Steve Pond's Blog, page 2000
January 27, 2020
‘The Daily Show’ Turns All Those Trump Recordings Into a ’90s-Style Pop Compilation (Video)
On Monday’s “The Daily Show,” Trevor Noah broke down how Donald Trump recently received some awkward news from two of his former associates, marveled at the number of Trump associates who secretly record him, and then the show turned those recordings into a 1990s-style pop music compilation.
To briefly recap, last week saw the release of an unsettling recording in which Trump told angrily talked about then-ambassador to Ukraine Marie Yovanovitch, telling associates at a private dinner in 2018 that he wanted someone to “take her out.” And on Monday, it was reported that in his upcoming tell-all, ex-national security adviser John Bolton said he personally witnessed Trump admitting that his withholding of aid to Ukraine amounted to quid pro quo.
“But another thing this tape demonstrates,” Noah said about the recording, “is that once again, this president has an insane number of people that are secretly recording him. You know how many people have secretly recorded Trump now? Lawyers, aides, henchmen. Basically, everyone Trump trusts with his secrets is wearing a wire.”
Also Read: John Bolton Gets Pushback for 'Hamilton'-Inspired Book Title: 'Appropriating the Words of an Artist'
Noah then joked that “at this point we have enough tapes to produce an album. Which is exactly what we did” Cue a commercial for a compilation called “Now That’s What I Call Trump Being Secretly Recorded.”
The record, the ad promises, includes secret recordings made by Lev Parnas, Michael Cohen, Omarosa Manigault and more. And, the ad promises, those who order now will receive a copy of “Now That’s What I Call the President Sniffing” which features, well, you know.
Watch the whole thing above (with the fake ad kicking in at the 5:22 mark.
Related stories from TheWrap:
Is Trump's Space Force Logo a Copycat of Starfleet's From 'Star Trek'? (Sure Looks Like It)
National Review Editorial Calls Out GOP for 'Embarrassing' Conduct During Trump Impeachment
Colbert Is a Huge Fan of How Adam Schiff Is Handling Trump's Impeachment Trial (Video)
Grammy Awards: Inside the Star-Studded Parties (Photos)
Grammy Awards 2020: Music Filled the Air Before and After the Trophy Ceremony
A week of singing, dancing and indulging up to and after the 62nd Grammys turned a Los Angeles mega-celebration spot
Staples Center is considered home for the Grammy Awards, which means that so is Los Angeles, where those in the music industry (and film and TV, too) embrace the show every time it comes to town. In 2020, the parties started early in the week and went late after the Sunday, January 26, show concluded with newcomer Billie Eilish the big winner.
Crazy clothes, wild hair and sky-high heels for both women and men marked the festivities; here are a few of our favorite moments in the week when Hollywood became Musicland.
It helped to be a Citi cardmember during the week leading up to the Grammys, as Coldplay, Britney Howard, Brandi Carlile and the Jonas Brothers (pictured) took over the Hollywood Palladium and did packed-house shows for lucky members who snagged tickets via the Citi Sound Vault promo.
Spotify celebrated all eight best new artist nominees with a huge bash Thursday night (January 23) at the Lot Studios Hollywood, where Lil Nas X and Billie Eilish got friendly. They performed, as did Lizzo, Black Pumas, Tank and the Bangas, Maggie Rogers, Rosalia and Yola, while Kate Beckinsale, Heidi Klum, Ashlee Simpson and Billy Porter prettied up the rapt audience.
Lizzo did double duty Thursday night, also performing at the Warner Music Group party held at the Hollywood Athletic Club, along with Burna Boy, another of the org’s nominated artists, to the delight of the crowd. On hand for the Absolut-fueled celebration were an eclectic mix, from Naomi Campbell and Delilah Belle Hamlin to Big Freedia, Gary Clark Jr. and Gwen Stefani along with Blake Shelton.
Despite the sizzling controversy over the ouster of Deborah Dugan as head of the Grammy’s Recording Academy and her claims that the org is a “boy’s club,” Instagram’s Grammy Luncheon on Friday January 24 at Ysabel celebrated women in music. Which meant honoring powerful women in the industry including (clockwise from left) Ethiopia Habtemariam, Gail Mitchell, Jacqueline Saturn and Sylvia Rhone.
Friday night at the Dream Hollywood hotel’s Highland Room Lincoln brought their new Corsair SUV to the party, as well as the four finalists of their Chart Your Course songwriters contest. Spearheaded by Grammy winner Jon Batiste, who told TheWrap that “I wanted to be a part of something different than just a singing contest, we already have plenty of those,” the winner was chosen by viewers of the Grammy Awards show. Texan Cas Haley took home the gold, including a talent contract and a Corsair of his very own.
John Legend, Alice Cooper, Melissa Etheridge, Dave Grol and the Foo Fighters, the Jonas Brothers, Yola, Johnny Depp and a slew of other really famous faces filled the West Hall of the L.A. Convention Center to celebrate Aerosmith at the annual MusicCares benefit gala, where once-in-a-lifetime moments like Depp and Aerosmith’s Joe Perry doing dueling axes happened all night long.
At Clive Davis’ elite Pre-Grammy Gala and Grammy Salute to Industry Icons Honoring Sean “Diddy” Combs (quite a mouthful of a title), it was a Saturday night of superstars, both onstage and off. Janet Jackson hit the stage at the Beverly Hilton, as did Lil’ Kim, Wiz Khalifa, Usher, Cyndi Lauper, Brandy Carlile, John Legend, Carlos Santana and Cynthia Ervio, while Nancy Pelosi, Billy Porter, Joni Mitchell and Jay-Z and Beyonce looked on.
Sir Lucian Grainge’s 2020 Artist Showcase made Milk Studios the place to be on Saturday, as UMG brought out its favorite sons and daughters to put on a big show. From Billie Eilish, Maggie Rogers, Anthony Ramos and soulful crooner Gregory Porter to Da Baby’s lively performance, everyone on stage seemed to have a blast. Hollywood’s famous faces showed up here, too, with Mandy Moore, Howie Mandel and Spike Jonze part of the packed crowd.
Triumphant Billie Eilish did a quick clothing change (but kept the two-tone hair) after the Grammy Awards and headed to the hottest after-party in town, as UMG took over Rolling Greens in DTLA. Lots of photo/video booths and DJ tunes kept partygoers busy and bopping, while top company execs shared air kisses with everyone from Hailee Steinfeld and Beck to Trombone Shorty, Lewis Capaldi, Heidi Klum and AnnaSophia Robb.
Sony Music picked Neuehouse Hollywood as their Grammys 2020 after-party spot, and all the cool kids showed up, with John Legend, Chrissy Teigen and Cyndi Lauper leading the charge. Usher caused a stir when he turned up, after his Grammy show tribute to Prince drew raves; and Diplo, H.E.R., Camila Cabello, DJ Khalid, Little Nas X and head honchos Clive Davis and Rob Stringer joined in the celebration of numerous Grammy 2020 wins.
Sony Pictures Classics Lands Dog Doc ‘The Truffle Hunters’
Sony Pictures Classics has acquired the worldwide rights to “The Truffle Hunters,” a film about truffle hunting dogs in Italy that premiered at the Sundance Film Festival in the World Cinema Documentary Competition.
Michael Dweck and Gregory Kershaw directed the film that is executive produced by “Call Me By Your Name” filmmaker Luca Guadagnino and premiered on Sunday.
“The Truffle Hunters” is set deep in the forests of Northern Italy where a prized white Alba truffle can be found and is desired by the richest people in the world. The truffle can’t be cultivated or found except by a tiny circle of canines and their elderly Italian companions who only hunt for the truffle at night as to not give away their secrets and leave clues for others on how to find them.
Also Read: Apple and A24 Grab Political Documentary 'Boys State'
“This is one of the freshest, most beautiful films ever. It will be embraced by audiences the world over,” Sony Pictures Classics said in a statement Monday. “Thank you to the filmmakers for making us a partner in what promises to be a grand adventure. Really. This major artistic achievement will make the world smile.”
Dweck and Kershaw also produced the film. Guadagnino executive produced with Lance Acord, Leslie Berriman, Jackie Kelman Bisbee, Sam Bisbee, Geralyn White Dreyfous, Bruce Heavin, Christos V. Konstantakopoulos, Adam Lewis, Melony Lewis, Nion McEvoy, Wendy Neu, Cameron O’Reilly, Matthew Perniciaro, Patty Quillin, Michael Sherman, Regina K. Scully, Jim Swartz, Susan Swartz, Lynda Weinman and Jamie Wolf.
Submarine brokered the deal, which also handled the sale of the documentary “Boys State” to Apple earlier on Monday.
Sony Pictures Classics ahead of the festival purchased “The Father,” from director Florian Zeller and starring Anthony Hopkins and Olivia Colman in a film based on Zeller’s own award-winning stage play.
Deadline first reported the news of the sale.
Related stories from TheWrap:
Sundance So Far: A Muted Festival Struggles for Attention in Chaotic Times
Sundance 2020: Every Movie Sold So Far, From 'The Father' to 'Ironbark'
‘On the Record’ Subjects and Filmmakers Hope for ‘Reconciliation’ With Oprah Winfrey (Video)
The subjects of “On the Record,” a documentary detailing multiple accusations of sexual assault against music mogul Russell Simmons, said that the news of Oprah Winfrey parting ways with the production created its own form of trauma. But now that the film has premiered, they and the filmmakers hope that they can reach some “reconciliation” with Winfrey.
Drew Dixon, Sherri Hines and Sil Lai Abrams were joined by directors Kirby Dick and Amy Ziering at TheWrap Studio in Sundance to explain how the flurry of attention the film received leading up to its Sundance bow made them feel silenced all over again. But now that the film has been well-received by critics and audiences at the fest, they’re ready to move past the drama.
“She loved it until she didn’t. On our end, we’re grateful. We never would’ve made this film without people of color involved behind the scenes as well,” Ziering told TheWrap’s Sharon Waxman. “We do hope there’s some sort of reconciliation. We would welcome that,” Dick added.
Also Read: 'On the Record' Film Review: Wrenching Documentary Offers Black Women a Voice in the #MeToo Movement
“On the Record” follows Dixon, Hines and Abrams as they struggle with the decision to come forward about their accusations of rape and sexual misconduct against Def Jam Records founder Russell Simmons (Simmons has denied all accusations of nonconsensual sex). The directors stress that it’s not a film about Simmons but about the victims, and it takes an unconventional approach to the usual way of telling survivor’s confessional stories, giving black women in particular who have been marginalized and erased from the #MeToo conversation a chance to speak out.
When Winfrey pulled her support from the film earlier this month, removing her name as executive producer and saying that it wasn’t ready to premiere at Sundance, some criticized her for not giving black women a voice.
“First it was overwhelming, hurtful, it was like living that virus, that started back all over again back in your system,” Hines said. “You’re doing this again, this is just happening again, and you’re just feeling silenced again.”
It cut even deeper because Winfrey had previously thrown her support behind another documentary featuring accusers of another black music legend, Michael Jackson and the film “Leaving Neverland.”
Also Read: Oprah Says Her Exit From #MeToo Doc Is Not a 'Victory Lap' for Russell Simmons (Video)
“What transpired with Oprah, it’s her prerogative to make her choice. Was I disappointed, yes, was I shocked, no. Given the push back in the black community on the heels of ‘Leaving Neverland,’ it did not come as a surprise. But in speaking about Oprah, I feel that it takes away from the importance of this film of the fact that we are sitting here with the privilege and honor of talking to you,” Abrams said. “But I believe that the film does justice to the issue of the suppression of black women’s voices around sexual violence and our experiences and how we have been marginalized and erased from #MeToo, and I’m very grateful to be here because it is a privilege.”
The film follows Dixon most closely, and she’s been involved with Dick and Ziering for two years, even before she went on the record to the New York Times with her accusation of rape against Simmons (Simmons has denied all accusations of non-consensual sex). This back and forth between the filmmakers and subjects and Winfrey within the last few weeks weighed additionally heavily on her, just as she was ready to start a new chapter of her life.
“I feel like I’ve been on the operating table for two years with this wound that I couldn’t close because the film sort of kept me in that space,” Dixon said. “Once I knew the film was accepted into Sundance, that felt like a finish line finally, and I couldn’t wait to cross it so I could and exhale and the doctor could sew up the patient and I could go home, and so the feeling that the hospital was suddenly on fire all around 15 days before I was going to leave the operating room is its own trauma.”
Also Read: Apple and A24 Grab Political Documentary 'Boys State'
Everyone agreed though that the premiere offered a beautiful next step forward for their stories and the conversation in sexual violence
“It was amazing the response we got. I’m still feeling, I don’t know if you understand, but being silenced, and having that virus for so long, and carrying it and being able to release it,” Hines said.
“In respect to what happened at the premiere it was transcendent. I did not know what to expect. It was very emotional. I cried,” Abrams said.
“The premiere last night, feeling like we were safe, the film was safe, our stories were safe, and this conversation would continue and that it was well received in the room was a relief I can’t even really put into words,” Dixon added.
Watch a clip of TheWrap’s interview with the subjects of “On the Record” above.
Related stories from TheWrap:
Sundance So Far: A Muted Festival Struggles for Attention in Chaotic Times
Why Sundance Film Sales Are So, So Slow This Year (So Far)
Sundance 2020: Every Movie Sold So Far, From 'The Father' to 'Ironbark'
Joshuah Brian Campbell Got to ‘Thank’ Harriet Tubman After Oscar-Nominated Song Came Together
Not many people get to thank the inspiration for their greatest work to date — certainly not when they’ve been dead for over 100 years — but Joshuah Brian Campbell got that chance and it meant the world to him.
Campbell and “Harriet” star Cynthia Erivo are nominated for Best Original Song for their work, “Stand Up,” which plays during the closing credits of the film. During TheWrap’s Screening Series at The Landmark in Los Angeles on Sunday, Campbell spoke about how when he got the call saying “Stand Up” would be used in the film, he was actually on his way see Tubman’s final home in Upstate New York.
“When I got the go-ahead call that they wanted to use the piece,” Campbell explained, “I was prepping to get on a bus to go on a pilgrimage to the Harriet Tubman home site. It was really special that I was sort of able to say thank you to her on the land she spent her last years.”
Also Read: 'Harriet' Star Cynthia Erivo Responds to Stephen King's Diversity Tweet
Campbell was brought on to the project after the film’s composer, Terence Blanchard, saw Campbell perform his song “Sing Out, March On” at Harvard’s commencement in 2018. To work on the film was a natural fit for Campbell, who connected very strongly to Tubman’s faith — the two actually belonged to the same denomination, African Methodist Episcopal Zion Church.
“I think the film captures pretty beautifully Harriet as a woman of faith and the almost mystical but very viscerally real connection to God and to spirit that she seemed to have,” Campbell said. “And that’s something that’s really important to me. So I think being involved in the project, because of that, was special. And also because the sound that Cynthia, the producers and I were able to create with the song really is really honest to my roots in gospel and southern traditional black music. I was able to pour so many pieces of myself into the sound world of the song and that was really special.
During an interview last year, Erivo told TheWrap she thought she “was probably a pain to most people because I was so specific about what I wanted to hear and what I wanted to do.” Campbell couldn’t disagree more.
Also Read: 'Harriet' Star Cynthia Erivo Is One Step Closer to EGOT Status With 2 Oscar Nominations
“I think she’s alluding to the fact that she had high standards and I count it as a blessing to work with somebody, especially a vocalist who knows her instrument like Cynthia, who is very clear about what it is they want out of the sound or out of the piece,” Campbell said. “I grew up in the black church and choir directors are no joke — and I have been a choir director — so I know what it’s like. I really didn’t experience any pain for the process. I thought it was a really strong musician who is clear about what they want and need.”
Related stories from TheWrap:
Why 'Harriet' Star Cynthia Erivo Insisted on Writing a Song for the Film Too
Watch Cynthia Erivo as Harriet Tubman 'Be Free or Die' in 'Harriet' Trailer (Video)
Breakthrough Prize Foundation and TheWrap Launch New Competition for Innovative Science Filmmaking
TheWrap and the Breakthrough Prize Foundation on Monday announced the launch of a new film competition created to promote and support the development of films dedicated exclusively to science and scientists.
Heroes of Science: Breakthrough Filmmakers Challenge represents an unprecedented partnership between leading digital entertainment news outlet TheWrap and Breakthrough Prize, the world’s largest monetary science prize, as well as the coming together of two pursuits that are too often at odds in popular culture — art and science.
Through the competition, Breakthrough Prize and TheWrap hope to identify talented filmmakers who are passionate about bringing scientific ideas to life and who have the visual storytelling skill to create short films that express the beauty and significance of these ideas, as well as the characters of the scientists who discover them. Winning candidates will have the possibility of making a film for this year’s internationally broadcast Breakthrough Prize ceremony.
Also Read: Science Channel Orders Bermuda Triangle Investigative Series (Exclusive)
“The goal of the Heroes of Science: Breakthrough Filmmakers Challenge is to encourage talented, up-and-coming filmmakers to apply their skills to showcase compelling science stories and the impressive minds behind them,” said Pete Worden, chairman, Breakthrough Prize Foundation.
“TheWrap is thrilled to partner with the Breakthrough Prize Foundation to connect top-level filmmakers with the exciting innovations in science that deserve renown,” TheWrap founder and editor-in-chief Sharon Waxman said.
he competition will open for submissions on Monday, February 3, through Tuesday, March 31.
The contest will require filmmakers to submit a creative proposal for a short film about a Breakthrough Prize laureate, highlighting their character, backstory, major discovery or impact on the world. Competitors can be inspired by a choice of potential subjects who have won the Breakthrough Prize, including mathematician Terence Tao, physicists Fabiola Gianotti, Kip Thorne, Cumrun Vafa, Shep Doeleman and the Event Horizon Telescope team as well as life scientists Ed Boyden, Joanne Chory, Jennifer Doudna, Svante Pääbo and Huda Zoghbi.
The winning film will be chosen by a jury of experts in film and science.
Also Read: CBS Orders Science-vs-Religion Drama Pilot 'Evil' From 'The Good Fight' Creators
The winner will be awarded a $5,000 prize, and will have their work considered for a spot on the small screen. If selected, the filmmaker will receive a $25,000 budget to make a film about one of this year’s Breakthrough Prize laureates, potentially for use during the live televised ceremony in November 2020.
Contest Details
The six winning filmmakers, or teams of filmmakers, will be selected based on a written proposal with the following criteria:
Engagement – does the proposal capture the viewer’s interest and emotions?
Characterization – how well is the laureate’s personality evoked?
Creativity – does the proposal take a fresh or original approach?
Clarity – is one aspect of the laureate’s work communicated simply and comprehensibly?
Accuracy – is the creative proposal scientifically correct?
Vision – is the filmmaking approach to presenting the subject matter clearly detailed and thoughtfully composed?
Experience – does the filmmaker’s previous work successfully demonstrate an ability to thoughtfully showcase subject matter with solid production values?
The Selection Committee will be comprised of TheWrap founder and editor-in-chief Sharon Waxman, award-winning filmmaker Mark Levinson, science documentary writer and Breakthrough Prize creative director Adam Rosenthal, award-winning author Lucy Hawking, Princeton University Professor of Physics and Astrophysical Sciences Jo Dunkley and a leading filmmaker to be announced.
Winners will be announced in June at TheGrill 2020, TheWrap’s annual business conference focused on the convergence between entertainment, media and technology.
For more information please visit: https://go.thewrap.com/breakthrough-filmmakers-challenge/
About TheWrap News
The Wrap News Inc. is the leading digital news organization covering the business of entertainment and media. Founded by award-winning journalist Sharon Waxman in 2009, The Wrap News Inc. is comprised of the award-winning, industry-leading website with its high-profile newsbreaks, investigative stories and authoritative analysis; it also includes premium, glossy magazines with stunning original photography and editorial, distributed to entertainment industry professionals; Wrap Events, a series of high profile gatherings of thought leaders including the Power Women breakfast series, Oscar season screening series and TheGrill, an executive leadership conference centered on the convergence of entertainment, media and technology.
The Wrap News, Inc. is backed by Maveron, a venture capital firm based in Seattle, Washington and co-founded by Starbucks CEO Howard Schultz and Dan Levitan.
TheWrap has won multiple awards for investigative reporting, columns, criticism and feature writing. In 2018, TheWrap won best website for a news organization exclusive to the internet at the L.A. Press Club’s SoCal Journalism Awards. In 2016, the L.A. Press Club’s National Entertainment Journalism Awards gave the site its top prizes for feature photography and Sharon Waxman’s WaxWord blog, as well as second place for Best Entertainment Website and Entertainment Publication.
The site was named the best online news site in both 2009 and 2012 by the same group. TheWrap was named one of the “100 Most Important Online Publishers” in 2010 by OMMA, the magazine of online media, marketing and advertising.
About Breakthrough Prize
For the eighth year and renowned as the “Oscars of Science,” the Breakthrough Prize will recognize the world’s top scientists. Each prize is $3 million and presented in the fields of Life Sciences (up to four per year), Fundamental Physics (one per year) and Mathematics (one per year). In addition, up to three New Horizons in Physics and up to three New Horizons in Mathematics Prizes are given out to junior researchers each year. Laureates attend a live televised award ceremony designed to celebrate their achievements and inspire the next generation of scientists. As part of the ceremony schedule, they also engage in a program of lectures and discussions.
The Breakthrough Prizes are sponsored by Sergey Brin, Priscilla Chan and Mark Zuckerberg, Ma Huateng, Yuri and Julia Milner, and Anne Wojcicki. Selection Committees composed of previous Breakthrough Prize laureates in each field choose the winners. Information on Breakthrough Prize is available at breakthroughprize.org.
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Julie Dash, TheWrap Founder Sharon Waxman Among This Year's Horizon Awards Winners
The Scene at TheWrap's Oscar Contenders Showcase for Best Short Films (Photos)
TheWrap Wins 4 National Arts & Entertainment Journalism Awards
TV Pilot Season 2020: TheWrap’s Complete Guide
It’s pilot season — when broadcast networks decide which of dozens of prospective shows should become full-fledged series.
TheWrap’s complete network pilot guide will keep you up to speed on the status of every project under consideration by ABC, CBS, FOX and NBC. In cases where they’ve already ordered a show to series, we’ll say so.
Check back often for regular updates.
The CW: Drama
ABC COMEDY
MY VILLAGE
Writer(s): Kari Lizer
Studio: Sony Pictures Television, ABC Studios
Logline: An empty-nester mom wonders how she ended up alone while her children live their best lives thousands of miles away. She decides her place is with her family and as she reinserts herself into their lives, her kids realize they might actually need her more than they thought.(Multi-camera)
PROSPECT
Writer(s): Sherry Bilsing-Graham, Ellen Kreamer
Director: Randall Einhorn
Studio: ABC Studios
Logline: A comedic western with a feminist twist: an idealistic young woman moves to the frontier to be a schoolteacher, but her ideals are quickly tested when she learns that her students are rowdy ranch hands, not children. (Single camera)
ABC DRAMA
THE BRIDES
Writer(s): Roberto Aguirre-Sacasa
Producer(s): Greg Berlanti, Sarah Schechter
Director: Maggie Kiley
Studio: ABC Studios, Warner Bros. Television, Berlanti Productions
Logline: A sexy contemporary reimagining of “Dracula,” is a family drama with a trio of powerful female leads at its heart. With strong horror elements, “The Brides” is a vampire soap about empowered, immortal women and the things they do to maintain wealth, prestige, legacy — and their nontraditional family.
HARLEM’S KITCHEN
Writer(s): Zahir McGhee
Producer(s): Marcus Samuelsson, David Hoberman, Todd Lieberman, Laurie Zaks
Studio: ABC Studios
Logline: An ensemble family drama set in a fine dining restaurant in Harlem. Ellis Rice, Executive Chef and patriarch, runs a successful restaurant with his wife and three daughters. But an unexpected death thrusts the family into turmoil and puts the restaurant’s future in jeopardy as long-buried secrets are revealed.
REBEL
Writer(s): Krista Vernoff
Producer(s): Davis Entertainment, Alexandre Schmitt, Erin Brockovich
Studio: ABC Studios/Sony Pictures Television
Logline: “Rebel” is inspired by the life of Erin Brockovich today. Annie “Rebel” Bello is a blue collar legal advocate without a law degree. A funny, messy, brilliant and fearless woman who cares desperately about the causes she fights for and the people she loves. When Rebel applies herself to a fight she believes in, she will win at almost any cost.
Cast: Katey Sagal
THIRTYSOMETHING(ELSE)
Writer(s): Marshall Herskovitz, Edward Zwick
Director: Edward Zwick
Studio: ABC Studios, MGM Television
Logline: A sequel to the groundbreaking series “thirtysomething,” which follows an ensemble of new faces playing the grown-up, 30-something children of the original cast. Apparently, raising children (even grown children) never ends, but who could have known how hard it would be for them to raise their parents?
Cast: Ken Olin, Mel Harris, Timothy Busfield, Patty Wettig
CBS COMEDY
B POSITIVE
Writer(s): Marco Pennette
Producer(s): Chuck Lorre
Studio: Warner Bros. Television, Chuck Lorre Productions
Logline: Faced with finding a kidney donor, newly divorced dad Drew is at the end of his rope when he runs into Gina, a rough-around-the edges woman from his past who volunteers her own. Together they form an unlikely bond and begin a journey that will change both of their lives. (Multi-camera)
THE UNITED STATES OF AL
Writer(s): David Goetsch, Maria Ferrari
Producer(s): Chuck Lorre, Reza Aslan, Mahyad Tousi
Studio: Warner Bros. Television, Chuck Lorre Productions
Logline: A comedy about the friendship between Riley, a Marine combat veteran struggling to readjust to civilian life in Ohio, and Awalmir (Al), the Afghan interpreter who served with his unit and has just arrived to start a new life in America. (Multi-camera)
WE THE JURY
Writer(s): Dana Klein and Stephanie Darrow
Producer(s): James Acaster, Kenton Allen, Matthew Justice
Studio: CBS Television Studios
Logline: A group of jurors are sequestered together until they all agree on a verdict…and they can’t even agree on lunch. (Hybrid)
CBS DRAMA
CLARICE — Series Commitment
Writer(s): Alex Kurtzman, Jenny Lumet
Producer(s): Heather Kadin, Aaron Baiers
Studio: MGM Television, CBS Television Studios, Secret Hideout
Logline: It’s 1993, a year after the events of “The Silence of the Lambs.” CLARICE is a deep dive into the untold personal story of Clarice Starling as she returns to the field to pursue serial murderers and sexual predators while navigating the high stakes political world of Washington, D.C.
THE EQUALIZER
Writer(s): Andrew Marlowe, Terri Miller
Producer(s): Dana Owens (Queen Latifah), John Davis, John Fox , Debra Martin Chase, Richard Lindheim, Shakim Compere
Studio: Universal Television Studios, CBS Television Studios, Davis Entertainment, Martin Chase Productions, Flavor Unit
Logline: A reimagining of the classic series in which an enigmatic figure uses her extensive skills to help those with nowhere else to turn.
Cast: Queen Latifah
CW Drama
SUPERMAN & LOIS — Series Order
Writer(s): Todd Helbing
Producer(s): Greg Berlanti, Sarah Schechter, Geoff Johns
Studio: Berlanti Productions, Warner Bros. Television
Logline: Follows the world’s most famous Super Hero and comic books’ most famous journalist as they deal with all the stress, pressures and complexities that come with being working parents in today’s society. Based on the characters from DC created by Jerry Siegel and Joe Shuster.
Cast: Tyler Hoechlin, Elizabeth Tulloc
WALKER — Series Order
Writer(s): Anna Fricke
Producer(s): Dan Lin, Lindsay Liberatore, Jared Padalecki
Studio: CBS Television Studios, Rideback.
Logline: A reimagining of the long-running series “Walker, Texas Ranger.” Centers on Cordell Walker, a widower and father of two with his own moral code, who returns home to Austin after being undercover for two years, only to discover there’s harder work to be done at home. He’ll attempt to reconnect with his children, navigate clashes with his family, and find unexpected common ground with his new partner (one of the first women in Texas Rangers’ history), while growing increasingly suspicious about the circumstances surrounding his wife’s death.
Cast: Jared Padalecki
UNTITLED THE 100 PREQUEL — Backdoor Pilot Production Order
Writer(s): Jason Rothenberg
Producer(s): Leslie Morgenstein, Gina Girolamo
Studio: Alloy Entertainment, Warner Bros. Television, CBS Television Studios
Logline: Set 97 years before the events of the original series, this project — which is currently being developed as a planted spinoff and will air as an episode of THE 100’s final season — starts with the end of the world, a nuclear apocalypse that wipes out most of the human population on Earth. The epic adventure follows a band of survivors on the ground as they learn to cope in a dangerous world while fighting to create a new and better society from the ashes of what came before.
UNTITLED ARROW SPINOFF — Backdoor Pilot Production Order
Writer(s): Beth Schwartz, Mark Guggenheim, Jill Blankenship, Oscar Balderrama
Producer(s): Greg Berlanti, Sarah Schechter
Studio: Warner Bros. TV, DC Entertainment
Logline: Spinoff following the women of Arrow.
Cast: Katherine McNamara, Katie Cassidy, Juliana Harkavy
FOX COMEDY
CARLA — Series Commitment
Writer(s): Darlene Hunt
Producer(s): Jim Parsons, Todd Spiewak, Angie Stephenson, Miranda Hart, Eric Norsoph, Mackenzie Gabriel-Vaught, Mayim Bialik
Studio: Warner Bros. Television, FOX Entertainment, That’s Wonderful Productions, Sad Clown Productions, BBC Studios
Logline: Carla is a 39-year-old woman who struggles every day against society and her mother to prove that you CANNOT have everything you want — and still be happy. Which is why she spent the money her parents set aside for her wedding to open a Cat Café in Louisville, KY. Based on the BBC UK original seriesMiranda, created by Miranda Hart. (Multi-camera)
Cast: Mayim Bialik
HOUSEBROKEN — Series Order
Writer(s): Clea DuVall, Jennifer Crittenden, Gabrielle Allan
Producer(s): Sharon Horgan, Clelia Mountford, Aaron Kaplan, Dana Honor
Studio: Fox Entertainment, Kapital Entertainment, Bento Box
Logline: Explores human dysfunction and neurosis through a group of neighborhood animals who live in the suburbs. (Animated)
Cast: Lisa Kudrow, Clea DuVall, Sharon Horgan, Nat Faxon, Will Forte, Tony Hale, Jason Mantzoukas, Sam Richardson, Bresha Webb, Greta Lee
FOX DRAMA
THE CLEANING LADY
Writer(s): Miranda Kwok
Producer(s): Shay Mitchell, Melissa Carter
Studio: Warner Bros Television, FOX Entertainment
Logline: A darkly aspirational character drama about a whip-smart doctor who comes to the U.S. for a medical treatment to save her ailing son. But when the system fails and pushes her into hiding, she refuses to be beaten down and marginalized. Instead, she becomes a cleaning lady for the mob and starts playing the game by her own rules. Based on the original Argentine series
NBC COMEDY
AMERICAN AUTO
Writer(s): Justin Spitzer
Producer(s): Aaron Kaplan
Studio: Universal Television, Kapital Entertainment
Logline: Set at the headquarters of a major American automotive company in Detroit, where a floundering group of executives try to rediscover the company identity amidst a rapidly changing industry. (Single camera)
CRAZY FOR YOU
Writer(s): Rachele Lynn
Producer(s): Lorne Michaels, Seth Meyers, Mike Shoemaker
Studio(s): Universal Television, Broadway Video, Sethmaker Shoemeyers Productions
Logline: Daisy, with her life stalling, re-enters the dating scene only to discover that while she was out of the game, the game sort of, totally, completely changed. Realizing she is a bit rusty at being “normal” and “appealing” on first dates, she’ll need the support of her friends as she strives to succeed while being her true self in today’s quick-to-dismiss dating culture. (Single camera)
THE KENAN SHOW — Series Order
Writer(s): Jackie Clarke
Producer(s): Lorne Michaels, Andrew Singer
Director: Chris Rock
Studio: Universal Television, Broadway Video
Logline: Kenan Thompson strives to be a super dad to his two adorable girls while simultaneously balancing his job and a father-in-law who “helps” in the most inappropriate ways. (Single camera)
Cast: Kenan Thompson, Punam Patel, Dani Lockett, Dannah Lockett, Andy Garcia
JEFFERIES
Writer(s): Suzanne Martin
Producer(s): Jim Jefferies, Sean Hayes, Todd Milliner, Tim Sarkes, Alex Murray
Studio: Universal Television, Hazy Mills, Brillstein Entertainment Partners
Logline: Jim Jefferies stars as a fictionalized version of himself – a comedian with a unique and often controversial take on modern life, relationships and co-parenting with his best friend. (Multi-camera)
Cast: Jim Jefferies
NIGHT SCHOOL
Writer(s): Chris Moynihan
Producer(s): Kevin Hart, Will Packer, Malcolm Lee
Studio: Universal Television, Hartbeat Productions, Will Packer Productions, Bicycle Path Productions
Logline: An adaptation of the 2018 film, “Night School” centers on a unique mix of adults at a night school GED prep class who unexpectedly bond over their shared experience and find themselves helping each other both inside and outside of the classroom. (Multi-camera)
SOMEONE OUT THERE
Writer(s): Matt Hubbard, Josh Siegal, Dylan Morgan
Producer(s): Emiliano Calemzuk, Gonzalo Sagardia, Javier Veiga
Studio: Universal Television
Logline: A romantic comedy about two set-in-their-ways adults who are challenged by very unexpected strangers to become the best versions of themselves in order to find love and possibly each other. Based on the format “Pequeñas Coincidencias,” created by Javier Veiga. (Multi-camera)
YOUNG ROCK — Series Order
Writer(s): Nahnatchka Khan, Jeff Chiang
Producer(s): Dwayne Johnson, Dany Garcia, Hiram Garcia, Brian Gewirtz, Jennifer Carreras
Studio: Universal Television, Seven Bucks Productions, Fierce Baby Productions
Logline: Inspired by the formative years of Dwayne Johnson. (Single camera)
Cast: Dwayne Johnson
UNTITLED PHIL JACKSON/DAN GOOR
Writer(s): Phil Jackson
Producer(s): Dan Goor
Studio: Universal Television
Logline: Ensemble comedy about black people, dating and wine. (Single camera)
UNTITLED TINA FEY/ROBERT CARLOCK — Series Order
Writer(s): Tina Fey, Robert Carlock
Producer(s): Jeff Richmond, David Miner, Eric Gurian
Studio: Universal Television, 3 Arts Entertainment, Little Stranger
Logline: A wealthy businessman runs for mayor of Los Angeles for all the wrong reasons. Once he wins he has to figure out what he stands for, gain the respect of his staff and connect with his teenage daughter, all while humanely controlling the coyote population. (Single camera)
Cast: Ted Danson, Holly Hunter, Bobby Moynihan
NBC DRAMA
AT THAT AGE
Writer(s): Carla Banks-Waddles
Producer(s): Malcolm D. Lee, Debra Martin Chase
Studio: Universal Television, Blackmaled Productions
Logline: An exploration of an African-American family’s legacy. After the Cooper family’s golden child suffers a catastrophic event, seven family members face a foundational shift, make life-altering decisions and deal with deep secrets coming to light.
DEBRIS
Writer(s): J.H. Wyman
Producer(s): Jason Hoffs
Studio: Legendary Television, Frequency Films
Logline: Two agents from two different continents, and two different mindsets, must work together to investigate when wreckage from a destroyed alien spacecraft has mysterious effects on humankind.
ECHO
Writer(s): JJ Bailey
Producer(s): John Davis, John Fox
Studio: Universal Television, Davis Entertainment
Logline: A high-concept, genre procedural revolving around a team of investigators who solve the highest-profile crimes by sending our heroes 36 hours into the past … in the body of the victim. They assume the victim’s identity and must race against time to prevent the crime before it happens.
LA BREA
Writer(s): David Appelbaum
Producer(s): Avi Nir, Alon Shtruzman, Peter Traugott, Rachel Kaplan, Ken Woodruff
Studio: Universal Television, Keshet Studios
Logline: When a massive sinkhole mysteriously opens in Los Angeles, it tears a family in half, separating mother and son from father and daughter. When part of the family find themselves in an unexplainable primeval world, alongside a disparate group of strangers, they must work to survive and uncover the mystery of where they are and if there is a way back home.
ORDINARY JOE
Writer(s): Russel Friend, Garrett Lerner
Producer(s): Matt Reeves, Adam Kassan, Rafi Crohn, Howard Klein
Studio: 20th Century Fox Television, 6th & Idaho, 3Arts Entertainment
Logline: Explores the three parallel lives of the show’s main character after he makes a pivotal choice at a crossroads in his life. The series asks the question of how different life might look if you made your decision based on love, loyalty or passion.
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Oscar Nominees Luncheon Finds Academy Grappling With Change and Loss
The annual Oscar Nominees Luncheon began in sadness and ended in celebration, but the common theme running through the event at the Ray Dolby Ballroom on Monday afternoon was change.
For the first time, an event that began in the early 1980s to celebrate the Oscar nominees at an event devoid of competition took place in January, not February or March. For the first time, it didn’t take place at the Beverly Hilton Hotel, where the luncheon had become an annual ritual. For the first time, it happened less than two weeks before the Oscars themselves, which this year take place on their earliest-ever date, Feb. 9.
This was a refashioned Nominees Luncheon, with a bigger location, an enlarged platform for the annual “class photo” of nominees and a different seating arrangement that put the 162 nominees who attended at a couple dozen long tables rather a series of round ones.
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And it was a Nominees Luncheon at which Academy President David Rubin proclaimed that the organization is devoted to change, too. “We are successfully evolving into a new Academy, a diverse global community,” he said of the organization that has dramatically expanded its membership over the last four years and brought in record numbers of women, nonwhite members and foreign filmmaking professionals.
But he made that statement only after the most somber opening of any Nominees Luncheon in memory. “We all heard some terrible news yesterday,” he said when he took the stage, and then asked for a moment of silence for Los Angeles Lakers star Kobe Bryant, who died in a helicopter crash on Sunday and had been the life of the party at the luncheon in 2018, just before he won an Oscar for his short film “Dear Basketball.”
At that luncheon, Bryant stood out because he was the tallest person in the world, but also because he was the most excited to be there, and the one that every other star at the event wanted to meet or get a selfie with.
On Monday, Kobe was a memory that made this a sadder Oscar Nominees Luncheon than usual – though you can’t put more than 150 Oscar nominees in a room for an event at which none of them will go home a loser without eventually focusing on happier things.
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And so many of the familiar rituals from past luncheons were played out again at the Ray Dolby Ballroom, adjacent to the Dolby Theatre where the Oscar production team is already at work. Stars attracted crowds, with the “Once Upon a Time … in Hollywood” trio of Quentin Tarantino, Brad Pitt and Leonardo DiCaprio being particularly popular. “Parasite” director Bong Joon Ho and his team drew their usual hefty quota of well-wishers. Partners Greta Gerwig and Noah Baumbach attended on behalf of “Little Women” and “Marriage Story,” respectively – and because the Academy mixes the seating arrangement so nominees aren’t put with people from their movie or their category, they could sit closer together than usual for awards-season events.
Another change: Laura Dern, a governor from the Academy’s Actors Branch, has in recent years been enlisted to read the names of all the nominees as they come to a huge riser for the annual “class photo” – but this year, Dern was nominated for Best Supporting Actress for her role in “Marriage Story.” So instead of having her call out her own name, the Academy gave Dern’s usual job to actress Illeana Douglas.
“I’m so sorry I can’t do it this year, because I love it,” Dern told TheWrap before the luncheon began. “But it’s a nice reason to not be able to do it.”
(Not that this provides much solid evidence to predict Oscar wins, but the people receiving the most applause when they took the stage included Pitt, DiCaprio, Bong, Gerwig, Robert De Niro, Al Pacino, Renee Zellweger and cinematographer Roger Deakins.)
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The reconfigured luncheon drew mixed reviews: Nominees preferred the more spacious multi-level risers to the cramped version that was used at the Beverly Hilton, but one returning nominee dismissed the long tables as “not as friendly” as the old setup.
But the main topic of conversation both before and after the lunch wasn’t the reconfigured lunch but the reconfigured awards season, with everything taking place earlier than usual and voters having less time to see the nominated films. (Final voting begins on Thursday and lasts for only five days.)
The consensus, a member of the AMPAS Board of Governors admitted, has not been positive about the earlier date, which will not be used in 2021 or 2022.
Shaking his head over the lack of time to see and consider a strong and deep batch of films, one executive at the lunch joked, “Maybe they should do the whole thing in four days. Do it in Palm Springs and call it Oscar-chella.”
See the 2020 oscar class photo below.
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Sundance So Far: A Muted Festival Struggles for Attention in Chaotic Times
Kobe Bryant. The Trump impeachment trial. The Grammy Awards, happening on a night when nobody is sure if a Grammy statuette is worth a damn. Bernie v. Elizabeth v. Joe v. Mayor Pete. Five awards shows in one night.
And, oh yeah, there’s a film festival going on here in Park City, Utah. But is Sundance really a priority for anybody at this particular moment in time?
If you judge by the crowds on Main Street or the number of indie filmmakers criss-crossing the town, yes. But distribution deals have been slow to materialize and the excitement of being part of the first audience at a Sundance sensation hasn’t really emerged. This feels like a muted Sundance — muted by this year’s crop of films, muted by what’s happening in the world down at sea level and muted by the knowledge that those eight-figure deals over the last few years haven’t produced any real returns.
A Sundance full of cautious buyers and distracted viewers is not a prime Sundance — this, after all, is a fest that needs some audience hysteria and few good bidding wars to hit its stride. But this year, it seems, the festival and its indie filmmakers are struggling for attention in chaotic times.
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Indie-film veteran Cassian Elwes summed it up pretty succinctly in a tweet on Sunday afternoon: “Man I used to have such fun selling movies in Sundance creating crazy behavior amongst the buyers, using the altitude to (make) them irrational with the press eating it up. I don’t think it happens like this so much anymore. Perhaps that’s a good thing.”
Man I used to have such fun selling movies in Sundance creating crazy behavior amongst the buyers , using the altitude to mage them irrational with the press eating it up. I don’t think it happens like this so much anymore. Perhaps that’s a good thing
— cassian elwes (@cassianelwes) January 26, 2020
Still, business began to pick up late Sunday with Amazon Studios acquiring “Herself” and Searchlight Pictures circling the psychological thriller “The Night House” for an eight-figure deal. And if you look closely, the first four days of the festival have brought a lot of work that deserves to be applauded and/or bought — and a lot of work that offers pointed rebukes to the politics of the day, and a lot of cries for empathy rather than rancor.
As usual for Sundance, the documentaries may well prove to be the most lasting work. Kirby Dick and Amy Ziering’s “On the Record,” the story of three black women who spoke out about the sexual misconduct of rap mogul Russell Simmons, came in on a wave of controversy over Oprah Winfrey’s 11th-hour withdrawal, and had the crowd at its Saturday premiere stunned and in tears. Bryan Fogel’s “The Dissident” laid out the Saudi government’s complicity in the murder of journalist Jamal Kashoggi in devastating detail and made President Donald Trump’s refusal to hold the Saudis accountable infuriating.
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Even films like Ron Howard’s “Rebuilding Paradise,” about the wildfires that ravaged the California town that Trump inadvertently called “Pleasure,” doesn’t need to focus on the current administration to be damning. “Welcome to Chechnya” depicts the brutal treatment of LGBT community by the Putin-backed regime in Russia, and the Hulu miniseries “Hillary,” which screened in its entirety over the weekend, is devoted to the former secretary of state who remains a convenient target for the president. And crowd favorite “Boys State” follows teens in Texas demonstrating how politics can be about cooperation, not division.
You could even say that a couple of the festival’s music documentaries are unexpectedly political: The intimate Taylor Swift doc “Miss Americana” focuses on the singer’s decision to begin speaking out about LGBT and women’s issues, while the terrific “The Go-Go’s” is an incisive chronicle of the all-girl band that stops to consider the real problems of being female pioneers in an industry not accustomed to given women much agency.
For the last three years, Sundance films have often represented the resistance to the current administration, so it’s hardly surprising that it’s a running theme this year. And it extends even to well-received dramas that don’t deal explicitly in politics: For example, writer-director-actor Viggo Mortensen told TheWrap that he wrote his family drama “Falling” thinking of the need for empathy and understanding in times when those are in short supply.
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Other Sundance dramas that have received acclaim include a number that join “On the Record” and even “Miss Americana” and “The Go-Go’s” as real examinations of women’s issues in the #MeToo era: Eliza Hittman’s “Never Rarely Sometimes Always,” which depicts the difficulties put in the path of a teenage girl trying to get an abortion; Julie Taymor’s “The Glorias,” an adventurous biopic about pioneering feminist Gloria Steinem; Phyllida Lloyd’s “Herself,” a touching chronicle of an abused wife trying to rebuild her life in Dublin; and Emerald Fennell’s “Promising Young Woman,” with Carey Mulligan as a young woman who lures potentially predatory men into traps. You could also include Kitty Green’s “The Assistant,” though that film is in the small Spotlight section of films that made their premieres at other festivals.
Meanwhile, Lee Isaac Chung’s “Minari” debuted Sunday to some of the festival’s best reviews, putting a Korean-American spin on the immigrant saga and giving producers Plan B and distributor A24 a solid winner.
It’s wrong, of course, to paint the lineup as full of nothing but overt or covert state-of-the-union messages. Among the other films that have won acclaim over the first four days are Benh Zeitlin’s exhilarating “Wendy,” a spirited riff on “Peter Pan” that is the director’s follow-up to “Beasts of the Southern Wild”; Josephine Decker’s “Shirley,” a bold fictional take on author Shirley Jackson; Dominic Cooke’s period spy drama “Ironbark,” an unusual kind of film for Sundance; the rom-com “Palm Springs,” with Andy Samberg and Cristin Miliotti; and “Four Good Days,” Rodrigo Garcia’s drama starring Glenn Close as a mother dealing with her drug-addict daughter (Mila Kunis).
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They’ve all been embraced by audiences and to varying degrees by critics, and together they’ve meant that Sundance 2020 has showcased a solid group of films. What they haven’t done is provide the kind of jolt that Sundance-goers live for.
If you can keep your mind on Park City, this has been a respectable Sundance so far. But let’s be honest: Who can really keep their mind on Park City these days?
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BBC Apologizes for Using LeBron James Footage in Kobe Bryant Memorial
An editor for the BBC’s “News At Ten” program apologized on Sunday for the show’s handling of the death of American basketball legend Kobe Bryant.
“In tonight’s coverage of the death of Kobe Bryant on #BBCNewsTen we mistakenly used pictures of LeBron James in one section of the report. We apologise for this human error which fell below our usual standards on the programme,” tweeted editor Paul Royall.
Another BBC News journalist, Robert Rea, followed that up: “To be clear, one producer on the Ten o’clock News missed it. The rest of the newsroom said ‘that’s not Kobe Bryant’ the moment it was broadcast. My team on the News Channel replaced the offending pictures immediately so they wouldn’t be re-broadcast.”
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Rea called it a “dreadful mistake” and urged viewers not to blame “those of us who know what Kobe looks like, and who broadcast about his death for 2 hours before the Ten o’clock news came on air.”
Bryant and his 13-year-old daughter Gianna were among nine people were killed when the Sikorsky S-76 helicopter carrying the former Los Angeles Laker crashed at about 10 a.m. PT Sunday, officials said. The helicopter’s manufacturer is cooperating with the investigation, the company said in a statement.
In addition to Bryant and his 13-year-old daughter Gianna, Orange Coast College baseball coach John Altobelli, his wife Keri and their daughter Alyssa, and Christina Mauser, an assistant girls basketball coach at an elementary school in Orange County were among those killed. The other three passengers remain unidentified.
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