Steve Pond's Blog, page 2038
December 17, 2019
Emmys 2020 Rules Changes Include Extra Vetting for ‘Self-Published’ Series
The Television Academy announced several minor rule changes for the 2020 Primetime Emmy Awards, making tweaks to the eligibility period and adding tighter restrictions for “self-published” series.
The most notable change on the list is the expansion of the vetting stage for all “self-published” series, which was first introduced ahead of the 2019 awards ceremony in the short-form category. Per the new rule, “All self-published programming (including short form) will be vetted to determine if the program is suitably competitive to be placed on the nominee ballot.”
Programs, as well as individual achievements therein, will not appear on the ballot unless approved.
The TV Academy also tightened the eligibility requirements for so-called “hanging episodes” — episodes of a series which air after the May 31 cutoff. In order to be considered for the current year, episodes of both ongoing and limited series will have to be made available on the academy’s private screening platform before the cutoff in order to be considered.
See the complete list of changes below:
Tightened eligibility for Series and Limited Series episodes broadcast or posted after the end of the eligibility year.
This new rule applies only to “hanging episodes” in regular or limited series–i.e., episodes that originally air after May 31, the end of the eligibility period. This rule supersedes the previous hanging episodes eligibility rule.
Series: If hanging episodes scheduled for air after May 31 are broadcast or posted on a member-accessible platform (i.e., the network’s streaming platform or the Television Academy’s private platform) in their final, ready-for-air form by May 31, 2020, those episodes will be included in the current-year eligibility.
Hanging episodes not broadcast or posted per the above specifications are ineligible for inclusion in the current-year eligibility.
Limited Series: To qualify for entry, the complete limited series must be broadcast, posted on the network’s streaming platform or on the Television Academy’s private, member-accessible platform by May 31, 2020. If the limited series has one or more hanging episodes, parts which are not broadcast or posted in this manner by May 31, the complete limited series, along with the individual achievements, must enter in the subsequent year’s competition.
Limit entry for performers playing the same character in more than one series.
Performers playing the same character in more than one series may only enter their performance for one of those series during the eligibility year.
Limit voting for Outstanding Children’s Program (for both nomination and final voting rounds).
To ensure that experts in the genres are deciding who should be recognized, the Children’s Programming Peer Group has limited the ability to vote for Outstanding Children’s Program to Daytime and Animation Peer Group voting members only.
Change Outstanding Informational Series or Special category to Outstanding Hosted Nonfiction Series or Special.
The retitled Hosted Nonfiction Series or Special category accommodates and more accurately defines personality-driven programs in which the host drives the show’s narrative; includes documentaries, travelogues, segmented/magazine program and interview formats.
Vetting of Self-Published Programming.
All self-published programming (including short form) will be vetted to determine if the program is suitably competitive to be placed on the nominee ballot. Additionally, no individual achievement(s) within the self-published program may be entered unless the program is approved.
Limit Specials Produced From a Daytime Series.
Programs first broadcast during primetime hours that are an extension of or a special produced from a daytime series are now only eligible in the Daytime Emmy competition.
The complete list of awards changes for the 72nd Emmy Awards–including revised category descriptions for Outstanding Structured Reality and Outstanding Unstructured Reality Programs, streamlined and realigned Interactive Programming categories, Makeup and Hairstyling categories, and Sound Mixing and Technical Direction categories–can be found at Emmys.com/rules/changes.
Restructured entry fees:
New fees for individual achievement entries are:
$100 processing charge per submission.
$100 fee for each entrant/individual submitted.
Example: A costume design entry fee for two individuals is $100 + $200, for a total of $300 for the entry.
New fees for program entries are:
$200 processing charge per submission.
$100 fee for each entrant/individual submitted.
Example: The entry fee for a Comedy Series that has only one producer is $200 + $100, for a total of $300 for the entry.
Television Academy national active and associate members will continue to receive an entry fee discount on up to two entries.
Elimination of DVD Screeners:
As announced previously, the Academy has eliminated DVD screeners for the 2020 Emmy eligibility period as part of its awards nominating and voting process.
The move is aimed at saving the television industry tens of millions of dollars and positively impacting the environment via elimination of waste. In 2020, screening of eligible programs will take place exclusively on the Television Academy’s viewing platform or digital platforms hosted by production and distribution entities. Additional information is available in the article “Academy to Eliminate DVD Screeners for 2020 Emmys.”
Awards Department Restructuring:
To better serve members and industry partners, the Television Academy’s Awards department has merged with the Membership department. The streamlined new department, Awards and Member Services, will be led by veteran Television Academy staffer, Julie Shore. During her tenure at the Academy, Shore has built invaluable relationships with networks, studios, agencies and individual producers throughout the industry.
Now, as Vice President, Awards and Member Services, Shore takes on oversight of the Board Relations and Membership department, which includes new awards and member services managers who are addressing member applications and peer group inquiries as well as assisting with awards entries.
After nearly 40 years of service to the Television Academy and oversight of 39 Emmy Awards, Senior Vice President of Awards John Leverence will retire at the end of the year. He has presided over significant growth and dynamic change in the awards competition, including the recognition of reality and short form programming and the integration of premium cable, satellite and streaming distribution platforms. Leverence will continue to serve as an awards consultant for the 2020 Emmy Awards season.
Related stories from TheWrap:
Emmys Draw 6.9 Million Viewers, Down 32% From Last Year to a New Record Low
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‘Star Wars: The Rise of Skywalker’ First Reactions Are In and They’re Pretty Much What You’d Expect
(This post does not contain any spoilers for “Star Wars: The Rise of Skywalker”)
We’re just a few days away now from the arrival of “Star Wars: The Rise of Skywalker” in theaters everywhere, and that means the hype meter is already off the charts. And with the world premiere taking place Monday night in Hollywood, we’ve now got a whole bunch of people who have actually seen the thing.
And, of course, a lot of those people tweeted their reactions as soon as they got out of the theater. And, well, those reactions are mostly what you’d expect from people attending the premiere of a new “Star Wars” movie. For the most part, the responses are very positive, though some are less positive than others.
The reactions thus far have come in two main flavors: folks voicing overwhelmingly effusive praise for the film, and folks who say that the movie is a whole lot and they’re gonna have to think about it. It’s not extremely surprising that we’d get those types of responses at the premiere — it’s unlikely that anyone at the premiere would straight up trash the movie, so this is the range I personally expected.
Also Read: Will Baby Yoda Be in 'Star Wars: The Rise of Skywalker'?
We want to reiterate here that there are no spoilers in the tweets below — unless you consider “I liked it” or “I’m not sure how I feel” to constitute plot and story details. Now let’s get into it.
STAR WARS: THE RISE OF SKYWALKER is certainly the most convoluted Star Wars. There is a lot I liked, but the first half gets so bogged down with exposition and new plot and doodads and beacons and transmitters, it feels like it should have been three movies on its own.
— Mike Ryan (@mikeryan) December 17, 2019
All I can say is “wow.”#StarWars: #TheRiseOfSkywalker is many things: horrifying, hopeful, violent, lowkey horny, and full of the right kind of fan service.
But most of all, it’s a fitting ending for this incredible, 40+ year-long saga. pic.twitter.com/pd2GEwI7O3
— Dan Casey (@DanCasey) December 17, 2019
I’ve seen #StarWarsTheRiseofSkywalker. It’s… a lot. There’s a lot I like and some I loved but overall my feelings are pretty mixed. It felt like an apology for The Last Jedi in some ways and a sequel to The Force Awakens in many, which I found frustrating. pic.twitter.com/6m8sOQWhTx
— Terri Schwartz (@Terri_Schwartz) December 17, 2019
I might be in the minority on #TheRiseofSkywalker. I have a lot to say but will wait till after it has opened. pic.twitter.com/Pn9B18uTVk
— Steven Weintraub (@colliderfrosty) December 17, 2019
RISE OF SKYWALKER could only have been ruder to Rian Johnson if they had motion-smoothed it
— Kyle Buchanan (@kylebuchanan) December 17, 2019
#TheRiseofSkywalker is a lot. It’s like 9 movies of plot in one. Going to take me about 9 days to process.
— Chris Taylor (@FutureBoy) December 17, 2019
I’m gonna need a minute to digest #StarWarsTheRiseofSkywalker. There’s so much movie in this movie. But its best moments are the quietest and most human. Giving this more of a think, though.
— Adam B. Vary (@adambvary) December 17, 2019
Epic. All of it. #TheRiseofSkywalker is a terrific finale that is just stuffed with so much of everything. Action, adventure — answers!! — humor, heart, love, and grit. I spent the entire second half with tears in my eyes – a wonderful way to end the Skywalker story pic.twitter.com/K2NhHSGWzM
— Erik Davis (@ErikDavis) December 17, 2019
I saw #RiseofSkywalker. It was a movie with people in it! Things happened! @ThatKevinSmith was two rows behind me and enhanced my moviegoing experience tenfold. These are my spoiler-free words!
— ashley ???? esqueda (@AshleyEsqueda) December 17, 2019
#StarWars #TheRiseOfSkwalker reaction: One word: EPIC! A satisfying crowd pleasing adventure, and a fitting end to the saga! My favorite of the three! Can't wait to see it again!
— Umberto Gonzalez (@elmayimbe) December 17, 2019
#StarWars #TheRiseOfSkywalker is a lot. It’s a big, giant movie with a lot of spectacle and high stakes and it’s definitely going to start a conversation (or a lot of conversations) among fans.
— The Brandalorian (@BrandonDavisBD) December 17, 2019
#StarWars #TheRiseOfSkywalker is good. It’s big and full of surprises and, in the words of Luke Skywalker, “This is not going to go the way you think.” pic.twitter.com/nruJtzaMC4
— The Brandalorian (@BrandonDavisBD) December 17, 2019
Just stepped out of #TheRiseofSkywalker. It’s an immensely satisfying and MASSIVE end to the saga. It somehow addresses issues, problematic characters, and most unanswered questions from The Force Awakens and The Last Jedi too. pic.twitter.com/TMKeXCXuUx
— Rob Keyes (@rob_keyes) December 17, 2019
I’m emotional, overwhelmed, surprised, shocked & stunned. More than anything, I’m happy. Thanks for coming through one more time, Star Wars.#TheRiseOfSkywalker
— Mark Ellis (@markellislive) December 17, 2019
I am still processing #TheRiseofSkywalker but omggggg I’m so happy and sad at the same time!!!!! JJ Abrams you’re my hero! Thank you so much for this movie. pic.twitter.com/dMmv3k8N6Z
— Lauren Veneziani (@DCfilmgirl) December 17, 2019
#StarWars #TheRiseOfSkywalker…OH MY GOD! I am absolutely blown away! I’ve never been so satisfied by a film. This is the end of an era and a franchise that has defined my life and this did it justice in a way I didn’t imagine it could. You WILL cry…. pic.twitter.com/Jfx5bzdZOO
— Jenna Bûche de Noël (@JennaBusch) December 17, 2019
If all these tweets are getting you wound up with anticipation, don’t worry. “Star Wars: The Rise of Skywalker” hits theaters on Thursday evening.
Related stories from TheWrap:
Palpatine Engages Kylo Ren in New 'Star Wars: The Rise of Skywalker' Clip (Video)
John Boyega Says 'Star Wars: The Last Jedi' Left Him Feeling 'a Bit Iffy'
Can Baby Yoda and 'The Mandalorian' Save the 'Star Wars' Franchise?
December 16, 2019
‘Daybreak’ Canceled at Netflix After One Season
Less than two months after the launch of its first season, the postapocalyptic comedy-drama “Daybreak” has been canceled by Netflix, co-creator Aron Coliete announced Monday night.
“We learned last week that “Daybreak” will not be returning for a second season. We’re so sorry that we couldn’t share it with you sooner but also so grateful that we got to hang out in these last few live tweet sessions with all of you. Thank you for picking up what we put down, for running with it in all of your amazing, weird, monstrous ways and for being such an important part of this show and our experience making it,” Coliete said in a statement posted on Twitter.
Netflix representatives confirmed the show has been canceled.
Also Read: Netflix Shares Its Subscriber Numbers From Non-US Regions for First Time Ever
Created by Coliete and Brad Peyton, the series focuses on a 17-year-old Canadian high school student who gets trapped in Glendale, California while attending high school there as a transfer student when the apocalypse occurs.
Joining up with a group of misfits, he searches for his missing British girlfriend while trying to survive postapocalyptic horrors that include former cliques-turned-gangs, and zombielike mutants.
The show starred Colin Ford, Alyvia Alyn Lind, Sophie Simnett, Austin Crute, Cody Kearsley, Jeanté Godlock, Gregory Kasyan, Krysta Rodriguez and Matthew Broderick, and was based on the graphic novel of the same name by Brian Ralph.
Related stories from TheWrap:
'Special' Renewed by Netflix for Season 2
Netflix's 'Dracula' Teaser: Claes Bang Is a Sexy Vampire – Everything Else in This Is Gross (Video)
Colbert Suggests a New GOP Mascot in Light of Party’s Impeachment Stance (Video)
On Monday’s “The Late Show,” Stephen Colbert suggested what he thinks is a more appropriate mascot for Republicans in light of the party’s lockstep opposition to impeaching Donald Trump. And shocker, he’s making fun of them.
During another installment of his ongoing “Don and the Giant Impeach” running gag, Colbert noted that in last week’s House Judiciary Committee’s vote on articles of impeachment fell 23-17 along strict partisan lines. “That’s right. Not one Republican evidently has a problem with the president blackmailing a foreign government to get dirt on a political opponent,” Colbert said. “In a related story, the GOP has changed its mascot from an elephant to an ostrich.”
Colbert also took a second to talk about the 658-page report the Judiciary Committee released earlier on Monday, which said in part that Trump “have placed his personal, political interests above our national security, our free and fair elections, and our system of checks and balances.”
“And, I’m being told we have Trump’s response,” Colbert said. He then rolled a clip from a Trump rally in which Trump said one of his favorite things to repeat: “you knew damn well I was a snake before you took me in.”
Watch the whole clip below:
TONIGHT: Do Trump's allies have a problem with the president pressuring a foreign country in exchange for dirt on a political opponent? They do not. #LSSC pic.twitter.com/5HK4YC3gJO
— The Late Show (@colbertlateshow) December 17, 2019
Related stories from TheWrap:
Whoopi Goldberg to Meghan McCain During Impeachment Debate: 'Girl, Please Stop Talking'
Colbert Explains How Trump Impeachment Is Like a Questionable Oscars Winner (Video)
‘Sing Street’ Theater Review: ‘Game of Thrones’ Alum Brenock O’Connor Shines in New Musical
John Carney struck gold with “Once,” the not-quite-love story of an Irish troubadour and a Czech immigrant in Dublin that charmed audiences in both a 2007 Oscar-winning indie film and then in a stage adaptation that won the 2012 Tony Award for Best Musical.
And now his underrated 2016 indie gem “Sing Street,” the retelling of his own experiences with his teenage new-wave band in 1980s Ireland, is getting its own stage adaptation at Off Broadway’s New York Theatre Workshop, where it opened Monday night on the same stage where “Once” premiered eight years ago.
Like the previous Carney adaptation, the show features a book by playwright Enda Walsh, a barebones set designed by Bob Crowley and a talented cast who play their own instruments on stage.
Also Read: 10 Best New York Theater Productions of 2019, From 'The Sound Inside' to 'Halfway Bitches' (Photos)
While director Rebecca Taichman’s production offers moments of transcendence, particularly in the often-luminous second act, the show needs some additional polish on its hero’s defiantly brown shoes.
Taichman and Walsh effectively convey the economic despair in 1980s Ireland, as citizens fled overseas for job opportunities and those who remained struggled. Our almost-16-year-old hero, Conor, is pulled from his school because his squabbling, on-the-edge-of-divorce parents (Billy Carter and Amy Warren) can no longer afford tuition and he’s dispatched to a free school run by a bully of a Catholic brother who’s not above a little corporal punishment to reinforce his rules. That includes requiring students to wear black shoes — even if, like Conor, they can’t afford them.
Once there, Conor decides to form his own “futurist” rock band — partly out of a musical passion shared with (and at first lifted from) his older brother, Brendan (Gus Halper), a twentysomething agoraphobe who has not left the house in several years, and partly to impress the too-cool-for-school Raphina (Zara Devlin), whose front of model-like poise masks her upbringing in a broken home and willingness to hook up with much older guys.
The main problem is that Walsh and Taichman don’t do nearly enough to adapt the film’s complicated plot to a new medium, or to find theatrical ways to stage some of the various events. (A large screen dominating the upstage area would have been a great place to show the teenage band’s hilarious efforts to shoot MTV-ready music videos, for instance.)
The band itself has more members in the film — but few of them seem to have names, let alone backstories. Johnny Newcomb’s class bully, already a teen-movie cliché even before he surprises Conor with a kiss to suggest closeted homosexuality, could be jettisoned altogether. And why bother giving bandmate Eamon (Sam Poon) an onstage pet rabbit if the poor boy gets just one more scene with Conor (and the bunny goes MIA as well)?
Streamlining the story would allow the material some breathing room, and an opportunity for the key performers to shine. Brenock O’Connor, a 19-year-old “Game of Thrones” alum whose Olly famously stabbed Jon Snow in the heart in Season 5, gives an appealing performance as Conor — whose ability to feign confidence is as striking as his dimpled chin and unruly mop of brown hair. (Though Conor is the center of the story, the show opens with Brendan — for reasons that are never made clear.)
Also Read: 'One in Two' Theater Review: Donja R Love Brings Absurdity to the Black Queer Experience
Conor is a classic rebel, challenging the rule-bound strictures of Brother Baxter (Martin Moran), his warring parents and the woeful economic conditions in his native land (not to mention gender norms for the period). And he remains a bit of a cipher even as he’s finding his feet, both personally and creatively.
The tunes, written by Carney and Gary Clark, are a mix of “Once”-style ballads and catchy New Wave pastiche (with period classics like Depeche Mode’s “Just Can’t Get Enough” and Duran Duran’s “Rio” tossed in for good measure). And while the onstage musicianship is often spot-on, the sound mix sometimes wavers so that the lyrics get garbled. (Since this is a fledgling amateur band, perhaps the lo-fi effect is intentional?)
Devlin’s Raphina has the look and attitude of a teenage femme fatale, but it’s hard to live up to the movie version played by rising star Lucy Boynton (of “Rocketman” and “The Politician” fame) to mesmerizing perfection. And sadly, her voice is just a little too wan for Raphina’s big numbers. (In fairness, Boynton merely had to be sung to.)
Still, there is a lot to admire about “Sing Street” — and a little buffing could turn Conor’s woeful brown shoes into Broadway-ready kinky boots.
Related stories from TheWrap:
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Jordan Peele’s ‘Us’ Wins 3 Awards Including Best Picture From African American Film Critics Association
The African American Film Critics Association named Jordan Peele’s “Us” the best film of the year on Tuesday.
The group, which is the largest collection of black film critics from across the country and around the world, awarded “Us” with three honors in total, including best director for Jordan Peele and best actress for Lupita Nyong’o.
“Jordan Peele continued to raise the bar in horror specifically and film overall,” AAFCA president and co-founder Gil Robertson said in a statement. “With ‘Us,’ he once again upended the horror genre. His centering of a black nuclear family determined to survive in a complex storyline in a genre where black family units have historically been unseen is extraordinary.
Also Read: The Strange Story Behind 'I Got 5 on It,' the Secret Weapon of Jordan Peele's 'Us'
“He continues to push previously set boundaries with bold storylines that bring a refreshing perspective to cinema overall and the genre specifically,” Robertson continued. “The film’s $255 million global gross is yet another example that inclusive filmmaking resonates big at the box office and it also resonated critically with our members who awarded the film with our highest honors.”
The film was shut out of the Golden Globe nominations on Monday. The Hollywood Foreign Press Association announced it’s film and TV nominees to much criticism for a seemingly lack of diversity and equality.
“Our Best Actress winner, Lupita Nyong’o put her craft in high gear by serving up double duty as both the lead protagonist and nemesis in ‘Us.’ Already awed by her skill in previous films, ‘Us’ just put her over the top,” Robertson said. “Playing double duty allowed her to show even more range as an actor, putting her in an elite group of actresses who have helmed a successful box office film as the star. We are excited to see even more of her range in the future.”
Also Read: Let's Compare Jordan Peele's 'Us' and 'Get Out' (Podcast)
One AAFCA award recipient that was also recognized by HFPA was Eddie Murphy for his starring role in Netflix’s “Dolemite is my Name,” who AAFCA awarded with best actor.
“We are thrilled to honor legend Eddie Murphy as Best Actor for his amazing portrayal in ‘Dolemite Is My Name,'” Robertson said. “He is an icon whose genius has often gone unrewarded by ‘traditional’ and we couldn’t be more pleased that he receives this honor while paying homage to Rudy Ray Moore, another icon.”
The 11th AAFCA Awards will be on Jan. 22 at the Taglyan Complex in Hollywood
In addition to the AAFCA Awards, the organization will present the women behind Focus Features’ box office hit “Harriet” with this year’s AAFCA Stanley Kramer Award for Social Justice.
“Harriet” star Cynthia Erivo has already received two Golden Globe nominations including best actress and best original song, as well a Screen Actors Guild Award nomination. She, along with the film’s director and co-writer Kasi Lemmons, and producers Debra Martin Chase and Daniela Taplin Lundberg will receive the award.
The AAFCA Stanley Kramer Award for Social Justice recognizes filmmakers who work in the vein of Kramer who left a robust film legacy of such socially conscious films as “Guess Who’s Coming to Dinner,” “The Defiant Ones,” “Inherit the Wind” and “Judgment at Nuremberg,” challenging the critical social issues of the day. Previous winners include Quincy Jones, Rob Reiner and Sidney Poitier.
Here’s a complete list of AAFCA award winners:
Best Film: “Us” (Universal Pictures)
Best Director: Jordan Peele (“Us,” Universal Pictures)
Best Actor: Eddie Murphy (“Dolemite Is My Name,” Netflix)
Best Actress: Lupita Nyong’o (“Us,” Universal Pictures)
Best Supporting Actor: Jamie Foxx (“Just Mercy,” Warner Bros. Pictures)
Best Supporting Actress: Da’Vine Joy Randolph (“Dolemite Is My Name,” Netflix)
Best Breakout Performance: Kelvin Harrison, Jr. (“Waves,” A24)
Best Animated Film: “Abominable” (Universal Pictures)
Best Documentary: “The Black Godfather” (Netflix)
Best Foreign Film: “Parasite” (Neon)
Best Independent Film: “The Last Black Man in San Francisco” (A24)
Best Screenplay Presented with The Black List: Bong Joon-ho, “Parasite” (Neon)
Impact Award: “Queen & Slim” (Universal Pictures)
We See You Award: Taylor Russell (“Waves,” A24)
Related stories from TheWrap:
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‘Bombshell’ Cast: Who Plays Whom in Real-Life Fox News Drama, From Megyn Kelly to Rudy Giuliani (Photos)
“Bombshell,” the Jay Roach-directed film based on the accounts of several women who set out to expose the sexual harassment they endured from Fox News chief Roger Ailes, is loaded with famous faces portraying other famous faces. Here’s a breakdown of the actors and the real-life people they play.
Charlize Theron as Megyn Kelly: Former corporate attorney-turned Fox News anchor. Two days after it was reported that she confirmed the Fox News Chairman and CEO Roger Ailes sexually harassed her, he resigned.
Nicole Kidman as Gretchen Carlson: On July 6, 2016, the commentator-journalist filed a lawsuit against Ailes, accusing him of sexual harassment. After she spoke out, more than 20 women publicly shared similar stories of encounters with him.
John Lithgow as Roger Ailes: The media consultant for Republican presidents resigned from Fox News on July 21 amid an internal review into accusations that he had a pattern of making unwanted sexual advances. His exit agreement from what was then known as 21CF was a $40 million payoff. He died less than a year later.
Richard Kind as Rudy Giuliani: The 107th mayor of New York City from 1994 to 2001, who turned to Ailes for his media savvy during his first mayoral campaign.
Malcolm McDowell as Rupert Murdoch: The Australia-born American media mogul who founded the multinational mass media corporation, News Corp, which established the Fox News Channel in 1996.
Connie Britton as Beth Ailes: Roger Ailes married former TV exec Elizabeth Tilson – his third trip down the alter – on Valentine’s Day 1998. She went on to own and publish two local New York state newspapers, The Putnam County News & Recorder and The Putnam County Courier.
Spencer Garrett as Sean Hannity: The conservative political commentator, host of FOX News Channel’s “Hannity” and one of President Trump’s most ardent supporters. Ailes hired Hannity in 1996 when he was a relatively unknown radio personality out of Atlanta.
Marc Evan Jackson as Chris Wallace: The veteran television anchor and son of legendary “60 Minutes” reporter Mike Wallace joined the Fox News team in 2003 as the host of “Fox News Sunday.”
Alanna Ubach as Jeanine Pirro: A former judge and prosecutor, Pirro hosted a weekday, two-shows-per-day television series on The CW Television Network called “Judge Jeanine Pirro,” which received Daytime Emmy Award in 2011. After it was canceled later that same year, Fox News picked it up and renamed if “Justice With Judge Jeanine.” She is known for her fierce defense of the president.
Ashley Greene as Abby Huntsman: Currently a co-host on ABC’s “The View,” Huntsman – who is the daughter of former Utah Governor Jon Huntsman — was a general assignment reporter and co-host of “Fox & Friends.”
P.J. Byrne as Neil Cavuto: The Fox News’ business journalist joined the network in 1996, where he hosts three shows under their umbrella – “Your World with Neil Cavuto,” “Cavuto Live” and “Cavuto: Coast to Coast.” He currently holds the title of Managing Editor and Senior Vice President for Fox Business Network and Fox News.
Alice Eve as Ainsley Earhardt: Prior to starting her tenure at Fox News Channel in 2007, Earhardt was a morning and noon anchor at local CBS station in Columbus, South Carolina, and anchored weekday newscasts at KENS-TV. Although she said she “did not know the first thing about politics” before Ailes hired her at Fox News as co-host of “Fox and Friends.”
Bree Condon as Kimberly Guilfoyle: The former San Francisco prosecutor and Los Angeles Deputy District Attorney joined Fox News in February 2006 as host of the weekend show, “The Lineup.” She later became co-host of “The Five,” where she remained until 2018. Her name was bandied about as a possible press secretary for President Donald Trump, which never came to fruition. She is currently dating first son, Don Jr.
Allison Janney as Susan Estrich: Although Estrich is currently a professor at the University of Southern California School of Law, she is known for being Ailes’ legal counsel during the rise of sexual misconduct claims against him. She lost her job shortly thereafter.
Ben Lawson as Lachlan Murdoch: The eldest of media czar Rupert Murdoch’s sons, Lachlan is the co-chairman of News Corp and executive chairman and CEO of the Fox Corporation. His net worth is estimated to be upwards of $3.62 billion.
Josh Lawson as James Murdoch: Media mogul Rupert Murdoch stepped down as CEO of 21st Century Fox in 2015, and his younger son, James, stepped in.
Mark Duplass as Douglas Brunt: Megyn Kelly’s husband of 11 years is the former CEO of the cybersecurity firm Authentium and a novelist whose debut work, “Ghosts of Manhattan,” is a humorous look at life on Wall Street by an unhappy man who is “too obsessed with money to find a way out.”
Elisabeth Röhm as Martha MacCallum: The Fox News anchor and host of “The Story With Martha MacCallum” joined the network in 2004. After Megyn Kelly’s departure in 2017, MacCallum was named host of “The First 100 Days,” a program created to replace “Tucker Carlson Tonight” when it moved into Kelly’s timeslot.
Tricia Helfer as Alisyn Camerota: The journalist and anchor of CNN’s morning show “New Day” has been nominated twice for an Emmy Awards for news reporting. She co-hosted “Fox & Friends Weekend” and, in 2007” and started a blog on Fox News Channel’s website called, “In the Greenroom.”
Nazanin Boniadi as Rudi Bakhtiar: Best known for anchoring “CNN Headline News Tonight,” Bakhtiar was fired from Fox News after accusing the former Fox News Washington bureau chief, Brian Wilson, of making unwanted sexual advances toward her. Although a settlement was reached in 2007 in which she agreed not to speak of Fox News, in 2016, Bakhtiar decided to share her experience at Fox News in the wake of Gretchen Carlson’s sexual harassment lawsuit.
Jennifer Morrison as Juliet Huddy: Huddy co-hosts the midday show on ABC’s New York affiliate 770 and the podcast “Juliet: UNEXPECTED.” In 2017, she settled a lawsuit with Fox News, accusing Fox anchor Bill O’Reilly and then co-president Jack Abernethy of sexual harassment.
Ahna O’Reilly as Julie Roginsky: The Democratic Party strategist and Fox News Channel contributor filed a sexual harassment lawsuit against the FNC, producer Bill Shine and Ailes, who she said offered her a permanent position on “The Five” if she would have sex with him.
Roku’s Stock Drops as CFO Steve Louden Exits Company
Roku’s stock fell 3% in after-hours trading on Monday after the company shared CFO Steve Louden would be stepping down.
Louden joined the company in 2015 and helped guide the company during its initial public offering in 2017. Roku made the announcement in a filing with the Securities and Exchange Commission, saying Louden planned to return to Seattle and spend time with his family after helping the company find his replacement.
Roku has enjoyed a big 2019 so far, with the company’s stock up more than 300% since early January. The company’s stock, after it’s after-hours drop on Monday afternoon, was trading at $134.18 per share.
Also Read: Some Older Roku Devices Are About to Lose Netflix Support
The company reported it hit 32.3 million active accounts during its Q3 report in November — an increase of 1.7 million new customers from the previous quarter. Roku, in its letter to shareholders, boasted its viewers watched 10.3 billion hours of content during Q3 — or the equivalent of about 3.5 hours per account spent streaming each day.
“We continue to execute well against our long-term strategic plan as the TV market shifts to streaming,” the company added.
The Los Gatos, California-based company entered the holiday quarter as two major streaming services, Disney+ and Apple TV+, are hitting the market. Their popularity, coupled with the strength of other established companies like Netflix and Hulu, could spur Roku users to spend even more time on their devices in the quarters ahead.
Also Read: Roku Launches New Kid-Friendly Streaming Destination Within The Roku Channel
Still, the company’s stock was hammered earlier this month after Morgan Stanley put out a note to clients warning its share price is overvalued following a remarkable run this year.
The reasons for investors to be enthusiastic on Roku are already “priced in,” according to the note from Morgan Stanley analyst Ben Swinburne.
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Hilarie Burton Says She Was ‘Let Go’ From Hallmark Channel Holiday Movie After She ‘Insisted’ on More Inclusivity: ‘Bigotry Comes From the Top’
Hallmark Channel’s lack of inclusivity in its holiday programming continues to come under scrutiny.
Former “One Tree Hill” star Hilarie Burton wrote in a Twitter thread on Sunday that she was “let go” from one of the network’s holiday movies after asking for more diversity on the project.
“I had insisted on a LGBTQ character, an interracial couple and diverse casting,” she wrote. “I was polite, direct and professional. But after the execs gave their notes on the script and NONE of my requests were honored, I was told ‘take it or leave it.’ I left it. And the paycheck.”
Also Read: Hallmark Reverses Stance on LGBTQ Zola Ads Under Pressure, Looks to Reinstate Them
She continued, “S—ty being penalized for standing up for inclusivity. I really wanted that job … [But] I’d walk away again in a heartbeat. The bigotry comes from the top and permeates the whole deal over there.”
A representative for Hallmark Channel parent company Crown Media did not immediately return TheWrap’s request for comment.
Burton’s tweets seem to come in response to the network’s since-reversed decision to pull ads featuring a same-sex couple kissing from its airwaves. Originally, Hallmark Channel said it would pull commercials for the wedding planning website Zola that featured a lesbian couple after the conservative group One Million Moms called for a boycott of the network. At the time, the network said the “public displays of affection” were in violation of the channel’s policies, though it didn’t explain why the commercial featuring an opposite sex couple didn’t violate network policies.
After considerable public pressure, Hallmark Cards CEO Mike Perry issued a statement late Sunday night reversing the decision. “Hallmark is, and always has been, committed to diversity and inclusion – both in our workplace as well as the products and experiences we create,” Perry said.
Just going through some old emails from a #Hallmark job I was “let go” from back in January. I had insisted on a LGBTQ character, an interracial couple and diverse casting. I was polite, direct and professional. But after the execs gave their notes on the script and NONE of my
— Hilarie Burton Morgan (@HilarieBurton) December 15, 2019
Requests were honored, I was told “take it or leave it”.
I left it. And the paycheck. Shitty being penalized for standing up for inclusivity. I really wanted that job. It was close to my house. It paid really well. It was about the military, which you all know I hold dear. But?
– Hilarie Burton Morgan (@HilarieBurton) December 15, 2019
Id walk away again in a heartbeat. The bigotry comes from the top and permeates the whole deal over there. I’ve been loudly cheering for @lifetimetv all year because they heard my concerns + RALLIED! You want inclusive Christmas magic?! We got it.
Love is love????️??????????’- #receipts
– Hilarie Burton Morgan (@HilarieBurton) December 15, 2019
Key point here: I have a wonderful husband @JDMorgan who works his ass off so I have the luxury to choose morals over paying bills. Not everyone has that! Nor should we be forced to be dependent. If I had to cover our mortgage and was told “take it or leave it”, I’d be fucked.
– Hilarie Burton Morgan (@HilarieBurton) December 15, 2019
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12 Biggest Media and Tech Deals of the Decade, From Facebook-Instagram to Disney-Fox
A lot of money has been thrown around since 2010.
That’s the first thing that comes to mind when reviewing the biggest deals of the last decade. The second? These colossal transactions are poised to shape Hollywood and the media landscape for the next decade to come, from Disney’s acquisition of much of Fox’s assets to Facebook’s once-pilloried decision to buy Instagram for $1 billion.
Let’s run through 12 of the biggest and most impactful from 2010 to 2019.
1. Comcast acquires NBCUniversal (2011 & 2013)
TheWrap first reported Comcast was looking to buy NBCUniversal back in Sept. 2009. More than a year later, in Jan. 2011, Comcast snagged 51% of NBCU for $30 billion, ending a long corporate odyssey that gave the country’s largest cable provider control of an entertainment behemoth. Comcast later grabbed the remaining 49% of NBCU from General Electric in Feb. 2013 for $16.7 billion.
2. Disney buys Lucasfilm (2012)
A move that set the table for a full slate of new “Star Wars” films, Disney+ TV shows and, of course, one Baby Yoda. Since acquiring Lucasfilm in 2012, Disney has pulled in upwards of $4.4 billion at the box office alone from its “Star Wars” releases. And that’s not including the massive haul “The Rise of Skywalker” will generate, or the billions Disney has already raked in from merchandise and theme park attractions. Factoring all of that in, it almost makes the $4.06 billion deal look quaint.
3. Facebook snaps up Instagram (2012)
Considering Facebook bought Instagram for “only” $1 billion back in 2012, it’s certainly not one of the biggest deals based strictly on the sale price. But in terms of return-on-value, it’s one of the best deals ever, with Instagram now valued at more than $100 billion. That alone makes Facebook chief Mark Zuckerberg look like a good guy to follow at the Roulette table when he’s picking numbers.
At the time of the deal, though, it wasn’t necessarily viewed as a slam dunk.
“A billion dollars of money?!” Jon Stewart exclaimed, incredulously, on “The Daily Show” in 2012. “For a thing that kind of ruins your pictures? The only Instagram worth a billion dollars would be an app that instantly gets you a gram.”
Instead, Instagram ended up offering Facebook a much-needed safe haven when Facebook became uncool for Millennials and Gen Z’ers. By 2018, when Facebook was weathering the Cambridge Analytica data leak, most Americans didn’t even know Facebook owned Instagram.
“Facebook would be in serious trouble if it weren’t for Instagram,” Gerber said. “All of [Facebook’s] growth is coming from the Instagram platform. It has turned it into an ad sales machine.”
4. China invests big in U.S. cinema as Wanda buys AMC (2012)
One of North America’s largest, and most well-known, cinema chains isn’t even owned by an American company anymore. In 2012, as business relationships between China and the U.S. were ramping up, and theater chains were facing a changing media and entertainment landscape, Chinese conglomerate Dalian Wanda bought a majority stake in AMC Entertainment for $2.6 billion.
At the time, Reuters said the $2.6 billion deal was the largest overseas acquisition by a privately held Chinese company. It marked a major foray into the U.S. movie industry for China, which was on the verge of overtaking Hollywood as the No. 1 film market. Wanda subsequently bought production company Legendary Entertainment in 2016. In 2018, however, Wanda sought to scale down its majority position in AMC, as Chinese regulators incentivized companies to cut back on their foreign holdings. Private equity firm Silver Lake Partners then made a $600 million investment in AMC.
From left to right: Mark Zuckerberg, Shari Redstone, Bob Iger and Randall Stephenson. All of them have had a busy decade.
5. AT&T snags DirecTV for $48.5 billion (2015)
AT&T added to its mountain of assets with its $48.5 billion acquisition of DirecTV in 2015. At the time, DirecTV was flying high, with more than 20 million U.S. subscribers. That figure eventually crested in early 2017 at about 21 million customers, but the AT&T-DirecTV marriage hasn’t been as happy since then. Cord-cutting has hit the company hard, like it has the entire cable and satellite industry. After losing 1.2 million video customers during the third quarter of 2019, DirecTV slumped to 17 million subscribers. Soon after, AT&T CEO Randall Stephenson said there are “no sacred cows,” signaling the company could be already looking to offload its struggling satellite business.
“AT&T’s strategic decisions on how to optimally use the DirecTV acquisition varied for the first few years, but more recently the company focused on retaining and acquiring profitable subscribers, and related cost-controls. These decisions not only had a major impact on AT&T’s pay-TV business, but as the number one pay-TV provider, it also had a major impact on the pay-TV industry overall,” said analyst Bruce Leichtman, president of Leichtman Research Group.
Leicthman pointed out that over the past year, AT&T had a net loss of about 3.6 million pay-TV subscribers, with AT&T accounting for 62% of pay-TV net losses over the past year.
6. Microsoft buys LinkedIn for $26.2 billion (2016)
It’s not the sexiest deal of the decade, that’s for sure. But it’s definitely fitting for Microsoft, which quietly expanded its already-massive footprint in the last 10 years to include career networking and a thriving cloud business. As the job market has continued to rebound in recent years, LinkedIn’s reach appears to have only expanded — although Microsoft stopped reporting its quarterly users once it bought the company.
Now, six decades after it’s rivalry with Apple started, Microsoft finds itself fighting its longtime competitor for the title of the world’s most valuable company, with both worth about $1.2 trillion heading into the ’20s.
7. Disney gains control of BAMTech (2017)
A big move for Disney under CEO Bob Iger: Disney initially became a minority owner in BAMTech, the company behind the streaming efforts of MLB, HBO and WWE, in 2016. A year later, it acquired an additional 42% for $1.58 billion, bringing it up to a 75% stake overall. By this point, Disney was already miles behind Netflix when it came to streaming. The content was there, but the technology was lacking. That’s where BAMTech — now renamed as Disney Streaming Services — came in, and it’s now the backbone to Disney+.
8. AT&T buys Time Warner despite several objections (2018)
This one was like pulling teeth. The AT&T-Time Warner deal finally went through in 2018 for $85.4 billion, after facing strong opposition. Not only was President Trump vocally against the deal, but the Justice Department also brought an antitrust lawsuit against AT&T after it refused to divest from CNN. AT&T ultimately won the case and the deal went through in June 2018.
The mega-merger not only armed AT&T with a treasure trove of assets, but it may have jumpstarted an era of blockbuster deals as Hollywood giants continue to fight for content. WarnerMedia — as Time Warner was renamed soon after the deal closed — now plans to launch its lynchpin streaming service in 2020.
9. TikTok races to 1 billion users after ByteDance grabs Musical.ly (2018)
Considering this deal was relatively small — with Beijing-based ByteDance buying lip-syncing app Musical.ly for about $1 billion — this entry is more about looking ahead to the 2020s. ByteDance, soon after the deal was completed, merged Musical.ly with its TikTok, its homegrown short-video app, and the rest has been history. TikTok has rushed to 1 billion active users, with hoards of Gen Z’ers around the world jumping on the app to share their music-infused clips. It’s now the hottest app entering the ’20s, and regulators are belatedly starting to worry about the merger, which closed in late 2017.
In November, the U.S. government opened a national security review into ByteDance’s acquisition of Musical.ly. The Committee on Foreign Investment in the United States is currently investigating the deal on “potential national security risks,” Reuters reported. The companies did not seek regulatory clearance from the committee in 2017, allowing the committee to now go back and review the deal. The probe comes amid increasing scrutiny of China’s business deals in the U.S.
10. Discovery beefs up slate with Scripps acquisition (2018)
The biggest merger you never heard of: This 2017 deal flew under the radar for most. Well, as much as a $15 billion sale can fly under the radar. But in buying Scripps, Discovery created a lifestyle-programming behemoth, which it hopes will insulate it enough against the changing media landscape.
The combination joins some of cable television’s most popular channels, including Discovery’s namesake network, Science, OWN and TLC with Scripps’ HGTV, Travel Channel and Food Network.
11. Disney buys much of Fox’s TV and film businesses (2019)
Simply put: a mammoth deal that will impact Hollywood for decades to come. For $71.3 billion, Disney closed its acquisition of much of 21st Century Fox’s film and TV businesses earlier this year, two years after first kicking off negotiations.
It can be difficult to wrap your head around how much Disney grabbed with the buyout, including: 20th Century Fox film and TV studio, first-class intellectual property, a number of cable networks including FX and National Geographic, and an additional 30% stake in Hulu.
But at first blush for many watching from the outside, the deal didn’t compute. Homer Simpson and Peter Griffin joining the same family as Mickey Mouse and Snow White? How’s that going to even work?
It may still be an odd fit, but the streaming landscape — and in particular, Netflix’s first-mover advantage in this sector — may have made this deal a necessity for Disney. The deal allowed Disney to not only add additional content to Disney+, its new, lynchpin streaming service, but solidify its other streaming efforts as well.
“The Disney-Fox merger created the best streaming app since Netflix,” GerberKawasaki CEO Ross Gerber said. “Not to mention, it allowed Disney to solidify its hold on Hulu and [it already had Indian streaming service] Hotter.”
The move not only made Disney competitive, it made it dominant, Gerber said.
“With Hulu, ESPN+, Disney+ and Hotstar, Disney has four streaming apps that dominate their markets,” he said. “Disney has always been on the forefront on content but also distribution. By creating new global streaming distribution channels and monopolizing content creation and a huge library, Disney makes Netflix look like a pumped up underclassman. This merger will pay off for the next decade.”
12. ViacomCBS, at long last (2019)
It took many stops and starts — and a legal brouhaha or two. But Shari Redstone finally got wish to reunite the Viacom and CBS, some 13 years after they split apart, for roughly $12 billion. Though a re-coupling of the two had been talked about for years, it looked as if this would never come to be. That is, until longtime CBS chief Leslie Moonves — who waged a legal war against Redstone in an attempt to strip her off her power — was ousted amid multiple sexual misconduct accusations.
Viacom and CBS recombine at a time when the media landscape is vastly different than the one from the early 2000s. Disney and Fox got together, AT&T bought Time Warner and Netflix’s arrival upended the whole business model in a pivot towards streaming. Just don’t count ViacomCBS among those diving in both feet.
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