Paul Simon has revealed that he has lost most of the hearing in his left ear.
The Rock & Roll Hall of Fame musician, opened up about mysteriously losing his hearing in his left ear during an interview with the Times of the U.K., published Saturday.
The Grammy-winning singer-songwriter, who penned many of American folk duo Simon & Garfunkel’s biggest hits, including “The Sound of Silence” and “Bridge Over Troubled Water,” said his hearing loss happened “quite suddenly.”
“Nobody has an explanation for it,” Simon said. “So everything became more difficult.”
His hearing went as he was busy writing the music for his new album, “Seven Psalms” which dropped this month. The San Diego Union-Tribune described it as a seven-song collection that “revels in melancholic understatement and gentle nuances” exploring “themes of mortality and spirituality, joy and dread, the past and present, the unknown future, and a clock that — for this 81-year-old music legend in the autumn of his years — ticks louder each day.”
Simon said that losing his hearing initially left him frustrated and annoyed, but not angry “because I thought it would pass, it would repair itself.”
But that hasn’t happened, which means he may have to rule out live performances. He doesn’t necessarily consider that a bad thing.
“The songs of mine that I don’t want to sing live, I don’t sing them,” Simon said. “Sometimes there are songs that I like and then at a certain point in a tour, I’ll say, ‘What the f— are you doing, Paul?’ Quite often that would come during ‘You Can Call Me Al.’ I’d think, ‘What are you doing? You’re like a Paul Simon cover band. You should get off the road, go home.’”
During the interview, Simon also talked about suffering from a bad case of COVID saying, “Boy, have I been beaten up in these last couple of years.”
The reality of aging seems to be at the forefront of the “Graceland” singer’s mind. He mentioned the passing of folk legend Gordon Lightfoot and Yardbirds guitarist Jeff Beck, saying “My generation’s time is up.”
“Seven Psalms” deals with aging and mortality as well. He described the lyrics as coming to him in dreams, and he would wake up and write them down. In the album’s final song, “Wait,” Simon includes the lines “Wait, I’m not ready, I’m just packing my gear” and “Heaven is beautiful, it’s almost like home. Children, get ready, it’s time to come home.”
In 2018, Simon discussed retiring with The Times. “It’s a life choice,” he said, “not a career choice.”
“And it seems like a good life choice,” he continued. “In the end, I’d rather say, ‘I had a great life’ than end up saying, ‘Well, I had a great career.’”
Disney announced that it will hold an X-Men-themed event at this year’s upcoming San Diego Comic-Con.
In Marvel Comics, the X-Men established a new home for themselves on the sentient island of Krakoa. To celebrate the founding of their new home, beginning in 2021, they held what would become the yearly Hellfire Gala.
An obvious riff on the real-life Met Gala and the extravagant outfits its guests wear, this event is meant to celebrate mutant culture and strengthen Krakoa’s friendship with other human nations. So, naturally, this would include a slew of celebrity cameos, including Marvel Studios President Kevin Feige.
Disney’s official fan-club, D23, and Marvel announced the first-ever real-life Hellfire Gala, which will take place Saturday, July 22 at San Diego Comic-Con.
Like the comics, attendees are encouraged to dress up “in their best super-powered style,” meaning their best cosplay.
Marvel
The event will be separated into three areas that guests can explore:
The Green Lagoon: “Inspired by the watering hole on Krakoa, strut down the green carpet to enter the event surrounded by lush greenery inspired by the location. Here, guests will enter the event and once inside grab a seat to survey the environment — between dance sessions out on the floor.”
Hellfire Ballroom: “Worlds collide in the grandiose Hellfire Ballroom. Home to the event’s main offerings, guests will find themselves transported through a Karkoan Gateway to enter a space where looks are served and justice is brought. The dazzling dance floor comes to life with heroes, villains, and everyone in-between, with booths on the edge of the dance floor to catch your breath after you’ve assembled your own Hellfire Inner Circle.”
Lair X: “Head to the underground lair dedicated to the X-Men and take a look back over the last 60 years of Mutant history. Lair X will have its own activities — and a dance floor — along with a bar, seating area, and photo opportunities perfect for immortalizing all magnificent cosplay.”
Hellfire Gala tickets for the event will range from $65 to $155 USD:
Gold Member: $65.00 ($7 Processing Fee)
Gold Member “X-pedited” Entry: $85.00 ($7 Processing Fee)
General Member: $125.00 ($7 Processing Fee)
General Member “X-pedited” Entry:* $155.00 ($7 Processing Fee)
A ticket purchase will include the following:
Entry to D23 Presents the X-Men Hellfire Gala, featuring multiple rooms, DJs, photo opportunities, and more!
1 Drink Ticket that can be used for beer, house wine, well drink, soda, or bottled water.
Commemorative gift.
Exclusive for guests who purchase “X-pedited” Entry: Early access to the venue and dedicated queue.
The event will take place on Saturday, July 22 at PARQ Nightclub (615 Broadway, San Diego, CA 92101) from 8 p.m. to 11 p.m.
Could the MCU’s X-Men Hold a Hellfire Gala?
The Krakoa-era of the X-Men has been a much-needed breath of fresh air for the Mutants, especially after being purposefully stifled for years by former chairman and CEO of Marvel Entertainment, Ike Perlmutter.
It’s proven to be a massive success for Marvel Comics, making it a yearly event with all the heroes (and even villains) dressing up in outfits that’d make Met Gala guests jealous. So it’d seem like a no-brainer for Marvel Studios to attempt it in live-action.
Superman & Loishas an abundance of great Superman villains it can bring aboard the series. On Superman & Lois, Tyler Hoechlin’s Man of Steel has had to overcome a number of challenging adversaries from DC Comics. The show has already introduced the Eradicator, Bizarro, and Parasite, with season 3 bringing in Bruno Mannheim and Lex Luthor
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While Superman & Lois has done a fantastic job of mining lesser-known Superman villains, there is also a plethora of other villains for the show to incorporate. Some are also villains who have been seen relatively little in movies and TV, while others have been adapted repeatedly. Regardless, his deep rogues’ gallery presents the series with all sorts of storytelling opportunities. Here are 10 important Superman villains the series could use at some point in the show’s future.
One of Superman’s more comedic villains, Mister Mxyzptlk’s reality-bending abilities are nothing to joke about. With that said, the potential of Mister Mxyzptlk has not been exploited to the same extent as other Superman villains, and his rather goofy nature often leads to him being modified in live-action adaptations. This is the case for the versions of Mxyzptlk seen on Lois & Clark: The New Adventures Of Superman (played by Howie Mandel) and Smallville (played by Trent Ford), and Superman & Lois could similarly create its own intepretation of the character.
Cyborg Superman
Following The Death of Superman story, the Reign of the Supermen follow-up would introduce a collection of would-be successors to the Man of Steel, one of them being the villainous Hank Henshaw a.k.a. Cyborg Superman. In his cybernetic form, Henshaw can upload his consciousness to any form of technology, and also possesses Kryptonian-level powers to make him a strong opponent for Superman. The showalready has two villainous Man of Steel counterparts, but if done correctly, Cyborg Superman could be unique to both of them, both visually and personality-wise.
Kryptonite is well-known as Superman’s greatest weakness, but unlike most villains who have to find a way to locate and weaponize the Kryptonian mineral, John Corben a.k.a. Metallo has it built right into him. Metallo has been seen as an enemy of the Man of Steel on numerous TV shows, such as Brian Austin Green’s Metallo on Smallville. The challenges Metallo brings against Superman go without saying, and they make the Kryptonite-powered villain a natural choice for Superman & Lois.
The intergalactic bounty hunter known as Lobo is perhaps DC’s most beloved off-the-wall character, existing in the gray area between anti-hero and villain and bringing a quipping, snarky attitude that makes his involvement in any Superman story a joy. Superman: The Animated Series pit Superman against the character before eventually forcing a team-up between them. While Lobo would later appear on Krypton (played by Emmett J. Scanlan), his encounters with the Big Blue Boy Scout have been too few and far between in Superman adaptations. Superman & Lois can fix that by bringing Lobo into play as Kal-El’s perpetually grinning frenemy.
Brainiac
Every superhero has a villain whose mind always seems to be one step ahead of the hero’s, and for Superman, that villain is Brainiac. While Brainiac has been re-imagined in various iterations, his origin typically portrays him as an advanced Kryptonian super-computer in humanoid form with an intellect far beyond even the most intelligent beings in the universe. Brainiac is also known for shrinking and bottling entire cities, including Krypton’s captol city of Kandor. The problems he’s caused in the comics, as well as in Smallville and Krypton, prove he would be an excellent fit for a season-long antagonist role in a future storyline.
Doomsday
Doomsday is famous for having killed Clark in The Death of Superman story arc, so whenever Doomsday shows up in a Superman movie or TV show, the stakes are inevitably raised. Doomsday has been seen in live-action before in Superman movies and TV shows like Smallville, Krypton, and Batman v Superman: Dawn of Justice, and was even initially teased to appear in Superman & Lois season 2. Though the teases ultimately revealed the show’s new villain to be Bizarro, Doomsday is another massive Superman villain who could still make quite an impact on Superman & Lois.
General Zod
Superman’s long-standing enemy General Zod has technically been on Superman & Lois before, albeit in a more ethereal form of possessing the Man of Steel with John Henry Irons freeing him. General Zod has a great deal of history both on television and cinematically, with Terrence Stamp, Callum Blue, and Michael Shannon playing various iterations of Zod. Additionally, being a Kryptonian warrior, Zod has always been one of Superman’s most physically formidable enemies. After the tease of General Zod in Superman & Lois season 1, the show needs to finally let him make a physical appearance opposite Kal-El on Superman & Lois.
Faora
As General Zod’s trusted second-in-command, Faora is just as powerful a Kryptonian warrior and arguably an even more ruthless opponent for Superman. Due to her fighting skills, Faora is easily capable of holding her own against Superman. Should General Zod appear on Superman & Lois, Faora joining him is a no-brainer.
Another of Superman’s Kryptonian adversaries, Jax-Ur is a combination of brains and brawn for Superman to contend with. Being a Kryptonian, Jax-Ur shares all of Superman’s powers, while his brilliant mind as a Kryptonian scientist makes him an intellectual foe for the Last Son of Krypton as well. While Jax-Ur may not be main villain material, he could certainly work as a secondary antagonist whose scientific knowledge is used to help the season’s big bad.
Darkseid
No DC villain sits higher on the throne of evil than Darkseid. Appearing in a ghostly form on Smallville, Darkseid makes his cinematic debut in Zack Snyder’s Justice League, but is still relatively underutilized in live-action compared to his role on the Justice League animated series (voiced by Michael Ironside). Bringing Darkseid on Superman & Lois would be a great expansion of the show’s scope, especially after the tease of Darkseid’s Secret Society of Supervillains. Even better, with the New Gods existing outside the multiverse, Darkseid appearing on Superman & Lois could show how great of a threat he is to every Earth within it, perhaps as Clark’s final villain.
This upgrade comes with text-based editing improvements, plus multiple cut page improvements and Blackmagic RAW SDK 3.1 support.
By definition, a beta release of a product or service is meant to be a work in progress. So, it should come as no surprise that Blackmagic’s public beta version 2 of DaVinci Resolve 18.5 is getting a new update to a beta 3 version. Will this one be final? Probably not—again, that’s what beta means.
But this update is actually packing a lot of improvements and updated support for a host of tools and features in Resolve 18.5. Some of the highlights include multiple improvements to the cut page, a new fusion multi-merge tool for multiple layers, and some smart updates to Resolve’s text-based editing (which we’ve been excited about since NAB).
Let’s dive in and explore everything new and improved coming with Beta 3 to DaVinci Resolve 18.5.
DaVinci Resolve 18.5 Beta 3 Update
Released early this morning, there’s quite a bit packed into this new update. Sure, we’re getting some cool beta support updates for some of the more future-minded features like text-based editing. Still, there are also plenty of improvements worth mentioning for your day-to-day professional video editing needs.
Blackmagic continues to double down on growing DaVinci Resolve with AI improvementsCredit: Blackmagic Design
Some of the biggest updates off the bat have to do with improved padding for subtitle backgrounds and several improvements to Fusion’s multi-merge tools. In particular with the multi-merge, you’re going to see improvements with a display of large multi-layer inputs and a new ability to now show the input names for inputs, which should make it easier to see and manage everything directly to the multimerge node.
Here are some of the features updates:
• Support for importing Universal Scene Descriptor (USD) files • Introduction of the USD toolset for managing USD assets. • Support for USD Hydra-based renderers including Storm. • New multi-merge tool for compositing multiple layers. • Support for a native AI-based depth map tool. • GPU accelerated Clean Plate. • GPU accelerated Anaglyph. • Up to 3x faster renders when using the splitter tool. • Support for OpenEXR DWA compression in saver nodes. • Support for BMD Film Gen 5 in the CineonLog tool. • Support for previewing individual shape tools. • General performance and stability improvements.
Blackmagic is also adding support for their new Blackmagic RAW SDK 3.1 as well as support for all Blackmagic color spaces in Fusion for Resolve Studio.
Text-Based Editing Gets Automatic Language Detection
While not the biggest news in the world, it was a little bit odd that Blackmagic unveiled their new AI-powered text-based editing at NAB without more widespread language support.
However, multiple languages were always in the plans and now Beta 3 will have a new automatic language detection feature with 14 additional languages including Chinese, Japanese, French, and Spanish.
Blackmagic DaVinci Resolve 18.5 in actionCredit: Blackmagic Design
This public beta 3 will also add support for auto subtitles in these languages as well as new support for editing and deletion of generated text, silent segment detection and display, and even a new ability to remove silent segments from transcribed text.
A key element to Resolve’s text-based editing moving forward is also going to be centered around a new ability for words and paragraphs to be highlighted and deleted, as well as used for searching out content with AI, which can ultimately save several hours of searching in through your footage looking for a single shot or line from an interview.
Beta 3 brings updates for both free and studioCredit: Blackmagic Design
DaVinci Resolve 18.5 Free vs. Studio
DaVinci Resolve has always been unique simply for the fact that it offers both a free version and a paid studio version. While the free version includes many of the same high-quality processing features as the studio version, there are some limitations to “free” when it comes to limiting project mastering and output to Ultra HD resolutions.
Resolve 18.5 also only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro.
However, if you need features like support for multiple GPUs, 4K output, or other motion blur effects, temporal or spatial noise reduction, deinterlacing, camera tracking, etc… you’ll still need to update to Resolve Studio 18.5.
To get started, DaVinci Resolve 18.5 Beta 3 is now available as a free download from Blackmagic’s website.
How do you feel about this Beta 3 release? Is there anything, in particular, you’re excited to try out?
Long before The Oxford English Dictionary got wind of “woke”-ness in 2017, there was Wanda Sykes. The veteran comedian and The Other Two scene-stealer has never been afraid to artfully punch up at systemic injustices (a classic symptom of being so-called “woke”) whether tackling the whiteness of the opioid epidemic or the violent inanity of anti-trans bathroom bills.
Sean Gunn plays This or That with The A.V. Club
Needless to say, Sykes is familiar with seeing her comedy siloed by the word (which, like most of the internet’s current popular lexicon, originated in the Black community years before being co-opted and removed from its frame of reference). But she’s not bothered by the descriptor: in fact, she explains, she takes it as a compliment.
“If you want to give me the label of a “woke comic,” that’s fine. That’s great,” Sykes tells Variety’s Adam B. Vary in a new interview. “What makes me laugh is that they say that like it’s an insult: ‘Oh, they’re woke.’ Thank you! Yeah, I read some stuff from time to time. Yeah, I know a few things. It’s not an insult at all.”
Continuing on, Sykes—whose new special I’m An Entertainer premieres on Netflix today—opines that the “woke comic” label actually places her in a pantheon of iconoclastic comedians. “I mean, George Carlin, he was woke. Richard Pryor, woke. Bill Hicks, woke,” Sykes shares. “It’s almost like they’re angry that we’re evolving. It’s sad, really.”
Although Sykes doesn’t have any misgivings about the kind of backsliding some fanbases have luxuriated in, she also makes clear her belief that change is still happening for the better, in spite of any and all anti-”woke” hullabaloo.
“The steps back in both the news and comedy, that’s what makes the most noise, instead of the progress we’re making,” Sykes shares. “I think they’re just louder, all the Trump supporters and all that. But I like to focus on the wins. I mean, there are not a lot of them, but I like to celebrate them!”
Nicolas Cantu, Mae Whitman, Darren Barnet, Benjamin Bratt and Betty Gilpin are set to lead the voice cast for Netflix’s animated series Skull Island, part of Legendary Television’s monsterverse that includes King Kong and will debut on June 22, 2023.
The anime series portrays a group of shipwrecked characters trying to escape a dangerous and mysterious island. Cantu will perform the voice role of the protagonist, Charlie, alongside Mae Whitman lending her voice to the role of Annie, Barnet as Mike, Bratt as Cap and Gilpin as Irene.
Skull Island will see kind-hearted explorers rescue Annie from the ocean, only for their heroism to land them on the treacherous Skull Island, home to bizarre creatures and terrifying monsters, including the mighty King Kong, whose IP is owned by Legendary.
From left: Betty Gilpin as Irene, Phil LaMarr as Sam and Benjamin Bratt as Cap in Skull Island.
Courtesy of Netflix
Skull Island is created, written and executive produced by Brian Duffield, with Jacob Robinson, Brad Graeber, Jen Chambers and Thomas Tull also executive producing. The animation is by Powerhouse Animation, known for their work on Castlevania and Blood of Zeus.
Legendary Television is also doing the upcoming animated series Tomb Raider for Netflix, which picks up after the events of Square Enix’s Tomb Raider video game reboot trilogy, which was released in installments from 2013-18 and was developed by Crystal Dynamics and Eidos Montréal.
The anime Skull Island series follows the 2017 feature Kong: Skull Island that reintroduced the world to King Kong.
Oscar winner Joaquin Phoenix has taken on his next lead role, and it sounds like it may be the most risqué film we’ve seen from the actor yet. The movie comes from director Todd Haynes, whose latest film, May December, premiered at the Cannes Film Festival. While speaking with press at the event, Haynes told IndieWire that his next movie will star Phoenix, and along with describing the untitled film as a “gay love story,” it was also revealed that it will be rated NC-17. And that’s because of the insistence of Phoenix, as Haynes was content to keep things on the R-rated level.
“The next film is a feature that’s an original script that I developed with Joaquin Phoenix based on some thoughts and ideas he brought to me,” Haynes explained. “We basically wrote with him as a story writer. Me and Jon Raymond and Joaquin share the story credit. And we hope to be shooting it beginning early next year. It’s a gay love story set in 1930s LA.”
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On upping the ante to an NC-17 rating, Haynes added, “Joaquin was pushing me further and going ‘no, let’s go further.’ This will be an NC-17 film.”
Most often, movies will be edited down if initially given an NC-17 rating, though some filmmakers will fully embrace such a rating for certain projects. One notablye recent example would be the Andrew Dominik film Blonde, which starred Ana de Armas in an Oscar-nominated performance as Marilyn Monroe. It helped that the film was released on Netflix and thus was not dependent on box office success, making it easier to stick with that rating. Meanwhile, the Brandon Cronenberg horror film Infinity Pool, which was released in theaters earlier this year, was initially rated NC-17 before edits brought that down to its R rating.
Of course, it’s always worth keeping an eye on Joaquin Phoenix. He recently debuted his latest movie, Ari Aster’s Beau Is Afraid, in theaters last month. Phoenix’s performance in the film has drawn a lot of praise from critics. Lately, there has also been a lot of press on another upcoming film to feature the actor, Napoloeon, which stars Phoenix as Napoleon Bonaparte. That film will be released in theaters in November before it’s later made available for streaming on Apple TV+.
Phoenix has also currently working on Joker: Folie à Deux, the sequel to the hit 2019 film Joker. Fans may recall that Phoenix won the Best Actor Oscar for his performance as the Clown Prince of Crime in the first Joker movie. With Todd Phillips back in the director’s chair, the sequel will bring Phoenix back as the Joker with Lady Gaga co-starring as a new incarnation of Harley Quinn. The film is going to be a musical, unlike the original movie, and it has been generating a lot of anticipation. It will be hitting theaters on Oct. 4, 2024.
“What We Do in the Shadows” star Matt Berry is currently in talks to join Warner Bros.’ live-action adaptation of the hit video game “Minecraft,” set to be released in spring 2025.
Details on the film’s plot and Berry’s role remain secret. Developed by Swedish game designer Markus “Notch” Persson and released in 2011, “Minecraft” is an open-ended sandbox game in which players can mine resources and craft items, using them to create new structures and fight off hostile creatures.
More than a decade later, “Minecraft” remains one of the most popular and lucrative video games on the market, with fans creating community servers and conventions to share their creations. Microsoft purchased the game and its dev company Mojang for $2.5 billion and has turned it into a multimedia franchise with spinoff games and merchandise.
Momoa will produce the film through his production company On The Roam alongside Vertigo, Microsoft, Mojang and co-financier Legendary. The film’s producers include Roy Lee, Jon Berg, Mary Parent, Cale Boyter, Torfi Frans Olafsson, Vu Bui and Jill Messick. Todd Hallowell, Kayleen Walters, Brian Mendoza and Jonathan Spaihts are executive producers.
Berry, best known for playing the vampire Laszlo Cravensworth in the FX comedy “What We Do in the Shadows,” was also recently seen in BBC’s adaptation of Charles Dickens’ “Great Expectations” alongside Fionn Whitehead and Olivia Colman. He is repped by CAA and Mgmt Entertainment.
TRIBECA FILM FESTIVAL 2023 REVIEW! The resilience of the human spirit is on full display in Leaf Lieber’s short film, Burrow.
John (Christian Coulson) is the last survivor after a massive extinction-level event. He lives a solitary life in a cabin in the woods, just trying to survive while fighting the violent memories of what brought him to this point.
Caught off guard, John realizes he is not the only survivor with the arrival of Arian (Marc Crousillat). As John experiences intense feelings of companionship with Arian, can John trust him in the end?
“…the last survivor after a massive extinction-level event.”
In Burrow, filmmaker Leaf Lieber masterfully pushes his protagonist to his mental and emotional limits. Lieber tells the story of a man who struggles with the carnal desire to survive juxtaposed with his carnal desires of intimacy…a feeling he’s not felt for a very long time.
What Lieber does so well is using the medium of film to build and intensify John’s emotional state without the need for long, drawn-out dialogue. In the end, you’re left feeling and empathizing with John.
“It’s awful to hear the news of them getting a divorce. I was super surprised,” the Real Housewives of Atlanta star, 47, said of her former costar’s breakup during a recent appearance on Watch What Happens Live With Andy Cohen. “The only thing I could say there … a whole bunch of prayers are needed and a CPA is needed. That’s it.”
Hampton and Zolciak-Biermann, 44, both appeared on RHOA over the years. However, the Games People Play alum revealed to Cohen, 54, that she hadn’t kept in touch with the Zolciak-Biermann and last ran into her while at the airport some time ago.
News of the pair’s split came shortly after speculation sparked that they were facing financial hardship. In February, Us confirmed that the duo’s five-bedroom Georgia mansion was in foreclosure. An auction of the home was scheduled that month but was later canceled by the law office of Brock & Scott, PLLC.
“The financial burdens have been a strain on their relationship,” an insider exclusively told Us earlier this month of the former couple, who also reportedly owe over $1 million in back taxes, per TMZ. “Between the tax debt and other financial stresses, it’s been difficult. The tax debt was the straw that broke the camel’s back in their marriage.”
Neither Zolciak-Biermann nor Biermann have commented on their financial situation at this time.
Following the announcement of their split, an insider told Us that the duo are still cohabitating in their home while they try to “avoid” each other as much as they can.
A few weeks after their initial divorce filing, Zolciak-Biermann filed a new motion to have the former Atlanta Falcons player drug tested. She claimed to have witnessed Biermann “smoking marijuana” and had “serious concerns for the safety and well-being of the minor children while in [his] care. She is fearful that the children will be exposed to [his] drug use.”
According to court documents obtained by Us on Monday, May 22, Biermann, for his part, filed paperwork requesting that his estranged wife undergo a psychological evaluation, alleging she had a gambling problem.
“They’re playing tit for tat,” a source exclusively told Us about the dueling docs.
Tim Scott will bring a message to the GOP primary debate stage that he actually has a better chance of winning a general election against Joe Biden than Republican front-runner Donald Trump, former White House spokesperson Kayleigh McEnany said Tuesday on Fox News’ “Outnumbered.”
Led by co-host Harris Faulkner, the panel was gushing over the South Carolina senator’s speech from Monday announcing that he was seeking the presidency, calling him “a breath of fresh air” and Reagan-esque. McEnany, who served the Trump administration as the 33rd White House press secretary, predicted that Scott would bring that same positive, winning message to the debate stage – and that Trump would be there to meet it.
“My former boss never spoiled from a fight,” she said. “He will show up.”
McEnany acknowledged that Scott starts out his campaign with dismal polling numbers.
“President Trump has a 36.9 percent lead on RealClear Politics – that is enormous … there’s no denying that Donald Trump is the front-runner right now. However, there are some intangibles here,” she said. “Scott’s campaign would tell you, we’re banking on debate night. Twenty million viewers, here on the Fox News channel.”
She said it’s there that Scott and Florida Gov. Ron DeSantis will make the debate “about electability.”
“Scott’s team will say, ‘Fighting is good, winning is better,’” she said. “They’re going to make that case on a debate stage. ‘We can win a general election.’ Finally, they say they’re going to win state-by-state. Desantis saying ‘I have 37 congressional endorsements in Iowa’ … Tim Scott saying ‘I’m going to pick up South Carolina, this is my home state.’ Can you do it? It’s a heatvy lift against Donald Trump. These are their arguments.”
Netflix’s long-discussed password crackdown has finally arrived. On a blog found on its media site, the streaming giant outlined the email it would be sending to subscribers who are sharing Netflix outside their household in the United States.
“Your Netflix account is for you and the people you live with — your household,” the email begins. It then reassures users that they will still be able to “easily watch Netflix on the go” through either personal devices, hotel TVs or vacation homes. The email also details how users can check who’s using their account as well as how to transfer a profile for someone outside of the household to a new membership “that they pay for.”
The company also further explained its “extra member” option. For an additional $7.99 a month, subscribers can add a member to their Netflix account who does not live with them.
“We recognize that our members have many entertainment choices. It’s why we continue to invest heavily in a wide variety of new films and TV shows — so whatever your taste, mood or language and whoever you’re watching with, there’s always something satisfying to watch on Netflix,” the press release concludes.
Under Netflix’s new and stricter regime, users have to set up a primary location, which ensures that everyone who lives in that household can access their Netflix account. Anyone using the account outside of this household may not be able to access the account.
This month’s offbeat selections on the subscription streamers include familial comedy, religious drama, tales of sin and redemption, and a strange foodie-meets-performance artist comedy.
Butler has been making nostalgic, midbudget action films so steadily, for so long, that he has perfected his own formula.
Images and themes from “300” recur across Butler’s films. There’s loyalty to the homeland and its defenders, the passing of “respect and honor” from father to son, soft homophobia toward “philosophers and boy-lovers” by half-naked alpha males, stoicism, nurturing women, “no mercy” conflicts with foreigners, heroic sacrifice, David-and-Goliath battles. “I’m just a law-abiding citizen — I’m just a regular guy,” Butler says in “Law-Abiding Citizen,” which came out three years after “300.” In that one, an engineer named Clyde Shelton sees his wife and daughter killed in front of him, but the biggest wound comes from the justice system, via a prosecutor played by Jamie Foxx. Clyde responds with a bit of a killing spree, pledging to bring the whole “diseased corrupt temple” down on the lawyer’s head — “It’s gonna be biblical.”
It’s the trilogy of “Olympus Has Fallen,”“London Has Fallen” and “Angel Has Fallen,” with their combined box office of $522 million, that consolidated Butler’s brand as the kind of modest action star who has largely gone missing from theaters. In these movies, the Secret Service agent Mike Banning, growing increasingly broken down over time, protects the president from various disposable terrorists. He runs on steaks, and later on painkillers, and always ends up battered, emerging into the light propping up a commander in chief who says something like: “They came to desecrate our way of life. To foul our beliefs. Trample our freedom. And in this, not only did they fail, they granted us the greatest gift — a chance at our rebirth.”
If this sounds as if it springs from a conservative imagination, well, the franchise’s multicultural goons and deep-state conspiracies would certainly be familiar to that audience. But while Butler is the kind of guy who gets invited to the Pentagon to promote a thriller about Navy SEALs, his stance on these films is more rough and ready. Facing criticism for “London Has Fallen,” he argued at the premiere that “It’s about us winning” and “It’s based on heroism and the good guys kicking ass.” This generalized machismo maintains its appeal even when his films veer more mainstream — dropping the jingoism for “Angel Has Fallen” or, in 2017’s “Geostorm,” taking a cuckoo disaster-movie ride. In 2018’s “Den of Thieves,” where the masculinity is just dense enough to dilute the toxicity, he plays a leather-clad cop who swigs Pepto like whiskey and works to bring down some ex-Marines who aim to rob the Federal Reserve. In “Greenland,” he’s another engineer in another disaster, racing to get his family to a bunker (and refusing, in individualist American fashion, to help his neighbors). This January’s “Plane” was positively communist by comparison, with the tagline “survive together or die alone.” In that one, he’s a commercial pilot with an Air Force background whose jet crashes on a Filipino island held by separatists. There remain the obvious conservative themes — untrustworthy superiors, renegade saviors, barbaric foreigners — but it’s perfect all-audiences Butler, a propulsive popcorn flick with a righteous core.
Maybe it’s inevitable that the same guy who keeps revolting onscreen would do the same off it. Butler hasn’t appeared on a mainstream magazine cover since 2018. He seems to have smarted a little when, in a January interview, Inverse called him “the King of the B-movie” to his face. He knows he has a large audience, but I wonder if he knows quite how much good will he has accumulated. In “Kandahar,” he plays an undercover operative exposed by a leak “bigger than Snowden and WikiLeaks combined,” in a script packed with “free world” jokes and aphorisms like “you have to return home to know what you are fighting for.” But I genuinely felt chills at the ending, a lachrymose montage in which the blue-eyed soul of Tom Rhodes’s “Low Tide” plays over shots of Butler and his translator, finally safe, intercut with sentimental scenes of their loved ones. It’s cheap, but there’s a good heart in there, and that’s hard to come by these days.
Thanks to her acclaimed performance in “Parade,” Micaela Diamond has found herself nominated for a Tony Award at just 23 years old. The attention could be overwhelming for any young actor, so it’s a good thing she knows someone who’s been through it before: her co-star and fellow nominee Ben Platt, who was nominated for a Tony (and won) at 23 for “Dear Evan Hansen.”
“I’m really grateful that Ben has done this before and is such a grounding presence at theater,” Diamond said during a conversation with Platt on the new episode of Stagecraft, Variety‘s theater podcast. “It’s really nice to share it with somebody. It helps me realize that in all of my fears I’m not necessarily alone, or he’s gone through them before. At the end of the day we love the work so much, and that’s what we get to do every night.”
Looking back on his first nomination and win, Platt said, “One of the only things I regret about that time is that because it’s so overwhelming when something like that happens — no matter what age you are, but particularly when you’re 23 — it can be very blinding. You get very caught up in lots of elements of it, good and bad. I generally, as a person, struggle with being present and not worrying about what’s already happened or what’s about to happen, but just being in the moment that I’m in. I wish that through that craziness I’d have been a little bit more like that. So now I just try to make sure that Micaela’s taking in what’s happening, because it’s a lot of wonderful things all the time, at once.”
Both Platt and Diamond already loved “Parade,” the 1998 Jason Robert Brown musical that’s now nominated for a total of six Tony Awards, long before they starred in the current production. Platt got to know the score by listening to the cast recording during car rides with his family, and Diamond recalled watching an old clip of the song “All the Wasted Time,” performed on “The Rosie O’Donnell Show” by original stars Brent Carver and Carolee Carmello, over and over on YouTube. “I can watch that video in my mind, it’s so ingrained in me,” she said.
Also on the new episode of Stagecraft, the actors discussed the ways in which the show’s depiction of antisemitism has a timely relevance to America in 2023. “We’re both Jews,” Platt explained. “Antisemitism is never not relevant, particularly when you’re a Jewish person, but I think there’s a definite feeling of late that it’s not only on an uprise in a literal sense, where there are acts of antisemitism and the rhetoric of it is coming back around, but also the public nature of it is pretty unprecedented. … It feels like something to be looked at and discussed in a way where people are really ready to hear and receive it, and we’re getting that urgent message across in a way that’s really specific to right now.”
The production’s first preview performance prompted demonstrations by neo-Nazis. “It was scary,” Diamond recalled. “It was also incredibly inspiring and galvanizing to remember why we’re doing the piece.”
To hear the full conversation, listen at the link above or download and subscribe to “Stagecraft” on podcast platforms including Apple Podcasts, Spotify and the Broadway Podcast Network. New episodes of “Stagecraft” are released every other week.
A noted fictional company in the MCU, which previously appeared in other Marvel movies and shows, has a presence in Captain America: New World Order.
After 15 years, the MCU has put forth so many easter eggs and so many pieces of connective tissues between its 40+ projects that it can be difficult to keep track of everything, even for the most seasoned of fans.
Sometimes a given reference has been so subtle, that it was almost imperceptible, like when Tony Stark had a prototype Captain America shield in his workshop in the original Iron Man.
Cap 4 Set Photos Feature Roxxon Logo
Newly-revealed set photos from Captain America: New World Order (via atlanta_filming on Instagram) showed signage that feature the logo for Roxxon, the fictitious, in-universe energy company that has been referenced several times in the MCU, most notably in all three Iron Man films.
Instagram
The earliest appearance of the Roxxon logo was in 2008’s Iron Man during that film’s final fight.
Marvel Studios
In Iron Man 2, the company’s logo could again be spotted on one of the cars in Monaco:
Marvel Studios
And then in Iron Man 3, the entire climactic battle sequence was set on the Roxxon Norco oil tanker.
Additionally, Roxxon‘s presence can be felt in She-Hulk: Attorney at Law and even in the MCU One-Shot A Funny Thing Happened on the Way to Thor’s Hammer.
A Brief History of Roxxon
In the pages of Marvel Comics, the Roxxon Energy Corporation first showed up in an issue of Captain America from 1974. The company was created by prolific comic writer Steve Englehart who also dreamt up popular heroes like Shang-Chi and Star-Lord.
It’s mostly unclear what kind of an entity Roxxon is in the MCU. There was a reference to a disastrous oil spill that they had caused in Iron Man 3. There were also several references to the company in the series produced by the now-shuttered Marvel Television branch, but those entries are of mostly dubious canon status.
The comic book version of Roxxon is known for often having sinister intentions and a great deal of criminal negligence regarding its actions. Comics Roxxon has been said to place the bottom line over all else and is willing to go as far as violence to turn a profit.
In the MCU, Roxxon simply hasn’t gotten enough screen time for fans to get a good read on how it operates. Captain America 4 seems to carry on the trend of merely having the logo visible in the background of a scene. But perhaps future films and series will serve to further flesh out the company into something that more closely resembles its comics counterpart.
Captain America: New World Order hits theaters on May 3, 2024.
Review: Justice Society of America #4 [Editor’s Note: This review may contain spoilers]
Writer: Geoff Johns
Art: Mikel Janin and Jerry Ordway Colors: Jordie Bellaire and John Kalisz Letters: Rob Leigh
Reviewed by: Matthew B. Lloyd
Summary
Helena finds a chink in Per Degaton’s armor as continues to convince the JSA of the veracity of her story. Plus, Helena and Power Girl sit down for the first time time…again!
Positives
The first page of Justice of America #4 immediately takes on back to Mikel Janin’s time on Justice League Dark during the New 52. Janin’s art looks incredible as always and his way with faces comes through on his depiction of Madame Xanadu, one of the players also in Justice League Dark. Madame X is one of those characters who could always benefit from more exposure. Though, she did have a solo Vertigo series by Matt Wagner, Amy Reeder and Michael Kaluta that ran from 2008-2011, she’s generally seen in team books. She also appeared in Demon Knights concurrently with her time in the New 52 on Justice League Dark.
Both Madame Xanadu’s role and Helena’s ability to wound Degaton prove to be interesting plot points as they both are rooted in the same weakness in Degaton’s plan. It shouldn’t be a surprise that Degaton will be stopped, but the journey should be interesting and this issue’s development proves as such. The fact that Helena figures out the clues that gives her the momentary upper hand should be no surprise as she is the Dark Knight’s daughter.
Justice Society of America #4 takes some time for character as well. In the pre-Crisis on Infinite Earths days of the original Earth-Two, Helena and Power Girl were best friends. It was one of the strongest elements of the development of the original Earth-Two during the Bronze Age of Comics. Not coincidentally, they were the first legacy heroes on Earth -Two, and re-contextualizing their friendship in the modern era of DC Comics is something that’s been a long time coming. The New Golden Age #1 certainly teased that there would be familiar circumstances and we get the first one-on-one conversation between the two iconic heroines. Again, it’s a tease, but it’s a tease of something that should result in a fulfilling payoff down the line.
Negatives
Outside of the obvious more-than-a-month (more than two months!) since last issueJustice Society of America #4 doesn’t seem to have a real punch or “wow” moment. It just seems to hold the issue back from being as good as the previous issues in this series.
Verdict
Justice Society of America #4 is a solid issue that moves things forward with an interesting discovery by Helena. The tease of the friendship to come between her and Power Girl is welcome as it promises what we know from the past will now come to pass in the future.
Sony has launched a successor to its popular compact ZV-1 vlogging camera, the ZV-1 II, which addresses a big issue with the past model. Namely, it has a new wider lens that lets you fit your entire face into the frame with e-stabilization turned on, addressing the biggest complaint I and others had with the ZV-1. It also offers new settings that provide a more cinematic look, but otherwise, the camera is largely a rehash of the previous model.
As before, the ZV-1 II has a 1-inch (16mm diagonal) stacked BSI sensor borrowed from Sony’s RX100 V, just like the original ZV-1. The body is unchanged and the controls are the same, and it has a nice flip-out display as before — but no electronic viewfinder.
Sony
The built-in 3-capsule microphone deliver better sound quality than the built-in mics on most cameras, and it has a 3.5mm microphone jack (but no headphone port, sadly) and multi-interface shoe that supports select Sony mics.
The biggest addition is a new 18-50mm (35mm equivalent) f/1.8-4 lens that’s wider than the 24-70mm f/1.8-2.8 lens on the past model. With the latter, the ZV-1 was barely wide enough with electronic stabilization off. With e-stabilization enabled, it was effectively too tight for vlogging unless you have super-long arms. The new lens is now equivalent to 23mm with stabilization on, which is wide enough, though just barely.
Sony
There are some drawbacks, though. While the ZV-1 had optical stabilization on the lens that was good for handheld shooting (but not vlogging), the ZV-1 II is lacking that function. And of course, you lose 20mm of zoom range, and the new lens is also slower at the 50mm end. So buyers will need to choose between the new model’s wider field of view or the longer and faster lens on the original ZV-1.
Video is largely unchanged, with 4K limited to 30fps despite the fast stacked sensor. While you do get S-Log2 and S-Log3 shooting modes, it only supports 8-bit and not 10-bit video, so the log modes won’t considerably improve dynamic range. What’s new is the Cinematic Vlog setting first introduced with the ZV-E1. It uses a 2.35:1 aspect ratio for that CinemaScope feel, and quick access to filters, looks and more.
As before, you get Sony’s Product Showcase setting that quickly shifts focus to objects presented to the camera, along with a Bokeh Switch that instantly opens the iris as much as possible to blur the background and put the emphasis on the subject. Sony promises fast autofocus via its Hybrid AF system, that uses AI to lock onto your subject’s eyes, whether they’re people or animals. It also has a handy built-in ND filter that reduces exposure by three stops to allow for better background bokeh on sunny days.
The new ZV-1 II will be available in June 2023 for $900, more expensive than the $800 price for the ZV-1 at launch. Once it hits stores, Sony may discount the ZV-1 (it currently sits at $748), giving potential buyers something extra to think about.
Sony
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Eight feature documentaries and eight short docs have been selected as finalists for the 16thDoc Alliance Awards, presented by the Doc Alliance – the association of European documentary festivals.
The announcement of nominees was made today during Doc Day at the Marché du Film in Cannes. Each member festival chooses one feature and one short as its nominees, selected from among the program of their most recent events. The winners will be revealed at DokuFest in Prizren, Kosovo in August, where all the nominated films will screen. A three-person jury will choose the winners: Anna Berthollet (CEO, Sales & Acquisitions at Lightdox), journalist and programmer Arnaud Hée (La Cinémathèque du Documentaire) and festival programmer Jonathan Ali (Third Horizon, Tribeca Film Festival).
The winning feature will earn a €5,000 prize, while the winning short will receive €3,000. Members of the Doc Alliance include CPH:DOX (Copenhagen, Denmark); Docslisboa (Lisbon, Portugal); DOK Leipzig (Leipzig, German); FIDMarseille (Marseille, France); Ji.hlava IDFF (Jihlava, Czech Republic); Millennium Docs Against Gravity FF (Warsaw, Wrocław, Gdynia, Poznań, Katowice, Lublin, Bydgoszcz and Łódź, Poland), Visions du Réel (Nyon, Switzerland), and this year’s guest festival, DokuFest in Prizren, Kosovo.
Full list of Best Feature nominees:
a-B-C-D-e-F-G-H-i-JONESTOWN, Czech Republic, director: Jan Bušta, nominated
by Ji.hlava IDFF
Christina (Kristina), Serbia, director: Nikola Spasic, nominated by FIDMarseille
Death of a City (A Morte de uma Cidade), Portugal, director: João Rosas, nominated
by Doclisboa
Disturbed Earth, Bosnia and Herzegovina/ North Macedonia/ Spain, directors:
Kumjana Novakova and Guillermo Carreras-Candi, nominated by DokuFest
Nights Gone By (Antier noche), Switzerland/ Spain, director: Alberto Martín
Menacho, nominated by Visions du Réel
Polish Prayers, Poland/ Switzerland, director: Hanka Nobis, nominated by Millenium
Docs Against Gravity
Silent Sun of Russia (Vi er Rusland), Denmark, director: Sybilla Tuxen, nominated
by CPH:DOX
Three Women (Drei Frauen), Germany, director: Maksym Melnyk, nominated by
DOK Leipzig
Full list of Best Short nominees:
07:15 – Blackbird, France, director: Judith Auffray, nominated by Ji.hlava IDFF
Adjusting (Prilagodjeni), Serbia, director: Dejan Petrović, nominated by DokuFest
Darkroom, Turkey, director: Asli Baykal, nominated by Visions du Réel
May the Earth Become the Sky (Face-s-ar pământul cer), Belgium/ Hungary/
Portugal/ Romania, director: Ana Vîjdea, nominated by Doclisboa
Nothing Runs Like a Deere, Sweden, director: Max Göran, nominated by CPH:DOX
The cervix pass (Le passage du col), France, director: Marie Bottois, nominated by
FIDMarseille
waking up in silence, Germany/ Ukraine, directors: Mila Zhluktenko and
Daniel Asadi Faezi, nominated by Millenium Docs Against Gravity
Why my mum loves Russel Crowe, Netherlands, director: Emma van den Berg,
But he very much almost was! Last year, Avatar director James Cameron revealed that Matt turned down the role of Jake Sully, which eventually went to Sam Worthington — and he missed out on a $250 million payday in the process.
In a recent Entertainment Tonight interview alongside actor Zoe Saldana — who is in the Avatar film series — Matt admitted that turning down Avatar was, in hindsight, not the best business decision.
“It’s the dumbest thing an actor ever did in the history of acting,” he admitted, even as Zoe pointed out that his career didn’t exactly “suffer” as a result.
“Do you know what kind of movie that would’ve been if I would had been in it?” he replied.
“I’ve probably done, like, 50 movies,” he went on. “I’ve never been in a movie that made $1 billion.”
Let this be a lesson to all: If life offers you Avatar, take it.
SAG-AFTRA and Cameo for Business (C4B), the celebrity digital marketplace that connects talent with fans and brands, have reached what the guild is calling a “groundbreaking” agreement that allows its members to work under a SAG-AFTRA contract and count their C4B earnings toward their pension and health benefits.
Cameo for Business is a digital marketing platform connecting brands of all sizes directly with entertainers, athletes, creators and other high-profile talent to create social and promotional content. According to the guild, there are “tens of thousands of stars on the platform, many of whom are SAG-AFTRA members who want the rights, benefits and protections afforded by a union contract.”
Fran Drescher, the guild’s president who herself is a Cameo talent, said: “The commercial industry has changed so much and we’re keeping up with it. I am so excited about this new agreement and proud that we found an innovative way for our members to have their work covered and earn towards their health and pension benefits. It’s a win for everyone involved. Now everybody can be #CoveredOnC4B.”
Duncan Crabtree-Ireland, the guild’s national executive director and chief negotiator, said that the new agreement is similar to SAG-AFTRA’s Influencer and Podcast Agreements, and “is another example of the ways in which SAG-AFTRA continues to innovate contracts to ensure that members have the opportunity to cover their work and be eligible for health insurance and retirement benefits, as well as be in good standing with the union, and have guidance and staff support every step of the way.”
Said Cameo co-founder & CEO Steven Galanis: “Our mission at Cameo for Business is to seamlessly connect our talent with the brands they love for fast, high-performing creative marketing content. The talent experience is a top priority so we’re thrilled that this new SAG-AFTRA partnership will ensure that existing and new talent are easily covered and contributing to their essential membership benefits while engaging with brands on our platform.”
Founded in 2017, Cameo bills itself as the leading marketplace connecting fans and brands directly with tens of thousands of pop culture personalities in the form of personalized video messages, engaging fan experiences, and marketing content partnerships. The platform also has helped raise more than $2 million for a wide range of charities.
Comedy is tragedy plus time, as the saying goes — and in TV comedies, timing is everything. Historically, the TV Academy has considered a comedy to be a half-hour of television. But this season, several shows are blurring the lines between comedy and drama in both tone and episode length — which may impact their chances in the Emmy race.
Take, for example, Apple TV+’s Ted Lasso, which picked up the prize for best comedy series for its first two seasons and is aiming for a third nom this summer. The feel-good series about a scrappy English soccer — excuse me, football — team first found a rabid fan base during the pandemic with its positive messages of collaboration and communication, themes presented via the eponymous coach played by co-creator Jason Sudeikis (who has received two Emmys for his performance). But what began as a 30-minute series has evolved into a slightly different animal, with episodes in its third season running over an hour. It’s still a funny show, but an expanded run time has allowed Ted Lasso to explore more serious topics (this season touches on sexuality, racism and Lasso’s divorce, and continues to explore his struggles with mental illness).
Emmy voters haven’t balked at hourlong comedies in the past — Amazon Prime Video’s The Marvelous Mrs. Maisel, which wraps its fifth and final season May 26, petitioned to be considered a comedy, and won best comedy series, in 2018; it has been nominated in the category for each subsequent season.
Netflix’s Orange Is the New Black, another darkly comic streaming series, scored a best comedy nom for its first season in 2014. A TV Academy ruling in 2015, however, determined that shows over 30 minutes must submit as dramas or formally petition for the other category. OITNB appealed, but the new rule and the show’s darker tone forced it to move categories for its following seasons — making it the first show in the Emmys’ 74-year history to win awards in both comedy and drama categories. That controversial rule was dropped in 2021, clearing the path for today’s genre-blurring shows.
Like Ted Lasso, HBO’s Barry has evolved greatly over its four-season run. While its episode length has remained close to 30 minutes, the hitman comedy show — which has twice won best actor for Bill Hader and supporting actor for Henry Winkler but has yet to win for best comedy series — has become much more brooding and devastating as it nears its May 28 series finale; it’s now more akin to the tense, Emmy-winning thriller Breaking Bad or its Emmy-nominated prequel, Better Call Saul. The cabler’s other top contender, Succession, which has won best drama series twice, is as funny as it is serious — and yet has cemented itself as the drama to beat in this year’s race.
That poses a dilemma for HBO’s The White Lotus, which won the Emmy for best limited/anthology series for its first season despite having been renewed for a second before Emmy submissions closed last year. The show has jumped categories into drama — but the awkwardly funny moments in the hourlong Mike White-scripted satire make it feel more like a comedy of manners.
Streaming series have long pushed genre boundaries, and this season will see possible comedy nominees in Peacock’s Columbo homage Poker Face (averaging 60 minutes per episode) and Netflix’s spooky Wednesday (clocking in at over 40 minutes), both of which serve laughs and slight horrors in equal measure. Meanwhile, Hulu’s Tiny Beautiful Things is something of a TV anomaly: the half-hour drama. No such show has received a series Emmy nom — and thus Hulu submitted the Kathryn Hahn-starrer inspired by writer Cheryl Strayed’s advice columns as a limited series.
The most befuddling submission this year might be FX/Hulu’s The Bear, which has already netted Golden Globes, SAG Awards and Indie Spirit Awards in the comedy categories and is a leading contender for Emmys. But while a nom may be a lock, can a series about the stressors of a toxic work environment — in this case, a Chicago sandwich shop — compete in a category with ABC’s notably less stressful workplace comedy Abbott Elementary?
In a streaming-dominated TV landscape, strict rules of genre are becoming moot; should a dark and dramatic show win best comedy series, the Academy may have to once again reassess how its top Emmy categories reflect evolving tastes and tones.
This story first appeared in the May 17 issue of The Hollywood Reporter magazine. Click here to subscribe.
“Life is short. We should all love one another,” Frank Vernon tells Roman Roy in Succession’s game-changing episode dedicated to Logan Roy’s funeral. Peter Friedman, who’s essayed Frank since the series premiere, also truly believes in his character’s advice, especially in regards to the Roy siblings.
A Quiet Place: Part II’s Millicent Simmonds thinks she’d be a goner if aliens attacked
The actor has been evolving Frank in Jesse Armstrong’s award-winning series from “the man who got fired” in episode one to a mensch along for a wealthy joyride over four seasons. Frank might’ve been Roman’s nemesis when the HBO drama began, but he has since become a critical part of the posse surrounding the Roys. The show just wouldn’t be the same without the old guard, which includes Frank, Karl (David Rasche), and Gerri (J. Smith Cameron).
To mark the series finale on May 28, The A.V. Club spoke to Friedman about playing Frank, his experience filming crucial scenes, who he’s rooting for on the show, and joining The Marvelous Mrs. Maisel’s final run.
The A.V. Club: When you first got the role of Frank Vernon, what were you hoping for from Succession? In hindsight, how did it pan out in comparison?
Peter Friedman: [Laughs] Oh, that’s a good one. So, I believe when I did the pilot, I was not a regular. I was just hired for that episode. After HBO accepted the series and picked it up, then things shifted. I still felt okay because Frank’s been there at Waystar Royco for 30 plus years. He’s fired at the end of episode one, but he must know where all the bodies are buried and all that kind of stuff. So I thought, “I’m good.” I might be fired, but there are all sorts of trite plot points where I can come back [to take revenge]. None of that happened. This is not that kind of TV show. It’s different, and that’s what makes it cool. They don’t do what you think they’re going to do. They concentrate on the Roy kids and the family dynamic, of course. But it’s interesting how despicable they were to us in the first episode but how pitiable they are to us now. And they’re the same people, but we’ve just come to feel bad for them.
AVC: What were your reactions to season four, and how Frank’s arc with Karl and Gerri progresses?
PF: We didn’t get our scripts way before. We’d get them the night before reading either live or on Zoom. We’d read it all out, crackle, and sometimes go, “Wow” or “I don’t know.” Two days later, we got another version of it. The writers really listen to those first readings and are ruthless in making edits. It was beautiful. There haven’t been many of my dialogues, but other people’s words would keep blowing my mind. They make these characters go to the nastiest part of themselves all the time.
AVC: What was it like to be in the church and film Logan’s funeral in the most recent episode? I liked that small exchange between Frank and Roman where you ask him, “Are you okay, son?”
PF: Yeah, it was nice. That was all scripted. To film the episode, there were so many people involved. I just kept thinking, “How are they going to keep this a secret?” There are thousands of people here. But somehow, they did. It was all done in so many pieces. I was just caught up in the drift of the actual scenes.
PF: It totally was. That was a masterful episode. Dave Rasche, who plays Karl, and I and the others were sequestered in the back. Matthew Macfayden was on the phone from England quite a bit. The yacht stuff was done first. We weren’t at the party. We were on the plane. So we were kept in the back room behind curtains. I’m with a tech person and a phone person because we were going to do all the phone calls live that day. We shot the fuselage stuff in the studio; it’s the one across from the Museum of the Moving Image in Queens. It was a tight area. There were moments I had to walk over a body to get to the pilot. It was something. They also brought in decoys like Larry Pine, who plays Sandy Furness, just to put him on the call sheet and photograph him on the ground in a costume. It was to lead whoever was there or gets a whiff of anything off the scent. It was a hushed, intense, and quiet day. And, of course, Matthew was handling most of it [when he was there].
Succession Season 4 Episode 4 Kendall and Frank | Big Problem
AVC: There’s a standout Frank moment in that episode when he’s talking to Kendall on the phone and says the pilot can’t come to talk to him. It comes from a place of genuine care. Do you think Frank does feel some paternal affection for Ken? Was that a character motivation for Frank?
PF: Yeah, I think he does. He’s watched him since he was a baby and has seen him go awry. He’s naturally worried about Kendall, while he’s frustrated by Roman because of whatever their L.A. adventure was. But he does seem to feel for Ken, which is a motivation.
AVC: So it’s safe to say if Frank was rooting for any of the Roys, it would be Kendall. Were you, as Peter, rooting for anyone?
PF: Wow. [Pauses] So, I liked when Frank told Kendall, “Do you really want back in?” It says a lot. I personally want these guys to be human. That’s what I’d like to see. This place is no good for them.
AVC: Do you feel like Succession is an easy show to let go of since you’ve been a part of it from the beginning?
PF: Oh, yes. Yes. It’s because it’s been brought to a conclusion. I’m okay with that. I mean, I’ve got a million questions about my guy that I’ve still not got answers to, but the hard part is knowing that it’s going to be a while before I see such all-over excellence again in a working situation.
AVC: What were some of those questions you had about Frank? Was it tough to get into character when you didn’t know as much about him?
PF: Exactly. I’m one of those guys who loves to research. For me, it’s the most fun, even as much as acting. You go into worlds you never knew. As a not very gregarious person, it forces me to ask questions and meet people I didn’t know before. I loved that. I’ve taken trips to immerse myself in culture and dialect for a role. It helps you in a way you can’t describe. You feel a teeny bit more authentic, and then you have to let it go. But with Frank, it was different. I was a CFO, I think, in the pilot for a few minutes. So, of course, I researched on what those duties entail and what it’s like. And then, boom. He’s not the CFO. He’s fired. From then on, I didn’t know what I was. Sometimes I hear Frank is the Vice Chairman of the Board or something. I don’t know. I think for everyone, including him, it was about keeping enemies close or friends who are not trustworthy close.
AVC: Frank, Karl, and Gerri have been around since the beginning. Frank usually takes it all in when he’s not the center of the story. What was it like to observe everything happening around him?
PF: When you mentioned that, right now, the one thing I think of is the editing. I’m not represented by lines, so it’s easy to disappear in the background. People tend to approach me on the street about Frank and are friendly, but it confuses me because I only have one or two lines in an episode sometimes. But the editors treat the episode like a novel, and non-verbal reactive shots of you are added in. It keeps your character alive. I give them the credit for building the character the way it has. I also think there’s merely enjoyment to watching everything, like watching Brian explode, but it’s real. There’s the acting explosion and the real explosion. It’s something to see when he can channel the real one for the scene.
Succession – Flushed Down the Toilet Scene
AVC: There’s a scene in season four episode five of Frank and Karl sitting outside the sauna while the others are baking in the tiny room inside. It went viral on Twitter, and people were rooting for both of them to be free of Waystar Royco.
PF: [Laughs] That was our goal. The original concept was that there’s a hot tub on that deck three feet over from where we’re sitting. The idea was to have us in there, but it didn’t happen. So there we were in our robes. It was a lovely evening. The people inside are crammed in and sweating because of the lights. Dave and I got off easy.
AVC: You both have lovely comedic chemistry. Was it fun to develop that over four seasons?
PF: We’ve been friends for a long time. He’s the funny one; I’m certainly the straight man. He’s a great storyteller and likes to do that. I’m not quite as affable. But he’s a delight, and it just works.
AVC: You’re also in the final season of The Marvelous Mrs. Maisel, which ends on May 26, playing a character with not villainous, but definitely negative, energy. What was that like? Were you a fan of the show?
PF: I hadn’t seen all of it, just part of it. But the creators offered it to me. The role [George Toledano, producer for a late night talk show] seemed like a lovely departure for me as an actor. It was timed perfectly so I would exit filming right when Succession started. Mrs. Maisel started shooting in February and Succession in June of last year, so it worked out great, and I could be in six of the Mrs. Maisel episodes. I wish I could be in more, but I was glad to do it. The first time I was on set, [series creator] Amy Sherman-Palladino had to cajole me to get bigger and do bigger. I was still doing more subdued, realistic stuff. Amy had to remind me, “This guy is a character. He’s a show-off.” Everybody there, just like with Succession, were all lovely, sweet people. It was so much fun. It was a party.
AVC: Did you have any idea both shows’ final seasons would air at the same time, and that the series finales would be one day apart?
PF: Isn’t that cool? I didn’t know what the schedules would be, but I love the one-two punch of it.
Since Counter-Strike: Global Offensive (CSGO) game release in 2012, it has been one of the most popular first-person shooter games. Many gaming sites present fascinating information on CSGO that you can read more on this page, and discover how popular the game has really become. The movie industry has also taken to the game, with some movies having been released over the years, each with its own unique take on the game and its characters.
Whether you’re an avid CSGO fan or just looking for something new, here are some must-see CSGO-themed movies that will keep you entertained.
The first movie on our list is “Counter Strike: Source,” which follows two rival teams battling it out in an epic tournament for supremacy. This action-packed movie features intense gunfights, a lot of explosions, and some interesting plot twists along the way.
Another great choice is “Operation Blackout” which is about a massive terrorist attack in London, where players have to fight through hordes of enemies while trying to save innocent civilians from harm.
Then, there is “The Search For Truth,” which follows a group of gamers who go against all odds to uncover hidden secrets about their favorite game – CSGO – and ultimately prove themselves worthy opponents on the battlefield.
Analyzing the evolution of CSGO in film narratives
The evolution of Counter-Strike: Global Offensive (CSGO) in film narratives has been a fascinating journey. What started small as a mod for Half-Life has significantly grown to its current status as one of the most popular eSports titles. It has been used in films to explore themes such as teamwork, strategy, and competition. It has also created suspenseful moments and provided an exciting backdrop for action sequences. Analyzing the evolution of CSGO in film narratives can help us gain insight into how this game has become so popular and why it continues to be featured in films today. It can also help us learn how filmmakers have used CSGO to tell stories and create compelling visuals.
Do the cinematic visuals of CSGO movies match up to the game?
CSGO has inspired some themed movies, which offer very unique experiences, and are greatly loved by gamers. Viewers are mainly captivated by the movie visuals, which are impressive to say the least, almost like the actual game. These visuals, however, do not always match up perfectly with the game. Some shots may look similar to what you would see in-game. In contrast, there are some exaggeration in other shots to achieve a dramatic effect. Moreover, some of the movie scenes have been completely fabricated so as to create a more visually appealing movie overall.
Follow the MailOnline’s live blog as detectives investigating the disappearance of Madeleine McCann begin their search of a remote Algarve reservoir, said to be chief suspect Christian Brueckner’s ‘little paradise’ in the Portuguese region.
SAG-AFTRA has struck a deal with celebrity video platform Cameo to cover the brand deals that members make through Cameo for Business (C4B) under a guild contract.
The new pact, “C4B x SAG-AFTRA Agreement,” will allow SAG-AFTRA members to count C4B earnings toward health and pension benefits, just as those earnings become a growing concern for out of work actors while the Writers Guild of America’s strike against Hollywood studios and their organization, Alliance of Motion Picture and Television Producers (AMPTP), rages on.
SAG-AFTRA has been a big supporter of WGA on the picket line over the first three weeks of the strike, with SAG-AFTRA president Fran Drescher being very vocal ahead of the the actors guild entering its own contract negotiations with the AMPTP on June 7.
WGA and AMPTP failed to reach an agreement before WGA’s most recent contract expired May 1. The Directors Guild of America (DGA) has been negotiating a new deal with AMPTP since May 10, as their contract is set to expire June 30.
“The commercial industry has changed so much, and we’re keeping up with it!” Drescher said. “I am so excited about this new agreement and proud that we found an innovative way for our members to have their work covered and earn toward their health and pension benefits. It’s a win for everyone involved. Now everybody can be #CoveredOnC4B!”
National executive director and chief negotiator Duncan Crabtree-Ireland added: “Similar to the Influencer and Podcast Agreements, the C4B x SAG-AFTRA Agreement is another example of the ways in which SAG-AFTRA continues to innovate contracts to ensure that members have the opportunity to cover their work and be eligible for health insurance and retirement benefits, as well as be in good standing with the union, and have guidance and staff support every step of the way.”
“Our mission at Cameo for Business is to seamlessly connect our talent with the brands they love for fast, high-performing creative marketing content,” Cameo co-founder and CEO Steven Galanis said. “The talent experience is a top priority so we’re thrilled that this new SAG-AFTRA partnership will ensure that existing and new talent are easily covered and contributing to their essential membership benefits while engaging with brands on our platform.”
THE BREAKING ICE Section: Un Certain Regard Director: Anthony Chen Screenwriter: Anthony Chen Logline: In cold wintry Yanji, a city on China’s northern border, young urbanite Haofeng, visiting from Shanghai, feels lost and adrift. By chance, he goes on a tour led by Nana, a charming tour guide who instantly fascinates him. Panelists: Anthony Chen, Zhou Dongyu and Liu Haoran Sales Agent: Rediance Premiered: Monday, May 22nd Key Quote: “I think that’s the only way I could make this film, because I didn’t grow up in China, so if you were to ask me to make a film where it’s a very very deep, thorough socio-realist observation of working young people in China, I think it’s really tough, which is why I can only use the lens of an outsider.”
Click above to watch the interview.
The 2023 Cannes Film Festival runs May 16-27. Follow Deadline’s complete coverage of the deals and doings on the Croisette here.
A daunting task faces the protagonists in Terrestrial Verses (Ayeh haye zamini): Each of them is trying to reason with a government bureaucrat or other self-important authority figure. They’re all residents of Tehran, and there’s something specific to Iran in the oppressive regulations and catch-22s that hinder them, but there’s universal resonance, too, in the escalating lunacy and bleak implications.
In 10 of the feature’s 11 subtly interlocking segments, a single character faces an offscreen interlocutor. The fixed camera holds them in an unwavering embrace as each one tries to make sense of arbitrary rules and demands. Inspired by the intricate rhymes of ghazal, a classic form of Persian poetry, writer-directors Ali Asgari and Alireza Khatami have constructed a thoroughly modern work of bracing concision, elegance and blistering deadpan humor, one that pulses with sorrow and outrage over the absurdity of authoritarian dictates that aim to crush souls.
Terrestrial Verses
The Bottom Line
A fine distillation of blistering deadpan humor and righteous anger.
Venue:Cannes Film Festival (Un Certain Regard) Cast: Majid Salehi, Gohar Kheirandish, Farzin Mohades, Sadaf Asgari, Hossein Soleimani, Faezeh Rad, Bahram Ark, Sarvin Zabetian, Arghavan Shabani, Ardeshir Kazemi Director-screenwriters: Ali Asgari, Alireza Khatami
1 hour 17 minutes
Terrestrial Verses, which takes its title from a poem by 20th century iconoclast Forugh Farrokhzad, cycles from birth to death, beginning with the frustrated efforts of a new father (Bahram Ark) to register a name for his infant son. The next figure is a spirited girl of about 8 (Arghavan Shabani), and they grow progressively older as the film moves from one sequence to the next. Deeply intrusive lines of questioning unfold. Bizarre requirements and illogical reasoning are expressed by each vignette’s unseen figure, in most cases an officious interviewer. “I am here to help you,” the government clerk declares as he stymies that young father’s intentions at every turn. But hope blooms too in the good questions, often laced with healthy sarcasm, that various protagonists ask. Their disbelief is contained but rising, and in some cases their alarm bursts into quiet defiance.
The most overtly daring, a teenage girl (Sarvin Zabetian) called into the principal’s office because she was seen with a boy — on a motorcycle! — also has the last word. Her boldness is productive because, it turns out, she has a card to play involving her would-be punisher’s hypocrisy.
Delving into matters of state surveillance and restrictive policies that target women, the next segment involves 20-something Sadaf (Sadaf Asgari), a rideshare driver trying to retrieve her car — impounded because footage from CCTV cameras shows her riding around with her hijab off. (The protest movement sparked by the death of Mahsa Amini, arrested for allegedly violating hijab laws, had already begun when the helmers started making this film.) As Sadaf asserts a right to privacy, the Traffic Department lackey sitting opposite her insists that she’s just doing her job, and is more interested in her lunch than the political implications of the policy she’s enforcing against a fellow female.
No hijab would be required for 30-year-old Faezah (Faezeh Rad) if she’s hired by the private company whose ad she’s answered. But it quickly becomes evident that, however generous the benefits on offer, she’d be working for a boss who’s not only sexist but predatory.
The prying affects men too — notably Farbad (Hossein Soleymani), whose application for a driver’s license devolves into a ludicrous and unsettling inquisition by a bureaucrat who apparently has appointed himself an arbiter of normality. Farbad’s tattoos (of verses by Rumi) capture the interviewer’s disapproving interest, which spirals into perverse fascination.
The situation faced by Ali (Farzin Mohades), a middle-aged filmmaker seeking a shooting permit for his movie, is perhaps the most obvious of the vignettes, and also the most familiar to anyone who has watched, with alarm, the Iranian government’s persecution of directors Jafar Panahi, Mohammad Rasoulof and Mostafa Aleahmad. And surely Asgari and Khatami, who partnered on the screenplay for the former’s 2022 feature, Until Tomorrow, which dramatizes the clash between repressive tradition and personal choice in Iran, have had their own surreal encounters with the Ministry of Culture.
Mohades’ performance is alive with low-key exasperation as the official assures him that he has no issue with the core of his proposed feature — only with the script, the title and the psychological underpinnings. Maybe, he suggests, Ali could tell a story from the Quran instead.
The actors are all pitch-perfect, etching full-blooded characters in scenes of 10 minutes or less. In true poetic spirit, there isn’t a wasted word or moment. From the layered sound design (by Alireza Alavian) — setting the scene with a cacophony of voices and traffic noise as Tehran begins another day — to the place- and character-defining design contributions (Hamed Aslani and Morvarid Kashian) and the graceful precision of the cinematography (Adib Sobhani) and editing (Ehsan Vaseghi), Terrestrial Verses is a marvel of potent understatement.
With its piercing glimpses of courage and backtalk in the face of totalitarian edicts and fundamentalism, the film offers hope. The barbed responses of 8-year-old Selena, in one of the early segments, are heartening. In the clothing shop where she does a spirited version of the Alley Cat before a mirror, listening to pop tunes through sparkly earphones, her offscreen mother discusses the school uniform she’s come to buy, and the saleswoman ticks off what’s decreed for schoolgirls. The restrictions begin with the colors Selena loves. The comical/heartbreaking sight of her swallowed up by a drab oversize garment and veil is the vision of a light going out. It’s warning to all of us.
22 Deleted Movie Scenes That Are Either Great Or Terrible
Films are like puzzle pieces; sometimes, one piece could make or break an entire film. So, here are 11 deleted movie scenes that should have made the cut and 11 that deserve an eternity in the recycle bin:
1.
RESTORE IT: In this deleted Star Wars: The Last Jedi scene, Luke Skywalker mourns his friend’s death.
2.
KEEP IT DELETED: The Batman teases our first look at the Joker with a full-length deleted scene that’s very…meh.
3.
RESTORE IT: In this deleted Mean Girls scene, Regina and Cady have a heart-to-heart.
4.
KEEP IT DELETED: In this deleted scene from Avengers: Infinity War, Thanos gives his daughter Gamora a trippy guilt trip.
5.
RESTORE IT: In Harry Potter & the Deathly Hallows: Part I, this deleted scene gives Dudley a very “Dudley” sendoff.
6.
KEEP IT DELETED: The Thing’s deleted ending undermines the famous final scene.
7.
RESTORE IT: In this deleted song from The Muppet Christmas Carol, Scrooge and Belle sing “When Love Is Gone” to pluck at the heart strings.
8.
KEEP IT DELETED: Jaws has this bizarre deleted, and pretty pointless, scene where Quint trolls a kid.
9.
RESTORE IT: I Am Legend has a deleted scene that offers a WAY better alternate ending.
10.
KEEP IT DELETED: Hook gives the lost boys a proper introduction in this deleted scene, but it misses the mark.
11.
RESTORE IT: We learn about the fate of Ripley’s daughter in this deleted scene from Aliens.
12.
KEEP IT DELETED: This impressive deleted scene from Titanic has Jack facing off against Lovejoy and becoming an action hero.
13.
RESTORE IT: In a great deleted scene from Spider-Man 2, J. Jonah Jameson wears the Spidey suit.
14.
KEEP IT DELETED: Superman Returns…to Krypton in a costly deleted scene.
15.
RESTORE IT: The Lord of the Rings: The Two Towers has a flashback deleted scene where we get more of Boromir/Faramir’s family dynamic.
16.
KEEP IT DELETED: In this Back to the Future deleted scene, Marty McFly is concerned the fallout of this whole time travel experience will make him gay.
17.
RESTORE IT: In this deleted scene for The Wolverine, the iconic Wolverine costume is finally shown on-screen.
18.
KEEP IT DELETED: The Wolfman‘s extended opening gives the main character a much-needed backstory, but this deleted scene of the Wolfman attacking townsfolk does nothing for the story.
19.
RESTORE IT: In this Silence of the Lambs deleted scene, Hannibal shows sympathy for Buffalo Bill.
20.
KEEP IT DELETED: This deleted scene from Bruce Almighty has Bruce find Bigfoot during a skydiving trip.
21.
RESTORE IT: In this Star Wars: Return of the Jedi deleted scene, the Emperor threatens to wipe out Luke Skywalker’s friends with the Death Star II.
22.
KEEP IT DELETED: And finally, another Return of the Jedi deleted scene has Yoda covering for Obi-Wan only to make himself seem worse.
Disagree with any? Are there deleted movie scenes you wish made the final cut? Comment below!
Marvel and Star Wars actor Ray Stevenson tragically passed away on Sunday, May 21, 2023.
Ray Stevenson
Variety confirmed with Stevenson’s publicist that the Irish star died on Sunday at only 58 years old, although no cause of death was given.
Italian website Spettacoli first reported on Stevenson’s death, noting that he had been hospitalized on the island of Ischia during the production of his new film Cassino on Ischia.
Stevenson was well-known among comic book fans for his supporting role in the MCU as Volstagg in all three movies from the Thor trilogy as well as playing the titular Punisher in 2008’s Punisher: War Zone.
He will also play a villainous role in Star Wars’ Ahsoka as Baylan Skoll. Previously, he voiced Gar Saxon in two episodes of Star Wars Rebels and two episodes of Star Wars: The Clone Wars.
Outside of his place as a sci-fi/comic book franchise mainstay in Marvel and Star Wars, Stevenson built an impressive career over the last 30 years.
He played key roles in other action stories like the Divergent movies and G.I. Joe while also becoming well-known for his roles in major TV shows such as Dexter and Vikings.
The Scottish star even had a place in the hit 2022 Indian movie RRR, which won an Academy Award for Best Original Song.
The Direct sends our deepest condolences to Ray Stevenson’s family and friends during this difficult time.
The Sandman Universe: Dead Boy Detectives #6 brings the series to a surprising, but hugely satisfying close.
The immortal witch, Thessaly, has discovered the cause of the Thai ghost invasion and knows a way to end it. While that sounds like good news, one of the friendly spirits has already been destroyed and it seems like getting rid of the evil ones will also destroy Charles and Edwin’s friends, Melvin and Tanya.
Positives
This finale had me on the edge of my seat throughout. Ever since Charles started rotting away and Jai was “killed” I’ve been expecting the worst. Even when Thessaly finally appeared I knew that, even though she’s a capable and extremely powerful witch, her methods tend to suit her own needs and “the greater good”, with little thought about anyone else, living or (un)dead, that doesn’t fit in with her methods or ideals.
I’ve learned about new mythologies, felt scares, laughed, and had my heart broken. As a huge comics fan, this is the kind of series that proves the validity and power of the medium. It still upsets me when people put comics down, particularly when there are great stories like Dead Boy Detectives on the shelves.
What I really liked was the fact the “villain” of the piece wasn’t a foul demon, dark wizard, or megalomaniac bent on world domination, but a distraught and grieving father. On the opposite side of the coin, the “savior” of the piece was Thessaly, a character who’s frequently as bad as everything she tries to fight.
The writing’s great, the art is quirky, horrific and fun, the colors add to the texture and atmosphere of the line art, and the letters help evoke and underline all the emotions from the writing and artwork. This is a collaborative medium and this creative team show how brilliantly teamwork can produce a brilliant final product from a diverse and talented group of creators.
Oh… and look out for a fabulous little cameo from one of the Endless, near the end of the issue.
Negatives
As final chapters go, The Sandman Universe: Dead Boy Detectives #6 is about as good as it gets. I didn’t expect it to end the way it did, have no issues with the conclusion; and, best of all, as all great stories tend to do, what was the conclusion to one tale is just the beginning of another. The Dead Boy Detectives will be back (although they may need to change their name), and Thessaly’s role and connection to he larger, overall arc will continue, over in the pages of Nightmare Country.
This entire team has created a memorable, fun, scary romp that has never ceased to delight. I have bought the individual issues, and would happily own a collected version too.
The third-person single-player horror game has been in development for five years at THQ’s Swedish studio Pieces Interactive, with Mikael Hedberg (Amnesia, SOMA) directing and writing the game and monster designs by Guy Davis (Evolve, Pacific Rim).
According to THQ, the new game is “a love letter to the original” which is targeting “a classic third-person horror game mix” of “strange and interesting characters, a dense atmosphere and thrilling combat”.
1992’s Alone in the Dark is credited as being a forefather to the survival horror genre, releasing four years before the original Resident Evil, and developer Pieces Interactive said it was determined to recapture the atmosphere of the original.
“Playing as Edward Carnby or Emily Hartwood, explore the various environments, fight monsters, solve puzzles and discover the terrible truth about the mansion of Derceto,” the game’s official description reads.
“In the deep south of the United States during the years 1920, Emily Hartwood’s uncle disappears. Accompanied by the private detective Edward Carnby, she goes looking for him in the manor of Derceto, a mental asylum where something is lurking.
“You will encounter strange occupants, nightmarish kingdoms, dangerous monsters, and uncover an evil conspiracy. At the confluence of reality, mystery and madness, the adventure that awaits you risks undermining your certainties. Who are you going to trust, what are you going to believe, and what are you going to do next?”
Alief has acquired world sales rights to Alex Kahuam’s single-take thriller “Failure!” starring Ted Raimi.
Shot in a single, 87-minute take, the Mexican-U.S. co-production follows James (Raimi), a man who has just one hour to choose between financial ruin or murder to protect his family.
The film gained a boost after bowing at the inaugural Fantastic Pavilion Galas, the Cannes Film Market’s new genre showcase.
“I’m very excited to work with Alief because they understand what true cinema is,” said Kahuam. “The Fantastic Pavilion was the bridge and Alief was the catalyst to move the film where we thought it should go.”
Raimi added: “With Alief, I’m looking forward to fans seeing me in a different light; still a black and morbid one, but now dramatic as well.”
“We are chuffed to represent Alex Kahuam’s brilliant genre-bending thriller featuring a tour-de-force performance from the one and only Ted Raimi,” said Alief President Brett Walker.
Raimi has described the filming of “Failure!” as “challenging because the tension in this thriller is built around 87 tight pages shot in one single take. No cuts, no tricks – one mistake at minute 86 and we would have to start all over again.”
Kahuam and Raimi produced “Failure!” along with Marco De Molina, Kayli Fortun and Jose D. Rodriguez via Kahuam’s Promotora NAE and De Molina’s SpaceBrain Entertainment.
“We are thrilled to start this ride with our friends at Promotora NAE Mexico and Spacebrain Entertainment USA,” said Alief partner Miguel Angel Govea. “We loved the market reaction at the first screening and know our buyers will be entertained with this smart thriller.”
Marco De Molina, Ted Raimi, Miguel Angel Govea, Alex Kahuam and Kayli Fortun
Courtesy of Alief
HBO’s The Idol had its world premiere at the Cannes Film Festival yesterday…and reactions are about what you’d expect.
HBO’s The Idol, which was co-created by Euphoria’s Sam Levinson, had its world premiere at the Cannes Film Festival, with the famed fest screening the first two episodes. And while it did receive a five-minute standing ovation, that reception is far from unanimous.
Lots of strong reactions to #TheIdol out of #Cannes2023 — ranging from “I hated it” to “the TV version of clickbait” to “I don’t need to see any more of Lily-Rose Depp naked.”
Yeah, THE IDOL has the EUPHORIA vibes you might expect but it’s really more like somebody put BLACK SWAN, SUCCESSION, and SECRETARY in a blender and let it rip. Prepare yourself for quite the discourse… #cannes
#TheIdol is one of the worst series I have seen this year. Lily Rose Depp’s performance in this series is horrible, and i’m scared to see her, instead of Anya Taylor-Joy in Robbert Egger’s Nosteratu. Sam Levinson is as perverse as ever directing this 365 fifty shade days mess. pic.twitter.com/YDIgg6EjqC
Ahead of its Cannes premiere, The Idol was garnering much publicity over its content and production issues, including delays and massive rewrites. A mixture of criticism and praise was directed at Levinson, who was apparently trying to top the sexual content that helped make Euphoria such a success. Per multiple people who worked on The Idol, the series “went from satire to the thing it was satirizing” and turned into “more of a degrading love story with a hollow message.”
The Idol’s official plot: “After a nervous breakdown derailed Jocelyn’s (Lily-Rose Depp) last tour, she’s determined to claim her rightful status as the greatest and sexiest pop star in America. Her passions are reignited by Tedros (Abel “The Weeknd” Tesfaye), a nightclub impresario with a sordid past. Will her romantic awakening take her to glorious new heights or the deepest and darkest depths of her soul?”
#TheIdol is the worst pilot I’ve ever seen! We were disgusted and disappointed to have been sitting in the audience watching it! HBO should seriously consider taking it off its roster and firing Sam Levinson! (He stinks too, I walked past him as he sobbed over revenge porn) pic.twitter.com/XV4NlLx0Ey
— Bella Ramsey emmy campaign manager (@rejectedhannah) May 22, 2023
It’s remarkably rare for a television series to screen at the Cannes Film Festival, with The Idol joining works like David Lynch’s Twin Peaks: The Return and Top of the Lake: China Girl, co-created by former Palme d’Or winner Jane Campion. While The Idol is ineligible for the much-coveted prizes since it has screened out of competition, it will certainly still see a loyal following next month, especially to those looking to get more of the subject matter that Levinson has become renowned for.
Following the Cannes screening of the first two episodes of The Idol – which will air on June 4th and June 11th respectively – Levinson told the crowd, “I am incredibly proud of this show, and I’m proud of the way we made this show…I feel like I gained a family .. I know that sounds a little culty but that’s the way it feels.”
What do you think of reactions to The Idol coming out of Cannes? Are you going to watch the show? Let us know!
One of the most talked-about titles at this year’s Cannes Film Festival isn’t a movie, but a TV show. “The Idol,” a scandalous, sexy and sure-to-be-polarizing series (think “Euphoria” but set in the world of pop music) about the price of fame, premiered two of the first five episodes at the festival and instantly inspired a thousand hot-takes about all that on-screen nudity, bodily fluids and Hollywood sycophants.
But before “The Idol” — the brainchild of “Euphoria” creator Sam Levinson and Abel “The Weeknd” Tesfaye — even made its way to the Croisette, an explosive report by Rolling Stone detailed on-set turmoil, including allegations of a toxic work environment, last-minute script rewrites and budgets gone wild.
At a press conference on Tuesday, the day after the premiere, Levinson responded directly to the allegations and denied the behind-the-scenes drama. “When my wife read me the article,” he recalled, “I looked at her and I said, ‘I think we’re about to have the biggest show of the summer.’”
He continued, “We know we’re making a show that is provocative. It’s not lost on us.” But as for the allegations in the article, he says, “it felt completely foreign to me. My only slight is they intentionally omitted anything that didn’t fit their narrative. We’ve seen a lot of that recently.”
Tesfaye said earlier in the press conference that he and Levinson were aiming to “create something special, something fun, to make people laugh, piss some people off.”
The show’s star Lily-Rose Depp also defended Levinson, saying “It’s always a little sad and disheartening to say mean false things said about someone you care about. It wasn’t reflective at all of my experience.”
“The Idol” puts the spotlight on Depp, who plays Jocelyn, a pop phenom coming off a psychotic break after the death of her mother. As she tries to get a new album and tour off the ground, she goes to a seedy Hollywood club to blow off steam. That’s where she meets The Weeknd’s Tedros, a modern-day cult leader who reveals larger ambitions for Jocelyn’s career and his bottom line.
“I wanted to make a dark, twisted fantasy about the music industry,” Tesfaye said. “To take everything I know about it and heighten it.”
Levinson, clearly no stranger to provocation, also defended the “revolutionary” use of nudity in the show.
“We live in a very sexualized world. Especially in the States, the influence of pornography is strong in the psyche of young people. We see this in pop music,” he said. “When you have a character who has a strong sense of self and a strong sexual self, you end up underestimating her.”
Depp calls Jocelyn a “born and bred performer,” meaning that nudity is important to the genesis of the character. “That extends to every aspect of her life, not just her professional life,” she said. The way she dresses is trying to tell you something all the time. The occasional bareness of the character physically mirrors the bareness we get to see emotionally.”
Hank Azaria, who plays Jocelyn’s manager Chaim, jokes he became protective of Depp when she was scantily dressed on set. “I was was trying to throw blankets on her,” he said.
“The Idol” references in the pilot episode the media’s intense scrutiny of pop stars like Britney Spears. Levinson denies, though, that Jocelyn is inspired by Spears, whom he calls “one of the greatest pop stars of all time.”
“We’re not trying to tell a story about any particular pop star,” he said. “We’re looking more at how the world perceives pop stars and the pressure it puts on that individual.”
Depp believes the great tragedy about the price of fame is that everyday people imagine they know more about celebrities than they actually do. “Something that was interesting about exploring the character is, what is going on inside her head? Someone who is so watched but not seen… What does it look like when she unravels?”
Depp may be playing someone who is still figuring it all out, but Tesfaye is portraying a man with a misison. Tesfaye describes his character as “Dracula,” who is “luring” Jocelyn into his orbit. He laughed when he was asked by a journalist if he’d ever met someone like Tedros in real life. “I don’t fucking think so.”
Levinson chimed in, “If you had, I don’t think you’d be here.”
Status: Returning Series”Barbie: It Takes Two” is a TV show produced by Mattel. The show was originally broadcast on Netflix and premiered on April 8th 2022. So far there have been 2 seasons (comprising of 26 episodes) of “Barbie: It Takes Two”. The most recent episode aired on October 1st 2022 and more seasons are expected in the future.
ESPN, Fox and a pair of quadrennial global athletic events were among the big winners as the 44th annual Sports Emmy Awards were handed out tonight during a ceremony at Jazz at Lincoln Center’s Rose Hall in Manhattan.
Among programs, Fox and FS1’s coverage of the 2022 FIFA World Cup and NBC/USA’s XXIV Winter Olympics tied with three Emmys apiece. ESPN and Fox led all network with nine trophies each, though the former beat with latter among network groups, 13 Emmys to nine.
A list of wins by program is here, and see the full list of winners recognized by the National Academy of Television Arts & Sciences below.
Multiple WinnersBy Program
Program
Winners
Network
2022 FIFA World Cup
3
Fox/FS1
XXIV Olympic Winter Games
3
NBC/USA
2022 NCAA March Madness
2
tbs/CBS/TNT/truTV
Fox NFL Sunday
2
Fox
NFL 360
2
NFL Network
Outside the Lines
2
ESPN
Super Bowl LVII
2
FOX
ESPN came into the ceremony with a leading 42 nominations. Among programs, NFL Network’s NFL: 360 and NBC’s coverage of the XXIV Olympic Winter Games tied with a leading 10 nominations each, followed by 2022 NCAA March Madness, with eight noms; followed by 2022 FIFA World Cup with seven and ESPN’s SportsCenter and Fox’s coverage of Super Bowl LVII with six apiece. See the 2022 Sports Emmy winners here.
During the ceremony, NATAS President and CEO Adam Sharp addressed the three-week-old Writer Guild strike.
“While we gather together, other parts of our television community stand divided tonight,” he said. “You’ll note most of the typically scripted elements of our ceremony have been pared back in acknowledgment of, and respect for, the WGA-represented writers out on strike.
The dispute is difficult,” Sharp added. “The business challenges of the changing media landscape are like none we’ve seen before. And yet, the individual economics of making a career in our industry — starting out in our industry — can be impossible to square. Between these two realities, the generation coming up needs our industry to sow a field of common ground, not scorched earth.”
Here is the full list of 2023 Sports Emmy winners, followed by lists of wins by network and by network group:
XXIV Olympic Winter Games NBC
Executive Producer
Peter Bevacqua, Molly Solomon
Coordinating Producers
Rebecca Chatman, Richard Cordella, Joe Gesue, Robert Hyland, Mark Lazarus, Mark Levy, Brian Orentreich, James Thompson
Senior Producers
John Barnes, Mark Bellotti, Marissa Boyajian, Ryan Burke, Kelly Campbell, Thomas Davidson, John Felling, Daniel Fleschner, Sam Flood, David Gabel, Joe Gallin, John Gilmartin, Brian Gilmore, Stephen Greenberg, David Grindley, Lee Ann Gschwind, Vivian Kim, William Kunz, Matthew Marvin, William Matthews Jr., Daniel McColl, John McGuinness, Kaare Numme Iii, Phil Parrish, David Patterson, David Picker, Jaime Sasso, Tracy Snyder, Ron Vaccaro, Gary Zenkel
Producers
Michelle Acevedo, Chris Alexopoulos, Paul Aspan, Todd Benjaminson, Shane Bishop, Matthew Boline, Charles Bottitta Jr., Wallace Bruckner, Kerry Byrnes, Tim Canary, James Carr, Brett Castelluccio, Darren Chiappetta, Michelle Cho, Aaron Cohen, Liz Collins, Mark Condron, Nancy Devaney, Richard Diamond, Shanshan Dong, Robert Dustin, William Ebersol, Duane Evans, Yiannis Exarchos, Aaron Feldstein, Joel Felicio, Joshua Freedenberg, Neil Gallow, Rene Hatlelid, Darryl Jefferson, Scott Karpen, Scott Keith, Kristen King, Colleen Kragh, Susan La Salla, Terri Leopold, Steven Louie, Christopher Maguire, Brittany Mania, Alexa Maremaa, Agata Michalak, Jaime Necrason, Elyse Noonan, Richard O’Connor, William O’Reilly, Atila Ozkaplan, Nicholas Pace, Diane Penny, Alexa Pritting, Stephanie Purcell, Xavier Rangel, Tom Roche, Lauren Ruderman, Susan Saladino, Olivia Santini, Lindsay Schanzer, Michael Shames, Lana Sherman, Lyndsay Signor, Donald Slouffman, Kevin Soldani, Peter Steep, Daniel Steir, Jennifer Storms, Shane Swinnerton, Gino Tanasescu, Jennie Thompson, Kaitlin Urka, Patricia Vega, David Wilke, Amy Zimmerman
Videotape Producers
Alex Budish, Cynthia Castanares, Drew Devine, Marissa Havens, Maeve Kelly, Kenneth Pivor, Carly Santiago, Andrew Schutzman, Paige Shepperly, Michelle West Feature Producers
Tina Cerbone, Jennifer Chiogioji, Scott Cohen, Stacy Gitlin, Rachel Goodman, Paul Hawkins, Whitney Loehr, Justin Masse, Valentine Moossa, Stephen Palgon, Max Rahamin, Rahul Rohatgi, Alexandra Shaule, Kathryn Walsh, Laurie White, Elinore Wright
Field Producers
Kate Anderson, Savannah Brotherton, Claire Brown, Joanne Deherrera, Jeffrey Fabian, Robert Kistner Iii, Gregory Magruder, Christene Martin, Billy Rapaport, Margaret Ryan, Mason Seay, Robin Sherman, Jackie Smith, Devan Valoroso Highlight Producers
William Boland, Jean Casimir, Julie Frahm, Eric Hamilton
Coordinating Director Michael Sheehan Senior Director
Glenn Morris
Directors
Kelly Atkinson Jr., Corey T Boudreau, Charles Dammeyer, Elizabeth Donovan, Douglas Grabert, Scott Katz, Susan King, Robert Lanning, Steven Lawrence, Terry Lingner, Joseph Martin, Jennifer Morrison, Timothy Nelson, Sean Owens, Sean Page, James Pritting, Michael Torello
Associate Producers
Amelia Acosta, Alexis Aurigemma, Marina Ayuso, Victoria Balarezo, Colin Bane, Joseph Bartozzi, Evan Baughman, Gabriella Beltrami, Eleanor Bering, Will Bjarnar, Alex Boccard, Lauren Boone, Benjamin Bouma, Nicholas Bruce, Robert Calamari, Hallie Carmen, Hannah Caso, James Castelluccio, Daniel Charlip, Lisa Chisholm, Michael Cloonan, Julia Clukey, Alexis Coble, David Cook, Miles Coplin, Carolyn Costa, John Coyle, Harvey Creasey, Daniel Cuthbert, Lauren De La Rosa, Caroline Delfin, Anthony Devita, Rachel Dibartolo, Adam Discko, Andrew Dougherty, Monica Downer, Benjamin Drabik, Christopher Dupre, Arthur Durazo, Michelle Ellis, Elizabeth Eng, Patricia Ennis, Brian Fahey, Micki Fahner, Lauren Fein, Adam Feldfogel, Patricia Fiske, Robert Fitzgerald, Andrew Fitzpatrick, Matthew Ford, Josh Fowler, Quinn Frankel, Evan Frondorf, Daniel Fumano, John Furlong, Nicole Gaddie, James Gallagher, John Gallagher, Kelly Garcia, Alexander Ginnis, Brandon Glass, Daryel Gonzalez, Philip Guidry, Frederick Haas, Brian Halligan, Casey Halpern, Megan Hart, Paul Herlihey, Courtney Holt, Jedidiah Hopkins, Cindy Hsieh, Matthew Hubbard, Sarah Hughes, Catherine Hunt, Michelle Hurni, John Jarrett, Madison Jones, Michael Kaas, Elliott Kalb, Bryce Kerr, Charles Kiernan, Carol Ko, Kellie Krake, Meghan Kuebler, Phil Lavanco, Larry Lazo, Patrick Leemann, Euan Leith, Kyle Levasseur, Jay Levin, Alex Levine, Andrew Lief, Charrissa Lin, Tyler Loiselle, Grant Lokken, Abigail Lorge, Alex Loschiavo, Kyle Lynch, Scott Lyons, Michael Macesich, Paul Marmaro, Leslie Mazvinsky, Matthew McCollough, Kiara McIver, Alex Metzman, Kirk Meyer, Eric Mirlis, Kat Misko, Deanne Mollema, Erin Moskalczak, David Mueller, Katherine Munro, Stacey Nash, Fallon Oeser, Sean O’Gara, Nicholas Olczyk, Alex Olsen, Olivia Ormond, Sara Oromchi, Patrick O’Rourke, Maria Pagano, Jeff Paris, Jessica Parratto, James Patton, Glenn Petraitis, Caroline Pineda, Jim Piscitelli, Marvin Pittman, Barbara Poskanzer, Jonathan Quartuccio, Daniel Radov, Ana Ramos, Matt Ramundo, Marisa Rauwald, Brian Reilly, Harrison Root, Matt Rosenfeld, Andrew Ross, Adam Rozwadowski, Amy Sabreen, Matthew Salvatore, Brittany Santiago, Megan Sarnacki, Brian Satterfield, Elizabeth Saxon, Michael Schanzer, Mitchell Scherr, Phil Servello, Seth Shore, Miki Singh, Marco Smits, Zoe Sobel, Megan Soisson, Michael Soroky, Julie Stocker,
Andrew Stopera, Barbara Strain, Andrew Suarez, Neil Sullivan, Sean Sullivan, Derek Surka, Neil Suto, William Swenson, Tamer Tartir, David Teodosia, Sydney Thayer, Krystle Thompson, Rachel Thompson, Martin Thorstensson, Benjamin Tom, Christian Trinidad, Sam Tydings, John Walters, Bradley Washilition, Thomas Wehrle, Douglas Weinstein, Nina Weiss, Joshua Whidden, Akiva Wienerkur, Greer Wilson, Michael Wisniewski, Benjamin Wolf, Chris Yip
Operations Producers
Blaire Burns, Mingson Burns, Ian Dawes-Kuchta, Marsha Edscorn-Bird, David Mazza, Ryan Soucy, Molly Zampano Kuchta, Charlotte Zoller
Associate Directors
Lucas Altman, Brigette Boginis, Erin Bollendorf, Jeffrey Burriesci, Andrew Cavanaugh, John Coleman, Emily Conboy, Greg Costa, Lea Darley, Christopher Demaio, Janine Devito, Richard Ellis, Christopher Gray, Mitch Green,
Kerry Jackson, Marla Keethler, Diana MacLeod, Daniel Masi, Catherine Newman, Laura Ouziel Mack, Chad Perry, Doug Safchik, Caroline Sayer, Elisabeth Sobel, Stacy Toy, Dominick Tringali, Wayne Wilson, Brian Zwolinski
Editors
Erik Anderson, Sosse Arduino, Trevor Aylward, Thomas Bartos, Brett Blau, Brice Bowman, David Bragg, Arnold Branch, Brad Buckwalter, Sean Campbell, Kevin Carcich, Anthony Carvahlo, Keith Chirgwin, Ray Conley, Thomas Costello, David De La Parra, Paul Devlin, Stephen Digirolamo, Tres Driscoll, Matt Epstein, Jeff Fisher, Billy Gardner, Bob Gassel, Brian Gauthier, Josh Glaser, Craig Gordon, Emad Hashim, Mike Iacovino, Brandon Jennings, Michael Johansen, Cameron Kim, Attila Kirjak, Brandon Klein, Kenneth Lambert, Brian Lockwood, Brian Longenecker, Scott Lozea, Aaron Macof, Dave Madden, Philip Magnotti, Sosse Misserlian, Will Moss, Shayne Murphy, Michael Oliver, Erik Paulsen, Bruno Pellegrini, Victor Perez, Natalie Posey, John Rizzo, Corey Sadler, Raphael Seth, Lamont Smith, Gregg Stouffer, Howard Tate, Ryan Theisen, James Twomey, Scott Visavachaipan, Mark Weinstein, Matthew West, Matt Wilson, Karl Woitach, Ryan Yeager, Adam Zeitlin
Steve Ackels, Stephanie Druley, Julie McGlone, Jimmy Pitaro
Supervising Producer Aimee Stokes Producers
Phil Dean, Amanda Paschal
Feature Producer
Rico Labbe Field Producer Eric Lundsten
Replay Producer Kyle Brown Director
Jimmy Platt
Associate Producers
Brian Arnold, Brandon Barrad, Jodi Brits, Kaila Burns-Heffner, Tyler Churchill, Lauren Collins, Colleen Douglass, Joe Durante, Bill Garrity, Tony Granieri, Johnny Gutierrez, Ryan Hoff, Steve Horn, Curt Johnson, Martin Khodabakhshian, Steven Kim, Jess Kraus, Audra Leimberg, Trey Liburd, Michael Logan, David Moulton, John Parolin, Olivia Powers, Jason Rickel, Melany Rivera, Jacob Roen, Bryan Rourke, Lou Russo, Jeff Sarokin, Ed Sfida, Richard Shafter, Sammy Silver, Steven Stetz
Operations Producers
Steven Carter, Dustin Epstein, Kelsey Hahn, Matthew Kwok, Samantha Majewski,
James Munn, Joe Rainey, Jayne Weathersby, Kevin Wendling
Associate Director Madeline Kassell Editors
Todd Anderson, Dan Kocse, Diego Martini, Mark Maynard, Melvin Royster, Natacha Trisri
Stage Manager
Jacqueline Jamison
NLCS FOX | FS1
San Diego Padres vs Philadelphia Phillies
Executive Producers
Eric Shanks, Mark Silverman, Brad Zager
Senior Coordinating Producers Judy H. Boyd, Kent Camera Coordinating Producers
Pete Macheska, Bardia Shah-Rais
Senior Producers
PT Navarro, Aaron Stojkov
Producers
Jon Kaplan, Stephen Monte, Scott Riddell
Feature Producers
Erin Hoskins, Etienne Materre, Amada Materre, Rick Thomas
Scott Diener, Matt Larussa, Emilie Mateu, Cameron Mertens, Tyler Mustin, David Salerno, Tamer Tartir
Associate Producers
Mary-Hollis Beighley, Wayne Fidelman, Jake Fuller, Phil Guidry, Zack Handy, Brandon Henson, Eron Iki, Craig Jacobson, Mike Jenkin, Matt Kallinger, Natalia King, Scott Laubacher, Mark Mason, Anthony Masterson, Ty Mikan, Tyler Orrentia, Milton Palomo, Vincent Paollella, Daisy Reynoso, Ryan Sheehy, Arianna Takis, Wendy Villarreal, Sam Vovsi, Jeff Willson
Operations Producers
Corey Bodnar, Matt Byers, Logan Kessigner, Jennifer Nielsen, Juan-Carlos Ortiz, Jason Toth, David Tripler
Senior Associate Director Larry Lancaster Associate Directors
Bryan Colucci, Mark Maxham, Matt Saldana, Ashley Sandoval
Editors
Adam Greenberg, Blake Jackson, Ryan Little, Matt Tan
Stage Manager
Dominic Tringali
Welcome to the NHL: 2022 NHL Draft ESPN+ | NHL Network
[NHL Original Productions]
Executive Producer
Steve Mayer
Senior Coordinating Producers Craig Axelrod, Russell Siberine Coordinating Producers
Ryan Bader, Tim Kowalski, Anthony Marchegiano
Senior Producers
Collin Kornfeind, Daryl Lepik, Timothy O’Brien, Robert Sevilla, Robert Toomey
Producer
Chris Seerveld Segment Producer Shawn Valine Field Producer Jason Katz Director
Kimberly Guidera Associate Producers Ben Cook, Max Solomon Editor
John Pale
NFL 360 NFL Network
The Indelible Legacy of Jimmy Raye
Executive Producers
Angela Ellis, David Jurenka, Mark Quenzel, Jimmy Raye, Brian Rolapp, Hans Schroeder, Charlie Yook
Rose Garcia, Phil Guidry, John Orfanopoulos, Staci Strickland, Shelley Tabor, Ryan Travis
Producers
Lisa Higuchi, Osahon Tongo
Director
Osahon Tongo
Associate Producers
Efrain Lozano, Claire Phillippi, Bryan Smaller
Associate Directors
Gustavo Cuevas, Joey Northup, Anthony Ruggiero
Cinematographers
Augustus Clarke, Dakota Diel, Addison Neville, Ryan Travis
Editors
Jeff Levitt, John Orfanopoulos
Real Sports with Bryant Gumbel HBO Max
Executive Producer
Joe Perskie
Senior Coordinating Producer
Nick Dolin Coordinating Producer Tim Walker
Producers
Maggie Burbank, Chapman Downes, Josh Fine, Max Gershberg, Nisreen Habbal, Jordan Kronick, Beret Remak, Jake Rosenwasser
Director
Rick Beczynski
Associate Producers
Evan Burgos, Daniel Litke, Stephen Lorenzo, Katie Melone, Ryan Polukord, Hannah Vicente-Kliot, Gavin Webb
Operations Producers
Erica Fegely, Alberto Palacios
Correspondents
Mary Carillo, Jon Frankel, Andrea Kremer, Soledad O’Brien, David Scott
Host
Bryant Gumbel
League of Legends Worlds 2022 Final LoLEsports.com | Twitch | T1 vs DRX YouTube
[Riot Games]
Executive Producers
Naz Aletaha, Carrie Dunn, John Needham, Dirk Niestadtkötter, Stefan Richardson, Whalen Rozelle, Dave Stewart, Nick Troop
Senior Coordinating Producer
Ben Vignola
Coordinating Producers
Nicole Constantine, William Möller, Randall Quick, Kim Van Norman
Senior Producer
Juliet Reason
Supervising Producers
Zeus Ayter, Eamon Frasher
Producers
Chris Anderson, Kerry Brown, Ryan Chung, Graham Dunn, Gary Hebert, Lisa Renkel, Anna Robinson
Videotape Producers
Eunice Chen, Denise Kuan, Manuel Sanchez, Bas Van Olsten
Senior Feature Producers
Nick Brown, Josh Frackleton, Cristian Smeu
Feature Producers
Minh Bui, Patrick Cho, Phil Choi, Daniel Collette, Tyler Erzberger, Willow Forde Garrett Fulwider, Adam Hemmert, Oliver Kemp, Bart Wigger
Field Producer
Alex Pilaski
Senior Coordinating Director
Marc Hilko
Director
Nhat Nguyen
Senior Associate Producer Anthony Rogers Associate Producers
George Ahlmeyer, Even Borg Rodahl, Paul Boyd, Matt Dickey, Dennis Fink, Katherine Gripne, John Heilmann, Marcus Jacob, Matt Mersel, Kelsey Moser, Brienne Oliver, Kelsy Salazar, Ali Say
Operations Producers
Michael Alchermes, Michael Caal, Carlos Castillo, Bruno Condez, Jon Daly, Cem Dilektasli, Matt Donovan, Vicente Jimenez, Kris Johnson, Anthony Lee, Seth Lloyd, Monique Molina Paterra, Peter Quain, Clark Stewart, David Talavera, Maxwell Trauss, Stephanie Ura
Associate Directors
Reah Chu, Nick Oliver, Liah Starmann, Cortlan Vitz
Editors
Benjamin Bae, Denniz Ekin Polat, Stefan Minu, Feliksa Pham
World Feed Executive Producer Samuel Kordower Chaimson World Feed Producers
Brett Bielling, Jannik Fischer, Eva Mortensen, Martin Szarnas, Michael Ullman
World Feed Director Charles Anderson Stage Managers
Marc Baker, Billy Drummed
38 at the Garden HBO Max
[Mr. Fahrenheit | GTG Entertainment]
Executive Producers
Lisa Ling, Dave Lu, Patricia Sun, Bentley Weiner
Coordinating Producer
Abtin Motia
Producers
Travon Free, Samir Hernandez
Director
Frank Chi
Associate Producers
Christian Goewey, Jeremy Truong
Editors
James Pilott, Jesse M. Strauss
The Redeem Team Netflix
[Olympic Channel | Kennedy/Marshall Company | Mandalay Sports Media | NBA Entertainment | USA Basketball | 59th & Prairie Entertainment | UNINTERRUPTED]
Executive Producers
Mary Byrne, Philip Byron, Maverick Carter, Yiannis Exarchos, Jamal Henderson, Lebron James, Frank Marshall, Mark Parkman, Mike Tollin, Dwyane Wade Producers
Greg Groggel, Diego Hurtado De Mendoza
Director
Jon Weinbach Associate Producer Jonah Sharf Cinematographers
Diego Trenas, Michael Winik, Peter Winik
Editors
Jeremy Hsu, Charles Olivier, Stephen Yao
Co-Producers
Matt McDonald, Katie Pyne, Jonathan Vogler
Legacy: The True Story of the LA Lakers Hulu [Los Angeles Media Fund | The Los Angeles Lakers Inc | Haven Entertainment | Hill District Media]
Executive Producers
Mark Ankner, Jeanie Buss, Antoine Fuqua, Simon Horsman, Steven Leckart, Kevin Mann, Linda Rambis, Jeffrey Soros
Co-Executive Producers
Andrew Blau, Christopher Boyd, Brendan Bragg, Jessie Creel, Morgan Earnest, Anderson Hinsch, Michael Mann, Rick Matros, Alex Matros, Luke Rodgers, Kat Samick
Director
Antoine Fuqua
Associate Producers
Demi Boxley, Kanani Datan, Yousif Nasr
Cinematographer
Maz Makhani
Co-Producers
Tobin Armbrust, Kris Belman, Lou Christopher, Nic Huffman, Toby Louie, Jake Pushinsky, Jordan Rambis, Brett Tomberlin, Andrew Trapani
Story Producers
Caitlyn Hynes, Bo Kovitz
Race: Bubba Wallace Netflix
[300 Studios | Boardwalk Pictures]
Executive Producers
Nolan Baynes, Tim Clark, Andrew Fried, Kelly G, Tally Hair, Kevin Lies, Dane Lillegard, Erik Parker, Sarina Roma, Matt Summers, Jordan Wynn
Co-Executive Producer
Rob Ford
FOX NFL Sunday FOX
Executive Producers
Bill Richards, Eric Shanks, Mark Silverman, Brad Zager
Coordinating Producers Joel Santos, Jacob Ullman Producers
Judy H. Boyd, Scott Clark, Bernie Kim, Jeremy Mennell, PT Navarro
Feature Producers
Jeffrey Hall, Jonah Meyer, Krystal Nungaray, Jason Palmer, Norm Sousa, David Strumpf, Jesse Weiss
Segment Producers
Rion Hamilton, Connor Trauger
Highlight Producer Travis Almeida Director Stephanie Medina
Associate Producers
Brian Alexander, Sionan Barrett, Taylor Beck, Mary-Hollis Beighley, Mike Berger, Jim Brusca, Bryce Johnson, Annisa Jones, David Kogen, Aimee Leone, Mark McAnaney, Mark Ortega, Milton Palomo, Adam Rich, Ben Sorenson, Danielle Stocki, Sydney Tullai
Operations Producers
Matt Berlin, Lindsay Czarnecki, Sam Demartinis, Matt Engelberg, Melissa Garcia, Jeff Hershey, Scott Lembke, Dustin Myers, Juan-Carlos Ortiz, Kira Pattico, Fernando Perez, Gina Porretti, Michael Rutter, Brendan Simmons, B Stafford, Jessica Toll, Jason Toth
Associate Directors
Marcus Boyd, Dan Masi
Reporters
Erin Andrews, Charissa Thompson
Correspondent
Jay Glazer
Editors
Reza Amini, David Gomez, Adam Greenberg, Maurice Hyett, Mark Kleiman, Tienchiev Ma, Jason Myers, Joe Nargi, Dino Rivera, Dan Rochie, Craig Russo, Luis Sanchez, Brett Shirley, Matt Tan, Ryan Thiel, Bryan Yokomi
Stage Managers
Joanne Kamay, Johnny Pruitt, Michael Strauss
Hosts
Terry Bradshaw, Jimmy Johnson, Howie Long, Curt Menefee, Sean Payton, Michael Strahan
SportsCenter ESPN
Executive Producers
Mark Gross, Robert King, Mike McQuade, Jack Obringer, Jimmy Pitaro, David Roberts, Maria Soares, Andy Tennant, Norby Williamson
Executive Editors
David Kraft, Lauren Reynolds
Senior Coordinating Producers
Jeff Bennett, Judson Burch, Johann Castillo, Amanda Gifford, Julie McGlone, Jose Morales
Coordinating Producers
Miguel Almeida, Paul Augeri, Kristie Blasi, Vin Cannamela, Patrick Caulfield, Aisha Chaney, Gustavo Coletti, Marissa Cucolo, Deryk Cumagun, Manuel De La Fe, Michael Epstein, Paul Gaeta, Robert Guijarro, Sarah Hart, Heath Henry, Carolyn Hong, Greg Jewell, Diego Longo, Fernando Lopez, Brian Martins, Raymond Necci, Jennifer Overman, Andrea Pelkey, Steve Peresman, Michael Protos, David Rose, John Totten, Barry Vigoda, Ben Webber, Matt Weeks
Supervising Producers
Jeff Ausiello, Scott Beaman, Michael Berggren, Brian Franey, Shari Greenberg, Ben Hobbs, Matt Jason, Zachary Jones, Jennifer Kocse, Michael Le’toile, Len Milano, Jeremy Papazoglou, Stacey Pressman, Jonathan Punko, Daniel Remin, Lauren Stowell, Joseph Verge, Cassandra Watson, Denny Wolfe, Brian Wood
Producers
Patrick Abrahams, Malinda Adams, Marco Alfandary, Evan Anderholm, Jesse Arendt, Dina Bailey, Jamila Baker, Joshua Blount, Joshua Bolander, Erik Bolanos, Tyrese Bolden, Madison Brightman, Seth Brody, Shavonne Burke, Christopher Burnette, Joseph Bushee, David Carabello, Chris Cardello, Megan Cassidy, Audrah Cates, Christopher Caudle, Adam Cheh, Christina Clancy, Abby Clopton, Greg Condas, Justin Daly, Kevin Davies, John Deaver, Paushawna Decordova-Boyd, Darren Demeterio, Eric Diaz, Stephen Didamo, Arthur Dolan, Joshua Drew, Tyler Drohan, Robbin Dunn, Trevor Ebaugh, Tom Engle, Zack Feldman, Navid Firoozabady, Shawn Fitzgerald, Tony Florkowski, Robert Galm, Adam Garfield,
Jennifer Gode, Steven Gross, Jay Gruber, Patrick Hanrahan, Keith Hawkins, Katie Hennessey, James Holleran, Cj Holley, Vincent Johnson, Chris Kopas, Andrew Koritz, Joseph Kosa, Timothy Langlois, Bryan Larson, Jon Lavoie, Aaron Lee, Zuriel Loving, Eric Lundsten, Zach Mariner, Jason McCallum,
Tom McKean, Kelly Millin, Rachel Minton, Chris Mitchell, Robert Morgan, Charles Moynihan, Michael Napolitano, Nick Pagliarulo, Marcus Patton, Michael Proia, James Quintong, Brandon Radcliffe, Scott Randall, Michael Ritz, Jesus Rodriguez, Elanna Rubenstein, Kevin Sanchez, Raajik Shah, Aaron Shea, Jourdan Shepard, Jessica Shobar, Michael Sneag, Eric Soderburg, Eduardo Souss, Lindsay Steckel, Aydan Strachan, Sam Strong, Mark Summer, Daniel Trejo-Serrano, Angela Trovato, Addison Walton, Kareem White, Andrew Wichman, Jim Witalka, Kenton Wong, Matthew Zampini
Feature Producers
Barry Abrams, Luis F. Aldea, Susan Ansman, Dan Arruda, Steve Buckheit, Zachary Budman, Jennifer Chafitz, Jon Fish, Miriam Greenfield, Scott Harves, Aaron Johnson, Michael O’Connor, Tory Zawacki Roy, Kris Schwartz, Joshua Vorensky Coordinating Directors
Scott Favalora, Tyrone Frison, Marti Hanzlik
Directors
Brian Albon, Robert Bentley, Adam Brooks, Tommy Edwards, Javier Escalante, Kalyn Flockhart, Brian Kimberley, Rich Kvietkus, David Lefchak, Lauren Misko, Susan Molinsky, Rodney Perez, Chris Russano, James Ryan, Christopher Scott, Matthew Sellars, Waverly Smith
Associate Producers
Temitayo Anjou, AJjay Atayee, Darren Ayotte, Kyle Barry, Olivia Bellamy, Alejandro Berry, Reginald Blake, Dialidsa Bosa, Camille Bova, Joshua Boyd, Tyler Bradley, Vincent Coladonato, Ashley Colley, Carrie Comerford, Eitan Cramer, Cordell Cumming, Andrew Davis, Julio De Feudis, Samuel De La Cruz, Jose De Leon, Alex Denner, Brianna Dimaggio, Brian Dostaler, Eric Dowling, Sandarvis Duffie, Travis Feldhaus, Marcelo Figueroa, Champe Fisher, Joe Formisano, John Fornaro, Nicole Fox, Julia Freeman, Alex Gabriele, Ryan Garcia, David Gordon, Daniel Greco, Johnny Gutierrez, Harry Hawkings, Aliyyah Jackson, Jason Joseph, Kara Karpinski, Manish Kenkre, Kristine Kugler, Natalie Labumbard, Jennifer Lacroix, Richard Lawrence, Nick Licalzi, Harrison Marder, Leighton McClellan, Megan McMurray, Ryan Milowicki, Alex Nolen, Drake Pena, Sara Perlowitz, Andrew Porzio, Laura Ramirez, Ron Redden, Emma Reed, Alexander Sabato, Lee Singer, Jeremy Slone, Danielle Thea, Kyle Van Dam, Erika Vingiano, Sania White, Matthew Willis, Sterling Xie, John Zupon
Associate Directors
Dara Cooper, Molly Fallica, Raymond Garcia, Brian Jaskelewicz, Justin Klumpp, Kaley Lamarca, Joshua Laselva, Gina Lobosco, Taylor Maggiore-Neely, Blair Milko, Matthew Moss, JC Obringer, Brooke Robinson, Dan Sofranko, Earl Thigpen, Adan Vasquez, Jonathan Weaver
Reporters
John Barr, Jeremy Schaap
Editors
Todd Anderson, Michael Becker, Bryan Bishop, Tantus Branham, Josh De Leon, Mark Maynard, Lauren Vassallo
Stage Managers
Camila Cayere Diaz, Ryheam Trahan
Hosts
John Anderson, Matt Barrie, Ashley Brewer, Nicole Briscoe, Linda Cohn, Kevin Connors, Elle Duncan, Michael Eaves, Neil Everett, Jay Harris, David Lloyd, Max McGee, Zubin Mehenti, Kevin Negandhi, Randy Scott, Ryan Smith, Sage Steele, Hannah Storm, Gary Striewski, Scott Van Pelt, Stan Verrett
Analyst
Steve Coughlin
Inside the NBA: Playoffs TNT
Executive Producer
Craig Barry
Senior Coordinating Producers
Tara August, Tim Kiely, Jeremy Levin, Albert Vertino
Supervising Producers
Deaton Bell, Matt Mosteller, Sarah Phillips, Jordan Shorthouse, Ben Spitalnick, Drew Watkins
Producer
Keith Robinson
Senior Feature Producers
Christopher Bloxom, Tyler Lassiter, Craig Murray, Chris Perkins
Feature Producers
George Adams, Anthony Bonaparte, James Glenn, Danilo Lobo Dias, Jeff Marta, Mike Moore, Justin Parham, Lee Shelton, Ryan Thomas, Kyle Wells
Segment Producers
Morgan Allison, Asia Brown, Michael Kaplan, Lawrence Lacksen, Ann Lutzenkirchen, Audrey Martin, Victoria McBryde, Olivia Scarlett, Chandler Traub, Michele Zarzaca
Field Producers
Sam Poulos, DT Sloufman
Highlight Producers
Darrell Bernardo, Marisa Collier Senior Coordinating Director Steve Fiorello
Director
Lee Mabry
Associate Producers
Chasitie Bradford, Alex Houvouras, Brady Jennings, Eric King, Kaitlyn Kolesaire, Matthew Lucas, Chase Oliver, Charlie Owens, Andrew Prezioso, Tyler Wheeler, Rahmere Williams
Operations Producers
Joanie Barry, Daniel Chi, Breanne Espina Kempner, Michael Lovetro, Bridget Morris, Brooke Scarpelli, Kimberly Titone
Associate Directors
Erron Banks, Chirag Devaskar, Cristy Fernandez, Donzell Floyd, Jason Ingram, Chris Nelson, Salim Sobers, Joe Underhill
Editors
Alex Bailey, Scott Bramlett, Peter Denis, Lauren Dills, Cameron Etheridge, Matt Gaynes, Chloe Harrison, Mark Jackson, Gibran Kalaf, Matt Kinsey, Jonathan Wendell
Host
Ernie Johnson
Analysts
Charles Barkley, Shaquille O’Neal, Kenny Smith
E60 ESPN | ESPN+
Remember the Blue and Yellow
Executive Producers
Michael Baltierra, Chris Buckle, Jimmy Pitaro, Andy Tennant, Norby Williamson
Coordinating Producers
Vin Cannamela, Mike Johns, Heather Lombardo, Eric Neel
Supervising Producers
Megan Anderson, John N. Minton Iii
Feature Producer Russell Dinallo Associate Producers
Tom Bartlett, Tudor Chilar, Mariana Maglych, Bill Roach
Reporter
Wright Thompson
Cinematographers
Josh Thompson, MacK Woodruff
Editor
Dave Lynch
College GameDay ESPN
Jump Around
Producer
Jim Gaiero Feature Producer Susan Ansman Reporter
Jen Lada
Cinematographers
Logan Cascia, Brian Liu, Bill Roach, Andrew Shuford
Betsy & Irv ESPN+
[ESPN Films]
Executive Producers
Chris Buckle, Scott Burton, Marsha Cooke, Brian Lockhart, Burke Magnus, Norby Williamson
Coordinating Producers Rayna Banks, Eric Neel Producers
Gentry Kirby, Adam Neuhaus, Laura Purtell, Catherine Sankey
Director
Nicole Noren
Associate Producers
Maria Delgado, Nick Waligorski
Reporters
Tom Junod, Paula Lavigne
Cinematographer Cody Shimek Editors
Inza Bamba, Marlon Hidalgo
2022 NCAA March Madness tbs | CBS | TNT | truTV
NOLA Vibes featuring Jon Batiste
Executive Producers
Jon Batiste, Craig Barry, Drew Watkins
Coordinating Producer
Deaton Bell Senior Producer Tyler Lassiter Producers
Brittany Hardy, Sarah Meneely, Brian Sterling, Helen Urriola, Chad Watkins
Directors
Gilad Avnant, Craig Murray, Stav Nahum
Associate Director Steven Weidenbacher Cinematographers
Evan McIntosh, Jordan McMonagle, Jake Springfield
Editors
Brett Langefels, Chris Wolfe
Thursday Night Football Prime Video
TNF Optionality
Executive Producers
Jeff Blackburn, Marie Donoghue, Fred Gaudelli, Mike Hopkins, Jay Marine, Mike Muriano, Jared Stacy
Jorge Bustamante, Josh Freedenberg, Scott Karpen, Bobby Kortright, Brandon Lowe, Chris Pizzi, Sam Schwartzstein, Mark Teitelman, Ross Tiernan, Gilbert Zepeda Feature Producers
Valerie Fischler, Gladys Magana, Marq Massengale
Segment Producers
Ken Hirdt, Steve Hirdt, Josh Veltrie
Field Producers
Shawn Kopelakis, Rick Morales
Sideline Producer Jenny Glazer Directors
Kelly Atkinson, Kris Castro, Pete Finlay, Jeremy Green, Pierre Moossa, Mike Sheehan, Sirushi Witte
Replay Director Matt Marvin Associate Producers
Alvin Anol, Ikeem Boyd, Deron Brown, Alyssa Chrisope, Gigi Clark, Dave Dare, Chris Dupre, Andy Edwards, Liz Eng, Chris Fallica, Aaron Galles, Stacey Garcia, Ross Gasmer, Josh Green, Adrian Hasenmayer, Kelly Hayes, George Hill, Paul Iona, Ryan Irwin, Wade Junco, Brendan Long, Christene Martin, Josh Mendoza, Duncan Morgan, Michael Morrell, Shon Niswanger, Ryan Pavlicek, Jaime Penalosa, Tyler Pickle, Matt Rosenfeld, Jaclyn Rubin, Mike Ryan, Erin Ryder, Adrian Satchell, Nickol Scott, Bettina Shore, Nicole Simeone, Sean Simmons, Kevin Soldani, Matt Stolbof, Mike Strack, Patricia Surber, Avery Watlington, Cody Winstead, Emily Winter, Jake Wisniewski, Alex Wolochuk
Operations Producers
George Ameer, Eric Berman, Martin Cabelly, Linda Calabrese-Kane, Joey Clark, Chad Coleman, Joe Cook, Laura Cronin, Tim Dekime, Bjorn Estlund, Scott Gillies, Matt Kwok, Mark Kwok, Gabi Leblanc, Stephen Leotta, Danny Lopez, Jade Martin, Sarah Meneely, Leah Merry, Lynn Mignani, Emily Mitchell, Khalid Patterson,
Phil Peggs, Justin Pohlman, Tom Popple, Jessica Shelley, Heather Sokolow, Le An Soto, Scott Swim, Sydney Walsh
Associate Directors
Brigette Boginis, Tyler Dare, Alex Haubenstock, Franklin Kao
Editors
Vahan Bedelian, Mike Dowling, Michael Escalante, Ryan Hensley, Ryan Leimbach, Glen Michel, John Rizzo, Ryan Smith, Troy Stone
Software Engineers
Rohit Agarwal, Ryan Becker, Nik Bruyev, Charlie Cook, Michael Cooney, Michael Dean, Kevin Delaney, Nick Eng, Ravi Ganti, John Fx Gaquin, Ramasamy Gopalan, Hayden Ives, Louis Jordan, Harshil Katira, Shyam Krishnan Moni, Henry Liu, Aastha Niraula, Miki Richmond, Daniel Roper, Gilby Schultz, Matt Schwartz, Ankur Sharma, Pritam Sharma, Kuldeep Sharma, Younjun Wu, Chris Yasumura
Software Developer
Jon East
Software Designers
Sam Leiber, Eric Orme, Abhishek Pandey, Paul Serby, Umesh Tiwari
UX Designer
Azim Ali
Product Managers
Woodrow Arrington, Girish Bajaj, Eshna Bhaduri, Kevin Couch, Anthony Da Cruz, Tara Jacobson, Brandon Love, Scott MacKenzie, Rajiv Maheswaran, Scott Maurer, Varun Mohankumar, Vamsi Namburi, Suleiman Ndiaye, Jason Stromberg, Wade Wakashige, Nate Wilhite, Ba Winston
Product Developers
Phil Boyar, Simon Jaeger, Navinan Rajeswaran, Max Schlesinger, Michael Sherman, Andrew Whittaker
NFL 360 NFL Network
Who If Not Us
Executive Producers
Kyle Brandt, David Jurenka, Peter O’Reilly, Mark Quenzel, Brian Rolapp, Hans Schroeder, Charlie Yook
Senior Coordinating Producers
Seth Dudowsky, Craig Germain, Dallas Hitchcock, Matt Shapiro
Coordinating Producers
Trent Cooper, Mike Derouin, Tim Tubito
Senior Producers
Phil Guidry, John Orfanopoulos, Staci Strickland, Shelley Tabor, Ryan Travis
Producers
Lisa Higuchi, Ryan Smith
Director
Trent Cooper
Associate Producers
Kate Espejo, Maddie Jones, Shara Kabakow, Jeff Levitt, Efrain Lozano, Bianca Negoescu, Claire Phillippi, Tj Richardson, Chris Schwarz, Bryan Smaller, Jessica Tedder, Olita Varpa, Justin Yuen, Agnieska Zadio
Associate Director Joey Northup Correspondent Kyle Brandt
Editor
John Orfanopoulos
Host
Melissa Stark
Graphics Producers
Anthony Ruggiero, Dane Storrusten
McEnroe vs McEnroe ABC | ESPN | ESPN+
Executive Producers
Michael Aimette, Talita Andrade, Danilo Boer, Ricardo Marques, Miles Ritenour, Gabriel Schmitt
Senior Coordinating Producers
Alexandre Abrantes, Samira Ansari, Lex Beltrone, Sy-Jenq Cheng, Simon Dolsten, Jay Marsen, Thomas Mori, Dylan Ruby, Jamie Rutherford, Michael Schonfeld Senior Producers
Adam Isidore, Janice Katz, Marissa Lando, Pim Leeuwenkamp, Lizzy McGlynn
James Medcraft, Roman Mendez Senior Associate Producers Adam Nelson, Derek Viramontes Editors
Bill Cramer, Breithner Monteiro, Chris Monteiro, Mitch Schreiber
Mike Tirico NBC | Golf Channel
OUTSTANDING PERSONALITY/PLAY-BY-PLAY
Mike Breen ABC
OUTSTANDING PERSONALITY/STUDIO ANALYST
Ryan Clark ESPN | ESPN2 | ABC
OUTSTANDING PERSONALITY/SPORTS EVENT ANALYST
Peyton Manning ESPN2 | ESPN+
OUTSTANDING PERSONALITY/REPORTER
Lisa Salters ESPN | ABC
OUTSTANDING PERSONALITY/EMERGING ON-AIR TALENT
Greg Olsen FOX
OUTSTANDING TECHNICAL TEAM EVENT
XXIV Olympic Winter Games NBC
Technical Supervisors
Jason Abrams, Harvey Acks, Terry Adams, Christopher Adams, John Arvelo, George Bailie, Nathan Balogh, Gary Bartunek, John Baxley, Andrey Belousov, Anna Berg, Kamal Bhangle, Marsha Bird, Jaime Birty, Vilson Botelho, Jane Brady, Terrence Brady, Martin Brosthaus, Dimitri Browne, Matthew Burns, Kevin Callahan, James Calorossi, Timothy Canary, Nicholas Cap, Tristan Case, Lillian Cereghino, Adella Choi, Dora Chong, Christopher Connolly, Alex Cosgrove, David Crane, Bridget Cugle, Stephen Curtis, Ian Dawes-Kuchta, Anthony Delisa, Michael Della Sala, Naika Denerville, Michael Donoghue, Todd Donovan, Michael Drazin, Shea Eady, Locke Eady, Derek Ehmen, Ecce Eraslan, Blaise Fernandez, Errol Foremaster, William Gahagan, Stacey Georgiou, Guillermo Germade, Kenneth Goss, Matthew Green, Peter Grinter, Marsha Groome, Noah Halloran, Leonza Harris, Rickey Hayes Jr, Shane Hendrick, John Herrholz, Dana Holland, Erin Hurley, Brian Irizarry, Charles Jablonski, Darryl Jefferson, Guillermo Jimenez, Jason Johnson, Lee Kalinsky, Craig Kaufman, Krystyna Kosciuzko, Daniel Lake, Robert Landau, Terri Leopold, Sean Light, Brian Longenecker, Luis Lopez Alvarez, Christopher Lubbers, Robert Madden, Karl Malone, Edward Martinez, Nobuko Masuno, Joseph Maurer, David Mazza, Andrew McCullough, Lisa McLeod, James McNamara, Zachary Meyers, James Miles, Dennis Milewski, Kyoko Mizukawa, Kristen Moorby, Andres Mora, Michael Muffoletto, Aavery Mundt, Lubos Murin, Jonathan Muro, Kari Nelson, Atila Ozkaplan, Jeff Park, Andrew Parr, John Pastore, John Pearce, Tom Perley, David Person, Ken Phelan, Timothy Phillippe, Kathryn Piper, Thomas Popple, Vincent Rao, Richard Ricco, Daniel Robertson, Julianne Ryan, Susan Saladino, Sotiris Salamoris, Robert Sanders, Ryan Soucy, Neil Staite, James Stuart, Cecilia Sun, Bryan Tabares, Takashi Tajima, Fuminori Takumi, Michael Tinari, John Tomlinson, Matthew Tompsett, Dominic Torchia, Kregg Van Meter, Michael Wallace, Matthew Ward, Shannon Ward, Michele Watson, Victor Wilder, Ian Woods, Pete Yarusavage, Lukas Zahas, Charlotte Zoller
Senior Technical Directors Gabriel Bell, Mark Causey Technical Directors
Edward Collins, Jonathan Collins, Derrell Harman
Electronic Camerapersons
Liam Adam, Aaron Blackwill, Jacob Blau, Jason Bourne, Simon Bradshaw, Erik Brush, Philip Bryden, Timothy Burke, Scott Caldwell, Kenneth Cavalli, Samson Chan, Michael Coker, Jeffrey Cuales, Jeffrey Cummings, David Didinger, Ara Dramm, John Duffy, Jeff Engerbretson, Donald Fenwick, Daniel Foard, Craig Frankenhoff, Curtis Gaston, Michael Germond, Ilco Giel, Patrick Griffard, Clifford Hake, Matthew Hardwick, Travis Johnson, Daniel Kasman, Randall Koury, Gregory Kubik, Salvatore Livia, J. Scott Lucas, Douglas Maguire, Matthew Marsden, Michael Matthews, Graham Maunder, Robert McDonald, Jay Morgan, John Murphy, Douglas Nelson,
Timothy Persinko, Michael Pigeon, Richard Quinton, Bill Real, Patrick Rondou, Don Russell, Vincent Scammon, Sascha Schoeberl, Steven Schwartzbach, Ryan G Scott, Joseph Shaw, Jeffrey Smith, Benedict Sommer, Kai Stendel, Simon Stevenson, Thomas Stone, Jeremy Vicente, Tito Villasenor, Alexander Walker, James Wedlake, Scott West, Price Wetherill
Graphics Operators
James Annucci, Bianca Beck, Stephen Belmont, Lee Blair, Selena Cohen, Clayton Connell, Shaun Coy, James Dormany, Patrick Farrell, William Grant, Tyler Hynes, Stanislav Iordanov, Jennifer Lorentz, David Melfi, Matthew Mick, Bill Mitchell, Ann Smith, Jessica Torrico, Susan Walker, Kristy Weir, Ty Westerman, Shawn Hendrickson Weyer, Emma Wiatrzyk, Craig Wilkie
Lighting Directors
Steven Brill, Jeremy Dominik, Jon Goss, Sheryl Wisniewski
Senior Audio Engineers
Patrick Brady, Michael Dicrescenzo, Nuno Duarte, Steven Miller, Ryan O’Gorman, Rodrigo Thomaz
Audio Engineers
Phil Adler, Stephan Ahonen, Daniel Beigel, Perry Clark, Erin Crain, Fredrick Domenigoni, Timothy Dunn, Donald Garcia, Jeremy Katz, Anthony Kremer, William Laing, Shuo Li, Giovanni Lima Jr, Benjamin Majchrzak, Sam Mannis, Joshua Miller, Michael Moran, Fawzi Nijem, Alexandra Parral, Randy Pekich, Levi Radcliffe, Richard Rahner, Duncan Richards, Juan Rocha, Tony Scaife, Glenn Stilwell, Dale Tong, Chan Wai Hang, Colin Whitehill, David Wolcott, Alina Wong Audio Assistants
Korey Evans, Leon Frank, Ryan Hunt, Michael Kramer, John McKallip, Timothy Pogorzala, John Steigerwald, Andrea Sumner
Digital Replay Operators
Douglas Bell, Arthur Cole, Carl Dolan, Jon Epstein, Howard Feinberg, Dimitri Gammer, Todd Giery, James Groh, David Larose, Lisa Menzies, Thomas Newman, Philip Paulin, Marc Ravin, Aaron Rhinehart, Daniel Siejak, Amanda Smerage, Roland Stockli, Kimberlee Tessean
Senior Maintenance Engineers
Jared Bessette Kirton, Dave Erskine, Mohamad Firdaus Bin Abdullah, Alyssa Genereux, David Greene, Dan Harb, Josh Hawfield, Jason Hotchkiss, Dave O’Brien, Tessa Potter, Brian Proksch, Graham Rendell, Orin Smith, Stephen Sontag, Samuel Stephens, Marcus Tresenriter, Scott Tucker, Rick Ulmer, Roberto Vazquez Almansa, Derrick Whittington
Video Engineers
Ed Austin, Silvano Avila, Izani Bin Ismail, Alex Bryson, Simon Burley, Pat Calhoun, Kameron Chones, David Cividanes, Michael Coulombe, Vincent Cuviello, Sarah Derusha, Graham Drew, Paul Dryden, Darrell Eden, Renato Feijo, Sean Fitzpatrick, Ian Gunn, Simon Halliday, John Han, Anthony Lestochi, William Lorenz, Trevor MacHalick, Abdul Majid Madasha Kader Sultan, Steven Martin, Dwain McArthur, Nicholas Mellor, Ricardo Gomes Melo Gonçalves, Mark Morel, Sean O’Donnell, Juan Padilla, Andrew Perez, Mark Perschel, Jon Reynolds, Edward Robertson, Alex Rodriguez, Carl Schroeder, Stuart Sholar, Marc Silverman, James Stewart, Taras Stokes, James Toten, Harris Upham, Diego Villalba, Samuel Wagner
Broadcast Media Managers Emerse Kardhordo, Vicki Smith Broadcast Network Engineers Stephen Nikiforow, Harry Ryan
2022 FIFA World Cup FOX | FS1
Technical Supervisors
Chris Allen, Mark Alston, Levi Anderson, Irum Ashraf, Lane Baird, Pratick Bakhtiani, Paul Baron, Rich Barr, Brian Beck, Antonio Beleganio, Mike Bell, Andrew Bennett, Kevin Bohn, Jake Burns, Tim Burns, Matt Byers, Jordan Calcafuoco, Kevin Callahan, Jon-Jon Canoy, Erik Carlson, Darin Carner, Michael Carnow, Rod Conti, Michael Copeland, Jessica Covino, Tom Creter, Tushar Datir, Michael Davies, Mark Davis, Florante Domingo, Aiza Dominguez, Mary Kay Donovan, Michael Dorflinger, Olivier Dwelshauvers, Nole Eldridge, Matthew Engelberg, James Ferguson, David Fioravanti, Patricia Fischer, Liyen Gan, Louis Germano, Mark Girard, George Grill, Todd Griswold, Kristen Gruca, Haratj Hakoubyan, Rob Hedges, Libby Higgins, Mark Humphrey, Wajahat Hussain, Harry Iglamo, Dan James, Rolando Jimenez, Jason Johnson, Dambar Raj Joshi, Patrick Karayan, Nick Kashiparekh, Reed Kaufman, Travis Kilburn, Devin Klein, Stephen Leotta, Jeremiah Lommori, Douglas McGee, Mitchell McIntire, Mark McNaughton, Julius Miciano, Zach Miller, Visman Mohamed, Daryl Moore, Jared Moore, Aavery Mundt, Louie Muñoz, Frank Murillo, Dustin Myers, Ronald Nietes, Gabe Nucci, Pat O’Brien, Monica Olivas, Juan-Carlos Ortiz, Marc Panneton, Dhyaan Parikh, Ross Pattison, Patrick Perez, Trevor Peters, Gregory Pfeifer, Trang Pham, Joel Poinsett, Neil Porter, Brandon Potter, Marc Proval, Kyle Prunty, Nicole Pugliese, Pete Pulido, Andy Reardon, Robert Rees, Jack Rowell, Chris Ruiz, Meredith Sabala, Adam Salkin, Alex Saunders, Deborah Snell Pfeifer, David Sobel, Kevin Soriano, Erinn Spack, Neil Staite, Norm Thompson, Miller Tinapay, Branimir Tonkovic, Jason Toth, Vladimir Tuzkov, Mubashir Waheed, Alex Weigandt, Donald West Iii, Derrick Whittington, Mike Wilken, Joel Williams, Corey Witte, Jordan Wood, Robert Wood, Jim Wurster, Duane Yoslov, Briana Yow, Tatianna Zawadzky Ovalle, Melissa Zimmer
Senior Technical Directors
Paul Harvath, Michael Laverdiere
Technical Directors
Blaine Eslick, Matt Getto, Jack Reynolds, Tj Toyozaki
Electronic Camerapersons
Robert Bejjani, Bryan Brousseau, Phil Carr, Dany Dagher, Stan Fisher, Wilfredo Garcia, Donovan Gilbuena, Matt Greene, Joseph Griffith, Joseph Patrick Hally, Erik Hemans, David Liebling, Paul McKenna, Christian Meyers, Ryan Naughton, Robert O’Reilly, Jon Pijnen, Richard Pitpit, Kelvin Rozzi, Brandon Tait, Adam Troeger, William Vantwoud, Eli Wiles
Graphics Operators
Duncan Bochicchio, Geoff Carpenter, Nick Crawford, Dragomir Dragomir, Blair Gresky, Davida Ibarra, Sarah Mann, Amy Nelson, Breanne Oliver, Alex Seflinger Lighting Directors
Keith Averett, Bradford Bettencourt, Daryl Bowen, Mark Carver, James Alexander Crump, Arman David, Travis Gillespie, Jeffry Gregson, Gilbert Lanto, Luke Maslen,
Mike Pagan, Ben Starett, Mike Wellman
Senior Audio Engineers
Chris Allan, Joe Carpenter, Chris Clark, Craig Lapsley, Paul Lydon, Glenn Stilwell, Eddie Verstreate
Audio Engineers
Dave Bjornson, Kevin Burns, Hugo Caviedes, Diego De Pietri, Fulton Dingley, Matt Downing, Brad Gilderman, Steven Gregan, Johno Harries, Jay Hayes, Joel Kroning, David Loudoun, Guillermo Marin, Justin McClellan, Dean McNally, James Mitchell, Julie Morgan, William Picciano, Charles Prise, Mike Rew, Elliot Roberts, Karam Saad, Matthew Schwartz, Leland Walker, Ramzi Zeidan
Audio Assistants
James Baglino, Brian Bessinger, Tracy Campbell Briggs, Brandon Dew, Doug Edge, Ricky Elders Jr., Jeffrey Feltz, Allie Gaffoor, Louis James, Lisa Kolisnyk, Adam Lawrence, Mike Rotolo, Natalie Sigmon, Jean Tannous, Chris Ward
Digital Replay Operators
Greg Albrecht, John Augi, Josh Barajas, Eric Breese, Ruben Corona, Nykk Franklin, Saleem Haana, Neal Houska, Ryan Luli, Steve Mahr, Todd Mole, Luis Sanchez, Brett Shirley, Toly Skuratovskiy, Tom Slezak, Aaron Snyder, Dan Song, Sefer Turk
Video Engineers
Carlos Aguilar, Ric Allen, Gabby Almeida, Ahmed Altweineh, Michael Angeles, Joshua Anker, Ryan Appeson, Nick Barrows, Pete Bartley, George Bashour, Russel Beck, Tai Bi, Duke Bishop, Matthew Canter, Mark Cheer, Douglas Chin, Daniel Clark, Vance Clissold, Andrew Cohen, Gregory Cox, Cameron Croft, Corey Culp, Mike Davies, David Decordova, Aaron Fortin, Charles Fox, Spencer Fredricksen, Dan Garcia, Rondie Gibbs, Jack Gilham, Noah Gusdorff, Bill Harder, Alex Hertle, Eddie Hobin, Zac Houser, Daryl Howard, Craig Hughes, Lee Hunter, Erin Hurley, James Hutcheson, Gwilym Huws, Whan Je, Eric Kludt, Hikaru Kudo, Chance Kulis, Robert Kunesh, Kimberly Lane, Zsolt Libor, Lawrence Loh, Jonathan MacChi, Shannon Martellaro, Jim McCoy, Manuel Melo, Zach Misino, Tom Moon, Jim Morris, Robert Morrison, Brent Mortara, George Nour, David Novak, Helder Oliviera, Keith Owens, Brian Pascuzzo, Joaquin Perez, Lucas Pierce, Ross Plunkett, Patrick Reinsbach, Andrew Reynolds, Timothy Richter, Alex Roberts, Robert Rogers, Michael Rossetti, Rudy Sanchez, Ben Sanchez, Aron Selnick, Valeria Sosa, Michael Soule, Christopher Stanback, Dan Stanisavljevic, Aaron Stevens, Thomas Stocks, Tim Strissel, Daniel Szwacki, Aungelina Taglia, Walt Thomas, Alex Urazov, Tony Valentino, David Velasquez, Linus Walsh, Ricardo Zampetti
Broadcast Media Managers
Tayler Acosta, Jon Bartlett, Roger Beck, Shasta Ford, Shasta Ford, Dimitiri Gammer, Dimitri Gammer, Scot Gray, Kristen Gruca, Zane Madrid, Lazaro Morales, Nathan Myers, Spencer Sacks, Anthony Vannicola
Broadcast Network Engineers
Robert Abraham, Randy Abulon, Ali Al-Abedi, Sajith Alawwa, Ghassan Alkhatib, Ryan Andrews, Mike Antebi, Jack Atkinson, Gustavo Avila, Devon Bleak, Neal Bliss, Martin Brooks, Martin Brooks, Adam Burroughs, Jason Cain, Juan Chavez, Jeffrey Co, Christopher Crane, Steven Devan, Philip Draper, Dale Dulude, Steven Escalante, Jason Fiorvanti, Marc Fleury, Cesar Flores, Zach Funk, Jeffrey Gascot, Oracio Gomez, Enrique Gonzalez, Leroy Goodnight, Joshua Hager, T. Hatch, Christopher Hernandez, Christopher Hill, David Huss, Noah Johnson, Ashley Kelton, Pradeep Kumar, Aaron Loaiza, Rico Magsipoc, Mike Mitchell, Paul Morillo, Mark Mugarura, Nagendra Mummaneni, Bill Myrter, Gabe Nguyen, Hung Nguyen, Bogdan Nitu, Israel Olivas, Carlos Ortiz, Charles Pak, Steven Perez, Mike Pham, Dario Pina, Omar Puente, Long Quang, Mark Radway, Raul Ramirez, Zach Rossi, Mark Ryall, Qusay Salman, Gus
Sandoval, Stephen Shimano, Armando Silva, Ross Smith, Kawa Taqiyaddin, Wilson Tennermann, Gregory Thuente, Jason Tran, Anton Tuzkov, Alex Valle, Kristof Van Der Veken, Reese Wexler, Grant Yoder
The Dragon YouTube
[Red Bull Media House]
Director of Photography Will Roegge Camerapersons
Darryl Cannon, Austin Gager, Collin Harrington, Josh Herron, Matt Johnston, Johnny Schaer, Justin Shreeve
Meddling NBC | Peacock
[SoHi Media]
Director of Photography Logan Fulton Cameraperson
Paul Steinberg
Outside The Lines ESPN
Without You
Editor
Stephanie Yang
McEnroe Showtime
[Sylver Entertainment]
Editor
Steve Williams
Outside The Lines ESPN
Without You
Writers
Julian Gooden Sr, Marcia McKenna
RIVALS: Ohio State vs Michigan Sinclair Broadcast Group
[TC Studios | Big Ten Network
|
DLP Media Group]
Writer
Peter Karl
Super Bowl LVII FOX
Ragged Old Flag: An American Chorus
Producers
Shams Ahmed, Adam Greenberg, Stephanie Lopez, Rachel Neueck
Associate Producers
Ed Boyer, Chris Cyronek, Ron Eaton, Eric Getzoff, Fletcher Sheridan
Music Director Ben Bram Arranger Scott Hoying
XXIV Olympic Winter Games NBC | USA
Senior Audio Engineers
Richard Bernier, Al Craig, Brian Dicrescenzo, Michael Dicrescenzo, Fredrick Domenigoni, Nuno Duarte, Timothy Dunn, Fred Hedemark, Benjamin Majchrzak, Greg Malenovsky, Karl Malone, Stephen Miller, Michael Moran, Ryan O’Gorman, Eric Paige, Randy Pekich, Jayson Polansky, Stephen Ross, James Starzynski, AJjay Vij
Audio Engineers
Stephan Ahonen, Daniel Beigel, Daniel Bouza, Patrick Brady, Matthew Burke, Davin Clem, Korey Evans, James Fieldson, Patrick Flynn, Leon Frank, Jeremy Katz, Michael Kramer, Joshua Miller, Fawzi Nijem, Luke Phillips, Timothy Pogorzala, Levi Radcliffe, Richard Rahner, Duncan Richards, Kristine Rothwell, Natalie Sigmon, Orin Smith, John Steigerwald, Glenn Stilwell, Dale Tong, Chan Wai Hang, Colin Whitehill, David Wolcott, Alina Wong
2022 NCAA March Madness tbs | CBS | TNT | truTV
NOLA Vibes featuring Jon Batiste
Sound Designers
Gilad Avnant, Daniel Cahill, Stav Nahum
XXIV Olympic & Paralympic Winter Games NBC | USA | CNBC |
Peacock | Twitter | NBCOlympics.com
Senior Graphic Designers
David Barton, Wade Echer, Chad Hudson, Mark Levy, David Melfi
Graphic Designers
Bianca Beck, Stephen Belmont, Jonathan Berry, Alex Boccard, Ian Bonilla, Eric Brown, Christopher Brown, Selena Cohen, Robert Cordle, James Coulson, Terry Daily, Joshua Davis, Kenneth Dayhoff, J.marty Dormany, Christie Grams, Shawn Hendrickson, Michael Kerner, Catherine Krebs, Jennifer Lorentz, Random Luttrell, Raymond Martinez,
Christian Odar, David Robbins, Jeffrey Smalls, Bridget Smith, Ann Adele Smith, Tyler Stocker, Mark Stroming, Stefanie Toigo, Jessica Torrico, Daniel Velez, Vincent Velez, Masahiro Wakabayashi, Nanzi Wang, Bradley Wasilition, Kristy Weir, Emma Wiatrzyk, Noah Woode, Tim Woulle, Chung Wu,
Anna Zavorina
Greatness Code Apple TV+
[Religion of Sports | UNINTERRUPTED]
Graphic Designer
Orlando Salva
Senior Creative Director
Lauren Fisher Senior Animator Ming Wang Animators
Natalie Eagan, Emily Eckstein, Brown Yoon
2022 FIFA World Cup FOX | FS1
Doha Set
Senior Creative Director Gary Hartley Production Designers
Johnny Chou, Rod Conti, Michael Croxton, John Paul Diodati, Zac Fields, Rita Franklin, Grant Hall, Patty Kiley, Helen Kim, Gary Koopsen, Andres Lopez, Yssa Mitra, Joshua Perea, Lebraun Robinson, Nate Samanns, Eric Sherwood, Halle Watson
Art Directors
Marco Bacich, Nick Dinapoli
Creative Director
Michael Dolan
FOX NFL Sunday FOX
FOX Sports Live MULTICAM XR Set
Innovators
Stype Cajic, Zac Fields, Zac Fields, Hanna Frangiyyeh, Amir Keren, Joshua McVey, Daryl Moore, Alex Seflinger, Ronny Van Den Bergh, Borna Vukorepa
2022 FIFA World Cup FOX | FS1
Tis The FIFA World Cup Campaign
Executive Producer
Robert Gottlieb
Senior Coordinating Producer
Bill Battin
Coordinating Producers
Whit Haskel, Keith Hritz, Claudina Mercado
Senior Producers
Jessica Davis, Ashley Greyson, Carolina Padilla
Producers
Meghan De Andrade, Anna Dood, Asher Edwards, Vicky Ferraro, Rick Jarjoura, Rebecca Wilmer
Coordinating Director Blake Danforth Director
Wayne McClammy
Associate Producers
Lee Blevins, Anne-Marie Depauw, Marie Keeler, Lauren Schwartzer, Lissa Weiss
Audio Engineer
Chris Afzal
Director of Photography
Paul Cameron
Editors
Matthew Hillber, Christjan Jordan, Jake Swartz
Music Supervisor
Eleni Giannopoulos
Senior Graphic Designers
Jake Montgomery, Patrick Munoz
Graphic Designers
Guillermo Lecuona, David Pagani, Kevin Prendiville, Bryan Smaller
Senior Creative Director Gary Van Dzura Creative Director
Steve Lewis
Super Bowl LVII FOX
Run With It [NFL | 72andSunny | Hungry Man Production]
Executive Producers
Eddie Capobianco, Glenn Cole, Tim Ellis, Nicole Haase, Tony Isetta, Ronit Larone, Rhett Nichols, Tracy Perlman, Marissa Solis, Ian Trombetta
Coordinating Producers Shareef Achekzai, Casey Brown Senior Producers
Justin Anderson, Shane Chastang, Daniel Cuellar, Jackie Finn, Lucy Hallowell, Clare Hines, Danny Nouri
Caroline Davis, Roisin Fitzgerald, Meghan Manne, Cianna Outlaw, Chris Taylor
Director of Photography Hoyte Van Hoytema Editor
Lauren Dellara
Music Director Christine Black-Reimel Graphic Designer Dustin Bowlin
Senior Creative Director
Zach Hilder Creative Director Nate Virnig
Copa Mundial de la FIFA Qatar 2022 Telemundo
Executive Producers
Roberto Pardo, Claudio Prizont, Christopher Suarez Meyers, Eli Velazquez, Ray Warren
Coordinating Producers
Ivel Alfaro-Calvo, Enrique Bertran, Adrian Costas, Igino Mancini
Senior Producers
Juan Sebastian Fernandez, Jaime Peñalosa Chapaprieta, Adriano Roig
Supervising Producers
Veronica Bornacelli, Ivan Carrillo, Diego Cichero, Denise Contreras, Susana Matin Del Campo
Producers
Juan Barsanti, Victor Bermudez, Richard Borjas, Shaw Brown, Enrique Castillo,
Edgardo Corradetti, Mauro Dall’agnese, Elsie De Marziani, Joaquin Duro, Jose Luis Espinosa, Ernesto Espinosa, Felix Fariñas, Gaston Fernandez, Facundo Gioffre, Ian Guinzburg, Christian Hernandez, Susana Loor, Miguel Lorenzo, Eduardo Malarria, Abraham Mendoza, Damaris Palma, Maria Cristina Pinilla, Ana Carolina Ramos, Diego Reyes, Abel Reyes, Joe Rodriguez, Tatiana Rodriguez, Randy Romero, Agustina Tellez, Carlos Uzcategui, Claudia Vasquez, Luis Villegas, Indira Yanes, Edgar Yañez
Feature Producers
Javier Castro, Maria Garcia, Gerardo Vargas
Segment Producers
Marina Ayuso, Mariana Carles Villegas, John Furlong, Brandon Glass
Field Producers
Jose Collazo, Carlos Garcia, Armando Riviere, Ivan Rodriguez, Arturo Trejo
Directors
Jose Corzo, Andres Garcia, Gilberto Rivera
Senior Associate Producers
Jorge Estrada, Alejandro Flores, Alexander Fraga, Maria Sofia Muller, Omar Padilla
Associate Producers
Carlos Contreras, Rodrigo Meyemberg Ortega, Priscilla Rojas
Associate Directors Patty Ensenat, Jose Sainz Reporters
Pablo Aguabella, Veronica Brunati, Karim Mendiburu, Diana Rincon, Carlos Yustis
Stage Managers
Aiante Carro, Mirtha Cruz
Hosts
Miguel Gurwitz, Carlos Hermosillo, Ana Jurka, Carlota Vizmanos
Analysts
Copan Alvarez, Eduardo Biscayart, Jorge Calvo, Andres Cantor, Sammy Sadovnik, Manuel Sol
Diana Flores: La Campeona de Nextitla Mundo NFL
[NFL Mexico | Sway]
Executive Producers Stephanie Hsiao, Luis Martinez Producers
Merv Bailey, Gerardo Chapa
Directors
Rubén Bolaños, Iván López-Barba
Associate Producers
Carlos Espinosa, Ignacio Rosas
Andrés Cantor Telemundo
Wins By Network
Network
Winners
ESPN
9
FOX
9
NBC
6
ESPN+
5
ABC
4
FS1
4
TNT
3
CBS
2
ESPN2
2
HBO Max
2
Netflix
2
NFL Network
2
Peacock
2
Tbs
2
Telemundo
2
truTV
2
USA Network
2
YouTube
2
Network Group Winners
ESPN
(ESPN, ESPN2, ESPN+, ABC)
13
FOX Sports Media Group
(FOX, FS1)
9
NBC Sports Group
(NBC, CNBC, USA Network, Telemundo, Peacock, NBCOlympics.com, Golf Channel)
8
NFL Network
(NFL Network, Mundo NFL)
3
Turner Sports
(TNT, tbs, truTV)
3
CBS Sports
2
HBO Sports
(HBO Max)
2
Netflix
2
YouTube
2
Amazon
(Prime Video)
1
Apple
1
Hulu
1
MLB Network
(NHL Network)
1
Riot Games
(LoLEsports.com)
1
Showtime
1
Sinclair Broadcast Group
1
Twitch
1
Twitter
1
NATAS
Note: In the table above, if an entry is credited to multiple network groups, then each network is given credit for a winner (e.g. CBS/TNT yields 1 winner for CBS Sports and 1 winner for Turner Sports). If all credited networks are from the same corporate entity, then the network group gets credit for 1 Emmy winner (e.g. ABC/ESPN equals 1 winner for ESPN).
Kim Petras is ready to eat. The singer shared the tracklist of her debut album, Feed the Beast, on Monday evening alongside an image of a sharp sword resting against jagged rocks. The new record will arrive on June 23 after a series of starts and stops over the past few years.
Ahead of the release date announcement earlier this month, the singer posted a cryptic medieval mood board. The photo set included a grayscale image of a knight’s helmet, a metal shield, and three different swords. “The story begins on June 23rd,” she wrote.
The story almost began a couple of times before. Petras was rumored to be titling her debut Problématique, but that particular project was scrapped last summer after enduring a series of leaks. “I know for the fans, it was very hard to see a whole album go away — for me, too,” she told Billboard in 2022. “That original album got me through the pandemic. But I also realized in that process that I was just doing what I always do; I was writing escapist pop songs about wanting to get away from everything. It was, once again, ‘The world is ending, let’s party.’ I love that, but I’m at a different place now.”
Feed the Beast will mark Petras’ first full-length project with Republic Records. It follows the release of the singer’s latest singles, “Brrr” and “Alone,” which features Nicki Minaj, and the 7-track EP Slut Pop, which arrived last February entirely co-written and co-produced by Dr. Luke.
A few weeks after Feed the Beast arrives, Dr. Luke’s defamation lawsuit against Kesha — who accused him of alleged sexual, physical, and emotional abuse — will go to trial. The disgraced producer helmed “Alone” but did not work on “Brrr.”
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Petras has previously defended her decision to work with him, telling Billboard: “Luke is the one person people like to pick out and be like, ‘This is obviously who has to write all of this girl’s music because she can’t be talented and that’s a big name.’ But I am here because I’m good at writing, and I do my shit.”
Feed the Beast tracklist:
1. Feed the Beast 2. Alone (Ft. Nicki Minaj) 3. King Of Hearts 4. Thousand Pieces 5. Uh Oh 6. Revelations 7. Bait (Ft. Banks) 8. Sex Talk 9. Hit It From the Back 10. Claws 11. Minute 12. Coconuts 13. Castle in the Sky 14. Brrr 15. Unholy with Sam Smith
Why watch a movie when you know there’s a better version out there and it’s readily available on streaming platforms? This is especially true regarding Disney’s live-action feature, The Little Mermaid, directed by Rob Marshall and written by David Magee. Controversy aside, the original animated classic is far superior, and it is best just to avoid this one.
Based loosely on Hans Christian Anderson’s story, Ariel (Halle Bailey) is a little mermaid who wonders what life is like for surface dwellers. So she’s been collecting surface artifacts with her friend, Flounder (Jacob Tremblay), the tiny crab Sabastian (Daveed Diggs), and their seagull friend, Scuttle (Awkwafina). Meanwhile, Ariel’s father, King Triton (Javier Bardem), forbids any merfolk from breaching the ocean’s surface, as humans are their sworn enemies.
Seeing a ship from afar, Ariel gets a closer peek and spies the handsome Prince Eric (Jonah Hauer-King). With his good looks and shaggy dog, Ariel becomes enamored. Then, during a celebration, the ship hits a reef and sinks. Ariel rescues Eric but runs before he can see she’s a mermaid. Wanting to be with Eric, Ariel makes a deal with the sea witch Ursula (Melissa McCarthy), who gives her legs in exchange for her voice. Ariel has three days to make Eric kiss her. Otherwise, she will become the property of Ursula.
“Ariel has three days to make Eric kiss her. Otherwise, she will become the property of Ursula.”
It’s only fair to start with what’s good about The Little Mermaid. McCarthy is great as Ursula. She’s a fun villain, and children were crying at my screening. She’s got the voice, pipes, and attitude of the original Ursula, Pat Carroll. The other good part is the song “Kiss the Girl.” Yes, they rewrote two lines to imply consent. Annoying but passable. What Marshall’s version does so well that the animated feature couldn’t capture is making Ariel and Eric actually fall in love. In this way, this moment feels more romantic.
So let’s get into what’s wrong with this film. First, the runtime. Two hours and fifteen minutes is just too long for the target audience. Many of the kids at my screening were getting antsy as the musical just kept going. One mother said she had to bribe her child with a toy to get them to sit still through the rest of the movie. The second act goes on way too long.
Speaking of the second act, The Little Mermaid features three new songs by Lin Manuel Miranda and Alan Menken, plus a whole lot of meddling from the original. Did Howard Ashman get it wrong all along? NO! Prince Eric sings “Wild Uncharted Waters” while walking down a long path to the ocean, where he emotes all over the place. It’s poorly shot and typical of pretentious Broadway musicals. “For the First Time” sees Ariel singing in her head after losing her voice. This is problematic from a storytelling standpoint. “The Scuttlebutt” by Scuttle is simply cringe and annoying. Why did they have to take away Awkwafina’s blaccent? Yes, I know what, and it’s unfair.
Researchers say an increase in emergency room visits and hospitalizations related to cannabis use by pregnant women is raising concerns about risks including preterm labour, low birth weight and negative effects on the baby’s developing brain.
Their study was based on data from 980,398 pregnancies in Ontario among 691,242 people between January 2015 and July 2021. Of those, 540 individuals visited an ER or were hospitalized for cannabis use.
The rate of ER and hospital visits related to cannabis use during pregnancy increased to 20 per 100,000 pregnancies, up from 11 per 100,000 since legalization. The study found some patients were intoxicated or “very high” when they sought care, the lead researcher said.
Dr. Daniel Myran, a family physician and addiction specialist, said while the absolute increase in ER visits and hospitalizations was low, many more people may be using cannabis during pregnancy and not ending up in hospital.
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“If that’s the case, I think it has important implications for the health of children who will be born from these pregnancies,” said Myran, a fellow at the Bruyere Research Institute and The Ottawa Hospital.
Has cannabis consumption increased in Quebec since legalization?
Some of the patients had a cannabis use disorder and were unable to stop using, while about 22 per cent experienced withdrawal, he said.
“This is not someone who used cannabis once or twice during pregnancy,” said Myran, also a post-doctoral trainee at ICES, formerly known as the Institute for Clinical Evaluative Sciences.
The study, which also involved Unity Health Toronto, was published Tuesday in the Canadian Medical Association Journal (CMAJ).
The study suggested some may have used cannabis to relieve symptoms of morning sickness.
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Montreal resident Jordana Zabitsky said that when she was expecting her second child, she knew exactly how to quell the morning sickness that made her miserable _ by smoking more cannabis than during her first pregnancy.
Zabitsky started using cannabis for depression, anxiety and PTSD about two years before the birth of her son in 2016, when she ditched prescription drugs because of their side-effects.
During her first pregnancy, she limited her cannabis use because she worried about whether it could affect her baby.
“I would take about four puffs of a joint once or twice a week,” Zabitsky said.
Her son weighed seven pounds, six ounces when bornat full term and reached all of his milestones, so she decided to use cannabis regularly during her second pregnancy.
“I used it as needed. I didn’t track how much I was using. I just woke up and I would use it because it would prevent me from throwing up in the morning. It helped give me an appetite.”
Perinatal mood and anxiety disorders
Her daughter was born in 2017 weighing six pounds, 13 ounces and her obstetrician was aware of her cannabis use, said Zabitsky, who co-founded a group called Mothers Mary to support others wanting to try the substance during pregnancy.
During both pregnancies, she said cannabis also helped ease pelvic pain that made it difficult for her to walk.
“It’s not like we’re sitting around being like, ‘Oh, let’s smoke a joint to get high. You’re sitting there thinking, I really want to get better. I don’t want to feel depressed anymore.”
Dr. Darine El-Chaar, a maternal fetal medicine specialist at The Ottawa Hospital and another study co-author, said some of her patients believe the legalization of recreational cannabis means it’s not so risky during pregnancy _ but that’s not the case.
Multiple studies have shown cannabis use during pregnancy is associated with increased risk of early delivery, low birth weight,along with autism and attention deficit hyperactivity disorder (ADHD), El-Chaar said.
The study considered low birth weight for babies born at full term to be less than 5.5 pounds.
Toronto’s Sinai Health managing COVID-19 pregnancies, more complications
Pregnant people, especially those with a history of substance use, mental health conditions and severe morning sickness, would benefit from regular screening by an obstetrician without stigma, she said.
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“We show that the patients who presented with acute care for cannabis had a higher rate of (morning sickness). But we don’t know for sure if that’s pregnancy related or related to cannabis use.”
She said common prescription drugs for morning sickness have been well studied over time and anyone experiencing nauseaor other symptoms during pregnancy should see a health-care provider before considering cannabis.
“I hear all the time from patients that ‘I did it with my other pregnancy. it’s a natural substance. And I often say that it’s not all pregnancies where (babies) are exposed to alcohol, cigarettes or cannabis that they’re going to have negative outcomes. But the proportion of negative outcomes is higher compared to non-use.”
The data did not show a rise in acute care visits for use of other substances, including alcohol and opioids, El-Chaar noted.
The Society of Obstetricians and Gynaecologists of Canada says there is strong evidence that cannabis use during pregnancy poses risk of lifelong harm to a developing fetus related to memory function, hyperactive behaviour, anxiety and depression.
Ariana Madix is ready for a new chapter! The “Vanderpump Rules” star has moved out of the home she once shared with ex-boyfriend Tom Sandoval.
In an Instagram Story on Monday, Ariana posted a video of herself smiling in front of the home and moving boxes with the caption “ready to dip out.”
Ariana Madix Instagram
Madix was reportedly later seen moving into a new house about 15 minutes away, where she was met by a U-Haul truck carrying her belongings, according to Page Six, which obtained exclusive photos of Ariana’s move.
Last week, Ariana revealed on “Watch What Happens Live” that she had still been living with Tom following their split. The pair’s nine-year relationship ended abruptly when news broke of Sandoval’s affair with their castmate Raquel Leviss.
“My plan is to sell the house. I want my money out of that house as quickly as possible and I want to move on,” Ariana told host Andy Cohen, adding that she and Sandoval “do not interact on any level” and use “go-betweens” to communicate.
The Bravolebrity also shared on “Today with Hoda & Jenna” her desire to sell the $2 million home she and Tom purchased together and to begin her new chapter.
“I’ve been on the phone with a real estate agent. And I would like to sell that house and move somewhere, own my own place on my own, and start my new life.”
While Ariana revealed to “Today” that she hopes to return to “Vanderpump Rules” next season, those hopes do not include filming with Tom and Raquel. She told Hoda Kotb and Jenna Bush that she has “no interest in speaking to either of them. I don’t have anything to say.”
Amid the social backlash from Tom and Raquel’s affair, Raquel checked herself into a mental health facility in April, while Tom has been touring with his band Tom Sandoval & the Most Extras.
Rococo Punch, the independent podcast production studio behind The Turning series and Welcome to Provincetown, has been acquired by the full-service podcast and audiobook company Audily.
Led by co-founders and public radio veterans Jessica Alpert and John Perotti, Rococo Punch will continue as a standalone brand within Audily. The studio will continue to develop original productions and contract with other media companies for work-for-hire projects. RPLabs, which has created educational audio programming for partners like Boston University and the Dana Farber Cancer Institute, will also continue within the Rococo Punch brand.
Alpert and Perotti will continue to lead Rococo Punch and report up to Matt Wells, the co-founder and president of Audily, as part of the acquisition. Financial terms of the deal were not disclosed.
“Jessica and John are the content dream-team of podcasting, and we are thrilled to welcome them and the Rococo Punch team into the Audily family,” Wells said in a statement. “Together, we will expand our service offering and creative content to a broader audience, and we can’t imagine better partners to tackle this growing industry.”
The acquisition comes as podcast studios look to build back momentum during a slower market and major audio companies like Spotify become more judicious with content spending. For smaller podcast studios that specialize in premium narrative projects, which tend to be more expensive than always-on shows and may have a harder time raking in ad dollars due to the limited number of episodes in a series, an acquisition like the Rococo Punch–Audily deal can help sustain the business for the long term.
Alpert, formerly a managing producer at Boston’s WBUR, said Rococo Punch has been “working towards this moment” and that Audily will give the studio the “fuel” to “create even more value in the space.” “We’re two companies with incredibly talented teams, and together we can build an even stronger foundation that allows for creative innovation,” Alpert said.
Perotti, who serves as Rococo Punch’s chief content officer, pointed to the “constantly shifting” audio market as one of the key reasons for the studio to join Audily, which launched in 2022 under the VC firm nth Venture and, like other nth Venture studio companies, is owned by its employees. “When two independents come together, we can do much bigger things,” Perotti said. “Rococo Punch’s thoughtful storytelling will continue to be the focus of our work.”
Juan Manuel Guimeráns, General Secretary of the Spain Film Commission, sat down with Variety’s John Hopewell at Cannes Film Festival to discuss the growing filmmaking market in Spain.
Guimeráns’ recognizes that despite Spain’s long history of filmmaking, their bandwidth to hold the infrastructure for massive productions filming was once thin, but now is blossoming. “We’ve been filmmaking in Spain for more than 100 years,” said Guimeráns. “[At] the beginning of the 21st century, we’ve seen an increase in investment by international companies, especially platform forces.”
Hopewell points out that Spain’s competitive incentives will draw in business.
“We look at this like a building,” said Guimeráns. “You cannot just have a building with one pillar. Many other countries are enforcing new incentive schemes and we feel that we are almost reaching the end of our race… we want to concentrate [on] the other pillars — creating stories.”
Guimeráns also revealed the details surrounding Spain’s audiovisual hub plan, a key component of the digital Spain 2025 agenda led by the Secretary of State for telecommunications and digital infrastructure.
The first pillar of the proposal includes building a number of stages and studios available for shooting in the country. To date, over 175 spaces have been identified and cataloged, in addition to the varying in-and-outdoor locations.
To expedite the research process, the Spain Film Commission has generated an online portal offering access to a database of stages and studios available on stage. Users are able to compare their options via virtual tours, search filters and more to plan their next project.
“It felt like this bloody world needed some love stories now,” Fallen Leavesdirector Aki Kaurismäki said of his Palme d’Or contender this afternoon.
With war still raging in Ukraine, the Finnish auteur, who does not mince his words, focused several times on themes of love as an antidote to global conflict.
The movie features clips of the Ukraine War in radio broadcasts and Kaurismäki said he “couldn’t have done any film during the war without commenting somehow, so I commented with radio.”
“It felt like this bloody world needed some love stories now, but it doesn’t matter what we do in Finland,” he added.
Documenting the war in his movie was important so people can “watch it and understand how cruel and stupid” the conflict was years down the line, he added. In a similar vein, Kaurismäki pointed to his inclusion of the Tiananmen Square massacre in 1990’s The Match Factory Girl.
Fallen Leaves star Jussi Vatanen said: “During terrible times, it is important to remember there is beauty and love in the world, so in that sense this is an extraordinarily important movie.”
Fallen Leaves has been one of the buzziest Cannes films so far and is Kaurismäki’s first Palme d’Or nominee since 2011’s Le Havre. It stars Alma Pöysti and Vatanen as two lonely people who meet each other by chance in the Helsinki night and try to find the first, only, and ultimate love of their lives. Deadline’s Pete Hammond called it a flat-out-gem.
Kaurismäki credited Charlie Chaplin as an inspiration for Fallen Leaves and said he remains the “best ever.”
“He created Hollywood in good and bad but he also created cinema as it is today,” Kaurismäki said of Chaplin.
Next up, he is working on a slapstick tragedy which will again star Pöysti and Vatanen, which Kaurismäki said is “25% written in my head.”
Working with Kaurismäki is great as he “has a clear vision,” said Vatanen, with Pöysti adding: “We learned about acting in Aki’s movies: Don’t look into the camera, don’t rehearse and know your lines but don’t read your script too much.”
The trio joked that they spent most of their time debating and learning about the difference between green and white asparagus.
“It’s been a learning journey of cinematography and asparagus,” added Pöysti.
Varun Dhawan is currently shooting for his upcoming web series Citadel with Samantha Ruth Prabhu.
Varun Dhawan, known for his fitness, recently set social media on fire as he flaunted his toned physique. In a series of captivating photos, the actor not only showcased his chiseled body but also revealed his secret trick for removing tans, leaving fans eager to follow in his footsteps.
In his latest social media post, the actor shared photos and a video focusing on the effective removal of tans. He is seen holding a bucket full of ice in the first picture. The next picture has Varun flexing his hands backward. In the video, he is seen putting his legs into a bucket full of ice. He captioned it as ‘Dirty tans + ice + recovery .”
Take a look here:
Fans also praised the actor for his fitness. One of the fans wrote, “Barf ke bawajud garmi lagrhi h itni hotness uff.” Another wrote, “Varun be like, mai to paida hi hot huaa tha.” Last night Varun was spotted with Arjun Kapoor. Both were seemingly having Boy’s night out.
Varun was last seen in Bhediya co starring Kriti Sanon. The film was loved by fans. Recently, in an interview to IANS, Varun Dhawan had said that ‘Bhediya’ was not simply an intriguing werewolf tale, but an emotional rollercoaster that promises to keep one captivated. He added that the opportunity to portray Bhaskar was a once-in-a-lifetime privilege, which boosted his acting skills considerably.
Apart from this, the actor will be making his digital debut with Citadel’s Indian version. Samantha Ruth Prabhu will also be seen. They have been shooting currently. A few days back Samantha also shared pictures of her ice bath recovery method to reduce muscle pain. Varun also has Bawaal with Jahnvi Kapoor. The movie is helmed by Nitish Tiwari and also marks Varun’s first onscreen collaboration with Janhvi Kapoor. The film is releasing in October this year.
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