Steve Pond's Blog, page 2051
December 3, 2019
Why NATO Chief John Fithian Is Excited About the New Wave of Streaming
On a rainy November morning in Hollywood, John Fithian is asked about a moment when he called out the Hollywood press for their “glass is half empty” analysis on the movie theater industry.
It was back in April in Las Vegas, when the president & CEO of the National Association of Theatre Owners had just come off the stage from an opening speech at CinemaCon where he boasted of the record $11.82 billion grossed at North American movie theaters in 2018, a huge rebound after a 2017 box office that saw the worst summer period in 11 years.
But now all he was being asked about by reporters was the big red elephant in the room: Netflix. The streaming giant’s incursion into the theatrical market and its plans to release Oscar contending films on streaming after a month in theaters had drawn the ire of theater owners from the indies all the way up to titans like AMC and Vue Cinemas. By the time the press conference had neared its end, Fithian felt that he needed to point something out.
“Last year, there were so many questions at this conference about the box office struggling,” he said. “This year, after the biggest annual box office ever…we’re now 17 minutes in, and all the questions have been about Netflix.”
Also Read: The Death of Movie Theaters? Not So Fast
Almost eight months later, it’s the rainy first day of an extended Thanksgiving weekend that will bring the same sort of “is the glass half full or empty” news from the box office. Disney’s “Frozen II” will set a new record for the holiday with $125 million grossed over 5 days. But the overall holiday total of $262 million, while consistent with some recent Thanksgivings, will be down 20% from last year’s record $315.5 million haul.
It’s Fithian’s job to tell Hollywood and beyond that the glass is half full. In fact, when asked about his remarks to the CinemaCon press, he notes that he sees more water in the glass than Wall Street does.
“The short term cyclicality can be distracting,” Fithian told TheWrap. “Inevitably, when you have a run of a couple months where films are not performing as well as they were a year before there’s going to be pieces about how streaming is destroying the theatrical business.”
Also Read: How the Studio-Movie Theater Power Dynamic Will Change Without Paramount Decree Antitrust Rules
Fithian and NATO have worked overtime to try to get everyone in the industry to look at what they see as a positive big picture, noting that domestic grosses are now securely humming above $11 billion while the global industry has expanded to more than $40 billion in grosses thanks to China and other rapidly developing markets.
Still, he notes that there’s plenty of challenges for theater owners, especially the little guys, when it comes to consolidation, the continued struggle over the theatrical window, and fears over whether Trump’s Justice Department could throw a wrench in the gears by getting rid of the Paramount Decrees.
John Fithian discussed all these issues with TheWrap, as well as why he’s looking forward to the growth of Disney+ and HBO Max, why the 2020 box office could still be great for theaters even if overall numbers drop, and even has a few nice things to say about Netflix. The interview below has been edited for clarity.
Also Read: Laemmle Theatres Shutters Historic Music Hall, Takes Movie Chain off the Market
What trends are going on in the exhibition industry that you think aren’t getting the attention they deserve?
I certainly think the the last four or five years have shown the consistent strength of the box office, even if there were short-term ups and downs. We’re now clicking above $40 billion globally and $11 billion domestically. In the most recent period, “Frozen II” just had a massive opening. “Joker” became the biggest R-rated opening of all time and the period from Thanksgiving through New Year’s is going to be a big period.
Thing is, the good news bounce of those giant hits isn’t going to outweigh the bad news from those first two bad months of the year. [NATO] is working very hard at messaging to try to remind everyone about the long term sustainability because that’s proof to us that Netflix and streamers aren’t disrupting the theatrical business.
In fact, we have found through our data that streaming and the theatrical business can complement each other because people who stream more movies have a greater interest in seeing movies in theaters. Yet so much of the media and Wall Street take is that streaming’s success is at theatrical’s expense.
Also Read: Netflix's Limited 'The Irishman' Release Is a 'Disgrace,' Head of Movie Theater Group Says
Let’s drill down a bit more into that. Last year, the box office saw four documentaries gross over $10 million for the first time ever while Netflix and other streamers are investing more in picking up docs like the competing Fyre Fest films. Is that an example of this symbiotic relationship you are talking about?
It is. I can’t remember theatrical documentaries doing as well in the previous five or six years. Then Netflix comes in and makes documentaries popular again. Their subscribers see these docs like “Making a Murderer” and think, “Hey, I thought documentaries were these stodgy things but now I want to see more of them. Then the docs in 2018 blew the numbers out and even this year we’ve had some great documentaries from NEON and some strong musical docs as well. The idea that movie lovers rediscover genres on streaming and then seek them out in theaters is the biggest example of the two mediums supporting each other.
And going from indie to blockbuster, Disney+ is showing that they are trying to connect their theatrical releases to their streaming content, especially with Marvel Studios. As this new wave of streamers launches over the next year, is that Disney strategy something you think could be adopted by other countries?
We are on the verge of having multiple companies do both streaming and theatrical with Disney+, Warner Bros. with HBO Max and Universal with Peacock. It’s not just Netflix and Amazon anymore, and we are very excited that these other streamers are launching for two reasons. One, they’re going to need a lot more content. And two, they are coming from companies that believe — to varying degrees but certainly more than Netflix — that for some of their better movies it is much better to first give it a long theatrical run.
We definitely think that HBO Max and other new streamers will try to adopt a synergistic strategy by picking the right types of movies for a theatrical run to help build the brand and make a profit in cinemas, or content for streaming services reinforces interest in similar titles like with the documentaries. This isn’t strictly a new concept. It’s just an old idea that we saw with things like straight-to-video and TV movies being adapted to a new medium.
Also Read: Will the Box Office Rely on Disney Again This Holiday Season?
In 2018, the box office boom extended to almost every Hollywood studio, but this year, Disney’s been the only one that has kept that success going on the same level. For a theater owner, does it become concerning when a single studio ends up being responsible for more and more of the overall revenue?
Well, first, thank God for Disney. They have a huge collection of characters and series that really resonate with people and bring millions of people in to our theaters, and that’s essential to the survivability of theaters.
And at the same time, of course, we all want diverse content; in terms of where the film comes from, budget size, genres and different demographics. In that regard, your comparison of 2018 to 2019 is useful: 2019 was just an amazing alignment of titles from one distributor, but 2020 looks like it will go back to that array of diverse films from lots of different studios. Disney will still have a big year, but it won’t be as dominating almost week in and week out.
In fact, we’re seeing more films on the 2020 slate than this year because of that effect. So many times this year we saw other studios shy away from Disney films that everyone knew were going to dominate the market. Some people look at that slate and say, “Oh, you don’t have a surefire $600 million domestic hit like ‘Avengers'”, but we have a lot of new content that has a chance to break out, and that’s what we need to keep moviegoers coming in.
So given that this slate will be different, what would you say would be a reasonable expectation for how the box office will perform in 2020?
The uniqueness of the movie industry is that while we can have some sense, no one really knows how a movie is going to do until the numbers start coming in on Thursday night. If you told anyone that Warner Bros. was going to take a film like “Crazy Rich Asians” or “It” and make as much money as it did and last as long as they did, they’d think you’re crazy.
The 2020 slate has a lot of those kinds of films. With a “Frozen II” or a “Star Wars” you know they’re going to be big, and that made it clear 2019 was going to be a solid year. But what’s nice about the 2020 films in terms of movie theater profitability is that, sure, the big 2019 blockbusters have been great and they bring loads of people in and they buy popcorn and Coke, but we also pay the most for them. When a film makes $400, $500, $600 million, the studios end up taking a larger part of the gate.
With 2020, there’s a chance for more films to make the same or close to the same amount of revenue as a smaller number of films did this year. Generally, if you have two movies that gross $500 million or five films that gross $200 million each, you’re still getting to $1 billion. For movie theaters, the second situation is much more profitable because they get a larger share of each ticket sold.
AMC’s A-List ticket subscription program will likely hit 1 million subscribers during the holiday season. While it’s still in its early stages, do you think subscription programs can become a major part of the U.S. theatrical market the way it has in Europe?
It will depend on pricing and usage to keep it profitable, but it definitely looks like something that will become a more popular option for customers. AMC and Regal have started their programs and other chains are looking at their own, and going back to the 2020 question, it can really help with a diverse slate because it removes the feeling of risking money on a film a customer might not know about and encourage audiences to try something new.
It’s the same way that Netflix– oh, stop the presses, NATO head is going to say something nice about Netflix — the same way they have created a space for movies that may not have been made elsewhere. They do that because their customers aren’t paying for every single movie and feel more inclined to try something new. The viewing habits of subscription streaming, we believe, could carry over to habits of movie ticket subscribers.
Also Read: IDW Entertainment Boss on How the Streaming Era is 'Overwhelming for Everyone'
Now let’s talk a bit about what independent theaters are facing. There’s been a lot of reporting by Vulture and other outlets about Disney’s decision to remove most repertory screens of 20th Century Fox films. Have indie theater owners spoken to you about this issue?
Yes, and while I can’t discuss too many details, I have discussed it with Disney, as well. I…don’t want to sound as if repertory screenings are not important. They certainly are to theaters, especially in small towns, as well as the consumer. But I have been a bit surprised at how much press this has gotten relative to the percentage of profitability repertory screens bring to theaters.
We are working on it with Disney, though. I think we will get a place where there’s a chance to play repertory Fox titles in theaters again as long as it isn’t interfering with the first-run product, which I think is what Disney is trying to protect. Maybe we can use off-times or seasonally slower periods, but I’m confident that a deal can be reached.
What other big issues hav indie theater owners spoken with you about the most? Theatrical window? Film rental rates?
Definitely the theatrical window. We do a strategic survey every three-to-four years of all our members and the window comes up with everyone. Big companies, small companies, but especially the independent theaters because two screen cinemas in a small town need an exclusive theatrical run to have a chance to play some of these movies because otherwise they’ll be on streaming by the time they have a chance to play it.
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It sounds like that’s a part of the theatrical window issue that’s easy to forget. So often it feels like AMC and Regal vs. Netflix but this affects the smaller outlets too.
Yes. It’s not about the larger chains having exclusive deals to screen these films. It’s just that they have big multiplexes and the smaller owners don’t. The cost of operations is also a really big issue that independent owners are thinking about. Operational costs, utility costs, everything is going up, especially if you’re a small operator in a smaller state, not to mention how much it costs just to rent a film for screening. Sometimes studios are mindful of the difference between a big chain and a family-owned theater and some are not.
Is the recent news that the Justice Department will seek to repeal the Paramount Decrees also something you’ve discussed with these owners?
This is a difficult topic to distill into a minute or two, but, yes, I just got off of a conference call with a bunch of owners yesterday about the Paramount Decrees, and they do have concerns. The concept of antitrust laws obviously is different for a smaller company compared to a larger one because of leveraging power.
Granted, the nature of the marketplace has greatly changed since the 1940s, and it’s highly unlikely that studios will discriminate between one theater chain they own and another they don’t. That’s why the Decrees were implemented in the first place and that’s just not how the industry works anymore. But block booking is still a big concern, and we filed comments to the DOJ during the public comment period about that. Movies should be distributed title by title, and we stand by that. For now all we can do is wait for what they say in court.
Let’s close out with this: Have you seen “Cinema Paradiso”?
Yes.
So you know about the film’s ending in which the Cinema Paradiso is demolished because home video made the movie theater financially unsustainable. It’s been 30 years since that film came out and theaters are still around while Blockbuster has come and gone. Does that endurance of moviegoing give you pause as NATO heads into the 2020s?
That’s a funny and symbolically important way to end the conversation. I’ve been representing theater owners for 20 years, and the number of times a technology has come around that was expected to kill cinemas has been countless. The reality is that when movie theaters were the only way to see a film, there was a big impact on the marketplace. Television did have an impact on theatrical admissions, but since then box office revenue has been up decade by decade even with more movie viewing mediums being created.
We’re very optimistic about the future of the business and think we’ll always be a popular option for when people want to enjoy a night out. It’s always a fun business to represent.
Related stories from TheWrap:
The Death of Movie Theaters? Not So Fast
'Frozen II' Breaks Thanksgiving 5-Day Box Office Record With $123.7 Million
Will the Box Office Rely on Disney Again This Holiday Season?
Antonio Banderas to Receive PSIFF International Star Award, Actor
Antonio Banderas will be presented with the International Star Award, Actor for his performance in “Pain and Glory” at the 31st annual Palm Springs International Film Festival (PSIFF). The annual gala will take place on Thursday, Jan. 2 at the Palm Springs Convention Center. The festival runs January 2-13, 2020.
“Throughout his career Antonio Banderas has garnered international acclaim and world recognition from his memorable performances. In his latest film “Pain and Glory,” Antonio Banderas gives another deeply moving performance as aging film director Salvador Mallo going through a creative crisis as he reflects on the choice’s he’s made throughout his life,” said Festival Chairman Harold Matzner. “The Palm Springs International Film Festival is honored to present the International Star Award, Actor to Antonio Banderas.”
Past recipients of the International Star Award include Javier Bardem, Nicole Kidman, Helen Mirren, Gary Oldman and Saoirse Ronan. He joins previously announced honorees Jennifer Lopez (Spotlight Award), Joaquin Phoenix (Chairman’s Award), Martin Scorsese (Sonny Bono Visionary Award), Charlize Theron (International Star Award) and Renée Zellweger (Desert Palm Achievement Award, Actress).
Also Read: Antonio Banderas Didn't Want to Impersonate Pedro Almodóvar for 'Pain and Glory' (Video)
In the semiautobiographical film (read TheWrap’s review), Banderas portrays filmmaker Salvador Mallo, whose physical and mental travails have blocked him from what he loves most — making movies. Banderas won the Cannes Film Festival Award for Best Actor for the role.
In his four-decade career, Banderas has played a wide variety of roles, from Tom Hanks’ lover in 1993’s Philadelphia, the vampire Armand in the following year’s “Interview With a Vampire,” masked hero Zorro twice, and Puss in Boots in three “Shrek” films and a spin-off movie.
Related stories from TheWrap:
Jennifer Lopez to Receive Palm Springs Film Festival's Spotlight Award
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‘Black Widow': Natasha Romanoff Has Family Reunion and Kicks Ass in Marvel Prequel’s First Trailer (Video)
Surprise! Without warning, Marvel Studios dropped the first trailer for “Black Widow” at midnight Pacific time (thanks guys, really appreciate that one), and you can watch it for yourself right now at the top of the screen.
Per usual for a Marvel Cinematic Universe film’s first trailer, the actual plot of the film is very much obscured, So don’t expect any real details. All we know for sure is that: 1) it’s the first to come out after “Spider-Man: Far From Home”; 2) it’s set immediately after the events of “Captain America: Civil War”; and 3) it follows Natasha Romanoff (Scarlett Johansson) as she reunites with former members of the (former) Soviet assassin squad she grew up with to defeat an even greater threat.
Oh, and we also 4) know the film takes place well before “Avengers: Endgame,” which is how Natasha is even alive in the first place.
Also Read: Disney Sets Release Dates Through 2023 for 5 Untitled Marvel Movies
But despite those knowledge deficiencies, we do get to see Natasha kick a ton of ass, jump out of a plane and into some very dangerous-looking airborne debris, and have some fun family banter with her former comrades, including David Harbour as Red Guardian, Florence Pugh as Yelena Belova (AKA the Super Adaptoid in Marvel Comics), and Rachel Weisz as… actually we’re not sure who she plays other than a fellow ex-Soviet superspy but, let’s assume she kicks a lot of ass.
We also get to see William Hurt as Thaddeus Ross, and a very brief look at the film’s (masked) villain, Taskmaster. But sadly, we don’t actually get to see Robert Downey Jr. as Tony Stark, or O-T Fagbenle (“The Handmaid’s Tale”) as S.H.I.E.L.D. agent “Mason.” But, uh, now that we think about it, we’re going to place a bet now that the film has a reveal, and the reveal is that either Weisz or Fagbenle is Taskmaster. We’ll pay 50 American Dollars or the equivalent in Rubles if we lose.
Directed by Cate Shortland (“Berlin Syndrome”) and written by Jac Schaeffer and Ned Benson, “Black Widow” hits theaters May 1, 2020. And hey, wait a minute, we just realized that’s May Day. NOW WE GET IT.
Related stories from TheWrap:
Jimmy Kimmel Mashes Up Scorsese's 'The Irishman' With Marvel Movies to Give You 'Irish Man' (Video)
'Marvel's Runaways' to End With Season 3 – Watch the Trailer Here (Video)
Disney Sets Release Dates Through 2023 for 5 Untitled Marvel Movies
December 2, 2019
‘The Daily Show’ Looks at the Obvious Implication of Joe Biden’s Weird Old Timey Campaign Slogan (Video)
Trevor Noah had a difficult time on Monday’s “The Daily Show” understanding the logic behind Joe Biden’s weird, old-timey new Democratic primary campaign slogan, so he called out correspondent Michael Kosta to explain it, leading things to go, well, pretty much exactly where you’d expect.
Over the weekend, Biden unveiled the “No Malarkey” tour bus, which also includes a definition of the word for people who might never have heard it before. (Biden’s definition, by the way, is “insincere or foolish talk”; we suggest “a non-profane synonym for “bulls—.”)
Noah joked about “malarkey” that “unless you’re over the age of 80 is a term you definitely had to Google.” That’s when he brought out Kosta, wearing a beige trench coat and brown Fedora with a “Press” tag in the hatband as though he was a depression-era journalist.
Also Read: Kamala Calls Out Tulsi, Biden's Poor Word Choice and 4 Other Highlights From 5th Democratic Debate
“Doesn’t the slogan ‘No Malarkey’ make Biden seem a little dated and out of touch,” Noah asked.
“That’s a load of horsefeathers, Trevor,” said Kosta, affecting a very 1930s New York accent similar to actor Edward G Robinson. “That slogan is the cat’s pajamas see, and anyone who says different is just screwy in the noodle. Nyaaa.”
Noah asked why Kosta was talking like that. “I have to, nyaa,” Kosta said. “Everyone with the ‘No Malarkey’ bus is required to talk old-timey, you get me? So either get on the trolly, or Big Joe is gonna take you out back behind Bell’s soda shop and give you the old one-two, buckle my shoe.”
Also Read: Trump Re-Election Campaign Bans Bloomberg News Reporters From Rallies, Events
Noah brought things back to the weirdness of the word, and asked Kosta what Biden will do if “Joe’s strategy of ‘old-time real guy'” flops. That’s when Kosta took the gag to its logical conclusion.
“What are ya, nutty? These Biden guys, they’re no palookas. If old-timey slang don’t work, they’ll just go further back in time.” At that point, Kosta took off his Fedora and replaced it with an Elizabethan feathered cap, then started speaking in faux-Shakespearean terms.
“Forsooth, mayhaps the language of The Bard shall catapult Lord Biden to Columbia’s fair district,” Kosta said. “Dost thou comprehend the ruse, or doth it not pass through the dark skin of a Moor.”
“I’m sorry, did you just say I can’t understand politics because I’m black?” Noah demanded, prompting Kosta to swear it wasn’t him being racist, just his character.
“Ok Mike, well my character is gonna cut your Christmas bonus this year, that’s what’s gonna happen,” Noah replied.
Watch the clip above.
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‘Marriage Story’ Dominates Gotham Awards 2019: The Complete Winners List
Noah Baumbach’s ‘Marriage Story’ dominated Monday’s 29th annual IFP Gotham Awards with four wins, including Best Feature and Best Actor for Adam Driver.
The ceremony, celebrating the best in indie cinema and television, was held Monday evening at Cipriani Wall Street in New York City and was presented by the Independent Filmmaker Project.
Acting awards went to Driver, to Awkwafina for “The Farewell” (Best Actress) and to Taylor Russell for “Waves” (Breakthrough Actress).
“American Factory” was named the year’s best documentary, while Laure De Clermont-Tonnerre won in the Breakthrough Director category for “The Mustang.”
In the television categories, prizes went to the Netflix miniseries “When They See Us” and the Hulu sitcom “PEN15.”
Also Read: 'Frozen II,' 'Missing Link' Are the Top Toons in Annie Awards Nominations
“The Lighthouse” and “Uncut Gems” went into the ceremony with multiple nominations but did not win anything.
The show also included tributes to actors Sam Rockwell and Laura Dern, director Ava DuVernay and FilmNation Entertainment CEO Glen Basner.
The Gotham winner has gone on to win the Oscar for Best Picture only four times — but those four have all come in the last 10 ceremonies, starting with “The Hurt Locker” in 2009 and including three years in a row with “Birdman” in 2014, “Spotlight” in 2015 and “Moonlight” in 2016.
A list of winners and nominees is below, with the winners denoted in bold.
Best Feature
“The Farewell” (A24)
“Hustlers” (STXfilms)
“Marriage Story” (Netflix) – WINNER
“Uncut Gems” (A24)
“Waves” (A24)
Best Documentary
“American Factory” (Netflix) – WINNER
“Apollo 11” (NEON and CNN Films)
“The Edge of Democracy” (Netflix)
“Midnight Traveler” (Oscilloscope Laboratories)
“One Child Nation” (Amazon Studios)
Breakthrough Director
Laure De Clermont-Tonnerre for “The Mustang” (Focus Features) – WINNER
Kent Jones for “Diane” (IFC Films)
Joe Talbot for “The Last Black Man in San Francisco” (A24)
Olivia Wilde for “Booksmart” (United Artists Releasing)
Phillip Youmans for “Burning Cane” (ARRAY Releasing)
Best screenplay
“The Farewell,” Lulu Wang (A24)
“High Flying Bird,” Tarell Alvin McCraney (Netflix)
“The Last Black Man in San Francisco, Jimmie Fails,” Joe Talbot, Rob Richert (A24)
“Marriage Story,” Noah Baumbach (Netflix) – WINNER
“Midsommar,” Ari Aster (A24)
Best Actor
Willem Dafoe in “The Lighthouse” (A24)
Adam Driver in “Marriage Story” (Netflix) – WINNER
Aldis Hodge in “Clemency” (NEON)
André Holland in “High Flying Bird” (Netflix)
Adam Sandler in “Uncut Gems” (A24)
Best Actress
Awkwafina in “The Farewell” (A24) – WINNER
Elisabeth Moss in “Her Smell” (Gunpowder & Sky)
Mary Kay Place in “Diane” (IFC Films)
Florence Pugh in “Midsommar” (A24)
Alfre Woodard in “Clemency” (NEON)
Breakthrough Actor
Julia Fox in “Uncut Gems” (A24)
Aisling Franciosi in “The Nightingale? (IFC Films)
Chris Galust in “Give Me Liberty” (Music Box Films)
Noah Jupe in “Honey Boy” (Amazon Studios)
Jonathan Majors in “The Last Black Man in San Francisco” (A24)
Taylor Russell in “Waves” (A24) – WINNER
Breakthrough Series – Long Format (over 40 minutes)
“Chernobyl” (HBO)
“David Makes Man” (OWN: Oprah Winfrey Network)
“My Brilliant Friend” (HBO)
“Unbelievable” (Netflix)
“When They See Us” (Netflix) – WINNER
Breakthrough Series – Short Format (under 40 minutes)
“PEN15” (Hulu) – WINNER
“Ramy” (Hulu)
“Russian Doll” (Netflix)
“Tuca & Bertie” (Netflix)
“Undone” (Amazon Prime Video)
Audience Award
“Marriage Story” – WINNER
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‘Prodigal Son’ Bosses on Fall Finale’s ‘Insane’ Junkyard Killer Cliffhanger, Malcolm’s Fate
(Warning: This post contains spoilers for Monday’s fall finale of “Prodigal Son,” titled “Silent Night.”)
“Prodigal Son” ended the first half of its first season Monday with Malcolm Bright (Tom Payne) finally coming face to face with the Junkyard Killer a.k.a. Paul Lazar a.k.a. John Watkins (Michael Raymond-James) before being knocked out and dragged off to what we can only assume is a horrifying experience. And we know that because we spoke with showrunners Chris Fedak and Sam Sklaver about where things are headed when the show returns next year.
“When we come back from hiatus, we’ll come back with one of the craziest, most intense episodes with Bright being taken by the Junkyard Killer,” Fedak told us. “As insane as that was, Episode 11 is one of our most insane episodes we’ve done and it’s an incredible panic attack of an episode.”
“That’s our sales pitch, by the way — one long panic attack,” Sklaver added.
Also Read: Fox's 'Prodigal Son' Is the Closest Thing We Have to a New Hit TV Show
Tonight’s episode, “Silent Night” brought Bright closer and closer to Watkins and the revelation that the Junkyard Killer is so closely tied to Bright’s notorious serial killer father, Martin Whitly (Michael Sheen) a.k.a The Surgeon, and the murder of the girl in the box, until he was literally face to face with the serial killer himself. Fedak and Sklaver say building to this “one-two punch” has been their plan from the start of the Fox psychological thriller’s series premiere this fall for a couple reasons.
“It gave us the chance to do two emotional things: We have Bright taken and we see the Junkyard Killer,” Fedak said. “So there’s the physical threat of being taken and then the psychological threat for Bright of seeing this guy who has some connection to his past. And for us that’s great, because the show operates on many levels — one is the exciting thriller that we do each week and the other part is Bright trying to understand himself. So we wanted those things to come to a head in the same moment and give us a one-two punch for Bright and help propel us into the second half of the season.”
Fedak and Sklaver also promise the girl in the box mystery will be resolved sooner rather than later, as they don’t plan to draw that particular case out forever and will give you answers before the first season ends.
Also Read: 17 New Fall TV Shows Ranked by Premiere Viewers: From 'Batwoman' to 'Prodigal Son' (Photos)
“One of the good things about having 23 known victims is that there is a lot of story of Martin Whitly’s past that we can tell,” Sklaver said. “So the girl in the box from the pilot is the one we’re most fascinated in, but it’s not one that we’re planning on keeping open for forever. We’re very excited to drive toward that. But I think in terms of Bright’s own memory, we’re really trying to treat his complex PTSD with the respect it deserves because it’s a real condition that someone like him would really have. And a big part of that is having memories that you don’t know.”
(They’re currently “dying to put Bright into a sensory deprivation tank,” so be on the lookout for that plot in a future episode that probes at Bright’s past.)
As for Bright’s mother Jessica (Bellamy Young) and sister Ainsley (Halston Sage), Fedak says that “the more they step out of their protective bubble and own their story with the Surgeon, I think that’s very brave of them, but we’ll also find no good deed goes unpunished.”
Also Read: 'Prodigal Son' Gets Back-Nine Order From Fox, Upping Episode Count to Full Season of 22
But when the series comes back, it’s going right back into Bright’s current kidnap issue and his team, plus FBI detective Colette Swanson (guest star Meagan Good) and her FBI team, trying to find him — while he also tries to save himself.
“Colette is a fantastic FBI agent in her own right, so we’re going to see a very competent agent working with Gil (Lou Diamond Phillips) and the team and the NYPD to find Bright,” Sklaver said. “So that’s going to play out in Episode 11 with Bright’s own story, trying to save himself from the junkyard killer.”
We’ll see who saves him first when “Prodigal Son” returns Jan. 20 at 9/8c on Fox.
Related stories from TheWrap:
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Eddie Van Halen’s Son Comes to Billie Eilish’s Defense About Not Knowing Who Van Halen Is
Billie Eilish is only 17 and, by her own admission, does not know who Van Halen is. At least, she didn’t when Jimmy Kimmel asked her if she “knew any Van Halens” during an appearance that aired in November.
While it’s safe to assume that by now someone has informed her about the iconic rock band, her previous lack of knowledge was enough to stir up quite a debate about generational gaps on Twitter — resulting in Van Halen and Billie Eilish becoming trending topics together on Monday.
Enter Wolf Van Halen, son of Van Halen founder Eddie Van Halen and member of said band, who tweeted Monday in support of Eilish.
“If you haven’t heard of [Billie Eilish], go check her out. She’s cool. If you haven’t heard of [Van Halen], go check them out. They’re cool too,” said the 28-year-old. “Music is supposed to bring us together, not divide us. Listen to what you want and don’t shame others for not knowing what you like.”
Eilish, who was born in 2001 and is currently nominated for six Grammy awards, has also never heard of Huey Lewis, Run D.M.C., or Cabbage Patch Kids. Other shocking admissions Kimmel cornered her into admitting include never having seen the movie “Ghost Busters.” You can watch the full interview below.
If you haven’t heard of @billieeilish, go check her out. She’s cool. If you haven’t heard of @VanHalen, go check them out. They’re cool too.
Music is supposed to bring us together, not divide us. Listen to what you want and don’t shame others for not knowing what you like.
— Wolf Van Halen (@WolfVanHalen) December 2, 2019
Related stories from TheWrap:
'Eddie and Dave' Theater Review: What a Drag! Van Halen Reimagined With Women as Classic Rockers
Eddie Van Halen Trashes David Lee Roth: 'Act Like You're 60'
David Lee Roth Injures Nose, Rocks Anyway During Van Halen 'Jimmy Kimmel' Concert
Gabrielle Union to Meet With NBC in Person to Discuss ‘AGT’ Exit
Gabrielle Union plans to meet in person with NBC representatives to discuss her dismissal from “America’s Got Talent,” a person close to the production confirmed to TheWrap Monday.
Representatives for Union didn’t immediately respond to TheWrap’s request for comment, and NBCUniversal declined to comment.
However, an individual with knowledge of the situation told Deadline that there are no plans in place for Union to return to the show. “Gabrielle believes there is a toxicity that has become normalized at Talent,” and that “She wants to help fix that, because she loved a lot of her time on the show last season, even with the issues with Simon and what have you,” the individual told Deadline. “She could never go back, even if they did a 360 and asked her to for another season, no.”
On Sunday, NBC and “America’s Got Talent” producers Fremantle and Syco said in a joint statement that they are working with Union to hear “her concerns” about “workplace culture” and “take whatever next steps” are appropriate.
“We remain committed to ensuring a respectful workplace for all employees and take very seriously any questions about workplace culture,” the trio said Sunday in a joint statement. “We are working with Ms. Union through her representatives to hear more about her concerns, following which we will take whatever next steps may be appropriate.”
Also Read: 'AGT' Producers, NBC 'Working' With Gabrielle Union on 'Workplace Culture' Concerns
It was announced on Nov. 22 that Union, along with fellow “AGT” judge Julianne Hough, would not be returning for next year’s Season 15. Union’s contract was not renewed following several behind-the-scenes incidents and what showrunners described as “difficult” behavior, Vulture reported.
According to Vulture, Union complained about judge Simon Cowell smoking indoors; a remark made during taping by guest judge Jay Leno she deemed to be a racist that did not make it to air; and misgendering of contestants. (When asked about Union’s firing, Leno told TMZ, “She’s a great girl”). In addition, Vulture reported that Union had supported a 10-year-old African American rapper’s advancement in the competition before being told that the show needed “an act America can get behind.”
On Nov. 28, an NBC spokesperson told TheWrap: “‘America’s Got Talent’ has a long history of inclusivity and diversity in both our talent and the acts championed by the show. The judging and host line-up has been regularly refreshed over the years and that is one of the reasons for AGT’s enduring popularity. NBC and the producers take any issues on set seriously.”
Deadline was first to report the news of an sit-down meeting.
Related stories from TheWrap:
Gabrielle Union 'Thankful' for Fan Support After Contentious 'America's Got Talent' Ouster
'America's Got Talent': Gabrielle Union, Julianne Hough Not Returning as Judges for Season 15
'Britain's Got Talent' Judge Alesha Dixon to Replace Mel B on 'America's Got Talent: The Champions'
‘The Moodys': Bridget Learns About Her Father’s Inability to Maintain an Erection – From Her Mother (Exclusive Video)
Fox’s holiday event series “The Moodys” premieres Wednesday, with a cast led by Denis Leary and Elizabeth Perkins, who play a married couple who have been through more than a few bumps in the road — and in the bedroom.
In a new clip from the premiere, which is exclusive to TheWrap, Ann Moody (Perkins) tells her adult daughter Bridget (Chelsea Frei) about her father, Sean Moody Sr.’s (Leary), difficulties with maintaining an erection early on in their marriage. These are all words of encouragement meant to help Bridget with her own marital problems, by the way.
Ann asks her daughter if this is about starting a family or money problems.
Also Read: 2019 Holiday TV Specials: 25 Programs Sure to Make Your Days Merry and Bright (Photos)
“You know when your dad and I were first married, we had a huge fight. I just want you to know. I went and stayed at Aunt Kathy’s for a few days. I mean, this is back when your father was drinking. You know, he was having trouble maintaining an erection and he was really bugged about it. I mean, I don’t want to go into specifics –“
“You’re in there, mom!” Bridget shouts. “You’re in the specifics.”
Watch the full clip above to see how this story ends.
Here’s the official description for the series:
THE MOODYS is a single-camera, comedy event series that follows a tight-knit, but slightly dysfunctional, family of five, all of whom gather in their hometown of Chicago for the holidays, with each packing his/her own eccentricities and complications, and hiding secrets from the others – as if the holidays were all about carols and eggnog!
The six-episode event series centers on the Moodys, including SEAN SR. (Emmy Award- and Golden Globe-nominated actor and comedian Denis Leary, “Rescue Me,” “Animal Kingdom”); his wife, ANN (Emmy Award and Golden Globe nominee Elizabeth Perkins, “Sharp Objects,” “Weeds”); and their three grown children – DAN (Francois Arnaud, “The Borgias”), the youngest of the siblings and the “creative one”; BRIDGET (Chelsea Frei, “Sideswiped”), the middle sister and the “overachiever”; and SEAN JR. (Jay Baruchel, the “How to Train Your Dragon” franchise), the oldest sibling and “screw-up,” still living at home with his parents.
“The Moodys” premieres Wednesday with back-to-back episodes at 9/8c and 9:30/8:30c on Fox.
Related stories from TheWrap:
2019 Holiday TV Specials: 25 Programs Sure to Make Your Days Merry and Bright (Photos)
Hallmark and Lifetime Have 70 New Holiday Movies – None With an LGBTQ Main Character
How 'The Knight Before Christmas' Fits Into Netflix's 'Interconnected' Holiday Movie Universe
‘Morning Joe’ Rails Against Republicans ‘Repeating Putin Talking Points’
MSNBC’s “Morning Joe” started the week by picking up where NBC’s “Meet the Press” left off on Sunday: Hammering GOP Sen. John Kennedy — and by extension, some of his Republican colleagues — for “repeating Putin talking points,” specifically by reiterating claims of Ukrainian interference in the 2016 election.
On Sunday, Kennedy accused former Ukrainian president Petro Poroshenko of “actively” working for Hillary Clinton during her 2016 campaign against President Trump.
Also Read: 'Morning Joe': GOP Support of Ukraine Conspiracy Theory Is Like 'Living in an Alternate Universe'
Moderator Chuck Todd pushed back then, saying, “You realize the only other person selling this argument outside of the United States is this man, Vladimir Putin. This is what he said on November 20: ‘Thank God nobody is accusing us anymore of interfering in U.S. elections. Now they’re accusing Ukraine. Well, let them sort this out among themselves.’ You just accused a former president of Ukraine. You’ve done exactly what the Russian operation is trying to get American politicians to do. Are you at all concerned that you’ve been duped?”
Throughout Monday’s “Morning Joe,” the cable panelists made the same points, criticizing Republicans who fall in line to defend Trump. (That has been a months-long theme of the show, which is hosted by former GOP Rep. Joe Scarborough.)
Also Read: 'Morning Joe' Accuses Pro-Trump Republicans of 'Shamelessness' After Impeachment Inquiry Vote
“What about these Republicans, these so-called ‘conservatives?'” asked Scarborough, referencing his time in office. “People who stood by me as we fought against Russian influence and the spread of communism and fought for conservative values?”
He slammed them for “going on national television, repeating Putin talking points. The United States Senate even gotta a warning from the intel agencies — Donald Trump’s intel agencies — that this is propaganda that Vladimir Putin has been trying to push for the past several years.”
Watch the video above.
Related stories from TheWrap:
'Morning Joe' Accuses Pro-Trump Republicans of 'Shamelessness' After Impeachment Inquiry Vote
'Morning Joe': GOP Support of Ukraine Conspiracy Theory Is Like 'Living in an Alternate Universe'
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