no question the membership is embracing this opportunity.
We have also committed to expanding our professional staff. In our plan, we committed to, at a minimum, 50% growth in 18 months, not 36 months, and to reevaluating the size of our membership after the first 18 months as we grow our staff and can accommodate more members.
"So we’re stopping any activities with your organization until more meaningful changes are made. It was revealed on Friday that Sarandos sent a letter to the HFPA on Thursday after members voted to approve the board's proposal to overhaul the group. Netflix and many of the talent and creators we work with cannot ignore the HFPA’s collective failure to address these crucial issues with urgency and rigor.” “We don’t believe these proposed new policies — particularly around the size and speed of membership growth — will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate," Sarandos wrote.

This difficulty was the catalyst for Canada Now to build something new and we couldn’t be more thrilled to support it and share,” Khawar Nasim, acting consul general, Consulate General of Canada in New York, said.” /> “Beyond arthouse cinemas and film festivals, it is often a challenge to locate and watch Canadian film and television projects here in the U.S.
These additional curated sections will change every month to keep things fresh and offer new content.
Telefilm Canada has launched Canada Now, a new portal devoted to highlighting Canadian content in the U.S. The site will add new titles each month to its portfolio, which ranges from recent films such as “My Salinger Year” and “Antigone” to Oscar nominees like “Barbarian Invasions” and “Monsieur Lazhar,” as well as some series.
For the month of May, it will focus on a celebration of Asian Canadians with films including Sandra Oh starring as a struggling single mother whose daughter decides that Taoist magic will make everything better, in Mina Shum’s “Long Life, Happiness and Prosperity”; Oh’s voice can also be heard as Rosie, a Chinese Persian Canadian poet invited to a life-altering poetry festival in Iran, in Ann Marie Fleming’s animated film, “Window Horses”; in Eisha Marjara’s witty comic drama of identity, “Venus,” transitioning woman Sid is surprised to learn that 14 years ago she became a father and now her son wants to get to know his lost parent; Ann Shin’s intense documentary, “The Defector: Escape From North Korea,” moves us through the shadowy worlds of human smuggling along the dangerous Chinese-North Korean border.
The site, developed in collaboration with Telescope, features close to 5,000 productions available across more than 150 VOD platforms.
Telefilm’s Canada Now is run in partnership with the Consulate General of Canada in New York and the National Film Board of Canada.
Every month the site will feature a section on New Arrivals, Classic Films and a spotlight called Indigenous Voices. Canada Now’s monthly boutique curation will spotlight six different programming sections in addition to the searchable database of productions accessible within the U.S.
“After tremendous successes in Europe and other countries around the world Telefilm Canada has partnered with Telescope to develop and build a fully searchable database accessible on one platform. It offers a way to find fresh and inspiring new content as well as thousands of precious Canadian gems from first features to award winning films and series,” Christa Dickenson, executive director, Telefilm Canada, said.

Well, I’m very excited to see you play a villain opposite Amy, who’s just absolute sweetness.
Have you wanted to do a musical like this for a while?
Speaking with Variety as one of 2021's Power of Women honorees, Rudolph described the link between the two disciplines as having some "magical quality" that work in tandem more often than not. The announcement that Maya Rudolph would be joining "Disenchanted" — the sequel to Disney's 2011 hit "Enchanted" — as a villain was exciting news, if not completely surprising. Rudolph has always had an eye — or more accurately an ear — for how music and comedy can combine.
Trust me.” And I know that from watching my friends over the years, these incredible actors that I admire, that they do these fun, arch, large, delicious roles. I remember when I worked at “Saturday Night Live,” I’d go into Lorne [Michaels]’s office really frustrated and say, “I wish people would just write me sometimes like, a wife or a girlfriend. If this had been maybe 15 years ago and someone was like, “Do you want to be the bad guy?” I might’ve said, “Geez, I don’t know.” But I’ve come to learn in my many years that the most fun thing you get to do is when you get to play The Most. Why do I have to be a weird character in a wig?” And he was like, “You don’t want to play the wife.
“Enchanted” takes and twists a lot of Disney references. I feel like the villains always have the most fun in Disney movies, anyway. Are you taking any cues from Disney villains? Who are your favorites?
I don’t know if you’ve watched “Dynasty” lately, but if you’ve watched any scene, it’s so good. When you’re a kid you’re like, “ugh why is the evil stepmother so awful? Why do they have to be so bad? There are so many good ones. I like the women. It’s the most fun. That’s the thing! So arch, dramatic and campy all at once. The Queen is such a jerk, what’s wrong with her?” But now that I see all the nuances and the fun ways to play things, it’s just high drama. They always have the most fun.
He reached out and he just had this very, cat-got-the-canary look in his eye like he knew that what he was going to tell me was gonna be good, this is gonna be really fun. Well, I’ve known Adam [Shankman], the director, for a long time, and Amy too, actually. I don’t know when that switch happened, but I’m finally at a place where I feel like people understand what I do. It’s nice to be in a place work-wise where I feel like I can finally allow what I’ve done to speak for itself so I don’t have to explain who I am or what I do to the world.
You know you’re gonna have fun. Sometimes when I’m working on something I love, I kind of pinch myself and go, “oh right, this is why I want to do this.” Just this giddy feeling of putting on a show together, it’s the best possible feeling. “Disenchanted” is the epitome of what it feels like to be in a school play.
I know you can’t tell me anything specific about "Disenchanted," but I’d love to hear how you got involved.
What was it about this particular movie and character that appealed to you?
You’re either good at them or you’re not.” When it comes down to it, Rudolph continues, music and comedy are "kind of the same language, weirdly. They’re both things that, when they’re done well, they can’t really be taught.
I mean, I didn’t realize the original “Enchanted” was 10 years ago, which is pretty crazy. One of the elements is just the joy of it, and the fun of getting to do something that is obviously a romp. The minute she opens her mouth you’re like, “I’m totally transported. And obviously, Amy as Giselle is just, I couldn’t think of anyone more perfect. You are a dream come true.” She’s such a gifted human being. It was just done so beautifully, and with the right sense of humor and the best songs. So that part is like, knowing you’re walking into something that’s already so well thought out and crafted, and feeling lucky enough to get invited to be a part of that. It really was the first time I saw something ape itself in the right way.
When I was a kid I thought, “oh, I’m gonna grow up and move to New York and be on Broadway!” Music plays a really big part in a lot of the work that I do and I like to combine the two, but I don’t really know anymore if I have the stamina to actually be on a stage doing a musical every night. The answer plain and simple is, I think I have. The sweet spot where I get to try everything all at once. So this is the best of all possible worlds for me, I feel like.
The day after the film's first table read, Rudolph talked with Variety about being approached for the role, her inspirations for playing it and the ineffable charm of co-star Amy Adams. Rudolph has proved over the years that she's great at both, but the "Disenchanted" role provides a new kind of opportunity that she can't wait to explore.
We’re all in on it because we love it and can appreciate it that much more. That’s what makes it such a brilliant movie. I feel like when you’re an audience member that’s in on the joke, you feel like part of the team. It’s such a fun way to watch it. What’s so fun about “Enchanted” is that it’s got the free rein to be self-aware. Everyone is in on the joke.
"Growing up, I do believe there was much more of an understanding that they were from the same place," she says. "I didn't recognize it as a kid, but looking back, I watch some home movies and see my mother playing a show with the Smothers Brothers. They just come from the same kind of world and share that sort of showman quality." "I remember a kind of marriage between music and comedy," she says of her childhood, when she was around plenty of musicians thanks to her mother, the late singer-songwriter Minnie Riperton.
(Pictured: Maya Rudolph, Amy Adams from "Enchanted")” />
I can’t imagine anyone else carrying that so beautifully and authentically. The idea that you’re going to get to play with her is what the joy of it is going to be. It’s very cool. She’s just otherworldly, you know? There’s some pretty heavy-hitters that I get to join, so I feel very lucky to be invited to the team. It makes it that much more fun. Giselle is such an unbelievably well-crafted character and so singularly creative.

“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward," an Amazon Studios spokesperson said in a statement.
We hear your concerns about the changes our association needs to make and want to assure you that we are working diligently on all of them." HFPA President Ali Sar responded to Sarandos' letter, writing that the organization has "always valued our relationship with Netflix as we seek to bring news about motion pictures and television to the world.
Golden Globe winner Mark Ruffalo also chimed in on Twitter, saying that he "cannot feel proud or happy about being a recipient of this award" unless the organization "steps up."
Representatives for the HFPA did not immediately respond to Variety's request for comment.
Netflix and many of the talent and creators we work with cannot ignore the HFPA’s collective failure to address these crucial issues with urgency and rigor.” So we’re stopping any activities with your organization until more meaningful changes are made. Netflix co-CEO Ted Sarandos sent a letter to the HFPA's leadership committee on Friday, which reads: "We don’t believe these proposed new policies — particularly around the size and speed of membership growth — will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate.
The article also detailed that the organization had paid large sums to members for serving on committees and accepted lavish junket trips. The HFPA first came under fire in February after a Los Angeles Times investigation revealed that they had not had a single Black member in their ranks in over two decades. In April, the HFPA was once again hit with controversy when it was revealed that a former president, Phil Berk, had sent an email to members calling Black Lives Matter "a hate movement." Berk was then removed from the HFPA.” />
In a statement to Variety on Saturday, Johansson revealed that she has shied away from HFPA press conferences due to "sexist questions and remarks," and said that she believes the industry should distance itself from the organization unless further reforms are implemented.
Amazon Studios has also issued a statement, echoing the recent criticism from Netflix, Time's Up and others regarding the HFPA's latest reform plan. The plan, which was approved on Thursday, includes measures to increase the number of people of color in its membership and restrictions on gifts and payment for members' work on committees.
On Friday, a group of more than 100 publicists expressed their concerns about the HFPA's overhaul, writing: “We will continue to refrain from any HFPA sanctioned events, including press conferences, unless and until these issues are illuminated in detail with a firm commitment to a timeline that respects the looming 2022 season reality."
Scarlett Johansson has spoken out against the Hollywood Foreign Press Association, urging the industry to "step back" from the organization until it puts more substantial reforms in place.
In the past, this has often meant facing sexist questions and remarks by certain HFPA members that bordered on sexual harassment. It is the exact reason why I, for many years, refused to participate in their conferences," Johansson said. “As an actor promoting a film, one is expected to participate in awards season by attending press conferences as well as awards shows. Unless there is necessary fundamental reform within the organization, I believe it is time that we take a step back from the HFPA and focus on the importance and strength of unity within our unions and the industry as a whole.” "The HFPA is an organization that was legitimized by the likes of Harvey Weinstein to amass momentum for Academy recognition and the industry followed suit.
Meanwhile, Amazon Studios said that it is awaiting significant change before resuming work with the HFPA, which puts on the Golden Globes each year.

Christina Aguilera
“The Mickey Mouse Club”
“The Mickey Mouse Club”
Britney Spears
Crawford earned an Emmy nomination for supporting actor when he was just 13. Crawford was one of the original Mouseketeers but had more of an impact on showbiz on “The Rifleman,” starring Chuck Connors. He died April 29.
Still other doors opened, including hit feature “Waitress,” and of course, her Emmy- and Golden Globes-nominated turn on spy drama “The Americans.” In her breakout hit series “Felicity,” Russell portrayed the ultimate late-’90s young woman. Maybe she was known too much for her gorgeous hair and not her talent, but she caused an outcry when she chopped off her locks. But before that, in the early 1990s, she made a stop at the “Mickey Mouse Club.” After her stint there, the busy young actor guest starred on a lot of shows before landing as the titular Felicity in the influential series.
 ” />
“The All-New Mickey Mouse Club”
“The All-New Mickey Mouse Club”
“The Mickey Mouse Club”
“The All-New Mickey Mouse Club”
All that training on the “MMC” made Timberlake a consummate performer, in demand for everything from soundtracks to guest appearances on "Saturday Night Live” to the Super Bowl. He transitioned into an even bigger solo pop career, landing 10 Grammys and 39 nominations. A breakout star from the series, Timberlake really hit it big in Ur boy band *NSYNC (with fellow “MMC” castmate JC Chasez). He took home an Academy Award for “Can’t Stop the Feeling” from 2016’s animated “Trolls” (he also voiced the troll Branch in the film and its sequel).
“The All-New Mickey Mouse Club”
Petersen, who's also written and published several adventure novels, continues to fight for kids in Hollywood. A busy child actor in the 1950s, Petersen gained fame as one of the original Mouseketeers. He then starred in the hit series “The Donna Reed Show” until 1966, when his career took a hit. Petersen was no longer in demand, and he stumbled badly. But instead of playing out the stereotypical child-actor demise, he launched a non-profit, A Minor Consideration, to advocated for the rights and well-being of young performers.
After the beloved star disclosed that she had multiple sclerosis, she launched a nonprofit to fund research for a cure. She died in 2013. As rock ’n’ roll took off, the girl with the Italian name on the wildly popular series galvanized young fans across America with her wholesome charm and charisma. She also starred in a variety of TV series, but made another indelible pop culture mark in a series of beach party movies, including “Beach Blanket Bingo” and “How to Stuff a Wild Bikini.” Funicello also had a series of pop hits and continued to occasionally guest star in TV series and movies, as well as in commercials for Skippy peanut butter. A 1950s superstar in the vein of Elvis, Funicello was discovered by Walt Disney. Her stardom was so great that she became simply known as Annette.
Another one of the original cast, Grady was a busy young actor who found bigger fame on the hit TV series “My Three Sons,” playing son Robbie to Fred McMurray’s dad from 1960-72.  Grady died in 2012.
She battled mental-health issues, marriage, kids and divorce in the very public eye, entering a now-controversial conservatorship with her father. The Grammy-winner kept releasing music, leading a wildly successful Vegas residency that ended in 2019. … I Did It Again,” landing a provocative cover on Rolling Stone and becoming a pop-culture icon. After her 1993-95 gig on “MMC” ended, she took over pop music with her 1999 monster “… Baby One More Time,” and following up with “Oops!  A recent documentary, “Framing Britney Spears,” brought her back into the spotlight and showed audiences a different side of the star. The former “Star Search” contestant always seemed destined for superstardom.
Gosling was a teen heartthrob, and while his breakout role in 2004’s "The Notebook” established him as a smoldering love interest, Gosling quickly took a left turn, grabbing roles in such eclectic fare as “Half Nelson,” for which he earned an Oscar nom, “Lars and the Real Girl,” “Drive,” “Blade Runner 2049” and “Only God Forgives.” Being a Mouseketeer also trained him for the singing and dancing in his Oscar-nominated “La La Land” lead role. The actor spent 1993-95 on the show honing his performing chops.
He continues to perform and write songs. The performer joined castmate Justin Timberlake in *NSYNC, which helped redefine pop music and opened the door for groups such as New Kids on the Block, 98 Degrees and Backstreet Boys.
JC Chasez
“The Mickey Mouse Club”
Her latest album, “Liberation,” was her seventh top 10 album. She’s starred in “Burlesque” with Cher, was a judge for six seasons on “The Voice” and won five Grammys. At 11 years old, Aguilera voice wowed everyone on the “MMC” with her powerful voice. Her Las Vegas residency was cut short because of the COVID pandemic. From 1993-95, the former “Star Search” contestant was selected to record “Reflection,” for the Disney animated movie "Mulan,” then solidified stardom with debut, “Genie in a Bottle.” Like fellow castmate Britney Spears, Aguilera cannily turned pop princess tropes upside-down, a challenge to convention backed up by her stunning vocal talent.
But who are the greatest Mouseketeers? It’s a list ready for debate between boomers and gen Z. The original “Mickey Mouse Club” launched the career of Annette Funicello, who occupied a beloved niche in audiences’ hearts for six decades, and the 1990s revival produced Oscar nominees and artists who’ve sold tens of millions of albums and redefined pop music and pop culture. March marked the 65th anniversary of the wrap of the first season of the “Mickey Mouse Club,” and the recent death of one of the original Mouseketeers, Johnny Crawford, reminded fans of the enduring talent that the show, and especially its early 1990s iteration, brought to the entertainment industry.
Keri Russell
“The All-New Mickey Mouse Club”
Annette Funicello
Johnny Crawford
Don Grady
Ryan Gosling
Justin Timberlake
“The All-New Mickey Mouse Club”
Paul Petersen

 This becomes all the more apparent when Vlad and Go Go happen on to the erudite, enslaving Pozzo (portrayed with icy, rhythmic grace by Trotter of The Roots) and the enslaved, rubber-faced Lucky (Shawn). By keeping Beckett’s characters in (in)convenient squares, and occasionally pandemic-masked, director Elliott quietly explodes the deepest roots of Vladimir and Estragon’s intertwining isolationism while heightening mankind's distance from each other and its absolute universality.
For this smart, lockdown-era, streaming iteration of Samuel Beckett’s show about nothing — and also everything, perhaps, and electric alienation for sure — director Scott Elliott and his tramps Ethan Hawke, John Leguizamo, Tarik Trotter and Wallace Shawn play the absurd theater classic “Waiting for Godot” as a low-lit, (mostly) subtle series of daft conversations that touch on everything from carrots and turnips to slavery, man’s inability to see, God’s unwillingness to show up, smelly feet and smellier breath. That Beckett’s holy/unholy chatter resembles the idiomatic colloquial-ness and cheer of longtime acquaintances (rather than the staid staginess we’ve seen in previous versions) helps the cast give off the vibe of lost Gen X-ers, now in their 50s, walking briskly toward an ever-dimming future.
When Estragon speaks of a life of compartments with no lack of a void, Leguizamo all but reaches out to mime the invisible wall — but masterfully pulls back, and doesn’t make the void so readily attainable. Mostly that minor-case freneticism comes from Hawke playing Vladimir as a junior league, dude-abiding Lebowski – one more caffeinated than White Russian-soaked — and Leguizamo playing Estragon as a quirkily humorous bug with tender but twitching eyes, and just a hint of the dancer about him.
Sure, Hawke toys with literal monkey business when Beckett’s still-crisp script calls for it, and you can hear his every swallow and pucker as he slurps the soup of Beckett’s elastic language. Bathed in amber, taking place in Zoom squares (with title screen announcements, no less) filled with work-a-day tchotchkes, Hawke’s Vladimir and Leguizamo’s Estragon (or the more familiar ‘Go Go’ to Vladimir) play off the easy naturalism of the absurd (and their laptop cameras) with little scenery chewing. As for Leguizamo, he picks his toenails and flails his arms like he’s voguing when he’s not offering oddly accented variations of the word ‘Adieu,’ or making himself crankily discontent at every turn.
Besides, if any of Godot's characters grow weary or bored by Beckett's dire, dry wit, the play's length, or each other's dippy exploits, they can simply turn off their laptop screens. So can the audience.” />
Yet their movements are fluid, gently intrinsic extensions of each man’s personality (as well as their characters' ever-present psychic quarantine), rather than mawkish improvisational studies. When Leguizamo and Hawke trade chapeaux, scratch their imaginary bowlers and make Stan Laurel faces, it’s as if we’re transferred to a silent film comedy.
There is a haughtiness to Trotter’s wide, toothy grin, and his record-scratching lyrical patter is irresistible. Trotter, still a fresh-to-the-stage thespian, more than holds his own with his veteran costars. His cool hamminess naturally enslaves and engulfs the braying, tic-like demeanor of the predominantly silent Lucky. As soon as he enters the quartered Zoom stage, his stateliness fills all four squares. When Shawn’s face creases and blubbers through a dozen different emotions, he recalls Bert Lahr (who appeared in the 1955 American debut of “Godot”), and when Lucky’s monologue unfurls, it is as an elegant musical suite of whimsy and woe.
With that, the icy playwright’s looming tone and slow pace manages to become warm, even sprightly, with such a riveting cast moving and waiting at once. Most events top out at 90 minutes, even seeming to fudge or rush dialogue and movements. Fortunately, however, each actor on the “Godot” team makes the wait worthwhile, and the curiosity of the existential urge more palpable, more richly attainable. At a little over three hours in length, Elliott’s laptop “Godot” stretches the limits of how long most audiences have been given to endure online theater.

Carrey is in Vancouver, Canada to shoot "Sonic the Hedgehog 2" and wanted to show his appreciation for the crew's hard work by holding a raffle, for which the grand prize was a Chevy Blazer RS, Variety has confirmed. It retails for approximately $40,000. The winner, who was picked Friday morning, worked as a grip.
Robotnik for the "Sonic the Hedgehog" sequel. Last we saw Robotnik, he was expelled from Earth, but swore to return and exact revenge. Things could get tricky for Sonic, as his nemesis still posses one of his quills. In last year's movie, he starred as the villain intent on capturing Sonic to exploit the blue anthropomorphic hedgehog's abilities for personal gain. The Toronto native will return as the evil Dr.
Others, like Jim Carrey, do so by gifting a new car. Some people express their gratitude with a thank you note.
"Sonic the Hedgehog 2" also stars James Marsden, Ben Schwartz and Tika Sumpter. Directed by Jeff Fowler and written by Pat Casey and Josh Miller, it is set to premiere in April 2022.
The action adventure comedy debuted just before the United States went into lockdown, prompting it to become one of the first movies released early on home entertainment after theaters shuttered as a result of the COVID-19 pandemic. Nevertheless, "Sonic" earned the No. Adapted from the classic Sega video game franchise, "Sonic the Hedgehog" released in February 2020. It dove into Sonic's life in his new home on Earth as he fought to defend the planet from Robotnik. 1 opening weekend of all time for a movie based on a video game.
TMZ was the first to report the news of Carrey's good deed.” />

The network offered no word about whether the live-stream would be supported by advertising, but noted the digital maneuver would make the venerable program available in more than 100 countries ranging from South Africa to New Zealand.
As a greater part of late-night TV audiences watch the shows later, at times of their own choosing, TV networks have started to experiment with how the programs are distributed.
NBC was ready, for example, to make nightly broadcasts of “The Tonight Show Starring Jimmy Fallon” and “Late Night With Seth Meyers” available before their linear broadcast via the company’s Peacock streaming outlet, but that plan clashed with the needs of the company’s local affiliates.
Mote to come” />
NBC started broadcasting “Saturday Night Live” live across the U.S in 2017. Now the network is preparing to live stream the show around the world.
The network said tonight’s broadcast, hosted by Elon Musk, would be shown around the world via YouTube, a new attempt to broaden the audience tuning into the program at a single moment.
 We thank our international partners and YouTube for helping us make it happen.” “‘SNL’ is a global phenomenon and this livestream marks the first time audiences around the world will experience the show simultaneously along with the US,” said Frances Berwick, chairman of NBCU’s entertainment networks, in a prepared statement. “It’s incredibly exciting to create this worldwide event with host Elon Musk and musical guest Miley Cyrus.

You can like Olivia Rodrigo as much as you like AC/DC and no one thinks that's weird. It's miraculous. So why would you want to stay in one box?" "And you can also listen to Olivia Rodrigo and then listen to something recorded 70 years ago. And that's musical utopia for me," Martin said. "Right now in 2021, everyone's doing everything.
"Higher Power" follows up Coldplay's Grammy-nominated 2019 album "Everyday Life." He explained that the title had been around for a while, but the song itself took a bit more time, noting "if you go on my phone there's like 15 abandoned 'Higher Powers' that aren't that good.'" Martin also said that he had the same feeling about the song he did with "Viva La Vida" after their first demo session with Max Martin.
"'Higher Power,' in our whole catalog, there's probably 15 songs where that's happened where it basically just… lands," Martin told Lowe. And I think he didn't know if I was going to let him that deeply in, if you see what I mean. "I think that for whatever reason where [Max] is in his life and where we are in ours, it felt really fresh for both parties. You'd have to ask him, but I think it's been more enjoyable for him than us just saying, 'Here's the song, don't touch it but add some sparkly stuff.'"” />
Martin also took the chance to reflect on the band's growth, explaining they were constricted to their label as "a white indie band" in their early days. It's all part of the blurring of genre boundaries. But, with wisdom from age and the evolving cultural landscape, things have changed. By caring less what others think, he and the band are more creatively free and feel confident in releasing pop hits and indie songs alike.
In addition to discussing the band's creative evolution over a decades-long career, Martin broke down what it was like to work with legendary pop producer Max Martin. As part of the rollout for the release of Coldplay's new single "Higher Power," Chris Martin joined Zane Lowe on Apple Music 1's New Music Daily earlier this week.
Watch the full interview below:

It’s a lifestyle. That’s the part that I like, and this is just the beginning.” Pointing to Triller’s start as a low-key editing app, Swizz is quick to note the company’s progress. It’s a movement. “It’s a multimedia company now.
“That was crucial.” “We wanted to make everyone whole,” Timbaland says.
Swizz and Timbaland still push the aspects of education and entertainment with curation as key, while seeing artists who have performed on Verzuz (all 46 of them) as family and/or partners in the creative process. With that heightened competition, the Verzuz-Triller partnership suddenly makes a lot more sense.
We wanted to get that story right.” “The story was about love and friendly competition. “The first season was a masterpiece,” Timbaland says simply.
SWV battle “was something that needed to happen.” “It has nostalgia attached to it, bringing back our favorite artists for fun battles — that’s genius. “It’s cool that they took something that was clearly social — since it’s natural for everyone to be on social media during a pandemic when everyone was isolated at home, bored — and found something for all of us to join in on,” she says. I always try and take things I love doing and make money out of them.” All parties Variety spoke with for this article declined to comment on the multiple sexual-abuse allegations against Cottle and her husband T.I., although Burruss did say that Cottle was the one who insisted that an Xscape vs. Plus, to be able take something you love, that is fun and make it into a business — I relate to that as a businessperson.
With heightened competition, voting buttons, and dynamic production part of the immediate future of Verzuz, all parties are looking ahead to something that they thought about often during lockdown: a Verzuz live show.
All the signs were telling the Verzuz CEOs that they had a serious media company on their hands. That meant finding a partner that was both serious, but, in Swizz’s words, “Could take any crazy idea that we had and make it a reality.” Which they had with Apple.
“Once we got this app, I went to people in the hip-hop community and said, ‘If we all work together on this we can build our own community and tell our own stories, but I need you guys to buy in,’” Sarnevesht says. “They all bought in.”
My thing is that we can still keep it real, but we can totally put quality and integrity first. Triller’s cinematic look — with a dozen cameras rather than one shot — and richness of design were also a big part of the appeal. While crediting their long-time partner in sound, Roland, for fixing its early glitches and boosting its production, Swizz says, “Now, we’re just a better produced show. Everybody on the show is real, everybody behind the show is real — how much more real do you need to get?” Everyone expects a show such as ours to stay raw and gritty, stay in that low place.
Erykah Badu, Snoop Dogg vs. The artists also all saw a big bump in their catalogs’ streams in the days after the event. Launched in March of 2020 on Instagram Live by veteran hitmakers Swizz Beatz and Timbaland, the series quickly became a massive lockdown hit, drawing hundreds of thousands of viewers, and followed with matchups ranging from lovefests like Jill Scott vs. Monica — which drew the first biggest audience to date, with 1.2 million, which was eclipsed by genuine rivals Jeezy vs. “My catalog jumped over 300 percent by the next morning,” Scott told Variety last year. “So did Erykah’s.” Verzuz partnered with Apple Music last summer, which brought it to the next level. DMX, and Alicia Keys “vs.” John Legend, while others present artists who genuinely had differences in the past: Brandy vs. Gucci Mane, with 1.8 million.
There were a lot people who came together during a very trying time, and when Tim and I thought about any deal, it had to include us and 40-something people. It took a pretty different place to accept that thought.” “We had a lot of deals on the table,” Swizz says. “But once Verzuz became big, Tim and I realized that it shouldn’t be big for just me and Tim.
“We needed a team that wasn’t scared and were super-disruptors and risk-takers,” Swizz says. “You can find companies that have a shitload of money, but they’re not thinking disruptively or strategically.” Triller also has marketing aggression to matched their frenetic visual look and feel.
“Apple never let us down,” Swizz says. “It’s just that, the infrastructure where Tim and I wanted to go, moving forward, was in a different, unorthodox space.”
With co-owner Ryan Kavanagh titling it “the adult version of TikTok,” Triller has become, since 2019, a popular, short form-focused video-led social app, with input from business partners/creatives such as The Weeknd, Marshmello, and managers such as Gee Roberson of the Blueprint Group. Its big play is in sports, where it features regular programs such as Triller Fight Club, with a co-owner in Snoop Dogg and performers such as Justin Bieber.
Verzuz was also concerned with taking care of its family and community — so much so that the artists are part of the Triller deal. Not only did Verzuz’s CEOs join the Triller management team, they shared a major portion of their equity stake to the 46 creatives who had appeared on Verzuz.
When Verzuz announced on March 9 that it had left Apple Music for a new partnership with the social video platform Triller, the relationship seemed like an incongruous one. While there is tons of music on Triller, there wasn’t anything really like Verzuz, which pits classic hip-hop and R&B artists and producers against each other in a (mostly) friendly DJ battle, where the audience votes socially on whose catalog is stronger.
“We looked around and realized we’re streaming more than daytime and nighttime television, important award shows and online concerts.” Taking two months off to reflect and reboot, Swizz envisioned Verzuz Season 2 as “going back to the streets, more on the ground than the heights where we ended Season 1.” He got that with the Gucci Mane vs. Jeezy pairing last November. “But we never wanted to play a numbers game or chase rating – curation’s our thing,” Swizz said, emphatically.
“We were in awe of the fact that so many Verzuz [episodes] happened so fast, and that so many things happened for it so quickly — culturally, for the artists and for us,” says Swizz.
Timbaland adds, “Verzuz is a cultural phenomenon: birthed, gone through the storm and is now a tattoo for the culture. It’s time we looked like it.”
As the world needed to calm down from last year, Verzuz’s tone softened. “You’ll have a button at the bottom, and as the show progresses you can change your vote as you see where the audience leans,” said Triller co-owner/executive chairman Bobby Sarnevesht. “I think as much as everyone in the artist world loves and respects each other, they’ll always be competitive — but it’s not blatant, in-your-face competitive, there’s a beauty to it. The voting gives the name ‘Verzuz’ the sense it deserves.” Now, they’re about to kick things up a few notches.
Since the partnership launched, the last several Verzuz episodes (including the Isley Brothers vs. Earth, Wind & Fire, with host Steve Harvey), have looked and sounded stronger than ever, with more dynamic camera angles, richer staging-setting and clearer lighting than in the past. With Verzuz’s pre-Mother’s Day event on Saturday — ‘90s R&B girl groups Xscape and SWV — there’s yet another new element included: an Instagram voting mechanism where viewers can place highest (and lowest) notes onto the proceedings, thus putting the rivalry back into the game. Yet the platform wanted to make a big move into music, and saw its opportunity with Verzuz.
Now that, in Sarnevesht’s words, Tim and Swizz “own a lot of Triller now,” the exec chairman promises that the Verzuz duo will be taking part in any number of new productions, as well as ongoing productions.
However, as is often the case, licensing was not as simple as it seemed, and Universal Music pulled its music from the app after a dispute over royalties. From there, Triller went into partnership with B2B music company 7digital, which will brought the app access to some 80 million tracks from the three major labels.
“We have been at the forefront of wanting the publishers in place and making sure that artists, songwriters and producerd are well taken care of. “I think Triller got some bad press around its relationship with publishers, but that was the previous regime,” Sarnevesht says. We want to be part of the community, not pirates stealing stuff,” he emphasizes.
Launched in 2015 by David Leiberman and Sammy Rubin, it took Sarnevesht and a majority investment from Ryan Kavanaugh’s Proxima Media to kick Triller into the high gear. Enter Triller.
“We just got in the house and we’ve barely had a chance to look around yet,” Timbaland laughs. “I knew Triller was a creative outlet similar to TikTok, but it seemed as if more rappers were using it — a lot. I caught on to so many songs just because I saw them on Triller.” They made their own videos. I watched the way they worked it, their edits of their own songs, the snippets they put out there.
But,” she adds with a laugh, “I’m not going to sit here and lie and say that this won’t be a friendly competition — a fun one, a good time, but we’re competing.” Burruss continues, “There have been a few artists on Verzuz that have had some sort of rivalry in the past — or beef — but our group and SWV don’t have beef. We respect them and love their songs.
If we build this thing to have that kind of engagement, which we will — what will that look like in person? What does 3 million people at one show look like? I’d like to see that.”” /> “The conversation I want to have with you a year from now will revolve around how yesterday, our live audience was bigger than three Woodstocks,” he says. Swizz shifts into promo mode with the topic. “We’re already doing that with our phones.
“Obviously this is all in the planning stages,” Sarnevesht says, “but we’re already talking to live venues about doing several residencies in different cities.”
For their part, Swizz and Tim are eager to build on the momentum and platform they’d established last year.
Burruss also a Grammy Award-winning songwriter (for TLC’s “No Scrubs,” with Xscape member and friend Tameka "Tiny" Cottle) and a longtime Bravo Network “Real Housewives of Atlanta.” As an accomplished businesswoman, with a sex-toy company (Bedroom Kandi) and a web series (“Kandi Koated Nights”), she appreciates where Swizz and Tim’s hustle. Kandi Burruss of Xscape is hoping for all of the above when her group faces off — peacefully — against SWV this weekend.

Also in that episode, the show's mysterious "Cluedle-Doo" will be revealed. The following week, on May 19, the semi-finals will feature guest panelist Darius Rucker — that's right, the Hootie and the Blowfish singer will join in on the guessing game.
Previous panel guesses: Dwight Howard, Redfoo, Nick Cannon, Iman Shumpert, Dwyane Wade, 2 Chains, Waka Flocka Flame, Wiz Khalifa, Machine Gun Kelly, Kyrie Irving, G-Eazy, Young Thug, Snoop Dogg” />
Previous panel guesses: Ray J, Justin Bieber, Taran Killam, Todrick Hall, Justin Timberlake, Omarion, Mario, Jason Derulo, Vin Diesel, Trey Songz, Miguel
Previous songs: "Man in the Mirror,” by Michael Jackson; “Wonder,” by Shawn Mendes; “Want to Want Me,” by Jason Derulo; “24K Magic,” by Bruno Mars; “Shallow,” by Lady Gaga and Bradley Cooper
Here's who remains in the competition:
Russian Dolls
Black Swan
Previous panel guesses: Adam Lambert, Charlie Puth, JC Chavez, Austin Mahone, Jonathan Knight, Zayn Malik, AJ McLean, Kevin Richardson, Lance Bass, Chris Pine, Adam Levine, Eli or Peyton Manning, Ian Somerhalder, Taylor Lautner, Brian Littrell, Nick Lachey
Previous songs: "Speechless,” by Dan + Shay; “Good to Be Alive (Hallelujah),” by Andy Grammer, “7 Years,” by Lukas Graham, “The Pretender,” by Foo Fighters; “Against All Odds (Take a Look at Me Now),” by Phil Collins
As Season 5 of Fox's "The Masked Singer" heads toward its conclusion at the end of the month, Variety has the scoop on the guest panelists and show formats for the final three episodes.
On Wednesday, the "Spicy 6" episode saw actor/singer Tyrese Gibson unmasked as the Robopine. When "The Masked Singer" returns next week on May 12, the quarter finals will feature comedian Rob Riggle ("Holey Moley") as a guest panelist, alongside regular panelists Nicole Scherzinger, Ken Jeong, Jenny McCarthy Wahlberg and Robin Thicke.
Finally, that all leads to the show's Season 5 finale on May 26. Joining the panelists will be guest LeAnn Rimes, who won Season 4 last fall as the Sun.
Previous panel guesses: Boyz II Men, Vanessa Hudgens, Darren Criss, Matthew Morrison, Kevin McHale or other “Glee” stars; Gwen Stefani and No Doubt guitarist Tom Dumont, Sugarland, Jacksons, Pentatonix, the Jonas Brothers, 98 Degrees, Red Hot Chili Peppers, Hanson, Nickelback, Chad Kroeger and Avril Lavigne
Gibson as Robopine joined previously unmasked celebrities Bobby Brown (Crab), Tamera Mowry (Seashell), Mark McGrath (Orca), Nick Cannon (Bulldog), Logan Paul (Grandpa Monster), Danny Trejo (as Raccoon), Caitlyn Jenner (as Phoenix) and Kermit the Frog (as Snail).
Previous songs: “If It Isn’t Love,” by New Edition; “Lonely,” by Justin Bieber and Benny Blanco; “It Takes Two,” by Rob Base & DJ EZ Rock
Previous songs: "Barracuda,” by Heart; “In My Blood,” by Shawn Mendes; “How Will I Know,” by Whitney Houston, “Use Somebody,” by Kings of Leon; “Do I Do,” by Stevie Wonder
The Season 5 contestants boast a combined 26 Grammy nominations, nine multi-platinum singles, four Academy Award nominations, three Super Bowl appearances, six gold medals and two world records. Guest panelists this season have included Joel McHale, Rita Wilson and Chrissy Metz.
Previous panel guesses: Anya Taylor-Joy, Camilla Cabello, Leona Lewis, Demi Lovato, Lindsay Lohan, Ashlee Simpson, Emily Osment, Victoria Justice, Brenda Song, Kesha, Demi Lovato, Becky G, JoJo, Christina Milian, Mandy Moore
Nate Dogg; “Hip Hop,” by Dead Prez; “Regulate,” by Warren G feat. Previous songs: “Ride Wit Me,” by Nelly; “21 Questions,” 50 Cent feat. Nate Dogg; “Put Your Hand Where My Eyes Could See,” by Busta Rhymes
Last week was the first reveal toward Cluedle-Doo’s identity: “I have a connection to another mischievious Masked Singer from the past: The Gremlin.” (That was Mickey Rourke, unmasked in Season 4.) New this season is the masked celebrity “Cluedle-Doo,” who has been offering additional hints about each contestant.

“Our current challenge is focused on sharing with our audience the priceless beauty that the women of Pogue have allowed us to witness, and intertwine the exhibition of the film with the urgent cry for peace and the achievement of better living conditions for the Black communities of the Bojayá River.” “I think that our highest achievement in terms of production was the engagement with the people,” she continued.
The alabaos sung by the region’s women have become a mechanism to unite communities, foster resistance, overcome the horrors of war, express pain, and raise a cry for peace. These powerful songs—heard across the world during the 2016 signing of the peace agreement between the Colombian government and FARC guerrillas after 60 years of war—have been created by a group of women who sing their melodies and compose their lyrics while washing clothes, cooking, braiding, or performing other household and outdoor tasks.
Both projects are produced by Yira Plaza, a fellow member of the Colectivo Audiovisual Pasolini de Medellín, which produced “Songs That Flood the River.” Commenting on Arango’s forthcoming projects, Muñoz said: “His line of work has not abandoned formal experimentation, but is moving towards more personal and autobiographical topics.”
With their new projects, the two filmmakers will continue the exploration of marginalized Colombian lives they brought to bear on “Songs That Flood the River,” a film centered on the traditional songs sung by Afro-Colombian women in one of the most untamed and violent regions in the world: the jungles of the Chocó province on Colombia’s Pacific coast.
The film’s premiere coincides with the 19th anniversary of the Bojayá massacre, which took place on May 2, 2002 in the town of Bellavista, where more than 100 villagers were killed after a cylinder bomb exploded in the church where they were taking refuge from area fighting. It arrives at a time of widespread unrest in Colombia, where protests against poverty and inequality that have worsened during the coronavirus pandemic have met with a violent government crackdown in recent weeks, leaving at least 24 dead.
Muñoz herself is working on a new documentary feature film set in the village of Pogue, the Black community at the heart of “Songs.” “La Selva y la Luna” (The Moon and the Jungle) explores the construction of a sisterhood by the girls of the local community as a way to survive and find happiness, following their efforts to navigate a hostile environment marked by racism, patriarchy, and the surrounding jungle that both nurtures life while offering the threat of death.
“With ‘Songs That Flood the River,’ we aim to put the focus on the strength of these women, the resistance of the Afro-Colombian people and the imperative need to end war,” said Arango, who has been accompanying the communities of the Bojayá River for over eight years throughout their reconciliation process. “These women have lived through a relentless war that has hit them hard day after day, and their way to respond is through songs, unity and tradition.”
Muñoz is also in the development stage of an experimental documentary film, “MalaMadre” (BadMother), an autobiographical exploration which she’ll direct about high-risk pregnancies and the deconstruction of the notion of motherhood in Latin American feminism.
Filmed over the course of four years, “Songs That Flood the River” presented its creators with a host of logistical challenges, due to the combination of Pogue’s “remote location, the persistent armed conflict and the unquestionable absence of the state” in a village that has no electricity or running water, according to Muñoz.
Arango is developing “MC Silencio,” a Medellín-set musical drama in which the young resist and fight paramilitary aggression through hip-hop, and “The Man With the Trumpet,” a documentary that turns to film noir to delve into the murder of the director's uncle and question the links between masculinity and violence in Medellín.
“As this place has approximately 100 houses and less than 600 inhabitants, it was important for me to work with a small crew able to display not only an artistic, but a social vision of cinema, and a capacity to adapt empathically to life dynamics in the community,” said the producer.
Colombia’s Germán Arango and Ana María Muñoz, the director-producer duo behind Hot Docs International Spectrum competition title “Songs That Flood the River,” are prepping a host of new documentary and fiction features focused on race, gender, violence and resistance in the South American nation, Variety has learned.
“Songs That Flood the River,” said Muñoz, “is in part the result of the longing for…peace undertaken by these communities through their songs, their traditions and their struggle.”” />

"It’s something that’s going to be very, very interesting in terms of the number of movies that are playing," added the executive, who highlights that the shorter theatrical window will help more movies hit screens in a jam-packed year.
Meanwhile, Italy, which was the first European country massively hit by COVID-19 in 2020, is now among the first to reopen movie theaters, albeit via a slow and gradual process.
Haut et Court will roll out the Danish movie in theaters on May 19. The first week’s lineup comprises roughly 10 fresh releases, and as many re-releases of movies that were briefly in theaters. Distributors are looking to bank on French titles that scored during awards season, starting with Thomas Vinterberg’s Oscar-winning “Another Round,” which was in theaters for two weeks prior to the lockdown, and was an instant foreign-language hit.
curfew rolls over to 11p.m. blockbusters lined up, including Disney’s “Cruella” on June 23, a week before the curfew and seating limitation are lifted altogether. and the seating capacity grows to 65% — the volume of releases will increase every week through the summer, with several U.S. Starting June 9 — when the 9 p.m.
But Comscore’s Marti says this summer could prove to be a game-changer for indie players. tentpoles as is traditionally the case in France. Many distributors in France have decided to wait for the fall to release their high-profile titles, out of concern that this summer will be heavily dominated by U.S.
Italy’s national exhibitors organization ANEC is up in arms against Aurelio De Laurentiis’ production-distribution shingle Filmauro for releasing comic hitmaker Carlo Verdone’s new comedy “You Only Live Once” in just a handful of Rome venues, which it owns, and only for three days (April 26-29), before launching the hotly anticipated local title on Amazon Prime Video.
She regrets that fresh Italian movies, "which are crucial for Italy’s identity and for the industry’s solidity, [are] hesitating to come out on the big screen." “I really hope Italian distributors decide to make a greater effort,” Piera Detassis, president of Italy’s David di Donatello Awards, the country’s equivalent of the Oscars, told Variety.
The week of May 17, when cinemas reopen, will see 24 titles, a mix of new and re-releases. Across the channel in the U.K., the backlog is a comparatively modest 200 films. These include Sony Pictures Releasing's "Peter Rabbit 2" and "The Unholy"; Warner Bros' Angelina Jolie starrer "Those Who Wish Me Dead"; Zee Studio International's Salman Khan vehicle "Radhe: The Most Wanted Bhai"; in addition to "Nomadland" from Disney and "The Sound of Metal" from Vertigo Releasing.
Meanwhile, Gaumont will also re-release Albert Dupontel’s “Bye Bye Morons,” which swept seven Cesar Awards; and Le Pacte will take the same route with Maiwenn’s Cannes 2020 movie “DNA.” “Bye Bye Morons” and “DNA” were in cinemas for nine and two days, respectively.
We can expect that only a few distributors will be dealing with twice as many releases as usual, but only a fraction of these represent high stakes, so they’ll have to strategize accordingly,” said Eric Marti at Comscore France. In normal times, there are between 12 to 20 films coming out every week. “At least during the first few months, we’re not anticipating a traffic jam in theaters.
"Distributors are chomping at the bit to get their films back on the big screen and exhibitors are looking to welcome back returning cinemagoers with open arms," Leyshon adds.
It shows the impact this pandemic has had on our business: you’re losing 3-4 years to get back to the same place.”” /> "The expectation is that at the end of 2023, we’ll be back to 2019 levels.
UCI Cinemas, Italy's top exhibitor, has announced they will be back in business mid-May, though a re-opening date has not been set yet. The Vue group is targeting a May 20 reopening for its Italian cinemas, with the expectation that they can open with concessions from June.
An expected 50% capacity cap in England means each cinema will need to work creatively to ensure it can meet what’s expected to be unprecedented demand for cinema seats. as well, at least until June 21 when rules are expected to be relaxed. As in France, theater capacity is a factor in the U.K.
A glut of product, especially high-profile Hollywood fare, could be a blessing.
"We have a new model that we’re very close to signing up to with the studios, and I think it’s a very exciting model, based around a 45-day window. and most likely most markets in Europe,” Richards told Variety. It’s for the U.K.
Variety can reveal that the company, which has already begun re-opening cinemas in Denmark and Lithuania, is getting ready to deploy the 45-day release window trialled by Cineworld Group in a deal with Warner Bros. If you ask Tim Richards, CEO of European cinema giant Vue, about the greatest sea change in exhibition over the last 12 months, he points to the theatrical release window.
Leyshon talks up award winners "Nomadland," "Minari," "The Father and "Another Round"; sequels "Peter Rabbit 2" and "A Quiet Place Part II"; anticipated crowd pleasers "Cruella" and "In The Heights"; and global box office smash "Demon Slayer."
"It’s going to take us at least 18-24 months to get back to where we were in 2019," said Vue boss Tim Richards. While the strong release slate harks to normalcy, it will take some time to achieve.
As for Hollywood product, Warner Bros., which handles Sony titles in Italy, has announced the May 20 local release of “The Unholy.” Disney’s live action “Cruella” will be out on May 28, and also bow on Disney Plus, just like Disney’s “Black Widow,” which has a July 9 Italy playdate; Universal’s “Fast & Furious” is due in cinemas on July 12; and “The Suicide Squad” from Warner Bros., on August 5.
"Nomadland," which is also screening on Disney Plus in Italy, scored more than 62,000 admissions, which is not bad considering that theaters are operating with a limited seating capacity due to social distancing and a 10 p.m. Last weekend — the frame ending on May 2 — “Nomadland” became Italy’s top theatrical draw, pulling €429,000 ($516,000) from 137 screens, for a €3,122 ($3,761) per screen average, which was also the best Italian per screen result. curfew reduces showtimes. There is also mandatory mask-wearing inside the venues, and no popcorn.
In this sluggish scenario, experts say the biggest sore spot is that Italian producers and distributors are unwilling to take the theatrical plunge with strong local product that could act as a magnet to get people back in front of the big screen.
studios declined to take part in the initiative. Plans to have distributors in France coordinate their releases hit a dead end earlier this week after the biggest companies — from Gaumont, Pathe to Studiocanal — and U.S.
“Minari” weighed-in a distant second drawing €79,000 ($95,000) from 74 screens, while Wong Kar-Wai’s restored cult classic “In The Mood for Love” was third with €31,000 ($37,000) from 32 screens.
Neither pic is expected to move the needle much. RAI Cinema’s 01 Distribution unit, which is Italy’s top local distributor, has announced the May 20 launch of new Italian drama “The Bad Poet,” by Gianluca Jodice, starring Sergio Castellitto, and on June 20 of Gabriele Salvatores’ “Clowns,” which was shot during the pandemic.
But the pipeline of new movies will enter a landscape forever altered by the pandemic. — are reopening doors for theatrical releases after an erratic year of high hopes and false starts. Three of Europe's major film markets — France, Italy and the U.K.
The breadth of the offer underscores French distributors’ eagerness to jump back in after a near seven-month shutdown, and also reflects the extent of a 400-plus movie backlog. France, which boasts Europe’s biggest theatrical market in terms of admissions, will reopen its cinemas on May 19 with an audience capacity of 35%, a 9 p.m. curfew and more than 20 releases in the pipeline.
In Europe, Vue operates across the U.K. (90 cinemas), Poland and the Baltics (45), Italy (36), Germany (31), the Netherlands (19) and Denmark (3).
But the problem isn’t limited to one Italian player.
And there’s no shortage of movies, which span awards season re-releases, new domestic titles and a slew of Hollywood tentpoles.
"We are all delighted that cinemas in the U.K. are finally able to reopen and cinemagoers are in for a real feast of films over the coming months and beyond," Andy Leyshon, CEO of the Film Distributors’ Association told Variety.
“Those big U.S. movies will drive up the box office this summer and lure people back in theaters; and local distributors should jump on the bandwagon and take the opportunity to release their movies then, instead of the fall,” said Marti.
After moviegoing started up again on April 26, the country now has only 460 screens open for business, in mostly arthouse venues, while the bulk of the country's more than 3,500 screens remain shuttered.

Rudolph is one of the most well-regarded comedy actresses working today. She picked up two Emmy Awards in 2020 — one for “SNL” and another for her work on the Netflix animated series “Big Mouth.” She is also known for her roles on shows like “The Good Place” and films like “Away We Go” and “Bridesmaids.”” /> An “SNL” alum, she recently made her return to the show to play Vice President Kamala Harris.
Rodriguez is best known for her role as Blanca in the Emmy-winning FX drama series "Pose," which recently debuted its third and final season. Her other TV credits include "Nurse Jackie" and "Luke Cage," while she has also starred in films such as "Adam" and "Saturday Church." She recently starred as Audrey in the Pasadena Playhouse’s production of "Little Shop of Horrors."
She is repped by Gersh, Untitled Entertainment and Del Shaw Moonves.
The series was ordered at Apple in March. It follows Molly (Rudolph), a woman whose seemingly perfect life is upended after her husband leaves her with nothing but 87 billion dollars. Rodriguez will play Sofia, the hard-working executive director of the non-profit funded by her absentee billionaire boss, Molly.
Yang and Hubbard created the Apple series, which has the working title "Loot," and will serve as executive producers. Natasha Lyonne and Danielle Renfrew Behrens of Animal Pictures will also executive produce, as will Dave Becky of 3 Arts. Universal Television is the studio. Rudolph will executive produce in addition to starring under her Animal Pictures banner. Both Yang and Hubbard are under overall deals at UTV.
Mj Rodriguez will star opposite Maya Rudolph in an upcoming Apple comedy series that hails from Alan Yang and Matt Hubbard, Variety has learned.

The company said it acquired the This Old House business because it "believes the content aligns with The Roku Channel’s ad-supported growth strategy." Roku disclosed the price tag in its 10-Q quarterly filing Friday.
Roku paid $97.8 million in cash for This Old House Ventures, the home-improvement media company whose shows include "This Old House" and "Ask This Old House."
As of March 31, 2021, Roku recorded $104.6 million in content assets to its balance sheet as non-current assets. The increase of $96.7 million in non-current content assets in Q1 "was primarily driven by content acquired from Quibi and This Old House," Roku said in the filing.
Sources previously said that deal was valued at significantly less than $100 million. Roku is introducing the Quibi programming under the "Roku Originals" brand, which also will encompass future original programming. Roku did not disclose the terms of the January 2021 acquisition of Quibi, which includes more than 70 short-form shows ordered by Jeffrey Katzenberg's now-defunct startup.
With the deal, about 55 employees of This Old House Ventures are joining Roku, including CEO Dan Suratt and the team behind the shows. Roku bought the company from private-equity firm TZP Group (which had acquired it in 2016 from Time Inc.). Variety previously reported that Roku was paying under $100 million for This Old House Ventures.
Roku said it incurred $2.2 million in acquisition-related expenses for the This Old House deal, which it recorded in general and administrative expenses.
(The Roku deal does not include “New Yankee Workshop.”)” /> The deal gives Roku ownership of global content distribution rights and all subsidiary brands, including the “This Old House” and “Ask This Old House” TV programs, show libraries of more than 1,500 episodes, all digital assets and the company’s TV production studio in Concord, Mass. Roku is acquiring all of Stamford, Conn.-based This Old House Ventures’ business.
New episodes will come to the streaming platform after they air on local PBS stations. Under the deal for This Old House Ventures, current seasons of “This Old House” (Season 42) and “Ask This Old House” (Season 19) will be available for free on The Roku Channel as on-demand episodes.

In New York City, movie theaters are open at 33% capacity. Movie theaters are slowly reopening across the country, with most of California (including Los Angeles County) allowing cinemas to operate with at least half-capacity.
Chance the Rapper has wrapped up a deal with AMC Theatres to have a new concert film, "Magnificent Coloring World," premiere exclusively on the chain's screens this summer.
Directed by Jake Schreier and produced by Chance's House of Kicks and Park Pictures, "Magnificent Coloring World" marks the first time an individual recording artist has distributed a film through AMC.
Last year, Chance went No. 1 with his Justin Bieber collaboration "Holy" and released his virtual holiday concert film "Chi-Town Christmas" on YouTube and in 3D on Oculus.
In 2017, Chance made history with "Coloring Book" in becoming the first independent artist to win a Grammy for a mixtape after successfully leading a petition to convince the Recording Academy to recognize streaming-only albums. In addition to winning best rap album, Chance also took home the awards for best new artist and best rap performance.
Yesterday, AMC CEO Adam Aron said, “We finally can now say that we are looking at an increasingly favorable environment for moviegoing and for AMC as a company over the coming few months.”” /> While this week AMC Theatres reported a net loss of $567 million, that number is still substantially lower than 2020's lost revenues.
A teaser was issued Friday for the movie, which celebrates five years since the release of Chance's landmark mixtape "Coloring Book" and the Magnificent Coloring World tour that followed.
Thursday, the rapper teased his partnership with AMC on Twitter with an image of his signature "3" logo adorned with marquee lights.

When their reign as country royalty is put in jeopardy, Nicky Roman, the heir to the crown, already battling an industry stacked against her, will stop at nothing to protect her family's legacy. The Romans are fiercely talented, but while their name is synonymous with honesty, the very foundation of their success is a lie. Per the logline, the one-hour drama is a Texas-sized, multigenerational musical drama about America's first family of country music.
The show, formerly known as "Untitled Country Music Dynasty," will feature original songs and covers. Fox has ordered the country music drama series “Monarch” for the 2021-2022 broadcast season from executive producer and creator Melissa London Hilfers.
Fox has also ordered an animated comedy set in ancient Greece from Dan Harmon, the drama “Our Kind of People” from Karin Gist and Lee Daniels, and the mockumentary series “This County.”” /> Earlier Friday, Fox ordered a drama based on Argentina's "La Chica Que Limpia," "The Cleaning Lady," starring Elodie Yung. "Monarch" is Fox's latest pickup for the upcoming season. Last week, the network ordered the dramedy series “The Big Leap,” about a group of strangers that join a reality dance show.
Executive producing "Monarch" alongside Hilfers and Rauch are Gail Berman and Hend Baghdady for The Jackal Group and country music management legend Jason Owen for Sandbox Entertainment, whose clients include Kacey Musgraves, Faith Hill, Dan + Shay and the estates of Johnny and June Carter Cash. His experience and extensive relationships in the world of country music, managing acts like Little Big Town, Kelsea Ballerin and Midland, give him an authentic insider's perspective to the series' storytelling.
By committing to a writers' room early during the lockdown, Hilfers and showrunner Michael Rauch were able to further develop the show for the straight-to-series announcement. "Monarch," wholly owned by Fox Entertainment, joins "Our Kind of People" as the network's first two series to bypass a pilot order by advancing straight to a writers' room commitment and subsequently be ordered to series. Hilfers is repped by UTA, Alan Gasmer, and attorney Allison Binder from Goodman, Genow, Schenkman, Smelkinson & Christopher LLP.

"We will share a detailed analysis for review with the MRC and our clients, and feel confident we will continue to provide the industry with the data they rely upon to transact with confidence."” /> "Last year, as communities around the world were impacted by the unprecedented COVID-19 pandemic, we innovated our panel procedures to protect the safety of our panelists and field staff and the integrity of our ratings, developing new ways to recruit and maintain our panels. Nielsen has stood behind the integrity of its recent efforts. We were able to return to pre-COVID processes and procedures in March this year," Nielsen said in a statement.
Nielsen has been under scrutiny for weeks by the big media companies who pay millions of dollars a year for its services after it acknowledged it had stopped sending field agents to homes during the coronavirus pandemic. In a May 6 letter to TV networks, media-measurement giant Nielsen said it is still working to "resolve outstanding maintenance needs" in approximately 2700 homes that serve in its panel of consumers, and will likely not complete that work until the end of May. The TV networks believe this has led to a significant undercounting of TV audiences for the past year.
"The complications include a year-long suspension of in-home field servicing of empaneled households and extensive changes to household withholding procedures that resulted in 9,400 impaired/compromised homes that remained in Nielsen’s 2020 and 1st quarter 2021 reported estimates to the market," said Sean Cunningham, CEO of the VAB, a trade organization that represents the TV networks to Madison Avenue, in a statement.
In the letter, signed by Peter Bradbury, Nielsen's U.S. The company also said it "performed maintenance for 4,841 homes and they continue to contribute to reporting." chief commercial officer, Nielsen appeared to acknowledge some homes were not monitored properly. Clients were told Nielsen has temporarily removed 1,143 homes from its sample, and removed 717 homes permanently.
The VAB had pushed for Nielsen to submit its recent research to a third party consultant, but Nielsen refused. Its membership includes most major media companies, media buying agencies and many big advertisers such as Walgreens, Unilever and Procter & Gamble. Both Nielsen and the VAB have agreed to have the MRC review Nielsen's activity and decide whether its efforts should be taken as is or, potentially, adjusted. On Monday, however, Nielsen is slated to make a presentation on its efforts to count audiences during the pandemic to the Media Rating Council, an industry organization has maintained media research standards for decade. George Ivie, CEO of the MRC, declined to comment on the meeting.
The executives are also concerned that a lack of maintenance could have left some homes' results not being tracked or tabulated adequately. TV executives believe Nielsen's decision meant its sample started to include homes whose residents may have moved elsewhere in the country, leaving the company tabulating results from a home where no TV watching was taking place.
Nielsen, the company that measures TV audiences every day says it still needs a few weeks to get its counting procedures back to normal.
Smaller audiences mean media companies can sell other things than the number of total views. As a result, there is palpable desire on the part of networks to use multiple measurement services and let advertisers decide which are most important. The skirmish is taking place at a heated moment. They can use technology and consumer data to identify first-time car buyers or expectant mothers — and craft deals based on the number of visits customers make to auto showrooms or on sales of movie tickets. As the networks see their audiences spend more time watching ad-supported streamers such as Hulu, Peacock, Discovery Plus, Tubi, Pluto TV and Paramount Plus, they are open to testing new measures.
The battle between Nielsen and the networks is likely to intensify. Nielsen ratings are the bedrock of how TV networks and media agencies set prices, and many advertisers build out placement of their clients’ commercials by “mirroring” audience levels from the prior year. The industry's annual "upfront" marketplace, when TV networks try to sell billions of dollars in advertising inventory for the next programming cycle, is slated to begin in a few short weeks.