By focusing on the most interesting entry points into the story, Padgett manages to diversify a book that could have been numbingly formulaic in its approach. For instance, the “Hound Dog” entry begins with co-writer Mike Stoller finding out that Elvis was covering their four-year-old song — on a New York dock after he was rescued from the shipwreck of the cruise ship SS Andrea Doria. The “Always on My Mind” entry focuses on the unlikely path to timelessness that the Pet Shop Boys’ version took: It was commissioned for a long-forgotten 1987 Presley tribute on British TV; the duo chose that song because it was the first one on the first Presley cassette they heard and didn’t feel like listening further; they hadn’t even planned to release their version. Yet while Padgett doesn’t hesitate to get as deep into the weeds on such issues as the subject requires, what separates his work from the statistician-like tone that plagues so many similar books is his reportorial focus on the most stories behind them. The “Satisfaction” entry (excerpted in the New Yorker last month) begins with Devo’s Mark Mothersbaugh and Gerald Casale sitting in a conference room, anxiously watching Jagger’s reaction as he hears their cover of the song for the first time.
By taking a fresh and deeply informed approach to a project that could have been dismally predictable, Padgett has produced a book that even the most condescending music snob will find satisfying and illuminating.” />
Ray Padgett
Padgett goes deep on each of the 19 songs covered in the book, which range from fairly obvious choices like “Twist and Shout” and “I Heard It Through the Grapevine” to less-obvious ones like “Weird Al” Yankovic’s “Polkas on 45” and the Gourds’ early Napster hit “Gin and Juice.” He details the writers, the performers, the lyrics, chart history and more, and doesn’t hesitate to dig into the ramifications of certain covers, like the racism issues stemming from Elvis Presley’s version of “Hound Dog” (which, as we learn, first charted in a version by Big Mama Thornton — who subsequently claimed Presley never delivered on promises to help promote her career — although Elvis actually took his hit version’s arrangement from Freddie Bell, a white act he saw performing the song in Las Vegas), or the way Warner Bros. insisted that Mick Jagger sign off on Devo's drastic 1978 reinterpretation of the Stones’ hit “Satisfaction” (possibly because songs deemed parodies are subject to different laws than straight covers, and Devo’s version arguably was radical enough to be considered a parody).
“Cover Me”
But as with cover songs themselves, it ain’t what you do, it’s the way that you do it — and Ray Padgett, a veteran publicist who’s also the founder and editor of the excellent, decade-old “Cover Me” blog, has the experience, the bona fides and the skill to make this one of the best multi-subject music books to come down the pike in years. On the face of it, a book detailing the stories behind some of pop music’s best-known cover versions might not seem like the most compelling or rewarding way to fill several hundred pages and several hours.
(Sterling)
Album and single sleeves, sheet-music covers and other ephemera are featured liberally in the book, but also, the photographs are period-appropriate and seldom used, and hard-core music geeks — ahem, present company included — will be hard pressed to find much to complain about (except for a certain 1977 photo mislabeled as 1971, which was very likely a typo). But this isn’t really a book you’ll devour in a day; like the best coffee-table books, it’s one that you can snack on over the course of months or even years, reading a couple of entries at a time and then skimming through the book’s stunning art design… and that’s the other factor that sets this book apart from so many like it: The level of detail that Padgett brings to the text is more than matched by the accompanying design and photo selection. That’s not to say that over the course of 19 different songs and the stories behind them, the approach is never repetitive — that’s impossible to avoid completely.

It’s the truth of fearlessly out-there, shoot-the-moon storytelling, a truth that represents the ultimate undermining of Hollywood blockbuster aesthetics: The stalwart all-American hero you’re seeing isn’t a hero at all but a grand illusion, a fake human, a walking hologram, an anti-movie star, an android program impersonating Harrison Ford. This is an idea that exerts an irresistible appeal to a certain breed of fanboy geek whose principal identification is with technology itself. Yet if you're a member of the "Blade Runner" conspiracy cult, the notion that Deckard is actually a replicant is the sci-fi equivalent of the second-gunman theory. It’s the "truth" the System couldn’t handle, and therefore snuffed out. According to this view, "Blade Runner" isn’t just a good sci-fi movie, it’s the brainiac future-shock art film that dared to buck the imperatives of the studio system.
Its storytelling longueurs have been inflated into the very signifiers of its artistry. Many of the film's fans, though, would violently disagree with that, and it’s here that we come to the metaphysical peculiarity of the "Blade Runner" phenomenon. It has become not just a movie but a symbol: the anti-"Star Wars." I remain a fan of "Blade Runner," but to be in the cult of "Blade Runner" is to celebrate the purity of its vision, and to join in a conspiracy theory about the forces that would obliterate that purity. Over the decades, the film has been embraced for its virtues, but also for what I would call its aura of virtue: its transcendental mystique — the fact that it now plays like the sci-fi blockbuster equivalent of slow food.
Roy yearns to continue his existence for no other reason than that he loves life. Hauer’s platinum punk dye job and Teutonic hauteur may make the character seem power-crazed, but in the end he's surprisingly moving; he has what may be the most haunting death scene in all of sci-fi. He’s an android who doesn’t want to stop dreaming. It’s Rutger Hauer’s Roy, the replicant who longs to go beyond his allotted lifespan. That's why the most haunting character in "Blade Runner" isn’t Harrison Ford’s Deckard.
The other metaphor that drives "Blade Runner" is, of course, the spectral notion of replicants, the theme of technology-made-flesh — an idea expressed in the haunting title of Philip K. The detective noir plot of "Do Androids Dream of Electric Sheep?" is organized around replicants as a human-created threat to the species. But what gives the tale distinction is that the replicants, in spirit, are us. Dick's 1968 novel, "Do Androids Dream of Electric Sheep?" Born in 1928, Dick was a writer who lived on the spectrum of schizophrenia, and he had paranoid antennae that could penetrate to the core of what the modern world was doing to us.
This, the movie says, isn’t your father’s "Blade Runner" — no, it’s the "Blade Runner" your father always longed to watch. Perhaps so. Yet it may also be a sign of the times that when you watch "Blade Runner 2049," all the things the movie is ostensibly about — the decay of our world, the mysteries of memory, whether Gosling’s K. dreams of his electric housekeeper — take a back seat to the film’s existence as a fetishistically overdeliberate art geek-out. Could it be a sign of how far we’ve come that a couple of major movie studios have given the go-ahead to a film this uncompromised? Now that it’s here, it will be fascinating to see whether the film can loom as large as the original or merely as a conspiracy demystified, a consummation that only heightens our nostalgia.” />
a replicant is the film’s answer to the Deckard conspiracy theory, its way of saying, "Look, we’re really doing it! The whole idea of making Ryan Gosling’s K. Making the hero a man of implanted thought and feeling." And the film’s languid-to-a-fault narrative strategy (in his Variety review, Peter Debruge compared it, astutely, to an Andrei Tarkovsky film) is its way of staying true to — and upping the ante on — the non-voiceover "Blade Runner" that Ridley Scott thought he was making and then fought the studio to release.
To me, "Blade Runner," unlike "2001: A Space Odyssey," is a visionary movie that falls short of greatness. It’s not that I’m not for directors expressing their true selves. That's an opinion that got locked in for me when I saw the director’s cut, in 1992 (the version now available as "Blade Runner: The Final Cut"), and realized that I liked the compromised, studio-meddled version, with its voice-over and slapped-on "happy ending" (carved out of an outtake from "The Shining"), a little better. It’s that the "pure, uncut" version of "Blade Runner" only served to expose, all the more, the film's bare-bones storytelling and flawed momentum.
He fits right into the film’s rather conventional scheme of having the human beings act, you know, human and the androids act with steely cool determination. Besides, Harrison Ford, smooth-faced and commanding, with barely a trace of the irascibility that would evolve into the grumpy-old-man scowl with which he plays Deckard in "Blade Runner 2049," has a presence of distinctly warm-blooded energy. The whole tension of the Deckard/Rachel love story is that it’s an ever-so-slightly risqué human-meets-android coupling; if Deckard were a replicant, that tension would leak right out of it.
"Blade Runner," Ridley Scott’s visionary 1982 dystopian noir, is a movie with a mystique that now outstrips its reality. It’s a film of majestic science-fiction metaphor, beginning with its opening shot: the perpetual nightscape of Los Angeles in 2019, the smog turned to black, the fallout turned to rain, the smokestacks blasting fireballs that look downright medieval against a backdrop of obsidian blight. There’s a touch of virtual reality to the way we experience it, sinking into those blackened textures, reveling in the details (the corporate Mayan skyscrapers, the synthetic sushi bars, the Times Square meets Third World technolopolis clutter), seeing an echo of our own world in every sinister facet. "Blade Runner" wasn’t the first — or last — image of a desiccated future, but it remains one of the only movies that lets you feel the mechanical-spiritual decay.
Is it just austerely impressive, or is it truly great? But what may be the most striking aspect of "Blade Runner 2049" — and the reason the debate will go on — is that the film has been conceived not simply as a "Blade Runner" sequel but as the ultimate fulfillment of the "Blade Runner" mystique. There is already an intense, and worthy, debate going on about where "Blade Runner 2049" stands as a contemporary science-fiction achievement. Is it long and arid and pretentious, or is it the "Blade Runner" film that, at last, is just long, arid, and pretentious enough? In 2017, it’s exciting to see a mainstream movie ambitious and accomplished enough to provoke that level of debate.
The cornerstone of the conspiracy theory is, of course, the notion that Harrison Ford’s Deckard is actually a replicant. Not: My fellow android. True, there's the moment where Rachel, referring to the interrogation ritual that ferrets out replicants, asks Deckard, "You know that Voight-Kampff test of yours? If we take "Blade Runner: The Final Cut" as Ridley Scott’s definitive statement on the matter, I see no evidence — none! Did you ever take it yourself?" (It's a moment that leads nowhere.) And in the film's most resonant line of dialogue, Roy, before he expires, tells Deckard, "I've seen things you people wouldn't believe." You people. — that Deckard is, or was ever meant to be, a replicant.
"Blade Runner" has a storyline that's thin, serviceable, and more than a touch plodding. He also falls for Sean Young’s porcelain-skinned retro replicant temptress, who's photographed as if she were Kim Novak emerging from the shadows of "Vertigo" — but who should, by all rights, have been more of a femme fatale, and not just a supplicant romantic interest. If you judge a film simply on the power of its metaphors, then "Blade Runner" would have to be reckoned some sort of masterpiece. Deckard is assigned to hunt down four replicant rebels, and one by one, he…well, hunts them down. But there’s an idiosyncrasy to the movie, one that relates to why it was underappreciated in its time. It stuns you with its visual and atmospheric profundity…but it makes you wish its imagistic flair were embodied in a narrative of far greater ingenuity. The film intrigues…and drags.

Sony noted that "Blade Runner 2049," starring Ryan Gosling and Harrison Ford, is positioned for a strong run throughout the fall season and pointed to positive upticks on Saturday, stellar reviews, and "excellent" audience reception.
France also took in $3.6 million, followed by Germany with $3.3 million, Spain with $2.6 million, Italy with $2.5 million, Brazil with $1.8 million and Mexico with $1.6 million. Australia launched with $3.6 million, beating out "Interstellar" by 9% and "Gravity" by 28%.
The noir sci-fi sequel took first place in 45 markets, led by $8 million in the U.K., similar to "Interstellar" and 15% ahead of "Mad Max: Fury Road." Russia followed with $4.9 million, topping "Gravity" by 16% and "Mad Max: Fury Road" by 1%.
Upcoming key market releases are South Korea on Oct. 10. 27, and China on Nov. 12, Japan on Oct.
“Blade Runner 2049” is heading for a downbeat $31.5 million opening weekend at 4,058 sites in North America, where it launched well below forecasts. is handling domestic distribution on “Blade Runner 2049,” starring Ryan Gosling and Harrison Ford, through its output deal with Alcon Entertainment. Warner Bros.
Denis Villeneuve helms the sequel film, which is set in a bleak 2049 Los Angeles with Gosling starring as an LAPD officer dealing with replicants seeking freedom.” /> Financed by Alcon and Sony and laden with special effects, the film carries a $150 million price tag.
"Blade Runner 2049" has launched with a solid $50.2 million in 63 markets on 15,900 screens, representing 61% of its international footprint for Sony.

"I left today’s Colts game because President Trump and I will not dignify any event that disrespects our soldiers, our Flag, or our National Anthem. At a time when so many Americans are inspiring our nation with their courage, resolve, and resilience, now, more than ever, we should rally around our Flag and everything that unites us. While everyone is entitled to their own opinions, I don’t think it’s too much to ask NFL players to respect the Flag and our National Anthem. I stand with President Trump, I stand with our soldiers, and I will always stand for our Flag and our National Anthem."
Since then, various teams have taken different actions during the national anthem, with some teams waiting it out in the locker room, others locking arms, and still more players continuing to take a knee.” />
“You will see change take place fast,” Trump tweeted. “Fire or suspend!” Trump further heightened his demands by calling for fans to boycott the NFL.
The White House issued a statement regarding Pence's departure from the game, which reads as follows:
I am proud of him and [Second Lady] Karen." President Trump chimed in on the matter via Twitter, writing "I asked [Vice President Pence] to leave stadium if any players kneeled, disrespecting our country.
Manning will become the first Indianapolis-era player in Colts history to have his number retired and will also be inducted into the team's Ring of Honor. The former Indiana governor flew to Lucas Oil Stadium so he could watch Peyton Manning's jersey retirement ceremony.


Pence also tweeted out the statement and followed it up with a picture of himself and his wife Karen standing with their hands over their hearts with the caption, "We were proud to stand — with all our Colts — for our soldiers, our flag, and our National Anthem."
He’s fired!’” The controversy — which has its origins with the then-San Francisco 49ers’ quarterback Colin Kaepernick sitting during the anthem in 2016 — was escalated three weeks ago when Trump told a rally in Alabama, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say: ‘Get that son of a b— off the field right now, out. He’s fired. Pence's walkout throws fuel on the fire of the continuing controversy over NFL players kneeling during the national anthem.
Vice President Mike Pence walked out of a football game between the Indianapolis Colts and San Francisco 49ers on Sunday after roughly a dozen players from the 49ers took a knee during the national anthem.
The White House also sent out the photo of Pence standing in an email alert from the Office of the Vice President.

Isaac Guzmán is the editor-in- chief of MexFlix.org” />
Gordon was seated in the audience during the talk, prompting another bon mot from Nanjiani: “Actors to watch are up here. Writers to watch are out there.” The relationship that inspired the film turned out OK in the end: Nanjiani wound up marrying Emily Gordon and she co-wrote “The Big Sick” with him.
Grace Van Patten, daughter of “Sopranos” director Tim Van Patten, said all her time growing up in Hollywood didn’t prepare her for director Noah Baumbach’s audition strategy. “You just gotta breathe.” When she went to read for a part in the upcoming “The Meyerowitz Stories (New and Selected),” she was handed 15 pages of sides and given 10 minutes to prepare. “You’ve just got to tell yourself that everybody is in the same position,” she said.
Big ideas and hot-button social issues fueled conversation between “Get Out” star Daniel Kaluuya, “The Big Sick” lead Kumail Nanjiani, and other emerging talents during a panel discussion with Variety’s 10 Actors to Watch on Saturday at the 25th annual Hamptons International Film Festival, moderated by Variety executive editor Steven Gaydos and IndieWire deputy editor Eric Kohn. But no matter the social or artistic merit of the topic, all were upstaged by a single question: What’s it like to have sex with a peach?
This had pros and cons for an actor: “It was good because I didn’t have to imagine what it was like, I just had to remember what it was like,” he said. “But was bad because you’re kind of forcing yourself to relive the most traumatic experience of your life.”
“He gave me all four names at once,” she said. It wasn’t until Baumbach told her that she had the part that she learned who her co-stars would be: Adam Sandler, Ben Stiller, Dustin Hoffman and Emma Thompson, among other luminaries. “I couldn’t handle myself.” Like many of Baumbach’s previous films, “The Meyerowitz Stories” depicts a complicated family relationship that is at turns harrowing and hilarious. It won the Palm D’or at Cannes in May.
In fantasizing about his older flame, Elio employs the fruit, a technique both the young actor and director experimented with to make sure it could actually be done. He plays teenage Elio, who falls for Armie Hammer’s college-age Oliver in director Luca Guadagnino’s film, which has drawn raves from festival crowds. The answer fell to Timothée Chalamet, star of the new film “Call Me By Your Name,” in which he follows a path blazed by Jason Biggs in “American Pie.” “I’ve been looking for a project to have sex with fruit in for a long time,” Chalamet deadpanned.
Danielle Macdonald, star of “Patti Cake$,” faced two challenges in portraying a budding New Jersey rap star known as Killa P in director Geremy Jasper’s film. First, she’s from Australia, not the Tri-State Area. Second, she claims, “I’m not musical at all. The film sparked a bidding war at Sundance, where it was picked up by Fox Searchlight for $9.5 million. I was terrified.” She did pretty well for herself. It was a very big challenge for me to be a rapper.
It’s crazy right now.” Daveed Diggs, who has parlayed his Tony Award from Broadway’s “Hamilton” into steady film and television work including Stephen Chbosky’s upcoming “Wonder,” was asked about the night the “Hamilton” cast came out after curtain and directly requested that then-Vice President-elect Mike Pence treat all Americans with equal respect. “What people don’t know is that the crazy backlash of that night happened mostly to the Chicago company,” Diggs said. “The day after that, there was somebody in the audience yelling, ‘Get these ni—— off the stage.’ The country is f—–! Diggs had already left the cast at that point, but his girlfriend was touring with the production in Chicago.
“I’m not making this up, there’s a huge dog parade!” Chalamet almost missed his opportunity to comment on the scene, as he arrived late to East Hampton’s Rowdy Hall due to an unexpected delay. “I apologize — there’s a huge dog festival or something,” Chalamet said.
"That’s not a very obvious choice." “You don’t often see a person of color from Vietnam in a lead role opposite Matt Damon," she explained. Hong Chau, who grew up in a Vietnamese refugee community in New Orleans, saw progress in director Alexander Payne casting her in a significant role in his sci-fi satire “Downsizing,” about a worldwide movement to counteract overpopulation by actually shrinking people. The ethnically diverse panel addressed racial tension in both Hollywood and the nation.
Kaluuya saw his starring turn in Jordan Peele’s horror satire “Get Out,” about a young black man’s creepy first visit with his white girlfriend’s parents, inspire major discussions about race in America. It was poignant and it was fun. “It felt like [the film] really connected to the people, and people got creative with it,” said Kaluuya, referencing “The Get Out Challenge,” in which thousands have posted re-creations of a crucial scene to YouTube. There’s joy in ‘Get Out.’” “It resonated because it articulated an experience that hadn’t really been put to film yet.
“I have a theory,” he said. And now, in real life, you have to defeat nazis.” Because there’s a goal in the video game — you have to defeat nazis. Nanjiani had an unusual take on how new generations shoulder the challenges of a tumultuous society. “I think young people who grow up playing video games are more resilient.
He had been dating a woman for a few months when she fell ill and slipped into a coma. “You use that excuse every time! Unsure of what he should do, he wound up spending 10 days with her parents while she recovered. It’s always a dog parade,” quipped former stand-up comedian Nanjiani, who also co-stars in HBO’s “Silicon Valley.” Nanjiani’s first leading film role, in “The Big Sick,” which he also wrote, was based on a real-life experience.

"The Golden Circle" opens in France on Oct. 5. 11 with China on Oct. 20 and Japan on Jan.
Chinese sports comedy “Never Say Die” has topped the weekend's international box office with $66 million in only four markets.
The noir sci-fi sequel took first place in 45 markets, led by $8 million in the U.K., similar to “Interstellar” and 15% ahead of “Mad Max: Fury Road.” Russia followed with $4.9 million, topping “Gravity” by 16% and “Mad Max: Fury Road” by 1%.
Mahua Funage's film, adapted from a 2014 stage play of the same name, has totaled $221 million in worldwide grosses in less than two weeks, according to comScore. During its Saturday-Sunday opening last weekend, "Never Say Die" took in $46 million in its first two days in China.
Sony's release of "Blade Runner 2049" finished second during the weekend with $50.2 million in 63 markets on 15,900 screens, representing 61% of its international footprint for Sony.
 ” />
Fox's spy spoof sequel "Kingsman: The Golden Circle" came in a distant third place with $25.5 million in 69 markets, led by $8.2 million in South Korea, where its total has topped $32 million in two weeks. The international total for "The Golden Circle" is now $173.6 million — 45% higher than 2014's original "Kingsma: The Secret Service" — to go with $80 million in North America.
“Dragon,” which stars Andy Lau and Donnie Yen, has topped $60 million worldwide. Chinese martial arts action drama “Chasing The Dragon”  took fifth place with $17.6 million in eight markets.
New Line's horror blockbuster "It" finished fourth with $19.8 million in 65 markets, pushing the international total to $298 million. The worldwide box office for "It" has topped $600 million.

 ” />
The investigation is still pending, despite the rapper not being charged. He is currently on tour with Florida Georgia Line, and although he was scheduled to perform Saturday night in Ridgefield, Wash., he did not make the show.


His attorney, Scott Rosenblum, said the rapper is "the victim of a completely fabricated allegation."
"In other words, y'all know damn well I ain't do no dumb S^*t like this..!!" he finished. Nelly also tweeted his innocence in the early hours of Sunday morning, writing that he was "beyond shocked" at the allegations. He also apologized to his loved ones for the "embarrassment and putting [himself] in a situation where [he] could be victimized," and thanked his fans for their "unwavering support," assuring them that he will be vindicated.
Nelly is prepared to address and pursue all legal avenues to redress any damage caused by this clearly false allegation.” "I am confident, once this scurrilous accusation is thoroughly investigated, there will be no charges. "Our initial investigation clearly establishes this allegation is devoid of credibility and is motivated by greed and vindictiveness," Rosenblum said in a statement.


on Saturday in a Walmart parking lot. Nelly was arrested at about 4:37 a.m.


Nelly was released without charges a few hours after being booked on suspicion of rape following allegations from a woman who claimed that he had assaulted her on his tour bus in Auburn, Wash., his lawyer has confirmed.

The foundation also announced a $1 million donation from Wells Fargo, the presenting sponsor of this years ceremony.The gala ended with a musical performance by Grammy nominated singer Adam Lambert.” /> Other attendees included Naya Rivera, who served as a mentor to one of the LGBT scholars, as well as "Transparent" actress Judith Light, a Point Foundation honorary board member.The night included a live auction that featured a "Will and Grace" experience package, which includes entry to a taping of the show as one of the available items.
Joking aside, Sykes acknowledged that many individuals in the LGBTQ community do not have the same privilege as she has. "I can afford to be gay," she quipped. The Foundation — the nation’s largest scholarship-granting organization for LGBTQ students of merit — aims to both support and empower LGBTQ students through leadership training and mentoring.Sykes, who came out as gay in her 40s, joked that at that point in her life, her parents couldn't kick her out of the house for being gay. "They get kicked out of their homes, and that's why I support organizations doing the work that [the Point Foundation] is doing, so I appreciate that."Also honored at the ceremony was writer and director Jill Soloway, recognized with the point impact award for her contributions and improvements to the lives of the LGBTQ community. Wanda Sykes provided the room with much laughter as she accepted the point legend award, presented by Anthony Anderson, at the annual Point Honors Los Angeles Gala Saturday at the Beverly Hilton Hotel.The award, granted by the Point Foundation, is given to an individual who has achieved prominence in their career and who has faithfully backed the LGBTQ community. Soloway created the Amazon series "Transparent" after one of her parents came out as transgender.
"Slowly but surely I realized by writing this TV show, and distributing this TV show to the world, it would actually make the world safer for somebody that I love," Soloway shared. "After this show came out, we experienced a giant cascade of love and support from the LGBTQ community and especially the trans community."

"I could hear him moving around and suddenly the sound of bath taps running. I could hear the thump of shoes being taken off and felt shocked that the meeting had turned sleazy." 'What do you say we both jump in the bath?' he hollered.
When she explained the situation, he said, "You better come to my hotel and we’ll sort this out.” A few months later, she received another call from Weinstein asking how work was going.
After they spoke for a few minutes, Campbell, who is the daughter of the late 6th Earl of Cawdor, writes that he left the room — she assumed he was going to use the restroom.
Weinstein's reps have not responded to Variety's request for comment.” />
"It sounded like a godsend. I rang the Miramax offices, but nothing happened." Soon I was sent the script of 'Shakespeare in Love' to summarise (sic) and critique, followed by 'The Usual Suspects.' And then the scripts stopped coming. "He offered me freelance script-reading for Miramax, his company," she wrote.
The two met by chance in the 1980s after sharing a cab in London and crossed paths a few more times in the intervening years. Her account, published in The Sunday Times, states that she started working with the Weinstein Company in 1995 as a freelance script writer after receiving a call out of the blue from Weinstein.
Liza Campbell, a British artist and writer, has spoken out about her experience with Harvey Weinstein, stating he asked her to take a bath with him in his hotel room after she met him there to discuss her career.
Campbell writes that she said loudly, "If you come back into this room with no clothes on I’m going to f—— lose my temper.”
She met him in his three-room suite at the Savoy and although there were several assistants present when she entered the suite, "suddenly all the assistants vanished."
She wrote that it took her "days to calm down from the anger [she] felt and the crushing realisation (sic) that there never was a job; only a hidden hook." Campbell tried to exit the room twice but found locked doors, with the third door she tried yielding.
Weinstein has become increasingly embattled since an explosive New York Times report detailed accusations of sexual harassment from multiple women stemming back decades. The producer has since taken an “indefinite” leave of absence from the Weinstein Company and issued a bizarre statement apologizing for his actions while simultaneously preparing to sue the Times for their report. He also lost two members of his legal team on Saturday.
We can drink champagne. You can soap me — whaddaya say?" As she tried to think of how to respond, he continued, "Come on, it’ll be fun.

Listen to the rest of the podcast here.” />
"It is stunning, because I'm only 47," the 80-year-old legend quipped on a recent episode of Variety's "Playback" podcast while promoting his new film "The Meyerowitz Stories (New and Selected)."
Hoffman, accustomed to the near-anonymous existence of being a struggling stage actor in 1960s New York, suddenly found himself nervous about being recognized as he waited for the audience to file out of the theater. "I was the waiter for most of these people's tables the year before," he joked.
"If my memory is correct it was a slow build in terms of people going to see it," he said. By the time we got to the church [scene], something happened to the audience and the next thing I knew they were all standing up and cheering and I thought, 'Oh my God.'" I couldn't tell if the audience was liking it or not. Hoffman recalled that few expected much of the film. "The first time I saw it — Mike didn't allow any of us to see rushes — I was in New York on unemployment and they said they were going to have a sneak of it on 86th Street and I went to see it.
Nichols, meanwhile — hot off a theater career and a film debut in "Who's Afraid of Virginia Woolf?" that set the industry ablaze — walked away with the Academy's best director prize. 22, 1967. Mike Nichols' "The Graduate," an adaptation of Charles Webb's "novel of today's youth unlike any you have read" (so boasted first-edition copies) hit theaters on Dec. It received seven Oscar nominations and became an instant classic, helping to launch a new wave of American cinema that would be the story of the next decade.
The film also launched the screen career of actor Dustin Hoffman, who can't quite believe it's been 50 years since this landmark entered the canon.
Nichols was pushing boundaries theretofore untested. But it was all part of the late filmmaker's vision, which also included extensive rehearsals that featured key crew members rather than just the director and cast, an unusual practice at the time. Hoffman remembered bumping into editor Sam O'Steen early in the post-production process, and O'Steen was slightly concerned that Nichols was cutting the film too fast, that certain elements would not land. The film was such a lightning bolt in large part due to its visual storytelling sensibilities.
Studios say, 'No, no, we're not going to hire a crew if they're not actually shooting. And he also was able to hire crew [for rehearsals] — sound men, the cinematographer, a few people like that. We're not going to pay them.' But there's something to be said for paying them before they start shooting." But [we shot for] 100 days. It wasn't difficult; it was actors and four walls and a couple of things outside. He was constantly working on the set with Sam O'Steen and Bob Surtees, the cinematographer. We rehearsed this like it was a play. "Mike was about as important and respected as any director could be today, and he got anything he asked for," Hoffman said. "Now that I've been doing this for a while, under normal circumstances with a regular studio film, you'll have 50-odd days [for something like 'The Graduate']. It's never done. Before we started shooting, we could have gone on stage, because it was all memorized.
"I found out she was famous: Radie Harris. He noticed one woman with a limp and a cane on the way out. She was a columnist." She stopped him and asked if he was the actor in the film. "I said yes and she pointed the cane at me and said, 'Life will never be the same for you,'" Hoffman recalled.

Part of Liam Gallagher’s appeal is his above-it-all rockstar attitude, but it almost seemed out of place at CalJam at points. Among the high-energy headliners, Gallagher looked like he was on autopilot as he sang both Oasis classics and some of his new singles.
But vocalist and bass guitarist Mike Kerr and drummer Ben Thatcher were a sight to behold, with Thatcher in particular delivering a show-stealing drum solo near the end of "Little Monster." rock band is only comprised of two people. Royal Blood was one of the final acts before the sun went down, and if you didn’t know any better, it would be hard to believe that the U.K. The headliners had the luxury of evening temperatures during their sets, but those earlier in the day rocked out in 95-degree heat.
And they brought out the big guns, too. Aerosmith’s Joe Perry, who played at the 1978 CalJam, joined Foo Fighters on stage to perform “Draw the Line.” They also welcomed the Kills’ Alison Mosshart to collaborate on their new song together, “La Dee Da,” and even Rick Astley to hurl expletives at the audience and "rick roll" the entire festival with "Never Gonna Give You Up."
Matt Shultz Uncaged
Cage the Elephant hit the stage after Gallagher’s set, and it’s hard to think of anyone who could bring up the energy levels more than the band’s frontman, Matt Shultz.
Stripping down to a revealing outfit that resembled Spanx boxers at one point (the same piece he wore during the Life Is Beautiful festival just a few weeks ago), he sang and wiggled across the stage, showing the desert exactly what a showman looks like. As they delivered hits like "Come a Little Closer," "Ain’t No Rest for the Wicked," and "Cigarette Daydreams," Shultz, who has an almost Iggy Pop-like appeal while performing, completely owned the stage.
Liam Being Liam
The venue was complete with a Foo Fighters museum as well, featuring the throne Grohl performed on after he broke his leg… and the cast he wore during that time.
Between songs, Queens frontman Josh Homme took a sign from the audience that read “VEGAS STRONG” on the front, proudly stopping to hold it up and flip it over to show the names of shooting victims written on the back. But it wasn’t lost on the band that the festival was taking place less than a week after 59 people died and 500 others were injured during a mass shooting at the Route 91 Harvest music festival in Las Vegas. The sign remained in prominent placement behind Homme — whose close friends Eagles of Death Metal were onstage during the 2015 terrorist attack on the Bataclan in Paris — for the rest of the set: a simple, yet appropriate tribute to such a recent tragedy.
If it didn’t seem possible to up the ante after Cage the Elephant, Queens of the Stone Age were more than capable, performing old hits like "Little Sister" along with new songs off their album "Villains" amidst a stunning light show.
To hear Dave Grohl tell it, when Foo Fighters were thinking of how to debut their eighth album, “Concrete and Gold,” they found themselves at a crossroads: what would be the biggest, loudest way to introduce their latest to the world?
The result of that idea was a one-day fest at the Glen Helen Regional Park in scorching San Bernardino, Calif., with Queens of the Stone Age, Cage the Elephant, Liam Gallagher, Royal Blood, the Kills, Wolf Alice, Japandroids, Bob Mould, Bully and more. Variety was on hand at the first year of this new version of CalJam – which may not be the last, Grohl teased on stage – to experience all the biggest acts and Foo Fighters mania.
Nah, “not loud enough,” according to Grohl. A huge party at the Hollywood Bowl? Their idea, instead, was to bring back CalJam, he explained at the start of their headlining set of their new iteration of the rock ‘n’ roll music festival that in the ‘70s included such acts as Aerosmith, Black Sabbath, Deep Purple, the Eagles and Foreigner.
"I just saw Liam’s a–crack," Grohl said afterward. Gallagher had to hold a piece of paper with the lyrics to the famous song in front of him, and left via a random stage dive near the end of the song. "That was planned," he added sarcastically. It got mildly bizarre when Grohl, with Perry still on stage, invited Gallagher on stage to sing a cover of the Beatles' "Come Together" (which Aerosmith also covered in the '70s).
Beating the Heat
But they made the most of it, with both bands using their hits and charisma to get the hot daytime crowd moving.” /> And that’s to say nothing of acts like Circa Waves and the Struts, who had the unenviable task of performing to a much smaller crowd in peak desert heat.
Queens Remember Vegas Victims
To be clear, CalJam wasn’t just 12 hours of celebrating Foo Fighters, but it was a fan’s dream. While they ran through hits like “Pretenders,” “All My Life,” “Best of You,” and “My Hero,” along with singles off their new album, Grohl got personal with the crowd, even rushing into the middle of it at one point to strum his guitar surrounded by fans. During their two-hour-plus set, the band somehow managed to make a festival with thousands of onlookers feel intimate.
Rock and Grohl

The series is “action-packed,” said Angélica Guerra, intl. It also suggests Latino fiction’s growing social conscience. 4 that they are going into production on “Tres Milagros,” an action-drama which marks a Mexican re-make of Colombian RCN’s 2012 ratings-buster which bowed out after a 70-episode run with a 41% audience share. The story of three women, one of whom will die if they ever meet, one is brought up by humble rural laborers, another by middle-class parents, another joins Mexico’s filthy rich. The Mexican makeover will come in at 50 segs. Sony Pictures Television and Mexico’s TV Azteca announced Oct. But it is also full of “contemporary conflicts” and “the perfect excuse to show three universes via its protagonists,” she added, as Latin American dramas acquire ever more a social-heft. Even Latin America’s shorter novelas are getting shorter. production SVP, Sony Pictures Latin America.
GAUMONT ADDS ‘RELATIONSHIP STATUS’ TO MIPCOM SLATE
ZDFE PRESIDENT-CEO ALEXANDER CORIDASS TO STAND DOWN AFTER 25 YEARS
A millennial social media drama, the series will be made available in two formats fit for millennials: 10 minutes or 22 minute episodes. “Narcos” producer Gaumont has acted with StyleHaul and Verizon’s go90 to distribute “Relationship Staus, ”starring and executive produced by Milo Ventimiglia(“This Is Us,” “Gilmore Girls,” “Heroes”), developed by Ventimiglia’s production company DiVide and co-produced with StyleHaul and Full Fathom Five (“The Kicks”). company has recently signed first-look TV deals with both J.C. Chandor (“Margin Call”) and Christopher McQuarrie, who won an Academy Award for his “The Usual Suspects” screenplay. The sales rights deal comes as Gaumont's U.S.
In today’s International Newswire, Bavaria Fernsehproduktion rebrands; Gaumont picks up a millennial drama, from Milo Ventimiglia; Alexander Coridass steps down at ZDFE; and Sony adds social edge to its new Mexican TV drama.
 ” />
Also, try pronouncing “Fernsehproduktion” if you’re not German. Bavaria Fernsehproduktion, one of Europe’s biggest production companies, has rebranded as Bavaria Fiction. But, headed by managing director Jan. it created an international department two years ago. Billed as a sequel to the 1981 movie,  and with Tom Wlaschiha (“Game of Thrones”), Vincent Kartheiser (“Mad Men”) and James D'Arcy (Marvel's “Agent Carter”)  joining the cast late September , “Das Boot,” a production with Sky and Sonar Ent., is currently in production; set in a near-bankrupt French village that welcomes a German company, “Germanized” is produced with Telfrance, part of France’s Newen. Bavaria Fiction, as its new name makes clear, only produces fiction, not general entertainment. There are several good reasons. One: The name, Bavaria TV Production in German, was a misnomer. S. Bavaria Fernsehproduktion moved waves last month scoring the first original series production commission from Deutsche Telekom, hardly a traditional TV, on comedy half-hour “Germanized,” on which, Variety reported, Amazon Prime Video, again hardly a traditional TV, is in advanced negotiations to acquire select territories. For foreign ventures, “Fiction” is better than “Fernsehproduktion.” Kaiser, Bavaria Fiction harbors large international ambitions. Bavaria Fiction has a weighty core business producing for Germany’s domestic market such shows as evergreen soap “Storm of Love” for ARD, episodes of the same broadcaster’s hugely popular “Tatort” crime fiction Sunday evening slot and, in a different vein,  over 75 “Inga Lindström” TV movies.
Coridass’ departure is described as resignation in a press release but retirement, which has been anticipated for some time, by sources close to ZDFE. Corridass steps down as ZDFE has driven into European drama – Italian mafia thriller “Maltese,” Swedish ratings hit “Before We Die” and now Finnish comedy “Living With My Ex,” is in discussions with Beta Films for an international production-sales alliance. He will be replaced by Fred Burcksen and Stephan Adrian as co-managing directors. He will leave ZDFE, which he co-founded in 1992 after joining German pubcaster parent ZDF in 1985, at the end of 2017. Alexander Coridass, the face of ZDF Enterprises (ZDFE), one of Germany’s best-known TV sales companies, is to exit after 25 years.
SONY PICTURES TV, MEXICO’S TV AZTECA ROLL ON ‘TRES MILAGROS’

As is the thought of how many people enabled this behavior," journalist and author Mark Harris wrote. "This Harvey Weinstein story is stomach-turning.


Coming. To Lose. forward." And. By. To. Gain. Nothing. Amber Tamblyn, who recently spoke out about her own experiences with sexual harassment, said, "Heed the mantra and never forget: Women. Everything. Have.
And to the men out there, stand up. She responded on Twitter saying, "Women fight on. The Times article revealed actress Rose McGowan reached $100,000 settlement Weinstein in 1997. We need you as allies."
https://twitter.com/annfriedman/status/916007341312454657
https://twitter.com/BrianFormo/status/916022611036872704″ />


Women were not alone in speaking out against Weinstein. Film producer Keith Calder wrote, "Just flipped through some contracts to make sure I'm legally allowed to say Harvey Weinstein is the worst person in the film business."
https://twitter.com/jpodhoretz/status/916013840386674688


It's brave." "The woman who chose to speak about their experience of harassment by Harvey Weinstein deserve our awe," she wrote on Twitter. "It's not fun or easy. Lena Dunham was among the first to respond, and commended the individuals who came forward.


"Every industry has at least one of these powerful creeps. Look around. A number of journalists put the spotlight on male-dominated cultures in the workplace. Do you know who the Weinstein is?," Ann Friedman asked, while TV writer Anne Donahue shared a story of her own. "I'll go first: I was a 17-yr-old co-op student and he insisted on massaging my shoulders as I typed," she wrote.


https://twitter.com/keithcalder/status/916011847920185346


On Thursday, a bombshell investigation in the New York Times cited decades-spanning sexual harassment allegations against producer Harvey Weinstein, and celebrities were quick to react to the shocking report.
Read more reactions below:

subscriber trends were disappointing, bolstering our confidence further" that subscriber cancellations will be minimal, Mitchelson wrote in a research note. UBS maintains its "buy" rating on Netflix, with a 12-month price target of $225 per share. "We would expect [Netflix management] would be unlikely to implement such a price increase if U.S.
customers on its two top plans. Shares of Netflix powered up to record highs Thursday, on the heels of the streaming-video leader announcing a price increase for U.S.
20.9 million projected for 2017) and then re-accelerate in 2019 to 21.1 million net adds. "Even with the reduction in 2018 subscriber growth, our 2020 global subscribers forecast is barely impacted with over 176 million subscribers," he added, down from his previous estimate of 178 million. With the price increases, Greenfield expects Netflix's global subscriber growth to slow "modestly" in 2018 (with 20.2 million net new subs vs.
streaming subscribers, and 104 million total worldwide. As of the end of June, Netflix had about 52 million U.S.
That gives the company a current market capitalization of $83.9 billion. Netflix stock closed at $194.39 per share, up 5.4% for the day and an all-time high.
subs on the two-stream plan saw their monthly rate increase $2 per month to $9.99, overall churn "was noticeable but still modest relative to the size of the price increase," UBS's Mitchelson noted. Following Netflix’s price increases in the second and third quarters of 2016, when most U.S.
Existing Netflix subs will get a 30-day notification about when their prices will go up, starting Oct. 19. 27) and "The Crown" season 2 (Dec. 8) — which should minimize the impact of customers cancelling their service. Analysts said the company has a strong originals slate coming up on the fourth quarter — including "Stranger Things" season 2 (premiering Oct.
Netflix's "content prowess" gave it the pricing power to raise prices, according BTIG Research's Rich Greenfield, sooner than the analyst expected. "We believe the timing of the subscription price increases is directly tied to the power of content available on Netflix this quarter," he wrote in a blog post.
Netflix said it was raising prices "as we add more exclusive TV shows and movies, introduce new product features and improve the overall Netflix experience." Earlier in the day, the company confirmed that it is raising the two-stream HD tier price to $10.99 per month, up $1 per month from the previous $9.99 monthly fee, and hiking its four-stream Ultra HD "premium" plan from $11.99 to $13.99 per month.
That's up 5% from the firm's previous forecast. The price hikes will yield an additional $350 million in incremental revenue for 2018, according to estimates by UBS analyst Doug Mitchelson.
Pictured above: Netflix chairman and CEO Reed Hastings” />

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Startups like Doppler Labs have been introducing hearing aid-like products in recent years that are designed for more attentive hearing, and aim to help with the dinner party effect where you overhear snippets from the next table, but not what someone across from you is saying. But truly smart sound, powered by machine learning, could in theory go even further.
It teamed up with consumer electronics companies like LG and Sony in 2015 to bring its Chromecast technology to a range of speakers. This year, it doubled down on those efforts by bringing the Google Assistant to third-party speakers, including pricier models that aim to appeal to the ears of audiophiles. Google has been dabbling in home audio for some time. So why did Google decide to also build its own high-end smart speaker?
He also told Variety that smart sound won’t just be coming to the Google Home Max. “We want to build a contextual sound engine for you,” Chandra said. Future Google Home iterations, and other devices made by Google, may benefit from this approach as well. This will also include raising the volume when there is a lot of ambient noise, and fine-tuning it based on the type of content the device is playing.
Chandra didn’t want to reveal too much about where Google is going with its own efforts to make sound smart, but he did say that the company is serious about the field: “Smart sound is going to be a long-term investment for us.”” />
The device is also a first step to use Google’s vast computing resources to make sound itself smart. When Google introduced its $399 Google Home Max speaker at its press event in San Francisco on Wednesday, the company didn’t just reveal a bigger, better-sounding speaker.
Thanks to a combination of speakers, microphones, and software, Meyer Sound’s systems can make a room sound like a church, a rock concert arena, or a small jazz club. And then there are commercial speaker manufacturers like Meyer Sound, which has developed technology to transform rooms into sound stages appropriate to the music that’s playing at any given time.
Google isn’t the only company looking to use technology to improve sound. Apple also announced that its upcoming HomePod speaker will include automatic tuning to optimize for each and every room. Sonos first introduced a sound optimization technology called Trueplay two years ago. However, Trueplay requires users to walk around their room waving their phones while their speaker plays strange control sounds — not exactly a user-friendly approach.
“Sound has to be contextual to your environment,” Chandra said. But blasting the morning news briefing at the same volume might lead to a lot of spilled coffee. Google Home Max owners might crank up their favorite tunes when they get together with friends at night. Google also wants to get smarter at adopting the sound to particular situations.
These six microphones monitor the music playing in a room for subtle acoustic changes. The speaker then senses the modalities of its environment — whether it is placed on a shelf that adds vibration sounds every time the bass line kicks in, or whether it is in a sparse room without much furniture to absorb any sound, leading to echoing of higher frequencies — and adjusts the sound output accordingly. That’s why Google Home Max packs six microphones, instead the two that are integrated into the original Google Home and the also-newly-announced Google Home Mini.
“We are only gonna do (a project like this) if we feel like we can really innovate,” said Google VP Rishi Chandra, who leads the company’s home hardware efforts, in an interview with Variety on Wednesday.
A member of the Home team suggested Wednesday that it needed just over a thousand rooms to gather meaningful data. And these adjustments aren’t just one-offs. Google has been training the Google Home Max in the wild on thousands of rooms to develop models of these environments and their acoustic qualities, and is using this training data to tweak the speaker’s output in real-time. But as soon as the speakers are getting to consumers in December, they’ll continue to gather this type of data, and improve over time.
This time around, it didn’t just want to add the Assistant to a bigger speaker, but actually use technology to improve sound beyond the specs of the device itself. Last year, Google introduced the original Google Home to do just that in the area of voice control and assistance without the presence of a display.

More importantly, Faust gave her characters clashing personalities, and centered the series on her six heroines pushing past their differences to become best friends. Instead of easy afterschool platitudes, the show focused on advanced lessons: how to accept flaws, forgive mistakes and melt anger with empathy — sophisticated stuff for an audience with an intended age of seven. For those who forgot about the toy franchise after it sold 150 million plastic ponies in the ’80s, seven years ago Hasbro handed the reins to Lauren Faust, a writer, director and animator on the cult smash "The Powerpuff Girls." Faust prettied up the ponies, slimming their legs and snubbing their noses so short they can barely wear sunglasses.
Another punchline has a male character reaching down out of frame to reassuringly pat his crotch. Still, in "My Little Pony: The Movie," the evil satyr Storm King (Liev Schreiber) has enslaved the ponies of Equestria with leather bridles, a look that unmistakably suggests S&M. As the fillies seek to dethrone him, they're hunted by Storm King's minion Tempest Shadow (Emily Blunt), a unicorn with a broken horn that fizzes like a sparkler, who stalks them wearing black rubber.
It's a brave battle against the stereotype that boys can't like pink. They argue that Brony culture isn't about immaturity or perversion. To them, what's truly deviant isn't the fan art found on 4chan, but a society that armors men against cuddles. Emphasis on intended. Grown men love ponies, too — so much that they've become Equestria's most infamous groupies. In 2014, the Morgan Spurlock-produced documentary "A Brony Tale" met Iraq vets, motorcycle mechanics and oddball college bros who adore the show.
Germain, Tara Strong and Andrea Libman have already done over 100 installments of the show; the bigscreen version is simply longer. The My Little Pony movie doesn't argue to be seen in theaters. Yet, parents might embrace "My Little Pony: The Movie" on homevideo, if only to test the musical's opening promise that "doing the Pony puts us in a trance." The only upgrade in its flat, bright animation is that the giant pupils of its pony, unicorn and pegasus heroines, here blown up to the size of tractor tires, dazzle with ten dots of light, not two. Director Jayson Thiessen and his main voice actors Ashleigh Ball, Tabitha St.
Listen closely during a ponies-in-peril slavery scene and you'll hear a monster screech what Hasbro execs pray kids will leave the theater howling: "I want all seven for my collection!"” /> By the time Storm King growls, "I'm so totally over the cute pony thing," misanthropes might agree. "My Little Pony: The Movie" knows it's made to sell toys, but its heart is earnest and its jokes just shy of self-deprecating. Yet, its sweetness stampedes over the audience's resistance.
Feline con man Capper (Taye Diggs) combines all three, so naturally, he lures the ponies to his home with wicked intentions. It's the rare cartoon where guys are so sidelined they're almost nonexistent. "I wasn't expecting guests." Luckily for Twilight Sparkle and friends, "My Little Pony: The Movie" is chiefly under the control of powerful women, from Equestria ruler Princess Celestia (Nicole Oliver) and Queen Novo (Uzo Aduba) of the hippogriffs, to feathered pirate Capt. The movie has a gut distrust of men, carnivores and earth tones. (Perhaps the seahorses introduced here can advise the girls on asexual reproduction.) Celaeno (Zoe Saldana) and pop goddess Songbird Serenade (Sia), who, like the eight-time Grammy nominee who voices her, dyes her mane black and white. "Apologies for the state of my litter box," he purrs. The only major male character is a baby dragon named Spike (Cathy Weseluck). While that imbalance shouldn't feel revolutionary, it does.
The overwhelmingly cute "My Little Pony: The Movie" (the font squeezes hearts into each "O" and "P," and the spiders have googly pink eyes) is less a film than a feature-length “very special episode” of the TV hit "My Little Pony: Friendship is Magic," a kiddie cartoon that's spent seven seasons insisting that everyone needs a hug (villains, too). Audiences who haven't followed the glitter-bomb adventures of bossy bookworm Twilight Sparkle, glamorous Rarity, hyperactive Pinkie Pie, introverted Fluttershy, speed demon Rainbow Dash and country girl Applejack don't get a helping hoof in understanding the land of Equestria — and audiences saddled with cynicism will have to shake it off by the first chords of the Go-Go's "We Got the Beat."
(Hasbro hastily dubbed the awkward pony Muffins.) And the film has plenty of adults-only gags, as when Tempest Shadow summons her incompetent boss, and the lazy and ungrateful old coot arrives to the sound of a dial-up modem. If the entendres are deliberate, the screenwriting team of Meghan McCarthy, Rita Hsiao and Michael Vogel isn't confessing — though they do give a sentimental role to Bronies' favorite character, a cross-eyed klutz that internet fans named Derpy Hoooves. No one born in this millennium would recognize that diss.
Take the MPAA's PG rating at its word: This is literally "mild action." They soothe sinister pirates who threaten to "scar them — emotionally," and disarm one of Storm King's goons by comforting him while he cries. Beat by beat, "My Little Pony: The Movie" is at once clichéd and exceptional. Joe. Naturally. Ponies solve problems by listening, not brawling — fisticuffs are for the Transformers and G.I. But the challenges, and their solutions, are emotionally wise. Are there songs about childhood memories and loyalty and play dates? Of course. Does it end in a group hug?

 ” />
The companies said they would partner on ESPN’s direct-to-consumer product, a streaming-video sports service slated to launch in early 2018, and have agreed to make use of data analytics from Altice. Under the terms, Altice's Optimum cable service will continue to provide access to WABC in New York, Disney Channel, Disney Junior, Disney XD, ESPN, ESPN2, ESPNU, ESPNEWS, ESPN Deportes, ESPN Goal Line, ESPN Bases Loaded, ESPN3 and Freeform, along with Disney content related to those outlets distributed via digital and on-demand. Optimum will add ESPN’s SEC Network in late 2018, and launch ACC Network in place of another ESPN network the companies did not name in August 2019.
Disney suggested Altice would allow its networks to go off the air, while Altice indicated it thought Disney was charging too much for ESPN. Just a few days ago, analysts expected talks between the two companies to break down and each side began running commercials touting talking points in the discussions.
“We are pleased with the value and terms agreed to and we thank our customers for their support while we worked on their behalf to reach a fair agreement," said Michael Schreiber, executive vice president and chief content officer of Altice USA, in a statement.
Walt Disney Company and Altice said they had come to new terms on a carriage deal that will keep ESPN, ABC and Disney Channel, among other networks available to thousands of households in the New York and Connecticut, among other localities.
The companies did not disclose the financial terms of the agreement or indicate how long it would be in place.

In a bizarre statement addressing the New York Times' exposé on sexual harassment allegations against him, Harvey Weinstein ostensibly quoted Jay-Z's track "4:44" off his latest album of the same name in an apparent expression of contrition.
While Weinstein disputes some of the specific allegations, he is working with therapists to address his behavior, per his statement. Many of the incidents took place in hotels such as the Peninsula in Los Angeles or Savoy in London, according to the report.
The story also quotes actress Ashley Judd, who spoke to Variety in 2015 about being sexually harassed by an unnamed mogul. Weinstein has retained a team of lawyers including Lisa Bloom — typically known for working with victims of sexual misconduct, and whose book Weinstein's company is adapting to television — to defend him, and is preparing to sue the Times over the report.” />
The closest approximation are the following lyrics from the song "4:44:" "And if my children knew / I don’t even know what I would do. If they ain’t look at me the same / I would prob’ly die with all the shame." The statement reads, "Jay Z wrote in 4:44 'I’m not the man I thought I was, and I better be that man for my children.' The same is true for me." However, the quote in question does not appear anywhere throughout the "4:44" album.
The Times also reported that Weinstein reached confidential settlements with at least eight women, including McGowan. Celebrities including Lena Dunham, Amber Tamblyn, and Rose McGowan have spoken out following the report, which details allegations from "dozens" of women dating back decades. Weinstein, who has five children, announced that he would be taking a leave of absence amid the growing scandal.

Founder Paula Wallace.
This year's 13 honorees are Richard Gere (Lifetime Achievement Award), Zoey Deutch (Rising Star Award), Mariska Hargitay (Humanitarian Award), Ashley Judd (Virtuoso Award), Kyra Sedgwick (Spotlight Award), Andrea Riseborough (Outstanding Supporting Actress Award for "Battle of the Sexes"), and Willow Shields (Rising Star Award), joining previously announced honorees John Boyega, Salma Hayek Pinault, Holly Hunter, Robert Pattinson, Aaron Sorkin and Patrick Stewart.
The Georgia festival will begin with the opening night gala screening of Sorkin's "Molly's Game," and the festival's centerpiece gala screening will feature Greta Gerwig's "Lady Bird."
The 17 films with Gala Screenings in this year's festival include "I, Tonya," "The Shape of Water," "Downsizing," and "Three Billboards Outside Ebbing, Missouri." Other films like "Logan," "Battle of the Sexes," and "The Big Sick" are part of the Signature Series screenings and will feature Q&A sessions with directors, actors, producers, and writers. The SCAD Savannah Film Festival highlights films it considers to be awards contenders.
4. This year's festival will show 131 films, including 33 narrative films, 16 documentaries, and 82 shorts and will run from Oct. 28 to Nov.
Film Festival, guests and industry greats alike see that the best is yet to come,” said SCAD President and
“For 20 years, SCAD has celebrated the best of the best in film, and each year at the SCAD Savannah
The Savannah College of Art and Design has announced the honorees and film lineup for the 20th SCAD Savannah Film Festival.
The Savannah College of Art and Design has seen more than 8,100 students go into animation, film, broadcast and other entertainment jobs.” />

Such an assumption is certainly made by “black sheep” cousin Trace (Tanner Beard), who attempts to proposition Sinaloa on a money-making scheme. Spied early on in an out-of-focus closeup that suggests a mysterious identity, Sinaloa appears, on the surface, like your typical return-of-the-repressed villain, back to wreak havoc and claim a share of the clan’s fortunes. That latter quality is also matched, it becomes clear, with a mischievous — if not downright cunning — streak, which first manifests itself when, while preparing for a party at Merle’s familial estate, Sinaloa abruptly introduces herself to Merle’s mom Patricia (JoBeth Williams) as Merle’s sister. However, it’s at this point that “Barracuda” veers sharply to the left, even as it maintains its inherent mystery about who this long-haired woman is (a question complicated by the singer-songwriter skills she may have inherited from her father) and what she truly wants.
There’s nothing particularly adventurous about their approach, but nothing unsteady either, which allows concentration to remain squarely on Tolman and Reid as their characters bob and weave around each other, at once far enough apart to maintain a sense of safety, and yet just close enough for discomfort. The palpable tension between them grows ever steadier as things progress, and from Sinaloa’s flick of a knife at a would-be friend, to her later attempt to force Merle to put a wounded dog out of its misery, the threat of mortal danger soon amplifies to a menacing degree. Aside from their fondness for framing figures in fuzzy compositions, Cortlund and Halperin’s direction is of a polished if standard variety, interjecting fleeting snapshots of lonesome highways, nighttime truck stops and Austin city construction projects into their action proper — all of it set to a gentle country-tinged score.
Merle naturally greets this news with more than a bit of skepticism, and her suspicions only grow after Raul impulsively (and, with regard to his wife, thoughtlessly) invites Sinaloa to stay with them. Making matters edgier still is Sinaloa’s behavior, which vacillates on a dime between rash cheeriness and goodwill toward Merle (whom she says she wants to embrace as her last living blood relative) and detached strangeness. Arriving from immediate parts unknown, Londoner Sinaloa (Sophie Reid) proves a surprising guest to Austin, Texas, resident Merle (Allison Tolman) and her fiancé Raul (Luis Bordonada) — especially once Sinaloa claims that she’s Merle’s half-sister, having been fathered and occasionally visited by their dearly departed country-icon daddy during his overseas tours.
No matter the violent incident that punctuates its climax, the film sidesteps clichés as it wends its way toward its conclusion, locating the tumultuous and corrosive alienation, loneliness and discontent that comes from being denied the appreciation everyone believes they deserve.” /> More than Reid’s hard-to-read countenance, it’s the capable Tolman’s constant look of furrowed-brow concern and confusion that soon takes center stage in “Barracuda.” Merle’s emotional destabilization mounts as she comes to recognize this long-lost sibling as a kindred spirit, equally desperate for validation after a lifetime of neglect, if not outright abandonment, by a father who cast such an overwhelming shadow.
Credit to Jason Cortlund and Julia Halperin’s indie film, then, for quickly upending expectations and delivering a far more uneasy, ambiguous portrait of women desperate for recognition and acceptance. Though its slow-burn narrative doesn’t pay off in a wholly satisfying manner, this offbeat nail-biter should nonetheless be welcomed by those eager for something off the beaten genre path. The story of a young stranger who shows up on a woman’s doorstep claiming to be her stepsister — and thus potentially in line for a piece of their dead-music-legend father’s pie — “Barracuda” initially seems like just another run-of-the-mill thriller about a grifter carrying out a duplicitous scheme.

The film's producers are Lauren Mann of Wandering Trail Pictures and Blackbird’s Lawrence Inglee. The script is adapted from Catherine Hanrahan's debut novel "Lost Girls and Love Hotels." Hanrahan adapted her book for the screen.
Amazon Studios has given a Feb. 23 release date to "You Were Never Really Here," which debuted at this year's Cannes Film Festival.
Stefan Avalos wrote, produced, and directed the movie. Houck is joined in the documentary by world-renowned violinist Razvan Stoica, his mentor and fine-violin maker Rodger Stearns, his cousin and best friend David Campbell and his mother Mary Houck.
Rosa Attab, Pascal Caucheteux, Lynne Ramsay, and James Wilson are producers. The news was first reported by Deadline Hollywood.” /> Ekaterina Samsonov and Alessandro Nivola also star. "You Were Never Really Here" is based on Jonathan Ames' novel.
Olsson's Swedish-language film, "Reliance" (Förtroligheten), won the grand jury prize for best cinematography and best screenplay at the Shanghai Film Festival in 2013. WME Global is handling the worldwide rights for the film.
Alexandra Daddario, known for HBO's "True Detective" and the "Baywatch" remake, has signed on to star in the dramatic thriller "I Am Not A Bird" for director William Olsson.
Gravitas Ventures has acquired North American rights to "Strad Style," which took home both the grand jury and audience awards for best documentary feature from this year’s Slamdance Film Festival, Variety has learned exclusively.
"I Am Not a Bird," centers around a young western woman in the midst of losing herself in the bacchanal of nighttime Tokyo. Haunted by memories of her twin brother's descent into madness, she courts danger with her fellow ex-pat misfits in dive bars and love hotels before she falls for a handsome Japanese gangster.
It centers on Ohio hillbilly Daniel Houck and his peculiar obsession with Italian luthier and crafter of string instruments, Antonio Stradivari, and all things violin. 7 and in DVD/Blu-ray Nov. The movie will be available on demand Nov. 14.
Nolan Gallagher and Josh Spector from Gravitas Ventures negotiated the deal with ICM Partners on behalf of the filmmakers.
RELEASE DATE
The movie is directed by Lynne Ramsay and stars Joaquin Phoenix as a PTSD Gulf War vet and former FBI agent who gets hired to free a senator’s daughter out of a sex-trafficking ring.
ACQUISTION
In today's film news roundup, Alexandra Daddario is cast in the dramatic thriller "I Am Not a Bird," Gravitas buys the documentary "Strad Style" and Joaquin Phoenix's "You Were Never Really Here" gets a release date.
CASTING

Meanwhile, musician Caleb Keeter, a performer at Sunday's Route 91 Harvest Festival, wrote that he had changed his mind and now advocates gun control.


Lady Gaga also called for legislators to "act quickly."


Joss Whedon tweeted a link to support Everytown for Gun Safety, an advocacy group backed by Michael Bloomberg, among others. Julianne Moore, Marti Noxon, Debra Messing and Peaches were among many others who also tweeted the Everytown message.


Billy Eichner tweeted several calls to action supporting more firearms regulation.


"Sensible gun control NOW," Alyssa Milano wrote. Numerous other entertainment figures joined the call to limit access to guns.


https://twitter.com/ladygaga/status/914873229122060288″ />
In the wake of Sunday night's mass shooting that killed at least 58 people in Las Vegas and injured hundreds more during a country music concert, entertainment figures are begging the government to enact stronger gun control laws.

Charges against McFarland include two counts of wire fraud – one for scheming to defraud investors through actions including falsifying emails – and the other scheming to defraud vendors. Two additional counts allege false statements to a bank.
Technically the government was required to bring an indictment against McFarland within 30 days of his arrest, a condition that can be extended by mutual agreement and was ameliorated by the fact that the defendant was free on bond rather than incarcerated. McFarland was attended in court by his lead counsel, Boies, Schiller & Flexner’s Randall Jackson, as well as the firm’s Karen Chesley. Attorney Kristy Greenberg. Representing the government’s case was Assistant U.S.
McFarland’s Fyre Media business partner, the rapper Ja Rule (whose given name is Jeffrey Atkins) has not been criminally charged but is named as a defendant in several of the dozen or so civil cases.” />

13. McFarland can amend his pleading at any time prior to trial. Attorney Joon Kim. If an agreement is not reached between McFarland and U.S. McFarland, 25, waived indictment, which eliminates the need to convene a grand jury, meaning the case will proceed on evidence collected by federal investigators, compiled in a document known as an information signed by Acting U.S. prosecutors a trial can be expected to commence sometime during the first quarter of 2018. The government now has two weeks to present discovery to the defense, with the first pre-trial hearing is scheduled for Dec. While the waiver signals a cooperative defendant and would typically indicate that plea discussions are underway, the move has no practical bearing on the case, which will proceed to trial.
Court for the Southern District of New York on Pearl Street in Lower Manhattan. The proceeds were sparsely attended, due in part to the fact that it was calendared late last week, as well as the fact that opening arguments were taking place in the same building for the high profile "Chelsea bomber" terrorism case of Ahmad Khan Rahimi, which was packed and spilled into an overflow courtroom. The hearing took place before Judge Naomi Buchwald on the bench for the U.S.

Fyre Festival promoter Billy McFarland appeared in Manhattan federal court this morning where he pleaded not guilty to charges of wire fraud and making false statements to a bank. Cancellation of the fest, which delved into chaos as attendees began arriving on the island, resulted in addition to the criminal proceedings in several civil class actions investor suits. The proceeding was the result of a June 30 arrest and criminal charges of defrauding investors in the ill-fated Fyre Festival Bahamian concert that was to have taken place in April and May.

Existing Groove Music subscribers are being encouraged to transfer their playlists and libraries to Spotify. Microsoft is the latest company to exit the streaming music business: The software giant announce Monday that it was shuttering its Groove Music service at the end of this year.
"As we continue to listen to what our customers want in their music experience we know that access to the best streaming service, the largest catalog of music, and a variety of subscriptions is top of the list," wrote Microsoft Groove GM Jerry Johnson in a blog post Monday.
Samsung tried a number of different service models before ultimately settling on a partnership model with existing services. Microsoft isn't the first major tech company to try, and then give up on competing with Spotify. And Sony replaced its own music service with Spotify in early 2015.” />
Existing Groove Music subscriptions won't automatically transition to Spotify subscriptions, but the two companies are trying to sweeten the deal for Groove Music users by giving them 60 days to try Spotify's premium service for free. The company will stop serving subscription customers and selling music downloads at the end of December, but maintain the app as a way to play local music libraries.
Microsoft first launched its Xbox Music subscription service in 2012, and was initially focusing heavily on Xbox users as its target audience. In 2015, the company rebranded the service as Groove Music, hoping to broaden the service's audience and also reach users on mobile platforms. However, Groove Music never really caught up to Spotify or Apple Music, and ultimately competed among a list of second-tier services.

He was 66. Tom Petty, whose Florida-bred quintet the Heartbreakers was one of the defining arena-rock acts of the 1970s with hits like "Breakdown," has died after suffering a heart attack Sunday at his home in Malibu, Calif., a source confirms to Variety.
The band cut an unsuccessful single for Shelter, but fell apart with the firing of original drummer Randall Marsh. In the wake of a poorly capitalized exploratory trip to Los Angeles in search of a record contract, Mudcrutch was contacted by Denny Cordell, an English producer-executive whose Shelter Records had issued hit releases by Cordell’s partner, musician Leon Russell.
Petty is survived by second wife Dana York Petty and his daughters from his first marriage, Adria and Annakim.” />
13 album featured the cautionary title song, a brooding number about the record business that director Julien Temple converted into an elaborate, nearly seven-minute video starring Johnny Depp and Faye Dunaway. The Heartbreakers regrouped for 1991’s “Into the Great Wide Open,” which also employed the production services of Lynne. The double-platinum No.
Police responded to his home a 10:50 p.m. Sunday night and he was transferred to UCLA-Santa Monica Medical Center, where he was on life support until Monday.
After Shelter was acquired by major MCA in 1979, Petty bridled and sought to void his band’s contract with a bankruptcy declaration. Ultimately, the group was rewarded with a better deal and a slot at a newly formed MCA imprint, Backstreet Records.
Despite dramatic exits from the Heartbreakers’ original lineup, the expulsion and overdose death of the group’s latter-day bassist and Petty’s intermittent struggles with drugs and depression, the Heartbreakers sustained their massive popularity for more than four decades.
8, 2008) and “2” (No. 4, 2006) and the two albums with the renascent Mudcrutch, “Mudcrutch” (No. Petty’s side projects in the new millennium included the solo side “Highway Companion” (No. 10, 2016).
However, he had cancelled a few shows during the tour for laryngitis. 25. Petty toured all summer across the U.S., with the last date at the Hollywood Bowl on Sept. He had been scheduled to play two dates in New York in November.
With their breakthrough third album, 1979’s triple-platinum “Damn the Torpedoes,” the Heartbreakers established themselves as a top contender among American acts of the era. The group’s 1993 “Greatest Hits” collection sold more than 10 million copies. The unit ultimately released eight top-10 albums and nine top-20 singles.
8, and combined strong full-band material with a more subdued, folk-inflected sound. Petty’s sophomore solo release “Wildflowers,” produced by Rick Rubin and released in 1994, rose to No.
He was born Oct. Like many other boyish rock aspirants, he began working on music in earnest after witnessing the Beatles on “The Ed Sullivan Show” in Febrary 1964. 20, 1950, in Gainesville, Fla. A poor student, he caught the rock ‘n’ roll bug after he was introduced by his uncle to Elvis Presley, who was shooting the picture “Follow That Dream” on location in nearby Ocala.
15). Backstreet issued “Damn the Torpedoes” in the wake of the new pact. Produced by engineer-producer Jimmy Iovine, who had worked on such straight-ahead rock hits as Bruce Springsteen’s album “Born to Run” and the Springsteen-Patti Smith smash “Because the Night,” the album was lofted to No. 10) and “Refugee” (No. 2 by the signature hit singles “Don’t Do Me Like That” (No.
Petty was awarded UCLA’s George and Ira Gershwin Award for lifetime achievemtn in 1996. In 2002, Petty and the Heartbreakers were inducted into the Rock and Roll Hall of Fame.
The latter album featured participation by two performers who would soon become permanent members of the Heartbreakers: drummer Steve Ferrone, first heard with Petty on “Wildflowers,” and the well-traveled session guitarist Scott Thurston. The band’s sales declined with the gold soundtrack album “Songs and Music from ‘She’s the One’” (No. 15, 1996) and “Echo” (No. 10, 1999).
7, 1985), which contained a No. pop duo Eurythmics, and promoted via MTV in a striking “Alice in Wonderland”-themed video featuring Petty as the Mad Hatter. 9 collection “Long After Dark” in 1982. 13 hit, “Don’t Come Around Here No More,” produced and co-written by Dave Stewart of the U.K. That title was succeeded by the regionally flavored “Southern Accents” (No. Epstein bowed on the No.
He also hit the upper reaches of the charts on two albums with the supergroup the Traveling Wilburys, a collaborative effort with Bob Dylan (with whom the Heartbreakers toured internationally in the late ‘80s), George Harrison, Jeff Lynne and (on the debut release) Roy Orbison. With 1989’s “Full Moon Fever,” Petty established a concurrent solo career that saw the release of three top-10 albums.
He died of drug-related causes in February 2003. The increasingly unreliable Epstein – who failed to show up for the cover photo session for “Echo” – was finally dismissed after appearing with the Heartbreakers at their 2002 Rock and Roll Hall of Fame induction.
It was this five-piece group that assembled in Los Angeles to record the newly dubbed Heartbreakers’ self-titled debut album in 1976. However, Petty, Campbell and Tench reconvened with the addition of two other Gainesville musicians, bassist Ron Blair and drummer Stan Lynch.
Recalling his first performance with a band as a teenager to biographer Warren Zanes, he said, “The first time you count four and, suddenly, rock and roll is playing – it’s bigger than life itself. It was the greatest moment in my experience.”
Director Peter Bogdanovich took a deep look at the Heartbreakers story in his four-hour 2007 documentary “Runnin’ Down a Dream.”
But the sets spawned such tuneful early live staples as “American Girl,” “Breakdown” (the group’s biggest early hit, peaking at No. 23 respectively. Neither that album nor its 1978 successor “You’re Gonna Get It!” were major successes, peaking at No. 40), “I Need to Know” and “Listen to Her Heart.” 55 and No.
Over the course of time, Petty piled up credits in other show biz realms. Following bit parts in the features “FM” and “Made in Heaven,” he became a recurring character as himself on “It’s Gary Shandling’s Show” and appeared on “The Larry Sanders Show.” He voiced ne’er-do-well redneck Lucky Kleinschmidt on Mike Judge’s animated series “King of the Hill.” He was also a long-running celebrity host on Siriux XM satellite radio.
In 1979 he filed for Chapter 11 bankruptcy protection after his original recording contract, which he found onerous, was acquired by MCA Records. He was a smart, outspoken and intransigent musician whose song “I Won’t Back Down” could be taken as a kind of credo. Two years later, he publicly attacked MCA when they threatened to raise the list price on his new album.
The act became a surprisingly popular attraction in England amid the punk rock fervor of the day; at a show a the Whisky a Go Go in the newly adopted hometown of L.A., they were introduced by British DJ John Peel, an enthusiastic early supporter.
In a move that surprised everyone except Ron Blair, who had predicted his own return in a 1993 interview, Petty drafted the Heartbreakers’ original bassist to replace Epstein on the 2002 set “The Last DJ,” a bile-filled rebuke of the music industry that reached No. 9.
Penning economical, affecting, hook-laced songs (frequently in partnership with guitarist Mike Campbell) that never shied away from complex emotions or dark narratives, Petty approached rock music with the fervor of the true believer.
His long-running marriage to Jane Benyo unraveled, and the depression-prone musician began a short dalliance with heroin use. Founding drummer Lynch, whose resentment grew when Petty failed to use him on “Wildflowers,” was ejected from the band. And bassist Epstein’s own heroin addiction began to escalate. During this period, Petty’s personal and professional life began to erode.
Singer-songwriter-guitarist Petty arrived on the national scene during the period between the original classic rock era and the arrival of punk. His taut, thoughtful and heartfelt songs – which elaborated on the work of such precursors as the Byrds – resonated with an audience looking for a new hero.
However, at that juncture Petty and the Heartbreakers’ profile was heightened considerably by service as opening act and backup band on a long world tour by Bob Dylan. The 1987 album “Let Me Up (I’ve Had Enough),” though it reached No. 20 and shifted 1 million units, was deemed a relative disappointment.
In his late teens, he became a top local attraction on the fertile Gainesville music scene (which produced members of the Flying Burrito Brothers, the Eagles and new wave act the Motels) as front man and songwriter for Mudcrutch, an outfit that also included guitarist Campbell and keyboard prodigy Benmont Tench. Playing guitar and bass, he cut his teeth in cover bands like the Epics and the Sundowners.
Petty also returned to his Sunshine State roots with two top-10 albums that reunited members of his late-‘60s hometown band Mudcrutch.
7) and “Runnin’ Down a Dream” (No. The next few years found Petty increasingly active as a performer apart from his working band. 3, 1988). 23). 1” (No. Some of the Heartbreakers appeared in minor backing roles on his Jeff Lynne-produced solo debut “Full Moon Fever,” which contained the emblematic hits “Free Fallin’” (No. He worked side-by-side with his idols on “Traveling Wilburys Vol.
Blair remained on board as full-time bassist for subsequent tours and the Petty-Heartbreakers albums “Mojo” (2010), a blues-based collection that peaked at No. 1 album, a mere 37 years after their debut. 2, and “Hypnotic Eye” (2014), which became the band’s first No.
The million-selling “Hard Promises” (No. 3 single “Stop Draggin’ My Heart Around,” on which the Heartbreakers, produced by Petty and Iovine, backed avowed Petty fan Stevie Nicks of Fleetwood Mac, soon followed. 5, 1981) and the same year’s No.
However, bassist Blair, considered the odd man out among the band members, was soon displaced in the group by Howie Epstein, who played on the sessions for the Petty-produced 1982 album by ‘60s rocker Del Shannon, “Drop Down and Get Me.”

rights to Italian crime drama “Maltese” from sales company ZDF Enterprises. It is the first Italian drama to stream on the VOD service. TV drama VOD service Walter Presents has acquired the U.K.
in March this year.” /> in January last year by Iuzzolino, Jason Thorp and Jo McGrath. It launched as an SVOD service in the U.S. Walter Presents, which is a joint venture between Channel 4 and Global Series Network, was launched in the U.K.
The eight-part series stars Kim Rossi Stuart as a police detective who returns to Sicily for the wedding of a childhood friend and gets caught up in a murder case which sees him waging war against the mafia in a desperate effort to unravel the truth. Rike Schmid co-stars.
“It’s a violent, elegant, nostalgic piece that combines the pathos of ‘The Godfather’ with the achingly stylish beauty of ‘Mad Men.’” “I’ve been on a mission to find a great Italian drama for the last three years and this is truly an exceptional one,” said Walter Iuzzolino, the Italian-born co-founder and curator of Walter Presents in a statement.
It is produced by Palomar, RAI and Maze Pictures . “Maltese” is written by Leonardo Fasoli and Maddalena Ravagli, who worked together on hit Italian crime series “Gomorrah,” and directed by Gianluca Maria Tavarelli (“The Young Montalbano”).

Additionally, a spokesperson for Caesars Palace confirmed that all shows scheduled for Monday night at the venue have been cancelled.
Cirque du Soleil confirmed the cancellations in a statement released on Monday, which added that none of its employees have been identified among the victims and that the organization is continuing to check in with employees. All tickets for cancelled shows will be refunded.
"In light of the attack, and out of respect for all those impacted, all of our shows will be dark tonight. "The entire Caesars Entertainment family is deeply saddened and we are keeping the victims, their families and the first responders in our thoughts and prayers," the spokesperson said in a statement. Tickets for tonight’s performances can be refunded at the original point of purchase. Additional details regarding show times for tomorrow are forthcoming."
"Cirque du Soleil’s deepest thoughts and sympathies are with the victims, their loved ones and the Las Vegas community," Cirque du Soleil said in the statement.
With 58 dead and over 500 injured due to gunfire or the resulting crowd stampede, this shooting is the most deadly in modern U.S. Paddock was found dead in the hotel room. The shooting took place at the Route 91 Harvest Music Festival when 64-year-old Stephen Paddock of Mesquite, Nev., opened fire on the crowd from the 32nd floor of the Mandalay Bay hotel. history.
In the wake of Sunday night's shooting in Las Vegas, all Monday night shows planned for Cirque du Soleil and Blue Man Group in the city have been cancelled.
Other sources were unable to confirm plans for Jennifer Lopez's Vegas show at Planet Hollywood, with the next one being scheduled for Wednesday.” /> A source tells Variety that Celine Dion's show for Tuesday night at the Colosseum is scheduled to proceed as planned, as of now.

Glass will be released by Universal Pictures in North America on Jan. 18, 2019. Production companies are Blinding Edge Pictures and Blumhouse.
The studios announced Monday that Universal will handle domestic distribution, while Buena Vista International is on board for international territories. Shooting began Monday in Philadelphia — the site of many of Shyamalan's movies.
"Split" was a massive success for Universal, Blumhouse, and Shyamalan, grossing $277 million worldwide on a $9 million budget.” />
Producers are Shyamalan and Blumhouse Production's Jason Blum, who also produced the writer/director's previous two films for Universal. Steven Schneider will executive produce. They produce again with Ashwin Rajan and Marc Bienstock.
Joining the cast are "Unbreakable" cast members Spencer Treat Clark and Charlayne Woodard, who reprise their roles as Dunn's son and Price's mother, respectively, as well as Sarah Paulson. "Glass" will see Dunn pursuing The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator.
"Glass" brings together the narratives of Shyamalan's "Unbreakable," which was released through Disney, and last year's "Split," from Universal. Shyamalan is self-financing.
M. Night Shyamalan has started shooting his thriller "Glass," with Disney joining Universal as a distributor.
Other previous Shyamalan collaborators, including cinematographer Michael Gioulakis, production designer Chris Trujillo, editor Luke Ciarrocchi, and costume designer Paco Delgado, will also be working on "Glass."
Joining from "Split" are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy, the only captive to survive an encounter with McAvoy's The Beast. From "Unbreakable," Bruce Willis returns as David Dunn and Samuel L. Jackson is back as Elijah Price, best known by his pseudonym Mr. Glass.

Total Broadway cume slipped a bit to $23.2 million for 24 shows playing, and attendance dipped by 8,000 to 198,483, or 84% of Broadway's overall seating capacity.” />
The other was "Anastasia" ($822,993), which has experienced a slowdown of its own but perked up by 5% last week. "Charlie" was one of two new musicals that were largely ignored by the Tonys but still attracted notable crowds, at least initially.
A slow final week of September kept the Broadway box office humble last week, except at the biggest of hits like "Hamilton" and "Hello, Dolly!"
In the aftermath of the closings of shows including "A Doll's House, Part 2" — and with "War Paint" on hiatus for a week — overall Broadway sales and attendance both downticked. Individual productions mostly tread water, posting only minor gains or losses — with the only exception being "Charlie and the Chocolate Factory" ($558,636).
Down by 16% (or approximately $110,000) compared to the previous week, "Charlie" has lost momentum in the last six weeks or so, after an initial several months that saw the show gain significant sales traction despite largely downbeat reviews and a Tony Awards shut-out. The show powered through million-dollar-plus weeks for most of the summer, but more recently has seen its numbers take a downward turn.
Otherwise, there were few changes of note at the box office last week, with "Hamilton" ($2,941,667), "Hello Dolly!" ($2,310,278), "The Lion King" ($1,876,322) and "Dear Evan Hansen" ($1,680,306) holding on to spots at the top of the chart.
Reps for the show promise the production's weekly grosses will be higher this week. With significant appeal to the all-ages demographic, "Charlie" seems certain to trend with the Street, rising as city visitors — and, in particular, family-oriented tourists — return to Times Square.