The Television Academy has delayed the Emmys voting schedule and banned all “for your consideration” events. The Tony Awards have been postponed. And with the global economy tanking, a big chunk of Hollywood out of work and a pandemic disrupting nearly every facet of everyday life, the Oscar season that would normally kick into high gear in September may well be thrown into chaos.
While movie awards obviously don’t occupy a spot very high on anybody’s priority list at this point, the damage could include the number of films that qualify for awards, the opportunities for contending films to be seen and the ways in which awards season itself will play out.
“This is a situation no one could have imagined,” Film Independent President Josh Welsh told TheWrap. “It’s having unparalleled impacts on filmmakers, festivals and our community as a whole.”
Kathleen McInnis, who programs film festivals and consults with independent filmmakers on release and awards strategy, compared the pitfalls to a favorite movie.
“It’s a dangerous position for everybody,” she said. “I feel like in ‘The Princess Bride,’ when they wander into the Fire Swamp with all sorts of dangers. I think we’re either about to run into flame spurts or lightning sand or be attacked by rodents of unusual size.”
Here are some possible areas that could be dramatically affected, with the caveat that things are clearly in flux on every front.
1. ELIGIBILITY RULES
Film Independent, which produces the Film Independent Spirit Awards, moved immediately to change its eligibility rules so that films would qualify for consideration simply by being chosen for one of several film festivals, whether or not those festivals actually took place. (More than 200 films have now qualified even though their SXSW, New Directors/New Films and Tribeca premieres were canceled.)
The Golden Globes followed suit, suspending two rules to allow films that lost their theatrical premieres to qualify, and substituting screeners and links for the HFPA screenings that once were required. And other awards shows, including the Critics’ Choice Awards, have told TheWrap that they are studying the landscape and determining if they need to make their own rule changes.
For its part, the Academy of Motion Picture Arts and Sciences released a statement that said, in part, “We are in the process of evaluating all aspects of this uncertain landscape and what changes may need to be made.” The organization’s Board of Governors is due to consider vote on new Oscar rules in April; the current rules require a seven-day theatrical run in Los Angeles County for a film to be eligible for the awards.
And according to the South by Southwest Film Festival, the Oscars already made an exception for that festival, which was canceled but still convened juries and gave out awards. A SXSW spokesperson said that the festival was assured by the Academy that its short-film winners still qualified for the Oscars in those categories, even though the festival did not take place.
2. FESTIVAL PREMIERES
Of last year’s 39 Oscar-nominated feature films, for example, 25 first played at film festivals. Three, all documentaries, premiered at Sundance, one at South by Southwest, seven at Cannes (including Best Picture winner “Parasite”), four at Venice, three at Telluride, five at Toronto, one at the New York Film Festival and one at the AFI Fest.
So far this year, Sundance took place but SXSW was canceled and Cannes was postponed, with no way to know if can actually take place in the late June/early July time slot it is eyeing. Given the cancellation of the 2020 Olympic Games, which was scheduled to begin in late July, it seems unlikely: “Everybody in the industry is thinking, ‘How can they possibly go on in June?'” one festival veteran admitted.
An awards consultant who has used Cannes to premiere Hollywood films thinks the major studios will stay away even if the festival does go on. “Who’s going to want to go there in June or July?” the consultant said of the festival that last year launched Sony’s “Once Upon a Time … in Hollywood” and Paramount’s “Rocketman.” “I understand that they’d still get international films, but the studios aren’t going to want to go there this year.”
If Cannes is moved, it will disrupt other festival schedules — and if does ends up being canceled, the likeliest destination for many of its films would be the Venice Film Festival in late August and early September. But with the entire country of Italy on lockdown, is that festival any more apt to take place than Cannes is?
What’s more, Venice simply doesn’t have the capacity to absorb significantly more films. That would push additional films to the Toronto International Film Festival, which has been undergoing internal changes and has tried to trim its enormous slate in the past few years, and the New York Film Festival, which typically programs the cream of earlier festivals with no more than three high-profile world premieres of its own.
Another factor is that Cannes helps countries identify the best films to submit to the Oscars’ Best International Film category. Out of last year’s entries from around the world, 15 were films that had screened in Cannes, including three of the five nominees: France’s “Les Misérables,” Spain’s “Pain and Glory” and the Oscar winner, South Korea’s “Parasite.” And with an Oct. 1 deadline in this category (at least for now), the submissions have to be made earlier than other categories.
“What’s happening with the festivals has to change awards season,” McInnis said. “It has to. For so many films, especially documentaries and short films, you use the festival circuit to your advantage, to have people track you and to build excitement and energy. What do you do now? How do you engineer awareness and excitement about titles and move them in front of people who make decisions about awards?”
3. RELEASE SCHEDULES
Assuming that U.S. movie theaters are open in the fall and release schedules are restored, though, more mainstream movies could be released at that time, making what might be a constricted theatrical market more challenging for indies and awards movies. McInnis calls it “a snowball effect,” as films whose spring and summer festivals were canceled will end up competing with films that were always planned for the fall, films that were shifted from summer to fall and films whose production was halted, but who managed to finish in time for 2020 releases. “There will be all these pipelines of films literally falling over each other to get to an audience,” she said.
Waiting for later in the year, another executive speculated, might be a better move this year: “I think November and December releases will have a better chance, because if we’re lucky, they’ll be coming out when things are righting themselves.”
Of course, this assumes that those end-of-year movies can actually be finished in time to meet their current release dates. One studio executive pointed out that while editing can be done in isolation, with an editor and director sharing work without being in the same room, one of the final stages is often recording the film’s musical score — and in most cases, that requires an orchestra sitting in close quarters and playing together.
The question now is how much of that will return, and whether the coronavirus fallout will hasten the Academy’s move to its members-only streaming platform. One potential change could be to the Oscars’ international category, where until now members could only vote in the first round after seeing the films in theaters. That may well change if people are still reluctant to congregate in the fall.
“I know they are delaying official screenings, thinking about VOD and streaming lending an assist,” one Academy member said, noting the high stakes since the awards broadcast is by far the Academy’s largest source of income. “They have to find a way to make the show viable.”
(According to its 2019 financial statement, the organization received $131 million from “Academy Awards and related activities,” about $3.6 million from membership dues and theater rentals, $12 million from net contributions and $23 million from investment income.)
During the days of isolation, the Academy has also been very active on social media, but some members are hoping for more activity on the members’ site. “I’m surprised the Academy portal is not showing movies and doing its own festivals,” one voter said.
“I think it will change for a while,” said Christine La Monte, an Academy member and movie producer who frequents campaign events, particularly for international films. “People might be a little more hesitant at first, but maybe it’ll go back to normal. The need to be with your creative community may eventually outweigh other things.”
Still, few people expect the upcoming season to be as much of a social whirlwind as Oscar season usually is — and some expect the tenor of the campaigns to be more subdued as well.
“The big question is how do you campaign respectfully?” asked one studio executive who has been in the thick of awards campaigns for years. “How do we support our filmmakers while being respectful of everything that is going on? From our perspective, it’s definitely going to change. It might take some of the competitiveness out of awards season. Things might not be as vocal or as competitive.”
Of course, at this point this is all speculation — it’s clear that things will be different, but the ways in which they’ll change depend on so many outside factors. “I don’t think anybody knows what’s going to happen, to be honest,” another awards consultant said. “If things get back to normal this summer, we may still be under some sort of social distancing protocol in the fall.”
Added McInnis, “Usually, when there are things that stop the process, you can see the end. With this, we have no end in sight. The unknown is really unknown.”
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www.thewrap.com | 4/2/20
Cannes President Will ‘Cancel’ Festival if Coronavirus Situation Does Not Improve But Remains ‘Reasonably Optimistic’
Cannes Film Festival president Pierre Lescure said in an interview that he was “reasonably optimistic” the coronavirus situation would improve in France but that he would be prepared to cancel the festival if the situation worsens.
“We remain reasonably optimistic in the hope that the peak of the epidemic will be reached at the end of March and that we will breathe a little better in April,” Lescure told the French newspaper Le Figaro. “But we are not oblivious. If not, we’ll cancel.”
The 73rd edition of Cannes is scheduled to run between May 12-23, and the festival is expected to release its lineup of films on April 16.
However, several French festivals have already been canceled in the country as the number of COVID-19 cases rise. The television market MIPTV scheduled for late March was canceled, and on Wednesday, news came in that the Series Mania festival covering television scheduled for April in Lille was also canceled.
Lescure likewise addressed a story in Variety published Tuesday that said that Cannes would not be covered by insurance in the event of a cancellation. The story noted that Cannes had turned down the right to obtain coverage, but Lescure said that the policy offered to them by insurer Circle Group would not have been sufficient to cover their losses.
“This offer was made to us about ten days ago, but it was totally disproportionate. We were only offered to cover ourselves up to 2 million euros while our budget is 32 million. It was really peanuts,” Lescure said, adding that he remains “optimistic” and that the festival would be prepared to take some losses for this year should the festival be canceled.
“It doesn’t matter because we have reservations,” he said. “The endowment fund that we have set up allows us to face at least one year without revenue.”
France has reported 1,784 confirmed cases of coronavirus with 33 deaths, making it second to only Italy in severity in Europe.
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www.thewrap.com | 3/11/20
Woody Allen’s autobiography, “Apropos of Nothing,” has been acquired by Grand Central Publishing — a division of Hachette Book Group — and will be published on April 7.
“The book is a comprehensive account of his life, both personal and professional, and describes his work in films, theater, television, nightclubs, and print,” Grand Central Publishing announced on Monday. “Allen also writes of his relationships with family, friends, and the loves of his life.”
Allen’s book had previously struggled to find a publisher to acquire the rights. Last year, the New York Times reported that executives at four of the major publishing houses turned down the book in light of allegations that he had molested his daughter Dylan Farrow several years ago. (Allen has repeatedly denied the accusation.)
Amazon Studio’s four-movie deal with Allen was also axed after the streaming service halted the release of “A Rainy Day in New York” due to comments that Allen had made about the #MeToo movement, as well as the accusations against the director himself. Allen filed a $68 million suit against Amazon Studios over the termination of the deal last year but eventually dropped it in November.
Grand Central Publishing has the world rights for the autobiography. In addition to the U.S. release, “Apropos of Nothing” will be published this spring in France, Germany, Italy, and Spain.
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www.thewrap.com | 3/3/20
James Lipton, the host and creator of “Inside the Actors Studio” has died at the age of 93.
Lipton died in his Manhattan home on Monday after a battle with bladder cancer, his wife Kedakai Mercedes Lipton said.
A writer and producer, Lipton joined the Actors Studio in 1992 and went on to create “Inside the Actors Studio,” a series of seminars for drama students consisting of lengthy one-on-one conversations with performers dissecting their craft and experience. The series debuted in 1994 on Bravo and featured hundreds of guests including Paul Newman, Halle Berry, Meryl Streep, and Robin Williams.
Also Read: Hollywood's Notable Deaths of 2020 (Photos)
“Inside the Actors Studio” went on to earn 21 Primetime Emmy nominations, winning in 2013 for outstanding informational series or special.
Lipton left the show when it moved from Bravo to Ovation in 2019. The show employs the same format, with a rotating series of guests in place of a set host. In a statement at the time of the transition, Lipton called it “gratifying to see the legacy of ‘Inside The Actors Studio’ being carried forward for a new generation to appreciate and enjoy.”
In their own obituary for Lipton, Ovation praised the hosts’ “passion, dogged spirit, and indelible contribution to the world of performing arts.”
“James Lipton was a titan of the film and entertainment industry and had a profound influence on so many,” Bravo said in a statement. “I had the pleasure of working with Jim for 20 years on Bravo’s first original series, his pride and joy ‘Inside the Actors Studio.’ We all enjoyed and respected his fierce passion, contributions to the craft, comprehensive research and his ability to bring the most intimate interviews ever conducted with A-list actors across generations. Bravo and NBCUniversal send our deepest condolences to Jim’s wife Kedakai and all his family.”
Lipton’s work as a writer included soap operas like “Guiding Light” and “Another World,” the Broadway musical “Sherry!,” as well as the books “An Exaltation of Larks” and “Mirrors.” He also produced a number of television specials and made a number of guest appearances as himself on shows such as “The Simpsons,” “Glee” and “Saturday Night Live.”
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www.thewrap.com | 3/2/20
Lead produced by Working Title Television, distributed internationally by Fremantle and coming soon to BBC Two, period thriller “The Luminaries” has initiated a global roll-out, closing pre-sales to Australia, France, Russia, Poland and Greece. Given the freshness of the sales, the identity of the buying broadcaster partners remains to be revealed soon. Pre-sales to more […]
variety.com | 2/10/20
NBCUniversal unveiled its forthcoming streaming service Peacock on Thursday, including the full slate of scripted originals set to debut on the platform.
One of the new projects announced was a scripted comedy series from Tina Fey, Robert Carlock and “Unbreakable Kimmy Schmidt” alum Meredith Scardino. Titled “Girls5Eva,” the series centers on a one-hit-wonder girl group from the ’90s who reunite to give their pop star dreams one more shot. Per Peacock’s description of the series, “They may be grown women balancing spouses, kids, jobs, debt, aging parents, and shoulder pain, but can’t they also be Girls5Eva?”
Scardino will write and executive produce alongside Fey and Eric Gurian of Little Stranger, “Unbreakable Kimmy Schmidt” producer Robert Carlock, and Jeff Richmond and David Miner of 3 Arts Entertainment.
Earlier on Thursday, Peacock also announced a new slate of original development, including a “MacGruber” revival, a new drama starring Laverne Cox, a comedy based on the McElroy family’s “Dungeons & Dragons” podcast, and others from Amy Poehler and Mindy Kaling.
Peacock has also picked up a number of international series for distribution in the U.S., including the BBC drama thriller “The Capture”; Channel 4’s “Lady Parts”; and the comedies “Intelligence” starring David Schwimmer, “Code 404,” and “Hitmen” from Sky Studios.
Previously announced Peacock scripted originals include comedies “Rutherford Falls,” “Saved by the Bell,” “A.P. Bio,” “Punky Brewster,” and the movie spinoff “Psych 2: Lassie Come Home,” as well as dramas “Dr. Death,” “Battlestar Galactica,” “Brave New World,” “Angelyne,” and “Armas de Mujer.”
See the full list of projects picked up to series at Peacock below.
Armas De Mujer
Brave New World
The Amber Ruffin Show
Psych 2: Lassie Come Home (Film)
Saved by the Bell
The Kids Tonight Show
Who Wrote That
Archibald’s Next Big Thing
Dragon Rescue Riders
DreamWorks Where’s Waldo?
Dream Team 2020
Hot Water: In Deep with Ryan Lochte
United States of Speed
Run Through the Line
The Greatest Race
Untitled Dale Earnhardt Jr. Series
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www.thewrap.com | 1/16/20
Ousted Renault-Nissan boss Carlos Ghosn leaves Japan originally appeared on Autoblog on Mon, 30 Dec 2019 16:46:00 EST. Please see our terms for use of feeds.Permalink | Email this | Comments
www.autoblog.com | 12/30/19
Ousted Renault CEO Bollore raised concerns over Ghosn investigation originally appeared on Autoblog on Mon, 16 Dec 2019 08:50:00 EST. Please see our terms for use of feeds.Permalink | Email this | Comments
www.autoblog.com | 12/16/19
Ahead of its launch in France on March 31, 2020, Disney Plus has signed an exclusive distribution agreement with Canal Plus Group, the country’s leading pay-TV company. The deal, which was first reported in the French newspaper Les Echos and confirmed by Canal Plus Group CEO Maxime Saada on his Twitter account, marks a new […]
variety.com | 12/15/19
ABC has canceled the crime drama “Reef Point,” starring Poppy Montgomery, after just one season.
The hour-long drama starred Montgomery as Cat Chambers, a thief-turned-fixer for the governor of a Pacific Island paradise. The 13-episode first, and now only, season premiered in June. The show was based on an idea of Montgomery’s, with former “Numb3rs” showrunner Ken Sanzel attached to write and executive produce. A French-co-production, “Reef Break” was made by ABC Studios and ABC Studios International in partnership with M6, where it aired in France.
The show’s cancellation comes just a week after a shakeup at ABC Studios International, which produced “Reef Break” alongside Montgomery’s Wild Poppy Entertainment production outfit, as Disney reevaluates its overseas business following the 20th Century Fox purchase. Managing Director Keli Lee stepped down on Dec. 6 and, according to an individual familiar with the matter, Disney Television Studios is seeking to shift the creative direction of its international operation now that 20th Century Fox Television has been added to its portfolio.
Alongside Montgomery, “Reef Break” also starred Ray Stevenson, Desmond Chiam, Melissa Bonne and Tamela Shelton. It was created for ABC by Ken Sanzel and distributed by Disney Media Distribution.
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www.thewrap.com | 12/14/19
Whether a curse or a blessing, “May you live in interesting times” certainly applies to the LGBTQ community — the past decade saw the legalization of same-sex marriages and the end of the military’s “don’t ask, don’t tell” policy, but every advancement has been met with pushback and threats to overturn equal protections under the law. Trans characters (played, for a change, by trans performers) got their largest public spotlight on television shows like “Pose” and “Transparent,” while at the same time they remain the targets of violence and of hysterical and reactionary lawmakers. Whatever triumphs and travails the community faced in day-to-day life, their lives and loves continued to be reflected on the big screen; here are some of the decade’s greatest examples, listed alphabetically.
Runners-Up: “1985,” “Appropriate Behavior,” “Booksmart,” “BPM,” “Cola de Mono,” “Drunktown’s Finest,” “Kiki,” “Love, Simon,” “Paris 05:59 Théo & Hugo,” “Portrait of a Lady on Fire”
“Call Me By Your Name” and “Carol” (2017/2015)
“The Handmaiden” (2016)
“How to Survive a Plague” (2012)
“Pain and Glory” (2019)
“Take Me to the River” (2014)
www.thewrap.com | 12/13/19
The series adaptation of “War of the Worlds” starring Gabriel Byrne and Elizabeth McGovern has landed at Epix for U.S. distribution, the premium cable channel announced on Wednesday.
The series, a loose adaptation of the H.G. Wells classic, is created and written by Howard Overman. It features an ensemble cast including Gabriel Byrne, Elizabeth McGovern, Léa Drucker, Natasha Little, Daisy Edgar Jones, Stéphane Caillard, Adel Bencherif and Guillaume Gouix.
“We at EPIX are thrilled to be working with the teams at Urban Myth and Studiocanal to showcase Howard Overman’s masterful take on this classic story,” Epix president Michael Wright said. “We can’t wait to bring this cinematic and addictive series to our audience.”
The eight-series first debuted in France back in October. Gilles Coulier directed the first four episodes with Richard Clark helming episodes five to eight. Julian Murphy and Johnny Capps serve as executive producers for Urban Myth Films.
“Cinematic, with all the mystery, intrigue and action of the best science fiction, this fresh interpretation is a character drama that considers the myriad fears of today’s world and how potential threats may only be overcome by harnessing our own humanity,” Murphy and Capps said.
The series is produced by Urban Myth Films, in partnership with CANAL+, Fox Networks Group (FNG) Europe & Africa and AGC Television. The deal with Epix was brokered by CAA on behalf of AGC Television.
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www.thewrap.com | 11/21/19
The man charged with killing five Capital Gazette employees in a June 2018 mass shooting has pleaded guilty on all 23 counts, the paper reported Monday.
Jarrod Ramos initially pleaded not guilty in April of this year, according to the Gazette, and the trial was split into two phases: one to determine if Ramos, who is charged with murder, attempted murder, assault and weapons offenses, committed those crimes; and a second to determine if he is criminally responsible — which the Gazette said is Maryland’s equivalent of determining if someone is not guilty by reason of insanity.
On Monday, just days before the first phase was scheduled to start, Ramos changed his plea to guilty. And when asked by the presiding judge if he is guilty of the killings, Ramos said “Yes, I am.” The presiding judge accepted his guilty plea shortly after. Jury selection for the second phase will now proceed Wednesday, with the trial set to begin Nov. 4.
On June 28, 2018, Ramos stormed the paper’s Annapolis office and killed editorial editor Gerald Fischman, assistant editor Rob Hiaasen, sportswriter and editor John McNamara, sales assistant Rebecca Smith, and reporter Wendi Winters. Two other employees were injured.
Ramos was arrested after he was found hiding under a newsroom desk; he had previously lost a defamation case against the paper over its factual 2011 report that he was convicted of harassing a former high school classmate over social media,
The shooting was the deadliest attack against a media company since Islamic extremists killed 12 at the offices of the satirical Charlie Hebdo newspaper in France in January 2015. The paper later won a special Pulitzer prize “for their courageous response to the largest killing of journalists in U.S. history in their newsroom on June 28, 2018, and for demonstrating unflagging commitment to covering the news and serving their community at a time of unspeakable grief.”
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www.thewrap.com | 10/29/19
Jon Favreau on Scorsese and Coppola’s Marvel Criticism: ‘They Can Express Whatever Opinion They Like’
Jon Favreau has given a diplomatic response to the criticism of Marvel by legendary filmmakers Martin Scorsese and Francis Ford Coppola.
“These two guys are my heroes, and they have earned the right to express their opinions,” Favreau told CNBC on Tuesday. “I wouldn’t be doing what I’m doing if they didn’t carve the way. They served as a source of inspiration, you can go all the way back to Swingers. They can express whatever opinion they like.”
“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola initially said about Marvel movies.
The “Apocalypse Now” filmmaker said those harsh words at a press conference after receiving a lifetime achievement award at the Lumiere Festival in Lyon, France. He is currently working on a utopian drama called “Megalopolis,” which he says would be more expensive than “Apocalypse Now” and be “the biggest budget I ever had to work with.”
But big budget Marvel movies draw Coppola’s ire. Speaking to reporters, he echoed Scorsese’s belief that comic book movies don’t reach the level of profound human depth that arthouse cinema does.
“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” he said. “I don’t know that anyone gets anything out of seeing the same movie over and over again.”
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www.thewrap.com | 10/22/19
UK Reality Show ‘Meat the Family’ Will Make People Adopt Farm Animals, Then Decide to Eat Them or Not
Would you rather eat your pets or become a vegetarian?
A new reality show titled “Meat the Family” that’s set to air on the U.K.’s Channel 4 next year will force four families to make that exact choice, giving them the option to either give up meat or cook and eat a farm animal they’ve been living with for three weeks.
The episodes will see families co-habitating with — and potentially dining on — a piglet, a lamb, a chicken and a calf.
Beyond its attention-grabbing title and premise, the show takes seriously the ethical dilemmas associated with eating meat and aims to “challenge perceptions of why some animals become part of the family and others end up on the plate,” the network says.
Described as a “topical social experiment,” the three-hour series “draws on cutting edge studies into animal behaviour and intelligence, examines the farming practices required to meet the demands of hungry consumers and looks at the environmental impact of the meat industry.”
First announced last month, the show from producers Spun Gold TV is getting a new round of attention this week following its appearance at the global entertainment content convention MIPCOM in Cannes, France.
“It is not sex or drugs anymore. Meat is becoming the next taboo,” television analyst Virginia Mouseler told The Guardian. “The question they are asking is how can you cuddle your dog while you are putting another animal in the oven?”
Check out a trailer below:
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www.thewrap.com | 10/16/19
Feminist mystery “Dilili in Paris,” a new feature-length enterprise from French animation legend Michel Ocelot (“Kirikou and the Sorceress,” “Azur & Asmar”) spotlights the prominence of noxious ideologies, misogyny and racism through an occasionally dazzling, though oddly rendered, adventure set during the Belle Epoque period of the late 1800s and early 1900s in Paris.
Dilili (voiced by Prunelle Charles-Ambron in the English dub), a young biracial and bilingual Kanak immigrant from New Caledonia, a French colony in the South Pacific, snuck into a ship to reach Europe, where she now performs her tribe’s daily tasks as exotic amusement for Parisians. Speaking openly about the racially motivated discrimination she’s endured, Dilili shines as a rare heroine of color in a white world. She feels neither fully French nor Kanak, because she is either two fair or too dark depending on where she finds herself geographically.
Intrigued by her linguistic abilities, Orel (Enzo Ratsito), a local courier, befriends the petite erudite and fills her in on the recent abductions of multiple girls at the hands of a sexist sect known as the Male Masters. Its sleazy members wear nose rings and despise women who’ve attained any sort of power within French society. Naturally, the curious and socially conscious Dilili wishes to investigate in order to unclog the ideological sewer that has enabled these culprits.
Didactic in its tonal approach and narrative construction, Ocelot’s latest gives the impression of being an introductory installment in a property that could yield its own television series aimed at young audiences looking for an entertaining way to learn about France’s historical figures. Elegantly greeting anyone with whom she comes in contact, Dilili becomes acquainted with the likes of Marie Curie, Marcel Proust, Claude Debussy, Pierre-Auguste Renoir, and even Gustave Eiffel. While charming and trivia-friendly, the encounters add up as if fulfilling a checklist on a lesson plan more than organically strengthening the tale.
Photorealistic backgrounds consistently stun as they clash with the more low-res CG characters, which emulate designs from early 21st century video games rather than fully accomplished animated characters for a production made this decade. Instead of being translated into more graphic or cartoonish incarnations, landmarks, buildings, and other architectural gems retain their real-life textures and lighting, as do all other elements of the production design. At first sight, their live-action look bewilders the eyes.
Stylistically, the visual divide between the human figures and their environments makes for a striking contrast. However, once movement comes into play, the precarious confection of the characters is unavoidably noticeable. Instances that surpass these ill-conceived characteristics exist, such as a blue-hued segment featuring singer Emma Calvé performing on a swan boat while inside a palatial structure built on water, or when Paris’ most iconic tower takes the foreground for a climactic action sequence.
As Dilili and the supporters she’s accumulated along her Jules Verne-inspired ordeal inch closer to resolving the mystery of the missing girls, darkness creeps into the plot once it’s revealed that the wicked group they are fighting resembles terrorist organizations like ISIS or the Taliban in the dehumanizing tactics they employ to subdue captured adult women and girls. It’s in the implementation of this twist that the French pedigree of the film becomes obvious, since animated projects there (even those considered children-oriented) dare to touch on adult subjects. American viewers may raise their eyebrows to the revelation of what the kidnappers refer to as a “four-leg” creature and to the truly disturbing, although unfortunately realistic, conversations men have about women throughout.
Patriarchal subjugation is also addressed in moments involving artists and scientists vowing never to sign their work in their husbands’ names or to allow them to take credit for their discoveries. Dilili herself isn’t shy about her affinity to write or the multiple interests that could result in a career when she grows older. Ocelot’s attempt to rewrite history as her story in this period fiction, as instructional as it is, demonstrates he has his finger on both the pulse of modern culture and the historically unresolved wrongs perpetrated by the white male establishment.
Overly explanatory dialogue at every step of the way doesn’t help “Dilili in Paris” surpass its information-dispatching structure nor does it complement it with more necessary pathos. Stilted but commendable for its intent, the movie may function as a great conversation-starter if watched with young kids who might be receptive to new material. For fans of international animation, there are sporadic diamonds of craft, but likely not enough to impress viewers accustomed to the quality of the GKIDS catalogue.
Ocelot works independently, and in today’s rapidly changing and saturated animation landscape. that could mean less resources for ventures like this. Still, finding a space within the educational market as an art-house audiovisual tool for elementary history classes could very possibly be “Dilili’s” ultimate destiny, and that’s truly where it’s most needed.
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www.thewrap.com | 10/4/19
“Roma” and “Mission: Impossible – Fallout” have won the top film awards from the 2019 Location Managers Guild International’s LMGI Awards, which were handed out in Los Angeles on Saturday night.
“Mission: Impossible,” which was shot in France, the U.K., Abu Dhabi, Norway and New Zealand, won in the Outstanding Locations in a Contemporary Feature category. Alfonso Cuaron’s “Roma,” shot entirely in Mexico City, won for Outstanding Locations in a Period Feature.
Voting in the television categories followed suit, with the contemporary award going to an action-packed franchise, “Tom Clancy’s Jack Ryan” (shot in Montreal, Morocco, France and Washington, D.C.) and the period award going to a more contemplative work, “Chernobyl” (shot in Lithuania).
The awards covered an unusual 17-month eligibility period, with films and television shows released between Jan. 1, 2018 and May 31, 2019 qualifying for consideration.
Director Peter Weir received the LMGI Lifetime Achievement Award, while location manager Michael J. Meehan was given the Trailblazer Award.
The sixth annual LMGI Awards ceremony took place at the Eli and Edythe Broad Stage in Santa Monica.
Outstanding Locations in a Contemporary Television Series: “Tom Clancy’s Jack Ryan” (Amazon Prime Video), Michele St-Arnaud, Arnaud Kaiser, Peggy Pridemore, Christian McWilliams, Lori Balton
Outstanding Locations in a Period Television Series: “Chernobyl” (HBO), Jonas Spokas
Outstanding Locations in a Contemporary Feature: “Mission: Impossible – Fallout” (Paramount Pictures), Ben Piltz, David Campbell-Bell
Outstanding Locations in a Period Feature: “Roma” (Netflix), Horacio Rodriquez de Zamacona, Claudia Puebla Monge
Outstanding Locations in a Commercial: “Nujeen Mustafa” (National Geographic -72andSunny), Jose Aragao, Luis Santos
Outstanding Film Commission: Film Otago Southland, KJ Jennings, Executive Manager
Lifetime Achievement Award: Peter Weir
Trailblazer Award: Location manager Michael J. Meehan
Humanitarian Award: Hidden Empire Film Group’s Deon Taylor, Roxanne Taylor and Robert F. Smith
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www.thewrap.com | 9/22/19
Netflix is out with its list of everything new coming in October, and everything that’s leaving the streaming service throughout the month.
Highlights include “El Camino: A Breaking Bad Movie” on Oct. 11, which follows fugitive Jesse Pinkman (Aaron Paul) as he runs from his captors, the law and his past, and Paul Rudd’s existential comedy “Living with Yourself,” in which a spa treatment promising to make him a better person ends up creating a second, better version of himself.
On Oct. 25, Eddie Murphy’s feature “Dolemite Is My Name” finds the comedy legend portraying the real life Rudy Ray Moore, described as “a comedy and rap pioneer who proved naysayers wrong when his hilarious, obscene, kung-fu fighting alter ego, Dolemite, became a 1970s Blaxploitation phenomenon.”
Also new next month are Meryl Streep’s “The Laundromat” on Oct. 18, “Raising Dion” on Oct. 4, Selena Gomez’ “Living Undocumented” on Oct. 2, Season 2 of “Insatiable”on Oct. 11 and Season 2 of “The Kominsky Method” on Oct. 25, Season 3 of “Big Mouth” and Season 5 of “Peaky Blinders” on Oct. 4.
Movies that are, tragically, leaving Netflix throughout the month are Greta Gerwig’s “Frances Ha,” “In Bruges” starring Collin Farrell and Brendan Gleeson,” and the early 2000s teen-classics “Sisterhood of the Traveling Pants” and its sequel.
Here is Netflix’s list of everything coming and going in October:
The Water Diviner
The Spooky Tale of Captain Underpants Hack-a-ween — NETFLIX FAMILY
Rhythm + Flow — NETFLIX ORIGINAL
Ultramarine Magmell — NETFLIX ANIME
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www.thewrap.com | 9/18/19
‘Raise Hell: The Life & Times of Molly Ivins’ Film Review: Vital, Hilarious Texas Pundit Remembered in Vivacious Documentary
Columnist, humorist and author Molly Ivins died in 2007, but the new documentary “Raise Hell: The Life & Times of Molly Ivins” reminds us that her particular brand of perspicacity is as vital and as necessary now as it was when she covered the 1968 Democratic Convention or watched George W. Bush rocket from the Texas governor’s mansion to the White House.
Her trenchant observations about corrupt, lazy or flat-out stupid politicians was must reading then, and timeless in our current era. When one of the film’s many interview clips has her noting that the political spectrum in this country doesn’t run left to right, but rather top to bottom, it’s as relevant as anything in tomorrow’s newspaper.
Newspapers, incidentally, play a significant role in Ivins’ life story, as it’s told by director Janice Engel, making her theatrical feature debut. We follow the writer from gawky adolescent (she was six feet tall at the age of 12) in Houston and her collegiate travels to France before a whirlwind career. At the Minneapolis Tribune, her imposing stature allowed her to be the paper’s first female crime-beat reporter, and her coverage of police brutality made the local cops name their mascot, a pig, after her.
From there she was off to the Texas Observer, a rare liberal publication in the Lone Star State in the 1970s, and then The New York Times, which hired her for her singularly florid prose and then constantly tamped it down to fit Old Grey Lady style.
Her career really took off when she was given complete editorial freedom at the Dallas Times Herald. (Full disclosure: My first real newspaper job was at this now-shuttered publication; I once sent Ivins an intra-office fan memo.)
Her witty take-downs of the Texas legislature reached a national audience via syndication and several best-selling collections of her columns. And the timing gave her a front-row seat for the rise of W, who became the subject of two books she wrote with Lou Dubose, “Shrub” and “Bushwhacked.” (Having witnessed Bush in action for years, Ivins was less inclined than most to buy into his rosy descriptions of the Iraq War and its aftermath.)
But “Raise Hell” isn’t just about the work, as great as the work was. Friends and family paint a fairly rich portrait of an intelligent and occasionally conflicted woman with a strong will and even stronger sense of humor. Later in her life, she would battle both alcoholism and breast cancer, and she would occasionally be let down by the rare politicians she respected.
(Always a defender of society’s most vulnerable, Ivins took Bill Clinton’s welfare reform as a deeply painful betrayal.)
Engel’s subjects reminisce frankly about Ivins — this is a celebration but never a hagiography — and the requisite big names contribute interesting analysis regarding the writer as a Texan (Cecile Richards), a media powerhouse (Rachel Maddow) and both (Dan Rather). Formally speaking, the film isn’t breaking much new ground; the period-setting pop music and montage-friendly stock footage appear pretty much exactly where you’d expect. But Ivins herself was such a great raconteur, engaging speaker and drily witty interviewee that the plethora of old TV clips are themselves reason enough for the film to exist.
As even web outlets find themselves bleeding staff, and journalism becomes an increasingly precarious commodity, “Raise Hell” reminds us of the never-ending importance of those skilled observers with the ability to speak truth to power. And if, like Ivins, they can make us laugh while doing so, then they’re all the more essential.
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www.thewrap.com | 9/4/19
The television series “Mrs. Fletcher,” “Briarpatch” and “Limetown” have been added to the lineup at the 2019 Toronto International Film Festival, which will screen two or three episodes of each series followed by extended Q&As with the creators and cast.
Those three U.S. series will be part of TIFF’s Primetime section, which will also showcase the international series “Black Bitch” (Australia), “Savages” (France) and “The Sleepers” (the Czech Republic).
“Mrs. Fletcher” is an upcoming series from HBO and Crave, based on the Tom Perotta novel and starring Kathryn Hahn as an empty-nest mother. “Briarpatch,” from USA Network, stars Rosario Dawson as a political fixer investigating the death of her sister. And Facebook Watch’s podcast-based “Limetown” follows a public radio journalist (Jessica Biel) looking into the disappearance of 300 people at a research facility.
Toronto organizers also announced the lineup for its five-day TIFF Industry Conference, which will launch on September 6 with a conversation with director Ron Howard and producer Brian Grazer, whose collaborations include the TIFF opening-night documentary “Once Were Brothers: Robbie Robertson and the Band.”
The conference will also include master classes with Brazilian director Fernando Meirelles and Chinese-born director Lulu Wang; a conversation about gender equality led by Swedish Film Institute CEO Anna Serner; and guest speakers including Edward Burns, Barbara Kopple, Franklin Leonard and Alan Berliner.
The TIFF Doc Conference, curated by Thom Powers and Denae Peters, will include talks and panels featuring Kopple, Berliner, Kickstarter’s Elise McCave, Showtime’s Vinnie Malhotra, the International Documentary Association’s Claire Aguilar and the Brooklyn Academy of Music’s Ashley Clark, among others.
Finally, TIFF named four young actors – Argentina’s Chino Darin, Norway’s Josefine Frida, the United States’ Kelvin Harrison Jr. and Australia’s Geraldine Viswanathan – to its Rising Stars program. The four join a quartet of previously announced Canadian Rising Stars, Mikhail Ahooja, Shamier Anderson, Kacey Rohl and Nahema Ricci.
Darin will appear at TIFF in “Heroic Losers,” Frida in “Disco,” Harrison in “Waves” and Viswanathan in “Bad Education.”
The 44th Toronto International Film Festival will kick off on September 5 with a screening of the documentary “Once Were Brothers: Robbie Robertson and the Band,” and conclude on September 15.
Additional information on the programming is available at www.tiff.net.
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www.thewrap.com | 8/15/19
Ralph Lauren, the fashion designer synonymous with American sportswear, will be profiled in an upcoming HBO documentary titled “Very Ralph.” The feature-length doc — airing November 12 — is being touted as the first documentary portrait of the 79-year-old Lauren, who founded his eponymous fashion brand in 1967.
A synopsis for the documentary reads:
“With an uncanny ability to turn his dreams into reality, Ralph Lauren has built a multi-billion-dollar, global powerhouse out of his aspirations, becoming a living embodiment of American optimism and the American Dream. For more than 50 years, he has celebrated the iconography of America and defined American style, translating his vision and inspiration into one of the world’s most widely recognized brands. In ‘Very Ralph,’ as he enters his sixth decade in business, Lauren reflects on his journey from a boy from the Bronx who didn’t know what a fashion designer was, to becoming the emblem of American style all around the world.”
Lauren’s first menswear line, Polo, debuted in 1968. His empire has since grown to include women’s wear, fragrance and home furnishing lines. Lauren’s designs have had an impact in Hollywood: Diane Keaton and Woody Allen wore Ralph Lauren throughout “Annie Hall,” and Lauren himself made a cameo in the hit sitcom “Friends” (Jennifer Aniston’s character Rachel worked for Ralph Lauren in Manhattan). Lauren has also designed Team USA uniforms for several Olympic Games.
Fellow designers including the late Karl Lagerfeld, Jason Wu, Calvin Klein and Diane von Furstenberg contribute interviews for “Very Ralph,” as well as fashion editors Anna Wintour, André Leon Talley, Robin Givhan, Tina Brown and Vanessa Friedman.
Also featured are longtime client Hillary Clinton (whom Lauren designed clothes for during the 2016 presidential campaign), Ralph Lauren Woman muse Jessica Chastain and model Tyson Beckford, who skyrocketed to fame after being featured in Polo campaigns in the ’90s.
“Very Ralph” is a Pentimento production for HBO Documentary Films; produced and directed by Susan Lacy (HBO’s “Jane Fonda in Five Acts” and “Spielberg”); produced by Emma Pildes and Jessica Levin; executive produced by former Vanity Fair editor Graydon Carter.
In addition to HBO, the documentary will also be available on HBO NOW, HBO GO, HBO On Demand and affiliate portals.
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www.thewrap.com | 7/24/19
2019 Emmy Nomination Reactions: ‘Honored,’ ‘Humbled’ and ‘Speechless,’ With a Side of ‘Holy Crap!!!”
The morning of Emmy nominations is upon us — and so the time has come to watch and listen as the chosen few revel in their moment of glory.
Once you’ve digested our full list of 2019 nominees, sit back and let Hollywood’s television darlings whisper sweet nothings like “What an incredible honor,” “Speechless,” and “Holy crap!!!” in this brief, shining moment between now at September when anything is possible.
The reactions are still pouring in, but so far, the majority of this year’s chosen few are “humbled,” “honored,” “humbled and honored” and also “honored and humbled.”
Christina Applegate, nominated for Outstanding Lead Actress in a Comedy Series, for Netflix’s “Dead to Me,” tweeted out a reaction Tuesday morning detailing that she is “shocked” and “grateful,” plus a heartfelt “Holy crap!!!”
Don Cheadle, nominated for Showtime’s “Black Monday,” declared that he would “roast marshmallows on those golden wings if I bring it home.”
Norman Lear, who received three nominations for “Live In Front of a Studio Audience: Norman Lear’s ‘All In The Family’ and ‘The Jeffersons’,” said, “Life is a collaboration. It’s the kick of kicks to know all those I collaborated with in the 70’s could matter so much now.”
Billy Porter, nominated for Outstanding Lead Actor in a Drama Series in FX’s “Pose,” declared that “The Category Is: Speechless!,” and added “grateful,” “honored” and “humbled” to his list of adjectives to describe his feelings in that moment.
Betty Gilpin of “Glow” likened her feelings to “unbridled Shirley-Temple-on-crack joy,” while Hugh Grant of “A Very English Scandal” thanked his wife “for enduring the hair-do for four months.”
Alan Arkin of “The Kominsky Method” quipped, “”Wow, I am 85 years old, so this comes in just the nick of time.”
The cast of ‘Queer Eye’ (Antoni Porowski, Bobby Berk, Jonathan Van Ness, Karamo Brown, Tan France) declared ‘GROUP HUGGIES!” lol’
Jessica Lange of “American Horror Story” was “thrilled” at her nomination, while Kumail Nanjiani upped the anti to say that he “could not be more thrilled” at his nomination for “The Twilight Zone,” and declare his plans to send Jordan Peele a box of chocolates.
Sacha Baron Cohen thanked the Academy, but expressed his regret that some of his… “co-stars” had not been nominated alongside him for “Who Is America?”
“While I am flattered at these nods, it is a shame that my co-stars were not recognized. Particularly Dick Cheney, who I had hoped would come across on camera as someone who’d gleefully sent hundreds of thousands to their pointless death – and boy did he deliver. I’ve played some lunatics in my time, but the look of vacuous evil in his eyes as he autographed a waterboard kit, would put Daniel Day Lewis to shame,” Baron-Cohen said, adding, “There’s one more person I need to thank even though she didn’t appear in the final project, Sarah Palin. Sarah, if you are out there, and you are WAY out there, please know the last time unseen footage generated as much interest, was when Donald Trump visited a Moscow hotel room.”
Lastly, “When They See Us” director Ava DuVernay tweeted her reaction to the series being nominated for Outstanding Limited Series.
“It all started here. Thank you to the real men for inviting me to tell their story. Thank you [Television Academy] for honoring the work. Saluting every single crew and cast member. And saluting Raymond, Korey, Antron, Yusef and Kevin. Love you, brothers.”
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www.thewrap.com | 7/16/19
EuropaCorp, the European movie studio founded by Luc Besson, has resumed talks with junior lender Vine Alternative Investments to have it take over the company.
The deal, which was first reported by French newspaper Le Journal du Dimanche, is still being finalized between Vine and EuropaCorp’s senior lender, JP Morgan, and comes after EuropaCorp previously opened talks to sell a majority stake in the studio to Pathe, EuropaCorp’s film distributor in France. According to Dimanche, a deal with Vine is the studio’s current preferred choice.
As part of the deal to take over the studio, the €80 million debt owed by EuropaCorp to Vine would be converted into a stake in the company, and Vine may also move to take full ownership of the studio’s film library.
The new talks come two months after EuropaCorp was placed under a six month court protection in France in order to reorganize its finances after it reported a $125 million loss for the 2018-19 financial year.
The studio currently has no projects in production after its latest release, “Anna,” flopped at the box office with just a $3.6 million domestic opening and $10.9 million grossed worldwide after four weekends in theaters. The poor performance has been attributed both to weak reviews from critics and multiple accusations of sexual abuse against Besson. A nine-month investigation into accusations by actress Sand Van Roy ended with a dismissal in February.
A possible deal between EuropaCorp and Vine depends not only on agreements with senior lenders but also on the approval of a safeguard plan by France’s commercial courts, so no timetable has been set.
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www.thewrap.com | 7/15/19
Emmy Predictions for Variety and Reality: It’s a Battle Between Trump Bashers, Reality Warriors and Rock Stars
The Emmys’ variety and reality categories are in many ways the timeliest categories, and yet also the most unchanging. In the variety field, you’ll find late-night comedians like Stephen Colbert, Trevor Noah, John Oliver and Jimmy Kimmel, whose political humor is television’s most current and most barbed. Apart from perhaps MSNBC, this is the center of the anti-Trump resistance on TV.
But these are also categories in which Television Academy members find shows they like and continue to vote for them year after year, leading to long winning streaks for David Letterman, Jon Stewart, “The Kennedy Center Honors” and Jeff Probst in the past, and for Stephen Colbert, “The Amazing Race,” John Oliver and “The Voice” more recently.
Still, a few formidable newcomers are hoping to break in this year, from “Desus and Mero” to “Tosh.0” to “The Masked Singer” to Bruce Springsteen and Beyonce.
OUTSTANDING VARIETY TALK SERIES
In fact, this seems likely to become a complete repeat of last year’s lineup, with those three shows plus “Full Frontal With Samantha Bee,” “The Late Show With Stephen Colbert” and “The Daily Show With Trevor Noah.”
Jimmy Fallon has worked hard to get back in the mix and might be forgiven for mussing Donald Trump’s hair by now, but it’ll be a tough category to crack for him, or for Bill Maher or Seth Meyers, or for newcomers like “Desus and Mero” and “Patriot Act With Hasan Minhaj.”
Predicted nominees (in order of likelihood): “Last Week Tonight With John Oliver,” “The Late Show With Stephen Colbert,” “The Late Late Show With James Corden,” “Jimmy Kimmel Live!,” “The Daily Show With Trevor Noah,” “Full Frontal With Samantha Bee”
But watch out for: “Late Night With Seth Meyers,” “Tonight Show Starring Jimmy Fallon,” “Patriot Act With Hasan Minhaj,” “Real Time With Bill Maher,” “Desus and Mero”
OUTSTANDING VARIETY SKETCH SERIES
“Portlandia” can’t be a returning nominee because it’s no longer on the air, but voters might well just drop Fred Armisen’s other show, “Documentary Now,” in that spot. And if 2018 nominee “I Love You, America With Sarah Silverman” is vulnerable, that’s because there’s another show with America in the title from a different edgy comedian ready to take its place — Sacha Baron Cohen’s “Who Is America?”
If any of those fall out, Silverman definitely has a shot, and so do “I Think You Should Leave With Tim Robinson,” “Tosh.0” and “The Break With Michelle Wolf.”
Predicted nominees: “Saturday Night Live,” “Documentary Now,” “At Home With Amy Sedaris,” “Who Is America,” “Drunk History,” “Tracey Ullman’s Show”
But watch out for: “I Love You, America With Sarah Silverman,” “I Think You Should Leave With Tim Robinson,””Tosh.0,” “The Break With Michelle Woif,” “Kevin Hart Presents the Next Level”
OUTSTANDING VARIETY SPECIAL (LIVE)
But then things get a little rocky, because year’s biggest live musical was “Rent,” which was made up largely of pre-recorded dress-rehearsal footage after its lead actor broke his foot, and the Super Bowl, which featured Maroon 5, nobody’s idea of a classic halftime attraction. One of them will probably drop out and make room for “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons.'”
That leaves room for the Golden Globes, which are nominated surprisingly often, or the Grammys, which are usually ignored despite the complexity of the production. But maybe the fresh take offered by first-time host Alicia Keys will give that latter show a boost.
Predicted nominees: “The Oscars,” “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’,” “72nd Annual Tony Awards,” “Rent,” “The 61st Grammy Awards”
But watch out for: “The 76th Annual Golden Globe Awards,” “Super Bowl LIII Halftime Show Starring Maroon 5,” “Dick Clark’s New Years Rockin’ Eve 2019 With Ryan Seacrest,”
OUTSTANDING VARIETY SPECIAL (PRE-RECORDED)
(McCartney is also double-dipping with “Paul McCartney: Live From NYC,” but Corden is his ticket to a nom.)
But the category is typically a mixture of music shows, comedy specials and, often as not, “The Kennedy Center Honors,” although that show may have lost a little luster when Trump became the first president not to attend. (After a streak of 10 straight nominations and five wins, it hasn’t been nominated the last two years, although this year’s honorees Cher and “Hamilton” made for spirited presentations.) Comics in the running include Hannah Gadsby, Ellen DeGeneres, Adam Sandler, Kevin Hart and Amy Schumer, all with Netflix specials.
Predicted nominees: “Homecoming: A Film by Beyonce,” “Carpool Karaoke: When Corden Met McCartney Live From Liverpool,” “Springsteen on Broadway,” “Hannah Gadbsy: Nanette,” “The Kennedy Center Honors”
But watch out for: “Ellen DeGeneres: Relatable,” “Kevin Hart: Irresponsible,” “Amy Schumer Growing,” “Aretha: A Grammy Celebration for the Queen of Soul,” “Full Frontal Presents: Not the White House Correspondents’ Dinner”
OUTSTANDING STRUCTURED REALITY PROGRAM
Other contenders include past nominees “Diners, Drive-Ins and Dives,” “Property Brothers” and “Who Do You Think You Are?” and current sensations “Tidying Up” and “Dr. Pimple Popper.”
Predicted nominees: “Queer Eye,” “Shark Tank,” “Lip Sync Battle,” “Who Do You Think You Are?,” “Antiques Roadshow,” “Dr. Pimple Popper”
But watch out for: “Diners, Drive-Ins and Dives,” Property Brothers,” “Tidying Up With Marie Kondo,” “MythBusters Jr.”
OUTSTANDING UNSTRUCTURED REALITY PROGRAM
“Intervention” is also a longtime favorite of voters in the category, as are rugged shows like three-time winner “Deadliest Catch,” “Naked and Afraid” and “Alaska: The Last Frontier.”
Or, you know, voters could have a change of heart and go for “Keeping Up With the Kardashians” and “Jersey Shore Family Vacation: Part 2.”
Predicted nominees: “United Shades of America,” “Born This Way,” “Deadliest Catch,” “Intervention,” “RuPaul’s Drag Race: Untucked,” “Naked and Afraid”
But watch out for: “Alaska: The Last Frontier,” “Life Below Zero,” “Million Dollar Listing Los Angeles,” “Somebody Feed Phil,” “F*ck That’s Delicious”
OUTSTANDING COMPETITION PROGRAM
So it’s reasonable to assume that the same lineup that has been nominated for the past two years — “Amazing Race,” “Project Runway,” “Top Chef,” “RuPaul’s Drag Race,” “American Ninja Warrior” and “The Voice” — will be back again this year.
But the biggest competition sensation of the past season was “The Masked Singer.” Can it break into the private club that is this category — and if so, what will it replace? It’s possible that “Masked Singer” could steal enough singing-show votes to supplant four-time winner “The Voice,” or that voters are finally tired of “Project Runway,” “Top Chef,” “American Ninja Warrior” or even 10-time winner “Amazing Race.”
It’s hard to find any real evidence that that might happen, but we have a feeling that silly costumes might nudge out high fashion.
Predicted nominees: “RuPaul’s Drag Race,” “The Amazing Race,” “The Voice,” “Top Chef,” “American Ninja Warrior,” “The Masked Singer”
But watch out for: “Project Runway,” “Ellen’s Game of Games,” “America’s Got Talent: The Champions,” “Making It,” “Chopped”
OUTSTANDING HOST FOR A REALITY OR COMPETITION PROGRAM
Really, it’s something of a free-for-all, though you have to give a slight edge to some of the folks who’ve been here before.
Predicted nominees: RuPaul Charles, “RuPaul’s Drag Race”; Bobby Berk, Karamo Brown, Tan France, Antoni Porowski and Jonathan Van Ness, “Queer Eye”; W. Kamau Bell, “United Shades of America”; Amy Poehler and Nick Offerman, “Making It”; Jane Lynch, “Hollywood Game Night”
But watch out for: Ellen DeGeneres, “Ellen’s Game of Games”; Nick Cannon, “The Masked Singer”; Phil Keoghan, “The Amazing Race”; Tom Bergeron, “Dancing With the Stars”; Marie Kondo, “Tidying Up”
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www.thewrap.com | 7/12/19
The quarterfinal match between France and the U.S. at the Women’s World Cup pulled in a total of more than 6.3 million viewers for Fox on Friday.
The broadcast on Fox was watched by 6.1 million viewers, enough to make it the most-watched quarterfinal of any Women’s World Cup. An additional 211,000 viewers tuned in to the match on Fox’s collection of streaming services.
Viewership peaked at 8,239,000 viewers from 4:30 p.m. – 4:45 p.m. on the FOX Network, according to Nielsen fast national numbers.
American forward Megan Rapinoe lead the U.S. team to a 2-1 victory over France at the Parc des Princes stadium on Friday. The dramatic showdown between the two favorites to win the tournament came as the U.S. seeks to defend its 2015 title. The team will next face off against England on Tuesday.
The match was the most-watched soccer match on U.S. television since the men’s World Cup final last summer.
For additional comparison, the 6.3 million viewers on Friday represents a 7% increase over the U.S. women’s 2015 quarterfinal win over China, which aired in prime time to 5.7 million viewers. In 2011, the number for the comparable match was 3.9 million.
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www.thewrap.com | 6/30/19
The Women's World Cup sets new records for UK television reach as the tournament reaches the knockout stage.
www.bbc.co.uk | 6/21/19
This weekend, a European phenomenon is back — though Americans may have to hunt for clips on YouTube or seek out a VPN and watch via another country’s home broadcaster.
The Eurovision Song Contest, a cross between “The X Factor” and the Miss Universe pageant that offers Yanks a glimpse of what it’s like to be in a culture that doesn’t have jazz and blues as the foundation of its pop music.
For those who’ve never seen — or even heard of Eurovision — before, here’s a quick primer to get you caught up.
What exactly is this contest?
That sounds like a pretty noble goal.
Then there are the artists themselves. As Eurovision has evolved, more and more ridiculous acts have come out of the woodwork. Finnish monster-rock bands, Russian grandmas and Latvian pirates are among the acts that have performed for a TV audience of hundreds of millions in recent Eurovisions. And that Finnish monster rock band actually won.
Jeez! So is this just some musical freak show?
There’s also a small handful of top stars on the winners’ list you might recognize. ABBA used Eurovision as a launch pad to stardom in 1974 with their song “Waterloo,” and French-Canadian Celine Dion’s win in 1988 was her biggest claim to fame before “Titanic” came out. Quality — or at least creativity — does tend to win out at Eurovision.
OK, so how does this contest work?
Then the show transitions to a long procession of national “ambassadors” reading out who each country gave their votes to. The top 10 performers in each country’s vote get points, with 12 points going to the top vote-getter, followed by 10 and then eight down to one for the rest of the order. The same goes with the juries, but with 10 points going to the performer in first place.
And what does the performer with the most points win?
What? No prize money? No contract? No vague promises of superstardom?
Even now, a good chunk of the acts are homogenous power ballads that can blur together when performed in succession. Still, Eurovision is worth watching just for the spectacle of it all. The Disneyland-esque sweetness of the proceedings is charming, and the lack of stakes for the performers keeps it feeling light and fun rather than a battle for wealth, glory, and continental supremacy.
It has also made headlines in recent years that have allowed it to take steps beyond the realm of annual oddities like the Running of the Bulls. The winner in 2014 was gay Austrian singer Thomas Neuwirth, who performed as drag queen superstar Conchita Wurst. The victory transformed Conchita into an LGBT icon in Europe, even as Russian conservatives raged in fury and used the singer as an example of why Russia shouldn’t be a part of the EU. For all of Eurovision’s platitudes about tolerance and peace, this was a moment where those ideals were actually acted upon, even if it meant breaking the general tone of inoffensiveness.
If it’s supposed to be European, why is Australia a competitor?
So…if all these countries that aren’t strictly European are competing, does this mean we may be seeing the USA compete in Eurovision soon?
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www.thewrap.com | 5/18/19
Little out of the ordinary goes down in “The Climb.” Friends bicker and bond, families meet for the holidays, couples join together and come apart – the wheels of life keeps spinning.
So the fact that director Michael Angelo Covino is able to wring as much genuine surprise from such seemingly unexceptional raw material is a real testament to creative spark he brings to this project — and is one of the many reasons why this film, which premiered on Friday in the Un Certain Regard sidebar, is one of the standout titles of this year’s Cannes Film Festival.
Covino brought a short of the same to Sundance in 2018; he remakes that short here, where it serves as the first volley in a film that tracks the evolving relationship between two lifelong frenemies across seven unique chapters.
As it happens, Chapter 1 kicks off not too far from Cannes. In an unbroken nearly 10-minute take, we follow athletic Mike (Covino himself) and doughy Kyle (co-writer Kyle Marvin) on a South of France bike trip ahead of the latter’s upcoming marriage. Right as they hit a particularly steep incline, Mike drops a bomb: He too has been sleeping with Kyle’s fiancée – now, pudgy, try to catch up!
Both Kyle and consequence eventually do, and the dynamic between them evolves three times before the scene ever lets up. When the film finally offers its first hard cut, it does so in service of a joke – using the cut from one sequence to the next as a long built-towards setup/punchline.
Within that first chapter are nearly all of the elements that make “The Climb” such an unexpected gem. Some of those have been quite common in recent film and television, like the cringe comedy emanating from a painfully real dynamic and the two performers game for embarrassment. That’s not to diminish what Covino brings as an actor; I only mean to say that style has been the bread and butter of American comedy for the past decade or more.
What American comedy has not seen, on the other hand, is all that Covino brings as director.
And that’s an awful lot. He shows truly impressive formal control, incorporating sophisticated camerawork and tightly coiled edits while allowing time, space and rhythm – in short, the foundations of cinema – to play as equal participants in the comedy.
In a wonderful conceit, the film jumps forward in time with each new chapter, making us work to understand where we are in the plot, and, more importantly, where the two leads are in their relationship with one another. So in deference to the pleasure of discovering the plot as the film parcels it out, I will not reveal exactly where we pick in Chapter 2.
Suffice it to say that as “The Climb” goes on it introduces new characters into the mix, including Kyle’s parents (played by Talia Balsam and George Wendt) and his second fiancée, Marissa (Gayle Rankin), who is given ample time to shine.
American comedy has often had a hard time getting a foothold in the high temple of cinema that is Cannes, so I suspect that festival programmers warmed to this film for the many (wholly refreshing) ways it feels out of step with this moment in time. At a point when the line between media has blurred and the conversation has turned to ‘multi-platform content’, here is odd little throwback that apes the textures of celluloid and moves with the rhythms of cinema.
Here is a real film — and a damn good one, at that.
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www.thewrap.com | 5/17/19
Tan France of “Queer Eye” and model Alexa Chung are set to host “Next in Fashion,” a new competition series coming to Netflix. Celebrity stylist Elizabeth Stewart and Eva Chen, director of fashion partnerships at Instagram, will be recurring guest judges, with more guest judges to be announced at a later date.
“Next in Fashion” finds 18 designers competing for the chance to become the next big name in fashion. Throughout the 10 episode season, contestants will be tasked with completing challenges centering on a different trend or design style that has influenced the way the entire world dresses.
The winner will receive a $250,000 prize and a chance to debut their collection with luxury fashion retailer Net-a-Porter.
“Next in Fashion” is created and produced by theoldschool and is executive produced by Robin Ashbrook and Yasmin Shackleton with co-executive producer Adam Cooper.
France is an English fashion designer, television personality and author best known for starring as the fashion expert on Netflix’s “Queer Eye” revival. His books include “Naturally Tan: A Memoir” and “Queer Eye: Love Yourself.”
Chung is a British writer, television presenter, model and fashion designer. She’s known for her 2013 book “It,” which chronicles her personal style and influences, and 2014’s “It: Uber Style.” She launched her fashion brand, Alexa Chung, in 2017.
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www.thewrap.com | 5/17/19
The 2019 Cannes Film Festival is underway, but a big question on some attendees’ minds might not be about a movie at all, but a TV series. That’s because many festival-goers are probably scrambling to figure out, “How in the name of Westeros can I watch the series finale of ‘Game of Thrones’ on Sunday?”
Since HBO NOW and HBO GO are not accessible for U.S. subscribers while in France, TheWrap has figured out how “Game of Thrones” fans can watch the final showdown in real time without having to learn who ends up on the Iron Throne through social media.
And don’t worry, it won’t take a prayer to the Old Gods and the New. But it will take either an HBO Europe subscription or having the right hotel room — or a friend in the right hotel room — because a Cannes attendee can view the series finale at the same time it airs in the U.S. via the French provider OCS (Orange Cinema Series).
So what you’ll need to do is check around to see if your hotel — or your friends’ hotels — is an Orange subscriber. If it is, then you can tune in to watch the episode on OCS City at 3 a.m. local time on Monday. There will also be a primetime airing at 9 p.m. local time, later that day.
If you happen to be an Orange subscriber yourself, then you can also stream the episode on demand after it concludes its linear debut.
The complete final season of “Game of Thrones” will also be available to purchase via digital download in France on Tuesday at midnight (overnight Monday) on iTunes, Orange, Canal+, Microsoft, Sony and Google.
If you are subscribed to UK Sky Go and Now TV (a subscription-based internet television and video-on-demand service that is a division of Sky Limited), you can watch the finale on your devices in any country in the EU.
In Germany’s official guide from Sky, for example, it says Episode 806 will be shown locally at 3 a.m. (GMT+2) on Sky Atlantic, which is the same time it airs on HBO in the U.S. (9 p.m. ET). That means you’ll be able to access the episode via Sky Go and Now TV at that time. Sky will then air the series finale again on Monday at 8:15 p.m. local time.
If you don’t have a subscription to either of those services, but do subscribe to HBO Go or HBO NOW there is a way to connect to those platforms using a VPN.
A VPN is a virtual private network that builds a secure tunnel between your device and the internet that allows you to mask your location. This way, you can “trick” the platforms into thinking you are still in the U.S. (for HBO) or in the U.K. (for Sky). It’s extremely safe and most VPNs provide a high-quality streaming experience.
HBO tells TheWrap it is unaware of any planned finale viewing parties at Cannes. A spokesperson for the festival said all official screenings can be found in the Cannes program.
Of course, if this is all too much work for you: Fly home early, delete your Twitter app, or pray no one you talk to at Cannes reveals spoilers and wait until you’re back in the United States to watch the HBO fantasy series’ epic ending.
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www.thewrap.com | 5/15/19
Woody Allen’s film “A Rainy Day in New York” has been picked up for distribution in multiple European, South American and Asian territories, according to the New York Times.
On Monday, TheWrap reported that Italian distributor Lucky Red acquired the film for release in Italy on Oct. 3. The Times notes that A Contracorriente Films will now also release “A Rainy Day in New York” the following day on Oct. 4 in Spain.
A spokesperson told the Times that Filmwelt/NFP will release the film in Germany and Austria, and Filmwelt/NFP’s managing director Christopher Ott said in an interview with a German newspaper that they would be among the distributors bringing the film to Europe, China, Japan, South Korea, Russia and South America.
Italian news reports said on Monday said that “A Rainy Day in New York” was also likely to be shown in France, the Netherlands and Belgium.
Allen’s film was blocked for release in the U.S. after distributor Amazon Studios terminated its four-picture deal with the director after the resurfacing of old accusations that Allen inappropriately touched Dylan Farrow, his then-7-year-old daughter with ex-girlfriend Mia Farrow. (Investigators found no evidence of abuse and Allen has repeatedly denied the accusations.)
Allen had also announced plans to shoot another film with the backing of Barcelona-based financing conglomerate Mediapro, which previously helped fund “Vicky Cristina Barcelona” and “Midnight in Paris.”
“A Rainy Day in New York” stars Elle Fanning and Timothée Chalamet as two young people who arrive in New York and encounter rain and a series of unfortunate adventures. It also stars Rebecca Hall, Selena Gomez, Jude Law, Suki Waterhouse, Liev Schreiber and Diego Luna. Many of the stars of the film, including Chalamet and Hall, agreed to donate their salaries from the film to Time’s Up and LGBT charities.
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www.thewrap.com | 5/9/19
“The Hate U Give” star Amandla Stenberg has been cast in a leading role alongside Andre Holland on Damien Chazelle’s upcoming Netflix series, “The Eddy.”
A musical drama set in contemporary Paris, “The Eddy” series revolves around a club, its owner, the house band, and the chaotic city that surrounds them. The series, which will be shot in France this spring and feature dialogue in French, English and Arabic, has an eight-episode order from the streaming service.
Holland is set to play Elliot Udo, a celebrated jazz pianist from New York. Now in Paris and the part-owner of a failing jazz club, Elliot, who is hiding from everyone, has an on-again-off-again romance with his lead singer. When his 15-year-old daughter Julie (Stenberg) shows up suddenly, Elliot has to face his weakness and learn to grow up.
Chazelle will executive produce the Endeavor Content series and also direct its first two episodes. This marks the “La La Land” writer-director’s first television project.
“The Eddy” is being written by Jack Thorne (“Wonder”), with original music from Glen Ballard. Along with Chazelle, other directors on the series include Houda Benyamina (“Divines”) and Alan Poul (“Tales of the City”).
The musical drama will be executive produced by Chazelle, Poul, Thorne, and Ballard, with Jimmy Desmarais and Olivier Bibas of Atlantique Productions also executive producing. Holland serves as co-executive producer.
“The Eddy” will premiere globally on Netflix in 2020.
Stenberg is repped by UTA and attorneys Nina Shaw & Gordon Bobb.
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www.thewrap.com | 5/6/19
A Fox News on-air interview about the Notre Dame fire in Paris was abruptly shut down after a French guest suggested — without any proof — that the fire consuming the famed cathedral may not have been the result of an accident.
On Monday, Philippe Karsenty, a former French right-wing political candidate, suggested to Shep Smith that the church fire may have been set by possible terrorists, a theory that had already been floated by InfoWars soon after the fire began.
“It’s like a 9/11, it’s a French 9/11, you know? And it’s a big shock,” Karsenty told Smith, adding, “we’ve had churches desecrated each and every week all over France.” Karsenty then went on to say that “of course, you will hear the story of the political correctness which will tell you it’s probably an accident.”
“Sir, we’re not going to speculate here of the cause of something which we don’t know,” Smith quickly interjected. “If you have observations or you know something, we would love to hear it.”
Karsenty explained: “I’m just telling you something, what we need to be ready,” but Smith shut him down a second time before cutting him from the segment entirely.
“No, sir, we’re not doing that here, not now, not on my watch,” Smith said. “The man on the phone with us has absolutely no information of any kind about the origin of this fire and neither do I.”
“The fire investigators will at some point come to a determination about what caused this and conspiracy theories about anything are worthless and in many cases counterproductive and injurious to society,” Smith added. “And those who entertain them are not acting in the best interests of the people of this planet.”
Karsenty, a French media analyst, was convicted in 2013 of defamation after he accused a state television network of staging a video of a young boy being killed during a fight between Palestinian gunmen and Israeli soldiers.
You can watch the full exchange in the video below.
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www.thewrap.com | 4/15/19
Swedish actress Bibi Andersson, known for her roles in “The Seventh Seal” and “Persona,” died on Sunday, according to Stockholm newspaper Aftonbladet. She was 83.
“She has been sick for many years, but it is sad. I found out that Bibi passed away lunchtime today,” director and friend Christina Olofsson told Aftonbladet.
According to Aftonbladet, Andersson had a stroke in 2009 while living in France with her husband Gabriel Mora Baeza. She returned to Sweden a few days later for hospital care. Shortly thereafter, she moved to a nursing home in Stockholm.
Andersson, who starred in several of writer and director Ingmar Bergman’s classic films, became well-known in the 1950’s, appearing in “The Seventh Seal” and “Wild Strawberries,” among countless other films.
She would go on to work constantly throughout the ’60s, ’70s and subsequent decades and as recently as 2007, with roles in more than 50 films such as “Persona,” “The Touch” and “Scenes From a Marriage.”
In 1968 Anderson was nominated for best foreign actress at the BAFTAs for her roles in two films: “Persona” and “Syskonbädd 1782,” or “My Sister My Love.” At the 13th Berlin International Film Festival in 1963, Andersson won the Silver Bear for best actress for her role in Vilgot Sjöman’s film “The Mistress.”
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www.thewrap.com | 4/14/19
“Barry,” “Hannah Gadsby: Nanette” and “The Good Place” lead the nominees for this year’s Peabody Awards, which recognizes the best of digital and broadcast media for the year. The three programs were among a crowded field of contenders in the entertainment category.
“It is our great honor to recognize the most powerful and compelling, but also most brilliant and creative programming of 2018,” Jeffrey P. Jones, executive director of Peabody said in a press statement. “Across genres and platforms, these are stories that help us make sense of our world, and locate our humanity in the joys and tragedies and struggles of people worldwide.”
The 78th annual awards ceremony nominees also honored other achievements in the categories of “children’s and youth,” “documentaries,” “public service,” “news,” “web,” and “radio/podcast.” The nominees were selected by unanimous vote of 19 jurors from more than 1,200 entries from television, radio/podcasts and the web in entertainment, news, documentary, children’s and public service programming. Thirty winners selected from amongst these nominees will be announced beginning next week.
The ceremony will take place on May 18 in New York City at Cipriani Wall Street, and will be hosted by New Yorker contributing writer Ronan Farrow.
You can see the full list of Peabody nominees below.
CHILDREN’S & YOUTH
“Hilda” Silvergate Media for Netflix (Netflix)
“Steven Universe” Cartoon Network Studios (Cartoon Network)
“A Dangerous Son” HBO Documentary Films and Moxie Firecracker Films (HBO)
“Blue Planet II” BBC Studios’ Natural History Unit, co-produced with BBC AMERICA, Tencent, WDR, France Télévisions and CCTV9 in partnership with The Open University (BBC AMERICA)
“Brides & Brothels: The Rohingya Trade” 101 East (Al Jazeera English)
“I Am Evidence” HBO Documentary Films and Mighty Entertainment in association with Fixit Productions and Artemis Rising Foundation (HBO)
“Independent Lens: Dolores” A Carlos Santana Production, in association with 5 Stick Films, and THE DOLORES HUERTA FILM PROJECT, LLC (PBS)
“Independent Lens: I Am Not Your Negro” A co-production of Velvet Film Inc., Velvet Film S.A.S., Artémis Productions, Close Up Films, ARTE France, RTS, RTBF, Shelter Prod and the Independent Television Service (ITVS) presented in association with the National Black Programming Consortium (NBPC), with funding provided by the Corporation for Public Broadcasting (CPB) (PBS)
“Independent Lens: The Judge” A co-production of Three Judges LLC, Idle Wild Films Inc., and Independent Television Service (ITVS), with funding provided by the Corporation for Public Broadcasting (CPB) (PBS)
“Lorraine Hansberry: Sighted Eyes/Feeling Heart” Lorraine Hansberry Documentary Project, LLC in co-production with Independent Television Service and Black Public Media in association with The Film Posse, Chiz Schultz Inc. and American Masters Pictures (PBS/WNET/TV)
“Minding the Gap” Hulu presents in association with Kartemquin, American Documentary | POV and ITVS (Hulu)
“POV: QUEST: A Portrait of an American Family” Quest Fury Sound LLC, Vespertine Film and Media Productions Inc., American Documentary | POV, ITVS (PBS)
“POV: The Apology” National Film Board of Canada, American Documentary | POV (PBS)
“POV: Survivors” WeOwnTV, American Documentary | POV, ITVS (PBS)
“POV: Whose Streets?” Whose Streets? LLC, American Documentary | POV (PBS)
“Shirkers” A Netflix Documentary in association with Cinereach (Netflix)
“The Bleeding Edge” A Netflix Original Documentary in association with Shark Island Institute (Netflix)
“The Facebook Dilemma” FRONTLINE (PBS)
“The Jazz Ambassadors” Thirteen Productions LLC, Antelope South Ltd., Normal Life Pictures, in association with the BBC and ZDF in collaboration with Arte (PBS)
“The Rape of Recy Taylor” Augusta Films, in co-production with Transform Films Inc., in association with Artemis Rising and Matador Content (Starz)
“Atypical” Sony Pictures Television for Netflix (Netflix)
“Barry” HBO Entertainment in association with Alec Berg and Hanarply (HBO)
“Hannah Gadsby: Nanette” Netflix (Netflix)
“Homecoming,” Universal Content Productions and Amazon Studios (Amazon Prime Video)
“Killing Eve” Sid Gentle Films Ltd. for BBC AMERICA (BBC AMERICA)
“My Brilliant Friend” HBO Entertainment in association with RAI FICTION, TIMVISION and Wildside, Fandango, and Umedia (HBO)
“Patriot Act with Hasan Minhaj” Netflix (Netflix)
“Pose” Fox 21 Television Studios and FX Productions (FX Networks)
“Random Acts of Flyness” HBO Entertainment in association with A24 and MVMT (HBO)
“The Americans” Fox 21 Television Studios and FX Productions (FX Networks)
“The Chi” SHOWTIME Presents, Fox 21 Television Studios, Kapital Entertainment, Verse, Freedom Road Productions, Hillman Grad Productions, Elwood Reid Inc. (Showtime)
“The End of the F***ing World” Clerkenwell Films/Dominic Buchanan Productions for Channel 4 Television and Netflix (Netflix)
“The Good Place” Universal Television, Fremulon and 3 Arts Entertainment (NBC)
“This Close” Killer Films and Super Deluxe (SundanceNow)
“Anatomy of a Killing” BBC Africa Eye (BBC)
“Aquí y Ahora: The Faces of the Immigration Crisis ” Univision Network (Univision Network)
“CBS News Special: 39 Days” CBS News (CBS)
“Back of the Class” KING Television NBC affiliate/KING
“Cambridge Analytica” ITN for Channel 4 News (Channel 4 News)
“Inside Yemen” PBS NewsHour (PBS)
“NewsChannel 5 Investigates: Toxic School Water” WTVF-TV (WTVF-TV)
“Nima Elbagir: Human Rights Reporting” CNN (CNN)
“On the Fire Line” PBS NewsHour (PBS)
“Separated: Children at the Border” FRONTLINE (PBS)
“Spartan Silence” E:60, OTL, ESPNW, Sportscenter (ESPN)
“The Plastic Problem” PBS NewsHour (PBS)
“$2 Tests: Bad Arrests” WAGA-TV FOX 5 Atlanta (WAGA-TV)
“Student/Trafficked” R.AGE (Star Media Group)
“Zero Tolerance” ProPublica
“Bag Man” MSNBC (MSNBC)
“Believed” Michigan Radio (NPR)
“Buried Truths” WABE (WABE)
“Caliphate” The New York Times (The New York Times)
“Ear Hustle” PRX’s Radiotopia (PRX’s Radiotopia)
“In The Dark (season 2)” APM Reports (Podcast)
“Kept Out” Reveal from The Center for Investigative Reporting, PRX, PBS Newshour, and the Associated Press (Public radio stations nationwide)
“Monumental Lies” Type Investigations and Reveal from The Center for Investigative Reporting and PRX (Public radio stations nationwide)
“My World Was Burning: The North Bay Fires and What Went Wrong” KQED and Reveal from the Center for Investigative Reporting and PRX (Center for Investigative Reporting and PRX)
“This American Life Episode #657: The Runaways” This American Life and ProPublica Inc. (Public Radio Stations, podcast)
“The Daily” The New York Times (The New York Times)
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www.thewrap.com | 4/9/19
Compared to other European nations, the French are not avid newspaper readers, citing only 164 adults out of every 1000 as newspaper readers. The French press was healthiest in the aftermath of World War II. A year after the end of the war, 28 papers had a combined circulation of about six million. However, seven years later that figure had been nearly halved. This decline was principally due to the greater popularity of the broadcast media and the subsequent diversion of advertising revenues. Recently, newly produced free papers have further weakened the established press. Still, 80 daily papers remain, and there are a wide range of weeklies, many of which now feature internet sites. Regional papers have remained relatively unaffected by the decline, with provincial newspapers commanding a higher degree of reader loyalty. For example, Ouest-France, sells almost twice as many copies as any of the national dailies. Error creating thumbnail: This article does not cite any references or sources.