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“Justified” alum Timothy Olyphant is coming home to FX to join the Chris Rock-led fourth season of “Fargo.”

Olyphant will be a recurring guest star, playing a character named Dick “Deafy” Wickware, an FX spokesperson told TheWrap.

The fourth season of Noah Hawley’s “Fargo” will travel back to the 1950s. FX provided the following summation for the installment:

Also Read: 'Fargo' Season 4: Jack Huston, Jason Schwartzman, Ben Whishaw and Others Join Chris Rock in Cast

In 1950, at the end of two great American migrations — that of Southern Europeans from countries like Italy, who came to the US at the turn of the last century and settled in northern cities like New York, Chicago — and African Americans who left the south in great numbers to escape Jim Crow and moved to those same cities — you saw a collision of outsiders, all fighting for a piece of the American dream. In Kansas City, Missouri, two criminal syndicates have struck an uneasy peace. One Italian, one African American. Together they control an alternate economy — that of exploitation, graft and drugs. This too is the history of America.  To cement their peace, the heads of both families have traded their youngest sons.

Chris Rock plays the head of one family, a man who — in order to prosper — has surrendered his youngest boy to his enemy, and who must in turn raise his enemy’s son as his own. It’s an uneasy peace, but profitable.  And then the head of the Kansas City mafia goes into the hospital for routine surgery and dies.  And everything changes.  It’s a story of immigration and assimilation, and the things we do for money. And as always, a story of basically decent people who are probably in over their heads. You know, Fargo.

Along with Rock, previously announced cast members include Uzo Aduba, Jack Huston, Jason Schwartzman and Ben Whishaw, along with Jessie Buckley, Salvatore Esposito, Andrew Bird, Jeremie Harris, Gaetano Bruno, Anji White, Francesco Acquaroli, E’myri Crutchfield and Amber Midthunder.

Written, directed and executive produced by Hawley, “Fargo” will begin production this fall in Chicago. It will air on FX in 2020. Hawley, Joel and Ethan Coen, along with Warren Littlefield, serve as executive producers.

Also Read: 'Orange Is the New Black' Star Uzo Aduba to Star on 'Fargo' Season 4

“Fargo” is produced by MGM Television and FX Productions, with MGM Television serving as the lead studio and international distributor.

Deadline first reported Olyphant’s casting.

Related stories from TheWrap:

Timothy Olyphant Joins 'Fargo' Season 4

'Orange Is the New Black' Star Uzo Aduba to Star on 'Fargo' Season 4

'Fargo' Season 4: Jack Huston, Jason Schwartzman, Ben Whishaw and Others Join Chris Rock in Cast

www.thewrap.com | 9/17/19

“Orange Is the New Black” alum Uzo Aduba became the latest to join the upcoming fourth installment of FX’s anthology series “Fargo.”

She joins a cast that is headlined by Chris Rock, Jack Huston, Jason Schwartzman and Ben Whishaw. The rest of the cast includes Jessie Buckley, Salvatore Esposito, Andrew Bird, Jeremie Harris, Gaetano Bruno, Anji White, Francesco Acquaroli, E’myri Crutchfield and Amber Midthunder.

The fourth season of “Fargo” will travel back to the 1950s. “Fargo” will begin production this fall in Chicago. It will air on FX in 2020. Joel and Ethan Coen, along with Warren Littlefield, serve as executive producers. “Fargo” is produced by MGM Television and FX Productions, with MGM Television serving as the lead studio and international distributor.

Also Read: 'Fargo' Season 4: Jack Huston, Jason Schwartzman, Ben Whishaw and Others Join Chris Rock in Cast

FX provided the following summation of Season 4:

In 1950, at the end of two great American migrations — that of Southern Europeans from countries like Italy, who came to the US at the turn of the last century and settled in northern cities like New York, Chicago — and African Americans who left the south in great numbers to escape Jim Crow and moved to those same cities — you saw a collision of outsiders, all fighting for a piece of the American dream. In Kansas City, Missouri, two criminal syndicates have struck an uneasy peace. One Italian, one African American. Together they control an alternate economy — that of exploitation, graft and drugs. This too is the history of America.  To cement their peace, the heads of both families have traded their youngest sons.

Chris Rock plays the head of one family, a man who — in order to prosper — has surrendered his youngest boy to his enemy, and who must in turn raise his enemy’s son as his own. It’s an uneasy peace, but profitable.  And then the head of the Kansas City mafia goes into the hospital for routine surgery and dies.  And everything changes.  It’s a story of immigration and assimilation, and the things we do for money. And as always, a story of basically decent people who are probably in over their heads. You know, Fargo.

Deadline was first to report on Uzo joining “Fargo.”

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www.thewrap.com | 9/11/19

Academy Award-nominated producer Vincent Landay is partnering with former VICE chief creative officer Eddy Moretti’s Unbranded Pictures in the hopes of building out a multimedia company, it was announced Wednesday.

Under Moretti and Landay’s leadership, Unbranded Pictures will develop, produce and finance original and engaging feature films and episodic television for global audiences. The duo recently collaborated to create VICE Studios.

“Vincent Landay ranks at the top of a rarefied list of creative, innovative, and accomplished producers, not just in Hollywood, but in the world of contemporary cinema. Full-stop,” Moretti said.  “He has the rare ability to understand a director’s aesthetic, emotional and philosophical vision. He is an artist whisperer, a director’s accomplice and collaborator. He translates their wondrous ideas into a production solution tailored to bring their dreams to life. I look forward to this new storytelling adventure with Vincent. There could be no better partner and friend for this next chapter. And to top it off, his family comes from the same small town in Southern Italy that mine does, so we’re probably related. It certainly feels that way.”

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Landay added: “We are at an inflection point in our industry where there are enormous opportunities for bold content creators and auteurs — the kind of storytellers and artists that I have worked with my entire career. Partnering with Eddy and Unbranded will allow me to use the breadth of my experiences as an entrepreneur and producer to build a slate that we believe will inspire, provoke and engage audiences worldwide.”

Unbranded’s first feature film, “The Report,” will screen at Toronto International Film Festival this month.

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Prior to joining Unbranded Pictures, Landay spent over 25 years producing with Spike Jonze. Their collaborations have received 12 Academy Award nominations, and have been honored by the Golden Globes, as well as BAFTAs. His credits include “Her,” “Being John Malkovich” and “Where the Wild Things Are.” He has also worked with directors David Fincher, David Lynch and Harmony Korine.

Landay is represented by attorney Michael Adler of Lichter, Grossman, Nichols, Adler, Feldman & Clark. Unbranded Pictures is represented by Endeavor Content.

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LeBron James Stars in New Intel Ad for Driverless Cars – Which Aren't Actually for Sale

www.thewrap.com | 9/4/19
Apple CEO Tim Cook has written a piece for Italy’s most popular newspaper, Corriere della Sera , mourning the passing of Giovanni Buttarelli...
macdailynews.com | 8/23/19

“Good Eats” makes its long-awaited return to Food Network on Sunday with the premiere of “Good Eats: The Return,” the on-the-nose title of Season 15 of Alton Brown’s beloved science-meets-cooking show.

Both the cable channel and Brown have been promoting the stuffing out of the show’s new episodes, with Food Network launching the premiere early online and the celebrity cook hosting a Reddit AMA this week, plus fielding many, many fan questions on Twitter.

And with this level of enthusiasm for the return of “Good Eats,” we had to ask Brown why he stopped making the show, which ran from 1999 to 2012, in the first place — and why he finally decided to bring it back.

“It’s a complicated question,” Brown told TheWrap. “I stopped not because the network wanted me to stop or anybody else wanted me to stop; I kind of wanted to take a break for a few years. I really wanted to concentrate on doing some live-touring and I did a couple of big live tour shows and that was a great thing.”

Also Read: Alton Brown's 'Good Eats: Reloaded' Renewed for Season 2 at Cooking Channel (Exclusive)

Brown, who is the host and main commentator on Food Network’s “Iron Chef America” and “Cutthroat Kitchen,” says he “was also waiting on technology.”

“I had a feeling when we stopped making ‘Good Eats’ that the way people were going to consume content was going to change radically and it was just really starting. And I kind of wanted to sit back and see where that was going to go,” he said. “And these new shows are not necessarily made for television. I’ve made these new shows to watch on a phone as much as I have a television set. So I kind of wanted to wait out the changes and see where the writing on the wall was going to end up. And I’m glad I did because the technological evolutions — not only in media consumption, which changed a lot — but the technology that would allow me to do some of the things visually that we’re doing in these shows — we’re using a lot of stuff that just didn’t exist even six years ago. I kind of was waiting, in a way, for technology to catch up with where I wanted to go. And then I was also waiting to see where media wanted me to go.”

OK, so what does AB mean here when he’s talking about all these technological advances that are going to make “Good Eats” even better after its seven-year hiatus?

Also Read: Fall TV Premieres: Here's When All Your Favorite Broadcast Shows Will Return (Photos)

“One is, most of what I’m talking about doesn’t have to do with food at all, some of it does,” Brown said. “On one level, we’re strictly talking about filmmaking technology. That’s my background and I have a passion for putting cameras where they don’t belong, for designing extremely complicated shots and sequences. So there were things I wanted to do visually that I just had to wait for the technology to come along that would let me do what I wanted to do.”

“The other side, the food side, is number one: availability,” he continued. “There are ingredients that we can use now that five, six years ago we wouldn’t have been able to because people couldn’t get them. Now anybody can get anything anytime they want. So I can use spices, I can reference ingredients that people can simply, with a keystroke, have delivered to their homes. And culinary technology has certainly changed. For instance, we’ve done a show called ‘Immersion Therapy,’ which is about using immersion circulators, which I think is high time most Americans got into. Five, six years ago those devices were still extremely expensive, were not very easy to get and that technology has come a long way. So I guess that’s three examples: culinary technology, food availability and then the filmmaking technology that I needed to do visually what I wanted to do with the shows.”

And now that Brown is in post-production on the 13-episode 15th season — which features episodes about chicken parmesan, grains like amaranth, chia and quinoa, a recipes for sourdough, shakshuka and steak tartare — he told us he did, in fact, get to do what he wanted with the return of “Good Eats.”

Also Read: Fall TV: Here Are the Premiere Dates for the New Broadcast Series (Photos)

“I promised myself the only way I would do this is if I could make one season where there would be no regrets whatsoever — and I did,” he said. “This is the best work that I’ve done in my entire career of any type. I cannot do better than this. And if I were to die tomorrow — I do not want to die tomorrow — but I would say that finally, for the first time in my career, I’ve done something for which I make not one single apology.”

There are a few things that Brown says makes this new season his crowning glory, which is first and foremost the scripts.

“I think overall, or above all, I think the writing is better,” he said. “I have grown a lot as a writer, I feel, so I think the shows, above, all are simply written better. I think there is not one weak recipe in the bunch from all 13 shows, and that’s 12 half hours and a one-hour special. And that’s because they are just better. We had time to work them out and I had a really good crew. So that’s for sure.”

Also Read: Discovery Sets 'Brady Bunch' Crossovers to Promote HGTV's 'A Very Brady Renovation'

Brown added that — as he said before — “because of technology, we are allowed to do and have the capabilities of doing far more complex, long scenes.”

“There’s lots of long, involved storytelling takes in this that goes on for a while and involves a lot of moving set pieces and cameras moving in a way– we’re using technology that no one has ever used in television before,” he said. “All the DNA though, all the DNA is there. All the stuff that people are gonna go, ‘Yes! That’s what I wanted.’ The characters that we established before, the kind of mix of comedy with science, with practical know-how, those are all there. These are very much ‘Good Eats’ episodes, but they are a lot more sophisticated.”

But don’t worry, because Brown promised us this: “If you are a ‘Good Eats’ fan, you will continue to be a ‘Good Eats’ fan. If you’ve never seen ‘Good Eats’ before in your life, you’ll hopefully become a ‘Good Eats’ fan.”

Also Read: 22 New Summer TV Shows Ranked by Premiere Viewers: From 'BH90210' to 'Bring the Funny' (Updating)

As TheWrap exclusively reported last week, Brown’s “Good Eats: Reloaded” series — which premiered last October and saw the cook “remix” some episodes from his old catalog — has been renewed for a second season. With that in mind, we asked Brown what it would take for him to do more of “Good Eats” itself.

“That will be determined completely by ratings,” Brown said. “If people watch it, then the answer will be yes. If people don’t watch it, the answer will be a resounding no. Because it’s way too much work to do if nobody is going to be watching it. It’s a very different kind of show. We’re talking about bringing a cooking show back to the primetime on a network that hasn’t been there for a while. In fact, ‘Good Eats’ was the last primetime cooking show on any network, you know, any mainstream network. So we’ll see. It’s a single-camera, narrative program, fully scripted. We’ll see if people are ready for that again. I think that the fans will be, because they haven’t stopped asking for it in the last six years. But will that be enough people to keep it on air? I don’t know. Who knows?”

See below for more from our interview with Brown.

TheWrap: How did you decide what recipes you wanted to include in “The Return”?

Alton Brown: I will admit that some of them were simply things that people had requested so much. Our very first episode, I’m finally getting chicken parm out of the way. People have been asking me to do a chicken parm show for 10 years and, frankly, I didn’t think I had anything to say about it. And then I figured out, “Oh, I actually do have something to say about it.” Because to me the recipes aren’t worth anything if — number one, the food has to be great, but there also has to be a story of significance behind it, and for me it was the understanding and finally coming to grips with the fact that Italian food was actually invented in America, not in Italy. And that kind of changed my whole viewpoint on the subject.

Also Read: 19 Highest-Rated Broadcast TV Series Over the First Half of 2019 (Photos)

So some of these shows were things that I knew people really, really wanted. Some of them were things that I’ve just been really interested in. But, for instance, our season finale is a post-apocalyptic episode about wild sourdoughs. And six years ago, people didn’t care. But there’s kind of this whole millennial-hipster thing now about sourdoughs. So there is finally an interest. I was always interested, but Food Network was kinda like, “Yeah, no, nobody is gonna watch that.” So there are a few shows where simply popular interest has moved into realms we didn’t have before.

Some of the shows are kind of more historically minded. We do a show about icebox cakes, which I think people should be making left and right. We’ve got a very current-themed holiday special about low-alcohol cocktails, so that’s a very current thing people are interested in. A lot of people are sober-curious. Me, I’m just interested in drinking all day without falling down, so that’s where I kind of came up with it.

Certainly because of social media, because of Instagram, we have a whole different level of awareness about food that we didn’t have five or six years ago and that has opened up an entire world of possibilities for me as a culinary storyteller. So I’m not making it sound like I was sitting on the sidelines waiting for the world to catch up with me — but in a way I was sitting on the sidelines waiting for the world to catch up with me. And by the way, there was no way I was going to start making “Good Eats” again if I couldn’t make it be a lot better than the last time it was on.

Also Read: Summer TV 2019: Complete List of Premiere Dates for New and Returning Broadcast Shows (Updating)

TheWrap: What is it that you hope people take away from the new episodes and the particular recipes you selected?

Brown: There is always power in understanding. Understanding what’s going on with the food, understanding what the food wants, understanding what the techniques are and what they do is more important than any recipe. And that’s what actually makes you a cook. Understanding makes you a cook, recipes don’t make you a cook. And so we try, and have always tried in all the episodes, to give people an understanding so that when they’re done at the end of the day and they’ve cooked the food and the recipes, whatever the recipe is gonna be, they’ve actually got something in their brain that they didn’t have before. And I can’t take it beyond that, it’s that general.

TheWrap: Are you finally done with your turkey recipe and will we get a turkey episode this season?

TheWrap: Not a Thanksgiving show, but it’s about cutting up the bird and doing different things with different parts. And I’m done roasting the turkey. I’m finished. I have nothing more to say. By the way, I can’t count the number of people who have come up to me– we did our first roast turkey show in 1999… and still last week I had some folks who could not have been more than 10 years old when that show came out and came up to me and thanked me for that gosh-darn turkey recipe. I don’t know what it is about that turkey recipe. I’m grateful for it! I guess it would be the recipe on my tombstone, if they put recipes on tombstones.

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TheWrap: Was it hard getting back into “character” as the Alton Brown you play on “Good Eats” vs. your everyday self?

Brown: I won’t say that it’s hard, it’s an automatic thing for me when I get in front of the camera. I either become the “Iron Chef” version of me, the “Cutthroat Kitchen” version of me or the “Good Eats” version of me. And the “Good Eats” version of me is the closest to actual me, the way that I am in my head. But you’re right, I don’t act that way in the airport. But it’s real close, so it’s not a problem at all. In fact, it’s a very comfortable place for me to go. It’s like an actor who has played a certain Shakespeare role enough to where they own it, I think I finally kind of own me. And frankly, one of the things about doing this job… I’ve watched myself age 20 years on television. I just turned 57 a couple of weeks ago and I cut off all my hair a couple of years ago because I got tired of it looking like crap. I’m not the guy I was then. So you have to be willing to let go of being worried about that kind of stuff because watching yourself age 20 years on TV, that can freak some people out. Me, I’m kinda like really myself. I think I was always meant to be a 57-year-old guy, so I think I’m better now than I used to be because I’m more comfortable with myself.

“Good Eats: The Return” premieres with two episodes on Sunday, Aug. 25 at 10/9c and 10:30/9:30c on Food Network.

Related stories from TheWrap:

Alton Brown's 'Good Eats: Reloaded' Renewed for Season 2 at Cooking Channel (Exclusive)

Fall TV 2019: Every Broadcast Show Canceled, Renewed and Ordered So Far (Updating)

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www.thewrap.com | 8/22/19

Hootsuite is the premier tracker of social media usage around the world. They publish numerous reports annually that track broadband statistics and social media statistic from around the world.

They report the following statistics for the end of 2018. The world has been seeing one million new users online every day since January 2018. That means there are 11 new users on the web every second. There are now 5.11 billion mobile subscribers in the world, 67% of the world's population. 4.39 billion people have access of some sort to the Internet, about 57% of the people in the world. There are 3.48 billion people who use social media.

Mobile subscribers increased by 2% in 2018. Internet users increased by 9.1%, and active social media users increased by 9%.

The US and northern Europe both lead the world in Internet access with 95% of the population using the Internet from a landline or cellular connection. The rest of the world is still far behind. While we talk about the great connectivity in parts of the far east, the region has a 60% penetration of people who use the Internet. That's lower than the 63% penetration in Central America and 74% in South America. The areas with the worst broadband coverage are middle Africa at only 12%, eastern Africa at 32% and western Africa at 41%.

The most considerable growth of Internet users is in India, which saw almost 100 million new Internet users in 2018, a 21% increase. That represents 25% of all new Internet users in the world for last year. Some other countries are growing faster, such as Afghanistan at 156%, Cote D'Ivoire at 69%, Cambodia at 56%, Iran at 29%, and Italy at 27%. Hootsuite has been tracking Internet users since 2014 and has seen more than 1.9 billion people added to the Internet since then.

The World Wide Web turns 30 this year (that's hard for many to believe!). It took 16 years to add the first billion users, six more years to add the second billion. The Internet is now adding a billion users every 2.7 years.

The importance of cellular broadband has grown over time. In 2014, 26% of users connected to the web using a cellular phone. Today that has grown to 48%. The average Internet user worldwide uses the Internet an average of 6 hours and 42 minutes per day. The biggest daily users of the web are in the Philippines, with regular usage of over 10 hours per day. In the US the average is 6.5 hours per day.

Google has the world's two most popular web sites with Google search at number 1 and YouTube at number 2. Facebook is in third, with the top ten rounded out by Baidu, Wikipedia, Yahoo, Twitter, Pornhub, Yandex, and Instagram.

GlobalWebIndex reports that 92% of Internet users (about 4 billion) now watch video each month. To put that into perspective, there are an estimated 6 billion people around the world have access to a television.

It's estimated that more than 1 billion users now stream games, with Fortnite being the number one game in the world. There are also a billion people who watch other people play games, with 700 million people who watch e-sports.

About 40% of Internet users now interface with the web using voice. In China and India, over half of users interface the web with voice.

Social media grew by 288 million new users last year. The US still leads with social media, with 70% of Americans internet users connected to at least one social media site. China also has a 70% social media penetration, followed by 67% in northern Europe and 66% in South America. China added 95 million users to social media in 2018, followed by India at 60 million and Indonesia at 20 million. Worldwide the average social media usage is 2 hours and 16 minutes per day. The Philippines again leads in this category where daily usage is 4 hours and 12 minutes. In the US it's a little over 2 hours per day.

While there are still billions with no access to the web, the web keeps growing at a rapid pace around the world. There are efforts by companies like Google, Facebook, and the satellite broadband providers to bring better broadband to the parts of the world with no connections.

Written by Doug Dawson, President at CCG Consulting

www.circleid.com | 8/21/19

Filmmaker Oliver Stone got up close and personal while interviewing Russian president Vladimir Putin, with the two discussing the country’s ban on “homosexual propaganda,” the “behaviours and the thinking of the new generation”… and the possibility of Putin becoming godfather to Stone’s 22-year-old daughter.

Stone — who interviewed the Russian president in June shortly before the July 4 premiere in Italy of his documentary “Revealing Ukraine” — had mentioned pro-Russian Ukrainian politician and Putin ally Viktor Medvedchuk, when Putin said that Medvedchuk asked him to “take part in the christening of his daughter.”

“According to Russian Orthodox tradition, you can’t refuse such a request,” Putin said.

Also Read: Georgian TV Host's Expletive-Laden, Anti-Putin Rant Leads to Station Temporarily Going Off-Air

“Oh, you cannot refuse it?” Oliver responded. “Otherwise I would ask you to be the godfather for my daughter.”

“Does she want to become an Orthodox Christian?” Putin asked.

“Ok, we’ll make her that,” Stone responded, according to a transcript released by the Kremlin.

Stone went on to complain about “young people in America,” saying, “they are spoiled to some degree in the western world” and that he is “shocked by some of the behaviours and the thinking of the new generation.”

“And so much of the argument, so much of the thinking, so much of the newspaper, television commentaries about gender, people identify themselves, and social media, this and that, I’m male, I’m female, I’m transgender, I’m cisgender,” Stone said. “It goes on forever, and there is a big fight about who is who.”

Also Read: Elton John Accuses Vladimir Putin of 'Hypocrisy' on LGBT Rights Following 'Rocketman' Censorship

In 2013, Russia put a law into effect banning “homosexual propaganda” among minors, which LBGTQ groups have said has caused an upsurge in homophobic vigilantism in the country. Stone said of their new legislation, “It seems like maybe that’s a sensible law.”

“Revealing Ukraine” premiered in Russia Friday and has been touted by Russian state media. Although it was supposed to air on a Ukraine TV channel, the broadcast was cancelled because of protests.

You can read the entire transcript of the interview here, including what prompted Stone to tell Putin, “You are a peacemaker” and “I am very worried about you.”

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www.thewrap.com | 7/22/19

“Fargo” Season 4 really rounded out its cast on Thursday, naming 12 new members of Noah Hawley’s players who will join previously-announced star, Chris Rock.

The cast is led by Jack Huston, Jason Schwartzman and Ben Whishaw, along with Jessie Buckley, Salvatore Esposito, Andrew Bird, Jeremie Harris, Gaetano Bruno, Anji White, Francesco Acquaroli, E’myri Crutchfield and Amber Midthunder.

The fourth season of “Fargo” will travel back to the 1950s.

Also Read: Inside How 'Fargo' Creator Noah Hawley Signed Chris Rock for Season 4

FX provided the following summation of Season 4:

In 1950, at the end of two great American migrations — that of Southern Europeans from countries like Italy, who came to the US at the turn of the last century and settled in northern cities like New York, Chicago — and African Americans who left the south in great numbers to escape Jim Crow and moved to those same cities — you saw a collision of outsiders, all fighting for a piece of the American dream. In Kansas City, Missouri, two criminal syndicates have struck an uneasy peace. One Italian, one African American. Together they control an alternate economy — that of exploitation, graft and drugs. This too is the history of America.  To cement their peace, the heads of both families have traded their youngest sons.

Chris Rock plays the head of one family, a man who — in order to prosper — has surrendered his youngest boy to his enemy, and who must in turn raise his enemy’s son as his own. It’s an uneasy peace, but profitable.  And then the head of the Kansas City mafia goes into the hospital for routine surgery and dies.  And everything changes.  It’s a story of immigration and assimilation, and the things we do for money. And as always, a story of basically decent people who are probably in over their heads. You know, Fargo.

“Fargo” will begin production this fall in Chicago. It will air on FX in 2020. Joel and Ethan Coen, along with Warren Littlefield, serve as executive producers. “Fargo” is produced by MGM Television and FX Productions, with MGM Television serving as the lead studio and international distributor.

Also Read: 'Legion' Showrunner Explains That Out-Of-Nowhere 'The Shield' Clip and What a 'Time Demon' Is

Here is who everyone else is playing, according to FX:

  • JACK HUSTON as “Odis Weff”
  • JASON SCHWARTZMAN as “Josto Fadda”
  • BEN WHISHAW as “Rabbi Milligan”
  • JESSIE BUCKLEY as “Oraetta Mayflower”
  • SALVATORE ESPOSITO as “Gaetano Fadda”
  • ANDREW BIRD as “Thurman Smutney”
  • JEREMIE HARRIS as “Leon Bittle”
  • GAETANO BRUNO as “Constant Calamita”
  • ANJI WHITE as “Dibrell Smutney”
  • FRANCESCO ACQUAROLI as “Ebal Violante”
  • E’MYRI CRUTCHFIELD as “Ethelrida Pearl Smutney”
  • AMBER MIDTHUNDER (recurring) as “Swanee Capps”
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www.thewrap.com | 7/18/19

“Call Me By Your Name” director Luca Guadagnino unveiled the cast of his upcoming HBO drama series “We Are Who We Are” on Wednesday.

Chloe Sevigny will star in the eight-episode series alongside Jack Dylan Grazer, Alice Braga, Jordan Kristine Seamon, Kid Cudi, Faith Alabi, Spence Moore II, Francesca Scorsese, Ben Taylor, Corey Knight, Tom Mercier and Sebastiano Pigazzi.

Described as a coming-of-age story, the project centers on two American teenagers who, along with their parents, are living on an American military base in Italy. According to HBO, the series explores themes of “friendship, first love and all the unknowns of being a teenager, which could happen anywhere, but in this case, happens to be in this little slice of America in Italy.”

Also Read: HBO Tops Netflix to Regain Emmy Crown With 137 Nominations

Guadagnino, who is making his first foray into television with the HBO-Sky production, will serve as showrunner, writer and director on the series. Lorenzo Mieli and Mario Gianani serve as producers on the project for the Italian production company Wildside, which also produced “The Young Pope” for HBO.

Production is set to begin on the series later this month.

Paolo Giordano and Francesca Manieri are writers alongside Guadagnino, and Nick Hall, Sean Conway, Riccardo Neri and Francesco Melzi d’Eril also executive produce.

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www.thewrap.com | 7/18/19

Lorenzo Soria was named the president of the Hollywood Foreign Press Association (HFPA) for the 2019-2020 term, it was announced today at the organization’s annual election meeting led by outgoing president Meher Tatna.

The term will commence on July 1. Soria will be joined by Ali Sar, Janet R. Nepales, Ruben V. Nepales, and Tatna who were elected as vice president, treasurer, executive secretary, and chairman of the board of directors, respectively.

“It’s a privilege to once again be elected to serve as president of the Hollywood Foreign Press Association,” Soria said. “Together with my peers at the HFPA, I look forward to continuing our organization’s mission of recognizing the best in film and television, ushering in the next generation of storytellers, and staying true to our roots of giving back through our vast philanthropic efforts. I’ve never been prouder of our organization’s future and ready to get to work.”

Also Read: HFPA Re-Elects Meher Tatna as President

Soria was born in Argentina and moved to Milan, Italy at a young age. He later became a journalist for Italian newsweekly L’Espresso, and has been working for the national daily La Stampa since 1988. He joined the HFPA in 1989 and has served as the president of the organization twice — from 2003 to 2005 and then again from 2015 to 2017.

The past two years, he served as chairman of the board.

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The Board of Directors was also announced on Tuesday, which now includes Tatna, Luca Celada, Anke Hofmann, Yoram Kahana, Diederik van Hoogstraten and Tina Jøhnk Christensen. Barbara Gasser and Magnus Sundholm were named to the Credentials Committee.

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www.thewrap.com | 6/4/19

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.

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What exactly is this contest?
Eurovision began as an idea back in the mid-1950s as a way for Europe to come together after World War II had ripped it apart. It was a pretty revolutionary effort for its time. Television was still the Wild West of communications and the Olympics hadn’t yet become an international broadcasting event. Eurovision was one of the first major attempts to hold an event that people from a wide range of countries could watch. With that in mind, the organizers wanted each country to showcase a song that was indicative of their culture.

That sounds like a pretty noble goal.
Yes … but it was also very out of touch with what was happening with music at the time. Rock ‘n’ roll was beginning to take root and The Beatles would take the world by storm just a few years after Eurovision’s inception. This meant that Eurovision’s lineup of ballads and cultural pieces quickly felt antiquated compared to the rock revolution that was going on in the charts. And that was six decades ago … the entries would only get weirder from there.

How weird?
For starters, there was once a rule implemented on and off over the years stating that participants could only enter songs that were in their country’s main language. When that rule was in effect, some countries found a loophole: give the song a hook that involves complete gibberish. Songs with titles like “Boom Boom” and “Diggi-loo Diggi-ley” poured out while the home-language rule was in effect.

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.

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Jeez! So is this just some musical freak show?
Well … let’s be fair. While there’s always been some silly novelty acts, there’s also some solid bits of Europop on hand every year from genuinely talented folks. Sweden won in 2012 with “Euphoria,” a soaring dance track by “Idol” contestant Loreen that went multi-platinum in her country after her victory.

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?
First, all the countries have a national contest where they vote on which song will represent at Eurovision. The participants are divided up into two semifinals, with the exception of the host nation and the “Big Five” countries — France, Germany, Italy, Spain, and the U.K. — who automatically qualify for the final.  They are joined by the 10 countries that get the most votes in each semifinal. In the final, all 26 countries get three minutes to make a good impression, and then the whole continent votes “Idol”-style (not for their home country, of course), as do professional juries for each country.

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?
This trophy. Oh, and their country gets to host the competition next year.

What? No prize money? No contract? No vague promises of superstardom?
Nope. The winners do get their 15 minutes of fame and some success on the charts, but beyond ABBA and Celine, Eurovision winners almost never have long-term success. Again, Eurovision long ago moved away from the sort of music that leaves a lasting cultural impact.

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.

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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?
It turns out that Eurovision has a major cult following in Australia, and they were invited to compete several years ago as a thanks for all the support down under. The expansion of the European Union means countries like Azerbaijan and Israel get to compete too.

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?
Eh…don’t count on it.

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www.thewrap.com | 5/18/19

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.

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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.)

In February, Allen responded and filed a $68 million lawsuit against Amazon Studios, claiming breach of contract. In April, Amazon pushed back and said it was “justified” in terminating the contract.

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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

Incontinence is real and the stigma needs to stop people. Stunning Swiss blondie Michelle Hunziker is somehow forty-two-years-old, and yet if you told me that she was half that age, I wouldn’t bat an eye. And I wouldn’t be surrounded by my own feces. Anyway the MILFiest of MILFs and Italy television personality (she moved there […]

The post When You Hear How Old Michelle Hunziker Is You Might Lose Control Of Your Bowels appeared first on Egotastic - Sexy Celebrity Gossip and Entertainment News.

egotastic.com | 4/1/19

Spyglass Media Group has made its first big creative hire, bringing in Lauren Whitney as president of television. She will begin April 1.

Spyglass Media Group is the joint venture between Gary Barber’s Spyglass and Lantern Entertainment. In July 2018, Lantern acquired the assets of The Weinstein Company out of bankruptcy for $289 million. It walked away with three unreleased films after haggling with filmmakers and producers over the rights to several of the projects, and a library of content.

In this role, Whitney is charged with overseeing television development and production for broadcast, cable and OTT services, and invigorating the company’s IP and library titles. She was most recently in the same role at Miramax. Prior to that, Whitney was the president of Scripted Television at Legendary Entertainment and was a TV agent at WME before that.

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Through the new venture, Spyglass will own and control all of Lantern Entertainment’s current assets, including a wealth of development projects and more than 250 film library titles, as well as scripted and unscripted television series. One such series, “Project Runway,” which will return home to Bravo for its 17th season when it premieres March 14.

“There is extraordinary opportunity for a well-capitalized, independent premium content company that controls IP, and can be agile and aggressive in its deal-making,” Whitney said. “Gary has an exceptional track record and an ambitious plan for the future of Spyglass. I am thrilled to be joining his team.”

The partnership, which includes Italy’s largest indie distributor Eagle Pictures and Cineworld Group — one of the world’s largest cinema chains — as strategic investors, creates an independent premium content company that comes with a majority investment from Lantern.

Also Read: Lantern Entertainment Partners With Gary Barber to Launch Spyglass Media Group

Headquartered in Century City, the company will be led by Barber, who will serve as chairman and CEO and oversee all operations.

“Lauren has discerning taste, stellar industry relationships, and has overseen production on a variety of compelling series across all platforms,” Barber added. “We are fortunate to have Lauren’s talents and creative leadership as we build on our television business.”

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www.thewrap.com | 3/25/19

“The Walking Dead” creator Robert Kirkman’s next apocalyptic tale is taking shape: Kirkman’s Skybound Entertainment and Entertainment One (eOne) have signed an agreement to produce “5 Year,” an international series chronicling the final five years before a fatal meteor ends the Earth.

Per the project’s official description: From an original idea from Robert Kirkman, “5 Year”s different series will focus on how people across the globe choose to live after learning the world will end in the next five years, as a meteor rushes towards Earth. Each year will play out as a season, and while each version will have its own unique characters and stories, they will all follow the same timeline. Each version of “5 Year” will be a localized story set in the markets’ actual location and produced in local languages.

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EOne and Skybound will co-produce the series, with eOne serving as financier and distributor. The new Skybound and eOne partnership includes previously-announced “5 Year” series set in Latin America — with producers Mixer and 360 Powwow — and in Korea — with streaming service Viki — and also covers installments of the series now in the works in Italy, Germany, Russia, China, the UK and more.

Kirkman, David Alpert, Bryan Furst, and Sean Furst will executive produce the project for Skybound.

“This is one of the most ambitious projects we’ve worked on, and also one of the most rewarding. Our work with all our partners around the globe continues to inspire our vision for this series and our commitment and passion for global storytelling. ‘5 Year’ is a fundamentally human story, meant to explore humanity’s capacity for good and evil in the face of the ultimate threat. eOne is a world class producer and distributor of television and they share our vision and ambition for this huge undertaking. We are very happy to have them as our partner,” said Bryan and Sean Furst in a joint statement.

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“We couldn’t possibly pass up the opportunity to work on a truly innovative project that blends multiple, local productions seamlessly into a story as it happens globally. Robert’s talent for creating content universes and connecting with audiences through bold storytelling makes this partnership most exciting for us and we are thrilled to join forces with him and the Skybound team to bring a multi-level story like the 5 Year universe to audiences around the world. In Skybound, we have found a partner that shares our drive to create future-facing content with worldwide appeal that challenges conventions and spark imaginations,” said Peter Micelli, eOne’s Chief Strategy Officer, Film & Television.

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www.thewrap.com | 11/27/18

Academy Award-winning filmmaker Guillermo del Toro has set up his lifelong passion project, a new adaptation of “Pinocchio” at Netflix, the company announced on Monday.

Del Toro is making his animated feature film directorial debut on the project which he will also write and produce as a stop-motion musical. “Pinocchio” will be del Toro’s first feature film since “The Shape of Water,” which won four Academy Awards, including Best Director and Best Picture.

Del Toro has set his retelling of “Pinocchio” in Italy during the 1930s.

This marks an expansion of Netflix’s existing relationship with Guillermo del Toro, who created their Emmy award-winning television series DreamWorks’ “Trollhunters,” the first installment of the DreamWorks’ “Tales of Arcadia” trilogy. The next chapter, “3Below,” is set to debut on December 21, 2018, followed by “Wizards” in 2019. He is also the creator of the upcoming Netflix series, “Guillermo del Toro Presents 10 After Midnight.”

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Pinocchio is a production of Guillermo del Toro, The Jim Henson Company (“The Dark Crystal: Age of Resistance”), and ShadowMachine (“Bojack Horseman,” “The Shivering Truth”), which will house the stop-motion animation production.

Alongside del Toro, Lisa Henson, ShadowMachine’s Alex Bulkley, Corey Campodonico, and Gary Ungar of Exile Entertainment will produce. Blanca Lista will co-produce. Also alongside del Toro, Patrick McHale (“Over The Garden Wall,” “Adventure Time”) will co-write the script, Mark Gustafson (“Fantastic Mr. Fox”) will co-direct, and Guy Davis will serve as co-production designer, taking inspiration from Gris Grimly’s original design for the Pinocchio character. The film’s puppets will be built by Mackinnon and Saunders (“Corpse Bride”).

Netflix expects production on Pinocchio to begin this fall.

“No art form has influenced my life and my work more than animation and no single character in history has had as deep of a personal connection to me as Pinocchio,” said Del Toro in a statement to TheWrap. “In our story, Pinocchio is an innocent soul with an uncaring father who gets lost in a world he cannot comprehend. He embarks on an extraordinary journey that leaves him with a deep understanding of his father and the real world. I’ve wanted to make this movie for as long as I can remember. After the incredible experience we have had on ‘Trollhunters,’ I am grateful that the talented team at Netflix is giving me the opportunity of a lifetime to introduce audiences everywhere to my version of this strange puppet-turned-real-boy.”

“Throughout his distinguished career, Guillermo has exhibited mastery in inspiring people through his magical worlds filled with unforgettable and magnificent characters, from the monsters in Pan’s Labyrinth to the aquatic beast in The Shape of Water,” added Melissa Cobb, Vice President of Kids and Family at Netflix. “We are incredibly excited to expand our relationship with Guillermo and we know that his deeply touching vision for bringing Pinocchio to life on Netflix will be embraced by audiences the world over.”

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www.thewrap.com | 10/22/18

United Talent Agency (UTA) has set a joint venture with Valence Media and its independent studio division, Media Rights Capital (MRC), to develop, produce and finance premium television series and partner with the creative community’s top artists.

The new venture will be named Civic Center Media, of which UTA will have an undisclosed financial stake. The financial details of the transaction were also not disclosed. A search is currently underway for an executive to lead the new venture.

Valence Media and MRC’s film and TV roster includes “House of Cards,” “Ozark,” “Counterpart,” “Ted,” and “Baby Driver.”

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As part of the new venture, UTA will offer the agency’s clients access to significant resources for development and production. Through more streamlined overhead and processes, Civic Center Media will be able to offer more attractive terms — both financially and creatively — to partners who bring their content projects to the studio. In particular, clients will benefit on the back end, where they stand to make the most money if their content is well-received by audiences.

“We’ve enjoyed a terrific relationship with UTA for more than 15 years,” said Modi Wiczyk and Asif Satchu, co-CEOs of Valence Media. “UTA sees the opportunities both within and beyond the traditional studio system and prioritizes new business models that protect and advance artists. Even more, they have always had deep passion and an uncanny eye for identifying gifted talent and groundbreaking creators. We’re excited to build this venture with them.”

The arrangement is non-exclusive for both UTA and MRC, and Civic Center Media will seek to develop projects with artists represented by all talent agencies. Additionally, UTA will continue to work with all studios and MRC will continue to develop and acquire projects from all agencies.

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Upcoming MRC series and films include “The Great,” “Mortal Engines,” “Knives Out.”

“As we looked at the landscape of potential partners and content models, our priority was to work with a studio that puts artists and creators first,” said UTA CEO Jeremy Zimmer. “MRC shares our ‘artist first’ mentality and our belief that the time has come for a new business model that offers more creative control and ownership opportunities to artists. They have one of the best track records in our industry and will bring superb infrastructure and resources to the projects we create. As new distribution platforms fundamentally change the economics of our business and tilt the balance of power towards creators, there is no better partner for us and our clients.”

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www.thewrap.com | 10/10/18

Paramount Television has signed a first-look TV deal with George Clooney and Grant Heslov’s Smokehouse Pictures, the studio announced on Monday.

The two-year agreement covers all episodic television and digital projects from Smokehouse, excluding features.

Smokehouse and Paramount, along with Anonymous Content, are currently in post-production on Hulu’s “Catch-22” adaptation starring Clooney, “Girls” alum Christopher Abbott, Kyle Chandler and Hugh Laurie.

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“We are thrilled to expand our relationship with Smokehouse. Our experience with them on ‘Catch-22’ has been an absolute joy,” said Paramount Television president Nicole Clemens in a statement. “They are first-class filmmakers and producers with a nose for unique stories with deep thematic resonance. We look forward to this new partnership together.”

“We couldn’t be more excited to be working with Paramount TV. Nicole and her team are great partners and our experience on ‘Catch-22’ has been nothing but terrific,” added Clooney and Heslov in a joint statement.

In addition to “Catch-22,” Smokehouse is also producing “On Becoming a God in Central Florida” with Sony’s TriStar Television for YouTube Premium. The hourlong dark comedy starring Kirsten Dunst is set to debut in 2019.

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www.thewrap.com | 10/8/18