IndieWire is presenting a Emmy Awards season staple, our Awards Spotlight series, beginning today. The video series is presented by Disney+.
IndieWire TV Awards Editor Libby Hill and IndieWire Critic and TV Deputy Editor Ben Travers connected with some of this season’s most exciting talent — as compiled and edited by IndieWire Creative Producer Leo Garcia — to discuss their process and their art as reflected in the 2020-2021 television season.
Featured talent includes Oscar-winner Kate Winslet, who returned to HBO in the limited series “Mare of Easttown” a decade after her Emmy success in “Mildred Pierce”; the eponymous Bodega Boys from Showtime’s “Desus & Mero”; John Boyega in Amazon Video’s “Small Axe”; Kathryn Hahn in Disney+’s “WandaVision”; Elisabeth Moss in Hulu’s “The Handmaid’s Tale” and Katori Hall for the cultivation and curation of her strip club, stone cold classic, Starz’s “P-Valley.” IndieWire will unveil more...
IndieWire TV Awards Editor Libby Hill and IndieWire Critic and TV Deputy Editor Ben Travers connected with some of this season’s most exciting talent — as compiled and edited by IndieWire Creative Producer Leo Garcia — to discuss their process and their art as reflected in the 2020-2021 television season.
Featured talent includes Oscar-winner Kate Winslet, who returned to HBO in the limited series “Mare of Easttown” a decade after her Emmy success in “Mildred Pierce”; the eponymous Bodega Boys from Showtime’s “Desus & Mero”; John Boyega in Amazon Video’s “Small Axe”; Kathryn Hahn in Disney+’s “WandaVision”; Elisabeth Moss in Hulu’s “The Handmaid’s Tale” and Katori Hall for the cultivation and curation of her strip club, stone cold classic, Starz’s “P-Valley.” IndieWire will unveil more...
- 6/1/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
It’s near impossible to interview Amber Ruffin.
Those familiar with her work know that even when addressing the most serious of topics, Ruffin has a natural ebullience that’s impossible not to be drawn into, which makes it all the more hilarious whenever she delivers a devastating punchline. In an interview setting, the best a person can do is give themselves over to the comedian’s enthusiasm and let her delight carry the moment wherever it wants to go.
The “Late Night with Seth Meyers” writer has every reason to be excited, having launched her very own late-night series, “The Amber Ruffin Show,” in September 2020 on Peacock and February 2021 on NBC. The eponymous series is just the latest feather in Ruffin’s hat, who became the first black woman to write for a late-night talk show...
It’s near impossible to interview Amber Ruffin.
Those familiar with her work know that even when addressing the most serious of topics, Ruffin has a natural ebullience that’s impossible not to be drawn into, which makes it all the more hilarious whenever she delivers a devastating punchline. In an interview setting, the best a person can do is give themselves over to the comedian’s enthusiasm and let her delight carry the moment wherever it wants to go.
The “Late Night with Seth Meyers” writer has every reason to be excited, having launched her very own late-night series, “The Amber Ruffin Show,” in September 2020 on Peacock and February 2021 on NBC. The eponymous series is just the latest feather in Ruffin’s hat, who became the first black woman to write for a late-night talk show...
- 5/21/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
I’m starting to worry about Hulu’s classic “The Handmaid’s Tale.”
The series returned with its fourth season on April 28, seeing June Osborne (an always impeccable Elisabeth Moss) embrace her role as a revolutionary and become even more of a thorn in Gilead’s side — so much so that it raises the eternal question: How is June still alive? Are you kidding me? How?!
Now, in all fairness, I don’t remember people asking this question about Jack Bauer during the 200-some episodes of “24” that he survived with aplomb. But the difference is that one of those characters was a hyper-trained, militaristic, counter-terrorist agent working with unlimited weaponry and the finest technology money can buy, and the other is an unarmed individual not allowed buttons, much less a cell phone.
The best answer that producers...
I’m starting to worry about Hulu’s classic “The Handmaid’s Tale.”
The series returned with its fourth season on April 28, seeing June Osborne (an always impeccable Elisabeth Moss) embrace her role as a revolutionary and become even more of a thorn in Gilead’s side — so much so that it raises the eternal question: How is June still alive? Are you kidding me? How?!
Now, in all fairness, I don’t remember people asking this question about Jack Bauer during the 200-some episodes of “24” that he survived with aplomb. But the difference is that one of those characters was a hyper-trained, militaristic, counter-terrorist agent working with unlimited weaponry and the finest technology money can buy, and the other is an unarmed individual not allowed buttons, much less a cell phone.
The best answer that producers...
- 5/7/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
It’s strange to realize, given that it’s late April and we’ve yet to witness this year’s Academy Awards ceremony, but Emmy season is already upon us and, perhaps more fascinating is the fact that networks and streamers are already making bold moves to better position themselves in the weeks and months to come.
The most recent culprit is Disney+, which this week told IndieWire Deputy TV Editor Ben Travers that rather than follow in the footsteps of fellow Marvel series “WandaVision,” “The Falcon and the Winter Soldier” will be competing at this year’s Emmys as a Drama Series.
It’s news that sparked more questions than answers, as a six-episode show with no announced intent of a second season is obviously a limited series, right? Apparently not.
According to Marvel Studios VP...
It’s strange to realize, given that it’s late April and we’ve yet to witness this year’s Academy Awards ceremony, but Emmy season is already upon us and, perhaps more fascinating is the fact that networks and streamers are already making bold moves to better position themselves in the weeks and months to come.
The most recent culprit is Disney+, which this week told IndieWire Deputy TV Editor Ben Travers that rather than follow in the footsteps of fellow Marvel series “WandaVision,” “The Falcon and the Winter Soldier” will be competing at this year’s Emmys as a Drama Series.
It’s news that sparked more questions than answers, as a six-episode show with no announced intent of a second season is obviously a limited series, right? Apparently not.
According to Marvel Studios VP...
- 4/22/2021
- by Libby Hill
- Indiewire
When you read a lot of television writing, you start to realize that many critics have pet peeves or tropes that can make them a little dispirited about the medium as a whole. One such stumbling block is the reliance on in medias res in stories that don’t necessarily warrant them.
For the unfamiliar, in medias res is a latin term which translates to “in the middle of things.” On TV, utilization of the concept will often see an episode begin “in the middle of” an action-packed sequence, in which the audience has no idea what’s going on but are (theoretically) drawn-in enough to try and figure it out. At the conclusion of the scene, the show will many times insert a text card reading, “24 hours earlier” or some such cue, flashing back to tell its story in earnest, this time from the beginning.
The utilization of in...
For the unfamiliar, in medias res is a latin term which translates to “in the middle of things.” On TV, utilization of the concept will often see an episode begin “in the middle of” an action-packed sequence, in which the audience has no idea what’s going on but are (theoretically) drawn-in enough to try and figure it out. At the conclusion of the scene, the show will many times insert a text card reading, “24 hours earlier” or some such cue, flashing back to tell its story in earnest, this time from the beginning.
The utilization of in...
- 4/8/2021
- by Leonardo Adrian Garcia and Libby Hill
- Indiewire
There’s every chance that 2021 becomes the year of the couch blockbuster. Thanks to Warner Bros. choice to drop its major films on HBO Max simultaneously with their release in theaters, people now have the option to watch the monsters mash in “Godzilla vs. Kong,” not in an overpacked theater, but in the comfort and safety of their own living room.
Watching two larger-than-life characters destroy the better part of Hong Kong is a different experience at home than in full IMAX glory, but if nothing else, the nuances — or lack thereof — in the MonsterVerse gave us more insight into why not every film franchise is destined for a TV adaptation, as well as why the Marvel Cinematic Universe has a better shot at successful expansion than most.
In the case of “Godzilla vs. Kong,” it feels safe to assume that few people are excited to revisit this universe because...
Watching two larger-than-life characters destroy the better part of Hong Kong is a different experience at home than in full IMAX glory, but if nothing else, the nuances — or lack thereof — in the MonsterVerse gave us more insight into why not every film franchise is destined for a TV adaptation, as well as why the Marvel Cinematic Universe has a better shot at successful expansion than most.
In the case of “Godzilla vs. Kong,” it feels safe to assume that few people are excited to revisit this universe because...
- 4/1/2021
- by Libby Hill and Leonardo Adrian Garcia
- Indiewire
It has been more than a week since George Floyd died at the hands of a Minneapolis Police Department officer and in the days since, protests and demonstrations have developed around the world, as hundreds of thousands of people have taken to the streets in both sprawling metropolitan areas and smaller burgs to decry institutionalized racism and police brutality, and again assert that Black Lives Matter.
Even as clashes between police — and now National Guard troops — and protesters continue, with political actors offering little but empty words and/or escalation, a global pandemic continues to percolate, fueling astronomical unemployment rates and a global economic depression.
With all of those unthinkable travesties unfolding simultaneously, it becomes difficult to find the wherewithal to talk about television at any length.
But that’s also short-sighted and selling the medium short. TV, film, music, and the arts in general have always been a powerful...
Even as clashes between police — and now National Guard troops — and protesters continue, with political actors offering little but empty words and/or escalation, a global pandemic continues to percolate, fueling astronomical unemployment rates and a global economic depression.
With all of those unthinkable travesties unfolding simultaneously, it becomes difficult to find the wherewithal to talk about television at any length.
But that’s also short-sighted and selling the medium short. TV, film, music, and the arts in general have always been a powerful...
- 6/4/2020
- by Libby Hill
- Indiewire
IndieWire is pleased to introduce a new iteration of its iconic Awards Season Spotlight series, now optimized for Emmy season. The video series is presented by National Geographic.
Already an Oscar season staple, we’ve expanded the scope of the feature to entail the wilds of Peak TV. IndieWire TV Awards Editor Libby Hill and IndieWire Critic and TV Deputy Editor Ben Travers spoke with a wide variety of the season’s most vibrant and vital contenders — edited by video mastermind and IndieWire Creative Producer Leo Garcia — illuminating not just TV’s finest actors, but the writers, directors, and showrunners responsible for defining the medium.
From Jeremy Strong, who delivers the bedrock performance on which the glory of HBO’s “Succession” is built, to Pamela Adlon, whose acting, writing, direction, and showrunning fuels the auteur vision behind FX’s “Better Things,” IndieWire will boast more than 15 exclusive interviews with awards contenders,...
Already an Oscar season staple, we’ve expanded the scope of the feature to entail the wilds of Peak TV. IndieWire TV Awards Editor Libby Hill and IndieWire Critic and TV Deputy Editor Ben Travers spoke with a wide variety of the season’s most vibrant and vital contenders — edited by video mastermind and IndieWire Creative Producer Leo Garcia — illuminating not just TV’s finest actors, but the writers, directors, and showrunners responsible for defining the medium.
From Jeremy Strong, who delivers the bedrock performance on which the glory of HBO’s “Succession” is built, to Pamela Adlon, whose acting, writing, direction, and showrunning fuels the auteur vision behind FX’s “Better Things,” IndieWire will boast more than 15 exclusive interviews with awards contenders,...
- 5/11/2020
- by Libby Hill
- Indiewire
Under normal circumstances, ESPN’s documentary series “The Last Dance” would have been a success. Centered around Michael Jordan and the Chicago Bulls’ pursuit of the 1997-98 NBA Championship, the series examines both Jordan’s cultural legacy, with all the superhuman accomplishments, and the super human conflicts and complications that plagued the team and the organization from the start.
But in light of our current situation — the 10-part documentary series was originally scheduled to premiere June 23, before ESPN decided to accelerate the release date more than two months spurred by fan fervor and a shocking dearth of sports programming — “The Last Dance” has gained additional resonance. What might have once been an entertaining trip down memory lane, exploring one of basketball’s most exciting dynasties, now carries with it an urgency and communal experience usually reserved for live events and, well, sports.
For better or worse, sports serves as a foundational aspect of American culture,...
But in light of our current situation — the 10-part documentary series was originally scheduled to premiere June 23, before ESPN decided to accelerate the release date more than two months spurred by fan fervor and a shocking dearth of sports programming — “The Last Dance” has gained additional resonance. What might have once been an entertaining trip down memory lane, exploring one of basketball’s most exciting dynasties, now carries with it an urgency and communal experience usually reserved for live events and, well, sports.
For better or worse, sports serves as a foundational aspect of American culture,...
- 4/30/2020
- by Libby Hill
- Indiewire
It is, on the surface, fairly innocuous news. On Tuesday, Variety reported that Netflix had successfully petitioned the Television Academy to allow the second episode of the fifth season of “Black Mirror” to compete as a TV movie at the Emmy Awards, despite not qualifying based on its running time.
The problem with the decision has little to do with “Black Mirror” and everything to do with the Academy arbitrarily undermining its own rules and regulations.
More from IndieWire'Fiasco' Host Leon Neyfakh on the Patterns of Scandal and Making Podcasts Right Now'Extraction': Why Marvel's Go-To Stunt Coordinator Broke the Franchise Mold for His First Feature
In December 2018, during its usual annual re-evaluation of its rulebook, the TV Academy restructured the Outstanding Television Movie category to clarify that in order to qualify as a “TV movie” a submission must be at least 75 minutes long.
At the time, the change seemed to...
The problem with the decision has little to do with “Black Mirror” and everything to do with the Academy arbitrarily undermining its own rules and regulations.
More from IndieWire'Fiasco' Host Leon Neyfakh on the Patterns of Scandal and Making Podcasts Right Now'Extraction': Why Marvel's Go-To Stunt Coordinator Broke the Franchise Mold for His First Feature
In December 2018, during its usual annual re-evaluation of its rulebook, the TV Academy restructured the Outstanding Television Movie category to clarify that in order to qualify as a “TV movie” a submission must be at least 75 minutes long.
At the time, the change seemed to...
- 4/22/2020
- by Libby Hill
- Indiewire
With the pandemic and the unraveling of the global economy, the warped weather patterns spurring snowstorms in the Midwest and vicious tornados in the south, and the complete lack of sports goofs to fuel the internet’s viral video market, it’s no wonder that many Americans are streaming entertainment like it’s their day jobs.
And that’s no exaggeration. According to a new study from market research company OnePoll, while much of the country is waylaid by safer-at-home edicts, Americans are watching an average of eight hours of content per day after obtaining access to an average of four different streaming services.
More from IndieWireWhy Moviegoing May Have Changed For Good -- IndieWire's Movie PodcastQuibi vs. Quarantine: The Antithesis of the Streaming Wars -- TV Podcast
But what, exactly, are viewers hoping to get in exchange for their precious time?
It depends.
One need look only as...
And that’s no exaggeration. According to a new study from market research company OnePoll, while much of the country is waylaid by safer-at-home edicts, Americans are watching an average of eight hours of content per day after obtaining access to an average of four different streaming services.
More from IndieWireWhy Moviegoing May Have Changed For Good -- IndieWire's Movie PodcastQuibi vs. Quarantine: The Antithesis of the Streaming Wars -- TV Podcast
But what, exactly, are viewers hoping to get in exchange for their precious time?
It depends.
One need look only as...
- 4/16/2020
- by Libby Hill
- Indiewire
Well, it’s finally here.
After months of queries and quibbles and confusing commercials, Quibi, the billion-dollar brainchild of Jeffrey Katzenberg, as overseen by Meg Whitman, is here and ready to stream its initial offering of celebrity-driven content.
More from IndieWireWhy Moviegoing May Have Changed For Good -- IndieWire's Movie PodcastVirtual Press Junkets Are Happening and Could Change the Way Films Are Promoted
Quibi has built its distribution model around offering short-form content — episodes are limited to 10 minutes or less — optimized for a generation of viewers raised on viral videos and YouTube personalities. To that end, the talent Quibi has brought on board trends heavily toward the young and hip, with Chrissy Teigen hosting her own court show and Chance the Rapper resurrecting “Punk’d.” They even have a show where a mentalist breaks former NFL star Rob Gronkowski’s brain, though that seems less impressive than you’d think.
After months of queries and quibbles and confusing commercials, Quibi, the billion-dollar brainchild of Jeffrey Katzenberg, as overseen by Meg Whitman, is here and ready to stream its initial offering of celebrity-driven content.
More from IndieWireWhy Moviegoing May Have Changed For Good -- IndieWire's Movie PodcastVirtual Press Junkets Are Happening and Could Change the Way Films Are Promoted
Quibi has built its distribution model around offering short-form content — episodes are limited to 10 minutes or less — optimized for a generation of viewers raised on viral videos and YouTube personalities. To that end, the talent Quibi has brought on board trends heavily toward the young and hip, with Chrissy Teigen hosting her own court show and Chance the Rapper resurrecting “Punk’d.” They even have a show where a mentalist breaks former NFL star Rob Gronkowski’s brain, though that seems less impressive than you’d think.
- 4/9/2020
- by Libby Hill
- Indiewire
It doesn’t matter who you are or how distant your socialization has become, chances are you’ve heard of Netflix’s latest zeitgeist-capturing documentary series, “Tiger King: Murder, Mayhem and Madness.”
The limited series debuted March 20 on the streaming giant and in less than two weeks has become the internet’s latest collective obsession, spawning speculation, investigation, discreditation, and, well, memes.
More from IndieWireFinale Footage Not Found: Inside TV's New Normal — TV PodcastCarole Baskin Denies Murdering Her Husband as 'Tiger King' Theories Take Off
The appeal of “Tiger King” is largely its outlandish characters. The fact that said characters are actually real life people only intensifies their idiosyncrasies, making that much more irresistible to the literal captive audience the series has found thanks to the global pandemic.
At the center of the show is Joe Exotic, the eponymous “Tiger King,” a collector of large cats and his nemesis, animal rights activist Carole Baskin.
The limited series debuted March 20 on the streaming giant and in less than two weeks has become the internet’s latest collective obsession, spawning speculation, investigation, discreditation, and, well, memes.
More from IndieWireFinale Footage Not Found: Inside TV's New Normal — TV PodcastCarole Baskin Denies Murdering Her Husband as 'Tiger King' Theories Take Off
The appeal of “Tiger King” is largely its outlandish characters. The fact that said characters are actually real life people only intensifies their idiosyncrasies, making that much more irresistible to the literal captive audience the series has found thanks to the global pandemic.
At the center of the show is Joe Exotic, the eponymous “Tiger King,” a collector of large cats and his nemesis, animal rights activist Carole Baskin.
- 4/2/2020
- by Libby Hill
- Indiewire
On the surface, it looked like a typical Tuesday night on Twitter. There was less sports chat, of course, and the political conversations were more single-minded than usual, but for the most part, things proceeded apace. Which is to say, the Season 4 finale of NBC’s celebrated weepie “This Is Us” remained top of mind for many a TV fan, all of whom seemed to have a take on elements of the episode. Whether it was raging about a big fight or marveling over a character reveal, for a moment all was right with the world.
But soon enough the bubble burst and things returned to the still tentative new normal of the last few weeks. Too soon, both broadcast and cable TV will have to deal with the very real fallout of an industry shutdown: a lack of new material.
More from IndieWireMovie Theaters Are Closed, but What Happens When they Reopen?...
But soon enough the bubble burst and things returned to the still tentative new normal of the last few weeks. Too soon, both broadcast and cable TV will have to deal with the very real fallout of an industry shutdown: a lack of new material.
More from IndieWireMovie Theaters Are Closed, but What Happens When they Reopen?...
- 3/27/2020
- by Libby Hill
- Indiewire
Forget the Upside Down from Netflix’s “Stranger Things” — these days, the television industry is stuck in a place better described as the In-Between. Compared to last week’s deluge of announcements, cancellations and postponements now trickle in piecemeal, and while it might spur some relief to see the news cycle settle into a less volatile drone of bad news, it’s safe to say that the upcoming months hold even more disheartening headlines for an industry already hard hit by the current health crisis.
In that sense, signs are starting to emerge about the shape of things to come. On Monday, FX announced it had indefinitely delayed the Season 4 premiere of the critically-acclaimed limited series “Fargo” because of the intractable halt in production that has arisen in recent weeks. The decision means the show has been edged out of this year’s Emmy race, given the already late-in-the-game April...
In that sense, signs are starting to emerge about the shape of things to come. On Monday, FX announced it had indefinitely delayed the Season 4 premiere of the critically-acclaimed limited series “Fargo” because of the intractable halt in production that has arisen in recent weeks. The decision means the show has been edged out of this year’s Emmy race, given the already late-in-the-game April...
- 3/18/2020
- by Libby Hill
- Indiewire
Hour by hour the news rolls in as Hollywood self-isolates readying for the public health crisis that is coronavirus (Covid-19). As upcoming events and productions shift in the hopes of bypassing the illness entirely, television’s Emmy season has no such option.
There’s no significant way that the Television Academy can time-shift an event that spans nearly seven months, so in the meantime the industry is taking things step-by-step, keeping careful eye on shifting opinions at the Cdc and determined to do right by its membership.
More from IndieWireEmmy Predictions 2020: Best Comedy SeriesEmmy Predictions 2020: Best Drama Series
Though it may not look like it for those outside of the industry, For Your Consideration season is a vital part of the awards process, an opportunity for networks and production companies to boost their content in the eyes of both Emmy voters, but also consumers, both of whom benefit...
There’s no significant way that the Television Academy can time-shift an event that spans nearly seven months, so in the meantime the industry is taking things step-by-step, keeping careful eye on shifting opinions at the Cdc and determined to do right by its membership.
More from IndieWireEmmy Predictions 2020: Best Comedy SeriesEmmy Predictions 2020: Best Drama Series
Though it may not look like it for those outside of the industry, For Your Consideration season is a vital part of the awards process, an opportunity for networks and production companies to boost their content in the eyes of both Emmy voters, but also consumers, both of whom benefit...
- 3/12/2020
- by Libby Hill
- Indiewire
When “True Detective” skulked onto the television scene in January 2014, viewers were seduced by the show’s unconventional spin on the typical detective two-hander. Anchored by titanic performances from Matthew McConaughey and Woody Harrelson and innovative direction from Cary Fukunaga (who won an Emmy Award for his efforts), the series subverted the traditional crime drama by infusing heavy doses of spirituality, philosophy, and Lovecraftian horror into one neat little package.
The TV Academy loved it, with the first season of the show garnering 12 Emmy nominations and five victories. And while the series has had ups and (significant) downs in the two non-supernaturally tinged seasons since, it has never again captured the zeitgeist like it did with its debut.
Enter “The Outsider.”
An adaptation of the Stephen King novel of the same name, the new thriller presents itself in early episodes as a by-the-numbers cop drama, before shifting focus to something far more insidious.
The TV Academy loved it, with the first season of the show garnering 12 Emmy nominations and five victories. And while the series has had ups and (significant) downs in the two non-supernaturally tinged seasons since, it has never again captured the zeitgeist like it did with its debut.
Enter “The Outsider.”
An adaptation of the Stephen King novel of the same name, the new thriller presents itself in early episodes as a by-the-numbers cop drama, before shifting focus to something far more insidious.
- 3/5/2020
- by Libby Hill
- Indiewire
I remember when extra-long TV episodes were a selling point. If “The X-Files” was airing a two-hour “television event,” Fox would lead its promos with the upped runtime. Finales were given extra gravitas with extended episodes, and sweeps week was filled with mega entries of each network’s highest-rated shows. “Longer” was meant to equal “better,” even though the motivation for most of these episodes was based in selling more ads around a popular program, rather than the program’s creators begging for more time.
Nevertheless, the “longer=better” concept has cemented itself in the minds of not only TV viewers (as those ads intended), but many of today’s TV creators, as well. Even when ads are a non-factor — like series on premium cable and streaming — there’s an abundance of flagrant offenders. Shows like Amazon Prime’s “Hunters” (which starts with a 90-minute pilot), HBO’s “The Outsider...
Nevertheless, the “longer=better” concept has cemented itself in the minds of not only TV viewers (as those ads intended), but many of today’s TV creators, as well. Even when ads are a non-factor — like series on premium cable and streaming — there’s an abundance of flagrant offenders. Shows like Amazon Prime’s “Hunters” (which starts with a 90-minute pilot), HBO’s “The Outsider...
- 2/26/2020
- by Ben Travers
- Indiewire
For all intents and purposes, we’re currently stuck in the content desert of the annual TV cycle. Too early for most heavy-duty Emmy contenders to premiere, too late for the end-of-the-year release rush to qualify for the guild and Golden Globe awards.
That’s not to say that quality programming is entirely absent from the queue — with Amazon’s “Hunters” dropping February 21 and FX on Hulu’s “Devs” premiering March 5 — but for the most part, the current TV vibe is to lay low, play catch-up, watch screeners, and prepare for the onslaught that is the final quarter of the Emmy eligibility calendar.
Of course, if the thought of trying to clean out your DVR is too daunting or you just can’t bring yourself to sit down and engage with the brilliant, but excruciating, historical horror of series including “Chernobyl” or “When They See Us,” it’s only natural...
That’s not to say that quality programming is entirely absent from the queue — with Amazon’s “Hunters” dropping February 21 and FX on Hulu’s “Devs” premiering March 5 — but for the most part, the current TV vibe is to lay low, play catch-up, watch screeners, and prepare for the onslaught that is the final quarter of the Emmy eligibility calendar.
Of course, if the thought of trying to clean out your DVR is too daunting or you just can’t bring yourself to sit down and engage with the brilliant, but excruciating, historical horror of series including “Chernobyl” or “When They See Us,” it’s only natural...
- 2/21/2020
- by Libby Hill
- Indiewire
Hollywood is a tough town. Some nights you’re up and some mornings you’re down. So it went for the 2020 Academy Awards, which offered thrilling Oscar firsts Sunday night — with Bong Joon-Ho and “Parasite” taking home four awards, including Best Picture — but on Monday morning, the party was over. An absolutely abysmal ratings report revealed that the host-less ceremony earned an all-time low in ratings, averaging 23.6 million viewers, down from last year’s already rough viewership numbers of 29.6 million.
The Oscars aren’t alone when it comes to falling ratings. In September, the Primetime Emmy Awards aired its lowest-rated ceremony since the organization began tracking the numbers in 1990, with around 6.9 million viewers tuning to to watch another host-less show. Last month, the Grammy Awards saw its smallest audience in 12 years, drawing approximately 18.7 million viewers.
There are definitely ways that the Oscars telecast could logically retool to grow its audience.
The Oscars aren’t alone when it comes to falling ratings. In September, the Primetime Emmy Awards aired its lowest-rated ceremony since the organization began tracking the numbers in 1990, with around 6.9 million viewers tuning to to watch another host-less show. Last month, the Grammy Awards saw its smallest audience in 12 years, drawing approximately 18.7 million viewers.
There are definitely ways that the Oscars telecast could logically retool to grow its audience.
- 2/13/2020
- by Libby Hill
- Indiewire
Midway through the Season 3 premiere of Netflix’s “BoJack Horseman”, the eponymous lead sits in a bar, reluctantly playing the publicity game forced on all Hollywood creatives when it comes time to hype their projects. In BoJack’s case, he’s promoting his upcoming film, where he stars as Secretariat, and is consequently courting the affections of the press, all the better to fuel his Oscar hopes.
If you have even a vague familiarity with the series, it will come as no surprise that BoJack isn’t at his finest when being interviewed, and the grind of a publicity tour is clearly wearing him down. So when the reporter asks him what’s in the works for him in the future, the prickly horse is pretty exasperated in response.
“What do you mean, ‘What’s next?’ Why does everything have to have a next?” he asks, beginning to panic.
It...
If you have even a vague familiarity with the series, it will come as no surprise that BoJack isn’t at his finest when being interviewed, and the grind of a publicity tour is clearly wearing him down. So when the reporter asks him what’s in the works for him in the future, the prickly horse is pretty exasperated in response.
“What do you mean, ‘What’s next?’ Why does everything have to have a next?” he asks, beginning to panic.
It...
- 2/6/2020
- by Libby Hill
- Indiewire
It’s been more than 30 years since Steven Soderbergh’s “Sex, Lies, and Videotape” (despite eschewing the Oxford comma) took the Cannes Film Festival by storm, winning the Palme d’Or and upending the independent film scene as the world knew it. In the decades since, particularly since the transformation of TV’s image into a medium capable of producing art that meets — or succeeds — that of cinema, a conversation has sprouted up around the idea of independent TV and the feasibility of fostering an environment that showcases talented creators anxious to break into the industry, without the backing from Hollywood’s deep pockets.
To aid their collective credit, several establish film festivals have attempted to incorporate independent TV into their lineups, with varying degrees of success. Showtime’s brilliant “Work in Progress” started as a Sundance submission in 2018 and eventually became the platonic ideal for an independent pilot: Get funding,...
To aid their collective credit, several establish film festivals have attempted to incorporate independent TV into their lineups, with varying degrees of success. Showtime’s brilliant “Work in Progress” started as a Sundance submission in 2018 and eventually became the platonic ideal for an independent pilot: Get funding,...
- 1/31/2020
- by Libby Hill
- Indiewire
Sunday, January 19, 2020 will forever be a red letter day in Apple history, marking both the first time the tech giant hosted a day of panels at the Television Critics Association Press Tour, as well as the first major award victory for Apple TV+ — in the form Jennifer Aniston’s Screen Actors Guild Award win for Outstanding Performance by a Female Actor in a Drama Series, thanks to her work on “The Morning Show.”
Strange as it may sound, the accomplishments mark two benchmarks for the fledgling streaming service, expediting its journey toward legitimacy and bringing it one step closer to becoming a major player on the ever-expanding television landscape.
That said, the path so far hasn’t been without its bumps, specifically related to “The Morning Show.”
The streamer opted to panel its flagship original series at TCA, despite not having new material to share or a willingness to discuss...
Strange as it may sound, the accomplishments mark two benchmarks for the fledgling streaming service, expediting its journey toward legitimacy and bringing it one step closer to becoming a major player on the ever-expanding television landscape.
That said, the path so far hasn’t been without its bumps, specifically related to “The Morning Show.”
The streamer opted to panel its flagship original series at TCA, despite not having new material to share or a willingness to discuss...
- 1/24/2020
- by Libby Hill
- Indiewire
It’s the least wonderful time of the year: The bi-annual Television Critics Association Press Tour. Every January and July, entertainment journalists gather in an refrigerated hotel ballroom to listen to TV content creators pitch their wares in the most uninspiring flea market ever cobbled together.
For the most part, the press tour is a relic of days gone by: An occasion for journalists around the country to travel to California and learn what was on tap for the next six months in television. It was an opportunity to get access to executives and talent not otherwise available and allowed critics to garner material they’d need for stories in the months to come.
Nowadays, the purpose of press tour is more murky. With the advent of better telecommunications, interviews are easier to come by, no matter where you live, and most of the information being disseminated by the networks...
For the most part, the press tour is a relic of days gone by: An occasion for journalists around the country to travel to California and learn what was on tap for the next six months in television. It was an opportunity to get access to executives and talent not otherwise available and allowed critics to garner material they’d need for stories in the months to come.
Nowadays, the purpose of press tour is more murky. With the advent of better telecommunications, interviews are easier to come by, no matter where you live, and most of the information being disseminated by the networks...
- 1/16/2020
- by Libby Hill
- Indiewire
It is with a huge sigh of relief that we can officially relegate the 2020 Golden Globes to the past and shift focus to the many (many) remaining awards ceremonies that the year (and month) has to offer. That’s not to say that there aren’t lessons to be learned from the 77th Golden Globes, particularly for this year’s Emmy Awards.
Perhaps that seems premature, but ABC would disagree with you. The broadcast house of Mouse announced during president Karey Burke’s introductory speech at the network’s TCA Winter Press Tour session that the Emmys would air live, coast-to-coast, from 8-11 p.m. Et / 5-8 p.m. Pt on Sunday, September 20, 2020. The ceremony will again take place at the Microsoft Theater at La Live in beautiful downtown Los Angeles, with a possible host and producers of the show to be announced at a later date.
While such deliberations are still underway,...
Perhaps that seems premature, but ABC would disagree with you. The broadcast house of Mouse announced during president Karey Burke’s introductory speech at the network’s TCA Winter Press Tour session that the Emmys would air live, coast-to-coast, from 8-11 p.m. Et / 5-8 p.m. Pt on Sunday, September 20, 2020. The ceremony will again take place at the Microsoft Theater at La Live in beautiful downtown Los Angeles, with a possible host and producers of the show to be announced at a later date.
While such deliberations are still underway,...
- 1/9/2020
- by Libby Hill
- Indiewire
We’re just a handful of days into (arguably) a new decade and already the Golden Globes sit poised to shake things up on the television landscape.
But then, the ceremony organized by the Hollywood Foreign Press Association (HFPA) is always ready and willing to recognize shows that other institutions have no time or interest in celebrating, for better or worse.
With Sunday’s Golden Globes ceremony looming, the crew at “Millions of Screens” opted to take a good, long look at the TV categories in an attempt to discern which shows might win, which shows might surprise, but more importantly, which shows most need the traction a win at the Golden Globes can offer.
At the top of the list comes Apple TV+ series “The Morning Show,” a series that appeared tailor-made to be HFPA bait, what with its high-caliber cast including Jennifer Aniston and Reese Witherspoon — both of...
But then, the ceremony organized by the Hollywood Foreign Press Association (HFPA) is always ready and willing to recognize shows that other institutions have no time or interest in celebrating, for better or worse.
With Sunday’s Golden Globes ceremony looming, the crew at “Millions of Screens” opted to take a good, long look at the TV categories in an attempt to discern which shows might win, which shows might surprise, but more importantly, which shows most need the traction a win at the Golden Globes can offer.
At the top of the list comes Apple TV+ series “The Morning Show,” a series that appeared tailor-made to be HFPA bait, what with its high-caliber cast including Jennifer Aniston and Reese Witherspoon — both of...
- 1/3/2020
- by Libby Hill
- Indiewire
We live in an age of adaptations and endings, two unique narrative challenges which too often lead to disappointment, particularly for the most ardent and dedicated of fans. So it was no wonder that “Watchmen” showrunner Damon Lindelof — co-creator of “Lost,” which features one of the most controversial series finales of all time — was a little nervous about how audiences would receive the final episode of the HBO series, adapted from the iconic comic book series by Alan Moore.
Those fears were ultimately for naught, as the episode was roundly acclaimed as a fitting end to a sterling season of television, but given his relationship with finales you can hardly blame him. Because Lindelof and his team stuck the landing, it’s worth looking at their methodology in adapting Moore’s series to learn more about what works when you’re crafting a story that needs to serve two masters...
Those fears were ultimately for naught, as the episode was roundly acclaimed as a fitting end to a sterling season of television, but given his relationship with finales you can hardly blame him. Because Lindelof and his team stuck the landing, it’s worth looking at their methodology in adapting Moore’s series to learn more about what works when you’re crafting a story that needs to serve two masters...
- 12/18/2019
- by Libby Hill
- Indiewire
It’s been several days since the Hollywood Foreign Press Association announced its Golden Globe television nominations, but they aren’t sitting any better now than when they first surfaced.
Neither time nor distance has dulled the sting of the organization wholesale dismissing the work of Ava DuVernay’s Netflix limited series “When They See Us,” including the Emmy-winning performance of Jharrel Jerome. It’s also still painful to think about how with 30 acting spots available, the HFPA managed to only nominate three people of color — Rami Malek for USA’s “Mr. Robot,” Billy Porter for FX’s “Pose,” and Ramy Youssef for Hulu’s “Ramy.”
Instead, the Golden Globes opted to celebrate actors who are already familiar with accolades, thanks to their years spent on the red carpet circuit. Oscar-winners and Hollywood heavyweights were all over the TV nominations, creating a weird, insider version of six-degrees of separation. Alan Arkin...
Neither time nor distance has dulled the sting of the organization wholesale dismissing the work of Ava DuVernay’s Netflix limited series “When They See Us,” including the Emmy-winning performance of Jharrel Jerome. It’s also still painful to think about how with 30 acting spots available, the HFPA managed to only nominate three people of color — Rami Malek for USA’s “Mr. Robot,” Billy Porter for FX’s “Pose,” and Ramy Youssef for Hulu’s “Ramy.”
Instead, the Golden Globes opted to celebrate actors who are already familiar with accolades, thanks to their years spent on the red carpet circuit. Oscar-winners and Hollywood heavyweights were all over the TV nominations, creating a weird, insider version of six-degrees of separation. Alan Arkin...
- 12/12/2019
- by Libby Hill
- Indiewire
It’s finally December, that magical time of year when Hollywood boards up its windows, hands the keys over to Star Wars, and vacates the greater Los Angeles metropolitan area until the Golden Globes ceremony on Jan. 5.
But the real blessing (or curse) of a given year’s end is the opportunity for every Tom, Dick, and Harriet with access to an outlet to post their final, definitive rankings of, well, any pop culture product in the form of a top 10 list.
In a year like 2019, the prospect of perusing all those lists can be daunting, especially given the fact that it’s not only the end of the year, but the end of the decade. So why bother? If you’re plugged into pop culture, surely you’ve been following along all year and already have your fingers firmly on the pulse of what’s cool and what’s crap.
But the real blessing (or curse) of a given year’s end is the opportunity for every Tom, Dick, and Harriet with access to an outlet to post their final, definitive rankings of, well, any pop culture product in the form of a top 10 list.
In a year like 2019, the prospect of perusing all those lists can be daunting, especially given the fact that it’s not only the end of the year, but the end of the decade. So why bother? If you’re plugged into pop culture, surely you’ve been following along all year and already have your fingers firmly on the pulse of what’s cool and what’s crap.
- 12/5/2019
- by Libby Hill
- Indiewire
As the year (and the decade) draw to a close, there’s never been a better time to sit back and appreciate the multitude of gifts that television has bestowed upon us in 2019.
But for as wonderful as it’s been to behold the pleasures of Amazon Prime’s “Fleabag” and Netflix’s “Russian Doll” or bid fond farewell to HBO’s power pairing of “Game of Thrones” and “Veep,” all the gratitude that audiences have for the medium ultimately boils down to a single, regrettable sentiment: Thank goodness for too much TV.
In this week’s episode of IndieWire’s TV industry podcast “Millions of Screens,” TV Deputy Editor Ben Travers makes the case for fans of every stripe — even beleaguered Hollywood-types and burned-out entertainment journalists — to thank their lucky stars for the sheer breadth of content available at their fingertips.
Travers makes a good point. For as exhausting...
But for as wonderful as it’s been to behold the pleasures of Amazon Prime’s “Fleabag” and Netflix’s “Russian Doll” or bid fond farewell to HBO’s power pairing of “Game of Thrones” and “Veep,” all the gratitude that audiences have for the medium ultimately boils down to a single, regrettable sentiment: Thank goodness for too much TV.
In this week’s episode of IndieWire’s TV industry podcast “Millions of Screens,” TV Deputy Editor Ben Travers makes the case for fans of every stripe — even beleaguered Hollywood-types and burned-out entertainment journalists — to thank their lucky stars for the sheer breadth of content available at their fingertips.
Travers makes a good point. For as exhausting...
- 11/28/2019
- by Libby Hill
- Indiewire
Paul Rudd, he’ll have you know, is not a method actor. But that didn’t stop the “Living With Yourself” star from exhibiting a few character-specific traits — when the cameras weren’t rolling — during production on the new Netflix series.
The show centers around a burnt-out, dissatisfied suburbanite named Miles Elliot (Rudd) who attempts to get his mojo back via a strip mall massage parlor. Instead, Miles finds himself with a significantly unhappy ending, waking in a shallow grave and discovering he’s been replaced by, well, himself.
Created by Tim Greenberg and helmed by “Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris, the show serves as a perfect showcase for Rudd to display both the breadth and depth of his acting ability, playing two similar, but different versions of Miles throughout the first season’s eight episodes.
Rudd, Dayton, and Faris sat down with the hosts of...
The show centers around a burnt-out, dissatisfied suburbanite named Miles Elliot (Rudd) who attempts to get his mojo back via a strip mall massage parlor. Instead, Miles finds himself with a significantly unhappy ending, waking in a shallow grave and discovering he’s been replaced by, well, himself.
Created by Tim Greenberg and helmed by “Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris, the show serves as a perfect showcase for Rudd to display both the breadth and depth of his acting ability, playing two similar, but different versions of Miles throughout the first season’s eight episodes.
Rudd, Dayton, and Faris sat down with the hosts of...
- 11/20/2019
- by Libby Hill
- Indiewire
Another day, another new player to the streaming game. This time it’s Disney+ entering the fray, with the service making its Tuesday debut to great acclaim, save for a few logistical errors we’ll dig into in a moment.
It was a stark departure from the launch of Apple TV+ just two weeks prior, wherein the tech giant’s foray into both streaming and original programming registered more as a blip on the radar, but there’s reason enough for that. While Apple was holding a grand opening for its small shop of (billion-dollar) wares, Disney was throwing open the doors of a massive warehouse club, where your annual subscription would not only allow you access to new content but also Disney’s beloved library, with the ability to transport you back to a carefree past when Hayley Mills (or Hilary Duff) was a star and animated movies could be as racist as they pleased.
It was a stark departure from the launch of Apple TV+ just two weeks prior, wherein the tech giant’s foray into both streaming and original programming registered more as a blip on the radar, but there’s reason enough for that. While Apple was holding a grand opening for its small shop of (billion-dollar) wares, Disney was throwing open the doors of a massive warehouse club, where your annual subscription would not only allow you access to new content but also Disney’s beloved library, with the ability to transport you back to a carefree past when Hayley Mills (or Hilary Duff) was a star and animated movies could be as racist as they pleased.
- 11/14/2019
- by Libby Hill
- Indiewire
After a hard morning yesterday of having my iPhone repeatedly passive-aggressively autocorrect “baby Yoda” to “baby Yoga”, I have put “The Mandalorian” behind me. This is how you survive in the thin air at the summit of Peak TV. You argue about a verdant mogwai lookalike for five hours, and then you click over to watch something else.
So with over 600 movies and TV shows available on Disney+ after yesterday’s launch, what did people watch? Hard numbers on streaming services are very few and very far between — according to Variety, data from research firm Apptopia reveals that the Disney+ mobile app was downloaded 3.2 million times, but there are a couple big caveats to that number; it’s ultimately an educated guess. With everything up in the air until Disney decides to release some numbers itself, I set up an informal poll among the team at IndieWire to see what...
So with over 600 movies and TV shows available on Disney+ after yesterday’s launch, what did people watch? Hard numbers on streaming services are very few and very far between — according to Variety, data from research firm Apptopia reveals that the Disney+ mobile app was downloaded 3.2 million times, but there are a couple big caveats to that number; it’s ultimately an educated guess. With everything up in the air until Disney decides to release some numbers itself, I set up an informal poll among the team at IndieWire to see what...
- 11/13/2019
- by Ann Donahue
- Indiewire
IndieWire is keeping with tradition this Oscar season and launching our annual Awards Season Spotlight series this month. The video series is presented by Apple TV+. IndieWire Editor at Large and awards analysts Anne Thompson talked to a fantastic range of talent — shot by IndieWire Creative Producer Leo Garcia — covering some of the season’s top filmmaking and acting contenders. From Oscar winner Charlize Theron, who is back in the Best Actress race for playing Megyn Kelly in “Bombshell,” to writer-director Taika Waititi, whose “Jojo Rabbit” became a top Oscar contender when it won the People’s Choice Award at Tiff, IndieWire will unveil more than 15 exclusive interviews with awards contenders leading up to Oscar voting.
The full list of IndieWire Awards Season Spotlight participants follows. Click here to see all of the interviews.
Antonio Banderas, “Pain and Glory”
Bong Joon Ho, “Parasite”
Willem Dafoe, “The Lighthouse”
Matt Damon and James Mangold,...
The full list of IndieWire Awards Season Spotlight participants follows. Click here to see all of the interviews.
Antonio Banderas, “Pain and Glory”
Bong Joon Ho, “Parasite”
Willem Dafoe, “The Lighthouse”
Matt Damon and James Mangold,...
- 11/12/2019
- by Zack Sharf
- Indiewire
It’s easy to assume that with the launch of Disney+ on November 12, the streaming wars will have reached a plateau, allowing consumers to recalibrate their lives in order to make room for Jennifer Aniston and Apple TV+, as well as the luxury of having the Marvel Cinematic Universe at their fingertips.
But any sort of ceasefire is sure to be temporary, as 2020 promises even more competitors in the streaming game, including NBC’s Peacock and WarnerMedia Entertainment’s prestigious — if confusing — HBO Max. And while you’d think the quest for supremacy in the digital age would come down to things like quality of programming and appeal to audience, the truth is that for all the millions, nay, billions being thrown around behind the scenes at these global corporations, the make or break reality is that the streaming battles will likely come down to a matter of dollars and cents.
But any sort of ceasefire is sure to be temporary, as 2020 promises even more competitors in the streaming game, including NBC’s Peacock and WarnerMedia Entertainment’s prestigious — if confusing — HBO Max. And while you’d think the quest for supremacy in the digital age would come down to things like quality of programming and appeal to audience, the truth is that for all the millions, nay, billions being thrown around behind the scenes at these global corporations, the make or break reality is that the streaming battles will likely come down to a matter of dollars and cents.
- 11/6/2019
- by Libby Hill
- Indiewire
To hear social media tell it, the debut of HBO’s “Watchmen” could not have gone better, with viewers thrilled by the audacity of the storytelling and intrigued by the fact that the series was not what they anticipated prior to watching.
From within that very specific prestige TV bubble, it felt as though every person in the world — or every person who mattered — was watching the show as it aired; proof positive that watercooler watching did not die with “Game of Thrones” and that there was hope yet for the collective viewing experience.
And then the ratings were released.
It’s not that the numbers for “Watchmen” were bad. (They weren’t.) But it’s also not that the numbers were good. (They weren’t.) It’s that the numbers, like almost any ratings in the streaming era, were inscrutable.
According to HBO, 1.5 million people watched the premiere across...
From within that very specific prestige TV bubble, it felt as though every person in the world — or every person who mattered — was watching the show as it aired; proof positive that watercooler watching did not die with “Game of Thrones” and that there was hope yet for the collective viewing experience.
And then the ratings were released.
It’s not that the numbers for “Watchmen” were bad. (They weren’t.) But it’s also not that the numbers were good. (They weren’t.) It’s that the numbers, like almost any ratings in the streaming era, were inscrutable.
According to HBO, 1.5 million people watched the premiere across...
- 10/23/2019
- by Libby Hill
- Indiewire
Batten down the hatches and ready your binge bunkers because the streaming wars are starting in earnest.
By November 15, two of the most profitable companies in America will have made their first forays into the streaming television space; with the launch of Apple TV+ and Disney+, the digital entertainment game may never be the same.
But don’t let the similar names fool you. The strategies used by the tech behemoth and the entertainment giant couldn’t be more different, given how each is sweet-talking subscribers with their wares. It’s only a matter of time before we discover which, if any, strategy proves to be the best way to build a customer base.
First into the ring is Apple TV+, debuting November 1 and priced at $4.99 per month, with plans to present eight original series upon launch, in addition to documentary film “The Elephant Queen.” That said, don’t expect...
By November 15, two of the most profitable companies in America will have made their first forays into the streaming television space; with the launch of Apple TV+ and Disney+, the digital entertainment game may never be the same.
But don’t let the similar names fool you. The strategies used by the tech behemoth and the entertainment giant couldn’t be more different, given how each is sweet-talking subscribers with their wares. It’s only a matter of time before we discover which, if any, strategy proves to be the best way to build a customer base.
First into the ring is Apple TV+, debuting November 1 and priced at $4.99 per month, with plans to present eight original series upon launch, in addition to documentary film “The Elephant Queen.” That said, don’t expect...
- 10/17/2019
- by Libby Hill
- Indiewire
Exclusive: The Phoenix-based sales agent will represent worldwide rights to Patrick Kennelly’s SXSW psychological thriller.
Midnight Releasing will handle North American distribution in early 2016 on the story of a woman who imprisons her roommate in their apartment in a twisted attempt to bring them closer together. Bethany Orr and Mary Loveless star
Kennelly and Sigrid Gilmer co-wrote the screenplay to Excess Flesh and Leo Garcia produced.
The film premiered earlier this year at SXSW and screened recently at Fantasia. It is scheduled to play the touring Fantasy FilmFest in Germany.
“Through Acort International’s film distribution outlets worldwide including Midnight Releasing and Brain Damage Films here in the Us, Excess Flesh will have the best chance in reaching audiences globally hungry for this type of psychothriller,” said executive producer Dennis Garcia of Walking To The Moon Productions. “We are thrilled to be part of this team.”
“Acort International is very excited to be working with director...
Midnight Releasing will handle North American distribution in early 2016 on the story of a woman who imprisons her roommate in their apartment in a twisted attempt to bring them closer together. Bethany Orr and Mary Loveless star
Kennelly and Sigrid Gilmer co-wrote the screenplay to Excess Flesh and Leo Garcia produced.
The film premiered earlier this year at SXSW and screened recently at Fantasia. It is scheduled to play the touring Fantasy FilmFest in Germany.
“Through Acort International’s film distribution outlets worldwide including Midnight Releasing and Brain Damage Films here in the Us, Excess Flesh will have the best chance in reaching audiences globally hungry for this type of psychothriller,” said executive producer Dennis Garcia of Walking To The Moon Productions. “We are thrilled to be part of this team.”
“Acort International is very excited to be working with director...
- 8/18/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.