This is one of the most delicious chocolate pancake recipes out there, so try it out!
This is one of the most delicious chocolate pancake recipes out there, so try it out!
And more from the new HGTV show that will have you obsessed with topiary design.
The Rurouni Kenshin movies were supposed to be released in theatres in Japan last summer, but owing to the pandemic, the releases were postponed to this year.
Fun Home review – Alison Bechdel memoir-musical adaptation burrows its way into your heartRoslyn Packer Theatre, SydneyBehind the image of a picture-perfect family is a father’s torment and an artist’s attempt to grasp at the truth Small Alison (Karelina Clarke) with her closeted and gay father Bruce (Adam Murphy) in the Sydney Theatre Company and Melbourne Theatre Company’s production of Fun Home, which grapples with burning questions of identity and truth. Photograph: Prudence Upton
“Pose” alum also teases “some great scenes” with Leslie Grossman Season 10 of “American Horror Story” will feature some “very strong female energy,” star Angelica Ross tells TheWrap. “It’s not full-on lesbian/bi, but there’s some very strong female energy in this,” Ross said of the upcoming season, which is subtitled “Double Feature” and will showcase two different stories. “I pray every night that maybe God will turn me into a lesbian. It hasn’t happened yet, but at least until then, I can pay homage to all of the things that I love about lesbian women. Mainly their lack of interest in centering their lives around men as much as those of us who are a little bit more indoctrinated by patriarchy.” The “Pose” alum stars on “Double Feature” alongside franchise newcomers Macaulay Culkin and Kaia Gerber, as well as returning stars Sarah Paulson, Kathy Bates, Evan Peters, Leslie Grossman, Billie Lourd, Adina Porter, Lily Rabe and Finn Wittrock. As always with “AHS,” plot details about the upcoming season remain scarce, but co-creator Ryan Murphy teased earlier this year that the upcoming season would be the first to explore two separate stories: “One by the sea [and] One by the sand.” Ross said she is “pretty sure” she’s in both storylines, but secrecy is taken so seriously on the horror anthology that sometimes even the cast is kept in the dark. “I know a little bit only because Ryan likes me and sometimes he’ll call me or text me when he gets excited about some of the things, usually with my character,” she said. “But they do like to keep a little bit of mystery because our fans — we have a great fan base, but they love putting out any piece of puzzle. So he tries not to give us too much until it’s time.” Fans can expect some “great scenes” between Ross and Leslie Grossman this season, as well as with “Anne With an E” actress Ryan Kiera Armstrong. “She’s just so talented and it’s been so great to work with her,” Ross said. “It’s really such a privilege for me as an actor who comes from theater to feel like I’m part of a theater troupe on television, getting to play different roles every season,” she said. “I really do think that the fans are going to love this season for the mix of actors who are known to be ‘American Horror Story’ staples — Sarah Paulson, Evan Peters, Lily Rabe — with newcomers like Ryan.” Read more from TheWrap’s interview with Ross here. Read original story Angelica Ross Promises ‘Very Strong Female Energy’ for ‘American Horror Story’ Season 10 At TheWrap
“Lego Movie” duo will also produce the adaptation Universal has optioned the screen rights to the Michael Lewis book “The Premonition,” which will be directed and produced by Phil Lord and Chris Miller through their Lord Miller banner. Lewis, who has written several books that have been turned into hit films like “The Big Short” and “Moneyball,” has just published “The Premonition,” which tells the story of three people — a biochemist, a public health worker and a federal government employee — who tried to warn about the impending COVID-19 pandemic in 2019, only to have their concerns fall on deaf ears in the Trump Administration. Amy Pascal will also produce the film alongside Lord and Miller through her Pascal Pictures banner with Rachel O’Connor and Lord Miller’s Aditya Sood. A screenwriter has not yet been chosen to adapt the book.Lord and Miller, who first rose to prominence through work on animated films like “The Lego Movie” and “Spider-Man: Into the Spider-Verse,” have recently turned their attention to live-action projects. The duo are also attached to direct “Project Hail Mary,” a MGM sci-fi film starring Ryan Gosling that is based on the novel of the same name by “The Martian” writer Andy Weir. Lord and Miller are repped by UTA. The option was first reported by Deadline. Read original story Phil Lord, Chris Miller to Direct ‘The Premonition’ Based on Michael Lewis Book About COVID Pandemic At TheWrap
The 2021 Sundance Film Festival selection will be released July 20 in theaters and on digital platforms “How It Ends,” described in a statement as “an apocalyptic comedy” co-written, co-directed and co-produced by Zoe Lister-Jones and her husband and frequent collaborator Daryl Wein, has been acquired by MGM’s American International Pictures label following its Sundance Festival debut, MGM announced Monday. The film was an official selection at the 2021 Sundance Film Festival. AIP, which has acquired the worldwide rights, will released the film July 20 in the U.S. in theaters and on digital platforms. The movie tells the story of Liza (Lister-Jones) who travels across Los Angeles on the eve of the end of the world. While taking steps to reconcile with parents, former lovers and friends, she is accompanied by what a statement describes as “a metaphysical projection of her younger self” (portrayed by Cailee Spaeny of HBO’s “Mare of Eastown”). The film also features multiple cameos from comedy star and actors including Whitney Cummings, Tawny Newsome, Finn Wolfard, Nick Kroll, Fred Armisen, Bradley Whitford, Ayo Edebiri, Angelique Cabral, Paul Scheer, Helen Hunt, Colin Hanks, Pauly Shore and many others. “Zoe and Daryl created something truly unique with ‘How It Ends,’ which was shot entirely during one of the most surreal and challenging period in our industry’s history,” said Chris Ottinger, president of worldwide television distribution and acquisition at MGM. “The result is a charming and funny take on the last-day-on-earth genre. We’re thrilled to be able to share this film with audiences around the world this summer.” Wein, whose feature producing/writing/directing credits include “White Rabbit” and “Lola Versus,” is represented by WME Entertainment and Rain Management. Lister-Jones, who frequently collaborates with Wein and is perhaps best knows for her role in the TV comedy “Life in Pieces,” is represented by Mosaic and WME The deal was brokered on behalf of MGM/AIP by Sam Wolman, executive vice president of worldwide acquisitions and film sales, RAMO Law and Endeavor Content. Read original story Zoe Lister-Jones Comedy ‘How It Ends’ Acquired by MGM At TheWrap
As New York City prepares to reopen, Macy's has announced plans to revive the area surrounding its Herald Square flagship store.
"It's gonna be impeccable," according to Cox.
Season 2 finale — which is now the series finale — will air later next week “Prodigal Son” has been canceled at Fox after two seasons, TheWrap has learned. The second season finale of the Tom Payne and Michael Sheen-led psychological drama, which will now serve as the series finale, will air next Tuesday. “Prodigal Son” follows Malcolm Bright (Payne), a criminal profiler with a rare talent for getting inside the minds of killers. He learned how they think because his father, Dr. Martin Whitly (Sheen), was a notorious serial killer known as “The Surgeon.” Malcolm uses his twisted genius to help the NYPD solve their most puzzling murders, while also still sorting out his complicated relationship with his imprisoned father. Along with Sheen and Payne, “Prodigal Son” starred Bellamy Young, Lou Diamond Phillips, Catherine Zeta-Jones, Halston Sage, Aurora Perrineau, Frank Harts and Keiko Agena. The series was created by Chris Fedak and Sam Sklaver, who acted as showrunners and executive produced along with Greg Berlanti and Sarah Schechter. “Prodigal Son” is produced by Warner Bros. Television. The second season of “Prodigal Son” was averaging a 0.8 rating in the advertiser-coveted adults 18-49 demographic and 3.8 million viewers, according to the “most current” Nielsen data, which includes a week’s worth of delayed viewing where available. An individual with knowledge tells TheWrap that the decision to not renew “Prodigal Son” for a third season was an incredibly difficult one for the broadcast network, as they saw it as one of the most imaginative and intricate dramas among its broadcast competition. However, Fox ultimately thought “Prodigal Son” did not draw as strong of a response from viewers as they had hoped. “Prodigal Son” is the most recent series to be canceled at Fox ahead of the announcement of its 2021-2022 schedule, which has already scrapped “Bless the Harts,” “Filthy Rich,” “Last Man Standing” and “Next.” Meanwhile, the network has renewed “Bob’s Burgers,” “Call Me Kat,” “Duncanville,” “Family Guy,” “The Great North” and “The Simpsons” (for Seasons 33 and 34). The series currently awaiting decision are “9-1-1,” “9-1-1: Lone Star,” “The Moodys” and “The Resident.” In terms of new series for next season, Fox has ordered the comedy “Pivoting,” country music drama “Monarch,” the mob drama “The Cleaning Lady,” the Scott Foley-led “The Big Leap,” Fox’s “Fantasy Island” reboot, “Our Kind of People” and “This Country.“ Readers can find TheWrap’s recent interview with Zeta-Jones, who joined the show for Season 2 in the role of Dr. Vivian Capshaw, here. Check back with us tomorrow, Tuesday, for a post-mortem about that episode, and again next week for an interview with the showrunners and cast about the series finale. The penultimate episode of “Prodigal Son” airs tomorrow, Tuesday, at 9/8c on Fox. The series finale is set for next Tuesday, May 18. Read original story ‘Prodigal Son’ Canceled at Fox After 2 Seasons At TheWrap
“Like so many parents of Black kids … the innocent act of getting a license puts fear in our hearts,” she said.
NBC also announced they won’t broadcast the 2022 ceremony.
Total usage of television among key demo was understated by 2-6% in February, according to the Media Rating Council Nielsen was undercounting viewers during the pandemic, according to an audit by the Media Rating Council (MRC). The findings come a few weeks after TV networks signaled their fear to the ratings measurement firm that their ratings were being artificially deflated. The MRC said on Monday that it believes total usage of television (TUT) by adults 18-49 — the demographic that sets the majority of ad prices — was understated by 2-6% during the month of February, which was the timeframe the MRC used to conduct the audit. Additionally, the MRC believes that “persons using television” (PUT) among that same age group was down by 1-5%. Because of the pandemic, Nielsen has not sent field agents to its participating homes, a routine procedure that helps to ensure the ratings that the company puts out every day are accurate. The TV networks are worried their ratings have been undercounted over the last year, arguing that Nielsen’s processes have been more faulty because of the lack of in-home check-ins and that Nielsen counted homes that residents may have left during the pandemic. Last month, the Video Advertising Bureau, a trade group that represents TV networks to advertisers and agencies, sent a letter to Nielsen regarding the undercounts and asked it to submit to an audit. At the time of VAB’s president and CEO Sean Cunningham’s letter, Nielsen said it was already undergoing an audit by the Media Rating Council, something that it undergoes each year. Cunningham added that the networks believe Nielsen’s counts included more “zero-viewing TV homes” than normal, and that Nielsen was grappling with “a 20% loss of the panel” during the pandemic. “While today’s MRC findings contradict months of Nielsen’s repeated public denials of any problems with their COVID data processes and results, those months of stalling by Nielsen have slowed the process of deep discovery into the full extent of their COVID data defects that is owed to the entire TV marketplace,” Cunningham said on Monday. “We believe this initial confirmation of undercounted COVID TV metrics is merely the beginning of what will come evermore to light as the MRC’s processes progress into a full audit of Nielsen’s COVID-period TV data, which needs to be an audit of unprecedented scale and scope.” The timing of this is no coincidence: Amid a long-term erosion of viewers, the 2020-21 TV season has seen an even bigger decrease in viewership. It’s also the time of the year when advertisers and their agencies set the bulk of their ad buying commitments for the next year in what is known as the Upfronts. “The impacts to estimates will vary among different demographic groups and dayparts, and percentage differences, when applied to program estimates, can be misleading because of the small size of the absolute ratings of many programs, which can distort change percentages,” the MRC said. Here is Nielsen’s statement on the MRC’s findings: “As requested by the MRC, Nielsen has implemented a thorough analysis of the estimated impact of changes in consumer viewing behaviors and its panel maintenance protocols during the COVID-19 pandemic, and we will continue to work with the MRC on other analyses in the future. Throughout the pandemic, Nielsen has been fully transparent in collaborating with the MRC and focused on procedural changes to support its panelists, people and the integrity of currency metrics used by the industry. On Monday, the company shared its findings with the MRC. As a result of some of the COVID measures we implemented, we found that there was some understatement of audience estimates. The variance differed by daypart, demographic and program. At a high level, the February 2021 simulation analysis showed: 2-6% change on Total Usage of Television (TUT) ratings and a 1-4% change on Persons Using Television (PUT) ratings.93% of C3 P18-49 rating changes for major networks saw no more than a 0.02 change in rating points. Since early March 2021, Nielsen has aggressively returned to pre-COVID maintenance procedures and will continue to rigorously work with the MRC and its clients to understand the impacts of both the pandemic and changing consumer viewing behaviors on data and analysis.” Read original story Nielsen Undercounted Viewers During Pandemic, Audit Finds At TheWrap
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Signature workshops include 12 fellows for directors and screenwriters labs and nine fellows cultivating Native artists The Sundance Institute named on Monday the artists and projects for the first group of its upcoming summer labs. The group includes 12 fellows for the directors and screenwriters labs and nine artists participating in the Native and Indigenous lab which focuses on the development of storytellers from those backgrounds through feature film, episodic work and other pursuits. One artist will participate in both labs. Elements of this year’s labs will take place digitally via Sundance Collab. Sundance Institute said in a statement that fellows in the Native program will engage in one-on-one feedback sessions with advisors, as well as round-table discussions. With these fellows working across both episodic and feature formats, they will explore “indigenizing” their creative process in writing their scripts, the statement said. The labs are organized under the leadership of Feature Film Program (FFP) founding director Michelle Satter, FFP deputy director Ilyse McKimmie, and Indigenous Program direcgtor N. Bird Runningwater. “Supprt for Indigenous storytellers has been part or the Institute’s mission since its founding,” Runningwater said in the statement. “We’re excited tpo nurture this cohort of filmmakers and their stories, strengthening the Indigenous lens through which their stories are being told and supporting them along their creative journey to the screen and audiences.” Below is a list of fellows and projects selected for the 2021 Native Lab May 10-21: Miciana Alise (Tlingit)Mia, Too In this life, a woman’s biggest challenges are the love she chooses to accept, the tough love of a well-meaning mother, and the absence of love that heartbreak leaves behind. Mia will have to face them all in order to find a way to finally love herself.Miciana Alise interned with Jesse Collins Entertainment during the 2013 Black Entertainment Television Awards and served as First Assistant Director under Director Randy Reinholz during Perseverance Theatre’s production of an original Alaska Native play. She penned her first feature length script in 2018, leading to her selection as a 2019 Sundance Institute Indigenous Film Fellow. She hosts a YouTube channel focused on educating Native youth regarding current events and Indigenous history. Fancy Dance, a feature she co-wrote with Erica Tremblay, was included on the inaugural Indigenous List hosted by The Black List. She is a current Sundance Institute Screenwriting Fellow.Doane Tulugaq Avery (Iñupiaq)Mama DragonAs a 40-year-old queer ex-Mormon begins to navigate the world as a recent divorcee, she is surprised to find support in raising her nonbinary child from an advocacy group called Mama Dragons, a Mormon led organization that breathes fire for their LGBTQ family members.Doane Tulugaq Avery is a filmmaker whose stories focus on feminine, queer, and Indigenous character-driven narratives. She was the recipient of the LA Skins Fest Emerging Filmmaker Award and the imagineNATIVE Jane Glassco Award for Emerging Talent. Her short films have screened at Outfest, Oaxaca Film Fest, Seattle Queer Film Festival, and Māoriland. She was selected as a fellow for the Sundance Institute + IAIA Native Writers Workshop, the Barcid Foundation’s Native American TV Writers Lab, and the 2nd Annual Native American Writers Room sponsored by the Pop Culture Collaborative. She recently worked with Topple Productions as a co-writer on the forthcoming film Mothertrucker. She received an MFA in Film Directing from the California Institute of the Arts. Doane is from the Pacific Northwest and lives in Los Angeles.Bryson Chun (Kanaka Maoli)Poi DogsWhen a small-town, high-end Hawai’i dog groomer learns that a hit was put on her on the Dark Web, she has to race to find the culprit among her friends and family before it’s too late.Bryson Chun is a Native Hawaiian filmmaker who has produced award-winning short and feature films in Hawai’i that have gone on to screen for PBS, The Smithsonian Institution, The Criterion Collection, and at festivals all over the world. He was a writing fellow for Sundance, imagineNATIVE, LA Skins, and ‘Ohina Labs where he developed his Greenlight award-winning short Other People under the mentorship of Thor Ragnarok writer Eric Pearson. His television pilot Poi Dogs was recently selected to be part of The Blacklist’s Inaugural Indigenous List. He was part of the 2021 CAPE New Writers Fellowship and is currently pursuing his MFA in Screenwriting from the Institute of American Indian Arts.Alexandra Lazarowich (Cree)Sweet Home ReservationAfter the death of her aunt, a successful fashion business woman returns to her childhood home on the Cree reservation in Northern Alberta, Canada for the funeral. However unbeknownst to her large, loud Native family, she brings home her new fiancé — a musician from Malibu.Alexandra Lazarowich is an award-winning Cree filmmaker from northern Alberta. Her short film Fast Horse was honored with The Special Jury Prize for Directing at the 2019 Sundance Film Festival. Her body of work as director and producer include Lake, Indian Rights for Indian Women, Cree Code Talker, Empty Metal and INAATE/SE/. She is the series producer for the CBC’s multi-award-winning comedy documentary series Still Standing. Her fellowship is made possible with support from the Indigenous Screen Office. 2021 Native Lab – Artist In Residence: Charine Pilar Gonzales (San Ildefonso Pueblo) An aspiring Pueblo photographer drops out of college and decides to sell her photos at Native art shows full-time to support her family. She struggles with self-doubt, competitive attitudes and understanding the market – in order to establish herself as an artist. Charine Pilar Gonzales (San Ildefonso Pueblo) is a Tewa filmmaker whose work focuses on empowering women, celebrating resilience and laughing in-between. Gonzales is Lead Editor for Native Lens, a crowdsourced series by RMPBS and KSUT Tribal Radio. She’s a 2021 graduate from IAIA where she studied Cinematic Arts and Technology. She’s a current Artist in Business Leadership Fellow through First Peoples Fund. She’s an alumna of the Indigenous Film Opportunity Fellowship and Full Circle Fellowship, both through the Sundance Institute’s Indigenous Program. Gonzales earned an English-Communication BA from Fort Lewis College in 2017. Her favorite foods are red chile and oven bread. Tommy Pico (Kumeyaay) – writer Sometimes Tommy is a “sometimes” person: sometimes Brooklyn, sometimes rez, but never both. When his best friend becomes a punk singer, a dream Tommy wanted for himself, his identities begin to blur against a backdrop of punk music, ceremony, and the ghost of an ex he killed on the rez. Tommy “Teebs” Pico is a poet, podcaster, and TV writer. He authored the books IRL, Nature Poem, Junk, and Feed. He hosts the podcasts Food 4 Thot and Scream, Queen! and writes on the TV shows Reservation Dogs and Resident Alien. The 2021 Native Lab Fellows will be joined at Lab by the 2021 Full Circle Fellows: Jamie John (Grand Traverse Band of Ottawa and Chippewa Indians) Jamie John is a two-spirit Anishinaabe and Korean multidisciplinary artist living in their historic homeland of so-called Michigan. They’re an enrolled tribal citizen of the Grand Traverse Band of Ottawa and Chippewa Indians, a graduate in interdisciplinary arts at Interlochen Arts Academy, and currently reconnecting to their Anishinaabe ceremonial way of life. Art has been used as a tool to carve out a space for Jamie despite the impact of colonialism, intergenerational suffering, and gender violence. With works tackling topics of colonialism and historical loss, Jamie attempts to pull the thread of resistance to these atrocities through cultural connection and emphasizing collective survival. Sarah Liese (Diné and an enrolled member of the Turtle Mountain Band of Chippewa Indians) Sarah Liese is a master’s student at Ohio University, where she studies journalism and photography. She is a research assistant to Dr. Victoria LaPoe, which has allowed her to learn more about Indigenous reporting – a topic Liese is passionate about, as she is Diné and a member of the Turtle Mountain Band of Chippewa Indians. In her free time, Sarah works as a poetry reader for the New Ohio Review. She plans to earn her master’s degree from Ohio University in April 2022 and begin her career as a documentary filmmaker, highlighting Indigenous stories. She is a graduate of Mississippi University in the state where she grew up and maintains strong family connections. Christina Zuni (Isleta Pueblo) Christina Zuni is a Native filmmaker and cinematographer from Isleta Pueblo, N.M. She is a soon-to-be graduate at New Mexico State University in the Digital Filmmaking program. Growing up in a culture-driven community, she developed an interest in pueblo art at a young age. The combination of Native art and visual media heavily influences the themes present in her work. By giving a voice to the unheard and unspoken, she advocates and empowers communities in ways that uplift them. Her goal in filmmaking is to enrich humanity’s interest in Native American traditions and encourage pueblo youth to find their creativity. Fellows and projects selected for the 2021 Directors Lab are: Fancy Dance (U.S.A.) Erica Tremblay, co-writer/director Miciana Alise, co-writer Following the disappearance of her sister, a Native American hustler kidnaps her niece from her white grandparents and sets out for the state powwow in the hopes of keeping what’s left of their family intact. Erica Tremblay is an award-winning writer and director from the Seneca-Cayuga Nation. Her short film Little Chief premiered at the 2020 Sundance Film Festival and was included on IndieWire’s top 10 must-see short films at the fest. Tremblay was a 2018 Sundance Native Film Lab Fellow and she is a current Sundance Screenwriters Lab Fellow. She was recently honored as a 40 Under 40 Native American. Tremblay lives on Cayuga Lake in upstate New York where she is studying her Indigenous language. forward (U.S.A.) Cris Gris, director Mary Ann Anane, writer After moving to a working-class part of the Hamptons, a Latinx teen employed as a housecleaner for the elite explores identity and love in the shadow of gentrification and inevitable loss. Cris Gris is a Mexican filmmaker whose films have screened internationally in prestigious festivals, including La Semaine de la Critique, Festival de Cannes. She’s known for moving between acting, writing, and directing, and landed her first leading role in the feature independent drama Fish Bones (2018). Her short San Miguel (2018) received the Spike Lee Film Production Fund, the HFPA Fellows Fund, and was named a 2019 NBR student grant winner. Her short Pia & Mike (2019) premiered at FICM. Gris is a Film Independent Project Involve 2020 fellow and a 2021 Sundance Screenwriters Lab fellow. forward will be her feature directorial debut. Mary Ann Anane is a Ghanaian-born, New-Jersey raised screenwriter and novelist. She is a graduate of Northwestern University with a concentration in playwriting. Anane is a 2021 Sundance Screenwriters Lab Fellow, 2020 Athena Feature Lab fellow, 2020 Film Independent’s Project Involve fellow, and a finalist for MACRO’s inaugural Episodic Lab. Outside of writing, Anane was a development assistant at Endeavor Content, a producer’s assistant on The Farewell and A Beautiful Day in the Neighborhood, and has worked on off-Broadway productions at New York Theatre Workshop. All her titles are lowercased. The Macrobiotic Toker (U.S.A.) Tracy Droz Tragos, writer/director Living in a mommune, balancing her alternative lifestyle and a bitter separation, Sula’s life is plunged into potential chaos by an unplanned pregnancy. After discovering how to procure abortion pills online, she travels an unexpected path to become an underground supplier, an accidental pro-choice activist, and ultimately, a convicted felon. Inspired by true events. Tracy Droz Tragos is a writer, filmmaker, and mother of two kids. Her documentary work includes Abortion: Stories Women Tell, the HBO film about unplanned pregnancies and resilience; Be Good, Smile Pretty, an Emmy Award-winning documentary about the grief and healing of survivors of the Vietnam War; and Rich Hill (Grand Jury Prize, U.S. Documentary, 2014 Sundance Film Festival) for which she embedded in the homes of low-income families in rural Missouri. In 2020, Tragos won a Guggenheim Fellowship for her long-form work on the documentary Sarah. She received her MFA in screenwriting from USC. The Mysterious Gaze of the Flamingo (Chile) Diego Céspedes, writer/director Chile, 1984. A remote mining town is stricken with a mysterious disease, said to be transmitted between men through eye contact. Twelve-year-old Lidia must protect her older brother Alexo, who raised her, when he comes under threat from the fearful townspeople. Diego Céspedes is a Chilean filmmaker. In 2018, he wrote and directed his first short, The Summer of the Electric Lion, which won the Cinéfondation First Prize at Cannes Film Festival and the Nest First Prize at San Sebastian Film Festival, and also screened at Sundance, Palm Springs, and AFI Fest, among others. The Mysterious Gaze of the Flamingo will mark his feature directorial debut. The project has been supported by the Cinéfondation Residence (Cannes), the Ikusmira Berriak Residence (San Sebastian) and the Sundance Screenwriters Lab. It also won the TorinoFilmLab and the Ibermedia production fund. Neon Tilapia (Kenya, U.S.A.) Tony Koros, writer/director When a dangerous water-weed threatens to take over his lake and livelihood, a fisherman in rural Kenya forms an unexpected alliance with his estranged granddaughter to fight back using glowing, genetically modified fish. As strange lights appear in the lake, chaos erupts in the village, and the two are challenged to reach a new understanding of each other. Tony Koros is a New York-based Kenyan screenwriter, director and producer. He is a 2021 Sundance Screenwriters Lab Fellow, a recipient of the 2020 Tribeca Film Institute Sloan Grant, a 2020 Cine Qua Non Lab Script Revision Lab fellowship, the Martin E. Segal Production Grant and the 2019 Hollywood Foreign Press Association grant. His latest short film, Tithes & Offerings, premiered in competition at Clermont-Ferrand International Short Film Festival 2019 and has since been acquired for distribution by CANAL+. His previous short films have screened at over 70 international film festivals including Palm Springs International Shortfest where he won the Alexis Prize in 2017, Clermont-Ferrand 2018, FESPACO 2017, and won the Sembene prize at the Zanzibar International Film Festival. He holds an MFA in Filmmaking from New York University’s Tisch School of the Arts (2018). Parts & Labor (U.S.A.) Cristina Costantini, co-writer/director Jacob Albert, co-writer Working single mom Maria Burgos signs on as a gestational surrogate for a wealthy, controlling New York couple to pay for her son’s college tuition. She tolerates their degrading demands until the relationship explodes, and Maria seizes the moment to blackmail her way to the American Dream. Cristina Costantini is an Emmy Award-winning director. Her latest documentary Mucho Mucho Amor premiered at the Sundance Film Festival and on Netflix in 2020. The film was nominated for a Critics Choice Award and won the Best Latinx Film award from NALIP. Her first feature documentary, Science Fair, won the Sundance Festival Favorite Award as well as the SXSW Audience Award, a Critics Choice Award for Best First Time Director, and an Emmy award. The Milwaukee native is a Yale grad who now lives in California with her husband and their pug dog Harriet. Jacob Albert lives in Oakland. He ghostwrites popular science books for research scientists and is at work on a novel. Formerly a Stegner Fellow at Stanford, he has received fellowships from the Blue Mountain Center, the Michener Center, and the Elizabeth George Foundation. A Real One (U.S.A.) McKenzie Chinn, writer/director A bright teenager in a working class neighborhood on Chicago’s south side discovers the power and beauty of true friendship when her illicit relationship with a teacher is discovered amid the final weeks of her senior year in high school. McKenzie Chinn is a filmmaker, actor, and poet based in Chicago. She is the writer and lead actor of Olympia, which premiered at the 2018 LA Film Festival and won the Audience Award at the 2019 Bentonville Film Festival. Her poetry has been nominated for multiple awards including a Pushcart Prize. She is part of Growing Concerns Poetry Collective whose releases include the album BIG DARK BRIGHT FUTURES (2020) and the poetry collection Five Fifths (Candor Arts 2018). She is a 2021 Sundance Screenwriters Lab Fellow and the recipient of the inaugural NBCUniversal Grant through the Bentonville Film Foundation. Stampede (U.S.A.) Sontenish Myers, writer/director On a southern plantation in the 1800s, Lena is an 11-year-old slave with telekinetic abilities she cannot yet control. When she is separated from her mother and moved into close quarters with the volatile Master’s wife, Lena must grapple with the danger of her gift as well as its potential power. Sontenish Myers is a Jamaican American writer-director based in Harlem, New York. She is a graduate of NYU’s Graduate Film program where she’s now an adjunct professor. Her short film, Cross My Heart, won the Alexis Award for Best Emerging Student Filmmaker at the Palm Springs International Shortfest and the Vimeo Staff Pick Award at Hamptons International Film Festival. Stampede, her debut feature, was accepted into the Sundance Screenwriters Lab, HIFF Screenwriting Lab, Film Independent Screenwriting Lab and IFP Week. It is also a selected script on the Black List 2019, and a recipient of SFFILM’s Rainin Grant and Tribeca All Access Grant. The 2021 Directors Lab Fellows will be joined at the Screenwriters Lab by: White Knuckle (U.S.A.) Xavier Coleman, writer/director When a serial killer begins targeting the gentrifiers of a dwindling, historically Black neighborhood, a young newcomer must determine the murderer’s identity—before she’s next. Xavier Coleman is a Brooklyn-based filmmaker with a focus on the intersection of genre and identity. His most recent directorial effort was the short film, White Knuckle. The film screened at the Movies Under the Stars series presented by the N.Y.C. Mayor’s Office, and was listed in AMC and Shudder’s Horror Noire syllabus of Black horror. The feature-length screenplay for White Knuckle was selected for the 2021 Sundance Screenwriters Intensive. As a nonfiction editor, Coleman has worked with writers and directors including Elliot Page, Ira Glass, and Joe Berlinger. His latest documentary feature film as an editor, There’s Something in the Water, premiered at the 2019 Toronto International Film Festival. Read original story Sundance Labs: 20 Up-and-Coming Directors and Screenwriters Named for 2021 Fellowship At TheWrap
Tom Cruise also returned his three awards as protests against the Hollywood Foreign Press Association continue.
From modern mullets to blunt bobs.
“Regardless of the next air date of the Golden Globes, implementing transformational changes as quickly — and as thoughtfully — as possible remains the top priority,” the board says The Hollywood Foreign Press Association announced a full timetable through this summer for implementing promised reform initiatives in response to news that NBC will not air the 2022 Golden Globes. “Regardless of the next air date of the Golden Globes, implementing transformational changes as quickly — and as thoughtfully — as possible remains the top priority,” the board said. “We invite our partners in the industry to the table to work with us on the systemic reform that is long overdue, both in our organization as well as within the industry at large.” The timetable outlines the process through which the HFPA plans to elect new members in response to criticism of the organization’s lack of diversity, including no Black members. The group has pledged to add at least 20 new members by the first week of August, as well as elect a new board and install new chief executives. Through the end of May, the HFPA plans to create and publish a new code of conduct in cooperation with publicists and studios, as well as establish a hotline for violations of that code. An oversight board consisting of outside professionals will be formed to monitor reform plans while a search will begin for a new HR officer and other executives to lead the HFPA. The organization will also develop new bylaws that will be voted on by membership in early July, as well as new policies on “Gifts, Travel, Conflicts of Interest, and Press Conferences.” Existing HFPA members will also have their accreditation requirements reviewed to make sure they adhere to the new criteria being used to admit new members. The timetable was released days after Netflix, Amazon, and WarnerMedia announced they would indefinitely suspend involvement with the HFPA until sufficient change in the organization’s membership demographics and operating protocols are seen. On Friday, a group representing over 100 PR firms also announced that it would continue its boycott of the HFPA “unless and until these issues are illuminated in detail with a firm commitment to a timeline that respects the looming 2022 season reality.”“We stand ready to collaborate with the HFPA to ensure that the next Golden Globes — be it in 2022 or 2023 — represents the values of our creative community,” the group added.On Monday, NBC announced that it would not air the 2022 Golden Globes out of belief that the organization needs more time to implement tangible change, but left open the possibility of resuming airing of the ceremony in 2023. “We continue to believe that the HFPA is committed to meaningful reform. However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right,” the network said. “Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.” Time’s Up called the turn of events “a defining moment for Hollywood” in a statement on Monday. “Today, we have the opportunity to recognize that, by speaking up against one powerful but deeply flawed awards system, we can begin to reimagine a more equitable industry,” said Tina Tchen, president and CEO of Time’s Up Foundation. “It took the collective voices of individual actors, creators, and a united front of over 100 publicists — along with the powerful moral leadership of companies like Netflix, Amazon, and WarnerMedia — to make this happen. Together, we demanded an awards ceremony that is fully inclusive, transparent, and respectful. Courage and leadership made a difference.” Read original story Golden Globes Org’s Board Responds to 2022 Cancellation With Updated Timeline for Reforms At TheWrap
The nation's capital will award 51 winners with incentives to shop, eat, play, and stay at its local businesses.
Mayne was one of the network’s longest-serving on-air personalities Kenny Mayne is leaving ESPN after 27 years. The former “SportsCenter” host and longtime on-air personality described his departure as a “salary cap casualty.” “I am leaving ESPN. Salary cap casualty. Thanks for the opportunity Vince Doria & Al Jaffe & for taking my solicitations,” Mayne wrote on Twitter Monday. “I will miss the people. I will miss the vending machine set up over by the old Van Pelt joint. We had everything.” An individual with knowledge of the situation told TheWrap Mayne was offered a deal to remain with the network, but declined. ESPN had no comment. Mayne first joined ESPN in 1994 and was one of the main “SportsCenter” anchors, before moving on to doing more esoteric and offbeat features. He had returned to anchoring the 11 p.m. ET version of “SportsCenter” sporadically in recent years. ESPN has been in cost-cutting mode on the editorial side since late last year. In November, ESPN boss Jimmy Pitaro revealed to staff that the company was laying off 300 employees and revoking 200 open positions. That was followed by the shuttering of the eSports’ division. Mayne’s departure follows that of another longtime anchor, Trey Wingo, who departed last year. His exit follows the departures of top documentary executives Connor Schell and Libby Geist, though neither of those were related to the job cuts. I am leaving ESPN.Salary cap casualty.Thanks for the opportunity Vince Doria & Al Jaffe & for taking my solicitationsHerman/Stinton/Lynch.I will miss the people.I will miss the vending machine set up over by the old Van Pelt joint.We had everything.IntoTheGreatWideOpen#— Kenny Mayne (@Kenny_Mayne) May 10, 2021 Read original story Kenny Mayne to Leave ESPN After 27 Years At TheWrap
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