Betting the House AT&T TAKES a $4 BILLION GAMBLE on HBO MAX

Betting the House AT&T TAKES A $4 BILLION GAMBLE ON HBO MAX

BY CYNTHIA LITTLETON

AND DANIEL HOLLOWAY PLUS Anita Hill Exclusive TLC’s Howard Lee New Jason Isbell Album

MAY 13, 2020 US $9.99 JAPAN ¥1280 CANADA $11.99 CHINA ¥80 UK £ 8 HONG KONG $95 EUROPE €9 RUSSIA 400 AUSTRALIA $14 INDIA 800 AFTER SHOW

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AFTER-SHOW AIRS ON VARIETY’S INSTAGRAM LIVE FOLLOWING NEW EPISODES OF HIT TV SERIES P.2 6 CONTENTS Maximum Overdrive WarnerMedia is charging ahead with its ambitious streaming service HBO Max. By CYNTHIA LITTLETON and DANIEL HOLLOWAY

P.3 4 Finding His Rhythm Genre-defying singer-songwriter Jason Isbell, right, hones his message in new album “Reunion.” By CHRIS WILLMAN

P.4 0 Calculated Risk Taker Howard Lee keeps TLC on top by embracing over-the-top shows that challenge its viewers. By DANIEL D’ADDARIO (COVER) ILLUSTRATION BY IRENA GAJIC; (THIS PAGE) PHOTOGRAPH BY ALYSSE GAFKJEN ALYSSE BY PHOTOGRAPH (THIS PAGE) IRENA GAJIC; BY ILLUSTRATION (COVER)

VARIETY 3 CONTENTS P.4 3

Variety looks at location hot spots anticipating a spike in business as lockdown restrictions TOP BILLING start to ease

11 ROUGH ROAD AHEAD Media giants face tough decisions in the coronavirus- battered economy

17 GAME FOR ANYTHING Some quirky sports are lining up to fill the void left by live televised events

19 IN THE RUNNING There are several excellent reasons why we should still have the Emmys this year

20 THE BIG TICKET How Amit Rahav learned Yiddish in a few weeks for Netflix’s “Unorthodox”

EXPOSURE

ALSO 21 DEVOUR INSIDE Check out Kristen Stewart’s turn as “Seberg,” which lands on Amazon Prime this week 8 24 DIRT FIELD NOTES Kelly Clarkson puts Encino Musings property on the market on hot topics

9 PLUGGED IN FOCUS What’s trending at Variety.com

48 VARIETY ARCHIVES P.2 3 A look back at World War II via the showbiz bible’s lens Vanna White turns Valley ARTISANS home into upscale rental

53 PUTTING ON THE DOG Animators bring “Scooby-Doo” universe to life in a new way for origin tale “Scoob!”

54 THE ROYAL TREATMENT Design team creates a world fit for an empress for new Hulu series “The Great” P.5 7 55 ‘DANCE’ CARD The post crew shares how it finished the Michael Jordan “Capone” docu-series during lockdown review

“One of the bits of misdirection in the REVIEWS show is that it’s a murder mystery: That is the inciting incident, but it ends up being a show that’s a lot 57 FILM more about the politics of scarcity “Capone” and how does this society function with limited resources.” 59 TV Daveed Diggs on his new TNT series “Snowpiercer” “Snowpiercer,” “The Great” P.62 LOCATION: PHOTOGRAPH BY ALEX GITMAN; CAPONE: ALAN MARKFIELD/VERTICAL ENTERTAINMENT; SNOWPIERCER: JUSTINA MINTZ/TNT JUSTINA SNOWPIERCER: ENTERTAINMENT; ALAN MARKFIELD/VERTICAL ALEX GITMAN; CAPONE: BY PHOTOGRAPH LOCATION:

4 VARIETY An Exclusive Screening of

WEDNESDAY, MAY 27 5PM PDT / 8 PM EDT

Plus Q+A with series stars, Matthew Macfadyen, Sian Clifford, Michael Sheen and writer & executive producer, James Graham

Moderated by MICHAEL SCHNEIDER Senior Editor, TV Awards, Variety

GROUP PUBLISHER & CHIEF REVENUE OFFICER

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6 VARIETY Rebooting the Entertainment Industry

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Episode 2: Thoughtful Audience Engagement Panelists will discuss how entertainment companies are rolling out service-ﬁrst engagement strategies, such as free trial subscriptions and early at-home ﬁlm releases, and explore how brands build meaningful audiences for their platforms in an uncertain consumer environment.

TUESDAY MAY 19 10 AM PDT / 1 PM EDT

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Jennifer Howard Group Director, Entertainment, Technology & Connectivity, Facebook

Katie Soo SVP, Head of Growth Marketing, HBO Max

MODERATED BY Elaine Low Senior TV Writer, Variety

UPCOMING EPISODES Episode 3: The New Challenge of Content Production & Distribution May 26 Episode 4: The Future of Sports and Live Events June 2 Episode 5: The Outlook for Future Growth June 9 FIELD NOTES

VARIETY IS OWNED & PUBLISHED Reopening Theme BY PENSKE MEDIA CORPORATION Jay Penske Parks? Not So Fast CHAIRMAN & CEO

GEORGE GROBAR CHIEF OPERATING OFFICER I’M TERRIFIED that entertainment globe to follow suit, including Dis- GERRY BYRNE venues are starting to reopen way neyland in Anaheim and Disney VICE CHAIRMAN SARLINA SEE too soon. World in Orlando. On the media CHIEF ACCOUNTING OFFICER So news that tickets were sold giant’s recent earnings call, the CRAIG PERREAULT out within hours in advance of company said there was “lim- EVP, BUSINESS DEVELOPMENT TODD GREENE Shanghai Disneyland going back ited visibility” on when the parks EVP, BUSINESS AFFAIRS & GENERAL to business this week really shook in California and Florida would COUNSEL DEBASHISH GHOSH me. Of course I get the enor- reopen, but the first possible res- MANAGING DIRECTOR, mous pent-up demand for good ervations date is July 1. INTERNATIONAL MARKETS old-fashioned fun outside the Universal Studios has extended JENNY CONNELLY SVP, PRODUCT home given the absence of that the closures of its theme parks KEN DELALCAZAR kind of in-person escapism we’re and CityWalks in L.A. and Orlando SVP, FINANCE all deprived of as lock-ins. until May 31 due to ongoing con- TOM FINN SVP, OPERATIONS And yes, the park reopened cerns about the pandemic. Again, NELSON ANDERSON under Chinese government guide- given how that’s just weeks away, VP, CREATIVE lines that limit the capacity to it’s too risky to potentially expose JONI ANTONACCI VP, PRODUCTION OPERATIONS 24,000 people a day and require visitors and workers to the virus. REBECCA BIENSTOCK guests to get temperature checks, On May 12, Dr. Anthony Fauci, a VP, TALENT RELATIONS social distance, wear masks and key member of the White House’s GERARD BRANCATO take other safety precautions. coronavirus task force, testified VP, PMC DIGITAL ACQUISTION JACIE BRANDES But, it still makes me very anx- in Senate hearings that reopening VP, PORTFOLIO SALES ious that large public gatherings the country too early could have ANNE DOYLE (24,000 is a lot of people!) are now “really serious” consequences. VP, HR MARA GINSBERG being deemed safe enough when Fauci also said he thinks that it’s VP, HR “It makes me the continued spread and likely “entirely conceivable and possi- YOUNG KO very anxious resurgence of COVID-19 in many ble” that there will be a second VP, FINANCE parts of the world still pose huge wave of the virus. The head of the GABRIEL KOEN that large public VP, TECHNOLOGY potential health risks without a CDC, Dr. Robert Redfield, also told gatherings KEVIN LABONGE vaccine in sight. senators: “We’re not out of the VP, GLOBAL PARTNERSHIPS & LICENSING are now being Currently, the number of woods yet.” NOEMI LAZO deemed safe VP, CUSTOMER EXPERIENCE worldwide reported COVID-19 AND MARKETING OPERATIONS enough when the cases exceeds 4 million, with BRIAN LEVINE VP, REVENUE OPERATIONS spread and likely 285,000 deaths, 82,000 of which resurgence JUDITH R. MARGOLIN are in the U.S. VP, DEPUTY GENERAL COUNSEL of COVID-19 The reopening of Shanghai Dis- JULIE TRINH still pose huge neyland will at some not-so-dis- VP, GLOBAL TAX LAUREN UTECHT potential tant point lead the way for Claudia Eller VP, HR & CORPORATE COMMUNICATIONS health risks.” Disney’s other parks around the Editor-in-Chief MIKE YE VP, STRATEGIC PLANNING & ACQUISITIONS CHRISTINA YEOH VP, TECHNICAL OPERATIONS JULIE ZHU VP, AUDIENCE MARKETING & SUBSCRIPTIONS NICI CATTON ASSOCIATE VP, PRODUCT DELIVERY KARL WALTER Uncovered ASSOCIATE VP, CONTENT GURJEET CHIMA SENIOR DIRECTOR, INTERNATIONAL Cover illustrator Irena Gajic is a trained MARKETS architect and practicing illustrator based in EDDIE KO SENIOR DIRECTOR, ADVERTISING Belgrade. She is a member of Synergy Art illus- OPERATIONS tration agency and the Assn. of Applied Arts ANDY LIMPUS Artists and Designers of Serbia. She provided SENIOR DIRECTOR, TALENT ACQUISITION AMIT SANNAD illustrations for the Chicago Biennale and is SENIOR DIRECTOR, DEVELOPMENT representing Serbia at the Venice Biennale in CONSTANCE EJUMA 2020. Her illustrations are based on isometric DIRECTOR, SEO LAURA ONGARO representations of pronounced color, often fea- EDITORIAL & BRAND DIRECTOR, turing interiors, rooms, buildings and complex INTERNATIONAL structures. Her work is published in printed and KATIE PASSANTINO DIRECTOR, BUSINESS DEVELOPMENT online magazines and publications, including DEREK RAMSAY Adweek, Barron’s, Engadget and Foreign Policy. DIRECTOR, PRODUCT MANAGEMENT

8 VARIETY PLUGGED IN WHAT’S ON VARIETY.COM

entertainment and recreation in the last Stars of phase of his plans to reopen the state. Upcoming It’s unclear when Broadway performances will be able to resume, theater TV Premieres trade organization The Broadway League said. For now, venues are offering refunds and exchanges for tickets purchased for 72 performances through Sept. 6. “While all Broadway shows would love Elle Fanning to resume performances as soon as pos- The Great She’s been courting favor sible, we need to ensure the health and with fans to the tune of a well-being of everyone who comes to four-point rise since May 1. the theater — behind the curtain and in front of it — before shows can return,” said Broadway League president Char- lotte St. Martin in a statement May 12. 600 “The Broadway League’s membership is working in cooperation with the theatrical Daveed Diggs unions, government ofﬁcials and health Snowpiercer He’s on the right track — experts to determine the safest ways to with a three-point climb restart our industry.” since the start of April. News BROADWAY THEATERS will remain closed Broadway, as an industry, is particu- at least through Labor Day, extending the larly in jeopardy because it relies heavily Broadway shutdowns that began in March due to the on tourism, and its patrons tend to skew coronavirus pandemic. older. At the time of closures, 31 musicals 35 It’s the second extension, after the orig- and plays were running, while eight new Shutdown inal targeted date to end the closures, April shows were in preview and another eight Juan Diego Botto 12, was pushed back to June 7. Broadway were preparing to debut in the spring. White Lines His score is up a tick since Extended performances were suspended on March “Throughout this challenging time,” St. April 1 in advance of this 12, prompting the longest period of time Martin said, “we have been in close com- Netflix murder mystery. the Great White Way has been dark. munication with Gov. Cuomo’s ofﬁce and The announcement was unsurprising, are grateful for his support and leader- however, since New York City has been ship as we work together to bring back Vscore, powered by Variety Business hit especially hard by the global health this vital part of New York City’s economy Intelligence, identifies the social footprint, familiarity and availability of over 25,000 • For the full story, head to Variety.com. crisis. Gov. Andrew Cuomo has put arts, — and spirit.” actors. For more info please visit Vscore.com TOCK; BOTTO: ANTONIO GARRIDO/MARINA PRESS/SHUTTERSTOCK; LEVY: AFF-USA/SHUTTERSTOCK LEVY: PRESS/SHUTTERSTOCK; GARRIDO/MARINA ANTONIO BOTTO: TOCK; Variety Poll Say What?

Pay TV Subscriptions “I grew up watching ‘The O.C.,’ and I thought [Peter Gallagher] Continue to Drop in Q1 was our universal dad, for sure. He is so paternal, generous, funny. He doesn’t take everything so seriously. He’s been doing Among services reporting subscriber levels, there was a this for so many years, and he’s just incredibly moving. He decline of 2 million subs among cable, satellite, fiber optic affected me so much when we worked together.” and online TV packages in the first three months of 2020. Losses are anticipated to be even worse for Q2. Jane Levy on Gallagher playing her dad in “Zoey’s Extraordinary Playlist” Q4 2019 Q4 2020 “I did watch [‘Normal People’] with my parents. It is an odd 4.2m 4.1m experience when you sit down and go, ‘OK, Mom and Dad. … In 9m Episode 2, there’s a big ol’ sex scene.’ But they were amazing 9.4m 20.3m 19.9m about it, because they knew this was going to be required from day one. I think I would be much more embarrassed about it if I 9.9m Total: 9.5m Total: 78.9m 76.9m thought that I had in some way been taken advantage of in the filming process — which was never, ever the case. I was able to 15.6m 19.5m 15.6m 18.8m look back and go, ‘Oh, these are scenes that I’m really proud of.’” “Normal People” star Paul Mescal

Comcast Xfinity AT&T TV, U-Verse and DirecTV “It’s a call to action to do research on what you don’t know. The Charter Spectrum Dish Network Verizon Fios challenge should be write what you know, but we should be able to answer the question, ‘Why do you care? Why this? Why Other Pay TV Services (Hulu with Live TV, Altice USA, Sling TV, AT&T TV Now) now?’ And if you can find that thing and articulate it to others, then you are writing what you know.” Data provided by Variety Intelligence Platform Analysis.

JAGGED LITTLE PILL: ERIK PENDZICH/SHUTTERSTOCK; FANNING: DENIS MAKARENKO/SHUTTERSTOCK; DIGGS: MICHAEL BUCKNER/DEADLINE/SHUTTERS DENIS MAKARENKO/SHUTTERSTOCK; FANNING: LITTLE PILL: ERIK PENDZICH/SHUTTERSTOCK; JAGGED For more in-depth data and analysis, variety.com/vip-sample Damon Lindelof on defying “write what you know” advice

VARIETY 9 MICHAEL SCHNEIDER VARIETY’S EMMY® EXPERT

Michael Schneider has covered the business of television for over 25 years creating content & commentary that TV award voters trust.

IN THE RUNNING WEEKLY COLUMN & NEWSLETTER

AWARDS HQ WEEKLY NEWSLETTER

AWARDS HEAT VIDEO SERIES

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Media Biz Gets Ready for a Down-to-the-Studs Makeover

CORONAVIRUS SHOCK TO ECONOMY FORCES TOUGH QUESTIONS ABOUT

LONG-TERM REBUILDING PRIORITIES By Cynthia Littleton

EVERYTHING IS ON the table. studios taking bold steps such as releasing Those are two short-term decisions that That’s the overriding message from movies that had been bound for theaters indicate the larger challenges ahead. For media giants after a parade of earnings on premium VOD or steering buzzy titles the past few years, it’s become apparent reports covering the first three months of to in-house streaming platforms. Disney that the entertainment industry was in the the year. The unprecedented economic con- made more waves May 12 by opting to send throes of a massive transition away from a ditions sparked by the global coronavirus the filmed version of Lin-Manuel Miranda’s linear-based model in which studios were outbreak are testing Hollywood’s biggest “Hamilton” stage musical to Disney Plus the ultimate gatekeepers for consumers players and accelerating seismic shifts that STREAMING SHOT on July 3 rather than proceed with a theat- and content creators alike. The challenge of were already underway. Disney is sending rical release that had been dated for next the moment is to understand what needs to The immediate pain of the COVID-19 its filmed version of year. Paramount Pictures couldn’t refuse an change when it’s still not entirely clear what “Hamilton,” starring shock was evident in sudden advertising Daveed Diggs, “attractive monetization opportunity,” in the shape the delivery and profit-generating declines, revenue falling off a cliff at Disney Okieriete Onaodowan, words of ViacomCBS president-CEO Bob systems of the future will take. and Universal theme parks and grim fore- Anthony Ramos and Bakish, to sell the action-drama “The Love- What has become abundantly clear in the Lin-Manuel Miranda, casts for the current quarter. straight to Disney birds” to Netflix given the uncertain outlook past quarter is that the coming recession, The long-term impact is evident in Plus on July 3. for theater reopenings in the U.S. which was inevitable but surely exacerbated JOAN MARCUS JOAN

VARIETY 11 TOP BILLING

“Periods of economic duress accelerate shifts in consumer and corporate behavior.”

Michael Nathanson, media analyst

by the coronavirus, will force a Darwinian and WarnerMedia to prioritize the stream- SUBWAY TO VOD windfall on the horizon later this year, the winnowing out of the weak and add more ing ventures that are now losing money. The Paramount sold outlook for local TV would be bleak. muscle to those that are strong. That also companies hope this period of investing in off rights to The shutdown of virtually all live sports action-comedy represents a speeding up of the media con- subscriber-bait original content, despite “The Lovebirds,” has been a blow with ripple effects across solidation trend that was well underway. making the trough of startup losses deeper, toplining Issa Rae the television ecosystem in terms of ad sales, Disney’s 2019 purchase of 21st Century Fox will yield long-term benefits in the form of a and Kumail Nanjiani, sponsorship deals and ratings and as a mar- to Netflix, due to was a historic union of two seminal Holly- stable sub base. the uncertainty keting platform for other products. (To wit: wood brands. It won’t be the last. WarnerMedia parent AT&T is deep in over theatrical WarnerMedia had intended to promote the “Periods of economic duress accelerate planning how to prioritize the entertain- reopening dates. heck out of the May 27 HBO Max launch in shifts in consumer and corporate behavior,” ment-related operations that will come back TBS/TNT/TruTV coverage of the March Mad- media analyst Michael Nathanson wrote in to full strength once the pandemic threat ness college basketball tournament.) a recent research note. “It is not an acci- has eased. Sports rights have become a source of dent that radio advertising, compact disc “This experience will change many things, friction within the pay TV world because sales, newspaper advertising and DVD sales including customer behaviors and expecta- the high cost of ESPN, Fox Sports and were all mortally wounded by U.S. reces- tions,” said John Stankey, AT&T’s incoming regional sports channels is seen as inflat- sions. It is also not an accident that the CEO, during the April 22 earnings call. “We’re ing the cost of MVPD service for consum- disruption from emerging technologies evaluating our product distribution strategy, ers, which in turn fuels cord-cutting. Disney hastened the demise of those subsectors relooking at volumes and the required sup- and Comcast are in the tight spot of trying during points of maximum financial stress.” port levels we need in a down economy. We’re to build streaming platforms for the future The entertainment industry was already rethinking our theatrical model and looking — including Disney’s ESPN Plus — while pro- leaning toward streaming platforms as the for ways to accelerate efforts that are con- tecting their linear sports turf. The spiral- driver of future growth — with subscrip- sistent with the rapid changes in consumer ing cost of rights packages for big league tion revenue supplanting the MVPD affiliate behavior from the pandemic.” sports is going to force hard choices in the fees that have been the bedrock of corpo- Among the hard choices coming soon to near future as to whether the investment rate media earnings for 20-plus years. The TV titans is the fate of advertising-based busi- makes sense, particularly if leagues seek to energy and excitement within Disney and ness. Advanced advertising formats are seen restrain streaming options for rights hold- WarnerMedia during the past two years has as the future for ad-supported digital plat- ers with linear platforms. been directed toward Disney Plus and the forms, whose ranks are growing thanks to the Bob Chapek, Disney’s newly installed CEO, nascent HBO Max rather than long-estab- introduction of Comcast’s Peacock and Via- was pressed about this dilemma during the lished channels like Freeform or TNT. The comCBS’ Pluto TV. The migration of viewers company’s May 5 earnings call. His answer advent of Disney’s FX on Hulu platform to broad national platforms is shaping up to boiled down to: Only time will tell. speaks volumes about the status of linear put another big dent in the notion of localism “Existing consumer trends play a real platforms even for top channels. in media. Just as community and regional big part on how we think about the value J.J. Abrams and Greg Berlanti, two of the newspapers are hurting mightily, so are local of sports rights as they make the transition industry’s top producers, have extremely TV stations amid the sudden downturn. from linear over to digital,” said Chapek. rich overall deals with WarnerMedia. Both Fox Corp. CEO Lachlan Murdoch got atten- “It’s a bit premature to give any specific of them are shepherding big projects not tion by flatly stating that ad sales at Fox’s 29 details on what the strategy is other than for TNT or TBS but for HBO Max — albeit owned-and-operated local TV stations are we’re obviously highly interested in those delayed by the production shutdown. The pacing down about 50% compared with the and we think we want to make the evolution blueprints for resource allocation are year-ago frame. If not for the promise of a along with the consumer as they go from

being rewritten within Disney, Comcast presidential campaign political advertising linear to digital.” SKIP BOLEN/NETFLIX

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GUEST COLUMN Anita Hill Safe Working Conditions Also Mean Protections Against Abuses

WORKERS STRUGGLING WITH THE PANDEMIC-RELATED LOSS OF JOBS disappear from storytelling entirely. The industry also needs to be vigilant SHOULDN’T HAVE TO TOLERATE HARASSMENT OR DISCRIMINATION about racial bias and specifically the treat- DUE TO FINANCIAL HARDSHIP ment of Asian Americans and African Amer- icans — both historically underrepresented groups in Hollywood. As COVID-19 dispro- FOR WEEKS, ENTERTAINMENT LEADERS portionately affects African Americans and have been working on myriad guidelines has created a surge in anti-Asian bias in the necessary to restart film and TV produc- U.S., Hollywood must pay special attention tion. Their deliberations are critical to alle- to equity in hiring and casting practices. viating the devastating impact of COVID-19 Hollywood is certainly not alone in nav- on the industry. As the new normal is being igating these incredibly complex and chal- created, nothing is more important than lenging workplace issues, but it can lead the the economic and physical well-being of way in establishing systems that protect vul- the hundreds of thousands who want to get nerable workers physically and emotionally back to work. New health and safety stan- and promote cultures of equality, respect dards are a must. The presence of masks, and accountability. The industry can begin hand sanitizer and thermometers, along this work by addressing the following: with boxed meals, single-use makeup and delayed crowd filming, will help calm con- • Creating new or revised workplace cerns about newly reopened workspaces. meetings and work-from-home policies Everyone benefits. outlining one-on-one meetings or work But in this moment of urgency, there is place meetings, and informing everyone an important opportunity to redefine what that though the locations are different, “safe” working conditions mean for the anti-harassment and discrimination workers in Hollywood. The evidence that mean fewer people in close physical prox- rules apply the coronavirus can exacerbate existing imity to each other, whether on sets, in trail- • Revising harassment and discrimination race, gender and sexual identity disparities ers or in editing rooms. Many will continue policies to reflect updated guidance is growing. Intimidation, harassment, to work from home until 2021 and per- and regulations and new threats verbal abuse, bullying and retaliation — haps beyond. All of these new ways of work- • Having people on set to guide and rampant in the industry — pose their own ing require a more robust view of safety. monitor compliance with new rules, and threat to entertainment workers’ health How will the entertainment industry keep making sure there are trusted systems and ability to make a living. And in its workers safe from harassment and dis- in place for reporting violations redesigning our workplaces, we should crimination when they are operating in • Adhering to diversity and inclusion plans acknowledge that the pandemic may add to decentralized “pods” or isolated workplaces put in place before the pandemic the injury that vulnerable populations are where interaction with others is rare and already suffering. systems or resources for reporting prob- The coronavirus pandemic best makes The #MeToo movement generated lems may not exist? clear that everyone’s safety and well-be- awareness and gave voice to entertain- During the Great Recession of 2008, ing depends on the safety and well-being of ment’s sexual harassment epidemic, but industry diversity and inclusion lost each individual. The message that we’re all many forms of harassment continue. And ground. This will likely be repeated as a in this together is popular today. Let us not abuses of power continue to be a very real result of COVID-19, just as the efforts were forget it as we chart the course of the new and pervasive problem. Workers from all rebounding. As hiring gets under way, reality ahead. ranks of the entertainment business have practices must ensure fair representation “In rede- routinely shared horrific stories with the behind the camera and on the screen. signing our Hollywood Commission. Hollywood’s track record on ageism workplaces, Anita F. Hill is the chair of the Board of Power in Hollywood has always been is well-established. Only 11.8% of the we should Directors and Commission Council of the Hollywood Commission, established to lead the easy to exploit because of the desperation 1,256 speaking characters in 25 best pic- acknowledge entertainment industry to an equitable future for work. With an estimated 350,000 ture-nominated movies from 2014 to that the pan- by defining and implementing best practices entertainment jobs lost in the past six 2016 were 60 years of age or older, and the demic may that eliminate sexual harassment and bias weeks, the economic power balance near-total absence of staff writers over 50 is add to the for all workers, especially marginalized has further tipped. Simply put, no worker clear evidence of systemic age discrimina- injury that communities, and actively promote a culture of account-ability, respect and equality. Hill should have to silently tolerate abuse or tion. With eight out of 10 COVID-19 deaths vulnerable is also a professor at Brandeis University’s harassment because of the financial reported in the U.S. in adults 65 and older, populations Heller School for Social Policy and Management exigencies of the times. this vulnerable population could not only are already and is counsel to the law firm Cohen Milstein Inevitably, as production returns, it will be shut out of entertainment jobs but also suffering.” Sellers & Toll.

VARIETY 13 TOP BILLING Remembered

INDUSTRY FRIENDS AND COLLEAGUES LOOK BACK ON A TRIO OF SHINING LIGHTS

LITTLE RICHARD play piano like Little Richard and Jerry problem with that? No. If you have that Lee Lewis. I knew I couldn’t, but I spent lineup — that’s Mount Rushmore; it really is.

1932-2020: ROCK PIONEER a lot of time trying. It wasn’t hard to play For the 2008 Grammys, he sang “Good TURNED ON THE ELECTRICITY what they played, but it was impossible to Golly Miss Molly” in a medley with Jerry WHEN HE PERFORMED play the way they played. Lee that my friend John Fogerty helped For the 25th Grammys in 1983, I got put together. The whole idea was to get By Ken Ehrlich Little Richard, Ray Charles, Jerry Lee them to play together, but it was still very Lewis and Count Basie together on piano. competitive between them. They were very This was a dream come true. But that was cold to each other when we first started during [Little Richard’s] gospel period. It “Richard would rehearsing, and then there was some kind started out with everybody taking a verse not do any of of a warming. Still, they faced away from I WAS — GOD, DO I HAVE TO ADMIT THIS? — on “What’d I Say.” Count Basie sang, “See the hits. There each other when they played! about 13 when I first heard Little Richard. the gal with the diamond ring / She knows was a show- You could see Richard turn on when There were two people like that in 1956 or how to shake that thing.” Jerry Lee sang, down: ‘Ken, I he was in front of people, as opposed to ’57: him and Jerry Lee Lewis. I watched Elvis “See the girl with the red dress on / Do the can’t do that. when he was just with you. But despite the Presley on “Ed Sullivan,” but I have a more burlesque all night long.” Richard sang, You want me perception of his personality being on the on the show? vivid memory of the first time I saw Jerry “Met God in ’74 / I don’t sing rock ’n’ roll no edge, every time we worked together, he I’m gonna As told to Chris Willman Lee or Richard, because they were wild. more / I got Jesus!” sing the Lord’s was just lovely. Elvis moved his hips, but with [Richard and And then for his own song, he did “I’ve music, not the Lewis], the hair flew and the fingers flew and Got the Joy, Joy, Joy, Joy (Down in My devil’s music.’ Rock ’n’ roll pioneer Little Richard died May the body language was startling. Heart).” Richard would not do any of the And I bought 9 of bone cancer at age 87. Ken Ehrlich, the It was everything our parents hated, so hits. There was a showdown: “Ken, I can’t it. Anybody producer of the Grammys for the past 40 that made it that much more dangerous, do that. You want me on the show? I’m have a prob- years, counted him as one of his youthful and part of it was probably because he gonna sing the Lord’s music, not the devil’s lem with that?” heroes and had the singer on the awards

was African American. I really wanted to music.” And I bought it. Anybody have a Ken Ehrlich telecast several times. AP/SHUTTERSTOCK

14 VARIETY ANDRE HARRELL to be loyal, to have arguments and then 30-plus-year career, and particularly through discuss them, and to be lifelong friends. his Uptown Records, he helped bring upward Dre was a few years older and achieved a mobility to hip-hop, launching the careers 1960-2020: UPTOWN RECORDS lot of things before me. But he’d always say, of not only Mary J. Blige, Jodeci and Heavy MOGUL PERSONIFIED HIP-HOP, R&B “It’s your show — I’m just in it.” D but also Puff Daddy Combs, with whom he By Kevin Liles During the Obama campaign, we created worked for many years. a crew we called the Super Friends — Kevin Liles is co-founder and CEO of 300 Dre, Puff, Russell, Jay[-Z], Mary J. Blige, Entertainment, former president of Def Jam Beyoncé, me and a whole slew of others. Records and a veteran artist manager. He When we had the opportunity to work on was close with Andre Harrell for more than THERE HAVE BEEN a lot of great directors the campaign, Dre said, “Now, this is ghetto three decades. of our culture, but the Martin Scorsese fabulous at its finest!” [Laughs] of cool was Andre. He was so passion- Most recently, he was tirelessly ate about cool — “Oh, no, you can’t have working for the political agenda of African that color on without something com- Americans and to make sure we have a plementing it!” — and what “ghetto fabu- voice going into the 2020 election — to lous” meant. If he was sitting right here his last breath, amid all the hell that’s and you said, “Explain ghetto fabulous,” he going on, it was his mission. The last time would say, “Well, I’m gonna take you back I talked to him was about the election: to 1920-whatever.” [Laughs] I am not say- “This is not about tomorrow — this is about ing he created any of it, but he might have now!” he said. coined the term, and he definitely coined These times are extra hard for everybody, it as a way of life. “It’s OK to be in Harlem, but Dre always said, “However the times are, but you’ve got to be in St. Barts too!” Dre’s we’ve got to find a way!” And in that, I find energy is in every hip-hop and R&B record inspiration and love and guidance. that’s been made since the ’80s. As told to Jem Aswad The first time I met him was through [Def Jam Records co-founder] Russell Andre Harrell, who died May 7 of heart failure [Simmons] and [Sean “Puff Daddy” Combs] at the age of 59, played an enormous role in — I can’t really talk about Andre without creating the world-changing culture that hip- talking about them too. It was through hop is today — and, by extension, all R&B, them that I really learned what it means urban and pop music. Over the course of a

JERRY STILLER JERRY STILLER was known for playing iras- Michael J. Weithorn, co-creator and cible loudmouths and high-strung hotheads. showrunner of the CBS sitcom “The King In truth, the actor and comedian, who of Queens,” which aired from 1998 to 1927-2020: CELEBRATED COMEDIAN died May 11 of natural causes at the age 2007, recalls overhearing Stiller rehearse WAS A DEDICATED ACTOR of 92, could not have been more different with his assistant over and over to prepare By Cynthia Littleton than the TV personas of his later years: the for a telephone conversation scene in ultra-neurotic Frank Costanza of “Seinfeld” which he had two lines: “Hello” and or the miscreant Arthur Spooner of “The “Who’s this?” King of Queens.” “He was trying to immerse himself Friends and colleagues remember in what was happening in that scene so Stiller as an actor who was dedicated to he could play the truth of his condition,” his work and grateful for a long career Weithorn says. “It was very funny but also in show business after growing up revealing about his work ethic.” in difﬁcult circumstances during the Stiller was mostly known for comedic Depression. The father of ﬁlmmaker Ben roles, but he stretched his acting muscles Stiller, actor Amy Stiller and widower with work onstage, notably his part as a of Anne Meara — his longtime comedy craven screenwriter in the 1984 Broadway partner and wife of 62 years — was production of David Rabe’s “Hurlyburly,” respected throughout the industry. directed by Mike Nichols. His TV guest “One of the sweetest and kindest men star turns over the years included a long I’ve ever known, not to mention one of list of sitcoms and animated series as the funniest,” “Seinfeld” co-creator Larry well as “Law & Order,” “Homicide: Life on David says of Stiller, who had a recurring the Street,” “L.A. Law,” “Tales From the role as the father of Jason Alexander’s Darkside” and “The Equalizer.” George Costanza. “I was blessed to be able “A lot of comics when they are asked to to work with him.” act don’t go too deep,” Weithorn says. “If Stiller’s early fame as one-half of Stiller the laughs are on the page, they know how & Meara at times overshadowed his skills to rhythmically get the laugh. Jerry didn’t as an actor. The duo was a staple of “The approach it that way at all. He was an actor Ed Sullivan Show” and nightclubs in the through and through. He was so devoted to 1960s, playing off their odd-couple pairing his craft that he had to make sure that what as a short Jewish husband and a tall he was saying was rooted in real emotions.

STILLER: CBS/EVERETT COLLECTION; HARRELL: GREGORY PACE/BEI/SHUTTERSTOCK HARRELL: GREGORY COLLECTION; CBS/EVERETT STILLER: Catholic wife. Meara died in 2015. That’s an actor.”

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Graduation Day CLASS ACT Nicole Sexton is president and CEO of the Entertainment THE ENTERTAINMENT INDUSTRY FOUNDATION LEVERAGES Industry Foundation, which is producing THE POWER OF BROADCAST TV FOR A COMMENCEMENT the live, televised “Graduate Together” CEREMONY UNLIKE ANY OTHER, AND RALLIES THE BUSINESS commencement ceremony. TO ACTION By Daniel Holloway

THE BIG FOUR broadcasters will televise a live commencement ceremony May 16 for the nation’s high school graduates, who, due to the coronavirus pandemic, are stuck at home and unable to celebrate with their classmates what should be a landmark moment. “Graduate Together” will feature a commencement address by former President Obama, speeches and appearances by activist Malala Yousafzai, the Jonas Brothers, actor Yara Shahidi and more — and is being produced by the Entertainment Industry Foundation along with the XQ Institute and the LeBron James Family Foundation. Nicole Sexton, who joined EIF as president and CEO in 2017, spoke with Variety about the ceremony and how the organization is working with the industry to respond to the pandemic.

How did “Graduate Together” come came to them with a formidable partner tainment space, or a group of individuals. together? We have a long-standing like XQ, it was literally a no-brainer for Charlize Theron, for instance, has the Afri- relationship with XQ Institute, which is them. Within an hour, they came back and ca Outreach Project. She’s focused all of a nonproﬁt organization dedicated to said, “Yeah, we want to do this as a road- her philanthropy over the last 12 years in challenging traditional education plat- block.” And within 24 hours, I had the date. her home country of South Africa. During forms and ways of teaching. This period of this crisis, she really saw a further mar- time has taken that to a whole other level. What has been the most challenging ginalization and a deeper divide between But through XQ’s networks, there were a aspect of this? The short period of time those who were forced to live in shelters number of students and educators and and figuring out how to make this event and those who could isolate in safer families across the country who expressed dynamic and celebratory of the class, while environments, and with that she also has sadness about the missed opportunity to understanding that we have constraints a deep, deep compassion for women who experience the wonderful rites of passage around our ability to gather. So how do you have gone through a domestic violence tied to high school graduation. XQ came create content that feels very unifying? experience. So she asked for other women to us and said, “Let’s talk through what we in the entertainment space to join her and could do with a telecast,” and we took that How did you get President Obama started an effort called Together for Her. to our board. involved? There was an online petition [NBA player] Kevin Love understands that was started by a student here in the extraordinary pressure of isolation The roadblock telecast has a long history California, suggesting that his dream during this time on people, and he’s part- as a tool that the industry uses to respond commencement speaker would be Barack nered with Headspace to provide resourc- to crises. How did you get the networks to Obama, and hundreds of thousands of kids es for people who are really suffering with come together for it? The roadblock has across the country signed this petition. So depression and who will be suffering for a been the easiest part. We have 11 board with that, the XQ team started some gentle long time in the future. members, four of whom are executives for outreach. Their CEO, Russlynn Ali, worked the four major networks. It was instanta- for him [as assistant secretary for civil What do you feel the industry has done neous. They all got so excited. There were rights in the Department of Education]. particularly well in terms of disaster a lot of people recognizing that there are response during the pandemic? I’m not going to be seniors who will miss these What else are you doing with the organi- from the entertainment industry, but wonderful rites of passage and asking, zations you partner with to respond to the I have been really impressed with the “How do we fill that void in a way that really crisis? We have 13 philanthropic funds that extraordinary empathy from those in the celebrates them?” So our networks at the range in size from several million dollars creative space, and the tools that they national level had been exploring different to near seven figures. And each one of have initiated during this very scary and

ideas. And then when that opportunity them is led by an individual in the enter- unknown time in order to bring comfort. BODDI TOMMASO

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ESPN’s schedule. “In a lot of senses right now, it’s a moment for experimentation,” says Ilan Ben-Hanan, ESPN senior VP of programming and acquisitions. “We’ve never been shy about the notion that sports can be anything from the traditional to something a little more esoteric or offbeat.” The ease with which smaller organizations pivot has helped them get back to competition more quickly. NBC last week finalized a deal with Premier Lacrosse League for a 16-team tournament designed to run July 25-Aug. 9, in the broadcast window left vacant by the postponed Tokyo Olympics. Shortly after the announcement that the Olympics would be rescheduled for next year, PLL co-founder Paul Rabil reached out to NBC Sports, which already had an agreement with the league. Rabil proposed a plan in which PLL’s regular season would be condensed and reorganized as a single tournament that would require players be tested and, if needed, quarantined. That nimbleness allowed PLL to adapt quickly to the current crisis, according to Jon Miller, NBC Sports president of programming. “You’ve got a relatively small Filling TV’s Cornhole footprint with which to execute this,” Miller says. “You couldn’t do that with Major SMALLER SPORTS, SOME WITH HIGH QUIRKINESS FACTORS, RACE League Baseball or the NBA or the NHL.” But the big leagues are on the move, too. TO GET IN FRONT OF VIEWERS STARVED FOR LIVE EVENTS The NFL announced last week that it would By Daniel Holloway kick off its 2020 season in September, with or without fans in the stands. NASCAR will return to live racing May 17 with an event at an empty Darlington Raceway set CORNHOLE ISN’T NEW to ESPN. But view- with ESPN in 2017. But before Saturday, TAKING ITS FLING to be broadcast on Fox — while NBC’s own ers who tuned into the Worldwide Leader the league events had been featured live on With major sports NASCAR coverage will resume July 5 with leagues on lockdown, in Sports on May 9 were likely to stumble ESPN’s linear channels only twice. the Brickyard 400 in Indianapolis. The American Cornhole upon a rare treat: live cornhole action. Typically, ACL national competitions League matches are PGA Tour will also resume in June, and The American Cornhole League’s “Corn- take place every other month and involve among the offerings the Kentucky Derby has moved from its ESPN is providing hole Mania 2020” aired on ESPN and as many as 1,200 players. But after the traditional May post to September — after fans starved for ESPN2 Saturday, bringing four hours March 14 national set for Cleveland was live events. NBC worked with organizers of the derby of live sports to a public and a network canceled just 10 hours before the start of as well as the Preakness and the Belmont starved for them. Since the coronavi- competition, Moore’s organization devel- Stakes, who have yet to finalize their plans, rus pandemic brought so many aspects oped a plan that would involve breaking to assemble a plan to preserve horse rac- of American life to a halt in mid-March, up infrequent large events into multiple ing’s Triple Crown. viewers who would be excited for base- smaller ones that could be held in more The NBA, NHL and Major League Base- ball’s Opening Day, enjoying midseason intimate venues with fewer players, no ball, meanwhile, have yet to work out their NBA and NHL action and looking ahead spectators and only essential personnel respective returns to action. The need for to the start of NFL training camps have present. Saturday’s event in Rock Hill, large organizations to move cautiously has instead been deprived of major global S.C., featured players who had undergone presented opportunity in the short term sports events. health screenings, wore masks and main- for others. ESPN, for instance, last week Enter the bean bag-tossing stylings tained social distance from one another. broadcast “Game of Thrones” star Hafthor of cornhole — and lacrosse and Korean As a result, the ACL was able to return Björnsson’s attempt to break the world baseball and weightlifting. As program- to competition quickly and create several deadlifting record, signed a new broadcast mers look to fill the gaping live-events new events that could be spread out over deal with Korean baseball league KBO and void, many of the first into the breach are aired on pay-per-view the controversial smaller sports with which mainstream return of UFC fighting. viewers may not be entirely familiar. “It’s a moment for experimentation. Already, Moore’s ACL is feeling the “This season, we didn’t anticipate being We’ve never been shy about the effect of increased exposure. Just before able to have live linear opportunities,” says the Saturday event, men’s grooming brand ACL commissioner and founder Stacey notion that sports can be anything Manscaped signed up as a sponsor, joining Moore. “Now we’re faced with the opportu- from the traditional to something meat purveyor and longtime ACL partner nity of potentially doing live on linear for Johnsonville. “I’m hoping that this opens seven weeks in a row, if all things go right.” a little more esoteric or offbeat.” up the door for a lot of new opportunities

DYLAN BOUCHERLE/ESPN DYLAN The ACL signed a TV and digital deal Ilan Ben-Hanan, ESPN for us,” he says.

VARIETY 17 TOP BILLING COVID Has Moved VFX Work to the Cloud; It May Stay There

LOW OVERHEAD, FLEXIBLE OFFICE ENVIRONMENTS ARE AMONG COST SAVINGS FOR EFFECTS

COMPANIES CONTENDING WITH PANDEMIC-RELATED LOSS OF PROJECTS By Brent Lang

THE CORONAVIRUS PANDEMIC may push rent on workspaces and lease machinery, “Hands down this is where our indus- more visual effects work into the cloud. but they also have to spend tens of thou- try needs to go,” says Steve Griffith, vice That business, like many others, is heav- sands of dollars a month on air condition- president of production at Legend 3D. ily dependent on cramming as many peo- ing just to cool down the hardware. That’s “This gives one comprehensive solution ple as possible into office spaces where because in order to safely store the ren- and means I don’t have to carry the over- they can work on tight deadlines, racing to derings that visual effects artists create, head I once did.” create the kind of elaborate digital wonders most companies need machine rooms, Arch has already served as the cloud- that enhance movies and television shows. which represent huge capital commit- based platform for the work done by But that’s no longer possible in the ments to both set up and maintain. They Botham’s visual effects company, Vitality age of COVID-19. Visual effects, like most run so much power through them that VFX, which has in turn used it to power post-production work, must now be accom- they occasionally lead to brownouts and contributions to the likes of “Wonder plished remotely as people social distance even, in rare cases, catch fire. Woman,” “Stranger Things” and “The in an effort to stop the spread of the disease. Cloud-based storage is nothing new, of Irishman.” The cost savings associated Arch Platform Technologies, a provider course. What makes Arch so attractive is with the work helped find investors for of cloud-based infrastructure for visual that the platform uses the technology to Solstice Studios, a new movie company effects companies, has seen interest in its enable companies to set up secure work- that Botham co-founded with veteran product soar in the wake of the shutdown. stations, render farms and storage and producer Mark Gill and others. Solstice “There’s been a massive upsurge in workflow management without having has used the cloud-based platform on demand,” says Guy Botham, the company’s to rely on machine rooms. It also means upcoming releases such as “Unhinged,” founder. “All these artists are working from that productions can be more mobile, an action thriller with Russell Crowe, and home now, and this allows you to scale up establishing visual effects outposts any- estimates it has been able to complete the or scale down based on your workflow.” where in the world to maximize tax incen- work for roughly a quarter of the cost. That’s increasingly important as gigs tives. That’s doubly appealing because “With this technology, you can set up and jobs have dried up for some effects visual effects work can be a low-margin 1,000 workstations in less than an hour companies because production on many business. Companies grapple with the and have people working on a project movies and series has shut down. This demands of a competitive bidding process, simultaneously in Mumbai, New York, has left some studios with virtually no and the tight turnaround times on effects- Dublin and Vancouver,” says Botham. “It’s revenue, but a great deal of overhead to heavy films often force them to shoulder a seamless process.” service. Not only do they have to pay the enormous overtime costs. Botham has started to offer the technology to other providers. He charges them to set up the tech and then bills them a monthly fee to use it. One of the first companies to sign up was Track VFX. Its co-founder Joel Sevilla, whose credits include the upcoming Tom Hanks thriller “Greyhound,” says that using Arch let him cut back dramatically on his startup costs. “It was great because we got to mitigate a whole bunch of huge capital expenses upfront,” Sevilla says. “And we were able to get things set up much more quickly.” It also meant that when stay-in-place orders took effect in March, Track’s employees had little trouble shifting from an office setting to working on projects from their homes or apartments. That may be increasingly important even as restrictions lift. “This experience is going to change the way we think about office environments,” says Sevilla. “This is great because it allows people to feel safe and gives them the option to work remotely

OFF THE GROUND even as the country starts opening up. All “The Irishman,” starring Robert De Niro, is among the films Vitality VFX worked on using Arch Platform Technologies’ it means is that everyone spends a little

cloud-based infrastructure. more time doing Zoom calls.” NETFLIX (2)

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IN THE RUNNING Michael Schneider The Emmys Are Needed This Year More Than Ever

PEAK TV, ASSEMBLED BY FINANCIALLY HARD-HIT CREWS, HAS ENTERTAINED A NATION IN LOCKDOWN

IN THE TWO and a half decades I’ve been But that doesn’t mean stars and pro- GUARDED SECRET covering the Emmy Awards, nothing stands ducers shouldn’t help promote and tout No one knows out like what happened to the show in 2001, what shape the the programs they’re really proud of. If the year the ceremony almost didn’t hap- Emmy Awards anything, with audiences constantly on pen. In the wake of the Sept. 11 terrorist ceremony will the lookout for new fare to cut through take in 2020. attacks, the Emmys were postponed twice the quarantine, now’s the time to give an — the second time on Oct. 7 (with producers enthusiastic push to the programs and already on-site in tuxes!) as the U.S.-led war events that might make staying indoors in Afghanistan began just hours before the a bit more enjoyable. We’ve all already show was supposed to take place. binged “Tiger King,” after all, so how about When that year’s show finally did something a little meatier? There’s more happen, in November, it was a slightly quality fare than ever vying for Emmys and stripped-down affair that nevertheless audience attention — now’s the time to tout served as a surprisingly unifying moment those offerings, not shy away from them. for the industry. The “semi-Emmys,” as But there’s still another reason to cel- Academy officials called them, took place ebrate TV: the people behind those pro- at the smaller Shubert Theatre (rather grams during this era of Peak TV — the than the Shrine Auditorium, as originally talent, writers, directors and craftspeople, planned). Formalwear was replaced with above and below the line. Basically, anyone business attire. And instead of various stu- who helps create the programming that is dio and network parties, there was just one: keeping millions of people entertained at a Unity Dinner, which replaced the normal home right now during these trying times. Governors Ball. With sets shut down and production After the second postponement, there was halted, most of the set designers, cam- no guarantee that the Emmys would even era operators, hairdressers, lighting tech- happen that year. The attacks had left the nicians, grips and other crew members country on edge — and some industry execs are all out of work. The Emmys don’t just weren’t sure that such an event was appro- honor TV stars. They recognize excellence priate in the wake of what had happened. across the industry. And this year, more But there was a counterargument: With the than ever, the people in those fields could proper tone, a celebration of TV artistry and use a boost and some attention. storytelling could be a welcome diversion It’s pretty clear there’s no way this from the moment’s grim headlines. It’s clear there’s no traditional idea of year’s Creative Arts and Primetime Emmy In the end, that second group was right. “campaigning” for the Emmys this year. Awards ceremonies will be held as nor- Host Ellen DeGeneres struck a proper tone That ended the moment stay-at-home mal. The 2001 semi-Emmys still had some by mixing humor with gravitas. After the orders went into place and FYC events semblance of a traditional telecast, but show, the entire audience stuck around for were canceled. Given its somewhat aggres- this year that’s not possible. the dinner — rather than the usual prac- sive connotation, I honestly think we might This is going to be an unusual, perhaps tice of heading off to a panoply of parties. consider retiring the term “campaign,” at awkward Emmy season we’re embark- The entertainment industry did indeed feel least for this year, especially as there are no ing on. Yet if we think of it as more of a united that night. in-person events anymore. celebration of everyone behind the great Nearly 20 years later, we find ourselves in work that’s entertaining Americans stuck another difficult time, one in which there’s at home and less about the puffery that a clear and present danger to the usual rou- comes with the usual awards campaign- tine of hundreds gathering together in one “There’s more quality fare than ing, then this could actually be the most place. We’re two months into this new real- ever vying for Emmys and uplifting moment for the Emmys since ity, and already the world, the nation and that evening way back in November 2001. our industry has changed — perhaps irrevo- audience attention — now’s I’m looking forward to whatever shape the cably. And once again, there’s a question of the time to tout those offerings, Emmy Awards winds up taking this year — whether it’s appropriate to celebrate or cam- especially if that means I can leave the tux

KEVORK DJANSEZIAN/AP/SHUTTERSTOCK KEVORK paign for the Emmys. not shy away from them.” hanging in the closet.

VARIETY 19 TOP BILLING

The series has been such In 2016, you made his- a hit, but it’s only four tory playing the first episodes. Do you want character to come out to do more? as gay on an Israeli teen Yes! We had such a good show in “Flashback.” time. We would love to do Suddenly there was a kid more. who comes out as gay on TV for the ﬁrst time, Tell me about your audi- and he’s … OK with him- tion for the show. self. I feel like I was gifted It was kind of secretive. with this role. It was We got an audition for such an honor to por- “The Orchestra.” This was tray this role because I the name of the project. feel like it opened a gate No one told us anything to more characters from about Netﬂix. I just knew the LGBTQ community or that it was for a Hasidic even from any community guy from the Satmar com- to be seen on-screen. munity, and I just got

two scenes: the first-date In one interview you scene and one of the bed- talked about coming out room scenes. Then I got to your own family as gay to know that I’m doing the and how they were com- audition with Shira. Shira pletely supportive. Did and I have been friends you ever imagine one day for 10 years. It was so you’d not only be out but exciting because we were playing a gay character? waiting for this opportu- I didn’t think so. But then nity to act with each other. The night before, we were when I got the character speaking on the phone there was like no ques- and did the date scene in tion for me. It was more Yiddish. We both never than just an acting gig or spoke Yiddish before and another role in my career. never did a scene in Yid- It’s important for some- dish. I was in my bedroom one to be there and out speaking with her on the there and to speak for Amit Rahav phone, and it did feel like those kids. And so there a first date. It did feel very was no question with charming. It was magi- this role. Finds Religion in cal, this conversation, and we felt this could work. I’m sure you’ve received We were crossing fingers a lot of emails and direct for each other: “I wish messages on social ‘Unorthodox’ we would get it. I wish we media thanking you. would do it together.” What does it feel like THE ISRAELI ACTOR NEVER SPOKE YIDDISH BEFORE to be a role model for How quickly did you have TAKING ON HIS ROLE IN THE NETFLIX MINISERIES — NOW LGBTQ kids? to learn Yiddish? When the show was on, By Marc Malkin HE WANTS TO DO MORE EPISODES We had maybe like a I got so many messages month or two. It was very, from kids and teenagers very difficult and very in Israel, and it was the AMIT RAHAV will never forget seeing himself for the first time in full challenging. But thank- greatest thing you could wardrobe and hair and makeup as Yanky, the Hasidic Jew he plays in the fully we had Eli Rosen as ask for because people Netflix miniseries “Unorthodox.” our Yiddish dialect coach, were really sharing with and he was there 24/7 “It was wild because I’m very secular and it is quite the opposite of my me their secrets and their helping us and recording daily life and style,” Rahav tells Variety from his home in Israel. “Once I lives and how compli- himself, and we were lis- cated it is and how the tening to all these record- put on the clothes and the payot [the sidelocks that Hasidic men grow], I show is giving them air to ings. I wrote it in English, suddenly felt right. In some way, I got to know the character much better.” breathe. I got very emo- I wrote it in Hebrew, I Based on Deborah Feldman’s 2012 memoir of the same name, tional from each message. wrote the definition, I “Unorthodox” stars Shira Haas as Esty, Yanky’s new young wife, who flees wrote it in so many ways This interview has been her religious community for a secular life in Berlin. “I read it very quickly that I’ve got so many note- edited and condensed. because it’s so good,” says Rahav, 24. “It was very important for me to books of the scenes. It Hear it in its entirety on this really was quite an expe- know [Feldman’s] point of view and where she comes from. And she week’s episode of Variety and rience. To act in a differ- iHeart’s “The Big Ticket” pod- really describes the daily lives in her community. It was very important ent language is something cast, which will be available

for my research to get to know as much as I can about their lives there.” very unique. on May 14. ERAN LEVY

20 VARIETY DEVOUR

Kristen Stewart stars in “Seberg” on Amazon Prime.

Watch Read Buy ‘Up All Night’ ‘Uncut Gems’ Breathless View Subtitled “Ted Turner, CNN and the Birth of 24-Hour News,” Lisa Napoli’s Auction ANYONE WHO TREASURES Jean Seberg’s performance in book looks at how the U.S. pivoted Memorabilia like the jeweled Furby Jean-Luc Godard’s “Breathless,” or was fascinated by the from three network newscasts to pendant from the Safdie brothers season she and Jane Fonda were featured in the podcast today’s near-constant obsession hit are being auctioned by A24, “You Must Remember This,” will be interested in checking with the genre, with a focus on the with proceeds going to New York- A24auctions.com out the biopic “Seberg.” Starring Kristen Stewart as the charismatic Turner’s vision. area charities. troubled 1960s actor, the film arrives May 15 on Amazonn Prime after premiering at the Venice Film Festival. The EatEEaat movie is a somewhat fictionalized portrait of the period iinn her life when Seberg was under constant FBI surveillancecce LucquesLucque to Go for her activities with the Black Panther Party and her TheTh recentlyrerecently closedclosed restaurant relationship with activist Hakim Jamal. Though some hhas rereturnedeturned witwithh ttakeout options viewers may miss a conventional chronological approach,h, iincludingncluuding thethe SuSupperuppp Series and dishdisheshes like braibraisedseded short ribs, the film is worth a look for Stewart’s thoughtful portrayal.al.. a brbbrunchunch kit, a burgerburrg kit and coccocktails.ocktails. Order throughth Tock and pickpic up at thethe LarderLaard in Beverly EDITED BY PAT SAPERSTEIN | [email protected] HHillHills;s; deliverydelivery available.avavail

Sea Urchins, Samurai and Seoul on the Streaming Menu ‘The Delicacy’ and manga-based fare as well as a gourmet travelogue offer a feast for foodies

Tons of new food and cooking content has surfaced on Netflix, “Midnight Diner” and “Samurai Gourmet,” have Instagram and YouTube during the pandemic quarantine, been around for a while but might be unfamiliar to some. but those short bites are just appetizers. For viewers who Based on manga comics, they’re both quietly powerful like to dig in a little deeper, several shows and docs can stories about the role food and restaurants play in every- slake the appetite for informative, delicious filmmaking. day life. And coming up at the end of the month, Netflix “The Delicacy” follows sea urchin divers from Santa premieres Season 3 of Phil Rosenthal’s “Somebody Feed Barbara, Calif., incorporating interviews with prominent Phil.” This time, the tirelessly enthusiastic nosher, traveler chefs. Directed by “Somm” filmmaker Jason Wise, it’s and creator of “Everybody Loves Raymond” journeys to available on wine and food channel SommTV.com, which cities including Seoul, Marrakesh, Chicago, London and

SEBERG: AMAZON STUDIOS AMAZON SEBERG: is offering a free trial period. A pair of Japanese shows on Montreal. PAT SAPERSTEIN

VARIETY 21 DIGITAL EDITION

TELEVISION AWARDS VOTERS

GOLDENDEND E N GLOBESG AGENCY HAVOC Virus Shapes Uncertain Future HARD LESSONS 1918’s9918’s18’s18’s KKilleriilllerler FlFFlulu ISOLATIONISOL NATION Comedians Stream Laughs SUNDANCEN 2020

YEARS

‘Little Fires Everywhere’ star and producer KERRY WASHINGTON elevates her multifaceted career BUR NING AT 73, THE OSCAR-WINNING STAR OF UP ‘CABARET’ AND DAUGHTER OF JUDY GARLAND SNOWFLAKE BY CAROLINE FRAMKE SAYS HER The Fabp.32 BIGGEST STRUGGLE WAS ‘GETTING Four TO BE KNOWN AS MYSELF’

NOBODY’S NOBODY’S ‘ SCHITT’S CREEK’ STARS Legendaryryy EUGENE LEVY, DANIEL LEVY, Taylor Swift is no CATHERINE O’HARA AND longer ‘polite at all costs.’ HER ANNIE MURPHY COME TO In her Sundance THE END OF THEIR LONG AND doc, ‘Miss Americana,’ WINDING ROAD P.4 8 the pop superstar By Marc Malkin MOMENTNTN T BY KATE AURTHUR P. 28 finds her (political) voice. P.4 0 By Chris Willman FOLLOWING ACCLAIMED ROLES IN ‘BOMBSHELL’HELL’ AND ‘ONCE UPON A TIME IN HOLLYWOOD,’ ACTOR-PRODUCEROR-PRODUCER MARGOT ROBBIE STORMS THE NEW YEAR WWITHITH A

FLURRY OF CREATIVE ENDEAVORS BY KATE AURTHURAURTHUR P.5P.5 0

$20K/MO.

SHERMAN OAKS 3,000 SQ. FT. 4 BEDROOMS

4 BATHS

San Fernando Valley, was grimly dated and Vanna White Spins ’50s in need of a complete overhaul. And that’s exactly what it got — a radical transforma- tion and expansion. Available through Vin- Home Into Luxe Rental cent Morales at The Agency, the home now stands two stories tall with four bedrooms and four baths in almost 3,000 square feet. A CRISPLY CONTEMPORARY HOME perched high in the upscale foothills above L.A.’s Secured, frosted-glass doors between a frosted-glass garage door and a sturdy Sherman Oaks, and owned through a corporate concern controlled by the world’s wall of rough-cut stone open up to a serene Vanna White most famous game-show letter turner, , and her longtime boyfriend, courtyard entrance. The foyer passes a builder-developer John Donaldson, has come available as a rental at $20,000 per double-height gallery with an open-tread month. Tax records show the couple acquired the property in 2013 for a bit more wood staircase and wrought-iron railing than $1.1 million. At that time, the then just over 2,000-square-foot 1950s resi- that widens to a glass-walled combination dence, nicely sited on a ridgeline street with open views that sweep clear across the living/dining and kitchen space. The living room spills out to the yard through walls of ﬂoor-to-ceiling glass, and the expensively appointed kitchen is arranged around a large island. The penthouse-style master MARK DAVID suite occupies the entire second ﬂoor and THE REAL ESTALKER opens to a slender wraparound balcony. WHITE: JOHN SALANGSANG/VARIETY/SHUTTERSTOCK WHITE: JOHN SALANGSANG/VARIETY/SHUTTERSTOCK

VARIETY 23 DIRT Kelly Clarkson Lists Mansion in Encino Though she bought the deluxe suburban spread not even two years ago, O.G. “American Idol” winner-turned-multiple Grammy-winning pop-country superstar Kelly Clarkson has put a price tag of just under $10 million on a stylishly appointed mansion tucked into the foothills above L.A.’s ever-more-expensive Encino community. Set behind low gates and high hedging on more than half an acre of manicured grounds, the mansion and guesthouse are partly clad in rustic, reclaimed wood planks that soften the sharp points of the many-gabled manse, which measures in at more than 9,800 square feet with a total of eight bedrooms and nine full and two half bathrooms. $2M Just inside the front door, formal living and dining rooms both have diagonal WOODLAND HILLS wood-paneled accent walls, slender wood 4,600 SQ. FT. beams across the ceiling and, underfoot, humble brown bricks laid in a sophisti- 4 BEDROOMS cated herringbone pattern. With three 5 BATHS giant islands and a pricey array of top- end designer appliances that include an imported stove that costs as much as a well-maintained used car, the chef-ac- private patio, a separate sitting room, a for sale at slightly under $2 million. commodating kitchen is open to an infor- huge walk-in closet and dressing room All but hidden behind a thick hedge- mal dining area and family room. Vast and a spacious bathroom with white row and imposing gates in one of the expanses of glass slide open to an out- marble floors and walls. area’s most sought-after neighborhoods, door living room that overlooks the back- Designed for relaxed lounging and the updated 1950s suburban residence yard. The house also offers a professional entertaining, the tree-shielded backyard sits at the head of a semicircular driveway movie theater with tiered seating. includes a dark-bottom swimming pool on more than a third of an acre. Listings The sprawling master suite features a and spa. A sheltered outdoor kitchen held by Coldwell Banker Realty’s Ricarda beside the pool is complete with a pizza Ankenbrand, which make no secret the oven. The property is listed with Chris modern traditional residence is celebrity Corkum and Lisa Brende at Compass. owned, show there are four (and potentially more) bedrooms and three full and two half bathrooms in just over 4,600 square feet. Tom Segura Selling The living and family rooms both have huge stone fireplaces — the former in Woodland Hills opens to the backyard and the latter to a Having already upgraded to a snazzy cozy office/den as well as a lengthy sun- contemporary in a coveted Pacific Pali- room. The kitchen, updated with white sades neighborhood, married stand-up quartz countertops, is open to a din- $10M comedians and podcast co-hosts Tom ing area flooded with natural light in the Segura and Christina P. Pazsitzsky have skylit vaulted ceiling. What was once a not so surprisingly put their former two-car garage has been converted to a ENCINO 8 BEDROOMS home in L.A.’s suburban San Fernando soundproofed media lounge and record- 9,800 SQ. FT. 11 BATHS Valley community of Woodland Hills up ing studio.

DIGS Price Chop for Hearst Kaufmann, who’s best known for Beverly Hills Manse his work on iconic structures like the Hoover Dam. Beverly House Condo Has Starry Past A mansion that was built in was no small architectural feat the mid-1920s for publishing either. Located three blocks A two-story condo once owned by magnate William Randolph from the Beverly Hills Hotel, the Cher, David Geffen and Vincent Galloo Hearst has hit the market once adobe-colored home features is on the market for just shy of $6 mil- more, this time at a reduced a whopping 18 bedrooms, 25 lion. The two-bedroom, one-and-a- asking price of $125 million. recognize the iconic property, bathrooms, two screening rooms, half-bath home, located in West Hol- Originally listed in 2016 for $195 known as The Beverly House, a commercial-sized kitchen, an lywood’s famed Sierra Towers, sports million, it shared, at the time, as the place where Jack Woltz almost Olympic-sized swimming a distinct Balinese theme, with woven the title of most expensive home finds a horse head in his bed in pool and grassy, manicured wooden decor throughout the unit. on the market in the United “The Godfather.” Hearst’s former grounds that can accommodate MAE HAMILTON States. Potential buyers might home was designed by Gordon 1,000 guests. MAE HAMILTON EMG/SHUTTERSTOCK CHER: CAROTHERS; HOUSE: CAMERON CLARKSON’S

24 VARIETY DIRT

The master suite privately occupies ago for $3.3 million from pop star-social palm tree-framed open-air entertainment the entire second floor, with a glamor- media powerhouse Selena Gomez. pavilion complete with stone fireplace and ously appointed marble bathroom, a fitted Tucked inside a small gated enclave outdoor kitchen. The property is listed with walk-in closet and a baby nursery. Outside, and fortified by a Fort Knox-style security Gabriel Palmrot at Douglas Elliman. a trellis-covered dining terrace next to a system that incorporates motion detec- built-in stone fire pit opens to a flat, grassy tors, two dozen cameras and panic buttons yard with a stone-accented pool and spa. in every room, the more-than-three-acre spread includes the five-bedroom and Ellen DeGeneres Flips six-bathroom main residence of almost Montecito Property 7,800 square feet, plus a studio-style French Montana Cuts guesthouse with kitchen and bath. Never ones to hang on to a multimil- Price on Starry Estate There’s a stone-walled wine cave just lion-dollar home for more than a hot min- inside the front door, and a grandly propor- ute, Ellen DeGeneres and Portia de Rossi, Karim Kharbouch, better known as Moroc- tioned double-height living room spills out two of Hollywood’s most prolific flippers of can American rapper French Montana, to a romantic dining courtyard. An all-white architecturally significant high-end homes, has dropped the asking price of his multi- high-end kitchen is open to both an infor- have hung a $6.9 million price tag on a acre estate on the suburban outskirts of mal dining area and a family room high- quirky English Tudor residence in Califor- Calabasas, Calif., from just below $6 mil- lighted by a white marble fireplace and a nia’s low-key but high-toned seaside com- lion to exactly $5.6 million. The three-time wall of glass that folds open to the backyard. munity of Montecito. The couple hopes Grammy nominee first put the Mediterra- Other notable creature comforts include to just about double their money on the nean-inspired estate up for sale early this a media lounge wrapped in palm leaf-pat- property, which they acquired about four year with an overly optimistic price tag of terned wallpaper and a state-of-the-art months ago for a bit more than $3.6 million. almost $6.6 million, but even with a cou- recording studio with disco-style lighting. Built in England in the 1700s as two ple of price reductions that have added up Near the estate’s stately circular drive barns, the carefully maintained and exten- to about a million bucks, he still stands to stands a topiary elephant. The resort-style sively updated structures were gingerly turn a hefty profit on the heavily secured grounds additionally include lush gardens, dismantled and shipped to California, compound, which he picked up four years a stone-lined swimming pool and spa and a where they were faithfully reassembled and linked together by an orangerie — a glassed-in solarium traditionally used to store climate-sensitive plants and citrus trees during winter. According to listings held by Riskin Partners Estate Group at Vil- lage Properties, the undeniably attractive and unusually configured residence, with just two bedrooms and two full and two half baths in roughly 5,500 square feet, is con- cealed from public view amid thick woods. While preserving the integrity of the architecture, the real estate- and design- savvy de Rossi-DeGenereses and their team of experts immediately cleaned everything up, installed a snazzy new kitchen (or two), added a sleek laundry room, brought the bathrooms up to date and filled the rooms with a museum-quality trove of vintage furniture. There are at $5.6M least five fireplaces throughout the sprawling Old World-meets-newfangled home, including in the cavernous, double-height CALABASAS living room. The house spills out to sev- 7,800 SQ. FT. eral brick terraces surrounded by lush and 5 BEDROOMS romantically sun-dappled fairy-tale gar- 6 BATHS dens laced with stone pathways.

Elon Musk Lists Pair mercurial engineer, industrial bedrooms and 11 bathrooms. of Homes in Bel Air designer and entrepreneur It was built in 1990, but has seems to be following through been extensively renovated. While going on a Twitter rant with his plan — sort of. Musk The other home, constructed in during which his girlfriend recently listed two of his six Bel 1951, was the former residence Claire Boucher, aka Grimes, was Air homes, with the asking price of Hollywood icon Gene apparently angry at him, SpaceX for his longtime main residence Wilder. Musk has made clear CEO Elon Musk demanded that at $30 million and a smaller to prospective buyers that the governments give citizens back home across the street, which house “cannot be torn down or their freedoms, declared that was being used as a schoolhouse lose any its soul [sic].” In a rather Tesla stock was priced too high for his five sons, listed at $9.5 unusual move, Musk has decided and vowed he would be selling million. The larger of the two to eschew the help of a realtor all of his earthly possessions homes measures in at a colossal and is selling both properties and would “own no house.” The 16,000 square feet and has seven himself. MAE HAMILTON

VARIETY 25 M ATo the X

AT&T BANKS ON ITS SOON-TO-LAUNCH HBO MAX STREAMING SERVICE TO BE A GLOBAL ENGINE OF GROWTH FOR WARNERMEDIA

BY Cynthia Littleton AND Daniel Holloway ILLUSTRATION BY MAX-O-MATIC

Variety 27 marathon togetHBOMax off theground. the more glamorous tasks on a14-monthwhat hasbeen to Consumer. the ¶ Courting “Friends” cast was oneof content officer for WarnerMedia Entertainment andDirect howabout maybe thiscould happen,” says Reilly, chief service. ¶ “We didn’t talkalotof business,but we didtalk of someform of “Friends” reunion event topropel the consumer cavalcade. ¶ Disney andothersin TV’s new frontier of thedirect-to- for aglobalplatform tocompete with Netflix, Amazon, library236-episode of “Friends.” They outlinedtheir vision streaming service was andhow it would showcase the to explain exactly what thecompany’s new on-demand HBO Max streaming venture thatbows May 27 — cameby executives leading thecharge for WarnerMedia’s ambitious ’90s. ¶ BobGreenblatt, Kevin Reilly andSarah Aubrey — the TV sitcom that madeitsstarshouseholdnamesinthemid- Cox’s hometodiscussthe latestplansfor the Warner Bros. from WarnerMedia hadmadethetrek earlier intheday to however, there was businesstoattendto. The topbrass gram. ¶ Before theformer co-stars gotdown toreminiscing, a that Anistonposted week later when shejoinedInsta - gathering was memorializedinagrainy six-shot selfie and David Schwimmer — for arare reunion dinner. The Aniston, LisaKudrow, Matt LeBlanc, Matthew Perry invit Cox ensued. ¶ razzi gotten wind, pandemonium would have surely Cox’s Malibu beach houseonOct.5,2019.Had thepapa- A starry group cametogetherfor ameetingatCourteney A ed herfive “Friends” co-stars—Jennifer Then thetriobroached theidea Variety 28

to back a direct-to-consumer platform adirect-to-consumer to back got thescaleandﬁnancialresources have licensed tooutsidebuyers. been would shows toHBOMaxthat otherwise TV fromsteering movies earnings Media and as wellfor aslost Warner- theservice That includesthe cost of programming in HBOMaxover thenext threeyears. made quickly.” blatt says. “All of ourdecisionshadtobe shouldorshouldn’tservice be,” Green- weproduct wanted tobuild andwhat the ing threetosixmonthsﬁguringoutwhat inmid-March. began lockdowns withthepandemic thatball its planningeven ahuge asitfaced curve- Teambelieves helped Maxpower through aggressive —achallenge that Greenblatt spring 2020launchdate was incredibly The timetable for HBOMax’s target and DirecttoConsumer inMarch2019. WarnerMedia tolead ed Entertainment Showtime andFox veteran was recruit- for Greenblatt ever since theNBC, wars jobonethe streaming hasbeen from thepreviousregime. upheaval andtheexit of topexecutives Warner Bros. by rocked management insiders at atimewhenHBO, Turner and was agalvanizing force for company become CEOof thetelco giantinJuly — Stankey —theAT&T veteran setto from then-WarnerMedia CEOJohn of TimeWarner. Thedirective last year promise of its$85.4billionacquisition to date madeby AT&T torealize the “AT&T isamassive company. They’ve AT&T toinvest haspledged $4billion “We didn’t of have spend- theluxury Bringing WarnerMedia into boldly The investment isthebiggest bet

(Previous spread) Cornucopia: Shutterstock; Citizen Kane: RKO/Kobal/Shutterstock; Friends, Lord of the Rings, Euphoria, Girls; Warner Bros. (4); Fresh Prince of Bel Air: NBC/Stuffed Dog/Quincy Jones Ent/Kobal/ Shutterstock; Boondocks, South Park: Cartoon Network (2); Sex and the City: Patrick Demarchelier/HBO/Darren Star Prods/Kobal/Shutterstock; Watchmen: Mark Hill/HBO; Joker: Niko Tavernise/Warner Bros.; Gossip Girl: Andrew Eccles /The CW; Looney Tunes: HBO Max (2); Pretty Little Liars: Andrew Eccles/ABC FAMILY; Detective Pikachu: Pokemon Co./Warner Bros/Kobal/Shutterstock; Wizard of Oz; MGM/Kobal/Shutterstock; Casa- blanca: Jack Woods/Warner Bros/Kobal/Shutterstock; Lego Batman Movie: Warner Bros/Kobal/Shutterstock; Adventure Time: Cartoon Network; Singing in the Rain: Moviestore/Shutterstock (Opposite Page) WarnerMedia payday of $2.5 million per star) remains a go, as soon as shooting in person is practical and schedules align. Nor will there be the same quantity of HBO Max originals as expected for the launch and on through early 2021. Marketing campaigns had to be rebuilt almost from scratch when key events including the March Madness college ALL IN basketball tournament, which is carried by Launching HBO Turner networks, were hastily scrapped. Max has been the “All of a sudden all of our marketing top priority of WarnerMedia organized around sporting events, Entertainment and Comic-Con — now all these events were Direct to Consumer not happening,” says Andy Forssell, a chairman Bob Hulu and Otter Media veteran who is Greenblatt. executive VP and general manager of HBO Max. “Those plans were redone from the bottom up at the last minute.” Warner- Media chief marketing officer Chris Spadaccini led the charge. On the production side, more than 30 HBO Max projects were shuttered as a result of the pandemic. Aubrey spent her last Friday in the office — HBO Max for now has set up shop in Turner’s Burbank office building, around the corner from the Warner Bros. lot — and called producers for those shows to discuss the extraordinary circumstances and commiserate. They also scrambled to get a few projects set up with remote editing tools. “It’s important for them to hear directly that we’re here to support the production,” Aubrey says. “Some people were like, ‘Oh, are you going to use this as a reason to cancel the show?’ We all felt it was really important to put a personal message of assurance behind that.” Greenblatt admits he was worried that the widespread shutdowns would present a bigger hardship than it’s been to have executive teams communicating by Webex video meetings and text messages. “Can the last lap of this all be done at home? Miraculously, the answer is yes,” Greenblatt says. “It’s still shocking to me that it was all still able to carry on, even the tech side of it.” that really does compete head-to-head with the big boys,” says John Hod- On March 20, early in the lockdown, ulik, the UBS telecom analyst who has covered AT&T for 20 years. “It’s Stankey convened a videoconference the right thing for them to do from a capital allocation standpoint. Do you call with Greenblatt and other key continue to invest in the distribution that is slowly dying, or do you invest lieutenants. The group had settled on May in the growth area? Generally, you invest in growth.” 27 as the launch date months before but The hope is that HBO Max is built up over the next few years to be a WE DIDN’T HAVE THE still hadn’t made it official to the public. multipurpose platform for the global distribution of WarnerMedia content LUXURY OF SPENDING On the call, Stankey observed that “the as well as an engine for bundling subscriptions to AT&T’s wireless and “ world has changed” and asked the team data services. The fear is that an underwhelming HBO Max would tarnish THREE TO SIX MONTHS how it was feeling about the launch. or, worse, be a financial strain on HBO proper. The pay TV pioneer gener- FIGURING OUT WHAT “Across the board everyone was like, ated operating income of $2.3 billion from revenue of $6.8 billion in 2019. ‘Let’s go,’” Forssell recalls. “There really “Everyone involved in [HBO Max] feels the pressure of doing something PRODUCT WE WANTED TO wasn’t a lot of debate about it.” that is worthy of the title of the network,” says Greg Berlanti. The prolific BUILD AND WHAT Stankey marvels at the progress Warner Bros.-based multi-hyphenate is shepherding numerous series for that has been made in barely a year. He HBO Max, including a big-budget take on “Green Lantern.” THE SERVICE SHOULD first started thinking about how Time The team behind HBO Max has had to roll with the pandemic punches in OR SHOULDN’T BE.” Warner assets could be used to support the last mile before its scheduled start. Plans for the “Friends” reunion to a Netflix-esque streaming platform at launch the service were scuttled by the lockdown, but the special (with a Bob Greenblatt the time that AT&T began the secret due for combining content from Time Warner divisions with cutting-edge distribution platforms. When HBO decided to go over the top with the stand-alone HBO Now broad- band app in 2014, consideration was given to the possibility of adding more Time Warner-related content to the service. In the end, in part because HBO, Turner and GALVANIZING FORCE Warner Bros. operated as separate enti-

Then-WarnerMedia ties, the decision was made to keep HBO CEO John Stankey’s Now exclusive. commitment to When Legg met with Stankey after launching HBO Max AT&T reached its agreement to buy Time rallied company Warner in October 2016, the prospect of insiders at a time creating a streaming service was the first of management thing the incoming boss wanted to talk turmoil. about. Legg couldn’t help noticing Stan- key’s determination to get it done. All of the enthusiasm about the merger possibilities was put on ice for 20 months while AT&T battled the Justice Depart- ment’s efforts to block the acquisition. In June 2018, two days after AT&T prevailed in the antitrust trial in D.C. federal court, the telco closed the deal, although it was under orders to keep the Turner assets separate from the rest of what AT&T renamed WarnerMedia while the government pursued its appeal. By the fall of 2018, Stankey had given Legg a new mission and job — oversee- ing technology for HBO and Turner. That would facilitate the larger goal of having the units collaborate on the tech and con- diligence process on the Time Warner acquisition in the summer of 2017. tent to power the new streaming platform. “Imagine sitting here today without having this opportunity in front Another key decision was to build the of us,” Stankey says. “Imagine [AT&T] walking into this industry not being infrastructure for HBO Max on the back of in a position to do what we need to do to compete.” the existing HBO Now streaming platform Four years ago, it was clear to Stankey and outgoing AT&T CEO Randall rather than starting from scratch. Stephenson as they weighed the purchase of Time Warner that the pay TV “John’s analogy to me was, ‘We’ve got foundation of the company’s television businesses was in a state of transition. a 200-horsepower car. I need you to build “We had to change the business model, and we had to change our mind- me an 800-horsepower car,’” Legg says. set around it,” Stankey says of the reengineering required within HBO, In late November 2018, around the Turner and to a lesser degree Warner Bros. “It wasn’t just the arrival of Net- time Stankey outlined the broad strokes flix. Any [consumer-centric] industry that is going to be relevant moving of what he called “a software experience forward is going to have to have a direct relationship with its customers.” wrapped around creative excellence” at The question of the price tag for HBO Max was a parlor guessing game until an AT&T investor day presentation, AT&T WarnerMedia unveiled the $14.99 target as part of its Oct. 29, 2019, Investor marketing executive Brad Bentley was Day presentation. The company had little choice, because to go much lower tapped to serve as general manager of than $15 would cause HBO to be in breach of its traditional MVPD carriage WarnerMedia direct-to-consumer. agreements, which still generate the lion’s share of HBO’s revenue. Bentley, who had worked with Stan- Existing HBO customers will get HBO Max as an add-on at no extra key in his previous job at AT&T Entertain- charge. This means that HBO Max needs to grow subscribers at a steady ment, was not destined for a long run, clip from the HBO-only starting point to make the investment pay off. AT&T WE HAD TO CHANGE leaving after eight months as it became has forecast reaching 50 million HBO Max subs in the U.S. by 2025 and 75 THE BUSINESS MODEL. clear he was not a good fit, according to million to 90 million worldwide. “ sources. But Stankey’s other significant Stankey was amused by the intense focus on HBO Max’s price amid the ANY [CONSUMER-CENTRIC] streaming appointment at the time was streaming wars. “There are all kinds of opinions about price. Every member INDUSTRY THAT IS GOING well-equipped to seize the moment. of the board of directors had an opinion about the price,” he says. But in Reilly’s expansion of duties in Decem- his experience, “price is the easiest attribute to change in a product. It’s the TO BE RELEVANT IS ber 2018 from chief content officer for 20-pound sledgehammer in marketing.” GOING TO HAVE TO HAVE A Turner to steering programming for HBO Max was the first of many signals that JEREMY LEGG HAD HEARD IT ALL before, many times. WarnerMedia’s DIRECT RELATIONSHIP AT&T was reallocating resources from chief technology officer counts himself as among the few surviving execu- WITH ITS CUSTOMERS.” Turner’s TNT, TBS and TruTV to the new tives who came to Time Warner through the AOL acquisition in 2001. Over the service. Barely six weeks after Reilly’s years, Legg has worked up many a Power Point and spreadsheet presentation John Stankey appointment, he enlisted Aubrey, who

Variety 30 Stankey: Andrew H. Walker/Shutterstock; Love Life: Sarah Shatz/HBO Max; Search Party: HBO Max; Raised By Wolves: Coco Van Oppens/HBO Max In thePipeline hosted by YouTube starLaurDIY Kids crafting competitionseries and voguing competitionseries Underground ballroom dance Russell Simmons and rape againsthip-hopmogul accusations ofsexual harassment Documentary filmcenteringon Sesame Workshop Warner Bros. Animation produced by AnnaKendrick anthology starringandexecutive Scripted romantic comedy May 27 available atlaunch, HBO Max Originals CRAFTOPIA LEGENDARY ON THERECORD WITH ELMO THE NOT-TOO-LATE SHOW LOONEY TUNESCARTOONS LOVE LIFE BY HBO MAXINTHENEARFUTURE TELEVISION PROJECTSSLATED FORRELEASE ON FOLLOWING ARESOMEOFTHEFILMAND

Joe Otterson date expected soon;filmingon 3 completed,withpremiere third andfourth seasons; Season was moved toHBO Maxfor its TBS darkcomedyseriesthat slated todebutin2020 Network’s “Adventure Time”; specials reviving Cartoon First offour breakout animated for afall debut order inSeptember; now eyed Adult Swim; given atwo-season Revival ofanimatedserieson being eyed for release thisyear fore production was towrap; still COVID-19 pandemicshortlybe- filming suspendedduetothe Drama seriesstarringKaley Cuoco; Premieres 2020 and2021 THE FLIGHTATTENDANT SEARCH PARTY DISTANT LANDS ADVENTURE TIME: THE BOONDOCKS pandemic Season 4suspendedduetothe be ongoing date set,butproduction saidto town ofJellystone; nopremiere Barbera characters livinginthe Animated seriesfeaturing Hanna- said tobeongoing miere dateset,butproduction from EllenDeGeneres; nopre- 2D animatedchildren’s series shutdown; slatedtodebutin2021 on holdduetotheCOVID-19 slated tobegininAprilbutnow ing andshowrunning; production Nyong’o, withDanaiGurira writ- Drama seriesstarringLupita premiere be ongoing;eyed for late2021 franchise; production issaidto Animated prequel tothefilm slated todebutin2020 Network’s “Regular Show”; Quintel, creator ofCartoon Animated seriesfrom J.G. debuting inthefall before moving toHBO Max;likely that was originallysetupatTNT and directed by Ridley Scott Sci-fi seriesexecutive produced 2020 premiere shut down production; eyed for wrapped whenthepandemic Universe; Season2was nearly Will stream onHBO MaxandDC RAISED BY WOLVES JELLYSTONE! ELLEN LITTLE AMERICANAH THE MOGWAI GREMLINS: SECRETS OF CLOSE ENOUGH DOOM PATROL “Search Party”and “Love Life,” are amongthe programs thatwill be availableon Raised byWolves” FUELING INTEREST HBO Max. (Season 2) (unscripted reunion special) Premiere Date Unknown start datesettoresume started priortotheshutdown; no to seriesbutproduction hadn’t shot itspilotandwas ordered Dunham executive producing; High schooldrama withLena shutdown hit completion whenthepandemic Milioti; production was nearing Comedy seriesstarringCristin date toresume hasbeenset down duetothepandemic;no started inFebruary butwas shut Watanabe tostar; production had with AnselElgortandKen same nameby Jake Adelstein, Adaptation ofthebook date now unclear resume filminginJunebutrestart crisis; originallyscheduledto was shutdown duetothehealth planned hiatuswhenproduction Murai directing; serieswas on Mackenzie Davis starringandHiro Mandel, withHimeshPatel and same nameby EmilySt.John Adaptation ofthenovel ofthe to thepandemic mid-March butnow onholddue production was settobeginin Reboot oftheCW series; pandemic; nofilmingdatesset but filmingdelayed duetothe Due tobeavailable atlaunch FRIENDS GENERATION MADE FOR LOVE TOKYO VICE STATION ELEVEN GOSSIP GIRL had served as head of development for TNT, to do the same job on a larger They’re Not TV. scale for HBO Max. By the time Greenblatt arrived at WarnerMedia three months later, the content roster in the works for HBO Max was growing — Reilly and They’re HBOs Aubrey were taking eight to 10 pitches a day at one point last spring — but the new entity needed a permanent creative team to call its own. “Everyone was lending a hand because they had to and because it MAX BRINGS TO MARKETPLACE was exciting,” Greenblatt says. “But we knew we couldn’t move quickly if YET ANOTHER EXTENSION OF THE we were asking people to do two jobs. We had to fire up a network, in old- fashioned terms.” HOME BOX OFFICE BRAND The decision to organize the offering around the HBO brand did not BY Daniel Holloway come immediately. Thought was given at the outset to creating a Warner Bros.-branded service. “We knew that Warner Bros. had a very high recognition in terms of the shield itself; people understand that it means quality,” Reilly says. “But Warner Bros., unlike, say, Disney, has never been a consumer-facing brand. THE HBO BRAND HAS for decades been You know, you don’t go to ‘Warners Land’ for vacation.” the gold standard in premium television — Over the first few months of 2019, the burgeoning streaming team so it made sense for AT&T to build its high- went into deep research mode, examining the pay-TV marketplace and stakes streaming play around HBO after HBO’s place in it. That gave Reilly and Aubrey a direction to go in develop- acquiring corporate parent TimeWarner. ing original programming and curated library product that would appeal to HBO “stood for a lot of things that were demographics beyond HBO’s affluent adult stronghold. positive,” says Kevin Reilly, chief content “HBO speaks to certain audiences and demos, but there are lots of dem- officer for Warner Media and Direct to os they don’t speak to,” says Greenblatt. “Kevin and Sarah did really good Consumer, who was involved in the earliest work defining what the Max originals should be. It’s younger and with a conversations about how to brand what more female skew. We’re focused on filling out the kids and family audi- would become HBO Max. ence in a big way.” But positioning the new streaming service, With moves such as ordering a new iteration of the millennial sudser which launches May 27, as an extension of “Gossip Girl,” which aired on The CW from 2007-12, HBO Max’s originals HBO has also created some challenges from strategy early on was pegged by many as being geared to young women. the consumer perspective — not least that Aubrey waves that off. multiple other iterations of HBO are already in “We tend to lean female just to be complementary to HBO’s statistically the marketplace. male bent, but that’s only like a slight tip off 50%,” Aubrey says. Original-recipe HBO, delivered as a Similarly, she dismisses as overblown the sentiment that there’s con- subscription cable channel, is still the fusion in the creative community over having two different HBOs in the primary way that most viewers engage with marketplace competing for product. (HBO is based in Santa Monica, while the service. As of last year, HBO boasted 43 the HBO Max team is in Burbank.) She notes that she and Francesca Orsi, million cable subscribers in the United States. HBO’s executive VP of drama, have even taken pitch meetings togeth- Those customers are able to stream HBO er, working out between them afterward who would pursue a project. One programming through HBO Go. Eight million such program was an adaptation of Alice Hoffman’s novel “The Rules of U.S. customers subscribe to HBO through Magic,” which ultimately was ordered to series as a Max original. standalone direct-to-consumer streaming One producer who has been working with HBO Max on a project says the service HBO Now as well as through third infrastructure for productions and talent was a little chaotic at first as the parties such as Hulu and Amazon, which offer company staffed up quickly under Greenblatt. it as an add-on. Reilly and Aubrey have been very hands-on with development and on Subscribers to HBO Now and those multiple shows ordered straight to series, in contrast to the lighter-touch subscribing to HBO through YouTube TV, approach found across town at Netflix. That’s been grating to some — one Charter’s Spectrum, Apple TV, Google, producer was said to have been asked to change the color scheme of a cred- Hulu and AT&T’s own TV services will have its sequence — but refreshing to others. “They definitely feel like they are access to Max at launch. But not all deals making art there,” says the producer. “It’s not bad. They care about what are done. Existing HBO subscribers through they are doing.” distributors such as Comcast’s Xfinity and Amazon will not be grandfathered in to the ON FEB. 26, 2019, AT&T GOT THE NEWS it was waiting for out of new product. Washington, D.C. The Justice Department’s appeal of the antitrust trial WarnerMedia execs have sought to ruling was denied. There were no more obstacles to the complete the downplay the idea that consumers might integration of Turner into WarnerMedia. Stankey ensured that the sledge- be confused by the ever-increasing number hammer came out to tear down the walls that had historically divided of HBOs in the marketplace, insisting that HBO, Turner and Warner Bros. people will easily begin to understand what “How does somebody make a decision about where the next incre- the product is when it comes to market. mental dollar of programming goes and what platform it should be put But at the AT&T investor day last year where toward? It’s hard to do that when you have three separate [bottom lines],” he previewed the product, then-AT&T Stankey says. president (and recently christened AT&T CEO) As Greenblatt oversaw HBO and Turner integration efforts, the tech- John Stankey joked in response to an analyst nical work and content development for HBO Max continued apace. For question about potential confusion that many, it’s been months and months of seven-day workweeks. But there’s a converting existing subscribers to Max strong spirit of mission and a recognition that AT&T leaders see HBO Max would be “an IQ test” for customers. as the beacon of WarnerMedia’s future profits. WarnerMedia (2) libraries that HBOMaxcandraw from. extends to thecuration of efforts the vast optionsin recentwith streaming months. a few. Consumers have bombarded been All Access toname services, andPlutoTV andViacomCBS’ CBSservice revved-up Comcast’s Peacock ad-supported fledging the entrance Plus, of Apple aswell TV as debutofof Disney theheralded Plusand feast arehighasitfollows ontheheels make agourmet meal.” andwe havelaid out, to theopportunity calves says. have ingredients been “The Gon- ion” heavyweight, for aHollywood the scaleof WarnerMedia. for acompany withthecontent assets on that HBOMaxrepresentsunique opening HBO Maxfor WarnerMedia, reiterates the thetechnicaldevelopmenthas led of seen asacostly misstep. acquisition of DirecTV haswidelybeen purchase, asthetelco’s especially 2015 consumers tohelpjustify itsTimeWarner something like thisagain?” are any of usgoing toget achance todo you Leggsays. work inmedia?” “When contentwith allthebest we have, why do product global ing amultibillion-dollar The quality-not-quantity approach The expectations for theHBOMax “We’re doingthisina historical fash- CEOTonyOtter Media Goncalves, who AT&T HBOMaxtoclickwith needs “If you can’t get excited launch- about “ Jeremy Legg WORK INMEDIA?” WE HAVE, WHYDOYOU THE BEST CONTENT PRODUCT WITH ALL BILLION-DOLLAR GLOBAL LAUNCHING AMULTI- EXCITED ABOUT IF YOU CAN’TGET

executives for are thechief and SarahAubrey TEAM MAX couple of years.” price. value-oriented the best That’s how this matures over thenext of That’s monetization. how you offer content thebest toconsumers at to seeallcontent eventually move totheseplatforms withmultipleforms Netflix oranAmazon or anHBOMax,” Stankey predicts. “You’re going allow content. for livestreaming andad-supported HBO Maxinoverseas markets. fashionto builtinamodular Andithasbeen WarnerMedia27 isonlythebeginning. toslowly ispreparing introduce onMay of theservice sixtoeightweeks Thelook afterlaunch. Max every excellent ourotherclientsat thesametime.” butcontinue serving product buyers. HBO Maxisabigpriorityfor thecompany. We want togive them we’re gamewherewe inazero-sum have totake thingsaway fromother from risingstars like Goldenberg. Max offers anoutletthat allows thestudio totake morechances onprojects helmerRachelLeeGoldenberg. up-and-coming movies. “UNpregnant,” Amongtheﬁrst upistheBerlanti-produced from and family-friendly titles, for HBOMaxaswell as aslate of feature-length aslewofThe studio originalseries—includingnumerous kid- isproducing vast vault, it’s movie newmouthinthefamilytofeed. andTV alsoahungry curating allof thesedifferent libraries.” we hiteverybody,” Greenblatt says. “We at alotof and timelooking spent of course,Swim; and, theentiretyof HBO. lection; Warner Bros. Television sitcoms; grown-up animation fromAdult ﬁlmsfromWarnerbe Bros., Turner Classic Movies andtheCriterion Col- Therewill content. Max willlaunchwithroughly10,000hoursof library of thecrop. up thecream able initsown HBO vault, thefocus isonserving Although WarnerMedia hassome45,000hoursof programming avail- programming Kevin Reilly HBO Max. “We’re now intheneweraof aggregation platforms —whetherit’s a That’s just for starters. WarnerMedia expects toaddtechnicalfeatures andapplications toHBO “We have expandable toproduce,” capacity Sarnoff says. “It’s notlike To AnnSarnoff, whowas CEOof Warner named Bros. last summer, HBO For Warner Bros., HBOMaxisnotonlyanewvehicle for showcasing its “We didn’t want tojust throw thousandsof hoursat thewall andhope Variety 33 ROCK, RESOLVE, RECOVERY

JASON ISBELL HAS WRESTLED HIS DEMONS AND HONED HIS MESSAGE; WITH NEW ALBUM ‘REUNIONS’ HE PULLS OUT THE STOPS

By CHRIS WILLMAN Photographs by ALYSSA GAFKJEN

34 VARIETY

MOST MUSICAL ARTISTS TRY TO AVOID BEING DEFINED BY ANY PARTICULAR GENRE, BUT TALK WITH JASON ISBELL LONG ENOUGH AND YOU MIGHT EVENTUALLY ARRIVE AT A CATEGORY HE’S DOWN WITH.

The singer-songwriter is on the phone from his home outside Sheryl Crow, a neighbor of Isbell’s on the outskirts of Nashville, Nashville discussing his new album, “Reunions,” which drops is one of his biggest fans. For her 2019 “Threads” album, on which May 15 and, true to his discography, includes some deeply plain- she collaborates with many of her friends, Isbell, at 41, was one of tive content. Take the track that has already become a fan favor- her few younger-generation picks. The two duetted on Bob Dylan’s ite since he started playing it live last year, “Overseas,” a song “Everything Is Broken.” “I can reference the greats — the Prines, about a fictional couple’s marital separation that was sparked by the Dylans, the Pettys — but I haven’t run across anyone like him of the lonely feeling Isbell had as he and his wife, Amanda Shires, his generation,” Crow says. “The lyrics that he writes pierce your a noted recording artist in her own right, went out on separate heart, especially if you know his story and his struggles — but even tours last year. if you don’t, the poetry that he comes up with to describe the chal- What would you call a song like that? “Sad rock,” Isbell says, lenge of being alive and trying to figure out how to navigate pain. laughing, as if he’s stumbled upon his true genre. “Yeah, that’s … He’s so cinematic.” me — sad rock.” There may be something to that: Isbell’s songs have melancho- lia in their DNA, either by way of lyrical undertows or the minor keys the artist selects, even when his themes veer toward succor and the amps are turned consolingly up to 11. But in any case, “Reunions” is reason to feel glad all over. The album, officially AFTER RAISING HELL in the 2000s with Drive-By Truckers — so credited to Isbell and his longtime band, the 400 Unit, is full of much so that he got kicked out of the band for excessive drinking, emotional nourishment and moral fiber, dished up as quick nar- which, from all accounts of the group’s standards at the time, rep- rative tapas. If he’s not “the last of my kind,” to quote one of his resented a monumental if dubious achievement — he got sober. older song titles, then he remains among the first order of those The first album he made as a recovering alcoholic, 2013’s “South- making music that feels like it gives a damn about the way we eastern,” marked the turning point in his career and moved him actually live and love. toward acoustic with a tone that had come to match the tenor of Isbell has long been a name in the broad Americana category, his lyric writing. where he’s a heroic figure, riding a plateau for several albums, in It also represented the debut album released by Southeastern addition to being the model of integrity and craft on the theater Records, his own label, which proved to be a smarter idea than and amphitheater circuit. He caught the eye of Hollywood in 2018 going with one of the majors when, with distribution help from when he wrote “Maybe It’s Time” for Bradley Cooper’s character Thirty Tigers, he was able to land subsequent releases “Something to sing in “A Star Is Born.” Although nomination-worthy, it wasn’t More Than Free” (2015) and “The Nashville Sound” (2017) in the submitted for Oscar consideration (maybe to ensure it didn’t spoil top 10, riding more off critical acclaim and road circuit word-of- the chances of that other “Star” song). But going next level isn’t mouth than the radio play that largely eludes classic singer-song- really a concern for Isbell, according to those around him. writers in the 21st century. “To me he’s Bruce, he’s Petty,” says manager Traci Thomas, who’s How exactly to classify where he fits in can bedevil people, the worked with him for 19 years, dating back to pre-solo days, when same way it flummoxed journalists who were trying to fit the leg- he was one of three singer-songwriters in Southern rock darlings acy of his friend John Prine into the nutshell of a headline after Drive-By Truckers. “But radio is different today, so therefore you Prine died last month of the coronavirus at age 73. Isbell is the don’t get catapulted into more of that mainstream that used to exist. king of something, it seems, but what? Americana? Probably, if that And quite honestly, he doesn’t want to be a huge superstar. He just rootsy catch-all constitutes a genre; he’s won so many top plau- wants to be able to make the kind of music he wants to make and dits from the Americana Music Assn. that he finally unofficially prefers that we try and keep the audience as intimate as possible.” disqualified himself by tweeting that maybe next year it should Thomas says she recalls when the goal was to play the Ryman Audi- give its top award to a woman. (The org took his advice, honoring torium in Nashville, the onetime home of the Grand Ole Opry. “Now Brandi Carlile.) Country? Not really, although his previous release, we can sell out seven nights, you know?” she says. “He said one time, “The Nashville Sound,” did get nominated for a CMA Award for best ‘I want to be able to play arenas. I just don’t want to play them.’” album. To watch him guitar duel in concert, in addition to his early

36 VARIETY GUTTER CREDIT VARIETY 37

THEY’RE PSYCHED Jason Isbell (third from left) with 400 Unit members Jimbo Hart, Derry deBorja, Amanda Shires, Chad Gamble and Sadler Vaden

affiliation with Drive-By Truckers, explains why he siphons fans around and play guitar by myself all day, but yeah — I miss driv- off the jam-band circuit; while to hear his finger-picking ballads ing the big vehicle.” on wax is to peg him as a cerebral folkie. These days, Isbell might be the designated driver. Shires, who is You could very much consider Isbell a throwback to the ’70s also a member of the 400 Unit as a fiddler and backup singer when glory days when “singer-songwriter” seemed to describe a race she’s not off performing solo or as a member of the Highwomen, of knights, not niche figures. “It just depends on when you come believes Isbell took a while to reconcile his new, clean lifestyle with along,” Isbell offers. “Had we come along in the ’70s, they proba- his older, louder sound. bly would have called it rock, and in the ’80s it would have been “I think when he got sober, he had to start from the basics, you country rock, and in the ’90s it would have been roots rock or know?” Shires says. “For so long after rehab, it was him and his alt-country, and now it’s Americana. If you go back before that, acoustic guitar, and the rock ’n’ roll sort of stuff was kept more at when everything was either classical or not, it’s all pop.” arm’s length — because some of it could be a trigger. Or maybe you Isbell laughs at how Prine came to occasionally be called a think rock ’n’ roll means you have to be taking drugs and getting country singer too. “John had told me that when they put him on crazy and doing things that aren’t what normal grownups do. I a bale of hay for his first record cover, that’s the first time he’d feel like he’s been able to bring his rock ’n’ roll self more back into ever sat on a bale of hay in his life — he grew up in Chicago. And I it. I’m just happy to see that there’s a way to have all of your tools don’t think [Kris] Kristofferson was exactly a country singer either. available and still not go down the road to ruin.” I think folk music is probably the best umbrella for what we all Isbell has been a patron saint for the recovery movement, do, as far as trying to tell stories and document things. But I think although it’s not a subject he’s explored deeply in his songwriting what I’ve always been, whether I was in somebody else’s band or before “Reunions.” He did address the issue in a couple of key lines my own, I feel like I’m a guy in a rock ’n’ roll band.” in his most popular song, “Cover Me Up,” from “Southeastern,” That point was made clear in a recent Isbell tweet, six weeks which is otherwise a sensual love song to his wife. Each night on or so into the COVID-19 lockdown, in which he wrote: “When this tour, when he sings, “I sobered up and I swore off that stuff, forever is over, I’m not doing anything without a damn drummer for 20 this time,” the crowd erupts in applause —32-ounce beers spilling years.” Asked about how he’s coping, musically, Isbell says, “I everywhere simultaneously. miss the rhythm section. I miss the horsepower. I mean, I can sit “Sometimes I forget” that these are applause lines, he says,

38 VARIETY “I HAVE A FOLLOWING THAT aware as we can of people who aren’t doing as well as we are.’ But if there’s one thing that Americans hate, it’s being told what to do. INCLUDES A WHOLE LOT OF PEOPLE When you’re trying to give advice to an adult, you motivate people more by saying, ‘This is what I’ve done wrong.’ You have to give WHO ARE IN RECOVERY, AND I FEEL people an image of yourself that’s not the most flattering.” But he does take a more righteous stand in “Be Afraid,” a song LIKE THEY’RE OWED A SONG.” in which Isbell puts some of his fellow artists on blast for not raising their voices on vital current events — including politics. Isbell JASON ISBELL was the subject of a lot of Twitter trolling as the result of “White Man’s World,” a song about white privilege from “Nashville Sound,” which led some of his fans, or former fans, to basically accuse him of being a snowflake. Rather than slink back, Isbell and Shires doubled down on their commitment to be vocal by doing benefits for Democrat Doug Jones’ successful U.S. Senate campaign back home in Ala- bama, and interrupting Isbell’s usually hilariously wry Twitter “and then it kind of catches me off guard a little bit. It’s ironic, but feed to make some serious statements about the horrors being it’s also kind of beautiful, if you ask me, because maybe they are wreaked by the Trumpian right. He’s dismayed to see other sing- drinking more than they should be, and one day they’ll think, ‘You ers holding back. know, maybe I should try that. Maybe I should see if sobriety works “I think when you’re writing a song like that, you have to give for me.’ I don’t know anybody who has looked back and said, ‘Man, yourself over to it and just say, ‘OK, I’m accepting the fact that I’m I really wish I hadn’t gotten sober and stayed sober for all those telling somebody what to do right now.’ ‘Be Afraid’ is definitely years.’ That line in ‘Cover Me Up’ is about me being determined to a finger pointer. I mean, you’ve got fingers — sometimes you’ve not go back to that way of life. And I think people root for determi- got to point ’em,” he says. “There are a lot of folks in Nashville nation harder than they would for anything else.” and everywhere else who get to a certain point of comfort in their Isbell revisits the subject in a more protracted way in the new lives and don’t want to risk it. And even though you know that a album’s “It Gets Easier,” which takes the form of advice to a friend. lot of things going on out in the world are wrong, you still feel like, “This is probably the first time I’ve given it a whole song,” he says. ‘Well, if I speak out about this, what kind of backlash am I going “I did start out with the goal of writing a song for people who are to get?’ And I think that’s cowardice. I very much feel that if you in recovery but have been for a while. Because it’s kind of like a have a platform, it’s your responsibility to stay educated and try to love song. You hear so much about the spark and the initial feel- use that platform to speak on behalf of people whose voices aren’t ings about changing your life, but not a lot of people really explore heard. That, to me, is an inarguable point. And you have to have what it’s like a few years down the line. I have a following that an inarguable point if you’re going to point the finger and start includes a whole lot of people who are in recovery, and I feel like yelling at people.” they’re owed a song.” No one is really going to mistake the soft-spoken but firm Isbell for a yeller. A more typical example of his songwriting craft, and probably the most beautiful song on the new album, is “St. Peter’s Autograph,” a work that comes from a brief impasse he and Shires experienced in their relationship. “The things you talk about in private, you get real protective SOMETHING ELSE ISBELL has in common with Prine is an economy of over,” Shires allows. “There were moments when I was listening scale in his lyric writing — the ability to make you feel like you’ve to that song where I was like, ‘I’m never going to tell him anything read an entire short story in tightly edited verses that barely out- ever again!’ But talking about stuff is easy for us, and maybe if it’s weigh haiku. Like this heart-wrenching aside about missing some- not so easy for other folks in their relationships, I like the idea that one, from the aforementioned “Overseas”: “The waiter made a maybe it helps make conversations open up.” young girl cry / At the table next to mine tonight / And I know you “St. Peter’s Autograph” was sparked after a friend of the cou- would have brought him to his knees / But you’re overseas.” ple’s committed suicide last year, and Isbell, by his telling, started Isbell has studied Prine as a master of the form since he was to become upset or jealous that Shires, who was closer to the dead a child in rural Alabama, listening to the records of the man who man, was not getting over it in due time. would later become his and Shires’ close friend. “Sometimes I lis- “Probably the main topic of discussion in that song is this sort ten to John’s songs, and I think, ‘How have I never noticed that that of idea of appropriate grief, and that concept as a fallacy,” Isbell rhymed before?’ And that’s the magic of it, making it sound like says. “It’s been my next-level maturity, to let go of this idea that her it just fell out fully formed, in the right meter and with the right sadness over somebody that she has lost, who was very import- phrasing. I like to use more conversational language, and so I just ant to her, is somehow related to my emotions or subject to my try to write songs that sound like the way people around me talk. approval. I think a lot of that goes back to toxic masculinity, the And to get something poignant that still feels natural is tough. … idea that somehow your partner is your possession. Allowing Usually on the songs that sound the most natural, you have to put somebody to feel all their feelings and not assume that that has in the most work.” anything to do with you is one of those things that sort of sepa- He veers outside the realm of character study and into pointed rates the adults from the kids who are walking around pretend- social consciousness on a couple of songs on the new album. The ing to be adults.” opening “What’ve I Done to Help,” which has backing vocals by pal How many songs have ever been written about a couple recon- David Crosby, is a general call to compassion and action that may necting and getting closer after a husband has caused a rift by strike a particular chord as listeners reflect during quarantine. It mansplaining the acceptable stages of grief? “It has not been cov- includes lines about how Isbell got his act together but might have ered a whole lot,” laughs Isbell. But he’s hesitant to give himself too become too cloistered in domestic tranquillity to engage with those much credit for taking on previously unexplored topics. less fortunate. Is that true? “It’s probably been covered by like Billy Joe Shaver or Willie “The first time Amanda heard that song, she was like, ‘Well, Nelson, and they’ve just done it in a way where you thought they that’s not exactly how we live our life. I think we try to stay as were writing about a cowboy.”

VARIETY 39 FOR HOWARD LEE, the president of TLC, pivoting reality shows NEW like “90 Day Fiancé” into self-taped series in the era of quarantine is a logistical challenge. But getting the talent on board has been the easy part. ¶ “We’ve already been seeing footage coming CLASSICS in, and we’re already putting it together, because this is the fast- est turnaround we’ve ever done,” Lee says, via Zoom, ahead of TLC CHIEF HOWARD LEE PUTS AN the April 20 launch of “90 Day Fiancé: Self-Quarantined.” “But a OUTSIDER SPIN ON TRADITIONAL TV THEMES commonality of all of our programming at TLC is ‘I’m often mis- WITH HITS SUCH AS ‘90 DAY FIANCÉ’ understood. Please listen to me.’ This is just a new way of how By DANIEL D’ADDARIO to capture that. They’re used to this.” Prior to COVID scrambling the priorities and production schedules of every shop in the TV business, Lee had already built out TLC — the Discovery Communica- tions-owned network best known, when he arrived in 2008, for the radical candor of the octuplet parents on “Jon & Kate Plus 8” — into an unscripted colossus. The numbers suggest TLC was built for this moment, with primetime ratings up 111% year over year in its target demographic of 25- to 54-year-olds. Now, Lee has worked to ensure that editors and producers are able to work remotely, and gotten camera equipment to talent (even as footage is coming in off smartphones). Lee’s goal is to “make some episodes that are watchable down the road in the future by the time we’ve reached the third or fourth quarter of 2020.” That would keep a robust momentum rolling. TLC has certain competitive advantages that may account for its boom times in a bust cycle. One is Lee’s willingness to adapt his programming to meet viewers where they are, reframing this chaotic moment as an opportunity. Another is TLC’s organizing principle: ﬁnding shows that would make more timid audience members — or executives — blanch. Lee “embraces risk,” says Kathleen Finch, Discov- ery’s chief lifestyle brands ofﬁcer. “He doesn’t wring his hands and say, ‘What if this doesn’t work? What if I get in trouble?’ That’s the last thing he’s thinking about. He’s thinking, ‘Oh, my gosh, I can’t wait for America to see this show — it is so over the top!’” Consider, for instance, “Dr. Pimple Popper,” a series that combines a hearty appetite for physical extremity (all those pimples, and yet larger cysts, popped) and a revolving door of patients who exist in another America entirely from that occupied by, say, Bravo’s real house- wives or ABC’s bachelors. Then there’s “90 Day Fiancé,” which wrapped up its seventh season earlier this year, and in which immigrants seeking visas live out the waiting period with American romantic partners so that they can wed and obtain a green card. It’s a show with a brutal frankness about the transaction being undertaken, shot through with glimmers of recognizable emotion even in an unrecognizable situation. Throughout, the projects are buoyed by casting of people for whom outspoken- ness comes naturally. As Lee says of his talent: “This is in their soul, to speak out.” And viewers are responding, perhaps more now than ever. Spinoff series “Before the 90 Days” posted the highest ratings ever for the franchise in TLC’s key demos in late April, with a 3.87 among women 25 to 54. This all-time high beat a previous record set on April 5; the season opener, which aired before COVID-related nation- wide shutdowns began, had been the best-ever launch for the 6-year-old franchise. Compelling as the on-air personalities are, these shows can, at times, find themselves the subject of

40 VARIETY controversy: Last year, for instance, The New York Times called “90 Day Fiancé” “a guilty pleasure that invites viewers to offload their confusion, mistrust

and guilt around immigration” onto its subjects. Lee REAL PEOPLE defends the programming as fundamentally honest. “I “90 Day Fiancé,” here don’t agree when I read something that says our shows with Rose and Ed, go too far,” he says. “We are not intentionally trying to centers on immigrants make something go too far. We only cast people who living with American want to really outright wear their heart on their sleeves, partners as they seek visas; “Dr. Pimple and really say what’s going on in their lives. And often, Popper” remedies their lives can be messy. And that’s real.” skin ailments. No moment could be messier than the present one, for Lee’s on-camera talent recording themselves on iPhones and for the audience sequestered at home. (“90 Day Fiancé” is not the only TLC show shooting in self-quarantine; another is “OutDaughtered,” about a family raising quintuplets in Houston.) Lee sees it as a chance to create programming that probes its subjects even more deeply — because they’re the ones doing the analysis. “They don’t have to wait for a crew anymore,” he says. “The way you behave can be very different when you’re alone talking to your phone, evaluating your own life.” It’s a risk that the audience will embrace a stripped-down and even more frank version of reality TV — but Lee’s bets have tended to pay off.

LEE CLAIMS NOT to watch other networks’ unscripted offerings, preferring Turner Classic Movies. His passion for the craft of making television and for the medi- um’s history — he lights up at a casual mention of “The Thorn Birds,” the 1983 Richard Chamberlain potboiler — can be surprising, if only because executives from the early days might have no idea what to make of “Dr. Pim- trans teen star Jazz Jennings of “I Am Jazz” or fat-acceptance activist Whitney ple Popper.” Thore of “My Big Fat Fabulous Life.” “I understand them and why they want Or perhaps TLC’s less a digression from TV history to try to be further understood,” he says. “‘Please understand me’ or ‘Please than it seems. Says Lee: “You had all the ‘farm shows,’ understand my family’: That comes across in our programming. And you have as I call them. ‘Green Acres’ and ‘The Beverly Hillbil- to experience that as a child to really understand.” lies.’ We had ‘The Brady Bunch,’ of course; that’s a fam- But Lee’s strategy for TLC hinges on the fact that there are indeed many peo- ily show, and we have things going on here at TLC that ple who feel left out. “I think that the biggest competitive advantage is we are not are very similar to that. That was noisy back then. We tone-deaf,” Lee says. “Who you see on our brand is who you will see in America.” have to modify it — that’s my challenge. So if I found The story, in other words, takes precedence over subjects’ demographic realities or folks on a farm now, or a real life Mike and Carol Brady, material wealth. On other networks, he notes, “a lot of people are really very West I’m going to embrace it and use it.” Certainly TLC is no Coast/East Coast. More glamorous. And we said, we don’t have to do that here.” stranger to series depicting rural America (like, say, Which means that the tension wrung out of each moment of “90 Day Fiancé” “Sister Wives”) or families that don’t resemble the Wal- is ampliﬁed by the conversations taking place in homes smaller than one would tons (ditto). see on Bravo, and that Dr. Pimple Popper meets people who would look out of Lee’s upbringing included study at New York City’s place on VH1. On the upcoming self-quarantine episodes of “90 Day Fiancé,” performing arts-centered LaGuardia High School as Lee suggests, viewers will see how the show’s far-flung cast reacts to cata- an entertainment-mad youth raised by Chinese immi- clysm: “We’re taking characters from all over the world, and with the global grants. “I saw how they were pretty much ignored pandemic that’s happening — this is global, and this is how all these people every time they walked into a store holding my hands are handling it.” because they had really bad English,” he says. “I’ve TLC is losing some glimmer in delegating production to its talent. But it’s always felt like an outsider. Just look at me right now. likely, perhaps, to gain further appreciation from an audience whose struggles in You don’t really see, normally, a network head who’s an quarantine are reﬂected back at them. Under Lee, it’s a network with the agility Asian male.” He cites personalities from TLC’s air, like — having long been pursuing stories that exist outside the typical corridors for “aspirational” cable productions — to shift to a new production reality. “The intimate way that we are making our television shows during this peculiar period is going to dramatically change how television is made,” Finch says. “The most intimate show on television is ‘90 Day Fiancé,’ and to make it “A COMMONALITY OF ALL OF more down-and-dirty — the audience is going to respond in a way that’s pretty OUR PROGRAMMING AT TLC IS remarkable.” ‘I’M OFTEN MISUNDERSTOOD. That response will continue — just as COVID may — well into 2021. Lee is coming up with ideas that may have a lasting impact on what TLC’s air looks PLEASE LISTEN TO ME.’ THIS like even once the pandemic abates; the frankness his show’s subjects exhibit IS JUST A NEW WAY OF HOW when talking to their phones really is thrilling. “What I’m loving the most in TO CAPTURE THAT.” this four-week stage I’ve been in at home,” he says, “is that this is educating us about what we can do in the future. The talent is being educated. They never

DISCOVERY COMMUNICATIONS (3) COMMUNICATIONS DISCOVERY HOWARD LEE realized how much empowerment they had on their own to speak up.”

VARIETY 41 CORONA CHRONICLES

Essays from Entertainment Industry Insiders

How the Coronavirus is Impacting Their Lives and Their Business

READ OUR SPECIAL MOTHER’S DAY VOLUME variety.com/coronachronicles FOCUS

FULL TANK Blue Cloud Movie Ranch in Santa Clarita is primed to take on shoots as restrictions ease. READY FOR ACTION: FILM LOCATIONS AROUND THE WORLD GEAR UP FOR POST LOCKDOWN BUSINESS PHOTOGRAPH BY ALEX GITMAN BY PHOTOGRAPH

VARIETY 43 FOCUS LOCATIONS UPDATE

BRAZILIAN CITY STANDS ALONE

SÃO PAULO LAUNCHES PRODUCTION INCENTIVES TO BOOST ECONOMY AND STATUS IN LOCATIONS WORLD

ALREADY BRAZIL’S biggest Locations — such as São Paulo’s BRAZIL film and TV hub — indeed, futuristic cityscape of gleaming white after Mexico City, Latin concrete high-rise towers — is one America’s second-largest draw, while the city’s deep talent shoot locale — São Paulo is now launch- pool another. ing a production incentive revolution. “São Paulo is unquestionably The city of São Paulo’s film-TV one of the best locations to shoot in agency SPCINE is readying Brazil’s Brazil given the richness of its land- PREP first-ever cash rebates for interna- scapes, concentration of talent and tional and national productions and extraordinary production companies international co-productions. and crews for shows like ‘Sintonia’ and These will be introduced as soon ‘Modo Avião,’” says Francisco Ramos, as the COVID-19 crisis subsides, most VP of international originals, Netflix likely after July, when productions are Latin America. projected to roll once more in Brazil, “We currently film in multiple cit- says SPCINE president Laís Bodanzky. ies across the country but since we Feature films, animation, series started producing locally, this city has and global commercials, plus national welcomed our productions with open FOR THE productions with international mar- arms. We are proud to show the world ket potential (think Netflix series) are a glimpse of this magical city through all eligible for rebates. Tabbed at 20%- Netflix,” he adds. 30% of local expenditure, with a min- The incentives also represent a imum local spend of $500,000, the breath of oxygen in a near totally rebates’ cap will depend on the amount asphyxiated Brazilian film industry of money available and currency that has seen president Jair Bolsonaro’s exchange rates at the time the final text government freezing almost all subsidy of the law is released, Bodanzky adds. funds for almost the past 18 months. FUTURE São Paulo has already become a pro- “For national productions, the cash duction hub for international and Bra- rebate incentive is especially import- zilian companies alike, hosting Keanu ant in a time of fewer resources and Variety checks in with some Reeves-produced Netflix series “Con- funds,” says Bodanzky. “Hosting either quest,” “Sense8” and episodes of international or national productions location hot spots to see what the “Black Mirror.” The streamer has shot in São Paulo is also an essential way second half of 2020 may look like 10 out of 15 Brazilian original produc- of generating resources for the local tions totally or partially in the city. economy and jobs.” — John Hopewell

Hollywood may be shut down for now, but several location hot spots around the globe are prepping for an onslaught perhaps as early as June, when more coronavirus quarantine restrictions are eased. “Because this industry is so labor-intensive,” says Entertainment Partners’ Joe Chianese. An expert on production ﬁnancing, he predicts that unemployment numbers drop quickly in states due to the revving up of shoots. In fact, unions and guilds have been working hand-in-hand with studios and local CABLE NETWORK governments to establish best prac- São Paulo’s Octavio tices for safe sets. “Come back smart, Frias de Oliveira with smaller production units,” says Bridge is a striking part of the city. Chianese. Because the show must go on.

44 VARIETY LOCATIONS UPDATE FOCUS

SPANISH SECTOR SET FOR ACTION

GOV’T PASSES BIGGER PRODUCTION INCENTIVES AS INFRASTRUCTURE BOOSTS BUILDING

SPAIN’S BIG SHOOTS indus- countries where big shoots will probably SPAIN try is putting the pedal to contract to lessen COVID-19 exposure. the metal, propelled by an The COVID-19 crisis halted Span- encouraging improvement in ish shoots on “The Crown,” which had tax breaks for international productions. planned to film part of Season 4 in the The moves aim to make Spain more Pyrenees’ Baqueira Beret; Netflix sci-fi attractive for big-budget projects, series “In From the Cold”; Amazon Stu- helping the sector look beyond COVID- dios and Sony Pictures TV’s “Wheel of 19 crisis. Time”; and SkyDance TV and Apple TV Approved May 5, the new measures Plus series “Foundation.” increase tax rebates for international Among higher-profile Spanish proj- shoots from 25% to 30% for the first €1 ects also affected are Mediapro Stu- SADDLED UP million ($1.1 million) spend in Spain and dio’s “Official Competition,” starring Netflix’s “The cap a shoot’s total tax deduction at $10.8 Penélope Cruz and Antonio Banderas, Witcher” shot at million, up from $3.28 million. which halted its Madrid shoot in March. Hungary’s Mafilm. It remains to be seen if the Canary Services companies are eager Islands will continue to offer tax rebates to adapt to the future, and get back 20 percentage points above rates for in business. Spain’s mainland. Location lensing probably won’t be HUNGARY’S STUDIO Navarre currently offers a 35% cor- greenlit until August. porate tax deduction for Navarre-based “We readying to shoot with total companies, and the Basque Country guarantees, unifying our shoot proto- SPACE GROWS offers 30% tax shelters for Spanish film/ cols with those brought by production TV production. teams from their own countries,” says Mafilm sets plans for more stages with an The boost in incentives was received Denis Pedregosa, CEO at service pro- with a large sigh of relief by Spain’s provider Babieka. eye to lure more Hollywood blockbusters duction services industry. “During confinement, we didn’t stop “Improving tax rebate conditions will receiving international proposals to film HUNGARY, the water tank, 127 ft. by 152 ft, and second-biggest 10 ft. deep. It was built in 2016 keep Spain’s competitive as an interna- in Spain. I’m very optimistic about an HUNGARY destination for to accommodate a scene from tional location destination,” says Nos- abrupt increase of international shoots film and TV “Blade Runner 2049.” There are tromo Pictures’ Adrián Guerra, presi- once the borders open.” shoots in Europe, also permanent outdoor sets — dent of Profilm, Spain’s international Indeed, Spain’s highest-profile com- is set to unlock investment a World War II army barrack, a shoot sector trade association. panies are rapidly returning to expecta- for the expansion of Mafilm Wild West town and a medieval Studios as part of the gov- village, which was used for With a solid track record of servic- tions of growth on the back of the drama ernment’s program to get the Netflix series “The Witcher,” ing international titles, Spain won larger series revolution. economy moving again post starring Henry Cavill. There are global visibility after “Game of Thrones” In April, Secuoya tapped James Cos- COVID-19 lock-downs. also stores for props, weaponry filmed there from 2014-18. tos, a former HBO VP of global licensing Owned by the National and costumes. The international reach of the Span- and retail and U.S. ambassador to Spain, Film Institute, which oversees Csaba Káel, the country’s Hungary’s film and TV industry commissioner for the motion ish industry has received a new impetus as president of Secuoya Studios, its con- strategy, Mafilm has two picture industry, says Hungary in recent times from a local TV drama tent production arm, and announced it sites: the original studios in will “only be able to keep its boom, driven by Netflix global hit series will open an office in Los Angeles. Costos Budapest, which date back to leading position and compet- “Money Heist” and “Elite.” had helped secure a Spanish shoot for 1917, and another facility, built itiveness in the international Last year, Netflix launched its first “Game of Thrones.” in 1978, in Fót, a town 14 miles industry” if it continues from downtown Budapest. to develop. European production hub at the Secuoya “The addition of James Costos to Four 25,800 sq.-ft. sound- Total annual spending on film Studios in Tres Cantos, a village near our company will help us make North stages will be built in Fót, and TV production in Hungary, Madrid, and Spanish infrastructure con- American producers aware of every- increasing total stage capacity which offers a 30% rebate, is tinues to grow. thing Spain has to offer in the sector, to 131,000 sq. ft. These could 110 billion forint ($337 million). Built — literally — around Secuoya something that demands even more be used in pairs to form two Last year, several Hollywood 51,700 sq.-ft. stages, allowing movies shot there, including Studios, construction of Madrid Content attention now that we’re in the global Mafilm to accommodate Holly- “Black Widow” with Scarlett City, scheduled to conclude by Septem- spotlight,” says Raúl Berdonés, Grupo wood blockbusters. Johansson, “6 Underground” ber 2021, encompasses 10 soundstages Secuoya president. These will sit alongside the with Ryan Reynolds, “Termi- and aims to answer the streaming age’s “In the coming years, Costos will be existing stages at Fót — one nator: Dark Fate” with Arnold huge demand for production facilities. a key piece in Spain’s film-TV sectorial 11,500 sq. ft., the other 17,500 Schwarzenegger, “Gemini sq. ft. Also on the lot are an Man” with Will Smith and More muscular tax break rebates development and our bridge to meet exterior green screen, 180 ft. “Dune” with Timothée Chala- will allow productions to be carried the demands of the North American

KATALIN VERMES/NETFLIX KATALIN wide and 20 ft. high, and a met. — Leo Barraclough out entirely in Spain, as the number of industry.” — Emiliano De Pablos

VARIETY 45 FOCUS LOCATIONS UPDATE NEW MEXICO GRABS THE SPOTLIGHT

Netflix, NBCUniversal power up the state’s infrastructure with huge investments

THE STATE with the iconic land-

scapes launched its incentives THE WAR AT HOME 16 years ago, and last year, Gov. Santa Clarita’s UNITED Michelle Lujan Grisham helped STATES busy Blue Cloud pass SB2, which more than New Mexico Movie Ranch often doubled the state’s annual cap subs for war-torn on its 25% to 30% refundable tax foreign locations. credit to $110 million, and added a 5% uplift for shooting outside the Albuquerque-Santa Fe urban corridor. Rural communities such as San Juan County benefited from this uplift, and saw “Jumanji: SUBURBAN L.A.’S The Next Level” shoot there. The state also created New Mexico Partners, a public-private partnership in which big producers commit to New Mexico for 10 years, PRODUCTION BOOM and either buy or sell a studio and give the government a job commitment. “Our first one was Netflix, they bought BUSY SANTA CLARITA LOOKS TO STAY AHEAD OF THE CURVE Albuquerque Studios and they committed to WITH MORE SHOWBIZ FACILITIES spend $1 billion over 10 years. They came in force,” says Alicia J. Keyes, New Mexico cabi- IN SANTA CLARITA, a suburb just of that entertainment demand” take up resi- net secretary of economic development, who works directly with the entertainment industry. north of L.A., construction is con- dency in those buildings. “They’ve honored that commitment. They also UNITED tinuing at the Center at Needham Dylan Lewis, who owns Blue Cloud Movie have a minimum spend-per-year. … They have STATES Ranch, which has already seen Ranch in Santa Clarita, says while his facil- been an amazing partner. They have given us California entertainment companies move in. ities were booked solid for a year before the funds for training crew.” Keyes notes, “NBCUniversal was here doing “For the last week or so we’ve lockdown, some calls have started to come in a show when I closed the Netflix deal, and been getting calls and texts from production from producers. NBCUniversal’s [senior vice president of pro- companies, from locations scouts and stu- But he’s taking the time now to do big main- ductions] Carrie Henderson … said to me, ‘You dios looking for space,” says CBRE executive tenance projects, create new interiors and plan need to find us a studio!’ VP Craig Peters, the Needham Ranch leasing out bigger things. “That’s what started the NBCUniversal deal. They moved here and took over an 80,000 agent, who thinks producers are looking to “We are planning new stages,” Lewis says. square-foot warehouse and built three stages. restart, but slowly, in June. He expects a big “It’s nice being a big ranch” because when new And they were going to do the grand opening space crunch. safety protocols are put in place, he has the the day before COVID shut everything down.” Shows were on hiatus, but new series will space to expand, there are multiple ways in NBCUniversal made a $500 million also need stages, “and so you had a problem and out of the ranch and Blue Cloud has hun- commitment. Keyes says the state is also looking at a third before this all started with having a virtually dreds and hundreds of acres. partner studio, but that deal is still under wraps. zero vacancy in the TMZ,” he says, referring to “I am planning on new sets. I’ve owned the She is bullish on the biz. “We foresee when the 30-mile zone, the radius used by union film place for five years and we have expanded for we’re able to open up that this is going to be projects to determine per diem rates and driv- five years,” he says. He’s building an “Anytown one of our first sectors to bounce back.” ing distances for crew members. USA” set. “Now more than ever it makes sense The governor has convened a post-lockdown economic task force with 15 business sector The TMZ is important to the Santa Clar- for me to put up a few stages.” leaders, including NBCUniversal’s Brian O’Leary. ita Valley, which has seen its soundstage count Because of coronavirus safety concerns, As for more building, Keyes says that increase from around 24 stages to 40-plus in “A lot of productions are being asked to stay she expects construction to start in the the past couple of years. in L.A. This will have an effect to repatriate next few weeks. “I think the entertainment industry has the productions to L.A.” “I think that stage space is hard to come by everywhere,” she says. “That’s why our best chance for a V-shaped recovery as we get And as productions start to resume, partnership models are successful. People are production back and we have a lot of people the unions, producers, locations managers looking for stage space outside of New York begging for something new,” Peters says. and other stakeholders are creating safe- or L.A., and for those companies that have a He also stresses the attraction of buildings set protocols. certain amount of product, it just makes sense that are move-in ready. “You have a lot of peo- Lewis mentions fewer people on-set, for them to have a home base outside those big cities.” ple looking around for space. The key for all of face masks and other guidelines to prevent And as the pandemic subsides, there will be them” is to find buildings with a certificate of the virus spread. “I may install touchless an aversion to traveling far to shoot. occupancy, which means a production shingle sinks,” he says. Despite the lockdown, “Our “I have seen the trend of distributors and can move in right now. staff stayed on and then figured out how to producers based in North America that want “So projects like the Center at Needham bring people in at a safe distance. We use to stay in North America. I think that the talent and the crew feels more comfortable staying Ranch have that. We have two buildings at the masks, gloves and best-practices guidelines.”

close to home,” Keyes says. — Carole Horst ready with ofﬁces so I suspect we’ll see some — Carole Horst ALEX GITMAN BY PHOTOGRAPH

46 VARIETY LOCATIONS UPDATE FOCUS

BRITS ON BUILDING SPREE

LACK OF SOUNDSTAGES SPURS NEW STUDIOS AND INVESTMENT IN SPACES AND PLACES

SEVERAL FILM and TV studios dominantly in the southeast of England. vices company Legal & General will

United are being developed in the U.K. If you move out of the southeast the rates develop the site and provide financing Kingdom in response to a boom in pro- you can command for whatever you build for the project. duction there and a shortage are significantly lower.” The new studios will be a separate entity of stage space. He wants it to be a “center of excellence — to the nearby historic Elstree Studios, which The total spend on movie and high- somewhere people can congregate, and you was home to such movies as “The Shining” end TV production in the U.K. last year know you are going to get the best talent.” and “Star Wars,” and is the production base was £3.62 billion ($4.49 billion), a 16% It’s not just about the facilities, he says, “it’s for Netflix series “The Crown.” Elstree Stu- annual increase, and the highest figure ever the people you bring along with you; it’s the dios has seven stages, and is planning to recorded. quality of the crew.” Smith adds that train- build two more. Underpinning that boom is the 25% tax ing of new crew — in partnership with the Meanwhile in Ashford, in England’s rebate for production, a strong and growing university — “will be very much at the heart southeast, the Creative District Improve- studio infrastructure, a thriving VFX sector, of what we are trying to do.” ment Co., headed by Piers Read and Jeremy and a rich vein of talent behind and in front Another major development is being Rainbird, has teamed with Quinn Estates to of the camera. planned by Comcast-owned European plow $312 million into the construction of a Real estate consultancy firm Lambert pay-TV operator Sky, in partnership with TV and film studio to be called Ashford Intl. Smith Hampton estimated last year that an sister company NBCUniversal. Sky plans Studios. It will be 38 minutes from central additional 1.8 million square-feet of studio to build a 28-acre TV and film studios London on the Eurotunnel high-speed train space will be required in the U.K. by 2025. facility, to be called Sky Studios Elstree, in that travels between Paris and London. The Among the sites being developed is Borehamwood, 20 minutes north of the studios are scheduled to open in early 2022, a production studio and digital creative heart of London. and will target premium single-camera TV hub in Reading, which is 30 minutes from It will house 12 soundstages, totaling productions. the western edge of London. Ryan Mill- 260,000 sq. ft. Alongside the stages will be The project, on a 15-acre site, will involve sap’s Blackhall Studios, whose facility in two production support buildings, which the restoration of five historic buildings — Atlanta hosts productions from most of the will offer a space for the manufacture and formerly a railway locomotive manufactur- Hollywood majors, is spearheading the storage of props and sets, and five pro- ing plant — and the construction of 80,000 development, while Nick Smith, formerly duction office buildings, incorporating sq. ft. of TV and film studios, 80,000 sq. ft. of executive commercial director at Pine- post-production facilities and screening ancillary production space, 50,000 sq. ft. of wood-Shepperton studio, will head the rooms. The studios are expected to open in workshop, storage and logistics space, and new facility in the role of U.K. president 2022, and will create more than 1,500 jobs. a 30,000 sq. ft. media village, as well as the and chief operating officer. As well as series generated by Sky’s pro- Future Media Centre, an educational hub The Reading complex, which is esti- duction arm, Sky Studios and NBCUniversal that will be developed in partnership with mated to open early in 2022, will create up Content Studios, the studios will host mov- several academic institutions, incorporat- to 3,000 jobs, including 1,500 employed ies from Universal Pictures, Focus Features ing what is claimed will be the largest film EASY COMMUTE at the studios. It will be integrated into and Working Title. It will also be available school in the U.K. The plans also include a Piers Read, Thames Valley Science Park, owned by the for hire by third-party producers. left, and Jeremy hotel, serviced apartments, a conference University of Reading, on the M4 highway, Sky says $242 million will be spent on Rainbird are center, a gym and a restaurant. which connects to London’s Heathrow Air- constructing the studios, which will gener- spearheading the Rainbird, who co-founded production new Ashford Intl. port. The initial investment in construction ate production spending totaling an esti- Studios southeast company Merman with his wife, Sharon will be $187 million. mated $907 million a year. Financial ser- of London. Horgan, says having spent “all my life pro- The studios will have 20 soundstages, ducing content — being on that side of the totaling 500,000 sq. ft., with on-site fence — you know how hard it is to find suit- post-production facilities and a movie the- able studio space,” and the streaming boom ater, alongside a digital media hub, which has “compounded the issue.” Another bot- will house visual effects, augmented reality, tleneck in the industry he and Read identi- animation and e-gaming companies. fied was the lack of skilled labor. Smith says the studios are designed to “What we started to realize was a dream “attract major inward investment from the of being able to combine studios with edu- biggest players.” He estimates that three to cation clustered with flexible work space, four movies will shoot there a year. which also doubles up as production offices The location was chosen because most and ancillary space.” of the existing large studios are in that area Also in the mix would be a high-quality — on the western and north-western edge food and beverage offering. of London — and so that is where the best “We started to build a vision where we crew live, and talent want to be close to took all the things that we as producers the capital. knew we wanted to see,” he says. “For the first time we are taking a major TCDI Co. is also investing $62 million in facility to where the crew are rather than the development of London’s Twickenham asking the crew to travel,” Smith says. Studios, and another studio development in

JEFF MOORE/THE CREATIVE DISTRICT IMPROVEMENT COMPANY IMPROVEMENT DISTRICT JEFF MOORE/THE CREATIVE “The clients and the crew want to be pre- Liverpool. — Leo Barraclough

VARIETY 47 FOCUS ANNIVERSARY

REALITY CHECK: PANDEMIC VS. WWII

HARD TIMES OF THE PAST PROVIDE A BIT OF PERSPECTIVE FOR TODAY’S CRISIS By Tim Gray

IN THE HISTORY of civilization, no one has ever been consoled by the thought “Other POINTING THE WAY people have had it worse than you.” Christian Bale starred in Steven In 2020, the pandemic has been dev- Spielberg’s Oscar winner “Empire of the Sun,” about westerners in astating, with deaths, illness, unemploy- Shanghai who are rounded up by ment and economic turmoil. But as we the Japanese. observe the 75th anniversaries of V-E and V-J Day, it’s worth remembering that people during World War II experienced all these things and more — including widespread destruction of buildings, homes and even towns. Variety in 1942 carried a story about Nazis destroying the Czech town of Lidice. During the war years, Variety reported on wholesale devastation to numerous places including the Republic of Formosa (Tai- wan today) and Aachen (aka Aix la Cha- pelle) to name a few. And while we now complain that we can’t go to movie theaters, at least these venues still exist; on April 4, 1945, Variety said that the 400 pre-war cinemas in Berlin had been reduced to 31, with the rest bombed out. The film industry has frequently depicted military action in wartime, but there are also terrific movies showing the crises for civilians, such as Oscar-winner “Mrs. Miniver,” Steven Spielberg’s “Empire of the Sun,” Roberto Rossellini masterpiece “Rome, Open City” and Billy Wilder’s post-war “A Foreign Affair.” In terms of destruction, nothing matches the bombings of Hiroshima and Nagasaki. On Jan 14, 1946, Variety reported on the first public screening of the U.S. Army’s 40-minute film “The Atomic Bomb Strikes,” which depicts the results. For another sobering reminder, check out the 1953 “Hiroshima” by Hideo Sekigawa. Aside from destruction, there were plenty of hardships. For the entire war (1939-45) and even a decade after- gone conclusion that the armed services ward, Variety carried stories about hous- would tap into all phases of entertaining shortages around the world, such as ment. Considering the draft legislation’s a 1952 report from Britain, in which the age limit of 35 years old and under, “It reporter wrote, “The housing shortage is understood that up to 35% of studio caused by war blitzing has forced fami- manpower would come under the call to lies to double up, with two or more gener- service. In extra ranks the toll would run ations in one house.” as high as 50% of those registered with On Dec. 10, 1941, three days after the Central Casting and indie offices.” Variety bombing of Pearl Harbor, ran ORDINARY PEOPLE There was also a tire shortage and gas Daily Variety the headline: “Hollywood takes stock of William Wyler’s 1942 rationing. In the on Dec. 8, itself; sure to lose much manpower to drama “Mrs. Miniver,” 1942, Hollywood studios estimated their war.” The paper reported that all con- adapted from the book, gas consumption had been reduced by centered around an versation at the studios “centers on war English family adapting one-third, out of necessity. Theater own-

and what will be expected.” It was a fore- to World War II. ers tried to get extra gas rations for “tag- BROS/KOBAL/SHUTTERSTOCK; EMPIRE OF THE SUN: WARNER APGER/MGM/KOBAL/SHUTTERSTOCK VIRGIL MINIVER: MRS.

48 VARIETY ANNIVERSARY FOCUS

RAVAGES OF WAR they were sacrificing a lot, there was He concluded: “When time heals the 1953’s “Hiroshima,” general awareness that this wasn’t new. scars of conflict, not only homes and cit- directed by Hideo During the Great Depression, the labor ies must rise again, but a way of life must Sekigawa, depicted the aftermath of the crisis was severe, reaching its peak in also be restored. Having survived an age atomic bombing. 1933, with nearly 25% of the workforce of destruction, the industry must be ready unemployed. A Variety story that year for an age of construction.” noted that in the past two years, 90,000 It’s a thought worth remembering on showbiz people had lost their jobs, and V-J Day, V-E Day … or any day. the annual payroll of the “major picture business” in the U.S. was estimated at $50 million, compared to $156 million two years ago. And going back a few decades before that, Variety carried an un-bylined piece about a Universal film called “War in the Clouds.” That World War I-era film talked about “explosive death dropping from the skies, demoralized civilian populations, gers,” i.e., drivers who carried film prints wholesale economic destruction and mer- between cities. Also in 1942, Southern ciless war waged on non-combatants.” Attractions lamented that its 10 live-per- In 1944, Will H. Hays — the first chair- formance shows required 40 cars, but the man of the Motion Picture Producers & temporary ban on tire sales was disas- Distributors of America, best-known for trous for its business. creating the Hays Code that dictated the Even more wide-ranging was the food type of conduct to be depicted in films rationing. In that same Dec. 8, 1942, issue — wrote a guest column looking forward was an article about a United Artists to the end of the war. He talked about movie, “Meet John Bonniwell,” (aka “The “appalling material destruction. But there Kansan”) which was filming on location has also been appalling cultural and spiri- in Kernville, Calif. There were 160 Holly- tual destruction.” wood people in town (which cost the production $5 per person each day, according to the story) and, like many others, the manager of the local Mountain Inn was INVESTIGATE THIS having trouble finding enough food locally Marlene Dietrich, left, and Jean Arthur star in Billy Wilder’s 1948 to feed them. comedy “A Foreign Affair.” She drove 50 miles to Bakersfield and, even though the supplier had much of the food she wanted, she “became irate” when told she couldn’t have any of it. “Her burn did not subside when she was informed that the large consignment of butter and eggs was destined for consumption by internees at Manzanar.” Of course, her inconvenience was small potatoes compared to the expe- riences of those Manzanar internees, who had their houses and belongings seized simply because they were of Japa- nese heritage. (After Pearl Harbor, James Wong Howe, the esteemed cinematogra- pher of such movies as “The Thin Man,” wore a button that clarified his heritage, “I Am Chinese.”) There were also shortages of multiple products such as copper, chemicals and print stock needed to make and process films. Army officials went to the studios “to commandeer all firearms used in pictures.” Western and action pictures in production were allowed to finish and then turn over the guns to the government; after that, studios used replicas of firearms.

HIROSHIMA: EAST WEST/KOBAL/SHUTTERSTOCK; A FOREIGN AFFAIR: PARAMOUNT/KOBAL/SHUTTERSTOCK AFFAIR: A FOREIGN WEST/KOBAL/SHUTTERSTOCK; EAST HIROSHIMA: And while the WWII generation knew

VARIETY 49 FOCUS ARCHIVES

HOLLYWOOD TIPS ON HOME-SCHOOLING

By Tim Gray

COVID-19 HAS turned the world upside-down in many ﬁle Twitter account is devoted to teachers, told Variety: ways, including the fact that parents have to deal with “This pandemic has revealed a lot about schools, educa- home-schooling. But, as always, Hollywood has already tion and teachers. It’s safe to say that many parents have been there, with plenty of bigscreen depictions of what a newfound appreciation for their child’s teachers.” to do — and what to avoid. The 10 ﬁlms that follow offer many different insights Nicholas Ferroni, educator-activist whose high-pro- into home education.

THE KING & I (1956) Directors, Rodgers & Hammerstein

This is an earlier Rodgers & Hammer- stein work about a singing governess-tu- tor. There’s plenty for modern audiences to identify with: Arriving in 1860s Siam to teach the children of the king, Anna discovers she’s been lied to, she’s confined to her rooms, and she craves both privacy and human contact. As for home-schooling, there are 15 children; in the 1946 non-musical version (“Anna CAPTAIN FANTASTIC (2016) THE INNOCENTS (1961) and the King of Siam”), it was 67 kids. Writer-director, Matt Ross; stars Viggo Director, Jack Clayton; screenplay, Wil- Either way, it makes “social distancing” Mortensen, George MacKay liam Archibald, Truman Capote, from extremely difficult. Henry James’ novella; stars Deborah Kerr The Bleecker Street release is the most inspiring home-schooling movie If you think your kids are intention- around. Ben (Viggo Mortensen) has iso- ally trying to drive you crazy, the good lated his six kids in Washington state. news is that you’re not the first per-

He is wildly stubborn and sometimes son to feel this way. The bad news: You MEDIA STREET BLEECKER NO TRACE: LEAVE FOX/KOBAL/SHUTTERSTOCK; butts heads with his eldest son (a pre- might be right. In this terrifying adap- “1917” George MacKay), who wants to tation of Henry James’ “The Turn of the begin a “normal” life. It’s clear that Ben Screw,” Kerr plays a governess teaching has been a good teacher as the kids two young children in a remote house. demonstrate a breadth of knowledge She starts coming unhinged, alternately that outshines peers from traditional thinking the weird happenings are due to schools. Ben is also a good role model evil spirits, her imagination — or maybe because frankly, doesn’t everyone want it’s those angel-faced little tykes. It’s a to be like Viggo Mortensen? brilliant ﬁlm, but the theme of slowly ﬂipping out might hit too close to home for some parents these days. 0TH CENTURY FOX/KOBAL/SHUTTERSTOCK; THE KING & I: 20TH CENTURY FOX/KOBAL/SHUTTERSTOCK; 0TH CENTURY

LEAVE NO TRACE (2018) ter in a forested public park in Oregon. Director, Debra Granik; script, Granik, (What IS it about the Paciﬁc Northwest?) Anne Rosellini, based on novel by She’s an expert at off-the-grid survival, Peter Rock; stars Ben Foster, Thomasin as depicted by her knowledge of pitch- McKenzie ing a tent and cleaning up traces of an encampment. However, it’s never clear Ben Foster plays an Iraq vet with PTSD whether most 2020 kids can apply these

who lives with his 13-year-old daugh- talents at home. 2 THE INNOCENTS: STREET; ERIK SIMKINS/BLEECKER FANTASTIC: CAPTAIN

50 VARIETY ARCHIVES FOCUS

THE MOSQUITO COAST (1986) PARASITE (2019) Director, Peter Weir; script, Paul Schrader, Writer-director, Bong Joon Ho; stars Song from Paul Theroux’s novel; stars Harrison Kang Ho, Cho Yeo Jeong, Choi Woo Shik Ford, River Phoenix, Helen Mirren Bong Joon Ho’s multi-Oscar-winning ﬁlm Harrison Ford plays an inventor who is admired, beloved, and ground-break- wants to build a utopia by bringing ice ing. But in terms of home education, it’s to indigenous people in Central Amer- a primo example of what can go wrong ica. His wife and kids go along with him. when the pupil’s needs are incidental. In They encounter missionaries, a band other words, don’t try this at home. of armed rebels, an asparagus farmer and a cyclone. Education? Let’s just say that when each of these children reach THE MIRACLE WORKER (1962) their 20s and hear friends exchang- Director, Arthur Penn. Screenplay, Wil- ing “My parents are crazy!” stories, they liam Gibson, based on his play; stars Anne will have the ultimate “hold my beer” Bancroft, Patty Duke conversation-stopper.

Here’s a plot twist for ya: A teacher who ASKS to be isolated with her pupil for two weeks. Spoiler alert: There is a knock-down battle between the two that proves to be a breakthrough. (Hopefully, home-teachers can reach students without wrecking the furniture.) This is great viewing, for the Oscar-winning performances by Anne Bancroft and Patty Duke (as Annie Sullivan and Helen Keller) and for the message that educating the child is always the No. 1 priority.

THE SHINING (1980) THE SOUND OF MUSIC (1965) Director, Stanley Kubrick: screenplay, Director Robert Wise; script, Ernest Leh- Kubrick, Diane Johnson, from Stephen man, based on the Broadway musical King’s novel; stars Jack Nicholson, Shelley by Rodgers & Hammerstein; stars Julie G: WARNER BROS.; THE SOUND OF MUSIC: TWENTIETH CENTURY FOX; WONDER: LIONSGATE WONDER: FOX; THE SOUND OF MUSIC: TWENTIETH CENTURY BROS.; G: WARNER Duvall, Danny Lloyd Andrews, Christopher Plummer

The Torrance family spends winter (i.e., That plucky Maria sets the bar awfully a big part of the school year) at the Over- high for 21st century parents: She not look Hotel, and little Danny learns a lot, only tutors the kids, she turns them into but not from home-schooling. Though world-class singers. If you need more the film runs 146 minutes, almost no details on these characters and this film, time is devoted to Danny’s studies. This it means you’ve been self-isolating for is another troubling film to watch during the past 50 years. the coronavirus era, because the moral WONDER (2017) of the story is unmistakable: If you’re Director, Stephen Chbosky; screenplay, locked up too long with your family, Jack Thorne, Steven Conrad, Chbosky, something bad is bound to happen. based on the novel by R.J. Palacio; stars Julia Roberts, Jacob Tremblay, Owen Wilson

This movie will prepare you for the glori- ous/fearsome day when the child returns to the classroom. In the movie, Auggie enters ﬁfth grade after years of being home-schooled. The sobering message for parents is that you can’t protect your kids from the outside world. Note to viewers: Though coronavirus has created a shortage of many products at the market, make sure you’re stocked up on

THE MIRACLE WORKER: MOVIESTORE/SHUTTERSTOCK; MOSQUITO COAST: SAUL ZAENTZ COMPANY/KOBAL/SHUTTERSTOCK; PARASITE: NEON; THE SHININ NEON; PARASITE: COMPANY/KOBAL/SHUTTERSTOCK; ZAENTZ SAUL COAST: MOSQUITO MOVIESTORE/SHUTTERSTOCK; WORKER: THE MIRACLE Kleenex before watching this

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NIGHTTIME COLORS Shaggy (voiced by Will Forte) and Scooby (Frank Welker) bask in production designer Michael Kurinsky’s bright palette for “Scoob!”

out the color, lighting and emotional beats of an animated film. For “Scoob!,” the A Colorful, Off-Kilter script stretched across an entire wall, Cer- vone says. Kurinsky’s main goal was to avoid World for Scooby-Doo making the movie look photoreal; viewers needed to know they were watching a cartoon. That meant the designer was WARNER BROS. ORIGIN STORY PLAYS FAMILIAR NOTES WHILE AIMING never afraid to push the color in “Scoob!” because “they were never afraid to push TO CREATE A MYSTERY IN NEW FILM ‘SCOOB!’ By Jazz Tangcay color in the original,” he explains. Kurinsky had three major environments COLOR AND MUSIC FIGURE PROMINENTLY Jam,” “Fantastic Mr. Fox” and “Pinky and to design in “Scoob!” — that of the gang, in “Scoob!,” an origin story about how the Brain.” With “Scoob!,” his feature the Blue Falcon (Mark Wahlberg) and Dick the gang on the classic 1970s Satur- directing debut, he mixes classic touches Dastardly (Jason Isaacs). “I wanted to give day-morning cartoon first become with fresh ideas to help fans hark back to each one of these worlds and the charac- acquainted. Warner Bros. is offering the familiar tropes without letting the look get ters in them their specific palettes so that animated film — which features the voices stale. “It’s a dance,” he says of finding the when that character was ‘winning’ or was of Will Forte (Shaggy), Zac Efron (Fred), right balance. the one in control of a scene, I would make Gina Rodriguez (Velma), Amanda Seyfried Color was one way to achieve that equi- the lighting and colors reflect that,” Kurin- (Daphne) and Frank Welker (Scooby) — on librium. “It’s a colorful show,” Cervone sky says. “The gang’s palette was based on VOD starting May 15. says, “yet so much of the adventure hap- the Mystery Machine colors. Blue Falcon’s “It was great to ﬁnd out where the char- pens at night.” is his signature bright blue and Dastardly’s acters meet and what their ﬁrst mystery Cervone collaborated closely with pro- palette consists of violet, acidic yellows is,” says director Tony Cervone. “And it was duction designer Michael Kurinsky (“Spi- and rusty reds.” cool to do it in a big, special and fun way.” derman: Into the Spider-Verse”) to develop Kurinsky also considered relative size Cervone, an animation veteran, has the movie’s palette, a process that began and textures in creating his cartoon look. worked on projects including “Space by devising a color script — a way to map Shaggy, Scooby and the gang meet for the WARNER BROS. WARNER

VARIETY 53 ARTISANS

“I wanted to give each one of these worlds Designing the Perfect and the characters in them specific Coup in ‘The Great’ palettes so that when ART TEAM HELPS HULU BIO-SERIES TELL THE STORY that character was OF CATHERINE’S RISE TO POWER IN RUSSIA in control of a scene, By Jazz Tangcay the lighting and colors reflect that.” WHEN IT CAME TO DESIGNING the court of had to wait for suppliers to make more.” In Peter III in Hulu’s “The Great,” which pre- total, 20,000 sheets of gold leaf were used Michael Kurinsky, mieres May 15, production designer Fran- by the painting department. “And they had production designer cesca di Mottola carefully avoided the style over 300 chairs gilded,” she notes. of the Versailles-like Russian Winter Pal- Much of the show’s action takes place first time while trick-or-treating and ace. “We wanted to invent our world for the within Catherine’s and Peter’s private quar- stumble across the Rigby House. It’s show,” she says. ters, and the key to designing them was to haunted, but the new friends must enter Created by Tony McNamara, “The Favou- understand the characters and their jour- it to retrieve Shaggy’s lost candy. rite” screenwriter, the show focuses on neys. “From there, I could create the right “We looked at a lot of the spooky the rise of Catherine the Great (played by environment for each,” di Mottola says. houses that were designed for the origi- Elle Fanning) as she meets Peter (Nicho- “The costumes would reflect taste and per- nal shows and saw that they pushed the las Hoult) to become the longest-reigning sonality, and so would the spaces.” proportions of things like the turrets and female sovereign in Russian history. Stay- Being one of the largest areas in the roof peaks,” the designer says, “so that’s ing true to McNamara’s style, the story palace, the apartments occupied by Peter how we approached the exterior of the mixes satire and comedy with drama. were built on an entire soundstage. “Peter Rigby House.” For di Mottola, the set design originated treated the palace like a fraternity house,” For the interior, he aimed for a claus- in close collaboration with the art depart- explains di Mottola. “It’s where he drinks, trophobic feel, making the young gang ment. Initial ideas and mood boards that fools around with other women, eats and feel trapped. “We looked closely at the she had created were turned into techni- dances. It’s a mess.” Look closely and painterly style of the original ‘Scoo- cal drawings that were then constructed as you’ll see unmade beds, broken chairs and by-Doo’ backgrounds and asked for sets at 3 Mills Studio in the U.K. While most shot glasses tossed aside in wanton aban- things like wood textures to have a bit of of the interior sets were built on sound- donment. It ultimately reveals his inabil- a hand-done quality,” Kurinsky notes. stages, Hever Castle and Hatfield House in ity to rule. Cervone spent a great deal of time England and La Reggia di Caserta in Naples In contrast, there’s a far more intellec- finding the right music for the film. He were also used for exterior shots. tual aesthetic to Catherine, and her living had a temp score, but “it didn’t sound The largest set was the grand hallway, quarters are much more diligently kept like what the film should sound like,” he which di Mottola describes as “the heart” of up. We see her reading books about the says. Composer Junkie XL (“Terminator: the show. “It gives us that glimpse into pal- Enlightenment, which required calligraphy Dark Fate,” “Mad Max: Fury Road”) man- ace life as people walk and talk through it,” artist Rosalind Wyatt to create the essays aged to serve up the film’s sonic duality: she says, adding that it “took two weeks to and quotes that are seen around the char- the fun, thrilling and scary elements of build.” It’s an area in which Peter is seen acter’s room. classic “Scooby-Doo,” underscored with roaming a lot and always stumbling in on When she starts planning her coup, the a hip-hop beat. “The music delivers what conversations. For the floor, more than 200 items in her room show her building her you expect and takes you places you don’t sheets of the tiled design were printed and plans. “For the coup board, we sourced real expect at all,” Cervone says. then laid in diamond shapes. The ceiling, maps and prints of Russian documents,” The director is particularly proud of painted in gold, used up “all the gold paint di Mottola says. “We start seeing maps as a synthesizer-driven horror suite that supplies in the U.K,” di Mottola says. “We she strategizes her takeover.” accompanies the Rigby House scene. “The music cues in that scene hark back SHINING MOMENT to the way it was,” he says. The crew films Elle Fanning as Similarly, when it came to editing, Cer- Catherine and vone leaned into the unexpected. “We use Adam Godley as the handheld camera movement” to give the archbishop in the grand hallway, film its visceral energy, he says. which used “all Though much of the original series the gold paint in took place at night, Cervone says he the U.K.” for its ceiling, according wanted to open the film in bright sun- to production shine — the opposite of what audiences designer Francesca typically associated with “Scooby-Doo.” di Mottola. “I don’t know why,” Cervone allows, “but that meant California to me.” The action is set on the West Coast, with audiences greeted by the 2Pac classic “Cali- fornia Love.” “You have the beach and the bright colors,” Cervone says. “It was important

to ground the story in a real place.” FERGUSON/HULU ROSS

54 VARIETY ARTISANS

TEAMWORK Michael Jordan celebrates the Chicago Bulls’ third consecutive NBA championship in 1993. Clockwise from top middle: Editors Abhay Sofsky and Chad Beck, producer Max Maxson and editor Devin Concannon work from home on the project, with a little help.

of the team that won the 1997-98 title. All Post Team Faced Tough of it still needed post work before it was ready to air. Feldman praises editors Chad Beck, Foe on ‘The Last Dance’ Devin Concannon, Abhay Sofsky and Ben Sozanski for paring the footage from more FORCED APART BY THE CORONAVIRUS PANDEMIC, THE CREW than 500 hours to roughly 200 minutes before handing it off to the Sim team. “The FROM SIM BEAT THE BUZZER TO FINISH MICHAEL JORDAN DOC amount of footage was phenomenal. We By Jazz Tangcay were shielded from that,” he says. “What we received was already edited down.” ESPN’S “THE LAST DANCE,” which reaches premiered on April 19, most of the epi- Feldman adds that colorist Rob its climax May 17, focuses on Michael Jor- sodes were yet unfinished. “When every- Sciarratta had established the look of the dan and the six-time NBA champion Chi- thing was going to be shut down, we saw documentary with Hehir, “so there was cago Bulls. In one sense, the show couldn’t the writing on the wall,” Feldman says. “We already a strong shorthand and trust,” come at a better time, filling the void had to be prepared to work from home.” he says. The director wanted to maintain caused by canceled live sporting events To ensure maximum security of the the authentic archival look of the clips, and delivering the exploits of a legend. footage, all content was kept on a server which meant Sim “would just massage Production house Sim intended to at Sim’s New York location. Each worker’s the footage rather than manipulate it,” the assemble the hundreds of hours of foot- home was then set up with a full finish- exec explains. age of director Jason Hehir’s 10-part doc- ing suite that was fed multiple encrypted As Feldman speaks with Variety, umentary series in much the same way streams to enable a seamless experience he and his team are working on the as the Bulls fashioned their titles — all for editing, coloring and sound as each unit upcoming series finale. “Re-recording together, as a team. pushed the project along. mixer Keith Hodne is mixing the epi- “Many documentaries are edited in Stacy Chaet, the show’s supervising sode,” he says. Sim will then complete homes and apartments, with post facilities workflow producer, explains that post had its checks for any technical picture and coming in at the end. This was not one of been completed on just a few installments. audio issues before Hehir sees the epi- those projects,” says David Feldman, Sim’s “We had done three episodes with every- sode with final color. senior vice president of film and television, one in the same room,” she says. With the majority of the show’s East Coast. The main source material for the post-production completed and delivered When the coronavirus pandemic halted project was 16mm film from the NBA. from home, Feldman believes the seam- film and TV production, Sim was in the Player interviews, news archives and less transition was made possible by a middle of its work. At the time the series home video mixed to paint a full picture crew of people who have worked together at the same facility for years and trust one another — a lot like the team in the “When everything was going to be shut documentary. down, we saw the writing on the wall.” “When you’re pushed to finding creative solutions,” Feldman says, “you fig- David Feldman, Sim JORDAN: ANDREW D. BERNSTEIN/NETFLIX ANDREW D. JORDAN: ure it out.”

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TWILIGHT YEARS Tom Hardy stars as the aging mobster, with Linda Cardel- lini as his wife, in “Capone.”

FILM REVIEW comfortable but ailing, teetering toward around in a red paisley silk bathrobe, BY OWEN GLEIBERMAN death as he drifts through the days at Capone still exudes a coiled-snake aura his creamy mansion in Palm Island, Fla., of violence, but much of the time Hardy Capone surrounded by federal agents who are squints off into space with that stunted, watching his every move. vaguely forlorn zombie stare — the one Written and directed by Josh Trank he perfected for his blitzed-out-of-his- (“The Fantastic Four,” “Chronicle”), gourd performance in “Mad Max: Fury “Capone” is a portrait of the mobster as a Road.” That you often have to work to DIRECTOR: Josh Trank STARRING: Tom Hardy, Linda Cardellini, burned-out husk. Hardy’s Capone, whom decipher what he’s saying now seems Matt Dillon, Kyle MacLachlan everyone calls Fonz (for Alphonse — the an element of the Hardy mystique (the use of “Al” is strictly verboten), is blotchy one he launched when he played Bane and pasty, with a trio of scars on the side in “The Dark Knight Rises” under that of his face that look like they were left Humungus of the Opera face mask). Here IN “CAPONE,” Tom Hardy, as the aging, by a misaligned tiger claw. His scowl- you’re grateful when Capone blurts out a broken-down, not-all-there Al Capone, ing lips are wrapped around a huge cigar, line in Italian (it’s usually something like acts under a corpse-gray mask of and when he takes it out it’s generally to “Go fuck yourself” or “Look over there! desiccated-mobster makeup, and he growl like an animal, explode over some They’re watching us!”), because at least speaks in a bullfrog croak so raspy it ancient vendetta or retch into a bucket. the subtitles allow you to understand him. sounds like he’s only got one or two Capone is suffering the effects of pare- Is “Capone” a fascinatingly idiosyn- vocal cords left, and that they’ve been sis, a form of dementia brought on by cratic twilight-of-the-mobster drama? Or burnt to a crisp. It’s 1946, and Capone’s late-stage syphilis. He’s incontinent, and is it a “Saturday Night Live” sketch with days as the legendary underworld his memory is going; so is his ability to pretensions? It may be a bit of both. The kingpin of Chicago are long gone; so are distinguish reality from fantasy (at times concept feels original, even if it does sug- the 11 years he spent in prison for tax the film slips into a sequence that turns gest the last half hour of “The Irishman” evasion. He’s now 47, a retired gangster, out to be from his imagination). Lurching crossed with the doddering-legend parts ALAN MARKFIELD/VERTICAL ENTERTAINMENT ALAN MARKFIELD/VERTICAL

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of “Citizen Kane,” all mixed in with Har- PASSAGE DENIED dy’s apparent desire to play the creature Jennifer Connelly, in Frankenstein. Mike O’Malley Early on, the film plants two seeds and Daveed of intrigue. Capone receives a call from Diggs star in “Snowpiercer.” Tony (Mason Guccione), his illegitimate son, whom no one but his loyal wife, Mae (Linda Cardellini), knows about. Will father and son connect? Then, Capone and a former gang associate, Johnny (Matt Dillon), sneak off on a fishing excur- sion, where Capone confesses that he has $10 million hidden away (about $130 million in today’s value), only he forgot where he put it. Now we know why the feds have tapped his phones and are sur- veilling him. It’s a sign of the kind of film “Capone” is that neither of these situations devel- ops in a conventional, or particularly sat- isfying, way. Handsomely shot and small of scale, “Capone” ambles along without catching fire. That’s because the movie, at heart, is shaped as a pedestal for Hardy’s prankish mumbly Method showboating. In one sequence, Capone sings “If I Were King of the Forest” along with Bert Lahr’s Cowardly Lion during a private screening of “The Wizard of Oz.” He also executes an alligator, loses control of his bow- els during an interview with the FBI and TV REVIEW luxurious cars while the poor, who keep skulks down the mansion corridors hallu- BY DANIEL D’ADDARIO the machine running by doing the tasks cinating a party for himself in a sequence the upper class wouldn’t touch, live in des- that’s like “Scarface Goes to The Shining.” Snowpiercer olation. It’s a worthy point to put forward, There’s also a very savage flashback to the and an obvious one. The train is capital- time when Gino (Gino Cafarelli), Capone’s ism — get it? trusty henchman, stabbed a guy in the That’s nothing new for this franchise: neck 40 times. Why does Capone keep Bong’s film of this material had an equally DRAMA: TNT (10 episodes, all reviewed); May 17 thinking back to that vicious moment? STARRING: Jennifer Connelly, Daveed Diggs, thudding manner of carrying across its Because he now feels guilty about it. Alison Wright, Mickey Sumner, Susan Park point. (He’d later address similar themes He’s ailing, he’s losing his mind and more deftly in “Parasite,” whose organiz- his sins are oozing out of him like poison. ing metaphor, a house rather than a sur- After a second stroke, he can’t even smoke real train, allowed a fleeter and more cigars anymore; the doctor (Kyle MacLach- THE STRANGENESS OF “SNOWPIERCER,” oblique address of these concerns.) What lan) substitutes carrots. Hardy’s perfor- TNT’s new post-apocalyptic drama, is all is new here is the relative dullness of mance is starkly unsentimental, yet part in its setting. The series, like its graph- characters’ dialogue and backstories. of its fetishized authenticity is that Capone ic-novel source material as well as the It’s somewhat grounding that even in the never has anything too interesting to say. 2013 Bong Joon Ho film adaptation that midst of chaos, cataclysm and global reor- Near the end, he finally gets his skewed preceded it, can’t help emphasizing how ganization around a bizarre means of con- version of a shoot-the-works gangster cli- weird its premise is: That after a failed veyance, folks will still speak mainly in max: Capone, chomping down on his car- attempt to reengineer the world’s climate, cliché; it’s also true enough to life. Indeed, rot, hair standing up in the back like a humans are able to survive a new ice age in our world, people have not grown nota- clown’s, firing off a machine gun made by boarding a globe-spanning train, oper- bly more articulate since the pandemic entirely of gold at enemies real and imag- ating in a state of perpetual motion. began — quite the opposite, in fact. It also ined. From the looks of it, he’s gone around But once the oddity sinks in and feels like a show that’s working to create the bend, but we’re supposed to think that becomes less striking — once we get our counterpoint between a backdrop that’s so he’s now in touch with the side of himself train legs, perhaps — the show feels deeply far out on a limb of oddity that its action that cares. Frankly, though, there’s some- familiar. That’s, first, because the sub- needs to be extra prosaic for balance. The thing a bit soft — too Hollywood — about stance of this device is so grindingly famil- result is watchable, but not much more. how “Capone” turns the most infamous iar. The rich cavort in the train’s more Jennifer Connelly plays Melanie, the mobster of the 20th century into a guy with a buried conscience. “‘Snowpiercer’ feels like a show that’s working

CREDITS: A Vertical Entertainment release of a Bron Creative, Addictive to create counterpoint between a backdrop Pictures, Lawrence Bender Prods., Redbox Entertainment production. Producers: Lawrence Bender, Russell Ackerman, Aaron L. Gilbert, John Schoenfelder. Executive producers: Adhurcia Apana, Jason Cloth, Chris that’s so far out on a limb of oddity that its Conover, David Gendron, Ali Jazayeri, Ron McLeod, Steven Thibault. Director, writer, editor: Josh Trank. Camera: Peter Deming. Music: El-P. action needs to be extra prosaic for balance. Reviewed online, May 6, 2020. MPAA Rating: R. Running time: 103 MIN. Cast: Tom Hardy, Linda Cardellini, Matt Dillon, Kyle MacLachlan, Jack

JUSTINA MINTZ/TNT JUSTINA Lowden, Kathrine Narducci, Noel Fisher, Al Sapienza, Mason Guccione The result is watchable, but not much more.”

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train’s head of hospitality — its liaison to TV REVIEW out pink pussyhats at a royal brunch. But passengers as well as the voice they hear BY CAROLINE FRAMKE with its sly and hilarious eye for court piped in over the loudspeaker. It should intrigue, “The Great” becomes a wickedly perhaps come as no surprise that Melanie The Great entertaining piece of historical fudging that is burdened with secrets, ones that iso- lays bare the myopic nature of aristocracy, late her from her second-in-command, and the danger of thoughtless leaders. Ruth (Alison Wright of “The Americans”), Though Catherine arrives with visions of and that complicate her relationship with matrimonial harmony and benevolent rule, COMEDY: Hulu (10 episodes; all reviewed); May 15 Andre (Daveed Diggs of “Hamilton”). He’s STARRING: Elle Fanning, Nicholas Hoult, Sacha court life forces her grow up, fast. She soon a self-styled revolutionary leading the Dawan, Sebastian De Souza, Phoebe Fox gathers allies in Peter’s bookish adviser nascent protest movement in the back (Sacha Dawan), her emperor-approved cars — one that will provide much of the lover (Sebastian De Souza) and her acer- show’s momentum, and its commentary bic servant Mariel (Phoebe Fox). With Peter — as well as a valuable asset, given that BILLED WITH A CHEEKY ASTERISK as “an oblivious to everything except his own awe- a murder has just occurred and he is the occasionally true story,” Hulu’s “The Great” someness, and his formidable archbishop only homicide detective left on Earth. immediately frees itself of the usual obliga- disciple (Adam Godley) constantly dis- It’s this last detail that makes “Snow- tion to connect the historical dots. Instead, tracted, Catherine has time to ﬁgure out her piercer” feel too florid to pull off the it goes for more of an accurate vibe than a own way. With every passing episode, the icy neo-noir thing it’s often trying for; completely faithful retelling of a notoriously show propels her forward, teaching her les- beneath its coating of snow and ice lies tumultuous time in Russian history: the six sons that help her become “The Great” she a thick patch of corn. Sure, a homicide months between the marriage of a 19-year- longs to be. detective would be a good thing to have old Catherine (executive producer Elle Fan- The cast is uniformly strong. In partic- in this situation, and there probably ning) to the country’s new emperor, Peter ular, Hoult proves that he’s not-so-secretly wouldn’t be many left, but the “last on (Nicholas Hoult), and the moment she over- one of the funniest actors working today. Earth” framing, with its self-conscious- threw him to have the throne to herself. His Peter is impulsive and cruel, but he’s ness and its melodrama, overproves Created by “The Favourite” co-writer also childish and small, licking his wounds the case the show’s making. We know Tony McNamara, “The Great” straddles before lashing out to ensure that others things are bad: The world has more or the line between period drama and slap- will feel exactly as bad as he does. But the less ended. Similarly, the wealthy and stick comedy with acrobatic ease. Catherine, series’ backbone is Fanning’s increasingly decadent denizens of the train live in an Peter and their various minions spit scath- conﬁdent empress. extremity (a little like that of the Cap- ingly funny insults at each other. The punch- Catherine’s a tougher part than meets itol residents in “The Hunger Games” lines come as swift and lacerating as Peter’s the eye: She’s neither completely naive nor films) that feels both overstated and a bit temper. The production design and costum- entirely savvy, and her book smarts have beyond what this show, visibly straining ing is suitably lush, painting a vision of the trouble translating into social deftness. against not having a “Hunger Games”- Russian court that’s at once indulgent and Much to her cohorts’ chagrin, she’s also size budget, can realistically achieve. brutal; for every jaw-dropping feast, there’s a teenager stubbornly butting up against That kind of gets to the heart of things: a royal tantrum or bag of heads courtesy of adulthood without always understanding “Snowpiercer” has a curiosity about some unlucky Swedes. And since this ver- what that entails. But as Catherine trans- its characters that exceeds its grasp. It sion of Catherine and Peter’s story explicitly forms herself into an actual leader, it’s clear places them in arrangements and situ- doesn’t care about being historically precise, that Fanning is nothing short of remarkable ations that are genuinely wild, and then its cast of characters is racially diverse in a in the role. With every quick arch of her elicits bland or unremarkable emotional way that period dramas rarely are; the best eyebrow and clipped delivery of a decep- reactions. A case in point is the way each actors for the parts got the parts. tively cutting line, she traces the charac- episode begins: A character from some The series has a tendency to aggressively ter’s ascension to power — but more so, and different corner of the train delivers a punctuate scenes with sex (an all-too-com- more impressively, Catherine the Great’s monologue. It’s a way to show off how mon hazard of being on a streaming net- evolution into a woman all her own. overgrown and rife with potential is the work without content restrictions), and its show’s universe, and one that, landing as comedic gushes of blood can be more pre- CREDITS: Executive producers: Elle Fanning, Brittany Kahan, Josh Kessel- it often does in fairly simple motivations dictable than effectively shocking. This ver- man, Marian Macgowan, Doug Mankoff, Tony McNamara, Andrew Spauld- ing, Ron West. 60 MIN. Cast: Elle Fanning, Nicholas Hoult, Sacha Dhawan, expressed in plain, functional language, sion of Catherine is so persistently feminist Sebastian de Souza, Bayo Gbadamosi, Adam Godley, Douglas Hodge, Gwilym Lee, Charity Wakefield, Phoebe Fox, Phill Webster, Christophe tends to fall flat. that it wouldn’t be surprising if she handed Tek, Charlie Price, Michael Odin Cartwright, Florence Keith-Roach This show’s ambition should perhaps take it in woolier directions; one can feel

it straining against its format. (Diggs, WILL TO POWER who is quite strong, Wright and espe- Elle Fanning cially Connelly could certainly handle it.) plays the For a show that organizes itself around title role of Catherine, with a blunt metaphor, here’s another: It’s Phoebe Fox as revealing how little, and rarely, “Snow- her servant, in piercer” really feels set on a train. One “The Great.” never senses the jostling movement of wheels over tracks: For all the promise of the thrill of a disruption, it’s gliding a bit too easily.

CREDITS: Executive producers: Marty Adelstein, Becky Clements, Graeme Manson, James Hawes, Matthew O’Connor; Scott Derrick- son, Bong Joon Ho, Miky Lee, Tae-sung Jeong, Park Chan-wook, Lee Tae-hun, Dooho Choi. 60 MIN. Cast: Jennifer Connelly, Daveed Diggs, Alison Wright, Mickey Sumner, Susan Park, Iddo Goldberg, Katie McGuinness, Lena Hall, Annalise Basso, Sam Otto, Roberto Urbina,

OLLIE UPTON/HULU Sheila Vand, Jaylin Fletcher, Mike O’Malley

VARIETY 61 FACETIME

How different is the show you ended up with from what you thought you would Daveed Diggs be making? One of the bits of misdirection in the show is that it’s a murder mystery: That is the inciting incident, ‘I Don’t Like to Glorify but it ends up being a show that’s a lot more about the politics of scarcity and how does this society function with Stupidity in My Choices’ limited resources; what are the com- plications of class in that setting? The By Danielle Turchiano story spirals out of control in a way, and I think the experience of it was kind of that too. It went from sneaking around to “HAMILTON” STAR DAVEED DIGGS booked the role of Andre Layton in the being right out in the center, yelling and small-screen adaptation of “Snowpiercer” less than a year after taking his throwing axes and getting the shit beat ﬁnal Broadway bow in Lin-Manuel Miranda’s musical. But it’s only now, out of me. exactly three years after his casting in the pilot was announced, that he’ll How does Layton change over time? be seen in that role — a former homicide detective who lives in the Tail of a There’s an idea of a hard-boiled detec- 1,001-car train speeding around a frozen Earth. After a near-complete pilot tive that I think Layton both embodies reshoot, showrunner swaps and multiple network moves, “Snowpiercer” and challenges, in a lot of ways. His focus will launch on TNT on May 17. is on making the world better for the younger people on the train, but then he tends to overlook or not go back into his own past to deal with the trauma there. FIGHT CLUB He’s incredibly loyal to his people in the Daveed Diggs gets Tail, but he also starts to understand the ready for battle necessity of compromise, and his loyal- on the set of “Snowpiercer.” ties get challenged in that respect.

What did you want to say, politically, with the show? I hope some people find some escape in it. It is fun, it is exciting, but it is definitely a cautionary tale. My job as an actor isn’t really to think about the messaging of the thing, but it is one of the things that made me interested in the show. The reason for sci-fi to exist is to examine ourselves. It creates a distant enough allegory so that we can look at ourselves in a way that challenges us.

What were some of the more compli- cated aspects of Layton’s journey in Season 1 for you to perform? I didn’t realize how difficult it would be to explore the amount of loss that Layton has, and continues to experience. The other was the really extremely violent scenes. I’ve never done a big action thing before, and I was very excited to do those, but it doesn’t cost you nothing to spend a whole day stabbing somebody.

Layton is a leader in “Snowpiercer,” and you’re playing some other famous leaders, both in the “Hamilton” movie and in Showtime’s limited series “The Good Lord Bird.” What do you look for in roles right now that have led you to these? A through-line I’m pretty intentional about is I don’t like to glorify stupidity in my choices. I think it’s a political act, actually. I won’t play stupid people. And that’s not to say that they THINGS YOU AGE: 38 HOMETOWN: Oakland, Calif. MOST USED APP: Apple Music can’t be goofy — I do play a lot of funny DIDN’T KNOW ABOUT SURPRISED TO BE RECOGNIZED FOR: Being a member of the rap group Clipping CHILDHOOD HERO: His dad HOW HE GOT INTO CHARACTER FOR “SNOWPIERCER”: “I went deep into contemporary rap because that’s characters — but if their experience DAVEED DIGGS what I imagined Layton would have been listening to the last time there was downloadable music.” can’t back up a choice that they’re mak-

ing, I can’t abide that. MINTZ/TNT JUSTINA

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