Elliot Page, star of Netflix's "The Umbrella Academy," also shared the video on Twitter, writing, "I stand with the trans, nonbinary, and BIPOC employees at Netflix fighting for more and better trans stories and a more inclusive workplace #NetflixWalkout."
In addition to the walkout, organizers have created a list of asks for the company, including, "create a new fund to specifically develop trans and non-binary talent," "increase investment in trans and non-binary content on Netflix comparable to our total investment in transphobic content" and "invest in multiple trans creators to make both scripted and unscripted programs across genres."” />



That impact is real and works both ways: positively AND negatively. "Schitt's Creek" co-creator and star Dan Levy, who signed a film and TV deal with Netflix last month, also showed his solidarity for the walkout on Twitter, writing: "I stand with every employee at Netflix using their voice to ensure a safe and supportive work environment. I've seen firsthand how vital television can be when it comes to influencing the cultural conversation. That isn't a debate." Transphobia is unacceptable and harmful.
Watch the video below: "Stand Up in Solidarity With Team Trans* at Netflix!" includes appearances by Ashlee Marie Preston, Jonathan Van Ness, Angelica Ross, Jameela Jamil, Mason Alexander Park, Kate Bornstein, Our Lady J, Sara Ramirez, Peppermint and Colton Haynes.
GLAAD voiced their support of the walkout via a statement, saying, "As the #NetflixWalkout and Stand in Solidarity rally begin, GLAAD stands with and thanks the Netflix employees, allies, and LGBTQ and Black advocates calling for accountability and change within Netflix and in the entertainment industry as a whole. Netflix now needs to take swift and strong action to address the calls for change from the community and their own employees." The Netflix employees' asks for long-term investment in content from trans, non-binary, and BIPOC creators, fully inclusive spaces for trans and LGBTQ BIPOC employees, and accountability when content causes harm, should be best practices for Netflix and the entire industry as part of long overdue conversations about diversity, equity, and inclusion.
As the Netflix walkout in response to the company's continued support of Dave Chappelle's special "The Closer" is underway at the streamer's Los Angeles headquarters, a new video that includes activists and Netflix talent alike has been released.

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The new film, which debuts Friday, Dec. 17, marks the feature directorial debut of "Project Power" and "The Batman" screenwriter Mattson Tomlin. Hulu has released a first look for their sci-fi movie "Mother/Android," starring Chloë Grace Moretz and Algee Smith.
"Mother/Android" is produced by "The Batman" writer/director Matt Reeves, Adam Kassan, Rafi Crohn, Bill Block and Charles Miller.
Note the blue eyes in the below images, perhaps the signature look of the new machine overlords? Or just a near-future fashion statement, only time (and the eventual drop of the trailer will tell).
"Mother/Android" follows the couple through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. They must face "No Man’s Land" – a stronghold of the android uprising — in hopes of reaching safety before Georgia gives birth. Set in the near future, Moretz stars in the film as Georgia, who is days away from the arrival of her first child with boyfriend Sam (Smith). "Mother/Android" also stars Raúl Castillo playing a character named Arthur.
The budding filmmaker is riding high on the success of "Project Power" (which debuted on Netflix last year, starring Jamie Foxx, Joseph Gordon-Levitt and Dominique Fishback) and fans are eagerly anticipating his work "The Batman," which hits theaters on March 4, 2022. Tomlin, a 2014 graduate of the American Film Institute, has been a talent to watch for some time.

Maddow’s new arrangement could spur other high-profile anchors and correspondents to score similar pacts, and WME and counterparts at other talent firms are quickly changing to accommodate those interests.
“I use Robin Roberts as a template where she’s on the air every day, but she’s running a production company. “There’s a way to do it,” says Chang. You just have a team, and you have to have a staff that you trust.”
“You can’t have an anchor talking about a product today and tomorrow doing a hard-hitting news story on them,” says McGrath. More advertisers are pushing for unique alliances with news programs, with some marketers even sponsoring individual segments of ABC’s “Good Morning America.” WME feels journalists ought to steer clear of any appearance of endorsing a product. “There will always be areas that are off limits.”” /> The agents believe some areas should be kept at arm’s length.
“Sure the marketplace may be fracturing, but there are more people and more platforms than ever before,” says Mark McGrath, an agent with WME.
The WME team believes that traditional news programs still dominate coverage of major breaking events, such as presidential elections or national tragedies. What’s the value of anchoring a nightly news program on television when more consumers are opting to learn about the day’s events online?  But they also feel there are growing opportunities for anchors to reach interested audiences with digital extensions.
Reisch views current circumstances as a battle for attention, one that anchors with long-standing relationships with the viewing audience are well positioned to win.
Tom Llamas, an ABC News veteran, moved to NBC News to take on an evening program for its streaming outlet, NBC News Now. The allure of conquering new frontiers has already spurred a handful of news veterans to leave solid jobs to try something new. Kasie Hunt, once a Washington correspondent on the rise for NBC News, recently decamped for a significant role at CNN Plus, the WarnerMedia streaming service slated to launch in 2022.
Their business model depends on how do we find these people, how do we get to them? And it’s going to call for a lot of creative ways,” says Henry Reisch, a partner and head of WME’s news broadcasting department. Now, he says, getting information out to digitally savvy consumers hinges on new ideas. In the past, he suggests, networks worried that allowing their news personnel to work for multiple venues would cause confusion. “The networks have to go with where their viewers are.
Rachel has such an amazing brand it would be silly for NBC Universal not to expand her offerings across their portfolio.” “Rachel is sui generis, but thankfully we have a lot of sui generis clients,” says Bradley Singer, an agent at WME. “This is where the business is headed.
The days of watching a popular anchor like Dan Rather solely on a broadcast program like venerable "CBS Evening News" are quickly fading. With that in mind, Endeavor’s WME talent agency, one of the industry’s largest, is giving new thought to how to serve a wide array of clients that include ABC News’ Robin Roberts, MSNBC’s Joe Scarborough and “The View” co-host Sunny Hostin. The rise of streaming video has created new opportunities for journalists and the venues they fill with content.
Linsey Davis, an ABC News anchor represented by WME, leads a weekday streaming program as well as the Sunday broadcast of “World News Tonight.” MSNBC has begun cobbling together schedules that have some staffers, including  Mehdi Hasan and Ayman Mohyeldin, anchor programs on both the network’s weekend schedule and “The Choice” streaming outlet. Even the networks are shaking up their traditional ways of doing business Fox News Channel has made its primetime shows — the linchpin of the network– available for consumption on Fox Nation — just hours after they debut on cable.
The job of the modern TV-news anchor may have less to do with TV as information junkies get their fixes and facts from a wider array of media venues.
“We really look at our clients as storytellers,” Singer says. “We are looking to represent people who can tell important stories, no matter the medium.” As part of its efforts to focus on how the news business is changing, WME has elevated Singer, who works with Tamron Hall, Linsey Davis and Mayim Bialik, among others, to partner.
“It is diminishing but it is not de minimis,” he says. We're not ready to throw in the towel. We might need to flip the way we think about this.” “There's a smaller pie [for broadcast and cable news], but it still has significant reach and impact. Everyone talks about how do we stop the bleeding?
Tucker Carlson is best known for his Fox News Channel primetime show, but he also has another program made specifically for Fox Nation, the company's streaming-video outlet. ViacomCBS has set up See It Now Studios, a production unit led by Susan Zirinsky, the former president of CBS News. ABC News last week unveiled a new production unit built around anchor George Stephanopoulos, who has already prepared two different non-fiction projects for Hulu, a Disney sibling. And agents at WME, including partner Sharon Chang, are busy at work developing a new content portfolio at NBCUniversal for MSNBC anchor Rachel Maddow, which, depending on the circumstances, curtail her primetime duties for the cable-news outlet. One of the new operation’s mandates is to develop projects for the company’s Paramount Plus streaming hub. Chang says that the anchor’s new assignments are still being worked out, but she indicated Maddow could find a way to balance multiple responsibilities. The future of her nightly broadcast hinges on the projects she decides to tackle and the nature of the coming news cycle. Some of these new business concepts are being built in open view.

The festival has declined to comment.
On Wednesday, El Zohairy won the Variety Middle East and North African Region Talent Award, given annually at the festival.
It's believed he may have stepped down due to growing local opposition to Cannes-winning film "Feathers," by Egyptian filmmaker Omar El Zohairy. Amir Ramses, artistic director of the ongoing El Gouna Film Festival in Egypt, is understood to have resigned in the final days of the event.
"Feathers" debuted at the Cannes Critics' Week, where it won the grand prize and the FIPRESCI prize. Following its screening at El Gouna, several prominent local critics took issue with the portrayal of Egypt in the film, though it is still unclear whether there is a link between the film's premiere and the director's resignation. The film follows a family thrown into disarray after its patriarch is accidentally turned into a chicken by a magician during a children's birthday party.
The festival, which kicked off on Oct. The day before the fest opened, a fire broke out in the main festival venue. On Tuesday, Mohammad Bakrfi, the Palestinian actor due to collect his career achievement award, canceled his trip in solidarity with Zagha.” /> 14, has been one of the most eventful international confabs this fall. Days later, Palestinian filmmaker Said Zagha was deported en route to El Gouna.
"I'm so glad I'm taking this award in Egypt, my beloved country, our great culture, our peoples, our heritage of cinema. I learned here and this is also coming from my heart, and I'm so glad that everyone's talking about my new Egyptian cinema," El Zohairy said while accepting the award. "I'm an Egyptian filmmaker. And I'm so honored to be part of this culture, to be part of this heritage.
"I made the film for humanity. "This award is for Egyptian cinema, for the new art that's coming from Egypt, for the new generations, for the new country that is presenting itself to the world," El Zohairy continued. I was sincere; it was my emotion."

The film was shot partly in northern Iraq. Variety spoke with Anna Bofarull about the film. Top-liners include Nora Navas, Halima Ilter and Eman Eido, a Yazidi woman who was held hostage by ISIS for several years.
You decided to show some of the horrors of ISIS and their wars through the perspectives of various women. What do you think their points of view and experience shows us about this situation, and how is this different to other films on the subject?
I wanted to bring Yazidi women's life close to the screen and show to Western audiences that women living in the Middle East suffer as much as any others and are never prepared for that. That routine is something that I could not find in other films portraying life under ISIS. I wanted to explore how daily life can change with horrors that you cannot control. I wanted to explore how women in these situations need to adapt, how they need to survive. And that, at the same time, foreign wars can also break into the reality of European women (as Carlota, the woman living in Barcelona and played by Nora Navas, experiences in the film). It is not just one day or one week of horror, but long months and even years for some of them, and I was surprised how Yazidi sex slaves under ISIS were able to survive one day after another, lots of them even with their children.
Are these women under threat? Do you feel under threat from addressing this subject by ISIS?
How did she survive this? Eman Eido is a young Yazidi woman who was captured and held hostage by ISIS for four years. How did this real life experience inform the film?
Barcelona-based Filmax took international rights earlier this year, and is releasing the film in Spain. company Genius at Large. Bofarull co-produced with Spain’s KaBoGa and U.S. The film follows several real life stories and takes us inside the conflict from these women's experience of rape, sexual slavery and abuse.
But it is true that this project scared some producers at the beginning and they refused to get involved, fearing some consequences. I am not feeling under threat right now, as ISIS lost their power and territory before we started filming. Some Yazidi women and children are still missing, probably living with former ISIS supporters. Most Yazidi women are not under threat right now, although lots of them are living in refugee camps as their homes were destroyed and the Sinjar area is still insecure and the target of bombings by the Turkish army.
We managed to finish the filming in Barcelona in November, with many Covid precautions in place.” /> We got the support of the local Yazidi community and the Kurdish army, who were committed to the film and helped a lot. The Spanish army managed to bring us back home. We were shooting for six weeks in Iraqi Kurdistan, close to the Sinjar area, in real locations and with a lot of real actors. And suddenly the Covid pandemic started, with a Spanish-German women-only crew blocked in Iraq. After finishing the shoot all the crew were locked down inside a house, the house where one of the characters remains enslaved.
For how long did you shoot? When and where? And what were the challenges?
Why did you decide to make this film? How did you come to this story, and how did you connect with these women?
The town gives its name to the latest film from Spanish director Anna M. Claimed by both Iraq and Kurdistan, the town of Sinjar in northern Iraq was the site of an ISIL massacre of the Yazidi people in 2014 that lead to a devastating situation which human rights organizations call genocide. Bofarull who also wrote the narrative feature.
I interviewed many women and children in refugee camps who had managed to escape ISIS territory and their experience deeply moved me. I could not realize how at that moment, in another place in the world, this could happen. I was really shocked. And I also discovered how Western mothers had lost their kids to ISIS, as they escaped to join the Caliphate. And I travelled to Iraqi Kurdistan. After the ISIS invasion of the Sinjar area, I started to discover a lot of details about Yazidi women’s lives under ISIS, and how they were turned into sex slaves. I committed to tell their experience, how women tried to survive to protect their children, how young girls had lost everything and just decided to fight ISIS until the end.
Her life completely changed after that. Eman was captured when she was 9-years-old and was immediately sold to an ISIS supporter and married to him. All of her past experiences were in her gaze, in her movements, and I wanted to add that to Arjin’s character, as this was unique. She was later sold again and re-married, considered not more than an object. She managed to escape when she was 13-years-old, being a strong teenager ready to fight for a new life. The shooting of Sinjar took place as she was 15-years-old, and was living in a refugee camp. But, at the same time, it was a challenge to work with her, as she had no acting skills and we were working with real feelings and experiences. She was separated from her family, her childhood abruptly finished and she became an abused wife.

The event was available in 12 languages across  220 countries. Entertainment announced that viewership for DC FanDome 2021, the virtual fan event, greatly exceeded last year's, accruing 66 million views worldwide to date. On Oct. and in the top 50 in 53 countries around the world. 16, the day of the event, DC FanDome was a trending topic in the number one position on Twitter for eight hours in the U.S. Warner Bros.
DC FanDome Gets 66 Million Views Worldwide
The event was live streamed on over 50 platforms including Twitch, YouTube, Facebook and Twitter. DC also debuted new trailers and first look images for Dwayne Johnson’s “Black Adam,” “Peacemaker” starring John Cena and Season 3 of the animated comedy “Harley Quinn.”” /> FanDome was a collection of programming attached to DC properties across all film, television series, comics and games. Exciting reveals at FanDome included a new trailer for Matt Reeves' “The Batman,” starring Robert Pattison, Zoe Kravitz and Paul Dano and set to premiere March 4, 2022.
“We continue to innovate across the company in service of our fans, and I cannot overstate the creativity and hard work that went into this highly curated, global digital event. We’re as excited as they are to deliver on all the great content DC FanDome highlighted." We gave fans what they wanted — the very best of all things DC — and their engagement and response have been fantastic. “With triple the fan traffic of last year, DC FanDome 2021 exceeded all of our expectations,” said Ann Sarnoff, chair and CEO of WarnerMedia Studios and Networks.

RATM and Scott are headliner holdovers from the lineup that was originally revealed for the nixed 2020 festival, but the third part of that triad, Frank Ocean, told the festival he couldn't make it in 2022 and would take a rain check to headline in 2023.
It didn't hurt, as an immediate hint, that Swedish House Mafia's signature black circle logo was embedded in the Coachella Fest's original caption. In an Instagram emoticon response to Coachella's more cryptic post, the Swedish House Mafia account signaled that, yes, it's their three silhouettes seen walking into the sunset in a photo the festival posted.
The trio took a five-year hiatus before reuniting at Ultra Music Festival in 2018; a 2019 tour followed. The news is especially welcome to fans as the group is known for taking epic breaks. The group was known to be returning to the live scene with a December 2021 appearance at the Audacy Beach Festival in Florida, with a 2022 tour to follow, but dates for that haven't yet been revealed.
https://www.instagram.com/p/CVQaEzRp9B3/?utm_source=ig_web_copy_link
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The mystery about which artist would join Rage Against the Machine and Travis Scott as headliners at the 2022 Coachella Festival appears to have been solved, now that Swedish House Mafia and the festival have both posted Instagram images or videos breaking the news about the group being booked.
https://www.instagram.com/tv/CVQaC-aoEzH/?utm_source=ig_web_copy_link
The group will presumably be on the lineup for both weekends of Coachella 2022, scheduled for April 15-17 and 22-24. The third time is looking to be the charm for the festival resuming, after pandemic-related cancellations in 2020 and 2021.
Things got more explicit in Swedish House Mafia's own subsequent IG post, with a 20-second video of a sewing machine hard at work ending in the sight of a hoodie bearing both the SHM and Coachella names.
 
SHM recently released its first new music in eight years, the singles "It Gets Better" and "Lifetime" (the latter with featured appearances from Ty Dolla Sign and 070 Shake). A third, "Moth to a Flame," featuring the Weeknd, is on the way (in fact, it's coming this week, according to a Tuesday post from the band), as is a full album.

The Gotham Awards are part of IFP's mission to encourage independent storytelling, as are other programs like IFP Week and Filmmaker Magazine. More details about the Gotham Awards will be released closer to the event's date.
The 2021 Gothams have already announced some special awards, including Kristen Stewart receiving the Performer Tribute, Eamonn Bowles receiving the Industry Tribute, the cast of "The Harder They Fall" receiving the Ensemble Tribute and Jane Campion receiving the Director’s Tribute
The event will take place in New York, where winners selected by a jury will be honored for their achievements in independent projects. At last year's ceremony, “Nomadland” won best feature, Riz Ahmed won best actor for "Sound of Metal" and Nicole Beharie won best actress for “Miss Juneteenth.”
The nominations will be hosted on Variety.com and throughout Variety's social media platforms.
One new element of this year's show is that the organization has gotten rid of gendered awards. The best actor and best actress categories for independent feature films will instead be known as outstanding lead performance and outstanding supporting performance.
https://youtu.be/A3dtwDaWsDI” />
PT. The award show will take place on Nov. 29 at Cipriani Wall Street. The Gotham Film and Media Institute will announce nominations for the 2021 Gotham Awards on Thursday at 7 a.m.
We are proud to recognize outstanding acting achievements each year, and look forward to a new model of honoring performances without binary divisions of gender. Jeffrey Sharp, executive director of the Gotham Film and Media Institute, explained the decision in a statement in August, saying: “The Gotham Awards have a 30-year history of celebrating diverse voices in independent storytelling. We are grateful to those who helped to start this conversation in recent years and we are thrilled that the Gotham Awards will continue to support artistic excellence in a more inclusive and equitable way.”
Watch the nominations below:

With Season 11 approaching, “Curb” fans can anticipate how Larry would handle the COVID-19 pandemic, with showrunner Jeff Schaffer teasing, “We figured out a way that we are definitely living in a reality where the pandemic has happened, and we’re addressing the pandemic, and we’re doing stories about it, but not exactly the way you’d expect.”
Throughout 10 seasons (100 episodes) so far, “Curb Your Enthusiasm” has coined terms from "pants tent" to "accidental text on purpose" to "stop ‘n chat," all while magnifying the minutiae of everyday life. Whether Larry is opening a “spite store,” offending the Ayatolla or picking up a prostitute in order to use the carpool lane, “Curb” always finds a way to ground its insanity in the “Seinfeld” co-creator’s real life observations.
In honor of the series’ return to HBO on Oct. 24, Variety ranked the 10 best episodes of “Curb Your Enthusiasm.”” />
For more than 20 years, Larry David has gifted audiences with a glimpse into his hilarious misfortunes and creative approach to social conventions.

Among those productions were Paramount Pictures’ "Wild Chickens," New Line Features’ "House Party 2,"  an untitled Jonah Hill project, "Me Time" starring Mark Walhberg and "Purple Hearts" for Netflix. Looking at the major production categories tracked by FilmLA, the pace of feature film production quickened the most in Q3 of 2021, growing 33.5 percent over Q2.
Television production was also robust. Despite the surge, both the feature film and other categories, however, fell short of their pre-COVID average, highlighting the still-uneven nature of the industry’s local recovery. The sector posted the strongest Q3 gains 22.1 percent above the Q3 pre-COVID average.
Closing with a look at the sub-categories of television,  reality TV productions bested its pre-COVID average by 146.3% last quarter with 2,825 shoot days, as did TV pilots (growing 56.7 percent to 132 shoot days). Television dramas also saw a growth of 9%, while TV comedies were on the downward slope, falling by 44.9% to 338 shoot days.
Last year’s unusual circumstances continue to require FilmLA analysts to look for new ways to understand present-day filming levels. However, TV commercials remained flat quarter over quarter. Accordingly, for the first time, FilmLA is reporting a new “pre-COVID” average, consisting of a rolling quarterly analysis spanning the years 2016-2019.
Compared to last year which was still being impacted by the pandemic and shutdowns,  total production rose 141.2 percent.
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“The biggest takeaway from this report is that the pace of local production continues to increase,” observed FilmLA President Paul Audley. “The late-pandemic recovery is uneven in some ways, but community receptiveness to filming is steady and the work opportunities are undeniably there.”
The last time the region saw filming levels this high was in the fourth quarter of 2018, which boasted 10,359 shoot days. The increase in shooting marks the third strongest quarter in twenty-six years, with a total of 10,127 shoot days. Film production in Greater Los Angeles surged during the third quarter of 2021, according to a new report by FilmLA.

production-distribution giant Fremantle and the Larraín brothers’ Fabula on sci-fi miniseries “The Shelter” (“El Refugio”).” /> In September, global streamer Starzplay and Pantaya re-teamed with U.K.
Under the terms of the pact, each company will produce direct-to-platform Spanish-language pics to stream exclusively on Pantaya in the U.S.
Paul Presburger, CEO of Pantaya and Pantelion said: “In the 10-plus year history of Pantelion, we have had the pleasure to work multiple times with Diego Suarez, Pablo Cruz and their team at El Estudio (“Cesar Chavez”), Avelino Rodriguez and his team at The Lift (“Y como es el”, “Cuando Sea Joven”) and the folks at Traziende Films (“Pulling Strings,” “Las Pildoras de Mi Novio”).
“They are all some of the best in the business and we are delighted to officially partner with them to bring even compelling projects to Pantaya,” he continued, adding: “These companies are leaders and innovators in the world of Spanish-language content, and I look forward to sharing all of the exciting films that are to come with Pantaya’s loyal subscribers.”
Traziende Films is co-founded by Mexico-based Leonardo Zimbron, co-producer of “Club de Cuervos,” Netflix‘s first original Spanish-language drama.
Pantelion will serve as the studio on the projects, tapping its long-established relationships with some of the leading producers in Mexico and beyond.
Mexico-based The Lift was first founded in 2005 to focus on delivering world-class production services, collaborating with the likes of Prettybird, Somesuch, Reset, Epoch Films, Love Song, among others. In 2019, The Lift expanded to develop and produce long format content for Pantelion Films, 3Pas Studios, Amazon Prime, Televisa Networks, Anonymous content, Hulu and Viacom.
Among its credits are comedy “Pena Ajena” (Pantaya), unscripted hit “Las Crónicas del Taco” (Netflix), the docu-reality “Being Pampita” (Paramount+), and the multi awarded feature film “El Baile de los 41” (Cinepolis, Netflix). Launched in February last year, El Estudio is a trans-Atlantic production powerhouse with offices in Madrid, México, Los Angeles and Buenos Aires.
Among the three El Estudio partners – Cruz (“Luis Miguel”), Enrique Lopez Lavigne (“The Impossible”) and Suarez (“Queen of the South”) –  have produced a total of 45 films and 10 TV series in the last 10 years, amassing more than $620 million at the worldwide box office.
Pantaya is owned by Hemisphere Media Group, the only publicly traded pure-play Spanish-language media company in the U.S. Hispanic and Latin American markets with a portfolio of top broadcast and cable television networks, digital platforms and content distribution. serving the U.S.
In a move aimed at further building its roster of original content, LA-based Spanish-language streaming platform Pantaya and Latino Hollywood studio Pantelion have signed multi-year first look deals with Latin American companies El Estudio, The Lift and Traziende Films.
El Estudio has more than a hundred projects in development and/or in production and has developed strategic alliances with a slew of companies, including Pantaya, Sony Pictures, Netflix, Amazon, HBO, Paramount Plus, HBO Max, Starz, ViacomCBS International Studios (VIS), Warner, TVE, and Atresmedia.

Colbert, Licht, Tom Purcell and Jon Stewart are the executive producers.” /> and CBS Studios. "The Late Show With Stephen Colbert" is a production of The Late Show Inc.
"The podcast space is growing exponentially, and it proves that audiences are consuming their content in a variety of ways across platforms that serve their needs," said Chris Licht, the executive producer of "The Late Show." "As we continue to grow Stephen’s overall brand, we’re excited to officially launch this audio experience for 'Late Show' fans."
If you didn't watch last night's "Late Show With Stephen Colbert," you'll still be able to listen to it.
"The Late Show" is also available to stream live and on demand on Paramount Plus, the streaming-video outlet operated by ViacomCBS, the parent of CBS. Many of TV's late-night programs have expanded into digital venues, all in hopes of reaching a new generation of viewers that enjoys their hosts' wee-hours content, but doesn't watch the programs in traditional fashion. Many of the shows break up their linear broadcasts into segments that run on YouTube and other digital outlets. Samantha Bee, the host of TBS' "Full Frontal," hosts a weekly podcast in which she interviews people of note.
The podcast will hosted on Spotify's Megaphone, and will be made available to advertisers via the Spotify Audience Network. The CBS late-night program will launch on Monday a "showcast" that will be called "The Late Show Pod Show With Stephen Colbert," essentially an "audio lift" of the linear program.

“This is a natural partnership as Variety is the authority on entertainment news, Variety on Twitter is where the entertainment conversation plays out in real time and Twitter is where the conversation happens — it’s the new water cooler,” said Dea Lawrence, CMO of Variety. Sleeper hits like “Tiger King” and “Squid Game” have traction on Twitter first, and that's one of the first signs that a show is a breakout." “Twitter is also an excellent discovery tool to learn what is buzzy in TV.
Enter the Variety Trending TV Chart powered by Twitter,” said Sarah Rosen, head of U.S. “People come to Twitter every day to talk about what they are watching and connect with other fans, and now, through our partnership with Variety, we are going to be able to use all of that conversation data to create a modern day watch list of the most talked about shows.”” /> “With endless options across multiple platforms, consumers are craving recommendations to help them decide what to watch. entertainment and news partnerships at Twitter.
The charts will allow fans to stay up-to-date on the most newsworthy and bingeworthy TV content, and will help insiders keep track of which shows consumers are tweeting about the most in real time. Brands will also have the opportunity to align with the chart content on Variety.com and Twitter through innovative ad units and pre-roll. Variety will support the charts with weekly editorial analysis and video content.
The three Variety Trending TV charts, powered by Twitter, will detail the top 10 programs that are organically bubbling up on the social platform, analyze the day-to-day movement of the top three shows and provide a heat map of which shows are resonating across the country.
The announcement was made on Tuesday at the Advertising Week conference in New York. Variety and Twitter have partnered on a unique, first-of-its-kind chart that ranks the most tweeted about TV shows across network television and streaming.

Woodell will star as a young Winston Scott, the character played in the film franchise by Ian McShane. Winston charts a deadly course through the New York’s mysterious underworld in a harrowing attempt to seize the iconic hotel, which serves as the meeting point for the world’s most dangerous criminals. “The Continental” will explore the origin behind the titular hotel-for-assassins through the eyes and actions of Scott, who is dragged into the Hell-scape of a 1975 New York City to face a past he thought he’d left behind.
The fourth film is currently filming with a planned release on May 27, 2022.” /> The three “John Wick” films have collectively grossed more than $300 million at the global box office.
"The Continental," which will air as a three-episode event series, hails from writers and executive producers Greg Coolidge and Kirk Ward, who also serve as showrunners. Chad Stahelski, Derek Kolstad, David Leitch, Shawn Simmons, Paul Wernick, and Rhett Reese all serve as executive producers with Basil Iwanyk and Erica Lee of Thunder Road Pictures also executive producing.
The "John Wick" prequel series at Starz, "The Continental," has cast Colin Woodell in the lead role, Variety has learned.
It was previously announced that Mel Gibson would appear as a new character named Cormac. Woodell is now the second cast member announced for the series.
He is repped by Management 360 and Gersh.
Woodell most recently appeared in the critically-acclaimed HBO Max series "The Flight Attendant." His other TV credits include "The Purge," "The Originals," "Masters of Sex," and "Designated Survivor." On the feature side, he starred in "The Call of the Wild" alongside Harrison Ford and previously appeared in projects like "Unfriended: Dark Web."

Bricusse won the 1967 best song Oscar for "Talk to the Animals," from the Fox musical "Doctor Dolittle," and the 1982 song-score Oscar for the musical "Victor / Victoria," written with Mancini. His Grammy was for song of the year in 1963, "What Kind of Fool Am I," written with Newley for the West End musical "Stop the World – I Want to Get Off."
Leslie Bricusse, Oscar- and Grammy-winning songwriter whose songs for Broadway and Hollywood include "What Kind of Fool Am I?" and "Pure Imagination," died Tuesday in Saint-Paul-de-Vence, France. He was 90.
Bricusse loved collaborating with composers who loved melody. With John Barry, he wrote lyrics for the James Bond thrillers "Goldfinger" and "You Only Live Twice." With Mancini, he added the words for "Two for the Road" and the Oscar-nominated "Life in a Looking Glass" for "That's Life." For Jerry Goldsmith, he wrote lyrics for songs from "The Sand Pebbles" and "In Like Flint." And for John Williams, he penned the words for "Can You Read My Mind" from "Superman," "Somewhere in My Memory" from "Home Alone" and "When You're Alone" from "Hook," the latter two Oscar-nominated as best song.
His close friend, Dame Joan Collins, announced the death on Instagram this morning, calling him "one of the giant songwriters of our time." Bricusse's son Adam also announced it on Facebook; neither indicated a cause of death.
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There is no word about a memorial service. Bricusse, who had homes in Beverly Hills, London and France, is survived, in addition to his son, by his wife Evie.
Over seven decades, the London-born writer-composer was in demand for his clever, witty and tuneful songs, sometimes in collaboration with others (notably Anthony Newley in London, Henry Mancini and John Williams in Los Angeles) and sometimes serving as both lyricist and composer.
He was inducted into the Songwriters Hall of Fame in 1989. He was a five-time Tony nominee for "Stop the World" (musical, book, score), "Roar of the Greasepaint" (score) and "Jekyll & Hyde" (book).
"Sammy," about the life and times of Sammy Davis Jr., has been workshopped on and off since 2007. With Cyril Ornadel, he also wrote "Pickwick" for the West End in 1963; on his own, "Sherlock Holmes: The Musical," with Ron Moody as Conan Doyle's famed detective, in 1988; and with Frank Wildhorn, he penned both book and lyrics for "Jekyll & Hyde: The Musical," which reached Broadway in 1990, and "Cyrano," which debuted in Japan in 2009.
For the big screen, he wrote the Oscar-nominated musical "Goodbye, Mr. Chips," with Peter O'Toole, in 1969; and, with Mancini, the songs for "Santa Claus" in 1985. He and Newley also wrote a "Peter Pan" musical for TV in 1976.
"The music illuminates the meaning of the lyric, just as the lyric can have only that melody and no other," Bricusse said in his autobiography. "They are the two reflecting halves of the same thing, and like the fine finished product of any art or craft, the two pieces must be seamlessly joined." Mancini once called him "the consummate Brit [with] an encyclopedic memory for things theater," adding, "sometimes I just like to sit back and watch his mind work."
The Bricusse-Newley song score for "Willy Wonka and the Chocolate Factory" was Oscar-nominated in 1971, but curiously not for its best-known tunes, the Gene Wilder-sung "Pure Imagination," now among the most familiar and beloved songs of its time, and "The Candy Man," from the same score, a hit for Sammy Davis Jr.
In addition to "Stop the World," which opened in London in 1961 and on Broadway in 1962 (with Newley starring in both), he wrote "The Roar of the Greasepaint – The Smell of the Crowd," also with Newley, a U.K. production that enjoyed bigger success on Broadway in 1965. Bricusse regularly moved back and forth from stage to screen. "Who Can I Turn To," from that show, was a hit for Tony Bennett; "A Wonderful Day Like Today" is now a standard and "Feeling Good" was recorded by numerous artists including Nina Simone.
Yet both his song "Thank You Very Much," and the musical it was written for, "Scrooge," based on Dickens' "A Christmas Carol" starring Albert Finney, were Oscar-nominated and are more popular now than when they debuted in 1970. "Dolittle," "Scrooge" and "Victor / Victoria" were all later adapted for the legit stage.
Educated at Cambridge, he was president of its Footlight Revue Club and founded the Musical Comedy Club; there he also co-wrote, directed and performed in his first two musicals, "Out of the Blue" and "Lady at the Wheel," both of which made their way to the West End in the 1950s. He performed with Beatrice Lillie at the Globe Theatre and wrote his first film, "Charley Moon," in 1956.
Bricusse wrote the lyrics for James Bond theme songs "Goldfinger" and "You Only Live Twice," as well as songs for movies including "Willy Wonka and the Chocolate Factory" (including "The Candy Man"), "Scrooge," "Hook," "Doctor Dolittle" and "Superman."

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In the U.S. The company netted 330,000 in the Latin America region” /> and Canada, Netflix reported a net gain of 70,000 subscribers for Q3, essentially flat quarter-over-quarter.
"After a lighter-than-normal content slate in Q1 and Q2 due to COVID-related production delays in 2020, we are seeing the positive effects of a stronger slate in the second half of the year," Netflix told investors in its quarterly shareholder letter.
“Squid Game,” which premiered Sept. 17, has unexpectedly become Netflix’s biggest-ever original TV show in its first month of release (topping the previous record holder, "Bridgerton").
"The breadth of 'Squid Game's' popularity is truly amazing; this show has been ranked as our #1 program in 94 countries (including the US)," Netflix said in its investor letter. Demand for consumer products to celebrate the fandom for 'Squid Game' is high and those items are on their way to retail now." "Like some of our other big hits, 'Squid Game' has also pierced the cultural zeitgeist, spawning a 'Saturday Night Live' skit and memes/clips on TikTok with more than 42 billion views.
For Q4 2021, Netflix forecast paid net adds of 8.5 million, which is about what the company netted in the year-earlier period.
Netflix paid $21.4 million for the nine-episode South Korean survival drama and the company estimates “Squid Game” will deliver a whopping $891 million in what it terms “impact value,” according to a Bloomberg report, citing leaked internal data.
Wall Street analysts on average expected $7.48 billion in revenue and EPS of $2.56, according to Refinitiv data. Netflix reported revenue of $7.48 billion and earnings per share of $3.19 for the period.
However, it should be noted that the figure counts anyone who watched at least 2 minutes of an episode. Netflix on Tuesday said 142 million member households globally — two-thirds of all subscribers as of the end of September — have chosen to watch "Squid Game" in its first four weeks.
Later in 2021, Netflix said, it will shift to reporting on hours viewed for originals — rather than the number of accounts that choose to watch them, as it does today. Netflix co-CEO and chief content officer first shared top 10 rankings by hours viewed at an industry conference last month.
Netflix previously projected global net adds of 3.5 million paid subscribers for Q3, a target most analysts expected the company to beat. The streamer overall gained 4.38 million paid subscribers in the period, to reach 213.6 million worldwide.
Asia-Pacific represented Netflix's biggest contributor to subscriber growth, as it did in Q2. In Europe, the Middle East and Africa (EMEA) it gained 1.8 million paid net adds (an improvement sequentially vs. 188,000 in Q2). In the APAC region, the streamer netted 2.2 million paid net adds — half its total gains for the period.
The company said in the shareholder letter that "we think engagement as measured by hours viewed is a slightly better indicator of the overall success of our titles and member satisfaction," adding that it "also matches how outside services measure TV viewing and gives proper credit to rewatching."
Netflix topped forecasts for subscriber growth in the third quarter of 2021, buoyed in part by strong interest in global smash-hit series "Squid Game."

The "John Wick" prequel series at Starz, "The Continental," is rounding out its main cast with five new additions.
Robson is repped by Management 360 and Rogue Management.” /> Prada is repped by UTA. Point Du-Jour is repped by Buchwald and Kanner Entertainment Inc. Allain is repped by UTA, Link Entertainment and Independent Talent Group. Nhung is repped by Bowery Artists.
Chad Stahelski, Derek Kolstad, David Leitch, Shawn Simmons, Paul Wernick, and Rhett Reese all serve as executive producers with Basil Iwanyk and Erica Lee of Thunder Road Pictures also executive producing. "The Continental," which will air as a three-episode event series, hails from writers and executive producers Greg Coolidge and Kirk Ward, who also serve as showrunners.
The five join previously announced series lead Colin Woodell as well as cast member Mel Gibson.
“The Continental” will explore the origin behind the titular hotel-for-assassins through the eyes and actions of Winston Scott (Woodell), who is dragged into the Hell-scape of a 1975 New York City to face a past he thought he’d left behind. Winston charts a deadly course through the New York’s mysterious underworld in a harrowing attempt to seize the iconic hotel, which serves as the meeting point for the world’s most dangerous criminals. In the films, Scott is played by Ian McShane.
Mishel Prada ("Vida") will play KD; Hubert Point Du-Jour ("Blindspot," "Madame Secretary") will play Miles; Jessica Allain ("The Laundromat," "Thriller") has been cast as Lou; Nhung Kate ("Swapping Fate," "The Better Man") has been cast as Yen; and Ben Robson ("Animal Kingdom," "Vikings") has been cast as Frankie.

in September, compared to 6% for YouTube, 3% for Hulu, 1% for Disney Plus and 9% for a group dubbed "other streaming." The letter noted as an aside that Netflix engagement spiked 14% on Oct. The shareholder letter cited Nielsen's estimate that Netflix accounts for about 6% of total TV watching time in the U.S. 4, the day Facebook experienced a massive outage for hours.
But Netflix has forged its own path on ratings even as it has become a point of frustration for talent that it's hard to know what the total audience for a show is compared to the readily available Nielsen numbers for broadcast and cable content.
Netflix is making a major shift in how the company reports viewership data for its content, shifting to a metric that is more closely aligned with traditional TV metrics.
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Netflix does not carry advertising — and its leaders have vociferously pledged to keep it that way — which means that it does not need Nielsen ratings to serve as the currency for ad sales. Nielsen has started to report ratings for Netflix and other streamers. Netflix executives have consistently said that Nielsen's estimates are off base because they don't have full access to the proprietary platform.
But a source cautioned that despite the movement, there's no chance of Netflix releasing anything like overnight ratings any time soon. Netflix co-CEOs Reed Hastings and Ted Sarandos also surprised the industry by noting that it will report viewership statistics more frequently than it has in the past. Netflix noted that the shift to hours viewed would also make it easier in some cases to compare viewership of programs on rival streaming platforms.
That is a big leap from the way traditional TV ratings are calculated on the basis of viewership in the average minute of a program. The previous statistic for the number of members who watched counted any subscriber who watched at least two minutes of an episode or program. Netflix's approach to reporting viewership data has been vexing for the traditional TV industry since the streamer began its foray into original content with drama "House of Cards" in 2013.
The third season of "Stranger Things" racked up 582 million hours viewed. "The Witcher" Season 1 (541 million) and "13 Reasons Why" Season 2 (496 million) rounded out the top five among series. According to hours-viewed numbers that Netflix's revealed Tuesday, Season 4 of Spanish-language thriller "Money Heist" is the second-most popular Netflix series with 619 million hours viewed.
For years, Netflix has only reported the number of households who watched at least a small portion of a program. As part of its third-quarter earnings release on Tuesday, the streaming giant disclosed it will soon begin reporting viewership stats measured as the total number of hours viewed of a program during its first 28 days on the platform.
As for Netflix's original movies, the title holder in the hours-viewed derby remains the offbeat 2018 Sandra Bulluck thriller "Bird Box" (282 million). Last year's sleeper disaster hit "Extraction" comes in No. 2 with 231 million, followed by 2019's "The Irishman" (215 million), 2020's "The Kissing Booth 2" (209 million) and 2019's "6 Underground" (205 million).
Our approach as always is to improve our service as quickly as we can so that we can earn a greater share of people's time," Netflix wrote. "We are still quite small, with a lot of opportunity for growth; in our largest and most penetrated market, according to Nielsen, we are still less than 10% of US television screen time.
In addition, we will start to release title metrics more regularly outside of our earnings report so our members and the industry can better measure success in the streaming world." "We think engagement as measured by hours viewed is a slightly better indicator of the overall success of our titles and member satisfaction," the CEOs wrote in the quarterly letter to shareholders. "It also matches how outside services measure TV viewing and gives proper credit to rewatching.
25, 2020. In Tuesday's shareholders letter, Netflix notes that the "Squid Game" phenomenon has been sampled by some 142 million member households. Netflix ended the third quarter with 213 million global subscribers. That compares to 82 million member households sampling some portion of the show, as Netflix revealed in January. In Netflix's new measure, its global hit "Bridgerton" generated 625 million hours of viewing across the platform in its first month on Netflix, a run that began Dec.

The International Alliance of Theatrical Stage Employees is beginning to roll out more details of its tentative contract with major film and television studios to its members, as it looks to build support for a ratification vote.
But the agreement has received a hostile reception from members, at least online, and tempers remained hot on Tuesday. The union, which represents the vast majority of craft workers in Hollywood, announced the deal on Saturday night, averting a strike that would have paralyzed the film and TV industry from coast to coast.
There were signs that some members were coming around, though, after they heard from local leadership in Zoom town halls. And many union officials are confident that the deal will be ratified, once members are fully informed.
They had unrealistic expectations that were never going to be fulfilled. Bottom line is, we have a better contract than we ever had before, and we avoided a work stoppage." "This is the most gains we have ever made in a contract, and we didn’t give up anything," said Salvador Perez, president of the Costume Designers Guild, who added that he was dismayed by some of the negative reaction. "They wanted the drama of a walkout.
Here they are, as best we know them on Tuesday afternoon. So a lot depends on the details. This is subject to being updated. The union was said to be preparing to circulate its own more detailed version, which would go beyond the bullet points it issued on Saturday evening.
The contract provides a 3% wage increase for each of three years. Union members have noted that annual inflation has been above 5% for much of the year. The union had started — as unions do — at 6% and bargained down from there. The producers came up from 2.5% in the last two years toward the end of the negotiation.
Diversity
Meal penalties compensate crews for working more than six hours without getting fed. There is a significant hike in meal penalties, though only for the most extreme cases. It also includes a super-penalty if a worker goes past 20 meal penalties in a single week. The new agreement keeps the status quo penalties for the first two hours, but then doubles the penalty after eight hours, from $12.50 per half hour to $25. At that point, each additional half-hour penalty would be equal to the worker’s prevailing hourly wage.
Local 871 has been drawing attention to low wages in those classifications for years through its Reel Equity campaign, and has emphasized that most of these workers are women. The improvement is also significant for writers assistants and script coordinators, who organized with Local 871 only four years ago.
Those wages will rise to $23.50 an hour in the first year of the contract, $24.50 in the second year and $26 in the third year. The lowest paid workers in the industry are in IATSE Local 871, and they will get a significant increase. Under the existing contract, writers room assistants make as little as $16 an hour. Assistant production office coordinators make as little as $15.66; art department coordinators, $16.82; and script coordinators, $17.64.
Contract ratifications typically have low turnout — last time it was in the 30s — but this time it could be different. Each local's delegates will vote based on a majority vote of the membership. It's unclear whether the online reactions reflect the views of the 60,000 members eligible to vote. Almost 90 percent of members responded to a strike authorization vote two weeks ago, and the ratification vote will use the same online process. The deal must be approved by a majority vote of delegates within the 13 IATSE locals on the West Coast.
It hasn't gotten much attention, but there is a provision that seeks increased diversity in the union. The studios are under a lot of pressure to hire diverse crews. The contract addresses that by adding diverse trainees, though the details are still a little unclear. The union does not oppose that, but is wary of bringing on new recruits at the expense of existing members.
Wages for Low-Paid Workers
The Alliance of Motion Picture and Television Producers went into talks hoping to increase the minimum hours required to qualify for a pension. That stays the same, at 400 hours per year. But as the clock wound down toward a strike deadline, the proposal was pulled. The trade organization had hoped to create a new tier, where new members would have to work 800 hours or more to be eligible. There is also no change to the health plan eligibility threshold, which remains 400 hours of work over six months. The studios also agreed to cover a nearly $400 million funding gap in the pension and health plan over the next three years.
Pensions
The union expects this will curb the most egregious situations, because productions will opt to provide a meal rather than pay the steep new penalties. They will continue to get the same penalties they've been getting for decades: $7.50 for the first half hour, $10 for the second and $12.50 for the third and fourth. A great many members, meanwhile, will not experience this as a change at all, since they rarely go beyond eight hours without a meal or beyond 20 penalties in a week. But some deep-pocketed productions could still schedule long days with no breaks, and budget in the increased penalty.
Jazz Tangcay contributed to this report.” />
Annual Raises
Streaming Residuals and Wages
Turnaround Times
There is an increase in wages for streaming shows, which will bring rates on streaming productions closer to parity with traditional productions — though not ending the streaming discount entirely. The details of this part of the pact are still murky, so it's possible that certain deal terms will be revealed in the coming days. This varies somewhat by guild, but in some cases streaming productions will no longer track with old "movie of the week" formulas, which are lower than the standard rates.
Some said workers have as little as eight or nine hours of minimum turnaround under the current agreement. The deal also provides a 54-hour weekend rest period, which is intended to curb "Fraturday" shifts — late Friday shifts that go until Saturday morning. Productions can still schedule six-day weeks (though it gets expensive), in which case the weekend rest period is 32 hours. The deal provides a 10-hour turnaround time between shifts for all workers on all projects. But most workers already have 10, so it will not be a gain for them.
Members fear that health and pension benefits will be jeopardized as streaming takes over more and more of the business. They were unable to make any headway there, in part because the sideletters for "new media" are set by the above-the-line guilds. But streaming shows do not get sold to secondary markets — they just stay on the platform. Under the traditional business model, every time a show was sold to some secondary market, or released on DVD, a residual would be paid into the plans. The unions hoped to force streaming services to pay more residuals into the health and pension system.
The Area Standards Agreement
IATSE is still in the midst of negotiating the Area Standards Agreement, which covers another 15,000 to 20,000 workers in 23 locals around the country, including production hubs in Georgia, New Mexico, Louisiana and Pittsburgh. All of the terms above refer to the Basic Agreement, which covers the 13 West Coast guilds. There would then be two ratification votes, one for each contract, probably sometime in November, though no date has been set. That agreement typically tracks closely with the Basic Agreement, and should be wrapped up within the next few days.
Meal Penalties

"We compete with a staggeringly large set of activities for consumers’ time and attention like watching
households, which is Netflix's largest and most-penetrated market. Cable TV was the biggest slice of the pie (38%) followed by broadcast TV (26%). The company noted that, according to Nielsen estimates, it has 6% share of all TV viewing time for the month of September 2021 among U.S.
linear TV, reading a book, browsing TikTok or playing 'Fortnite,' to name just a few," Netflix said in the shareholder letter, as part of announcing third-quarter 2021 earnings.
Netflix's point to investors: It believes it still has upside growth, even its most mature markets.
Netflix has long said it competes not just with other premium streaming services — like Amazon Prime Video, HBO Max or Disney Plus — but also other activities, including playing "Fortnite" and sleep itself.
4, when Facebook, Instagram and the social giant's other apps experienced a global outage that lasted about six hours, the service saw a 14% increase in engagement during the time Facebook's services were down. Now the company has shared a data point that illustrates this dynamic: According to Netflix, on Oct.
"We are still quite small, with a lot of opportunity for growth," the company said in the letter. "Our approach as always is to improve our service as quickly as we can so that we can earn a greater share of people’s time."” />

Sykes is repped by ICM and Roger Pliakas. Stassen is repped by UTA, Mosaic and Morris Yorn. Barinholtz is repped by UTA, Artists First, Kovert Creative, and Morris Yorn. Kroll is repped by UTA, Rise and Schreck/Rose/Dapello. Salter is repped by CAA.” />
"History of the World, Part I" is finally getting a Part II, with Hulu ordering a variety series followup to the classic Mel Brooks comedy film, Variety has learned exclusively.
Brooks' comedy films are consistently ranked among the best of all time, such as "Blazing Saddles," "Young Frankenstein," "The Producers," and "Spaceballs." He later adapted both "The Producers" and "Young Frankenstein" as critically-acclaimed stage musicals. He has also produced several hit films, most notably David Lynch's "The Elephant Man."
The film was made up of segments set during different periods of world history. "History of the World, Part II" is described as a sequel to the 1981 film. Like most of Brooks' work, it also featured musical numbers, including one about the Spanish Inquisition and, of course, "Jews in Space." Among those was the Stone Age, Ancient Rome, and the French Revolution.
He is repped by CAA.
Hulu has ordered eight episodes of the show. There is no word yet on which world events the series will cover. The writers room is beginning in October with production slated to begin in Spring 2022. Brooks is a writer and executive producer on the series along with Nick Kroll, Wanda Sykes, Ike Barinholtz, David Stassen and Kevin Salter. Searchlight Television and 20th Television will produce.
The film also featured stars like Gregory Hines, Dom De Luise, Madeline Kahn, Harvey Korman, Cloris Leachman, and many more. Those included King Louis XVI and his piss boy doppleganger as well as the stand up philosopher Comicus. Brooks, a comedy legend and EGOT winner, wrote and directed "History of the World, Part I" in addition to appearing onscreen in five different roles.
“I can’t wait to once more tell the real truth about all the phony baloney stories the world has been conned into believing are History!” Brooks said.
Kroll previously created and starred in the Comedy Central sketch series "Kroll Show" and currently stars in the hit Netflix animated comedy series "Big Mouth," which he co-created. Sykes is a world-renowned stand up comedian, writer and actress, known for roles in shows like "The New Adventures of Old Christine," "Black-ish," "Curb Your Enthusiasm," and the current Netflix series "The Upshaws." Barinholtz previously wrote for and starred in "The Mindy Project" and has starred in shows like "Madtv," "The League" (along with Kroll), and "Bless the Harts." Stassen also wrote for "The Mindy Project" and recently re-teamed with Barinholtz as writers on the Netflix animated series "Chicago Party Aunt." Salter is Brooks' producing partner, having worked with him on projects like "Mel Brooks Live at the Geffen" and "Young Frankenstein Live."

Who inspires you right now?
Same with Michaela Coel. It’s people who are involved with the whole process. I love what Donald Glover makes. People who care about step one to step 1,000. It’s people like Tyler the Creator.
There’s only so much you could say. I’ve spent a decade talking about myself. I would love to do something that has nothing to do with being about me. I’m exhausted. I’m desperate to write or direct a short film.
I caught up with Franta at Sightglass Coffee in Los Angeles.
Is there another platform you want to explore next?
It brings me to a point where, even if I get knocked down, I’m still high and it helps me not get lower. I do a lot of walking. I also go for a five- to 13-mile run every morning. I’m like a grandpa because right when the sun is going down, I go for a good three-mile walk every night. I do a lot of running. Maybe I’ll call a friend and just talk.
What was the most challenging subject to tackle in the book?
A friend of a friend knows [fashion designer] Hedi Slimane, and he said to me, “He’d love to have dinner with you.” I went and it was so fucking cool.
How do you cope when that stuff does come up?
Do you ever look at apps like TikTok now and think, “I’m too old for that?” You started on YouTube.
Writing about it was a way to let people know that thoughts aren’t real, what’s in your head doesn’t have to be your reality. Even though I’ve never been one to feel like I would ever act on those, it’s funny how that’s still something present in my darkest moments. Depression, and the ultimate darkest side of that is suicidal thoughts.
Who’s someone who slipped into your DMs and you couldn’t believe it?
It’s something that’s completely comforting — a home — but then something that’s destructive, a fire. Life is essentially a series of house fires, where you’re building yourself up to some position, and then, it sounds sad, but you burn it down and you move on to the next thing.
How did you come up with the title of the book?
Like I don’t think it makes too much sense for me to be up there doing dancing TikToks, but maybe it make more sense for me to social commentary TikToks.” /> I think where people go wrong is where they try to keep up and then it becomes disingenuous.
Connor Franta shot to internet stardom as a YouTube personality. His new and third book, “House Fires,” is a collection of essays, photos and poems about dating, sex, relationships and his struggles with depression. Since launching his channel in 2010, Franta, who was born and raised in Minnesota but moved to Los Angeles in 2013, has amassed more than 20 million followers across his social platforms. Franta, 29, is also a writer, a photographer and an LGBTQ advocate.

Country artist claimed the next two highest-bowing spots — Cody Johnson's "Human the Double Album," premiering at No. 15 with 20,700 units, and Old Dominion's "Time, Tequila & Therapy" at No. 25 with 17,100.
6. "You Want Smoke," a song by Nardo Wick featuring G Herbo, Lil Durk and 21 Savage, is the highest debuting song, at No.
The status quo on the songs chart has shifted, as Lil Nas X's "Industry Baby" — a collab with Jack Harlow — finally reached No. 2 position. The tune moves up on the strength of 18.9 million streams. 1 after spending a lot of its six-week run to date stuck in the No.
1 position this week. It stepped aside last week to make way by a brief, vinyl-driven resurgence by Taylor Swift's "Fearless (Taylor's Version)." Six weeks into its run, "CLB" didn't face any credible competition in reclaiming the prize this time, with 93,600 album-equivalent units being claimed, and a still formidable 117.8 million streams for the week. On the album chart, though, it is business as usual, with Drake's "Certified Lover Boy" returning to the No.
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3, followed by Olivia Rodrigo, Doja Cat, Lil Nas X, Morgan Wallen, Meek Mill, Kanye West and Justin Bieber at Nos. The remainder of the album top 10 was rounded out by YoungBoy Never Broke Again at No. 4-10.
For the top 200 albums, click here. The full list of the top 100 songs can be found here.
5. 2, two Drake numbrers ("Way 2 Sexy," "Knife Talk") at Nos. 3-4, and Walker Hayes' country phenomenon "Fancy Like" at No. On the Rolling Stone songs chart, Lil Nas X's chart topper is followed by the Kid Laroi and Justin Bieber's "Stay" at No.
2 with 66,700 album units. The top debuting album on the Rolling Stone album chart is Don Toliver's "Life of a Don," in at No. Toliver's song streams added up to 59.1 million, and the album collected 18,300 full-album sales as well.
10. Ed Sheeran has two singles in the top 10: "Bad Habits" at No. 6 and "Shivers" at No.

After a decade as CEO of the Academy of Motion Picture Arts and Sciences, Dawn Hudson announced Monday that her current term will be her last.
Last year, the organization’s Board of Governors announced that Hudson had re-upped her deal and would continue in her role through May 2023.
Hudson also oversaw the creation of Aperture 2025, which established inclusion standards for Oscars eligibility. Under Hudson's leadership, the Academy also worked to increase diversity among its ranks with the implementation of diversity, inclusion and representation initiatives across the Academy membership, governance and staff. During her tenure, the organization more than doubled the number of women and underrepresented ethnic/racial communities through the A2020 initiative, bringing in the most diverse class in the organization’s history in 2020.
The development of the museum was just one of the many initiatives in which Hudson played a primary role. News of Hudson's next steps come after the successful launch of the Academy Museum of Motion Pictures, which opened to the public in September.
As CEO, Hudson also oversees the Academy’s 450-person staff in Los Angeles, New York and London; operations and outreach, including awards, membership, marketing, communications, finance and technology; and the Academy Foundation, which includes educational initiatives, fellowships and grants, the Margaret Herrick Library and the Academy Film Archive.
Hudson joined the Academy as CEO in 2011 and will relinquish her post when her contract ends in May 2023. The Academy also announced that a search for Hudson’s successor will soon be underway, and that she will have "a vital role in the transition."
“After more than ten years and the incredibly successful opening of our new museum, I’ve decided, when this term concludes, it will be time for me to explore other opportunities and adventures as this can hardly be topped,” Hudson said in a statement explaining her decision.
I’m excited for what the future holds, for both the Academy and for me.” "The Board of Governors and I are mutually committed to a seamless transition to new leadership. “We’ve achieved so much together that’s been most important to me — our ongoing commitment to representation and inclusion; adapting the Academy into a digitally sophisticated global institution; and creating the world’s premier movie museum that will be the destination of film fans for decades," Hudson continued.
"Advancements in the diversity and gender parity of our membership, our increased international presence, and the successful opening of a world-class Academy Museum — a project she revived, guided and championed — are already part of her legacy. “Dawn has been, and continues to be, a groundbreaking leader for the Academy," Academy President David Rubin added. I know the Board of Governors joins me in looking forward to our collaboration with Dawn in the many months ahead, as we map out a plan for succession."” />

Focus Features will campaign Balfe and Dornan as supporting, while Hill goes for lead at the Oscars. Dench, who plays Grandma, is hoping to land a supporting actress nomination. If nominated, Dench will be the second-oldest supporting actress nominee in history.” />
Branagh also appeared at the festival to receive the director spotlight award. The award for best documentary film went to National Geographic's "The Rescue," directed by Elizabeth Chai Vasarhelyi and Jimmy Chin — the Academy Award-winning filmmakers of "Free Solo."
"We are so grateful to the distributors and filmmakers who shared their films with us — and to our sponsors, filmgoers and volunteers for all their support in making our 9th year the best one yet." "A huge thank you to everyone who made our return to an in-person festival a great success," said MFF Founder and Board Chair Sheila Johnson.
"The Rescue," which was the festival's opening documentary film, chronicles the riveting, against-all-odds story that transfixed the world in 2018: the daring rescue of 12 boys and their soccer coach from a flooded cave in Northern Ireland after monsoon rains had trapped them in a pitch-black chamber deep in the cave. Vasarhelyi and Chin bring alive the mission, shining a light on the international community that united to save the boys.
Kenneth Branagh's semi-autobiographical "Belfast," a black-and-white family drama about the Northern Ireland city in the late '60s, was awarded best narrative film.
Current best picture frontrunner "Belfast" has scooped the top prize at the Middleburg Film Festival.
A humorous, tender and intensely personal story of one boy's childhood, the film stars Caitríona Balfe, Judi Dench, Jamie Dornan, Ciarán Hinds and Jude Hill. Branagh's movie, which also won the people's choice award at the Toronto Film Festival, screened as the Saturday Night Centerpiece film with an encore presentation on Sunday afternoon and sold-out crowds at both. He returned Sunday morning for a career-spanning tribute conversation with KPCC’s John Horn. Branagh participated in a post-screening conversation, where he was met with a standing ovation, on Saturday with Washington Post Chief Film Critic Ann Hornaday.
"We were so honored to have Kenneth Branagh join us to present 'Belfast' with its masterful filmmaking, deeply moving story and stunning performances. 'The Rescue' had our audience on the edge of their seats and cheering by the end for a film that showcases the very best of what documentary filmmaking can do." "Congratulations to our Audience Award winners 'Belfast' and 'The Rescue,'" said MFF Executive Director Susan Koch.

The accompanying rally will present Sarandos with "a list of firm asks" and will include a PSA delivered by public figures, some of whom have worked with Netflix, including Jamil, Van Ness, Haynes, Ross, O'Hara, Sara Ramirez, TS Madison, Our Lady J, Alexandra Billings and Joey Soloway. In protest of Sarandos' comments, Netflix's trans employees and allies last week announced their plan to hold a walkout.
at Netflix's EPIC building in Hollywood and will feature creators, grassroots organizers and public figures coming together "to underscore the importance of responsible content offerings that prioritize the safety and dignity of all marginalized communities," according to Preston's announcement of the event. Organized by activist Ashlee Marie Preston, the in-person rally will take place on Wednesday at 10:30 a.m.
In a memo to staff, Sarandos wrote: "While some employees disagree, we have a strong belief that content on screen doesn’t directly translate to real-world harm." Last week, Netflix faced widespread backlash as co-CEO Ted Sarandos defended Dave Chappelle’s special "The Closer," which has been come under fire for what critics say contains transphobic and homophobic content.
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A rally in support of the Netflix trans employee walkout on Oct. 20, dubbed "Stand Up in Solidarity," will present co-CEO Ted Sarandos with a list of "firm asks" and feature a PSA from stars including Angelica Ross, Jonathan Van Ness, Jameela Jamil, Eureka O'Hara and Colton Haynes.
According to Netflix, Field was not suspended due to her tweets, but for attending the meeting uninvited. Shortly after Sarandos’ memo, three employees were suspended for crashing an executive meeting, including Terra Field, who identifies as trans and queer and had criticized Chappelle’s special on Twitter. However, on Oct. 15, an unidentified employee was fired for sharing "commercially sensitive information" outside of the company that was included in a Bloomberg report. On Oct. 12, it was announced that the employees had been reinstated after the company found that they did not join the meeting with any ill intent.
"Instead, we aim to use this moment to shift the social ecology around what Netflix leadership deems ethical entertainment, while establishing policies and guidelines that protect employees and consumers, alike." "We shouldn’t have to show up annually to push back against harmful content that negatively impacts vulnerable communities," the Instagram announcement reads.

The "Succession" Season 3 premiere increased viewership 21% versus the Season 2 finale and was up 13% over the Season 2 premiere, as well as up 39% compared with the series debut in 2018.
According to WarnerMedia, episodes of "Succession" Season 2 went on to average nearly 5 million viewers across all platforms.
Tensions rise as a bitter corporate battle threatens to turn into a family civil war, with the Roy family navigating the looming question of who will take over in a post-Logan world.” /> After Kendall’s impulsive decision to expose the company’s sprawling scandal, the family is left to each contemplate their future. In Season 3, Logan finds himself in a perilous position, scrambling to secure familial, political, and financial alliances after he was ambushed by his rebellious son Kendall.
The Roys are back — and bigger than ever, according to HBO.
The growth for "Succession" in its third-season opener was driven by its performance on digital, according to HBO. The S3 premiere episode had the biggest digital premiere for an HBO series since "Big Little Lies" Season 2 in June 2019.
That was a viewership high-water mark for the series, and it was the best premiere-night performance of any HBO original series since the launch of HBO Max in May 2020. Season 3 of HBO's family-dynasty drama "Succession," which premiered Sunday night, drew over 1.4 million viewers across all platforms, the network said.
"Succession" explores the themes of power and family dynamics through the eyes of billionaire patriarch Logan Roy (Brian Cox) and his four grown children, Kendall (Jeremy Strong), Siobhan (Sarah Snook), Roman (Kieran Culkin) and Connor (Alan Ruck).
In addition, according to HBO, the new season drove catch-up viewing of past seasons (as expected): HBO said the series reached an all-time high in monthly viewership on HBO Max in September 2021 and a new daily high Sunday night with the premiere. Digital viewing for "Succession" Season 3's premiere episode was up 214% from last season’s premiere and remained the top title overall on HBO Max for the weekend.

As a series regular, Underwood will play Richard, a popular chef who is blindsided when his wife Sloane (DeWanda Wise) enters a sexual relationship with another man. Lola Kirke plays the recurring guest role of Jenny, a free spirit who may be the only woman Sloane has ever been close to.
Showtime announced that Blair Underwood and Lola Kirk have been cast in the upcoming drama series “Three Women” based on Lisa Taddeo’s book of the same name.
Kirke will next be seen in HBO’s upcoming untitled limited series about the 1980s Los Angeles Lakers. She also starred in the Amazon Prime Video comedy-drama “Mozart in the Jungle.” Kirke’s other credits include “The Premise,” “Lost Girls” and “American Woman.” On stage, she will appear in the NY Theatre Workshop production of “Three Sisters” opposite Greta Gerwig and Oscar Isaac. She is repped by One Entertainment, ICM Partners, Sloane, Offer and Weber & Dern.
28, as well as the ABC sequel series of the NBC legal drama “L.A. Underwood’s credits include directing, producing and starring in upcoming psychological thriller “Viral.” He also stars in Season 2 of the HBO Max romantic comedy anthology “Love Life,” premiering on Oct. Law,” which he will executive produce while reprising his original role. He has received a Tony Award for starring in “A Soldier’s Play,” an Emmy Award for producing “Give” and a Grammy Award for co-narrating the audiobook “An Inconvenient Truth.” He is repped by ICM, Thruline and Felker Toczek Suddelson Abramson. Underwood has also appeared in “Sex and the City,” “Bad Hair,” When They See Us,” “Quantico” and others.
“Three Women” is executive produced by showrunner Laura Eason, Kathy Ciric, Emmy Rossum and Taddeo, who also writes on the series. Louise Friedberg will direct and executive produce the first two episodes.” />
Henry, a charming doctor who is confident about his effect on women. A writer named Gia (Woodley) persuades the women to tell their stories, and her relationship with them ends up changing her own life, too. The series is a story of female desire, charting the paths of three women completely overturning their lives. Homemaker Lina (Gilpin) enters an affair after a decade in a passionless marriage. Sloane, a glamorous entrepreneur, enters her affair despite being in an open marriage already when she meets two new strangers. Along with Wise, previously announced stars include Shailene Woodley, Betty Gilpin and Ravi Patel. Maggie is a student who accuses her married English teacher of an inappropriate relationship. Patel plays Dr.

BMG has promoted U.S. frontline recorded-music execs Angela Barkan and Cyndi Lynott to senior vice presidents, the company announced on Monday.
Under the new partnership, Range will package talent and other content opportunities for Audio Up's array of intellectual properties, including their original scripted podcasts, and expand on growth opportunities across music and television platforms. Additionally, Range and Audio Up will create branded content for Range’s extensive roster of talent, and Range will be designated as the studio or executive producer on all Audio Up projects across film, TV, or non-scripted television series and features. + Audio Up has announced a new partnership with fast-growing music, film and television management company Range Media Partners. Currently, the two companies have entered into early discussions to collaborate on projects with already attached talent, directors and organizations, including the New York Mets.
She also joined BMG in 2018 and has worked closely with Avril Lavigne, Evanescence, Lindsey Stirling and others. Myles Kennedy and others, has also been promoted to SVP of marketing and will continue to report to EVP Dan Gill. On the West Coast, Lynott, who is overseeing new releases from 5 Seconds of Summer, Monsta X, Slash ft.
She has won four Brit Awards (the UK equivalent of a Grammy). The singer’s debut album, “Our Version of Events,” spent ten weeks at No. 2 and her most recent, 2019’s “Real Life,” went Top 10. + Reservoir Media has inked a new publishing deal with Scottish singer-songwriter Emeli Sandé. 1 on the UK album charts and became the best-selling UK album of 2012; her subsequent album reached No. The singer, signed with Chrysalis Records earlier this year, has collaborated with David Guetta, Rudimental, Giggs, Labrinth and others over the years, and in 2012 performed at both the Opening and Closing ceremonies of the London Olympics. The deal includes her upcoming album, plus future works.
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Prior to S-Curve, she held a number of roles at Sony Music, finishing as VP at Sony Music Masterworks, a role she held for five years. On the East Coast, Barkan, who is currently overseeing new releases from Duran Duran, Bryan Adams and Kelis, has been promoted to SVP of marketing and will report to EVP Jason Hradil. She joined BMG in 2018 from S-Curve Records, where as VP of marketing she worked closely with artists including AJR, Leslie Odom Jr., the O’Jays, Andy Grammer and others.
On the new deal with Reservoir, Sandé said, “I’m very excited to have signed with Reservoir! It feels great to join their impressive roster. I’m looking forward to all the music ahead and working with their fantastic team.”

"Both the godfather of L.A. Jay Dee's selection of an inclusive, award-winning crew including Gregory Tripi, Caleb Heyman and Oscar-winning casting director Yesi Ramirez, was the perfect combination to authentically highlight the world of graffiti, something most people see but know anything about." "'Vandal' showcases an authentic and unique perspective of the graffiti world," said Greg Maurice, director of content acquisition for 1091 Pictures. graffiti, Kelly ‘Risk’ Gravall, and Atlanta graffiti legend, Dax Rudnak from the Dungeon Family, approved of the true experiences graffiti artists encounter through this film.
Alvarez (“Looking”) also star. Otmara Marrero (“Connecting…”, “StartUp”), Beau Knapp ("Southpaw"), Juan Pablo Raba (“Narcos”), Richard Schiff (“The Good Doctor”) and Frankie J. Zovatto's credits include the 2016 horror-thriller "Don't Breathe," Showtime horror series "Penny Dreadful" and the upcoming "Station Eleven" adaptation for HBO Max.
1091 Pictures has acquired the global rights to “Vandal,” Jose Daniel Freixas’ feature directorial debut, which premieres digitally and on demand on 11/16.
"Vandal" is an Exilium production. Executive Producers include Gonzalez, Rob Weiss, Kelly “Risk” Graval and Marco Vicini. Freixas wrote the screenplay with Paul Taegel, Derek Mether, Andrew Bozalis and Tony Gonzalez. Freixas produces.
As a filmmaker it has been one of my earliest dreams to make a film that authentically depicts the lives of graffiti artists from the perspective of Miami, and represent my Hispanic culture. "Graffiti has been a part of my life since I was 10 years old," Freixas said. I am equally grateful to 1091 Pictures for believing in this film and helping spread the message and magic of graffiti and street art around the globe. "I grew up through graffiti with so many highs and so many lows along the way. I am eternally grateful to our cast and crew for bringing their energy, creativity and talent to deliver what I believe is one of the greatest films about graffiti ever made. We know 'Vandal' is in great hands with the team at 1091 Pictures."
The film follows Nick "Damage" Cruz (Daniel Zovatto), the young leader of an infamous graffiti crew in Miami, as he experiences love, loss and the consequences of his actions while coming of age and struggling to justify his obsession with illegal street art.
The deal was negotiated by Gonzalez on behalf of the filmmakers and Greg Maurice of 1091 Pictures.” />