Moreover, if it went that route, it could always debut "The King's Man" on Hulu, which it owns. There's slightly more time before the studio would traditionally start showcasing trailers and other promotional materials, but if ads don't begin materializing within the next few weeks it may be fair to assume that director Matthew Vaughn's latest installment in the spy comedy franchise is being held up again. There have been rumors that a major streaming service would like to take the film off Disney's hands, but it's unclear if the studio would ever sell the movie. Disney has stayed similarly mum on "The King’s Man," a oft-delayed prequel in the "Kingsman" series, which is set for early March.
But if the pandemic has proven anything, Hollywood may find itself repeating this song and dance in another six months. For many studios, delay, delay, and delay again may be the best option — hopefully for the last time.
Universal has deployed its early premium video-on-demand pact with exhibitors such as AMC and Cinemark to modest success, with "Trolls World Tour" and "The King of Staten Island" among the titles that made money for the studio. Both "F9" and "No Time to Die" are reliant on worldwide grosses, particularly in Asia where action franchises are especially popular. Should those titles get postponed again, studios may eye the holiday 2021 corridor in hopes of steering away from the COVID-19 crisis once and for all. Since their respective studios sink a dizzying number of marketing dollars into global promotional efforts, the companies will have to make a decision by the end of January to avoid dropping unnecessary expenses. But few anticipate that Universal will test its PVOD deal — which allows the studio to put new titles on digital rental services 17 days after their theatrical debuts — in an impaired marketplace with an all-important tentpole like "F9." Recent installments in the Vin Diesel-led series have soared past the billion-dollar milestone with relative ease.
Cinema operators, rival studios and even some of the filmmakers behind the movies wondered aloud why, with the prospect of coronavirus vaccines looming, Warner Bros. Late last year, Warner Bros. It was a move that appeared to wave the white flag on moviegoing for the next 12 months. would make such a sweeping decision? was skewered after announcing that all of its new movies in 2021 would debut simultaneously on HBO Max and in theaters. Here we go again.
Most films start rolling out advertising efforts six weeks ahead of its release, oftentimes even earlier if it's a sequel or spinoff in a popular franchise. Yet sources at Sony emphasize the classic princess will get her due on the big screen. While Sony sent Seth Rogen's "An American Pickle" to HBO Max and the Kristen Stewart rom-com "The Happiest Season" to Hulu last year, insiders say "Cinderella" won't be sold to a streamer and Sony is committed to a theatrical release. But it doesn't take a detective to notice there's been a conspicuous absence of marketing — no hint of first-look images, no scintilla of a teaser trailer, no evidence of Camila Cabello-inspired promotional toys — for movie that's supposed to come out next month.
It's true that for any movie, plans will be fluid as long as the pandemic remains rampant. In the case of "Wonder Woman 1984," skipping a big debut in cinemas likely meant the film will lose over $100 million at the box office. It may boast subscriptions for HBO Max, but it's ambiguous if additional revenue will paper over the loss of ticket sales. Many rival studios were gobsmacked at Warner Bros.' decision to send "Wonder Woman 1984," "The Suicide Squad," "Dune" and other mega-budgeted films to HBO Max. Other Warners titles slated for a hybrid release may similarly find themselves in the red. What doesn't change, however, is the fact that it's insurmountably more challenging for a film the size and scale of "Black Widow" to become profitable without a traditional theatrical window.
Sony declined to comment on the scheduling.
But many of these titles are expected to shift as well if conditions don't drastically improve in the next month or so. Even in traditional times, the stretch between January and March is kind of a cinematic dumping ground. and Legendary's "Godzilla vs Kong" (May 21), Ryan Reynolds' "Free Guy" from 20th Century Studios (May 21), Paramount's "Infinite" starring Mark Wahlberg (May 28), Disney's "Cruella" with Emma Stone (May 28) and Universal's "F9" (May 28). So it's not entirely unexpected that the current release calendar doesn't pick up in a meaningful way until May, with the debuts of Disney and Marvel's "Black Widow" (May 7), Warner Bros.
Numerous films remain on the release calendar for early 2021, yet cases of the virus in many areas are higher than ever and approximately 65% of U.S. may have been forward-thinking in acknowledging the box office's slow return. Getting back to the movies in any normal fashion seems as unrealistic today as it did last March when cinemas across the nation were shuttered. theaters — including those in popular markets like New York and Los Angeles —  remain closed. Nobody expected mass immunization overnight, but with vaccinations being administered at a crawl in the U.S., it now looks like Warner Bros.
Sources at Disney disputed reports that Pixar's "Soul" would premiere on Disney Plus, only to announce a month later that "Soul" would open on Disney Plus. Yet in the age of coronavirus, nothing is being considered — until it is. Disney insiders continue to deny those whispers. There's also been chatter that another Disney tentpole, the Scarlet Johansson-led Marvel adventure "Black Widow," may follow in the steps of fellow studio release "Raya and the Last Dragon," which is premiering concurrently in theaters and on Disney Plus for a premium price.
Neither Sony nor Paramount have a streaming service ready to offload titles, so those companies will probably continue to delay release dates or sell their movies to platforms like Netflix, Hulu and Amazon Prime. Paramount has auctioned off most of its upcoming movies and doesn't have anything on the horizon until "A Quiet Place Part II" on April 23, which it has no plans to sell. and Universal appear more primed to ride out the next few months, with contingency plans that range from day-and-date releases on streaming services to accelerated premium video-on-demand windows. Disney, Warner Bros. Hollywood players will continue to take different approaches to operating and finding the best way to reach audiences during the pandemic.
Mid-budget movies can enjoy a more compelling return on investment through premium video-on-demand since they require transactions on individual titles and don't need as many credit cards swipes to get in the black. That means "Fast & Furious" sequel "F9" and James Bond entry "No Time to Die" (set for April 2) will likely vacate those release dates unless a whole lot more people get vaccinated. But it's nearly impossible for movies that carry price tags around $200 million to turn a profit in the current film landscape. And some studios may be willing to take the occasional write-down if it means boosting streaming subscribers, as was the case with "Hamilton" on Disney Plus.
MGM, the financial backers of the 007 franchise, and Universal, the studio behind the high-octane series, both declined to comment. Universal also has international rights on "No Time to Die."
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But there are a handful of films scheduled for the first quarter of the year: Sony's "Cinderella" starring Camila Cabello (Feb. 5), Disney and 20th Century's "The King's Man" (March 12) and Jared Leto's superhero thriller "Morbius" also from Sony (March 19), to name a few. To be sure, the majority of potential blockbusters have already been postponed to mid-summer or later. These seem very unlikely to keep their theatrical release dates, at least without embracing some kind of hybrid digital or video-on-demand debut.
As it stands, "Cinderella" is slated as the first release of 2021 from a major studio. However, it's hard to believe the Kay Cannon-directed fairy tale adaptation will keep its early February release date.

Season 2 of “Perfect Life” is co-produced by Movistar Plus and HBO Max in collaboration with Barcelona’s Corte y Confección de Películas and in partnership with the series' sales agent, Jan Mojto’s Munich-based Beta Film,  a powerful player on the Spanish drama series scene handling, just among recent hits, series such as “Tell Me Who I Am” and “Alive and Kicking” from “Red Band Society” creator Albert Espinosa.
Season 1 screened in competition at Canneseries where it was awarded Best Series and its leading trio of players scored the Special Performance Award. Honors in Spain include best Spanish series in a Fotogramas de Plata reader’s poll, and Feroz Awards for best comedy series and the best supporting actor (Enric Auquer). The show was also a critical and festival success. The first season of the series was a hit for Movistar Plus, receiving strong domestic ratings and selling to Germany’s RTL and France’s M6 Group, the latter deal takng in both the original and a potential remake.
Once again mixing equal parts comedy and drama, protaganists Maria, Cris and Esther will face new fears and longings in the realms of love, coupling, motherhood and family, with plenty of unexpected turns along the way. Season 2 promises another candid re-examination of how we manage our life expectations against what life turns out to be.
streaming rights for the first season of the highly rated Spanish series, making it available to U.S. audiences from Jan. 21. HBO Max will also pick-up U.S. Spanish pay TV operator Movistar Plus and HBO Max have joined forces on the upcoming second season of Leticia Dolera’s “Perfect Life,” which recently wrapped shooting under strict COVID-19 restrictions.
Meanwhile, her sister Cris is secretly taking birth control behind the back of her husband who wants to start a family. The series turns on manic, control-freak María who, after her partner refuses to enter into a long-term mortgage with her, has a one-night stand with Gary the gardener. Another sister, Esther, wants to paint, but can’t sell and so works at a waxwork museum.
Dolera, who also directed the first season, will split behind-camera duties with two-time Spanish Academy Goya nominee Lucía Alemany  (“The Innocence”) and Irene Moray  (“Suc de síndria”) who will each direct an episode of the new season.” /> Dolera created and will once again star in Season 2, re-teaming with co-writer Manuel Burque (“Requirements to Be a Normal Person”).

Plan B recently announced, along with MGM, that it will produce a feature film adaption of Ta-Nehisi Coates' "The Water Dancer," as well as Sarah Polley's feature adaptation of Miriam Toews' bestselling novel "Women Talking."” /> Plan B has produced the best picture-winning movies "12 Years a Slave" and "Moonlight." Its other releases include "The Assassination of Jesse James By the Coward Robert Ford," "The Tree of Life," "Selma," "The Big Short" and "World War Z." The company backed "Minari" from Lee Isaac Chung, which is expected to be another awards season contender.
"I'm thrilled that this book about a deeply visual boy attuned to the magic of living things will itself get a chance to become visual magic," Powers said in a statement.
Black Bear Pictures and Plan B Entertainment have acquired the feature film rights to Richard Powers' upcoming novel, "Bewilderment," in a highly competitive situation.
It has previously produced award-winning films such as "The Imitation Game" and "Mudbound." The company also produced Heidi Ewing's "I Carry You With Me," which will be released by Sony Pictures Classics; as well as Chad Hartigan's "Little Fish" starting Olivia Cooke and Jack O'Connell, which was recently acquired by IFC Films. Black Bear's current slate includes J Blakeson's thriller "I Care a Lot," starring Rosamund Pike, Peter Dinklage, Eiza Gonzalez and Dianne Wiest, which was acquired by Netflix following its premiere at the Toronto Film Festival.
His works include "The Echo Maker," "Operation Wandering Soul," "The Gold Bug Variations" and "Three Farmers on Their Way to a Dance." "The Overstory" is currently being developed for Netflix by David Benioff and D.B. Powers is the author of 12 novels and is also the recipient of a MacArthur Fellowship and the National Book Award. Weiss of "Game of Thrones" fame.
The film version of "Bewilderment" will be financed by Black Bear Pictures, which will also develop and produce the picture alongside Plan B Entertainment. There were multiple bidders circling the project, a degree of interest that's probably due to the fact that Powers' previous novel, "The Overstory," won the 2019 Pulitzer Prize and was critically adored.
Powers is represented by CAA and Melanie Jackson Agency.
We at Black Bear are honored to bring this beautiful story to the big screen and couldn't have better producing partners than our friends at Plan B." "With its first few pages, Powers' novel completely captivated us and with its last, it bowled us over," Black Bear's Head of Film Leigh Kittay said in a statement. "Powers creates a texture and specificity to our future that feels simultaneously sweepingly large and breathtakingly intimate, told through the most relatable point of view: the ferocious love of a parent for his child and his struggle to provide him a better tomorrow.
Powers' book is due to be published in Fall of 2021 by W. Norton & Company — its publication is expected to be one of the year's big literary events. The novel is set in the near future amid Earth's slow deterioration. W. It follows a widowed father of a most unusual and troubled nine-year-old boy, as he turns to an experimental neurological treatment in order to save his son.

Deadline was first to report the news of Affleck's involvement in the adaptation of "Keeper of the Lost Cities."
Affleck will adapt that book by Sam Wasson, as well as direct the film, producing alongside “Saturday Night Live” creator Lorne Michaels. In August, Affleck signed on to direct and produce “The Big Goodbye: Chinatown and the Last Years of Hollywood,” which gives an inside look at the making of the film noir classic "Chinatown" for Paramount.
Based on Shannon Messenger's novel, Affleck will adapt the project's script with Kate Gritmon, while Madison Ainley serves as an executive producer. The "Keeper of the Lost Cities" series centers on a 12-year-old telepathic girl named Sophie, who is searching for answers about her secret abilities, learning that she's not actually human, but from another world that exists simultaneously with our own.
Affleck is repped by WME.” />
Affleck memorably earned his first Academy Award in 1997, co-authoring the screenplay for "Good Will Hunting" with Matt Damon. "Keeper of the Lost Cities" joins Affleck's impressive list of directorial efforts, including "Gone Baby Gone," "The Town," "Live By Night" and "Argo," which won an Oscar for best picture.
Ben Affleck has added another adaptation to his growing directorial slate. Affleck and his Pearl Street Films production company are set to take on the bestselling book series "Keeper of the Lost Cities," with Affleck on board to direct and produce the project for Disney.
The actor and director — who starred in last year's critically acclaimed sports drama "The Way Back" — recently wrapped filming on Ridley Scott's "The Last Dual" and New Regency's "Deep Water."

Given the high-profile nature of the project, the salary for the three stars is hardly surprising. A-listers like Nicole Kidman, Jeff Bridges, Sir Patrick Stewart, Reese Witherspoon, and Kerry Washington are among the stars who have recently landed such paydays for their roles in major projects on platforms like Netflix, Hulu, and other streamers. Commanding north of $1 million per episode has become the new upper tier of television star salaries in recent years.
The original series premiered on HBO in 1998 and ran for six seasons until 2004. “Sex and the City” was created by Darren Star based on Candace Bushnell’s 1997 book of the same name.
According to multiple sources, Sarah Jessica Parker, Cynthia Nixon, and Kristin Davis are all set to bank over $1 million per episode for the 10 episode series. All three are set to star in the show as well as serve as executive producers.
The series spawned two films (both currently streaming on Netflix, coincidentally). The widely-panned “Sex and the City 2” earned over $290 million globally with a reported $100 million budget. The influence of the series is still felt across popular culture and in Hollywood writers' rooms to this day. The 2008 feature “Sex and the City” earned over $418 million worldwide on a reported $65 million budget.
Kim Cattrall, who played Samantha Jones in the original series, is not returning. The revival, which is titled "And Just Like That…," will follow Carrie Bradshaw (Parker), Charlotte York (Davis) and Miranda Hobbes (Nixon) as they navigate love and friendship in their 50s. Michael Patrick King will executive produce along with Parker, Nixon, and Davis. The half-hour series is set to begin production in New York City in late spring.
Reps for the three actresses and HBO Max did not immediately respond to Variety's request for comment.
In 2011, Parker teased that a third film installment had been written, calling it “a small story, but I think it should be told. The question is, what's the right time to tell it?"” />
The stars of the upcoming "Sex and the City" revival at HBO Max are about to have plenty of cash to buy cosmopolitans.

series is one of a number of DC project currently in the pipeline at HBO Max, as the streamer is leaning heavily into the DC Comics IP. Of particular note is that James Gunn is working on a series spinoff of his “Suicide Squad” film with John Cena attached to star as Peacemaker, and that J.J Abrams and his Bad Robot Productions are developing a “Justice League Dark” series for the streamer.” /> The Gotham P.D.
The Gotham PD show will exist in the same world as the upcoming film "The Batman" from Matt Reeves. It is said to build on the film’s examination of the anatomy of corruption in Gotham City. It is part of WarnerMedia's efforts to launch a new Batman universe across multiple platforms.
Barton takes over as executive producer and showrunner on the untitled series from Terrence Winter, whose exit was reported in November.
Barton previously created and wrote the BBC Two/Netflix drama series "Giri/Haji." He also previously wrote the feature film "The Ritual." Most recently he co-wrote the upcoming feature film "Invasion" starring Riz Ahmed and Octavia Spencer, which will be distributed by Amazon Studios. He is also set to write and executive produce the Netflix drama series "Half Bad," based on the books by Sally Green.
The upcoming Gotham PD series at HBO Max has found its new showrunner in Joe Barton, Variety has learned.
Television. Reeves’ 6th & Idaho production company will produce in association with Warner Bros. Reeves, Barton and Dylan Clark are executive producers, alongside 6th & Idaho’s Daniel Pipski and Adam Kassan. The drama is based on characters created for DC by Bob Kane with Bill Finger. 6th & Idaho’s Rafi Crohn is a co-executive producer.
He is repped by ICM, Grandview, and Independent Talent Group.

2021 Oscar Predictions: The Collective
Billie Holiday" is the next enigma in this awards season and could prove to be one of the more divisive entries. On the opening day of SAG voting and dropping its first trailer, it looks to angle for an Oscar play, in particular, for Andra Day as the iconic blues singer. Judging by some of the discussions, this is not the slam dunk contender pundits were expecting. Daniels, who became the second Black filmmaker to be nominated for best director for 2009's "Precious: Based on the Novel 'Push' by Sapphire," (the first was John Singleton for 1991's "Boyz N the Hood") hasn't captured the attention of voters since then. Lee Daniels' "The United States vs.
Observe and report is the game for now. There are still less more than two months to go until Oscar nominations are announced. There are no definitive answers to the awards race, especially in a year where people are not rubbing elbows at parties and are essentially reinventing the wheel.
However, possibly angling for a lead actor nomination, it'll be near impossible to crack a lineup this deep this year that involves Chadwick Boseman, Anthony Hopkins, Delroy Lindo and others. Trevante Rhodes, who broke out in a big way with Barry Jenkins' "Moonlight," continues to show that every Hollywood studio and filmmaker should be lining up to hand him roles as his natural charisma is always an attribute to any film.
Since being nominated in 2009 for both directing and producing, the first Black filmmaker to be nominated in both categories in the same year, Daniels' actors have flirted with the Academy's graces, but also with divisive receptions from audiences. In 2013, he went for prestige with "Lee Daniels' The Butler," which was a financial success but too safe to get Oscar winner Forest Whitaker and the powerhouse Oprah Winfrey into their respective lineups. 2012's "The Paperboy" was too campy for many, which cost Nicole Kidman a nomination after landing nods from the Globes and SAG.
 ” />
26 on Hulu. "The United States vs. Billie Holiday" is scheduled to be released on Feb.
The film looks at Billie Holiday (Day) during the time in her career when she becomes a target by the Federal Department of Narcotics with an undercover string operation led by Jimmy Fletcher, a Black Federal Agent. The two engage in a heated love affair that spans years up to the final days of Holiday's life.
Visit THE AWARDS HUB to see the full list of contenders by category.
But in the conversation of the five best directorial achievements of this extended year, it looks like a very high mountain to climb for Daniels' name to be called on March 15, when Oscar nominations are announced. Some have and will be taken by Daniels' undoubtedly passionate approach to the material. His respect for the First Lady of Blues is evident as he maneuvers through her battle with addiction and multiple love affairs, not shying away from its more graphic moments.
On top of being one of the final films to be released in the eligibility period, the film could be the "Extremely Loud & Incredibly Close" surprise of the year. A screenplay nomination for Suzan-Lori Parks, who adapts the novel by Johann Hari, may not have the passionate support to zip past contenders like "One Night in Miami." In addition, it also lacks the narrative zest for supporting players like Rob Morgan, Da'Vine Joy Randolph, Garrett Hedlund, Miss Lawrence or Natasha Lyonne to make an impression.
She could fall into the same boat as Leslie Odom Jr. Running the gamut from immensely moving to unwittingly comical, the early awards buzz had surrounded her anticipated portrayal, and she gives everything she has to rise above the film's flaws. It may be difficult for the Grammy-nominated actress to overcome, but her dedication may be hard to ignore. If she can't crack the actress race, the song category could be a suitable solution. In the best actress race with a deep bench of viable and Oscar-worthy women, the reception for "The United States vs. The consensus high point is Day's committed and lived-in portrayal. Hulu will be submitting "Tigress & Tweed" (written by Raphael Saadiq and Day), "The Devil and I Got Up to Dance a Slow Dance" (written by Jamie Hartman, Warren Oak Felder, Coleridge Tillman and Charlie Wilson) and "Break Your Fall" (written by Warren Oak Felder and Coleridge Tillman). Billie Holiday" will probably be the most panned of the leading contenders. from "One Night in Miami," as she's a co-writer for one of the submitted songs.
2021 Academy Awards Predictions
2021 Oscar Predictions: All Categories
Looking in the technical races, costumes may capture branch members' attention and possibly even makeup and hairstyling. Kris Bowers' potent score is worth singling out and delivers stunning work on "Bad Hair," which is also a longshot for the shortlist.

"The Overview," which will be available for free to those who sign up for Peacock, joins the streamer's other news programming, such as NBC News NOW.
Close friends in the news industry told him that going digital was akin to "committing career suicide." But his Snapchat show, co-hosted with Savannah Sellers, has surpassed the 10 million subscriber mark, 75% of whom are under the age of 25. Producing for the platform meant understanding that having "some guy yelling the news at you and telling you panic" wasn't as effective as taking a conversational approach, he says.
to have those conversations." It's just a matter of creating a space where there's a little bit more room than, you know, 140 characters… "And you can critically think — just because one person says one thing that doesn't discount what everybody else is saying. "People want nuance, and people are able to understand that two things can be true at the same time," says Schwartz.
Watch the trailer for Peacock's "The Overview" below:
"Coming up, I started in local news, and very quickly realized that people my age don't watch local news. "Throughout [my career], I've been struggling to find my own voice," says Schwartz. And that's always bothered me throughout this entire career." So I was speaking to this audience that didn't really reflect my peers.
Wearing a dark gray hoodie and framed by neon lights in a garage, NBC News' Gadi Schwartz is forgoing the traditional suit and anchor's desk as he explains to viewers the growing conversation around climate change, as exemplified by California's shrinking Salton Sea. The graphics are snappy, the aerial footage is grand, and the explanation is conversational — that is to say, very millennial-friendly.
Sure. They seem contradictory. That may be true in some circumstances," he says. And in addition to that, you've got AOC saying, 'Hey, if you don't call for radical change, no one's going to take you seriously, and if they're not uncomfortable, nothing's going to change.' That is also true. The second you say, 'Defund the police,' you lose a lot of people.' Sure, that can be true at the exact same time. All of those three things are true at the same time. "We have the right saying we need police for law and order, and they need more funding. And maybe we should think about this instead of constantly sounding this call to arms." But when you take a moment to look at the totality, you realize how things are a lot more complicated than they appear on Twitter. "And then you have former President Barack Obama saying, 'You know what?
Schwartz is applying some of those lessons to Peacock's "The Overview," a project that he has been nurturing since the early days of "Stay Tuned." He wants to create a space where his viewers can pensively "take a step back from the day to day stuff, and ponder the bigger questions that we're facing."
"What we've seen with mobile and with social and with the digital world is that that one-way street doesn't work for people that are used to engaging directly with the characters that they're seeing reflected on the screen." "I hate being talked at, I always have," says Schwartz of the "one-way street" that traditional news programming typically offers.
Jen Brown, senior vice president of topical programming and development for Peacock, hopes to "drive peer-to-peer conversations through Gadi’s thoughtful reporting on issues important to this generation of streaming news consumers.”
https://www.youtube.com/watch?v=AUokfVk3Bbk&feature=youtu.be” />
Schwartz, an NBC News and MSNBC correspondent who has covered the 2020 election, immigration issues along the U.S.-Mexico border and the Olympics, leads something of a journalistic double life. He speaks both to the older demographics who watch traditional linear broadcast and cable news as well as the digital-first Gen Zs who watch Schwartz co-host NBC News' "Stay Tuned" on Snapchat.
Each program centers on a different "paradigm shift" — a phrase Schwartz is fond of using — to ascertain what society's future holds. After climate change, successive episodes will tackle topics such as the future of elections and the significance of nostalgia in unpredictable times. In a future episode, his team is looking at parsing the nuances in the movement to defund the police.
This is "The Overview," Peacock's new younger-skewing news show that will debut on NBCUniversal's streaming service on Jan. Three episodes will premiere on the service at launch, followed by weekly Saturday episodes. 16, as Variety has exclusively learned.

history of lynching Black people. The film, directed by Lee Daniels and written by Suzan-Lori Parks, is inspired by Johann Hari's book "Chasing the Scream: The First and Last Days of the War on Drugs." The jazz singer, portrayed by Andra Day, came under fire by the agency after performing the song "Strange Fruit," which condemns the U.S.
The film also stars Garrett Hedlund, Natasha Lyonne, Da'Vine Joy Randolph, Miss Lawrence, Rob Morgan, Evan Ross, Tyler James Williams, Tone Bell and Erik LaRay Harvey.
https://www.youtube.com/watch?v=USi-ppCfxEA&feature=youtu.be&ab_channel=Hulu” />
Billie Holiday" explores the tragic story of singer Billie Holiday, the racial inequalities of 1940s America and her encounters with the Federal Bureau of Narcotics. The first trailer for Paramount's "The United States vs.
Watch the trailer for "The United States vs. Billie Holiday" below.
"The United States vs. Billie Holiday" also highlights aspects of her complex relationship with Jimmy Fletcher (Trevante Rhodes), the Black agent tasked with tracking her movements. She grew to trust him, despite his adherence to the government's war on drugs.
Day's transformation into Holiday is already generating Oscars buzz, and it could propel the film into the best actress conversation.
Their behavior, however, was based more on her political sway with "Strange Fruit" than her actual struggles, according to NPR. An FBI memo even acknowledged that the Federal Bureau of Narcotics hoped to discredit people like her through their use of narcotics. The movie focuses on Holiday's dealings with federal agents, who allegedly began to target her due to her alcohol and drug abuse.

William Morris Endeavor agent Tanya Cohen, known as a rising star and champion of female directors, is leaving the agency to pursue a management career, insiders told Variety.
She is said to be in early negotiations with one of several new management firms to have sprung up in recent months  as both a response to the COVID-19 pandemic and the waning standoff between the Writers Guild of America and the talent agencies.
Cohen recently made partner, and has a roster that includes helmers like Gabriela Cowperthwaite ("Blackfish"), Jennifer Yuh Nelson, ("Kung Fu Panda 2"), and comedy veteran Paula Pell.
Variety has also learned that motion picture and literary packaging agents Solco Schuit and Simon Faber are departing as a team — considering options including a management path or producer roles.
Cohen began her career at Paradigm, and also served at Verve Talent and Literary Agency.” />
Faber brokered motion picture lit deals for Oscar frontrunner Chloe Zhao ("Nomadland," "The Rider") and Matt Ross (winner of the Un Certain Regard director award at the 2016 Cannes Film Festival for "Captain Fantastic"). Yang, and "Honey Boy" director Alma Har'el. Solco worked on teams for the likes of "Freaky" and "Happy Death Day" director Christopher Landon, comedian and actor Jimmy O.

Best Nonfiction Film: "Time"
And while "Ma Rainey's Black Bottom" failed to top any of the acting categories, it did find itself close to a win in the best actress, best actor and best supporting actor categories. Boseman, who was the runner-up for best actor due to his performance in the Viola Davis-led film, also came close to winning best supporting actor for "Da 5 Bloods." He came third in the category.
Maria Bakalova, who shot to fame after her performance in "Borat Subsequent Moviefilm," won the honor of best supporting actress following this year's vote, while "Sound of Metal" star Paul Raci was dubbed best supporting actor.
Film Heritage Awards: Women Make Movies, Film Comment, the Brattle Theatre (Cambridge, MA)” />
Best Supporting Actress: Maria Bakalova, "Borat Subsequent Moviefilm"
Best Director: Chloé Zhao
Best Actor: Delroy Lindo, "Da 5 Bloods"
Best Picture: "Nomadland"
Best Actress: Frances McDormand, "Nomadland"
The film won best picture and best cinematography, while Zhao was awarded best director and star Frances McDormand was named best actress. Chloé Zhao's "Nomadland" led this year's National Society of Film Critics awards, winning the top honor in four categories.
Best Foreign-Language Film: "Collective"
Best Screenplay: Eliza Hittman, "Never Rarely Sometimes Always"
The full list of winners and runners-up can be found on the National Society of Film Critics' announcement thread, or read below for those who took home first place.
Category winners are those who received the most cumulative points. The 55th annual voting meeting took place Saturday, with results being shared to the organization's Twitter account as each category was voted upon. A weighted ballot system required voters to select their first, second and third choices for each category, with each position earning the film a different score.
Best Supporting Actor: Paul Raci, "Sound of Metal"
Delroy Lindo earned the title of best actor for his role in Spike Lee's "Da 5 Bloods." Lindo's portrayal of a military veteran received critical praise throughout the year.
Best Cinematography: Joshua James Richards, "Nomadland"

Queen Latifah is an enigmatic hero in the 30-second teaser for CBS' "The Equalizer," which is a reimagining of the 1980s series of the same name starring Edward Woodward.
Watch the teaser below.
While acting as a guardian angel to others, Robyn is also seeking her own redemption. Latifah stars in the series as Robyn McCall, a single mother with a mysterious background who uses her skills to protect and defend those who cannot do so for themselves.
John Davis, John Fox, Debra Martin Chase, Andrew Marlowe and Terri Miller serve as executive producers. Besides her starring role, Latifah is also credited as a co-creator of the series alongside Richard Lindheim, who was one of the creators of the original series.
Set to premiere Feb. 7 after the Super Bowl, the series marks the second reboot of "The Equalizer" franchise, following the 2014 film starring Denzel Washington and its 2018 sequel. The cast also includes Tory Kittles, Lorraine Toussaint, Liza Lapira and Adam Goldberg.
"This new side gig of yours is raising questions to the CIA," Noth's character says. Chris Noth, who portrays an ex-CIA director, also appears in the teaser, giving viewers a hint about Robyn's past career. "I don't work for them anymore," Robyn quips.
The teaser introduces Latifah's character and her daughter, Delilah, played by Laya DeLeon Hayes. "What's up with you, mom? Out of nowhere you quit your job last month, you wanna talk about it?" Delilah asks in the clip, to which Robyn responds: "It's complicated." Cue a montage of Latifah's character wielding guns, dodging explosions and saving people.
https://twitter.com/TheEqualizerCBS/status/1347968669054246912″ />

Amazon informed Parler, which boasts of taking a hands-off policy to content moderation, of the imminent loss of its internet hosting services on Saturday. That came after Apple and Google banned Parler from their respective app stores, also citing Parler's inaction on policing violent and harmful content. On Friday, Twitter banned Donald Trump permanently while the president's accounts on other internet services have been suspended indefinitely in the wake of Wednesday's violent assault on the U.S. Capitol by a pro-Trump mob.
Parler may be unavailable "for up to a week as we rebuild from scratch," he wrote, adding, "We prepared for events like this by never relying on amazons proprietary infrastructure and building bare metal products." Matze also alleged that the actions taken against Parler are a "coordinated attack by the tech giants to kill competition in the marketplace."
Parler CEO John Matze — who briefly worked at Amazon's AWS division in 2017 as a software engineer, according to his LinkedIn profile — confirmed that Amazon told his company they are shutting off its hosting services.
Unless Parler is quickly able to find a new hosting provider, the app and site will go offline later Sunday. News of AWS's move to drop Parler was first reported by BuzzFeed News. In explaining the decision, Amazon said it found nearly 100 examples of violent threats posted on the far-right social app.
Parler, the far-right social network favored by many Trump supporters, is set to go dark Sunday after Amazon's AWS division said it is pulling the plug on the service's hosting account.
Right now people are suppose[d] to come together, calls to cancel people and remove free speech will radicalize people more." In an earlier post, Matze wrote, "Do my former co-workers at AWS realize calls to violence are against our TOS [terms of service]… What are you trying to accomplish?
"Sunday (tomorrow) at midnight Amazon will be shutting off all of our servers in an attempt to completely remove free speech off the internet," Matze wrote in a Saturday evening post on Parler.
The AWS notice to Parler's chief policy officer, Amy Peikoff, included screengrabs of posts on the app that “clearly encourage and incite violence” included references to executions by firing squad as well as comments encouraging "patriots" to bring weapons to Washington, D.C., for president-elect Joe Biden's inauguration on Jan. 20.
Because Parler cannot comply with our terms of service and poses a very real risk to public safety, we plan to suspend Parler’s account effective Sunday, January 10th, at 11:59 PM PST.” “However, we cannot provide services to a customer that is unable to effectively identify and remove content that encourages or incites violence against others. “AWS provides technology and services to customers across the political spectrum, and we continue to respect Parler’s right to determine for itself what content it will allow on its site,” the Amazon notice to Parler said in part.
Parler had informed AWS that it was enforcing its guidelines with a team of volunteers. This is further demonstrated by the fact that you still have not taken down much of the content that we’ve sent you."” /> In its letter, Amazon said, "It’s our view that this nascent plan to use volunteers to promptly identify and remove dangerous content will not work in light of the rapidly growing number of violent posts.

In music we use the term "counterpoint," where two melodies play off one another. We tried to create a similar effect in the film, letting the soundtrack and dialogue recount a different story than the visuals. The film has an almost musical structure. The visuals could be in the 1960s while the voice-over anchored in the 2000s. And that would not have been possible had we anchored the narrative to any one timeline. Literature has episodic novels, Russian nesting doll constructions where one story leads into another, and that’s something I wanted to evoke. We see that some of the most deplorable characters from the 1960s segments will pay for their sins for the rest of their lives.
The Party Film Sales in partnership with Wild Bunch International are handling global sales, while local distributor Ad Vitam will release the title onto French screens in early 2021. Synecdoche and Artemis Productions are producing.
Do you see this as a kind of follow-up to your previous film, “This Is Our Land,” which explored the lure of the modern far right?
We’ve seen [several examples over the past few years]. So for all those reasons, I’d say this film arrived at the right time. Indeed, this film is almost a companion piece to “This Is Our Land.” They’re two currents in the history of France, because we know that the birth of the National Front was directly tied to the Algerian colonialist movement. So on a personal level, it made sense to continue examining this topic. There needs to be a kind of truth and reconciliation commission, like there was in South Africa. Whereas on a social level, we’ve seen a real move to revisit this period that French society had such trouble digesting. We need that in France, to reflect what really happened in Algeria.
With his follow-up, “Home Front,” the Franco-Belgian auteur explores the roots of those prejudices. With 2017’s “This Is Our Land,” director Lucas Belvaux examined the ways in which far right movements attract, recruit and reformat new converts, curdling contemporary anxieties for acrid political goals. 13-15). The film, which was part of Cannes' selection last year, is screening this week at UniFrance's Rendez-Vous with French Cinema in Paris (Jan.
The second lockdown hit several weeks before the film’s release, so we didn't pass the deadline. I’m still impatient of course! In the end, we were lucky in our misfortunes. But I’ve lived through worse.” /> I want the film to get out, for it to be finally seen. Which was not the case for several films that only saw two days of release before everything shut back down. We just pushed the release a few months without losing much. Posters had yet to go up, and we could still postpone plenty of press and promotional aspects.
The film is divided into two timelines, following the characters in Algeria in the early 1960s and in France 40 years later. Only that also makes it something of a period piece, as the "present tense" is still set nearly two decades ago. Was it easier to make this film with that additional distance?
How did you approach this particular adaptation? Though you’ve already written and directed several literary adaptations, “Home Front” has a novelistic structure – more so than in any of your previous work.
While the more cerebral Rabut (Jean-Pierre Darroussin in modern times, Edouard Sulpice in flashback) has tried to forge ahead, his cousin Bernard (Gerard Depardieu now, Yoann Zimmer then) remains a livewire, looking for any provocation to snap back into violence. Local draw Catherine Frot rounds out the cast. Adapted by Belvaux from Laurent Mauvignier 2009 novel “The Wound,” the film follows two working-class cousins as they fulfil their colonial military duties in 1960s Algeria and as they nurse their scars and traumas in Burgundy of 2003.
By definition a book doesn’t have voice-overs – it’s all monologues or soliloquies. In this case, the source text was very literary, marked by very precise language. With a film, you can build on the texts, multiplying the voices and playing them off another. We had to take the structure he created and find cinematic equivalents. Even books by [bestselling mystery writer, and creator of the Detective Maigret series] Georges Simenon, which feel self-evidently cinematic on the page, can be difficult to actually adapt. We often say this or that book was made to be a film, but in practice that’s not often the case! [Rather than inhibiting our work] that allowed for interesting cinematic translations.
The film was selected by Cannes, which couldn’t go on as planned, and then had to reschedule its release when France went back into lockdown in October. What is it like releasing a film in such uncertain times?
Indeed, the children of those men also suffered from their fathers’ PTSD, so today it’s more often the grandchildren – who are more distanced from the firsthand and secondhand trauma – that are really approaching the subject with a fresh look. We could have made a version of this story in 2003, but it would have been more complicated. For one thing, the book itself hadn’t been written at that point. Laurent Mauvignier built on the histories of his father and uncle, who both fought in Algeria. Neither of them would speak about it for years; it was like that for many families – either the veterans would never speak about it, leaving their children and grandchildren to piece their stories together, or they would only reveal their stories very late in life.

When he spoke to Variety in December, Baron Cohen was eerily prescient in outlining the risks he thought some of these claims of voting fraud posed even after Trump lost the presidency to Joe Biden.
"People have their own opinions about that system of shared facts. So people don't want to wait for the truth and they don't want to share the truth." Social media is predisposed to spread lies and conspiracy theories, while the truth is quite boring and dull. "Authoritarian regimes rely on shared lies, democracies rely on a system of shared facts," Baron Cohen said.
"If [social media companies] don't act fast to stop anti-vaxxers from spreading their conspiracy theories on social media, the amount of people who die will be hundreds of thousands, if not millions more," he said.
The connection between that type of outrage and the violence it can provoke was vividly on display during the insurrection at the Capitol. Baron Cohen also predicted that social media platforms could have a deleterious impact on the ability of public health officials to encourage Americans to take the coronavirus vaccine.
"We still have 80% of those who voted for Trump believing the election was stolen and that's a very dangerous figure. I'm a comedian and an actor. I'm not a historian or a sociologist, but having spoken to some of the eminent historians who specialize in how democracies turn into authoritarian regimes, there's a consensus that when you have a large body of the population who believe they've been wronged, that segment of the population can be used to do horrific things." "The danger of Trump and Trump-ism will remain," Baron Cohen said.
"These are trillion dollar companies," he said. "They're run by some of the richest people in the world. There is huge unemployment now due to coronavirus."
We are going to employ hundreds of thousands of people, potentially millions of people worldwide, and share these profits and use these people to help curb the excesses of our companies."” /> Baron Cohen went on to argue that these companies should say, "We are going to share some of that wealth.
The "Borat" star has a novel idea. He argues that Facebook, Twitter and other platforms should deploy an army of digital fact checkers and monitors to curb the spread of conspiracy theories.
Will you be the mouthpiece for the cause?' All of them refused." This is really dangerous. They know who they are, but I approached a number of celebrities over the years, trying to say: 'Listen, this is the issue right now. "I've spent my entire career trying to shy away from publicity," he told Variety during the cover interview, adding, "While I was aware of the dangers of social media from 2015 onwards, I was trying to find a celebrity who would actually take up the cause.
During an extensive interview for a recent Variety cover story on his star turns in "Borat Subsequent Moviefilm" and "The Trial of the Chicago 7," Baron Cohen made it clear that he was worried that social media platforms posed an existential threat to democracy.
Zuckerberg and other Silicon Valley figures have been reluctant to crack down on conspiracy theorists because they argue it violates free speech. Baron Cohen doesn't buy that argument.
For Sacha Baron Cohen, it was the culmination of an extensive campaign, one that has seen the comedian use his celebrity to mount an unusually consequential effort to press big tech to crack down on QAnon and other fringe and far-right groups. Shortly after Twitter enacted its ban, Baron Cohen, one of the most outspoken critics of social media's role in spreading conspiracy theories and hate speech, was ebullient.
Baron Cohen first went public with many of those concerns in 2019 at the Anti-Defamation League’s Never Is Now summit, where he delivered a blistering take-down of Facebook, Twitter, YouTube and other social media companies hands-off approach to policing their content. It's one of the reasons that Facebook banned QAnon and Twitter started offering disclaimers on content that made baseless claims about election rigging. It was not a position, that of digital Cassandra, that Baron Cohen eagerly embraced. That organization successfully mounted advertiser boycotts and convinced celebrities to stop posting on Instagram in protest. He then helped form Stop Hate for Profit, a coalition of advocacy groups and civil rights organizations that included the NAACP, Free Press, and the ADL.
He followed that tweet with another message, "This is the most important moment in the history of social media. The world’s largest platforms have banned the world's biggest purveyor of lies, conspiracies and hate. "We did it," he tweeted. To every Facebook and Twitter employee, user and advocate who fought for this–the entire world thanks you!"
Capitol. The move kicked off praise from liberal sectors and condemnation from conservatives who believe it's an example of Silicon Valley overreach. The ban followed Mark Zuckerberg's decision to bar Trump indefinitely from Facebook, limiting the president's ability to communicate directly to tens of millions of his most diehard supporters. On Friday, Twitter banned Donald Trump from his favorite platform, citing the 45th president's potential to whip up more violence after the week's deadly riot at the U.S.
"The tend to keep on spouting the phrase 'freedom of speech' without any real understanding of the purpose of freedom of speech and the definition of freedom of speech or that the United States has an exceptional view of freedom of speech that came about because of its exceptional history," Baron Cohen said. "There are limits to freedom of speech in Europe that came about because of the effect of Nazism. There is a form of ideological imperialism whereby the views of a handful of billionaires in Silicon Valley is imposed on the entire world."

Apted’s first big commercial hit was “Coal Miner’s Daughter,” the lively Loretta Lynn biopic that earned Sissy Spacek an Oscar. He also made movies about mystery novelist Agatha Christie (“Agatha”) and primatologist Dian Fossey (“Gorillas in the Mist”), and followed up the jokey, juvenile James Bond outing “The World Is Not Enough” (a serviceable yet retrograde entry which I have previously described as “nothing if not a reversion to the franchise’s most adolescent tendencies”) with guilty-pleasure female-empowerment potboiler “Enough,” starring Jennifer Lopez as a woman who learns to defend herself in order to stand up to her abusive husband.
None had come out as gay, although Apted’s questions didn’t pry into that realm — indeed, there’s only so much you can cover, especially when navigating a certain respect for privacy (these participants began as children, after all, and their consent became more clear in later years). Of the “kids” in the “Up” movies, only one died before the director, although another had a bad case of throat cancer at the time of the last installment. The final film, “63 Up,” released last year, was seriously concerned with Brexit, which Apted (rightly) assumed might provoke different opinions among the range of classes represented.
That made him 15 years senior to his subjects, with whom he maintained contact, establishing an almost familial connection that spanned more than half a century. Michael Apted was 22 when he joined the crew of “Seven Up!,” a British made-for-television documentary that profiled 14 children from different class backgrounds.
Today, in a world shaped by reality TV, this may seem obvious. What struck me as most fascinating about the series when I first watched one of Apted’s septennial installments (I believe it was “42 Up,” released in 1998) was surely among the least anticipated aspects: The project made these children famous, and that public attention became a factor in their own development. After all, many fame-seekers vie to be contestants on various shows with the express intention of leveraging the exposure for their own career goals. But in the case of the “Up” series, celebrity became a kind of burden. Several of the subjects declined to participate in subsequent installments, whereas others endured the intrusion for a calculated benefit (Peter Davies had a band to promote, and Brisby used the spotlight to boost various charity organizations).
And though his for-hire gigs helming the Bond movie and Narnia sequel “The Voyage of the Dawn Treader” were by far the most profitable of his career, the “Up” series remains his most enduring legacy. Apted, who alternated between film and television throughout his career, was well loved within the directorial community, serving as president of the Directors Guild of America from 2003 to 2009.
In the Czech Republic, director Helena Třeštíková has spent more than 40 years following 10 married couples via her “Marriage Stories” series (just one of several decades-spanning documentary projects where audiences benefit from a kind of fly-on-the-wall intimacy, versus Apted’s more format interview approach). Unlike Apted, who once said he hoped to continue the “Up” series until he was 99 — which would take him as far as “84 Up” — Třeštíková has arranged for her daughter to carry on her work when she dies. It is not, in fact, the only longitudinal documentary series, though it has inspired many other filmmakers — including Steve James (“Hoop Dreams”) and Richard Linklater with his own time-spanning “Boyhood” film — to invest years in their subjects.
In terms of such a study, the results were baked into the premise, which is to say that Apted essentially found what he was looking for. As conceived, the “Up” series had a decidedly sociological bent, focusing on the British class system and to what degree it determined the course of those kids’ lives. One of these, Jackie Bassett, declined to participate for several installments because she felt that Apted’s questions toward the women were unfairly focused on romantic/domestic matters, whereas the boys were asked about their professional ambitions. For example, John Brisby, arguably the most “successful” of the lot in his career as a barrister, was presented as a privileged, privately educated middle-class lad (whom one newspaper described as “the archetypal Tory squire”), though the films downplayed challenges he faced at home. Only one of the children was Black, and disproportionately few (just four) were girls, reflecting other biases inherent in the initial selection.
But there are common elements between all these projects, whether film or TV, fiction or non: From recovered-sight thriller “Blink” to wild-child drama “Nell,” Apted approached his Hollywood assignments as he did the real-life individuals with whom he’d become friends over the years, with curiosity and respect, including just enough of himself, while letting the characters tell their own stories.” /> Of course, the project also made Apted famous, and no matter what else the director did in his career — and his credits are far too varied to wedge into a reductive pigeonhole — he was always the man responsible for the “Up” series.
In recent years, a number of far more rigorous (that is to say, scientific) studies have been exposed as fraudulent or flawed, among them Philip Zimbardo’s Stanford Prison Experiment and Stanley Millgram’s Shock Experiment, whereas Apted acknowledged the limitations in his own approach when Bassett returned for “56 Up” and “63 Up,” and has even credited it as a motivating factor in his choice of which studio films to direct. I mention this not as a strike against Apted so much as one of the many takeaways this incredible project has given us, having endured long enough to serve as a record of changing social norms.
Apted did not direct the original 1964 documentary, as is commonly thought, nor was that initial installment such an important landmark in the field of nonfiction filmmaking. The breakthrough came in Apted’s decision to continue the project with an hour-long follow-up TV movie seven years later, “7 Plus Seven” — and again every seven years after that — revisiting as many of the children as would agree to participate as they grew up, found their ways in life, fell in love, married, divorced and so on.

Netflix has international rights to "News of the World." The Tom Hanks-led Western drama, directed by Paul Greengrass, premiered on Christmas Day and has collected $7 million to date. Another Universal title "News of the World" managed third place with $1.2 million.
That brings its total to $4 million. "Fatale," a psychological thriller with Hilary Swank and Michael Ealy, rounded out the top five with $670,000 in its fourth weekend of release. 4 spot. Sony's thriller "Monster Hunter" took in $1.1 million, enough to land the No. After a month in theaters, the video game adaptation with Milla Jovovich has generated $7.8 million.
and Canada to $32.6 million. Overseas, the film grabbed $4.7 million for an international tally of $98.8 million. The superhero sequel nabbed $3 million between Friday and Sunday, bringing its total in the U.S. "Wonder Woman 1984" led domestic box office charts for the third straight weekend without much in the way of competition.
With coronavirus cases on the rise, only about 35% of North American theaters are welcoming customers.” /> Overall, this weekend extends a challenging period for the film business.
Focus Features' revenge thriller "Promising Young Woman" secured $560,000 over the weekend, finding itself in sixth place and putting its total at $2.7 million. Like "The Croods" sequel and "News of the World," the film falls under its parent company Universal's early VOD agreement. Directed by Emerald Fennell and starring Carey Mulligan, "Promising Young Woman" lands on home entertainment for a premium price starting on Jan. 15.
In return, AMC and Cinemark get a cut of the profits and any open cinemas have fresh content to show on the big screen. Under the pact, the studio can put new titles on digital rental services after 17 days of their theatrical debuts. The film is currently available on premium video-on-demand platforms as part of a deal forged between Universal and major exhibitors such as AMC and Cinemark. Without any new nationwide releases, a variety of holdovers rounded out domestic box office charts. In second place, Universal and DreamWorks' "The Croods: A New Age" pulled in $1.8 million in its seventh week of release for a domestic tally of $36.8 million. Its global haul hovers at $127 million. Internationally, "The Croods" sequel crossed $90 million after adding $5.1 million from 17 overseas countries.
The comic book adaptation was released simultaneously on HBO Max in an effort to buoy streaming service subscribers. It's expected to return to the streaming platform a few months later. With $131 million in global box office receipts, the "Wonder Woman" sequel has outperformed most fellow pandemic-era releases. Yet that doesn't make up for the film's mighty $200 million production budget, which is to say the latest outing for Gal Gadot's DC hero will almost certainly lose money for the studio. has already greenlit a third installment with Gadot and director Patty Jenkins on board. Nonetheless, Warner Bros. It's unclear how many HBO Max users watched the movie, though the company touted record viewership. In two weeks, "Wonder Woman 1984" will be taken off HBO Max and it will only be available to watch in theaters until it reaches its traditional home entertainment window.
A surprising bright spot for the Amazonian warrior has been Canada, where only 5% of theaters are open and HBO Max is not available. Even more unprecedented, the studio actually divulged tangible digital sales, something that no Hollywood studio has be willing to share. Warners released the film concurrently in any available cinemas and on premium video-on-demand, a rare strategy that wouldn't have been tolerated by film exhibitors in pre-pandemic times. Canada's pVOD model resulted in additional $7.2 million in revenues from online platforms like iTunes and Amazon.
The existential family film amassed $8.9 million from 11 foreign countries, boosting its overseas total to $47.3 million. Outside of North America, Disney and Pixar's "Soul" — which skipped U.S. It's now the fourth-highest grossing Pixar movie ever in China and looks to overtake "Finding Dory" ($38.4 million) for third place following "Coco" and "Incredibles 2." theaters to debut on Disney Plus — continues to pick up steam at the international box office. Chinese movie theaters have accounted for a bulk of that haul, with $36 million in ticket sales coming from the Middle Kingdom alone.

Watch the full video below.
The broken glass was in the windows of the United States Capitol. It was a night of rampage against the Jews carried out in 1938 by the Nazi equivalent of the Proud Boys," Schwarzenegger said. "Wednesday was the Day of Broken Glass right here in the United States. I'm very aware of Kristallnacht, or the Night of Broken Glass. They shattered the ideas we took for granted." "I grew up in Austria. But the mob did not just shatter the windows of the Capitol.
"President-elect Biden, we stand with you today, tomorrow and forever in defense of our democracy from those who would threaten it," Schwarzenegger said.
Schwarzenegger said that his experience growing up in Europe has shown him "firsthand how things can spin out of control." He then denounced Trump, saying that he "sought a coup by misleading people with lies."
He ended the video by wishing President-elect Joe Biden well and encouraging all Americans to stand behind him as he makes the transition to president.
"I didn't hold him totally responsible because our neighbor was doing the same thing to his family, and so was the next neighbor over." But my father would come home drunk once or twice a week and he would scream and hit us and scare my mother," Schwarzenegger said. "Now, I've never shared this so publicly because it is a painful memory.
https://twitter.com/Schwarzenegger/status/1348249481284874240″ />
Arnold Schwarzenegger has denounced Wednesday's attack on the Capitol, calling Donald Trump the "worst president ever."
In a seven-minute video posted to Schwarzenegger's Twitter account, the actor and former governor of California compared Wednesday's events to 1938's Kristallnacht, or the Night of Broken Glass, which marked the rise of Nazi Germany.
"President Trump is a failed leader. "My father and our neighbors were misled also with lies, and I know where such lies lead," Schwarzenegger continued. The good thing is he will soon be as irrelevant as an old tweet." He will go down in history as the worst president ever.
Schwarzenegger then shared a personal story from his childhood in Austria. Born in 1947, Schwarzenegger remembers the aftermath of World War II and the affect it had on his family.

Testament guitarist Alex Skolnick tells Variety that Marsha was a nurturing mother figure for many of the label’s artists, especially ones whose families may have disapproved of their career choices.
Jonny, bless him, was the stereotypical hot-headed, East Coast label executive — patience and calm may not have been his strong suits — and she balanced him out." Jonny and Marsha were really a team; she was there for every decision. “She was this steady hand, a calming force, during these intense moments — and there were intense moments! “She kept things balanced,” Skolnick says.
Metallica’s debut album, “Kill ‘Em All,” was released in July of 1983, effectively launching the thrash metal movement.
Megaforce Records co-founder Marsha Zazula — who launched the iconic label, which released the first albums from Metallica, Anthrax and many others, with her husband Jon in 1982 — died Saturday in her Florida home, a rep for the label confirms to Variety. The cause of death was cancer; she was 68.
“We all know that musicians have a little bit of mental impairment," she laughed. "I used it a lot with Jon, too."
But it was Marsha who decided to focus on selling rare import copies of albums from burgeoning “New Wave of British Heavy Metal” acts such as Iron Maiden, Def Leppard and other rising European bands, and stocked the store with like-minded publications such as Kerrang and Sounds. The couple began promoting shows — including an early show with the early metal band Anvil — in the area. The Zazulas’ metal dynasty began in the early 1980s as a small independent record store called Rock and Roll Heaven, located at the Route 18 flea market in East Brunswick, New Jersey. The couple originally intended to focus on artists such as John Lennon and Jimi Hendrix.
A graduate of Lehman College, Marsha told Variety last year how her degree in child psychology helped her to keep the business, its artists and her notoriously unruly husband on a relatively even keel.
https://www.instagram.com/p/CJ3wrhNr9l2/


Anthrax drummer Charlie Benante remembers her as being involved with everything from album artwork decisions to helping manage crises when the artists were on the road. “She was always kind of mellow.” “I never really saw Marsha freak out,” he says.
Metallica paid tribute to Marsha on Instagram Sunday posting a recent photo of founding members James Hetfield and Lars Ulrich with the Zazulas and early Megaforce publicist Maria Ferraro, captioned, "Rest In Peace, Marsha. Thank you for everything."
"Marsha was one of a kind, and taught the world to be fiercely independent. Megaforce and our artists will never forget her. In our hearts she will always be a guiding force." "The world of music owes a debt of gratitude to Marsha Zazula, who along with her husband Jon gave birth to some of the most musically significant artists," the label said in a statement.
I still quote her to this day.” It was always inspiring to work with Marsha and she really mentored me in the music industry. Missi Callazzo, who started as an intern in 1989 and ended up taking over the label, said “Marsha and Jon gave me my start in the business while I was still in college.
“Marsha was the grand dame of metal, who had style, class and an open heart, and who rallied for all of us misfits, starting with Metallica,” she said. The label also launched the careers of many executives who are still working in the industry, including early publicist Maria Ferraro.
"We will love you to eternity," her family wrote. "Rest in peace with our love." She is survived by Jon, her husband of 41 years; three daughters; and four grandchildren.
"She was great at assisting others through her patience," Jon wrote. People spoke differently to Marsha than they did to me, and that is what kept things going. Marsha was like a mother confessor … She doused fires between me and bands, me and partners, me and the world. "Her ability to communicate [prevented] many problems at that time. I felt like I was a bull in a china shop knocking everything around, and Marsha was right there making sure nothing got broke or knocked off the shelf."
Additional reporting by Jem Aswad.” />
The label varied its roster during the 1990s and continues to this day. While the label lost Metallica to Elektra Records in 1984, shortly after releasing the group’s second album, “Ride the Lightning,” Megaforce remained a powerful force in heavy metal throughout the 1980s and early 1990s, releasing albums by the above artists and many others via distribution deals with Atlantic, Island, Caroline and other labels.
That’s why it succeeded and why it was special, and why I loved being part of it.” 
”She gave the entire structure the feeling of a family. Bobby "Blitz" Ellsworth, lead vocalist of Overkill, remembers Zazula as the "heart" of Megaforce.
Jon Zazula chronicled much of the label's history in his book, "Heavy Tales: The Metal, The Music, The Madness," talking of how he met a "sweet girl named Marsha" and how their personalities created to a successful marriage and a long-running business partnership.
Realizing the group was, as Jon put it, “lightning in a bottle,” the couple brought the quartet to their home in New Jersey and created Megaforce Records to launch the group. The Zazulas' reputation grew and before long, a demo from a San Francisco-based band called Metallica found its way to them.
Born in Brooklyn, Marsha was a guiding and stabilizing presence at a company — which also included Crazed Management — whose artists were often as unruly as their music. Along with Metallica (whose first two albums the label released), Anthrax, Testament, former Kiss guitarist Ace Frehley, Ministry, King’s X, Overkill and Raven were among the company’s biggest acts. "Jonny and Marsha," nearly always side-by-side, were a friendly and familiar presence at metal concerts and events during the era.

https://twitter.com/iamwandasykes/status/1347692624874975232″ />
Others like actor Michael Rapaport celebrated Dorsey's work. "Jack, you did it you fkc you!!! Congratulations," he wrote.


Capitol. Trump's words have now directly lead to five deaths and an attack on the U.S. Actor Kevin McHale also wrote: "This isn't about censorship or free speech. Twitter and tech companies should always ban anyone who incites and encourages violence — especially when they have a big platform." It's about protecting lives.


Trump, who had 88.8 million followers at last count on Twitter, was "deplatformed" by the company, following years of criticism calling on the social media service to block his account for the spread of misinformation. Prior to closing his account on Friday, Twitter had temporarily suspended his account in three separate occasions for "repeated and severe violations of our civic integrity policy."


Celebrities took to Twitter to celebrate President Donald Trump's ban from the social media platform.


Read more reactions below.
"Yes, people died at the Capitol and now Trump's gone," he wrote. "But think about how many lives would have been saved had [he] been impeached and then actually removed from the office in early 2020. Retired professional basketball player Rex Chapman echoed Louis-Dreyfus' sentiment, pointing out that an earlier action could have saved lives during the pandemic. His Twitter account convinced millions to not wear masks and regent science during a pandemic."


Actor-comedian Julia Louis-Dreyfus tagged Twitter's CEO Jack Dorsey, asking, "What the fuck took you so long, Jack?"


"Borat" actor Sacha Baron Cohen, who had publicly asked Dorsey to ban Trump from Twitter, also applauded the news. "Twitter finally banned Trump! We did it!" he wrote.

The reactions will drive the conversation with awards voters and we'll see how the industry voters react to its unconventional structure.
2021 Oscar Predictions: All Categories
Already snubbed for "Big Hero 6" and "Captain Phillips," the England-born composer has yet to find his way into a lineup. 9. Henry Jackman might be able to make his way to the Oscar shortlist for an original score mention when it's announced on Feb.
Visit THE AWARDS HUB to see the full list of contenders by category.
If the film does find some traction with voters, makeup and hairstyling have enough high points that could impress the branch along with sound, which bring a palpable energy to both the war and robbery scenes equally.
Distributed by Apple TV Plus, the film tells the story of an unnamed army medic who suffers from post-traumatic stress disorder and addiction, leading him to become a serial bank robber. It's adapted from the book by Nico Walker.
Tom Holland takes on his most serious role so far in Anthony and Joe Russo's "Cherry," the filmmakers' first outing following the box office smash "Avengers: Endgame." Before a virtual crowd of journalists and industry voters, the film was screened with a live conversation with the cast and filmmakers moderated by Oscar nominee and "Iron Man" star Robert Downey Jr.
2021 Academy Awards Predictions
Likely not, but it will undoubtedly be adored by Holland's legion of fans and any Marvel-head, curious to see what the two helmers behind the highest-grossing film of all time have cooked up. Does "Cherry" shake up the Oscar race?
2021 Oscar Predictions: The Collective
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26. "Cherry" debuts on Feb.
The similarly young Timothee Chalamet in "Call Me by Your Name," who was 22 at the time of his nomination, found his way into a lead actor lineup, but the film also garnered nominations for picture, director and won best adapted screenplay (James Ivory). "Cherry" will struggle to mirror the same trajectory. Still, Holland's time with the Academy could be near. The 24-year-old may be considered too young for a play in best actor, but this lays the groundwork for a near-future nomination. Even his charisma as Spider-Man has elevated the Marvel Cinematic Universe.
Still, the bulky runtime with multiple chapters may keep it outside in the major awards categories like best picture. The film looks to break into the Oscar race in various categories.
This is no different. Holland, who emerged on the scene with J.A. Navigating through filmmakers like James Gray and Ron Howard, he's able to stand above any mixed reactions to his portrayals. Bayona's "The Impossible" in 2012, has always been a capable actor, one that brings excitement to the future of cinema.
The Russo's cinematic eye is undeniable, and the industry should want them to continue to step outside large tentpole franchises. Best director is far too crowded for their names to enter the mix at this point in the season, which will likely be the same fate for screenwriters Angela Russo-Otstot and Jessica Goldberg. The Russo brothers' technical choices could put the movie in play in a few categories, though, most notably, Newton Thomas Sigel's camera work, which already impressed with Spike Lee's "Da 5 Bloods."
Co-star Ciara Bravo establishes herself as a noteworthy newcomer, who we should continue to look for in future projects. With the likes of veterans such as Ellen Burstyn, Glenn Close and Olivia Colman making headway for an Oscar nomination in supporting actress, there may not be enough time for her to crack the lineup.

Also worth noting, if she's nominated alongside any of either the Black actresses in Oscar contention, including Nicole Beharie ("Miss Juneteenth"), Viola Davis ("Ma Rainey's Black Bottom") and Andra Day ("The United States vs. "Malcolm & Marie" is an actor's showcase, utilizing the most exquisite instincts and sensibilities of its performers, both of which could find room to squeeze into the lead acting races. A movie cooked up and shot during COVID-19 could be a gamble in this climate — but introduce it with the invigorating talents of John David Washington and Zendaya, and you could have a winning recipe for success, maybe even at the Academy Awards. Comparing it to Levinson, who wrote the screenplay in eight days, this inception and creation likely served as an echo chamber of personal feelings. Visit THE AWARDS HUB to see the full list of contenders by category. She could also be the first actress since Helen Mirren to win an Emmy and an Oscar in the same year. It could all break her way. 2021 Academy Awards Predictions

2021 Oscar Predictions: The Collective
2021 Oscar Predictions: All Categories” /> It reminded me of the story behind Darren Aronofsky's "mother!" which covered the entire gamut of film criticism with its divisive reception. At 24, she would be the youngest female producing nominee in the categories history. If Zendaya is nominated for best picture, she checks off many record-breaking boxes. Lastly, she would be the fifth-youngest winner of all-time surpassing Audrey Hepburn in 1953's "Roman Holiday," days behind Joan Fontaine in 1941's "Suspicion."

Quite a feat and definitely an uphill battle. Even most important, if nominated for both picture and actress, she would be the first woman to be nominated for acting and producing. It was widely shared that Aronofsky wrote the film in a single weekend. She would be the third Black woman to be nominated in the category following Oprah Winfrey for 2014's "Selma" and Kimberly Steward for 2016's Manchester by the Sea." She'd also be the most nominated Black woman in a single year in history, tying Mary J. Cementing his place as the Hollywood industry's future, this could be his entry into the Academy's graces. There's history to be made if enough voters go for it when it comes to the best picture category. Can she overtake or break into this year's best actress race that's as dynamic and competitive as ever? Billie Holiday"), it would be the second time more than one Black woman would be nominated in the same year in best actress. Washington's best work yet surpasses his work in Spike Lee's "BlacKkKlansman," which just missed the Oscar cut. Zendaya is one of the world's biggest stars, slowly but assertively showcasing her acting range from blockbusters like "Spider-Man: Homecoming" up to HBO's hit-series "Euphoria," for which she became the second Black woman to win best actress in a drama series in 2019. Movies about "the movies." Sprinkle in a struggling director fighting to express his art through cinema, and Academy voters, especially male ones, will be salivating at its premise and execution. When it comes to winning, which is too close to call with this expansive actress field, if she beats the odds, she joins only Halle Berry as a Black woman to win the category in 93 years. Not to mention that Washington and Zendaya would be the first lead nominees to also be nominated for picture, if it were to happen. The Academy-at-large may have trouble responding to it, but these types of predictions can be difficult to read early on. Blige. Along with Levinson and his wife Ashley Levinson, both Washington and Zendaya serve as producers. Marcell Rév's cinematography is lusciously crafted, and could find love with that branch's members. It's possible, and imagining a lineup that includes her alongside Viola Davis, the first Black woman to an Emmy in best actress in a drama series, will be a baton-passing moment for the next wave of diverse performers. There may be a more grounded, less impressed group of filmmakers, especially writers, who will struggle with the over-the-top dialogue. "Malcolm & Marie" will be released on Netflix on Feb. Outside of the acting categories, Levinson will be a favorite among a certain demographic of the director's branch, who see the film as a living metaphor of their entire existence. Do you know what the Oscars love more than movies? Ever. 5. Written and directed by Sam Levinson, the film tells the story of Malcolm, a director, and his girlfriend Marie, who, over the course of an evening following the premiere of his latest movie, examine the highs and lows of their relationship as they await critics' responses. If one of Netflix's other features, "Ma Rainey's Black Bottom," gets nominated alongside "Malcolm & Marie," Washington, along with his father Denzel, would be the first father-son pairing to be nominated alongside each other in the category's history. Frances McDormand from "Nomadland" is also poised to break the same record.

He also wrote or co-wrote No. 1 hits for Gary Allan and Ronnie McDowell — "Man To Man," and “Older Woman,” respectively — and had his songs recorded by Tammy Wynette, Conway Twitty, Trisha Yearwood, Don Williams, Tim McGraw, Josh Turner, Tanya Tucker, Sara Evans, Randy Travis, Lee Ann Womack, Pam Tillis, Shelby Lynne, Wynonna Judd and The Trio (Emmylou Harris, Dolly Parton, and Linda Ronstadt).
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1 smash for the Judds in 1986, which won him a Grammy for best country song. Besides his tenure with the O'Kanes and subsequent solo work after the duo broke up in 1990, O'Hara was renowned for his solo composition "Grandpa (Tell Me 'Bout the Good Old Days)," a No.
O'Kane's wife, Lana, broke the sad news in a Facebook post.



"I think of him as a holy man.” "He had a way of looking at life with such a beautiful sensibility,” Harris in a statement.
Among O'Hara's other notable compositions were "The Cold Hard Truth" and "50,000 Names," both of which met further acclaim when George Jones recorded them.
 
O'Hara traveled to the Vietnam Veteran’s Memorial with Emmylou Harris to perform his song "50,000 Names" there with Emmylou Harris in 1997.
But their presence was outsize in relation to their tenure, with that six-song streak of country hits, one of which, "Cant Stop My Heart From Loving You," reached No. The O'Kanes, which O'Hara cofounded with Kieran Kane, had only the briefest of runs, releasing three albums and a handful of singles between 1986 and 1990. 1 in '87.
Tracy Gershon, O'Hara's one-time publisher, left a touching message of appreciation on O'Hara's Facebook page, quoting one of the O'Kanes' songs, "When We're Gone, Long Gone," that was later covered by Dolly Parton: "When we're gone, long gone, the only thing that will have mattered is the love that we shared and the way that we cared, when we're gone long gone."
After the duo split, O'Hara went on to record three solo albums, the last of which was "Dream Hymns" in 2012.
He was 70, and the cause of death was cancer. Jamie O'Hara, a country music singer-songwriter who came to fame as a member of the O'Kanes, a duo that had six straight top 10 singles in the late 1980s, died Thursday in Nashville.
A special human being." Jamie will always have a special place in my heart, He was one of the good ones. He and Lola became my friends outside of work… because those songs were always special. There are certain people who leave a mark on you and add so much to your life. It was an exciting day for all of us when Jamie turned in a new song… I was lucky to be his publisher at Sony Tree and he taught me to be a better publisher. Wrote Gershon, "Jamie shared his love and light and cared deeply for his friends and family.
Jamie suffered tremendously in recent months. He's no longer suffering, and for that we can all be grateful. With love and gratitude to all our friends, on and offline, Lola." He will live in our hearts and in his songs. "Dear friends & fans," she wrote on Thursday, "it is with a broken heart that I must tell you that my husband, friend and love of my life took his last breath this morning at 11:11 at Alive hospice, as my son Brian sang him a plethora of Jesse Winchester songs, all stunningly appropriate, though we'd never thought of them in this context before, and Jamie's own songs, including the earliest ones, which were shockingly sophisticated for a man as young as he was when he began his career; and those of other friends.

11, brings the images of the crack plague roaring back — the tiny vials with their yellowish chunks of purified cocaine; the deals going down on street corners of Queens and the Bronx and South Central, in what became a thriving smash-and-grab underground capitalist economy; the death of Len Bias; the way that cocaine, formerly a drug of the elite, suddenly became available for the price of a kid’s allowance; the addictive cycle of human beings devolving into skinny, glassy-eyed, burnt-out husks of themselves. Stanley Nelson’s "Crack: Cocaine, Corruption & Conspiracy," a Netflix documentary that drops on Jan.
We’re still living the legacy of crack, and all the people in prison are part of it. The movie does, however, use evidence that the CIA looked the other way and cozied up to drug dealers in Nicaragua, as part of its alliance with the Contras, to suggest how the U.S. But so is the clampdown impulse that viewed this epidemic not as a tragedy but as an infestation of "evil."” /> "Crack" never makes that grandiose conspiratorial claim. Did the CIA finance the crack epidemic? government, in the '80s, was supremely hypocritical when it came to the issue of drugs.
Yet Nelson, who has the ace documentarian’s flair for making history far more interesting than the mythologies it’s cutting through, has directed a film that stays true to the epic devastation crack left in its wake and, at the same time, examines all the ways that the government and the media used the grim reality of crack, turning it against the very people who were being victimized by it. He also taps such trenchant observers as the Columbia neuroscientist Dr. Nelson talks to former dealers and users, getting into the nitty-gritty of what crack felt like and the high the dealers had selling it like hotcakes. The movie takes us back and also forward, into the sadder and wiser present day, when we can now see how crack changed the culture. Carl Hart, who speaks with big-picture eloquence to everything that’s missing in our sensationalized image of the crack epidemic.
A former dealer tells a story of being rounded up in a drug sweep, and he claims that if one person arrested had 10 vials of crack and another had none, the police might divide the 10 vials in two so that everyone was guilty. The documentary captures how that literal Black-and-white thinking filtered down to the streets. The 1986 Anti-Drug Abuse Act, pushed through Congress in a matter of weeks by House Speaker Tip O’Neill, was an egregious piece of legislation that literally said: The possession of 100 grams of powder cocaine will get you a certain sentence, and one gram of crack will get you the same sentence.
But by 1984 it was flooding the market, and so the prices fell. The second advertisement was "Scarface" (1983), though that movie was just about powder cocaine, yet the power it conveyed! "Crack" starts off the way almost any honest documentary about a powerful drug must: with a reckoning of the drug’s appeal. And by going through the elaborate chemical process of shearing cocaine of its salt content, "freeing" it down to its "base," the marketers of crack turned it into a quick hit of nirvana. Richard Pryor’s famous 1980 freebasing incident, in which he set fire to himself by igniting the ether he was using to make freebase, should have stood as a cautionary tale, but as Nelson George explains, "Richard Pryor burning himself up was the wake-up call to a lot of people that there was this other kind of way of using cocaine." It became the first advertisement for crack. Simply put: Cocaine was too expensive. It reveled in the money, the glamour, the high, which up until that point was more or less cut off from the inner city.
The contrast with the opioid users of our own era could hardly be more marked. There’s no question that the police had to act; the residents wanted them to act. But with tens of millions of dollars now pouring into law enforcement from the federal level, the result was the militarization of the police, who treated everyone associated with crack — including its users — as The Enemy. Samson Styles, a former dealer, says, "It was like a gold rush that hit the hood." But the neighborhoods became combat zones, driven by wars between the dealers. On weekends in the late '80s, so many people would line up in their cars in the New York boroughs to buy crack, including all the white customers from the suburbs, that there would be traffic jams.
A good documentary takes suspenseful turns, and in this one a major twist arrives when Corey Pegues, a burly former dealer, tells the story of how he got popped by the police when he was carrying 300 vials of crack, and they let him go. Any way, anything, any method we can employ to escape the fact that we are broke and oppressed, we will do." Crack, as so many have described it, was a drug that was literally irresistible; people spent years chasing that first high. Until Ronald Reagan, in his let’s-make-America-into-the-1950s-again fervor, decided that he was going to anoint himself the Dirty Harry of drugs and wipe the streets clean. And the market for it was greased by corruption. He was thrilled, but it wasn’t until he got back to his boss that he learned why: The dealers had a racket going ­— they were paying off the cops. Felipe Luciano, an activist and former user, says, "I don’t think we really understand the trauma of poverty. For a while, that’s just how it went.
The prison population exploded (in 1980, it was 300,000; today, it is over 2 million), with the successive administrations of Reagan, George H.W. The drug was responsible for launching the so-called "war on drugs," yet for all the righteous lip service of the Reagans and the parade of celebrities, from Clint Eastwood to Pee-wee Herman, who signed on to endorse the "Just say no" campaign, it proved to be a war that was unwinnable. Steven Soderbergh’s "Traffic" captured why: When it came to the cravings inspired by drugs, brute force wasn’t going to roll back the law of supply and demand. Bush, and Bill Clinton treating the escalating numbers as if they were scores on a video game. Crack was a scourge, but it got turned into a demon, which was then used to demonize the inner city. Instead, the war kept racking up casualties, treating Black drug users like they were hardened criminals.
But it also left a seared trail of media images that were more concocted, simplistic, and racially biased than they pretended to be. The phenomenon of an infant born to a crack-addicted mother, with the infant damaged by (or addicted to) the drug, was something that on occasion did happen, but the news media, using radically distorted numbers, made it sound like an encroaching army of zombie babies. Remember "crack babies"? Those trumped-up images, like crack itself, did their damage, leaving a residue of hyped sensation the way that junk food deposits chemicals in the body. In the 1980s, the crack epidemic tore through America’s inner cities like a brushfire, and it was a devastating scourge. As for crack users themselves, two-thirds of them were white, yet you wouldn't have dreamed that from the media coverage.

Nagy, who’d been left holding the bag 37 years ago. This stoked the ire of original producer Suzanne C. While the film officially languished in legal limbo, a work print nonetheless somehow leaked into circulation a few years ago, getting considerable unauthorized play in genre-fan circles. Now titled “Grizzly II: Revenge,” the end product she’s finagled at last has added curiosity value thanks to early appearances by George Clooney, Laura Dern and Charlie Sheen — who now get top billing, despite fleeting screentime.
After decades spent as a famously abandoned project, “Grizzly II” finally hits theaters and VOD in 2021. For reasons that remain murky, the Hungary-shot horror thriller originally titled “Grizzly II: The Concert” went unfinished after principal photography ended in 1983, its crucial critter effects (among various other elements) left undone for lack of funds. Well, there’s ordinary “slow,” and then there’s the Rip Van Winkle-grade variety.
After the title graphic, the three stars-to-be appear as hikers camping en route to an outdoor rock show. Suffice it to say their roles are of very, very short duration — albeit long enough for two of them to strip down to skivvies. They don’t appear for a whole two minutes, during which span “Grizz 2” scores its first unintentional laughs as a mother bear and cubs are shot by poachers. That wouldn’t be funny if not for terrible blood-splat effects, which give full warning that this movie will be seriously short on polish.
It clearly wouldn’t have amounted to much more than formulaic genre fodder in the best circumstances, given hackneyed dialogue hampering otherwise passable principal performances. The late Szots, whose subsequent career would be primarily as a producer, can’t be blamed entirely for the shortfalls of this apparent sole big-screen directorial feature.
But not only is that movie not-so-bad, it’s at the very least exactly the goof it set out to be. As it lurches between the woodsy bear hunt and the concert grounds, both threads obviously patched together with plenty of holes remaining, “Grizzly II” never finds a rhythm — not even a giddily camp one. Clooney has long joked that another of his early acting credits, “Return of the Killer Tomatoes,” is the worst film ever made.
But this is always going to be a de facto unfinished movie, with all telltale signs of missing pickup shots and post-production fixes. It’s not even “so bad it’s good” — it’s just a half-assembled collection of parts that will never be whole.” />
After the phenomenal success of “Jaws” in 1975, there was a cash-in surge for further “nature strikes back” creature features, as mankind was successively imperiled by dogs, cats, whales, buffalo, piranha and so on. It was, nonetheless, a hit — in fact the biggest indie success story of its year, purportedly grossing about fifty times its modest $750,000 budget. As quickly as it had been rushed out to ride “Jaws’” coattails, however, a sequel was slow in coming. One of the most blatant of these knockoffs was William Girdler’s 1976 “Grizzly,” an undistinguished tale of hairy menace running amok in a national park.
You got a devil bear!”), the concert stage manager (Dick Anthony Williams) and those mean poachers, whose ranks include Jack Starrett. (There’s also an unbilled appearance by young Timothy Spall as a roadie in an arm cast.) Other significant figures at risk of becoming bear food are Nick’s chirpy daughter (“Valley Girl” Deborah Foreman), his second-in-command (Edward Meeks), an imported French-Canadian trapper (John Rhys-Davies, hamming up lines like “Very bad!
By far the best aspect here are attractive landscape and wildlife shots used to pad out a desperately slim runtime that wouldn’t nudge much past an hour without credits, yet manages to plod anyway. Those “15-foot monster” attacks could not be more cheesily abrupt, poorly disguising faulty effects work. But in any case, “Revenge” makes glaringly clear that the connective glue which holds together most movies’ basic elements never got applied. There are sequences cutting between horribly ill-matched shots (or even stills). The erratic scoring sounds as if it were cobbled together from numerous different sources and composers.
At times, the film’s brief glimpses of music acts seem vaguely parodic (they include Nigel Doman as a fictive synthpop singer, plus actual proto-Spice Girls Brit quintet Toto Coelo), when not incongruously middle-aged and Hungarian for a movie meant to take place in the U.S. But it’s hard to tell just when "Revenge" actually means to be funny. Still, when the clumsy climax arrives — finally providing more than a split-second gander at the obvious mechanized-dummy bear — it disappointingly takes place behind the stage, away from that borrowed cast of thousands. It does gain a sporadic sense of scale by filming the crowd (but not the show) at an apparent real-life gig by ’70s hard rockers Nazareth.
Not happy about this is head ranger Nick (Steve Inwood) and “Director of Bear Management” Samantha (Deborah Raffin), particularly once they realize the aforementioned wounded sow is avenging her slain offspring on any human within claw-reach. Draygon, the politically ambitious superintendent of a 3,000-square-mile public park. À la greedy mayor in “Jaws,” she’s inappropriately leased it for commercial purposes, attracting 100,000 youths to a music festival. Chasing more “Exorcist II”-style cause for regret, Oscar winner Louise Fletcher plays unsubtly named Ms. Thus at the six-minute mark, there's already a body count, and we begin meeting the real leading characters here.

We are seeing networks really push the envelope,” says Daniel Cohen, senior vice president of global media rights consulting at Octagon, the Interpublic Group sports-marketing agency. With people staying close to home and avoiding big crowds at bars or parties, there may be a new yen for an experience other than the typical big game designed for a group at a big gathering. Viewers may be more willing to embrace offbeat concepts built around sports. During the pandemic, “experimentation has been so widely accepted.
The NFL navigates viewer turbulence after enjoying two seasons of audience growth — and fretting over dips in 2016 and 2017. Rival sports leagues moved some of their own games scuttled in the earlier part of the year to the fall, providing new distractions to sport fans. Even the NFL can only get so far in bringing audiences to its games. Ratings for the NFL’s 2020 season were down as much as 10% as the league shifted certain games due to the coronavirus pandemic.
tomorrow find themselves part of a massive sports play. Freeform will show –of all things —  an NFL Wild Card match between the Baltimore Ravens and Tennessee Titans. Viewers who tune to Freeform looking for "Hunger Games," "Alice in Wonderland" or one of the movies Freeform typically shows each weekend will at 1 p.m. Nickelodeon and Telemundo, two other TV outlets known for things other than sports, will also try football on for size this weekend.
The network will even offer a halftime review of a new SpongeBob SquarePants project. Nickelodeon plans to host a Wild Card game Sunday between the Chicago Bears and the New Orleans Saints tilted toward kids and families. There will be play-by-play commentary and reporting from two members of the network’s popular “All That” sketch-comedy series, animated graphics, and intriguing visuals. And there will be green slime, the goo that is a signature element of the ViacomCBS kids outlet.
 Renewing them is crucial. The new broadcasts come as Walt Disney, Fox Corp., ViacomCBS and NBCUniversal face the end of valuable football-rights contracts with the NFL in 2021 and 2022. The NFL’s Schroder declined to offer details about the current state of discussions. NFL games command TVs biggest audiences and highest ad prices and are one of the few truly dependable assets the companies have as consumers migrate to streaming on-demand video.
We just play that by ear.” Freeform will also present an exclusive halftime show led by DJ Khaled that features a special guest. “There are no rules on that,” says Lee Fitting, ESPN’s senior vice president of production, in an interview. Freeform intends to court younger viewers by burnishing lots of conversation rather than play by play, using series stars like Ashley Nicole Williams, Jordan Buhat, Demetria McKinney, Cierra Ramirez and Trevor Jackson; singer Jordin Sparks; actor and former Titan Eddie George; and actors from Disney projects like Kelly Marie Tran from “The Last Jedi” and “Raya And The Last Dragon.” These people and others like them will hold forth with ESPN’s Jesse Palmer and Maria Taylor in segments that are set to last as long as the chatter is interesting. “We could have a guest on for three or five minutes, or we could have a guest on for 15 minutes — however the conversation goes.
It’s easy to think of the new broadcasts as experiments. In a moment when consumers can often get the exact thing they want, the networks are tailoring their efforts toward unique swaths of viewers, rather than having everyone tune in for the same experience. “I think as we look forward, you will see us do more and more of this,” says Hans Schroeder, executive vice president and chief operating officer of NFL Media, in an interview. NFL executives believe so-called “mega-casts” — a game broadcast in several different formats — could become a more integral part of the experience. “The main broadcast will always be an important part, but we think there are ways to add to it.”
TV will offer other tailored broadcasts as well. Amazon gets into the game with its own broadcast of the Bears-Saints game. NBCU’s Peacock will stream the Browns-Steelers game live, and offer a bespoke post-game show. ViacomCBS' CBS All Access streaming-video service. And for people who just want the usual big-game trappings, they will be available on ESPN, ABC, CBS and NBC. ESPN Plus, the ESPN subscription-video hub, plans to analyze betting odds and spotlight data in a version of the Ravens-Titans match for a decidedly more adult crowd. ESPN2 plans a broadcast focused more heavily on real-time game analysis. The Wild Card games, an expansion of the league's playoffs approved earlier this year, will turn up on video outlets not known for showing football: NBCUniversal's Universo Spanish-language outlet. NBCUniversal’s Telemundo plans a Spanish-language broadcast of the Cleveland Browns and the Pittsburgh Steelers.
Football has long been TV’s ultimate big-audience sport. Nearly every one of the medium’s most-watched broadcasts is an NFL football game. On Sunday, however, the National Football League and several of the media companies eager to keep ties to its high-rated matches will swing for niche crowds.
The companies are already in talks with the league about renewals, and showing how games can be displayed across a broader portfolio of media properties seems to be a critical part of the discussions. NBC Sports, meanwhile, has imported Steve Kornacki, the NBC News political data guru, to its Sunday football pre-game show in a bid to woo new crowds. “He can bring some new eyeballs from people who are interested in his khaki pants and his performance on the news side — and might be interested in sampling some football,” Sam Flood, NBC Sports’ executive producer and president of production, told Variety last month. “Any negotiation we are doing in the future, I think, will have a ViacomCBS element to it, whether it’s through programming or being able to reach a vastly different audience than we could have in the past,” CBS Sports Chairman Sean McManus told Variety in December.
The networks don’t expect the ancillary formats to bring in the same ratings as their flagship game broadcasts. At Freeform, for example, executives hope football can woo “similar” viewership to a weekend movie, says Lindman, suggesting she will also be interested in social-media engagement and feedback from colleagues across Disney. “There are other ways of looking at potential success," she says.
“Our expectation is that we will be able to deliver additional audience to a traditional football broadcast — a new audience.” “It’s an experiment. We’ve never done it before,” says Sarah Lindman, senior vice president of content planning and strategy at Freeform, in an interview.
If the new games gain more traction, chances are each will have its own sponsors to go with the bespoke  guest stars and gimmicks.” /> Rather than filling its broadcast with ads for toys, snacks and kiddie fare, Nickelodeon is likely to run many of the same commercials set to appear during the game on CBS, according to a media buyer familiar with the matter. Individual advertisers may be allowed to swap in something for the younger crowd if they wish, this buyer said. Even advertising needs to be considered. These are early days for bids to please kids, teens and people interested in sports wagers.
Others won’t. But things that do stick? Let’s try it again.” On January 1, ESPN offered nearly 40 different video and audio presentations of six different Bowl games, including a chance for fans to listen to a team’s hometown announcers or a “Skycast” that features the view from a camera above the action. ESPN has been working with “mega-casts” for years, particularly in college football. “Some things will stick. “Our mantra is keep trying new things, keep experimenting,” says Fitting.
On Sunday, Freeform will really be taking the field. The closest thing to sports running on the Freeform cable network since it came under Disney ownership in 2001 might be “Make It Or Break It,” a soapy series about the lives of young gymnasts hoping to get to the Olympics.

By Apple's logic, Matze argued, Apple "must be responsible for ALL actions" taken by customers of their phones, including "Every car bomb, every illegal cell phone conversation, every illegal crime committed on an iPhone." He also claimed Google did not send Parler an explanation for why it decided to ban the app prior to the removal from the Play Store.
Parler founder and CEO John Matze, in a post on the app Friday, decried the actions by the tech giants, accusing them of double standards. Matze said Parler's community guidelines prohibit violent speech (including "threats of violence" and "advocacy of imminent lawless action") and claimed the company has always enforced those rules. "Standards not applied to Twitter, Facebook or even Apple themselves, apply to Parler," he wrote.
8 notice says. "We want to be clear that Parler is in fact responsible for all the user-generated content present on your service and for ensuring that this content meets App Store requirements for the safety and protection of our users," Apple's Jan. "We won't distribute apps that present dangerous and harmful content."
Also Friday, Apple warned Parler, which styles itself as a "free speech" alternative to Twitter or Facebook, that the app faces a ban from the App Store within 24 hours if it didn't remove content that "encourages illegal activity." Parler was the No. 1 trending app in Apple's App Store as of Saturday morning in the news category.
Matze also posted a screenshot in the app of Apple's notice to the company outlining "serious App Store guideline violations."
Parler, the social-media app popular among Trump loyalists and right-wingers, was removed from the Google Play Store late Friday — with the internet giant alleging Parler failed to remove "egregious content like posts that incite violence."
Devin Nunes (R-Calif.). While Trump himself currently does not have an account on Parler, his son Donald Trump Jr. is active on the app as are right-wing figures like Fox News' Sean Hannity and Tucker Carlson and Rep.
According to the exec, "Most people on Parler are non-violent people who want to share their opinions, food pics and more." "[W]e WONT cave to politically motivated companies and those authoritarians who hate free speech!" Matze wrote.
Capitol on Jan. Trump accounts on Facebook, Instagram, Snapchat, Twitch and other platforms also have been indefinitely or permanently blocked after his role in organizing and supporting the insurrectionist mob that occupied the U.S. 6 in a deadly clash with police. The moves came as Twitter permanently banned Donald Trump, citing the potential risk that the aggrieved lame-duck president will foment additional violence among his supporters.
In a statement, Google said that "to protect user safety on Google Play, our longstanding policies require that apps displaying user-generated content have moderation policies and enforcement that removes egregious content like posts that incite violence." It continued, "We’re aware of continued posting in the Parler app that seeks to incite ongoing violence in the U.S." and said that "In light of this ongoing and urgent public safety threat, we are suspending the app’s listings from the Play Store until it addresses these issues."
Founded in 2018, Parler boasts about its hands-off approach to moderation, in contrast to the stepped-up policing by mainstream social networks like Facebook and Twitter.
The Google Play ban reduces Parler's visibility, but because of Android's open architecture that version of the app is still available as a direct download from the Parler website. Apple's removal of Parler for iOS would be a more serious blow, given that the tech colossus' App Store is the only way to get apps for its iPhone and iPad devices (although users who already installed the iOS app would still be able to use it following a removal from the App Store).
Parler is people and privacy-focused, and gives you the tools you need to curate your Parler experience."” /> "Speak freely and express yourself openly, without fear of being 'deplatformed' for your views," the company says on its website. "Engage with real people, not bots.

Antonio Sabáto Sr., an Italian American actor known for his roles in "Grand Prix" and "Escape From the Bronx," died this week due to COVID-19 complications. He was 77.
Throughout the next two decades, the actor continued to star in a slew of Italian films, from the spaghetti western "One Dollar Too Many" to science fiction projects like "War of the Robots" — and virtually any genre in between.
https://twitter.com/antoniosabatojr/status/1346804277063376896?s=21
The news of Sabáto's death was confirmed in a tweet by his son, actor and model Antonio Sabáto Jr., who also posted an old family photo. He shared the news on Jan. 6, with a message saying "Always and forever."
The movie went on to win three Academy awards. The elder Sabáto got his start in the entertainment industry in 1966 when he appeared in the Italian film "Lo scandalo." That same year he starred in "Grand Prix," an American film with an international cast of actors helming the project.
In addition to his son, Sabáto is survived by a daughter, Simonne.” />
with his family, continuing his career in films like 1997's "High Voltage." His last credit as an actor came in the television series "The Bold and the Beautiful," in which he appeared in seven episodes in 2006. In the mid 1980s, Sabáto immigrated to the U.S.
His son said Jan. "My papa/dad is in intensive care with covid in California," he said. "Lord keep him surrounded by angels and pure God's love and strength within." The younger Sabáto has been a vocal critic on social media of the use of masks to control the spread of coronavirus. 4 that Sabáto was hospitalized in California due to the coronavirus, posting a brief prayer for his father with the tweet.

Queen Elizabeth II and her husband Prince Philip have been given their first doses of the COVID-19 vaccine, royal officials told AP.
is still facing a lockdown on account of the rapid spread and new strain of the coronavirus.” /> Many reacted with hesitation after vaccines began to pop up due to the quick turnaround in testing, but leading experts ensure the studies were conducted properly. As vaccines roll out, the U.K.
The Queen, age 94, and her husband, age 99, shared news of their treatment in efforts to curb rumors or speculation on the subject, royal officials explained. 8, making Britain the first country to implement a mass vaccination plan. Britain aims to dole out vaccines for 15 million residents by mid February, with top priority being those over 70, people who have health vulnerabilities in relation to the virus, frontline health care employees and people working at care homes. The process began on Dec.
They are now part of the 1.5 million and growing number of British citizens who have begun the immunization process against the coronavirus. The vaccinations were administered on Saturday at Windsor Castle, the location in which both royals have been quarantining since the pandemic began to spread through the U.K.
Others, including President-Elect Joe Biden and Vice President Mike Pence, took their first doses on television so as to increase public trust in the science. The Queen and Prince's announcements join a multitude of public officials who have also openly shared that they've been vaccinated. The U.K. has experienced almost 3 million cases of COVID-19 since testing began, with about 80,000 deaths.

None of this character's history may be known to an American audience as they contemplate hitting play on Netflix's new series "Lupin," starring Omar Sy ("The Intouchables") as a contemporary spin on the character; it shouldn't stop anyone from checking out a propulsive and cleverly made piece of work about one great heist and its ongoing aftermath. Arsène Lupin is a character with a great deal of currency to the French; created by author Maurice Leblanc in 1905, this master thief-turned-detective, a master detective has anchored many short stories and films.
Assane, who as a young man was given a Lupin book by his father, sets out to use craft and wit to claim the necklace and to do damage to the greedy and thuggish family (led by a patriarch played by Hervé Pierre). That this name suggests overtones of indolence and selfishness seems no mistake. Sy, here, plays Assane Diop, a Senegalese immigrant whose father died as a result of a false accusation; working as a chauffeur for a wealthy Parisian family, this unlucky fellow was accused of stealing a necklace in their care, one that had belonged to Marie Antoinette.
With this emotional heft serving as ballast, the extraordinary feats of Lupin, including the jewel heist depicted in the show's first episode, sing all the more. Further, treating the Lupin myth as inspirational to Assane rather than literally true grounds the story in a sort of reality, as do flashbacks to Assane's friendship with the wealthy family's daughter (Clotilde Hesme) and the present-day strained relationship with his ex-wife (Ludivine Sagnier). Perception lies at the center of this story; Assane has trained himself to be a master of disguise, but he's also unnoticed by a society that looks right past him. (That first episode, along with the next two, was directed by Louis Leterrier, while Marcela Said handles the final two.) By the time the series gets to its cliffhanger fifth and final (for now) episode, the show's all-out twistiness, as well as the grit of its leading man, recall "Bodyguard"; that cliffhanger will leave any viewer who's taken the ride eager for more.” /> It's a sharp way to ensure that the changes in the character are more than cosmetic.