58 GAME ON Online role-playing games Variety, VOL. 349, NO. 12 (USPS 146-820, ISSN 0011-5509) is published weekly, based on reality shows have except the fourth week of June, the first eased quarantine doldrums week in July, and the fourth and fifth weeks in December, with 40 special issues: Jan (8), Feb (8), June (7), Aug (6), Nov (5) and Dec (6) by Variety Media LLC, 11175 Santa Monica Blvd., Los Angeles, CA 90025, a division of Penske Business Media. Periodicals postage paid at Los FOCUS Angeles, CA and at other mailing offices. Postmaster send address changes to: Variety, P.O. Box 15759, North Hollywood, CA 91615-5759. Canada Post International Publications Mail Product (Canadian 78 BROADWAY TO WATCH Distribution) Publications Mail Agreement No. 40043404. Return undeliverable Here’s a list of artists and Canadian addresses to: RCS International organizations on the Rialto Box 697 STN A, Windsor, Ontario N9A 6N4. Sales agreement No. 0607525. set for their curtain call Variety ©2020 by Variety Media, LLC. Variety and the Flying V logo are trademarks of Penske Business Media. Printed in the U.S.A. ARTISANS

85 RECIPE FOR SUCCESS ETH MORRIS/FX Filmmakers navigated a tight schedule for doc “Ottolenghi and the Cakes of Versailles”

86 DARKLY DRAWN Artist João Ruas shares how he created the comic book P.2 4 central to Amazon’s “Utopia”

88 NEW OLD WORLD LOOK Kathy Griffin lists The production design team her Bel Air mansion for “Enola Holmes” aimed for a fresh take on the period

REVIEWS

91 FILM “Lovers Rock”

93 TV “Fargo” Season 4 “She kind of ends gender norms. P.9 3 She’s not afraid to dress up. She’s ALSO INSIDE unapologetically herself, and I “Fargo” Season 4 love that about her.” review “Enola Holmes” star Millie Bobby Brown on why 94 FACETIME she likes playing the character of Sherlock Michelle Buteau Holmes’ younger sister P.22 RHONE: STEPHEN LOVEKIN FOR VARIETY; GRIFFIN’S HOUSE: MARC ANGELES; BROWN: STHANLEE B. MIRADOR/SIPA USA/AP IMAGES; FARGO: ELIZAB FARGO: IMAGES; USA/AP B. MIRADOR/SIPA STHANLEE ANGELES; BROWN: HOUSE: MARC GRIFFIN’S VARIETY; FOR LOVEKIN RHONE: STEPHEN

4 VARIETY Untitled-4 1 9/22/20 10:32 AM Congratulations 30to our Emmy ® Winners

Including SUCCESSION Outstanding Drama Series WATCHMEN Outstanding Limited Series BAD EDUCATION Outstanding Television Movie LAST WEEK TONIGHT WITH JOHN OLIVER Outstanding Variety Talk Series

Outstanding Drama Series Jesse Armstrong, Adam McKay, Will Ferrell, Frank Rich, Kevin Messick, Mark Mylod, Jane Tranter, Tony Roche, Scott Ferguson, Executive Producers Jon Brown, Georgia Pritchett, Co-Executive Producers Jonathan Glatzer, Supervising Producer Will Tracy, Dara Schnapper, Gabrielle Mahon, Producers Lucy Prebble, Consulting Producer Outstanding Lead Actor in a Drama Series – Jeremy Strong as Kendall Roy Outstanding Guest Actress in a Drama Series – Cherry Jones as Nan Pierce Outstanding Directing for a Drama Series – Andrij Parekh, Directed By Outstanding Writing for a Drama Series – Jesse Armstrong, Written By Outstanding Casting for a Drama Series – Avy Kaufman, CSA, Casting By Outstanding Single-Camera Picture Editing for a Drama Series – “This Is Not For Tears” Bill Henry, Editor Venya Bruk, Additional Editor

Untitled-6 1 9/22/20 2:34 PM Outstanding Limited Series Damon Lindelof, Tom Spezialy, Nicole Kassell, Stephen Williams, Joseph E. Iberti, Executive Producers Ron Schmidt, Carly Wray, Co-Executive Producers Lila Byock, Nick Cuse, Christal Henry, Supervising Producers Karen Wacker, John Blair, Producers Outstanding Lead Actress in a Limited Series or Movie – Regina King as Angela Abar/Sister Night Outstanding Supporting Actor in a Limited Series or Movie – Yahya Abdul-Mateen II as Cal Abar/Dr. Manhattan Outstanding Writing for a Limited Series, Movie or Dramatic Special – Damon Lindelof, Cord Jeff erson, Written By Outstanding Casting for a Limited Series, Movie or Special – Victoria Thomas, CSA, Casting By Meagan Lewis, CSA, Location Casting Outstanding Cinematography for a Limited Series or Movie – “This Extraordinary Being” Gregory Middleton, ASC, CSC, Director of Photography Outstanding Fantasy/Sci-Fi Costumes – “It’s Summer And We’re Running Out Of Ice” Sharen Davis, Costume Designer Valerie Zielonka, Costumer Supervisor Outstanding Single-Camera Picture Editing for a Limited Series or Movie – “A God Walks Into Abar” Henk Van Eeghen, ACE, Editor Outstanding Music Composition for a Limited Series, Movie or Special (Original Dramatic Score) – “It’s Summer And We’re Running Out Of Ice” Trent Reznor, Atticus Ross, Music By Outstanding Sound Editing for a Limited Series, Movie or Special – “This Extraordinary Being” Brad North, Supervising Sound Editor Harry Cohen, Sound Designer Jordan Wilby, Sound Eff ects Editor Tiff any S. Griffi th, Dialogue Editor Antony Zeller, A.J. Shapiro, Foley Editors Sally Boldt, Music Editor Zane Bruce, Lindsay Pepper, Foley Artists Outstanding Sound Mixing for a Limited Series or Movie - “This Extraordinary Being” Douglas Axtell, Production Mixer Joe DeAngelis, Chris Carpenter Re-Recording Mixers

Outstanding Television Movie Fred Berger, Eddie Vaisman, Julia Lebedev, Oren Moverman, Brian Kavanaugh-Jones, Mike Makowsky, Produced By Leonid Lebedev, Caroline Jaczko, Executive Producers

Outstanding Variety Talk Series John Oliver, Executive Producer/Host Tim Carvell, Liz Stanton, Executive Producers Jeremy Tchaban, Christopher Werner, Supervising Producers Laura L. Griﬃ n, Kate Mullaney, Matt Passet, Marian Wang, Charles Wilson, Producers Outstanding Writing for a Variety Series – Dan Gurewitch, Jeﬀ Maurer, Jill Twiss, Juli Weiner, Senior Writers John Oliver, Tim Carvell, Daniel O’Brien, Owen Parsons, Charlie Redd, Joanna Rothkopf, Ben Silva, Seena Vali, Written By Outstanding Picture Editing for Variety Programming - “Eat Sh!t, Bob! (segment)” Ryan Barger, Editor Outstanding Technical Direction, Camerawork, Video Control for a Series - “Episode 629” Dave Saretsky, Technical Director Augie Yuson, Video Control Dante Pagano, John Harrison, Tim Quigley, Phil Salanto, Russell Swanson, Cameras Rob Balton, Rich Freedman, Cameras (Jib) Joe Debonis, Michael Hauer, Steadi Cams Lucas Owen, B Cam Scotty Buckler, C Cam

Outstanding Lead Actress in a Drama Series – Zendaya as Rue Outstanding Contemporary Makeup (Non-Prosthetic) – “And Salt The Earth Behind You” Doniella Davy, Department Head Makeup Artist Kirsten Sage Coleman, Assistant Department Head Makeup Artist Tara Lang Shah, Makeup Artist Outstanding Original Music and Lyrics – “And Salt The Earth Behind You” / Song Title: “All For Us” Labrinth, Music & Lyrics

Outstanding Documentary or Nonﬁ ction Special Lisa Cortés, Jeanne Elfant Festa, Cassidy Hartmann, Roger Ross Williams, Produced By Dan Cogan, Nicholas Ferrall, Julie Goldman, Executive Producers

Outstanding Lead Actor in a Limited Series or Movie – Mark Ruﬀ alo as Dominick Birdsey/Thomas Birdsey

Outstanding Single-Camera Picture Editing for a Comedy Series - “Lowkey Trying” Nena Erb, ACE, Editor Lynarion Hubbard, Additional Editor

Outstanding Children’s Program Mahershala Ali, Amatus Karim Ali, Mimi Valdés, Julie Anderson, Executive Producers Amy Schatz, Diane Kolyer, Produced By

Thank you, Television Academy members, for your recognition

Untitled-6 2 9/22/20 2:34 PM Untitled-1 1 9/22/20 10:29 AM SIPA/AP IMAGES Cannes Feels the Crunch Without Conferences, impact on the local community,” on thelocal impact Cannes losses.enduring heavy restaurant andhospitalitysectorsare to thecoronavirus pandemic, thecity’s offtal orhaving altogether called due been many of theseevents going entirelydigi markets andconferences ithosts. But with ofcities thankstotheyearlong parade has become oneof France’s wealthiest to the world’s biggest ﬁlmfestival, Cannes CAN ITRECOVER? THE CORONAVIRUS PANDEMIC WILL COST $941 THECITY MILLION. BEST KNOWN AS “This pandemic ishaving pandemic a catastrophic“This the glamorousbackdrop

yEs Keslassy By Elsa TOP BILLING TOP

- a distantmemory. Hollywood,” seemlike “Once UponaTimein Dakota Fanningfor one lastyear,with sightings likethis Cannes redcarpet GOOD OLDDAYS are huge andfar-reaching onawholechain million), Lisnardsays. repercussions “The toamount€800million($941expected 85% of Cannes’ annualincome. ance, musicandlaw —representsaround oninsur gatherings focused other industry markets MipTVing TV andMipcom and center and the local conferencescenter andthelocal —includ done by thePalais desFestivals convention that business in2014,predicts elected Mayor David Lisnardtells The pandemic’s tollonthecityis Variety . Lisnard, - - Film Festival, MipTV have andMipcom, ally. To date, ﬁve, includingtheCannes organized at thePalais desFestivals annu whohelpbuildstands.”the people ble. I’m drivers, talkingabout caterers and unemployment subsidies;they are invisi in direstraits andaren’t even eligiblefor rely onconference activity. “[They] areleft contractors independent whoselivelihoods ing thesevere onavast impact network of of professionals,” heexplains, highlight As many as52professional events are VARIETY TOP BILLING 9 - - - NETFLIX PROUDLY C

OUTSTANDING DIRECTING OUTSTANDING UNSTRUCTURED REALITY PROGRAM FOR A DOCUMENTARY/NONFICTION PROGRAM OUTSTANDING PICTURE EDITING STEVEN BOGNAR, JULIA REICHERT FOR AN UNSTRUCTURED REALITY PROGRAM ARIELLE KILKER, DAVID NORDSTROM, KATE HACKETT, DANIEL MCDONALD, MARK MORGAN, SHARON WEAVER, TED WOERNER OUTSTANDING DIRECTING FOR A REALITY PROGRAM OUTSTANDING CHARACTER VOICE-OVER PERFORMANCE GREG WHITELEY MAYA RUDOLPH OUTSTANDING DERIVATIVE INTERACTIVE PROGRAM

OUTSTANDING PERIOD COSTUMES AMY ROBERTS, SIDONIE ROBERTS, SARAH MOORE OUTSTANDING VARIETY SPECIAL (PRE-RECORDED) OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE PERIOD OR FANTASY PROGRAM (ONE HOUR OR MORE) OUTSTANDING WRITING FOR A VARIETY SPECIAL MARTIN CHILDS, MARK RAGGETT, ALISON HARVEY DAVE CHAPPELLE OUTSTANDING DIRECTING FOR A VARIETY SPECIAL STAN LATHAN

OUTSTANDING WRITING FOR A NONFICTION PROGRAM MARK LEWIS

Untitled-4 1 9/22/20 1:35 PM ONGRATULATES OUR

OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC OUTSTANDING STRUCTURED REALITY PROGRAM NATHAN BARR OUTSTANDING PERIOD AND/OR CHARACTER HAIRSTYLING MICHELLE CEGLIA, BARRY LEE MOE, GEORGE GUZMAN, MICHELE ARVIZO, MARIA ELENA PANTOJA OUTSTANDING CINEMATOGRAPHY FOR A MULTI-CAMERA SERIES DONALD A. MORGAN, ASC

OUTSTANDING MOTION DESIGN LEANNE DARE, EBEN MCCUE, OUTSTANDING SOUND EDITING FOR A COMEDY SEBASTIAN HOPPE-FUENTES, DAVID NAVAS OR DRAMA SERIES (ONE HOUR) CRAIG HENIGHAN, WILLIAM FILES, RYAN COLE, KERRY DEAN WILLIAMS, ANGELO PALAZZO, KATIE HALLIDAY, DAVID KLOTZ, STEVE BAINE

OUTSTANDING CHILDREN’S PROGRAM

OUTSTANDING DIRECTING FOR A LIMITED SERIES, MOVIE OR DRAMATIC SPECIAL MARIA SCHRADER OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES JULIA GARNER

Untitled-4 2 9/22/20 1:35 PM sans reservations at Italian eatery DaLaura at Italianeatery sans reservations normal in2022—notuntilthen.” in 2020.“We that anticipate to we’ll back be booked that hadbeen fill onlyhalftherooms year’s events Boulanger expects to areheld, saysMarch, Boulanger. untiltheendofwhich issetat 5,000 people due toFrance’s caponpublicgatherings, even could delayed the2021edition be for nextbookings year’s conference, but for tokeep Mipimdecided booked their Cannes Lionsadvertising conference. Mipim andasix-night minimumfor the film festival, afive-night minimumfor has aseven-night for minimumpolicy the ing reasons,” says Boulanger, whosehotel for probably chose toget account arefund, customer andfinally wholonghesitated Weing. hadtoreimburse60nightsa some arenow getting cold feet. towarduse theircredit but the2021event, ular filmfestival customers were willingto to next year’s Hesays edition. halfhisreg ting afullrefundorapplyingtheirdeposit theoptionof get rooms tobook deposit ers, hegave a50% guests whohadpaid Like tonormal. to get many back hotelown toJune andthencanceled.”postponed estateMipim [theMarchreal was market] whenwedownfall found started outthat from shoppinghaven Rue d’Antibes. “The in thecenter of Cannes, aroundthecorner journalist whoowns theAthénéeTV Hotel €200,000,” says Pascal Boulanger, aformer since Thedamage March. forof usisnorth stay for. open October, buttherearefew major events to byhosted theCannes Film Festival inlate eventues willlikely for reopen athree-day follow suitat theendofOctober. Someven close,son willsoon andtheMajestic could onlyduringweekends.is open TheRadis have indefinitely, closed whiletheMartinez cancellations. and Majestic hotels, have hithardby been ferences, suchastheCarlton, Martinez events duringthefestival andothercon supermarket.” guidelinesthanina under strict sanitary inalarge conference of avirus spread And headds:“It’s toprevent easier the brings €70billiontoFrance’s economy.” evance of thisindustry, even thoughit sector, anddoesn’t seethepower andrel has completely underestimated theevents governmenta lackof economic “The aid. onpublicgatheringsstringent and rules sodire,been says to whopoints Lisnard, events,scuppered however, needn’t have of untillate the 2020. Theimpact poned canceled andsevenbeen have post- been 12 TOP BILLING In pre-pandemic times, gettingIn pre-pandemic atable Even inabest-case scenario, ifallof next Approximately 75%of clientswhohad “Our latest cancellation was thismorn For Boulanger, itwilltake anotheryear fallingapart [hasbeen] “Everything The Carlton andtheGray d’Albion hotel In Cannes, key venues for talentand VREY VARIETY ------“The government hascompletely

40% inrecent weeks. withbusiness downhas hitaroughpatch, even oneof thecity’s busiest restaurants during abusymarket was laughable. But organizers say. todoso,”Cannes asitispossible assoon “Our istobringourevents goal to back Variety thepandemic, tellsment support during its employees togovern withoutresorting the insidersays. these events toAmsterdam orBarcelona,” “Ultimately, they could decidetomove pany could take itsbusiness elsewhere. insider,industry who allows that thecom they organize,” says oneCannes-based inalltheprofessionalmonopoly events events. “Reed ofnear Midemisinaposition for canceling itsmany Cannes-based Reed Exhibitions, blamed whichisbeing the French branchof London-based between Cannes andReed Midem, locals tells restaurant, Tarantino Ermindo, manager of the ofsnooze untiltherestart events,” mode lunch untilNovember andthengo into We’re going tokeep theplace for open travelers. andafeware locals European Cannes MayorDavid Lisnard to France’s economy.” even thoughitbrings€70 billion and relevance ofthis industry, sector, anddoesn’t seethepower underestimated the events “The few customers“The we have now Reed whichhasmanaged topay Midem, Some tensionshave building alsobeen that itdoesn’t plantogo anywhere. Variety .

- - solitary scene. make fora in January the Croisette Festivals on the Palaisdes The stepsof A CROWD WAITING FOR point.” andtoday,our strength, it’s our weak towardoriented Itwas business tourism. says Boulanger. “Cannes hasalways been which isbuiltaroundthoseconferences,” it’s adisaster for Cannes’ business model, are threatened for a sustained period. for period. are threatened asustained of theendasmorelivelihoodsbeginning making andhybrid events could markthe many thingsonline,” Lisnardsays. those whocan’t attend willhave access to ward towelcoming guests inthecity, while thisyear,and European andwe for look as well asvirtually. moreFrench “Itwill be val Canneseries heldinperson willstill be was recentlydramafesti October axed, in various ways.” things. We toreformat just need ourevents andmany doingsincebeen March, other events, take people’s aswe’ve temperatures tobringa[COVID-19]ask everyone test to components.online andin-person “We can capitalof hybridEuropean events that mix tains that hewants Cannes tobecome the the pandemic,” says whomain Lisnard, the ready. mobilized at andadispatchof snipers anetworkinstalled, of vigilantneighbors surveillance, 600cameras withnearly says themayor. tect market Anditworked,” participants. envisionedtocol and scenarios pro- tobest attacks, we setupasprawling securitypro crises. Whenwe were at riskof terrorist gency. “We know how withthese todeal Nice astate in2016that prompted of emer the terrorist attacks inParis in2015and adversityigated previously, referencing Lisnard points outthat CannesLisnard points hasnav “[As more]business isdonevirtually, But for many, deal theriseof virtual Although Mipcom’s physical component “We want todothesameaswe with cope thefestivalIndeed, was placed under

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SIPA/AP IMAGES CONGRATULATIONS BILLY CRUDUP EMMYo AWARD WINNER

Untitled-2 1 9/22/20 1:31 PM TOP BILLING

hardware that allowed showrunner Lessons From Pandemic Alexandra Cunningham and me to join post-producer Jonathan Talbert and the rest of our sound group to simultaneously watch down the episodes together from Post-Production our homes. On a separate track, “Utopia” post- production soldiered on with its own set THE EP OF ‘UTOPIA’ AND ‘DIRTY JOHN: THE BETTY BRODERICK STORY’ of challenges. VFX shots took longer than SHARES THE TRICKS OF AN EVOLVING TRADE By Jessica Rhoades before. Human bandwidth issues have traditionally been the dilemma: People can only do so much at one time. Now, however, having computer-based work shifted to home offices meant that literal internet bandwidth became our new struggle. If you think having your kids on Zoom school is LATER THIS MONTH, Amazon Prime will still labored under quarantine conditions. a test of your consumer internet, try home air Gillian Flynn’s “Utopia,” a show that I’m Releasing both shows this year has visual effects. an executive producer of and that features been an inspiring lesson in the ingenuity Ultimately, despite all the technical a panic-inducing viral outbreak. Trust me, of Hollywood and the dedication of our tal- advances around us, the solution to sharing the irony was not lost on us as we worked ented post-production specialists. As we large digital files was definitively low-tech: to finish the show from our homes over the all balanced the stress of an unknown ill- We resorted to loading them onto a hard past six months. We had just locked the ness racing across the world and concerns drive that was sanitized, then driven by our season in early February, before the novel for family and friends, an army of color- masked-up production assistant up and coronavirus emerged and sent the entire ists, VFX artists, composers and sound down the 101. Talk about a throwback. world into chaos. designers quickly pivoted to working at Even ADR was a challenge. How do you But chaos, at least the organized kind, is home and helped us dash toward the finish record actors in their homes without syn- familiar to TV production. So it should be line. While our two shows were being pro- chronized playback? Through trial and no shock that television can thrive in such duced by separate studios, the two respec- error, post-producer Huey Park found a circumstances — and we did. It just took tive post-producers collaborated with each software solution that helped our cast watch a lot of hard work and ingenuity from the other and their peers throughout the com- cuts and record dialogue. But without sync, group often tasked with saving the day: the munity, brainstorming solutions and offer- they had to record it wild and trust our nimble geniuses of post-production. ing connections. team steering them more than ever. They

The “Utopia” team wasn’t alone. At the Our immediate task was keeping GETTING THE gamely worked from basements and clos- time that the industry shut down in March, people safe while protecting the integrity JOB DONE ets, trying to focus on their performance another show I was producing, “Dirty of the shows. On “Dirty John,” we needed Jessica Rhoades, while also avoiding household noises. Oh, John: The Betty Broderick Story,” was fully to mix our last two episodes just weeks here on the “Sharp that scratching? Why yes, that is a hamster. Objects” set, locked and almost all mixed, but had press- into quarantine. Everyone shared tips, says work-at-home There’s a first time for everything. ing delivery and air dates. What we didn’t ideas and even technology. In a display of strategies in post- Through the force of will of our show- know at the time was that both shows the industry’s collective resolve, our mix- production brought runners and the unwavering dedication of on by the pandemic would not only be finished, but would air stage neighbors at “Westworld” ultimately were challenging but the post-production teams, we delivered while Hollywood (and most of America) loaned our team cutting-edge collaboration successful. both shows. “Dirty John: The Betty Broder- ick Story” aired in June, and “Utopia” will premiere on Sept. 25. When it is safe to do so, we’ll celebrate a return to business as usual — we all miss gathering and creating in the same space. And yet I wonder if, separate and apart from the destruction it has wreaked on the world, this virus will leave long-standing impacts on our industry. It is well acknowledged that post teams work some of the longest and latest hours in the business — hours that until now needed to be performed at the office. What will the landscape look like now that we know what can be accomplished from home? Is it possible that work will thrive but there can also be more family dinners? Could it be for all the connections this virus has severed, it may have forced us to carve out solutions that will ultimately increase our human bandwidth … and allow us to nurture all the connections that matter?

Jessica Rhoades is the founder of Pacesetter Prods., and serves as executive producer of Amazon’s “Uto- pia,” HBO Max’s upcoming “Station Eleven” and USA

Network’s “Dirty John: The Betty Broderick Story.” ANNE MARIE FOX/HBO

14 VARIETY “ ” SEASON 2 IS A MARVEL. GRADE: A.

“OFF-THE-WALL FUNNY, BUT “AS FUNNY, BITTERSWEET AND MORE EMOTIONALLY COMPLEX TOO.” KEENLY OBSERVED AS EVER.”

“ACHINGLY FUNNY. “DEEPER, FUNNIER AND “EVEN BETTER EXQUISITE.” MORE TRAUMATIZING.” THAN BEFORE.”

“IT’S BOLD AND “AN INCREDIBLY QUITE POSSIBLY FUNNY AND SOMETIMES BRILLIANT.” HEART-WRENCHING WATCH.”

NEW SEASON NOW STREAMING

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REMEMBERED “too soon” for such a project. Realizing this wasn’t exactly a no, we spent the next few months researching her life and the friends and colleagues who could make strong RBG Was on-camera characters before sending a more detailed proposal with a list of people we hoped to interview. The justice already knew us a bit; we had interviewed her for previous Real-Life Avenger projects. Perhaps she was testing us to see if 1933-2020 ALONG WITH BEING A LEGAL AND FEMINIST STANDARD-BEARER, THE SUPREME we were serious-minded enough for the task COURT JUSTICE HIT HER MARKS IN THE 2019 DOCUMENTARY ABOUT HER LIFE of documenting her life. Ginsburg answered this second request saying she would not be By Julie Cohen and Betsy West prepared to sit down with us for at least two more years. But she added three names to the list of interviewees. All three were lively, open subjects telling the kind of stories that make a biographical portrait sing. All three made the final cut. A few months later, Ginsburg’s assistant sent us a list of about 10 “upcoming events you might be interested in filming.” These events, most of them not yet listed on her public calendar, would form the core of our vérité shooting: among them a private speech in memory of her dear friend and ideological opposite Antonin Scalia; her first- ever visit to the Virginia Military Institute, a school opened to women by a ruling she’d written 20 years prior; and the pièce de résistance, a rehearsal and performance of her speaking role as the Duchess of Krakenthorp in the French opera “The Daughter of the Regiment.” Had Justice Ginsburg carefully curated these scenes to make sure we captured wide-ranging facets of her life: an across-the-aisle friendship, a landmark court ruling, a diva-worthy performance? We never asked. By the time we did sit down to interview Justice Ginsburg in July of 2017 — exactly two years after her “two more years” dictum — we had accrued enough vérité footage, archival material and secondary interviews to edit together most of the film, leaving holes where we were missing insight and details from the justice. We THE GYM IN THE BASEMENT of Ruth Bader a sweatshirt emblazoned with bold white didn’t need to waste her time on anecdotes Ginsburg’s apartment complex was small letters: “Super Diva!” Her personal trainer we’d captured from other sources or and dank, with low-tech equipment and put her through an energetic workout chapters of her life that would end up fluorescent lighting, not a promising set- including TRX pulls, weightlifting and those on the cutting room floor. Because of the ting for what we hoped would be one of the planks and pushups, executed with vigor. production schedule she had dictated, we most important shoots of our documen- She let us film it all. What she didn’t want knew exactly what we needed. tary about Justice Ginsburg’s life. After the on camera, it turned out, was her tying her A few weeks after the theatrical release justice had surprised us by agreeing to our shoes and warming up — the slow parts. of “RBG,” we visited RBG the person, JUSTICE LEAGUE Variety request to film her workout routine, we Justice Ginsburg understood that this would “RBG” directors bearing a gift: a framed copy of a were told we could shoot exactly 30 minutes read as an action sequence and that’s how Julie Cohen (top) story headlined “How Ruth Bader Ginsburg of the 60-minute session. We were skepti- she wanted it to play. Needless to say, we and Betsy West Became a Summer Box Office Avenger.” cal that RBG could do 20 pushups or hold a used the footage in our film’s open. Our junior editor had illustrated it with an sequence of planks as had been reported, RBG had no editorial control over our image of Ginsburg’s face photoshopped and expected we’d be told to shut off the documentary. We never showed her a rough onto a Marvel comics body. RBG giggled

cameras before the more taxing exercises cut, nor did she ask to see one. But a series with glee — and we may also have detected (2) INSTITUTE MENDENHALL/SUNDANCE COHEN: GRACE WEST, S/REDUX; began. “Until our time is up,” we told our of strategic decisions she made over the a nod of pride. Perhaps the justice knew cinematographers, “just keep rolling.” three years from our first approach to she was not only the on-screen leading lady While we were fretting, our lead the film’s premiere had a huge impact on but one of our film’s key creative forces. character had been preparing for her star shaping our film. turn. RBG entered the gym in an outfit In January 2015, when we first sent her Julie Cohen and Betsy West are the directors of better than any wardrobe supervisor an email asking if she would be willing to let “RBG.” The 2019 film was nominated for two Oscars: could have dreamed up: her trademark us make a documentary about her, Justice documentary feature and original song for Diane

scrunchy, white sneakers, blue sweats and Ginsburg, then 82, responded that it was Warren’s “I’ll Fight.” TIME HEISLER/THE NEW YORK TODD GINSBURG:

16 VARIETY CONGRATULATIONS ON YOUR HISTORIC 9 EMMY® WINS

INCLUDING OUTSTANDING COMEDY SERIES

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IN THE RUNNING Michael Schneider Emmys Are Over — but TV Awards Season Will Never End

NO REST FOR SMALL-SCREEN KUDOS AS ATTENTION TURNS TO GOLDEN GLOBES, SAG AND OTHER RACES

WHEW. THE FINAL EMMY has been handed the two-part series or so disgusted they Among other fall shows, the reaction is out after a weird year, they’re packing up won’t even want to think about it. Either a bit more mixed on Netflix’s “Ratched,” the lonely stage Jimmy Kimmel stood on way, however, Jeff Daniels as former FBI but Ryan Murphy programs are tradition- inside Staples Center and that’s it. Time director James Comey and Brendan Glee- ally Emmy bait, especially for stars in his to let the film folks try to figure out what son as Donald Trump could be in the mix. repertory company like Sarah Paulson. Nat promises to be an even more bizarre Oscar Another fall limited series entry, Nicole Geo likes to campaign hard, and although season! Sucks to be them, right? Kidman and David E. Kelley’s “The Undo- “Genius: Aretha” is expected to still be Ha! You fools, TV awards season is ing” for HBO, also has awards written all delayed, the company’s Disney Plus take on never over! Emmy eligibility ended on May over it — at least for stars Kidman and “The Right Stuff” could be awards fodder. 31, and there have been a ton of new and Hugh Grant and even director Susanne On the comedy side, it would be nice to returning series premieres since then — Bier (“The Night Manager”). In late Novem- see some Season 2 love for Hulu’s “Pen15,” with a bunch more to come this fall, COVID- ber, FX on Hulu’s “A Teacher” and its story which has been nominated for writing by 19 be damned. And that should make for of a high school instructor’s relationship both the Emmys and the WGA. an interesting new set of contenders for the with her student could turn some heads And then there’s my “give all the awards Golden Globes, SAG Awards, Critics Choice and give star Kate Mara awards attention. now” decree to HBO’s “I May Destroy You” Awards and other guild kudos that will be HFPA members may also be swept up and creator-star Michaela Coel. Heartbreak- happening in early 2021. by HBO’s new drama “We Are Who We ing, stunning, beautiful — there are not Not in the running will be programs Are,” which comes complete with an indie enough adjectives to describe this summer such as “Succession” Season 2 and “Watch- filmmaker (Luca Guadagnino), coming-of- series, which hopefully will be remembered men” — Emmy darlings from fall 2019 that age tales and an international setting: A by Emmy voters next year, but first up could got their Emmy due this week but already U.S. Army base in Italy. Early reviews are get plenty of attention at the Globes, SAG, were eligible for this past winter’s other strong, and although break-out stars Jack WGA and more. I’m not even sure how it will awards. (The Golden Globes somehow com- Dylan Grazer and Jordan Kristine Seamón be classified: Comedy? Drama? Limited? pletely missed the “Watchmen” train, fail- are likely too young and too green for rec- MUST-AWARD TV Many questions need to be answered. ing to nominate it at all last winter, and ognition just yet, supporting cast includ- Michaela Coel’s “I Of course, this is all assuming that the May Destroy You” for since there isn’t a Season 2, there are no ing Chloë Sevigny and Kid Kudi could be in HBO is in a category winter awards shows gravitate to the new do-overs, HFPA.) the mix. of its own. stuff. As the broadcast, cable and streaming That leaves room for some of this sum- services all start playing down fall launches mer’s buzzy entries, as well as the most in favor of spring — especially for their anticipated shows of fall — including a prestige, Emmy-worthy projects — that’s number of programs that would have been flipped the tables on who gets first crack at Emmy 2020 contenders but had to be honoring freshman sensations. pushed back due to COVID-19-related pro- The Emmys, after all, will have already duction delays. nominated programs like the latest sea- Topping that list, of course, is the long- sons of AMC’s “Better Call Saul,” Netflix’s awaited return of FX’s “Fargo,” now in Sea- “Dead to Me” and “Ozark,” HBO’s “Inse- son 4. It would have been a tough fight to cure,” Hulu’s “Ramy” and the final season beat HBO’s “Watchmen” at the Emmys, and of Pop TV’s “Schitt’s Creek,” as well as lim- now “Fargo” won’t face off with that show in ited entries like FX on Hulu’s “Mrs. Amer- any awards competition. Instead, it’s an early ica,” Netflix’s “Unorthodox” and Hulu’s limited series front-runner for the Globes, “Little Fires Everywhere,” all of which are SAG Awards and even next year’s Emmys. still contenders for the upcoming Globes But that’s not all: Expect big things for star and guilds awards gantlet. Chris Rock, in a revelatory turn as Kansas So let’s turn things over to the Oscars City crime boss Loy Cannon. Jessie Buckley, race. But don’t get too comfy, film folks: Jason Schwartzman, Ben Whishaw and Tim- Emmy season kicks into high gear by Feb- othy Olyphant also could be contenders. ruary, and with the Academy Awards Could Showtime’s “The Comey Rule” also pushed to April, we’re colliding right into be a top challenger? It might depend how your little show. Forget “West Side Story” — people are feeling after the November elec- this year the turf war is all about TV versus

tion — either so relieved they’ll celebrate ﬁlm, and I’m feeling pretty. SEERY/HBO NATALIE

18 VARIETY Congratulations Dan, Eugene and team on your 9 Emmy® wins, we are proud to be your partners since 2014

ANNIE MURPHY ANDREW CIVIDINO DANIEL LEVY EUGENE LEVY OUTSTANDING OUSTANDING AND DANIEL LEVY OUSTANDING OUSTANDING COMEDY SERIES SUPPORTING ACTRESS OUTSTANDING DIRECTING SUPPORTING ACTOR LEAD ACTOR IN A IN A COMEDY SERIES FOR A COMEDY SERIES IN A COMEDY SERIES COMEDY SERIES

DANIEL LEVY CATHERINE O’HARA DEBRA HANSON LISA PARASYN OUSTANDING OUSTANDING AND DARCI CHEYNE AND JON COMERFORD WRITING FOR A LEAD ACTRESS IN A OUTSTANDING OUSTANDING CASTING FOR A COMEDY SERIES COMEDY SERIES CONTEMPORARY COSTUMES COMEDY SERIES

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I Care a Lot Sales agent: STX International Tangible Treasures “I Care a Lot” is a sleekly unnerving thriller. It’s built around a scam just plausible enough to give you pause, and in a Virtual Toronto a protagonist who’s so efficient in her diabolical ruthlessness that you can scarcely take your eyes off her vicious SEARCHING FOR GOLD IN A SCALED-DOWN VERSION OF THE amoral glow. Rosamund Pike plays Marla INDISPENSABLE NORTH AMERICAN MARKET Grayson, a conservator who’s really a con artist. She’ll stand up in court, radi- ating a beam of articulate compassion, Be careful what you wish for. Many Toronto veterans (myself included) have and argue that a senior citizen can no vocally pushed for a smaller, more focused version of the massive fall fest, which longer look after him- or herself and typically showcases nearly 300 features each year. But now that the coronavirus should therefore be placed under Mar- has hit, and TIFF was forced to shrink its program to less than a quarter its usual la’s care. She then becomes their guard- ian — and sticks them in a rest home, so size, virtual attendees (a fraction of the number typically credentialed) were that she can slowly but surely suck away left wanting more. An event that regularly launches Oscar campaigns instead their assets. She’s the film’s protagonist, skewed toward emerging voices. You can find all of Variety’s TIFF reviews online; but also a predator who will toss some- here are excerpts from five standouts. —Peter Debruge one’s life into the trash with a duplici- tous grin of pride. —Owen Gleiberman

Shadow in the Cloud Sales agents: Vertical Entertainment, Redbox Entertainment Some ﬁlms demand a willing suspen- sion of disbelief, expecting audiences to put aside quibbles of what’s plausible, probable or even possible. Roseanne Liang’s “Shadow in the Cloud” parts ways with credibility altogether. This insanely entertaining high-altitude horror movie — which takes place almost entirely aboard a gremlin-infested WWII-era B-17 bomber — asks you to check your internal B.S. barometer on the runway, then takes off into murky skies, testing the limits at every turn. Hardly a minute of the movie registers as “realistic,” but that hardly matters, since Liang so fully commits to its over-the-top sensibility that you’ll be clutching the armrest and grinning with glee for most of the ride. —P.D.

Shiva Baby Sales agent: Paradigm Ammonite Concrete Cowboy In writer-director Emma Seligman’s Distributor: Neon Sales agent: Sierra/Affinity CHOICE OFFERING hilarious, sneakily eruptive debut fea- Named for the species of spiral-shaped This is one of those rare, reframe-the-con- Idris Elba (far ture, “Shiva Baby,” the acerbic Dan- right) is the father mollusk its heroine finds petrified versation films, like “Paris Is Burning,” of Caleb McLaughlin ielle (Rachel Sennott) is many things: along England’s southern shores, “12 O’Clock Boys” and “Rize,” that take a (third from left) in an East Coast college senior majoring in dreary yet daring “Ammonite” centers very specific subculture and turn it into “Concrete Cowboy.” gender studies; a young bisexual Jew- on real-life amateur 19th-century pale- something universal and uplifting — only ish woman; a sugar baby testing out the ontologist Mary Anning — played by a this one isn’t a documentary, despite the transactional powers of her sexuality. remarkably committed, totally unself- many real-world details that bring direc- All the components of Danielle’s fail- conscious Kate Winslet — who spent her tor Ricky Staub’s exceptional father-son ure-to-launch life close in on her amid days collecting and cleaning such fos- drama to life (among them, supporting the mourning family and friends at a sils for tourists. Little is known about roles for several in the group of actual crowded and unexpectedly eventful this woman, allowing filmmaker Fran- urban cowboys portrayed). Featur- shiva, as Seligman increasingly ampli- cis Lee to turn Mary into a hardy pro- ing an unforgettable performance from fies the sense of claustrophobia, pro- to-feminist pioneer. There’s no evidence Idris Elba as Harp, the grizzled but car- jecting Danielle’s helplessness and to suggest the real Anning was queer, ing father of troubled teen Cole (Caleb humiliation with every prickly, fast- but Lee chooses to believe that such a McLaughlin), this remarkable feature paced conversation. Think of this late- person may have found the strength to debut is all about giving at-risk young peo- coming-of-age farce as a funny “Krisha” love another woman, embodied here by ple a future. That the solution might come or the indoor apocalypse that takes place an unusually fragile Saoirse Ronan, at a in an endangered century-old tradition far in “Mother!” and you’ll get some sense of time when such relationships were all removed from most people’s radar makes its edge-of-your-seat character.

but forbidden. — P.D. it all the more impactful. —P.D. —Tomris Lafﬂy RICKETTS AARON

20 VARIETY UZOCONGRATULATES ADUBA

AS SHIRLEY CHISHOLM EMMY® WINNER OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE

Untitled-5 1 9/22/20 2:32 PM TOP BILLING Sherlock’s Sister Is a Detective for a New Age

‘STRANGER THINGS’ STAR MILLIE BOBBY BROWN TALKS ABOUT PRODUCING NETFLIX MOVIE ‘ENOLA HOLMES’ — AND WHY SHE’LL MISS ‘KEEPING UP WITH THE KARDASHIANS’

MILLIE BOBBY BROWN is a force to be reck- and still have my say off of screen. I’ve never superhero in her own right because she oned with. The 16-year-old actor not only had an opportunity like that before. embraces every aspect of her flaws and her stars as the title character of Sherlock imperfections. That’s what makes people Holmes’ sister in the new period adven- What does it feel like to have your voice superheroes, when they can come to terms ture film “Enola Holmes,” but the movie also heard in that way? with the fact that they’re not perfect, but THE BIG TICKET marks her first time as a producer. The dou- It was empowering. I mean, there’s a set they’re unapologetically themselves. I love Marc ble duty has left the “Stranger Things” actor of nerves that come with it, just because that. So she’s definitely a superhero. You Malkin feeling empowered. “Women need to be at you have experienced producers that are don’t have to have superpowers to be one. the table, we need to be heard, our voices on your set and you just have to kind of need to be listened to, we need to be part fit in somehow. But I had a great team, a I love your Instagram. I love that you’re Hear this interview in its entirety on Variety of the conversation and sometimes women crew that made me feel so comfortable outspoken, that you embraced the Black and iHeart’s “The Big need to be in charge,” Brown tells Variety with sharing my thoughts and ideas. I also Lives Matter movement with a full heart. Ticket” podcast, available Sept. 24. on a Zoom call from her home in Atlanta. “I had an amazing director, Harry Bradbeer, Why was that important for you? think that we need to be understood.” who made me feel very comfortable with In this climate, in this world, I loved that As does her character, Enola. She’s a rebel- expressing my opinion and thoughts and young people, and especially this movement lious young woman who refuses to be con- really valued them. specifically, it was amazing for them to cre- fined by Victorian gender norms as she flees ate this movement. It definitely touched her home in the country to find her eccentric What’s the message of “Enola Holmes”? my heart, and I wanted to do something. So mother (Helena Bonham Carter) in London. There are so many. There’s a big message of that’s why I posted a few Black-owned com- The film, which premieres on Netflix on Sept. feminism within the film, talking about how panies and things like that, so that they 23, is based on Nancy Springer’s book series women were classed as uneducated back could take my platform — this is not about of the same name. in the 1800s, and Enola was extremely edu- me — and to give them my platform and to cated, and so is her mother. She’s going into say, “Listen, I understand I am privileged, What do you like about Enola? the city of London, where women aren’t and I understand that I won’t understand.” What don’t I like about Enola? She’s incred- listened to, nor respected, nor looked at I’m in full support, and I’m very inspired ibly brave; she has the will to be vulnera- as an equal. Enola is coming into it think- that these young people are speaking out ble; her humor is funny. She kind of ends ing, “How? Why?” She’s a new thinker; she’s about the things that are important to them. gender norms. She’s not afraid to dress up. a wild child. There’s so many messages in She’s unapologetically herself, and I love there that you have to find and look for and Now a fun question for you. We know that about her. find your one, but mine is definitely the big- you’re a big Kardashian fan. What did you gest message of all, which was feminism. think when they announced they were You’re also a producer on the movie. ending their reality show? I think it’s important to have young producers Could we consider Enola a superhero? It’s very sad. I’m so sad. I’ve been watching because it gives youth an opportunity to tell One hundred percent, yeah! I think them for years, but everything must come their stories. Age shouldn’t define whether you she’s more of a superhero than [Brown’s to an end. can do something or not. Young filmmakers “Stranger Things” character] Eleven. should get the opportunity to tell their stories, What are you going to miss about them? and I’ve just been lucky enough to share mine. Why do you say that? Everything. I mean, just the fact that they The producing conversation came around Because you don’t have to have superpow- are very funny. Oh, my gosh, I’m going to when my dad said, “You need to be a part of ers to be a superhero. I think that Audrey miss lots. I enjoyed it so much. Every Sun- this as much as you can,” and I said, “You Hepburn was a superhero. I think she’s day night, I was obsessed. know, I completely agree.” It was really excit- my superhero. It’s like Princess Leia —

ing because that meant I could be on-screen she’s my superhero too. I think Enola’s a This interview has been edited and condensed. IMAGES USA/AP B. MIRADOR/SIPA STHANLEE

22 VARIETY A cinema festival for everyone, in Lyon – France

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$16M

BEL AIR 13,000 SQ. FT. 8 BEDROOMS

12 BATHS

its polished pale-gray marble floor and Kathy Griffin Poised to iconic Andy Warhol photograph of a bot- tle of Chanel No. 5 perfume. Formal living and dining rooms and an office/library are Make an A-List Profit complemented by a great room that offers a fireplace, a wet bar and a chef-accommo- dating kitchen. The owner’s suite showcases a fireplace, a giant terrace, two lavish STAND-UP COMEDIAN, actor, author and Emmy-winning reality TV veteran Kathy bathrooms and two walk-in closets. Griffin hopes to laugh her way to the bank with the sale of her gigantic mansion in The extensive finished basement con- L.A.’s ritzy Bel Air neighborhood. The opinionated comic has listed her more-than- tains a spacious lounge with wet bar and 13,000-square-foot home at just under $16 million, a small fortune above the $10.5 climate-controlled wine cellar, and a pro- million — in cash — she shelled out for the gated estate a bit more than four years ago. fessional screening room. Outside, an The grand scale of the 8-bedroom and 12-bathroom neo-Mediterranean manse infinity-edge swimming pool and spa are lined with mosaic tiles. Fun fact: Griffin slaps guests across the face upon walking into the extra wide entrance gallery, with was married to longtime boyfriend Randy Bick at the estate earlier this year in a ceremony officiated by Lily Tomlin. The property is available through Josh MARK DAVID Altman and Matt Altman of The Altman THE REAL ESTALKER Brothers Team at Douglas Elliman. GRIFFIN'S HOUSE: MARC ANGELES ; GRIFFIN: MATT LICARI/INVISION/APIMAGES ANGELES ; GRIFFIN: MATT HOUSE: MARC GRIFFIN'S

24 VARIETY For the Industry

To the visionaries, the disruptors and the thousands of professionals who push the bounds of content each and every day:

You are the camera crews, the journalists and the production teams bringing us information in times of confusion.

You are the storytellers, the pioneers, the promoters and the magic makers crafting and delivering laughter, relief and maybe a new way of looking at the world.

You are the innovators, the engineers and the trailblazers developing new products and technology that empower incredible possibilities for the industry.

You see change as a call to action and challenges as opportunities.

You create clarity out of chaos.

This October, let’s dive deep into the products, technology and perspectives that will move media and entertainment forward.

Together, let’s refocus and reengage through the all-new NAB Show New York digital experience.

Visit nabshowny.com to register. Use code MP01 to save 30% off a Marketplace Pass.

October 19-29, 2020

Untitled-5 1 9/17/20 11:51 AM DIRT

Julie Plec Seeks Buyer for Beverly Grove Villa “The Vampire Diaries” co-creator Julie Plec, who also co-created its spinoffs “The Originals” and “Legacies,” is looking for a deep-pocketed buyer for her former home in L.A.’s popular and centrally located Beverly Grove neighborhood. Listed with Heather T. Roy and Learka Bosnak of Douglas Elliman, with an asking price that’s pushing up on $3.3 million, the just-over-3,700-square-foot vaguely Itali- anate villa was built in 2006 and purchased by the budding TV titan in 2011 for $1.95 million. The five bedrooms and four bathrooms include a main-floor guest bedroom and a spacious second-floor primary suite that opens to a large terrace. Also upstairs, $1.75M a lofted area with built-in desk space facili- tates learning or working from home. SHERMAN OAKS The front door opens directly, and 2,800 SQ. FT. somewhat abruptly, onto an airy living room with a baronial carved limestone 4 BEDROOMS fireplace. Chatoyant, reddish-hued wood 4 BATHS floorboards extend into a spacious adjoin- ing great room that incorporates a roomy dining space, an informal lounge and a plantings surround a swimming pool and Behind black fencing and secured gates traditional high-end kitchen arranged spa set against a towering hedge. with four bedrooms and 3.5 bathrooms around a huge granite-topped island. Two Plec, signed to a contract with Univer- in a wee bit more than 2,800 square feet, sets of French doors allow for an easy sal Television reported to be worth north the boxy and bright white stucco contem- transition to the backyard, where a cur- of $60 million, significantly upgraded her porary stands out like a peacock in a hen- tained loggia provides a shady respite for residential circumstances earlier this year house along an unremarkable block in an outdoor living. A sunny, stone-paved ter- with the $6 million purchase of a unique, unheralded section of L.A.’s San Fernando race includes a built-in grill, and tropical farmhouse-style compound in one of the Valley community. A long, wide entrance most coveted corners of L.A.’s Studio City. gallery passes a small living room with a stainless steel fireplace insert, then opens up to a lengthy great room. The kitchen is Dave Rubin Sells Starter open to a combination dining and living Home in Sherman Oaks area that spills out through glass sliders to the backyard. One bedroom is for over- Comedian and podcast host-turned-con- night guests, another is set up as a green servative political commentator Dave room for show guests, and a third is outfit- Rubin, whose YouTube talk show “The ted for producing “The Rubin Report.” The Rubin Report” boasts 1.35 million sub- main bedroom’s en suite bath features a scribers and whose interviews with right- deep soaking tub and glassed-in shower wing political agitators like Candace cheekily lined with faux bois tiles. Owens often garner more than a million Out back, a trellis-covered dining deck $3.3M views, has sold his Sherman Oaks starter is just a few steps above a small but skin- house for $1.75 million. The price is well ny-dip-private backyard that includes a below the $2.25 million he originally asked plunge pool and spa. The property was BEVERLY GROVE 5 BEDROOMS but still a tetch above the $1.5 million he listed with Anita Rich of Compass; Kevin 3,700 SQ. FT. 4 BATHS paid almost four years ago. Stewart of The Agency repped the buyer.

A Truly Regal Drive-In is in Norfolk, 100 miles north DIGS Pops Up in the U.K. of London, and has been in the British royal family since 1862. Las Vegas History Is Lit For one weekend this month, one Earlier in the month, the queen and of Queen Elizabeth’s sprawling Prince Philip were summering at The famed Googie-style sign that once country estates will be converted Balmoral Castle in Scotland, but hung above the Moulin Rouge hotel in into a drive-in movie theater, where they’re expected to be staying at Las Vegas has found a new home in the guests can enjoy films including Sandringham at the time of the city’s Neon Museum, a nonprofit dedi- “A Star Is Born,” “Rocketman,” “Toy A different pop-up food vendor screenings — though they will cated to documenting Sin City’s history Story” and “Grease” while safely will serve grub at the property not make an appearance at the through its iconic signage. Designed by social distancing. Patrons will be each day, themed to the movie. event. Still, Queen will be featured Betty Willis in 1955, the sign has been allowed to sit or stand outside Known as Sandringham Estate, at least for one night — when restored to shine as it did in its heyday. their vehicle as long as they stay the regal vacation getaway, which “Bohemian Rhapsody” screens. MAE HAMILTON within the space allotted for it. spans a whopping 20,000 acres, MAE HAMILTON IMAGES SIDNEY BEADEL/AP ESTATE: QUEEN’S DEIDRA WILSON; MOULIN ROUGE:

26 VARIETY TO THE 2020 KUDOS EMMY® WINNERS

1 2 3 4 5 6

7 8 9 10 11 12

13 14 15 16 17 18 19 20 21 22

1 RANDY BARBATO (RuPaul’s Drag Race) Variety Virtual TV Fest 2 ARAXI LINDSEY (Black-ish) Variety Artisans 3 CORD JEFFERSON & DAMON LINDELOF (Watchmen) A Night In The Writers’ Room 4 DANIEL LEVY (Schitt’s Creek) Actors on Actors 5 DARCI CHEYNE (Schitt’s Creek) Variety Streaming Room 6 YAHYA ABDUL-MATEEN II (Watchmen) Variety Streaming Room 7 JEREMY STRONG (Succession) Variety Streaming Room 8 JULIA GARNER (Ozark) Variety Streaming Room 9 TRENT REZNOR & ATTICUS ROSS (Watchmen) Variety Artisans 10 MARIA SCHRADER (Unorthodox) Variety Streaming Room 11 BRENT MILLER (Live In Front Of A Studio Audience: “All In The Family” and “Good Times”) Variety Virtual TV Fest 12 MARINA TOYBINA (The Masked Singer) Variety Artisans 13 MARK RUFFALO (I Know This Much Is True) Variety Streaming Room 14 NORMAN LEAR (Live In Front Of A Studio Audience: “All In The Family” and “Good Times”) Variety Virtual TV Fest 15 REGINA KING (Watchmen) Actors on Actors & Variety Streaming Room 16 SHAREN DAVIS (Watchmen) Variety Artisans 17 THE CAST OF SUCCESSION Variety Streaming Room 18 LUDWIG GÖRANSSON (The Mandalorian) Variety Artisans 19 UZO ADUBA (Mrs. America) Variety Streaming Room 20 THE CAST OF WATCHMEN Variety Streaming Room 21 DONIELLA DAVY (Euphoria) Variety Artisans 22 ZENDAYA (Euphoria) Actors on Actors

THANK YOU FOR BEING A PART OF OUR TELEVISION AWARDS SEASON COVERAGE & VIRTUAL EVENTS the 72nd

Primetime emmy Awards

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Photo Diary: lessons tv’s weird, wonderful house parties: Behind the Scenes learned: emmy celebration: variety’s nominees share at the Emmys takeaways critics discuss sunday night snaps This Extraordinary Moment A transformative two years culminates in Emmy gold for Watchmen' showrunner Damon Lindelof

story by photographs michael schneider by dan doperalski

pg 29 the 72nd primetime emmy awards

Emmy for outstanding writing for a Jefferson and Lindelof won the someone who’s been talking about limited series or movie. That way, in limited series writing Emmy on these issues now at least in the con- case “Watchmen” didn’t win the lim- Sunday for the episode that show- text of ‘Watchmen,’ in that room for ited series Emmy, Lindelof would still cased the character of Hooded Jus- two years, I said the wrong thing get his message out. tice, “This Extraordinary Being.” constantly. And thank God I was in a “This part of our history was Says Lindelof: “It was the boldest space where the other writers could erased, and it’s not [like] now every- piece of retcon as it related to the say, ‘You just said the wrong thing.’” body knows about it,” says Lindelof, original ‘Watchmen.’ This was the Having led “Lost” (with Carlton who warns that cultural forces could moment where the show revealed Cuse) and then “The Leftovers,” very well bury it again. “You can feel itself: ‘We’re going to do something Lindelof admits he had to adjust the writing in the sand and the tide that we know was outside the orig- the way he operated as a showrun- coming in.” inal author’s intention, and it’s all ner on “Watchmen.” That became even more evident about racial injustice in particular, “I think that there are these recently when President Trump but we’re also trying to make a case words, like ‘diversity’ and ‘inclu- revealed plans for a “1776 Commis- for vigilantism.’” sion,’ that again, have the best sion” to float what he deems “patri- “Watchmen” ended its limited intentionality behind them, but at otic education,” which is clearly a series run on HBO in December — but the end of the day, if the writers’ reaction to The New York Times Mag- its impact has extended far beyond, room was just me and seven writers azine’s “1619 Project” and its effort and felt all the more germane in a of color, but I don’t listen to them, to re-incorporate African Americans year where a long-overdue national that’s not inclusion,” he says. into the narrative of U.S. history. reckoning has been underway. “Oftentimes I was just pro- “I’m telling you right now, the “I think people of color have been grammed to say, ‘I’m the showrun- very idea of reparations or HR 40 wanting to have this conversation ner and this is my room, and I’m Damon Lindelof admits he’s a little [the Commission to Study and Devel- and been shouting from the rooftops going to either say thumbs-up or wary when celebrities use fashion op Reparation Proposals for Afri- to have this conversation for decades, thumbs-down.’ But the ‘Watchmen’ to promote a cause. But when the can-Americans Act] or all those if not centuries,” Lindelof says. “I just room didn’t work that way. As I was Television Academy told nominees things have a target on their back if keep returning back to something beginning to lose control and pow- that there was no dress code for this the 1776 Commission exists,” Lin- that Yahya said. We were getting er, I was like, ‘I don’t like this feel- year’s Emmy Awards, he knew he delof says. “It’s literally erasure, so asked, ‘How do you feel about how ing.’ And so the first six to 10 weeks had to do something. the opposite of an erasure is write it prescient the show was?’ And Yahya of ‘Watchmen’ were rough on all of That’s why, as “Watchmen” won in ink. And so I’m not done talking was like, ‘I think the show maybe us. And then we started trusting one the Emmy on Sunday night for lim- about Tulsa ’21. It was never my sto- came along about 40 years too late.’” another, everybody. And instead of ited series (as well as a writing nod ry to tell ... but I basically thought, Given the subject matter he saying that I was going to listen, I and acting awards for stars Regi- if there’s a way that we can use our wanted to tackle, Lindelof set out actually started listening.” na King and Yahya Abdul-Mateen platform during the Emmys to talk to build a more inclusive writers’ Says Ryan Lipscomb, a member II), Lindelof’s T-shirt proclaimed, about Tulsa again, I’m going to take room, while knowing that as a mid- of that team: “Being able to watch “Remember Tulsa ’21.” that opportunity.” dle-aged white man he would make Damon create TV, the way he would The HBO show opens with a The passion that Lindelof applied some mistakes along the way. “As sit and lead the room, pretty much depiction of the 1921 Tulsa massa- to his version of “Watchmen” is fit- operating like a point guard, making cre — the real-life tragedy in which ting, given his affection for the orig- sure every writer was involved and the city’s vibrant Greenwood Dis- inal graphic novel, which he once every writer had a stake in weaving trict (also known as “Black Wall called “the greatest piece of popu- the tapestry, was incredible to watch.” Street”) was destroyed. He and his lar fiction ever produced.” Creat- The bond among the “Watchmen” writers used that event to examine ed in the mid-1980s by writer Alan writers that formed out of that experi- the history of systemic racism in Moore and artist Dave Gibbons, ence remains. Lindelof and his team America, and the resulting trauma “Watchmen” was a late-Cold War continue to communicate every day that’s been passed down from gen- story meant to dissect the idea of via a text chain. There was the hurt in eration to generation. the superhero and vigilantism. January, when the Golden Globes and Lindelof printed up the shirt and Lindelof’s take is a sequel of sorts, the SAG Awards mostly ignored the others — he passed them out at his revisiting those characters with an show, to the surprise of many. There COVID-compliant Emmy party — entirely new tale. He was inspired I was like, was the celebration when “Watch- because he had asked writer Cord by the idea of Greenwood as a ver- there’s men” scored 26 Emmy nominations Jefferson to give the acceptance sion of Krypton (Superman’s home no situation this year, the most of any program. speech if the two of them won the planet, destroyed after he is born), that feels And when the main ceremony while Jefferson suggested that it right to me approached, there was no doubt that made sense that the vigilante at the where they would gather as a team — for the heart of the show — “Hooded Jus- I’m accepting first time in person since the Writ- tice” — be African American. Lou- ers Guild awards in February. The is Gossett Jr. and Jovan Adepo were a limited idea for a party came after Lindelof both Emmy-nominated for playing series Emmy decided he didn’t want to receive any the character, aka Will Reeves, at by myself. awards for “Watchmen” alone. pg 30 different ages. --Damon lindelof “I was like, there’s no situation going to win,’ it both feels really good because they’re expressing confidence in you and it’s terrifying because now there’s just an expectation.” Lindelof cheers the limited series Emmy for “Watchmen” as a win for everyone who worked on the show, but the writing honor he shares with Jefferson is extra sweet. He had been nominated five times, without a victo- ry, for writing on “Lost.” “The writing Emmy was the Holy Grail,” he says. When he won the drama series Emmy for “Lost” in 2005, 22-episode seasons were still the norm (a standard that the show ultimately helped break), and Lindelof recalls not having even a moment to savor it. “There was no time to reflect back on Season 1,” he says. “By the time the Emmys happened, we had already done like seven or eight episodes of Season 2, and that was a runaway train. I didn’t know how to stop it. And so I think that I felt much more out of control. I was doing everything that I could to hold on. “It took us two years to make nine episodes of ‘Watchmen,’ and in that same period of time we made almost 50 episodes of ‘Lost,’” Lindelof marvels. “I honestly don’t know how it was done. This isn’t even me saying, ‘Were any of those episodes any good?’ Just the fact that they exist is crazy to me.” that feels right to me where I’m Lindelof’s wife, Heidi, ordered a But the reality that Lindelof and accepting a limited series Emmy red carpet to roll outside the house, his team had two years to craft > by myself, even in the midst of and as Emmy night approached ... Lindelof says “Watchmen” is also a testament to a pandemic,” he says. “It’s so the nerves increased. “I didn’t really the limited series HBO, which celebrated on Sunday Emmy for non-reflective of the way that the sleep on Saturday and Sunday,” Lin- “Watchmen” night with a dominant 30 Emmys, show was made.” delof says. “I was anxious and doing was a win for including 11 for “Watchmen.” HBO The nominated stars, includ- that dance between this shouldn’t everyone programming president Casey who worked on ing King, Abdul-Mateen, Gossett matter at all, it does matter, how am the show. Bloys says he put full faith in Linde- Jr., Adepo, Jeremy Irons and Jean I supposed to feel about this? And lof, even as the writer’s plans grew Smart, were scattered around the then, are we doing the right thing? Is ∂ more audacious. globe, however. Then it was sug- this too many people? Is this unsafe? “If Damon showed interest in gested that Lindelof and Jefferson All that stuff.” almost anything, I would be inter- do it together because of their writ- When 3 p.m. rolled around, an ested in it,” Bloys says. “I think ing nomination. But all the writers engineer dispatched by the Emmy he has a very special voice, and were in L.A., and it made sense to production team came by to set up experience in television, and he’s

AND © ATAS/NATAS ﬁnally get them back in the same Lindelof’s camera. The ceremony always looking to do something ® room — after the proper proto- began, and by the time King won the ambitious. And in this case, a little cols and safety measures were lead actress in a limited series Emmy, addressed, of course. Lindelof says he felt a wave of calm. “I reached out to them and said, “I haven’t been in this position,” ‘If we all tested and bubbled and he says. “Even when ‘Lost’ won 15 self-quarantined before the Emmys, years ago, it was not the favorite. would you guys want to come over? And so the idea of having gone We’d be outside the entire time,’” Lin- through the past month where pg 31 (PREVIOUS SPREAD & THIS PAGE) STATUETTE: STATUETTE: (PREVIOUS SPREAD & THIS PAGE) delof recalls. “And they all said yes.” people are saying, ‘I think you’re the 72nd primetime emmy awards

bit scary. And so I really trust him.” Taking a moment the day after his win, Lindelof allows it to sink in, the fact that he pulled off a reinvention of the graphic novel he loves so much: “‘Watchmen,’ the burden, the > challenge, the ‘how dare you,’ the Lindelof with Regina King defiance of doing it, to know that I’m on the “Watchmen” set going to have an Emmy with the word ∂ ‘Watchmen’ written on it, it does feel like, ‘OK, this show now gets to be > part of the legacy of this [comic] that The series creator means everything to me.’ That part I with King and Yahya never could have had with ‘Lost.’” Abdul-Mateen II It’s been 10 years since “Lost” ∂ went off the air, and Lindelof is still immensely proud of the show and its lasting impact on pop culture — including new audiences discov- ering it via streaming. But he also regrets openly sharing his disap- pointment that some fans famous- ly didn’t like the series’ ending, as he feels he ultimately added to the negative stigma attached to it. “I didn’t invent the narrative that the finale was empirically bad, but I amplified it,” he says. “The fact that people feel the need to say to me, ‘Hey, I actually kind of liked the way that it ended.’ Or the expectation some people have that ‘I have to know going in that the ending is going to be disappointing.’ The fact that I told people what to think about Tom [Perrotta’s] book was that it was “Lost” he didn’t want to work with ‘Lost’ is a big regret that I have.” so unapologetic about saying this the same talent more than once was Lindelof conquered some of those is not about answering questions. “stupid.” “Now I’m going to break it demons with his follow-up series, ∂ It was so liberating that you didn’t all the time,” he says, “because I’d HBO’s “The Leftovers,” which ended “Watchmen” writers even have to know in order to tell the get to work with Carrie Coon again, its three-season run to near univer- flank Damon Lindelof story. I learned that from Tom. But I or Justin Theroux, or Ann Dowd, or as he accepts the sal critical acclaim. wouldn’t have been feeling that way Matthew Fox. Regina really proved Emmy for limited series.

“I don’t think we could have > had ‘Lost’ not ended the way that it me wrong on that one.” nailed it if ‘Lost’ hadn’t happened,” did. The sheer energy of ‘I know you He just won’t be working with any Lindelof says. “What attracted me to want to know, but I’m not telling.’ I of them on another “Watchmen.” Lin- didn’t even know you could do that.” delof is holding strong to his desire to The other lesson Lindelof learned be one and done with the franchise, from “The Leftovers,” and going into and is turning his attention to other “Watchmen,” is that it’s OK to work things, such as guiding a new gener- with the same talent again — in this ation of voices. case, King, who appreciates the “This was the story that I want- return engagement. ed to tell, but it could be much more “I believe because of our expe- expansive than this,” he says. “Not rience together on ‘The Leftovers,’ that I see myself as Willy Wonka, but he trusted I would approach Ange- it’s time to bring some other kids la Abar with the same care he and into the factory. I couldn’t imagine the writing team took while crafting a greater focus for me than to throw ‘Watchmen,’” King says. “The trust open the doors to the factory and was mutual. When reciprocity is at say, ‘I will show you around and tell the core of a partnership, the respect you what I learned here, but you’ve and friendship can last a lifetime. got to bring the ingredients that you Damon is that partner.” want to mix up here and make your pg 32 Lindelof admits that saying after own candy.’” TELEVISION ACADEMY/AP AND WRITERS: MARK HILL/HBO (2); DAMON WATCHMEN: ‘Like Launching typified a thrilling, never be afraid of that, my sometimes scary, altogether authentic self or authentic rewarding journey of voice, no matter how weird a Probe discovery that challenged and dark and off-putting it us to not just make ideas might be. happen but trust that ideas Favorite moment: I don’t have Into Space’ will emerge as the story just one. I remember the accumulates, takes on day Cord Jefferson pitched The ‘Watchmen’ writers tell life and tells us what it the origin story for Hooded tales of the show and its legacy wants to be. Justice — using the rope that almost killed him as his Claire Kiechel form of armor, as his What “Watchmen” meant to me: costume. Lila Byock pitching “Watchmen” was my second the large blue dildo for writers’ room, and Laurie Blake and how everyone really, it was the formative in the room laughed. Lila Byock team involved. I think the experience that taught me Christal Henry pitching Lady What “Watchmen” meant to me: breadth of fields recognized what television was. It was a Trieu’s mother stealing Making this show, with this by the Television Academy master class in storytelling, Veidt’s sperm, which he kept astoundingly talented group is a testament to how many in editing, in interpersonal in a cool chamber in the of writers, was an almost incredible artists were dynamics, in American fucking wall. religious experience, a involved with this show, history, in how television collective leap of faith and I was honored to just gets made. Carly Wray — like launching a probe be among them. I tried to Most memorable moment: The day What “Watchmen” meant to me: into space in the hope that absorb as much knowledge as Dave Gibbons [the co-creator When Damon first asked me it would eventually find I could, and I’m so sad of the original “Watchmen” to join the room, he sent Europa. The fact that it that it’s unlikely this comic book] came to talk to me the pilot and joked, “It connected with audiences in exact same group of people us. While he was talking, will either be one of the the way it did has been will ever work together Lila Byock started choking best things we ever do or the thrill of a lifetime. on a project again. on her chicken kebab, and it will ruin our careers.” Favorite moment: I’d worked I ended up having to do the Luckily, it went well — but with [series creator] Damon Jeff Jensen Heimlich maneuver on her! either way, I would never [Lindelof] long enough to What “Watchmen” meant to me: have wanted to be part of know that you can’t crack Working on “Watchmen” Ryan Lipscomb the safe, tame version of a joke in the writers’ room was an exhilarating act of What “Watchmen” meant to me: this show. There’s nothing without the risk that it’ll hubris that I’ll spend This was my first opportunity more thrilling than being wind up in a script. So the rest of my life trying to work in a writers’ room, part of a show that truly has when I pitched that Special to understand. Why the and here Damon was pitching something important to say, Agent Laurie Blake keeps hell did we do this?! But a show that was everything even if you’re not sure at a giant blue Dr. Manhattan I’m glad we did. I am forever I cared about. Representation first how many people will be vibrator inside a locked changed by the experience matters. When you’re young, willing to listen. briefcase, it was only of working with Damon and or old for that matter, Favorite moment: Designing the partly for a laugh. Before these writers, investigating and you’re trying to Extra-Dimensional Anxiety long, I was being asked my own nostalgia, and understand the world, it’s meeting that Wade [Looking to approve the prop, which confronting the limits so important to be able to Glass] runs in Episode 5. is currently displayed of my understanding and look to characters that feel That scene is a true Linde- in my office. empathy about America, like they’re a part of you lof fastball that race and any number of and understand you, because brilliantly combines genre Christal Henry things. “Watchmen” was just that can help you process gags and poignant emotional What “Watchmen” meant to me: a wonderfully humbling and the things you’re feeling. revelation. I never “Watchmen” was the biggest humanizing endeavor. thought I’d get to pitch project I’ve ever worked Favorite moment: While breaking Stacy Amma on a monologue that weaves on. I was a fan of the Episode 8 (“A God Walks Osei-Kuffour together “squid anxiety” graphic novel coming into Into Abar”), we came up What “Watchmen” meant to me: and the profound concept of this, so it was a dream come with an idea that was both Writing on “Watchmen” meant generational trauma, but true to work on a series great for that story and the world to me. It was I’m somehow a better writer that honors the original the whole of the series: the first time I realized for it. while covering new ground. Angela inadvertently that staying true to who using Dr. Manhattan as a you are while simultaneously Cord Jefferson cosmic telephone to relay leaning into what you’re What “Watchmen” meant to me: information back through afraid of makes you the “Watchmen” is a highlight time to her grandfather, best writer and able to tell of my professional life, Will. It was a delightful the most authentic stories. largely because of the eureka moment that I learned from Damon to pg 33 the 72nd primetime emmy awards numbeRs gAme primetime and creative arts emmys 2020

Watchmen >11 HBO>30 Schitt’s Creek >9 Netﬂix >21 Succession >7 Pop TV >10 The Mandalorian >7 Disney Plus >8 Saturday Night Live >6 NBC >8 RuPaul’s Drag Race >6 VH1 >6 Wins by show Last Week Tonight With John Oliver >4 Wins by network ABC >5 The Marvelous Mrs. Maisel >4 National Geographic >5 Apollo 11 >3 Adult Swim >4 Cheer >3 Amazon >4 Dave Chappelle: Sticks & Stones >3 CNN >4 Euphoria>3 Fox >3 Genndy Tartakovsky’s Primal>3

WarnerMedia >37 Netﬂix: Disney >32 160 nominations Netﬂix >21 21 wins Wins by company ViacomCBS >19 Nominations v. Wins HBO: NBCUniversal >9 107 nominations Amazon >4 30 wins Fox >3

pg 34 PARTNER CONTENT

Schitt’s Creek. Hell’s Kitchen. I’m A Celebrity... Get Me Out Of Here! Vera. Bodyguard. Snowpiercer. The Chase. Line Of Duty. The Graham Norton Show. The Voice. Love Island. Little Birds. The Pembrokeshire Murders.

Untitled-3 1 9/16/20 11:33 AM ITV0334_C1_Variety Front Cover_AW.indd 1 16/09/2020 15:31 Untitled-4 1 9/16/20 11:34 AM Richard Madden PAGE 2 stars in the popular series WINNING A LONG GAME: “Bodyguard.” Strategic masterstrokes made ITV Studios a giant in production and distribution.

PAGE 4 DRAMA FOR THE WORLD: Ambitious, diverse new series to build on already impressive catalog.

LATIN ROUTES: With “Romulus,” Italy’s drama leader Cattleya finds ways to keep getting better.

PAGE 5 CRIME PAYS: Global audiences savor Silverprint’s distinctive Brit-crime flavor.

PAGE 6 NATURAL GROWTH: New premium unscripted TV THE WORLD plans to survey Asian animals and American life.

PAGE 7 DIVING INTO MURDER: LOVES: Submarine-set thriller “Vigil” puts a vulnerable detective heroine deeply in danger. ITV STUDIOS ALL THEY NEED IS ‘LOVE’: Fans adore “Love Island,” even during COVID-19.

PAGE 8 INVENTIVE LEADERSHIP: Managing director Julian Bellamy encourages CONTENTS creativity in ITV Studios’ network of producers.

TV THE WORLD LOVES | 35

Untitled-6 1 9/21/20 3:08 PM Exponential growth and smart acquisitions have put ITV Studios’ series and formats on screens in over 200 territories — turning viewers By Tim Dams

everywhere into hat links global W entertainment juggernauts “Love Island” and “I’m A Celebrity Get Me Out of Here!” with passionate fans drama sensations “Bodyguard,” “Snowpiercer” and “Line of Duty”? Or reality hits “Hell’s Kitchen,” “Queer Eye” and “Come Dine With Me,” with quiz phenomenon “The Chase”? The answer: All are created, produced or distributed by companies that sit under the umbrella of creative giant ITV Studios. Part of ITV, home to the U.K.’s top commercial broadcaster, ITV Studios’ evolution to global leadership is the result of decisive strategic moves. A decade ago, the broadcaster decided to pivot from its reliance on TV advertising and grow its production and distribution business, ITV Studios. Thanks to a spate of acquisitions and partnerships as well as organic growth, ITV Studios’ footprint now spans 55 production labels in 13 countries, including “Bodyguard” maker World Productions in the U.K., “Romulus” producer Cattleya in Italy, and “Snowpiercer” producer Tomorrow Studios in the U.S. Meanwhile, ITV Studios’ distribution division sells to hundreds of broadcasters and platforms around the world and is home to a 46,000- hour catalog. With a focus on premium titles, its shows originate from ITV Studios-owned labels like World, which

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Untitled-10 1 9/21/20 3:09 PM BOLD STRATEGY has TV giant leading the pack with its global HITS

is behind new BBC One thriller “Vigil,” as informal conversations with the love. From the moment they meet, the well as third-party partners such as network around what we could do in couples immediately move in Plimsoll Productions, which is making this space,” says Bellamy. Being part together. They stay for a minimum of the upcoming natural-history epic “A of an integrated broadcast, 24 hours and can extend this to five Year on Planet Earth.” production and distribution group days. The format is now being made We’ve After such a fast expansion, some in also means that ITV Studios is for TV4 in Sweden and ITV2 in the the industry are still catching up with acutely aware of the needs and U.K., where it is being produced by ITV constantly ITV Studios’ reach and resources. expectations of commissioning Studios-owned 12 Yard and will be “I think sometimes the market channels, says Bellamy. titled “The Cabins.” got our ear doesn’t fully appreciate what an One of the world’s fastest-growing ITV Studios is also developing new extraordinary depth and range of shows formats, “Love Island” has now been unscripted brands. The Global to the ground. we have at our disposal,” says ITV commissioned in 17 territories; the Creative Network — run by managing Studios managing director Julian finished tape of “Love Island” U.K. director Mike Beale — tracks ideas We listen to Bellamy. sells to 202 territories. Meanwhile, within ITV Studios’ worldwide group He picks out three milestones in ITV “The Voice” has 70 local versions, of production companies and helps our global Studios growth in the past decade: the plus 41 of “The Voice Kids” and 14 of identify commissioning opportunities. acquisition of Talpa Media in 2015, the “The Voice Senior.” “We’ve constantly got our ear to footprint.” purchase of Cattleya in 2017, and the The idea, says Maarten Meijs, the ground,” says Beale. “We very MIKE BEALE, success of “Love Island.” who is responsible for ITV Studios’ much listen to our global footprint in MANAGING “‘The Voice,’” Bellamy says, “was like formats business as global the U.S., Australia and key European DIRECTOR, a pair of jump leads on our formats entertainment president, is to territories, and ask them.” CREATIVE business.” He explains that the show “protect and enhance our big brands” Beale cites the upcoming ITV NETWORK, also helped ITV Studios to recruit top — building them outward wherever series “Don’t Rock The Boat,” a ITV STUDIOS talent to the company. possible to extend the franchise in competition format in which 12 The Cattleya deal, meanwhile, was each country. Coming up soon, to celebrities row the entire length of important for underlining ITV Studios’ mark the 10th anniversary of the Britain. It is produced by new indie international ambitions in Europe and show, is spinoff “The Voice All Stars,” South Shore, in which ITV Studios has the U.S., as well as its focus on quality. which will reunite stars from the past. a minority investment. Sharing the “One of the keys to success for the “The Chase” has also diversified concept with ITV Studios’ network future is going to be about a very simple with “Beat the Chasers,” “The globally, Beale quickly found the idea thing: quality,” says Bellamy. “You have Family Chase” and “Celebrity gaining traction in countries, such as to align yourself with the very best, and Special” editions. the U.S., Netherlands and Australia, Cattleya produces some absolutely Equally important is launching new where rowing is a popular sport. wonderful drama from ‘Suburra’ to formats around the world. Meijs cites For Bellamy, this focus on Left: Rapper- ‘Gomorrah.’” a trend for feel-good, escapist developing new shows is crucial. songwriter-producer Finally, “Love Island” highlights the programming that can be made Looking ahead, he says: “Like all will.i.am on “The importance of ITV Studios’ relationship locally because of COVID-19 travel producers, we spend every waking Voice.” ITV Studios with the ITV network, which first restrictions. Meijs picks out “Let Love hour trying to come up with the next jumpstarted its format business commissioned the show for its youth- Rule,” an original Dutch format where big thing. Wouldn’t it be wonderful if when it acquired skewing ITV2 channel in the U.K. “It couples leave their digital devices at we had a couple more of those in our Talpa Media, which came about because of the often quite home as they attempt to find true back pocket in a few years’ time?” ɿ created the show.

TV THE WORLD LOVES | 37

Untitled-7 1 9/21/20 3:08 PM SAVVY TEAM SUPPORTS DRAMAS LOFTY GOALS Italy’s Cattleya creates crafted for the powerful shows; ITV Studios finds the right buyers By Nick Vivarelli WORLD talian production company ICattleya has long been a leader in Italy’s TV drama arena. The company has produced over 70 feature films and a dozen TV series, including hit mob drama “Gomorrah,” and Netflix’s first Italian original, “Suburra.” They’ve since stepped out with even bolder shows with yet loftier ambitions, including the widely praised cocaine- STAGE trafficking drama “ZeroZeroZero,” as well as the epic “Romulus,” about the origins of Rome. ITV is selling Cattleya’s raw, realistic “Romulus,” about the mythical tale of ITV Studios looks for the founding of Rome by twins Romulus and Remus, which was shot in archaic program ideas anywhere and Latin in a meticulously reconstructed eighth century B.C. village. “It is a great, epic fresco, a highly sells its shows everywhere realistic reconstruction of the events that led to the founding of Rome,” says “Romulus” director Matteo Rovere. “But By Hanna Flint it launched on Netflix, and since then above all, it is an has been in the top 10 global shows in investigation into the hen it comes to scripted both June and July. origins and the profound W drama, ITV Studios’ roster is “‘Snowpiercer’ is a great mix,” says meaning of power in the proving increasingly Berry. “It’s got so many different things West: a journey into an formidable. that would cause people to engage with archaic and frightening It has moved far beyond its original it, and that first run on TNT and Netflix world, where everything mission as the distribution arm of the has been brilliant for us but there’ll be is sacred and people feel U.K. broadcaster. And in recent years, life beyond that.” the mysterious and ITV Studios has helped to facilitate the That was the case for “Bodyguard,” hostile presence of the global success of some of the world’s the award-winning, Richard Madden- gods everywhere.” most popular television shows led thriller from World Productions. Cattleya co-CEO delivered by its in-house labels and World’s CEO and creative director, Marco Chimenz notes third-party relationships. Simon Heath, says the distributors that all ITV Studios sales ITV Studios amplifies the reach of provided them with a “huge amount of execs involved in dramas it is passionate about and deficit financing” before a single sale on “Romulus” have read the proves that great stories come from the show had been secured. screenplays and the anywhere. “With drama budgets going up, the show’s bible and “It’s really important for us to look at risk ITV Studios were prepared to take consider the Latin the best content in the world and sell it can’t be sniffed at,” Heath says. That language element “a back around the world,” says Ruth Berry, risk paid off when the show premiered positive that can give it managing director of global distribution in 2018 to become the most-watched prestige and generate at ITV Studios. “We pride ourselves on BBC drama in a decade. It went on to be Marianna Fontana curiosity.” in “Romulus,” which ITV Studios’ that global platform.” streamed by more than 23 million Hard-core realism is a tells the story of the dramas range Tomorrow Studios’ “Snowpiercer” is a households outside the U.K. in the four constant at Cattleya, as founding of Rome. from the upcoming perfect example. Made for TNT, the U.S. weeks following its launch on Netflix; it perhaps best attested thriller “Vigil,” series is based on the iconic graphic has since been picked up by over 20 starring Suranne by “ZeroZeroZero,” which was filmed in Jones, top, to novel and director Bong Joon Ho’s international broadcasters and five countries. “Snowpiercer,” subsequent 2019 Academy Award- counting. “One thing that makes us very special right, with winning film adaptation. It debuted in “What’s been great is [ITV Studios is] is that we actually shoot in the places “Hamilton’s” May as the No. 1 new cable happy to let us do what we do, Daveed Diggs where our stories take place,” says the and Academy entertainment program. Since then, which is produce the shows,” Heath company’s executive producer Gina Award winner according to Ampere analysis, it was in adds. “And we’re happy to let them Gardini. “Not only is that an enormous Jennifer Connelly. the top five shows globally in the week do what they do, which is sell the production challenge. It’s what makes our shows, I think, incredibly spectacular.” ɿ

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Untitled-11 1 9/21/20 3:12 PM BRITANNIC TALES RULE AIRWAVES

London-based Silverprint thrives with crime dramas, including flagship “Vera”

By Hanna Flint

ilverprint Pictures has a purview Sfor distinctive, high-quality and ambitious dramas that appeal to global audiences for all channels. The London-based production company boasts a slate of critically acclaimed series featuring “distinctive and ambitious” storytelling set in and across the United Kingdom. The company’s hits include “Vera” and long-running Scottish series “Shetland,” both created by award-winning writer Ann Cleeves. “Shetland” is set to return for two more seasons. Also among Silverprint’s popular crime offerings is “Flesh and Blood” starring Imelda Staunton. “There is something so highly addictive about those sorts of crime shows,” says Ruth Berry, ITV Studios’ managing director of global distribution. Silverprint’s creative director, Kate Bartlett, says, “We’re incredibly proud of our history of partnering with the ITV Studios team. Through this relationship, we have built our shows to be critically acclaimed international successes that are loved by fans around the world.” The company’s flagship title is another crime drama: “Vera.” Set in England’s beautiful Northumberland, the series follows the caustic police officer, played by Brenda Blethyn, and her murder investigations. The “Vera” team returns to make six new episodes for Season 11, including two feature-length episodes to air in the shows internationally.” and a specific financing need and go spring of 2021. ITV Studios has invested in a raft of and find ways to piece it together.” “That show performed incredibly well exciting crime shows from World to add Berry says a “wide-ranging portfolio for France, Germany and Scandinavia, it to its arsenal. Tense military thriller “Vigil,” is really important” to ITV Studios, and does phenomenally well [on streaming] about the investigation of a suspicious that includes non-English-language in the U.S.,” says Berry. suicide on a nuclear submarine, is programs as well as comedies from “Everyone loves a good whodunit; currently in production as well as Season third-party producers, including Not A everyone loves to play detective. ‘Vera’ 6 of the hit cop show “Line of Duty.” Real Company’s “Schitt’s Creek” and has that same magic ingredient. It’s just “The Pembrokeshire Murders,” starring Calamity Films’ “Brassic.” Both series one of those shows that works, and when Luke Evans, has wrapped production, have performed exceedingly well with they do, they can run and run.” “ITV Studios has already pre sold it to a both viewers and critics and have also One of the most successful imported lot of territories,” says Heath; Berry found a wider audience on streaming drama titles in Belgium, Denmark, France, believes these are prime examples of services. Netherlands and Norway, “Vera” has been the dramas they champion. “Comedy is a slightly more acquired sold to more than 150 territories While buyers crave the long-running, taste internationally than a dead body worldwide and series 10 averaged 7.5 returning hits that are a staple of ITV [in a murder mystery],” Berry says. “But million viewers in the U.K. ɿ Studios’ business, she says, “We also those comedies, particularly in a COVID look for stories coupled with undeniable world, are worthwhile and a real source talent on and off the screen. We have of light in the dark for our buyers’ the agility to get into a specific project schedules.” ɿ

TV THE WORLD LOVES | 39

Untitled-8 1 9/21/20 3:09 PM “The Magical Land of Oz” is among Premium the prestige nature shows already in ITV Studios’ catalog; unscripted shows more are on the way. range from nature documentaries to hard-hitting examinations of crime and politics

BACK TO NATURE

By Hanna Flint Manor,” and with ITV Studios, “The Wild Karnataka.” hit screens for a sixth season and take Magical Land of Oz.” This content has He had been aligned with ITV Stu- viewers on a journey to London, Cana- TV Studios has grown a mighty captured the attention of a global audi- dios’ competition and “we were a bit da’s Whistler, Dubai, United Arab Emir- I family tree for nonscripted ence which Clare Birks, OSF’s chief jealous,” admits Julie Meldal-Johnsen, ates, and Rotterdam, Netherlands, to content — with new branches executive, puts down to the company EVP of global content at ITV Studios. discover the most mind-blowing feats of sprouting all the time. being “great innovators” when it comes “But we got him last year and now we’ve building mastery the world has to offer. Via its various in-house labels and to dynamic storytelling. actually got him for a one-off, too.” The breadth of unscripted content in partnerships, the distributor has helped The female-run outfit partnered to Meldal-Johnsen is also proud to be ITV Studios’ arsenal is not only a refusal a diverse array of reality-based shows to produce “Wild Tokyo,” a one-off, hour- working with Emmy- and Peabody to be typecast but rather a slate engi- flourish the world over. long film that takes its cues from OSF’s Award-winning documentarian Deeyah neered to show that any partnership is Long-running competition shows and previous series “Wild Weather” and Khan pointing to a pair of films under possible. formats are thriving. MultiStory Media’s “Wild Korea.” OSF’s Japanese partner the title “Trump’s America” — one on Partnership is key for ITV Studios. “Come Dine With Me” is produced in 43 was keen to replicate those successes what it’s like living as a Muslim in the Meldal-Johnsen cites hard-hitting territories; over 14,000 episodes in with a show focusing on the cohabita- U.S. today and the other on the series “24 Hours in Police Custody,” many languages have aired across the tion of their metropolitan capital’s 38 anti-abortion movement. from The Garden Productions, which is globe. BAFTA-winning “Love Island” is million residents and its thriving local The studio is also capitalizing on heading across the pond for an Ameri- the most-watched show on ITV2 ever wildlife. Though intended to be timed what Meldal-Johnsen calls the “cultur- can version. “It just gets consistently and is sold in 17 territories. with the 2020 Olympics, Birks notes ally agnostic” appeal of engineering. A amazing ratings here, and so we were ITV Studios’ nature programming is that despite the games’ postponement, reteaming with Windfall Films, the pro- keen to help The Garden navigate a expanding, too. “Wild Tokyo” is the lat- “Wild Tokyo” is still “selling really well.” ducers of “Building Giants,” has pro- coproduction rather than licensing the est in Oxford Scientific Films’ series of ITV Studios’ talent roster now boasts duced “Arctic Ice Railroad” and “Water- format out.” blue-chip natural history programs. For Sir David Attenborough thanks to third- front House Masters,” a series which “We are hungry for factual [content], over half a century, the production com- party producers Atlantic Productions, sees experts maneuver entire homes to and we’ve set ourselves a very high bar,” pany — based in London and Cardiff, who produced “Attenborough’s new locations next to water. Twofour’s says Meldal-Johnsen. “We pride our- Wales — has delivered prestigious, Journey,” and Icon Films who landed “Impossible Engineering,” a series that selves on our long-term relationships, award-winning shows, such as “Meerkat the veteran to narrate its film “India’s has sold in over 120 territories, will soon and our doors are always open.” ɿ

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Untitled-12 1 9/21/20 3:10 PM TAKE ONE SUB, ADD MURDER

Thriller “Vigil” offers unique genre mix

By Zam Naqvi Heath had always wanted to do Suranne Jones (“Doctor Foster”), Rose James Strong on the aking any thriller is tricky, something about the military, and in Leslie (“Game of Thrones,”) Shaun set of “Vigil.” The says James Strong. particular on Britain’s nuclear deterrent. Evans (“Endeavour”), Martin Compston producers consulted M with ex-navy subma- “You have to have a narra- “We want shows that are going to grab (“Line of Duty”) and Gary Lewis (“His riners to design a set tive that’s exciting and interesting, and an audience’s attention and make peo- Dark Materials”). that resembled real characters that are instantly engaging,” ple want to sit there and watch to the In the series, detective Amy Silva Trident submarines. he says. No small task. end,” he says. The result is a crime (Jones) is assigned to investigate a But the new 6-episode series “Vigil” drama on a British naval submarine. suspicious suicide on board a Trident presented the show’s creative team — “Vigil” is highly anticipated due to the sub. When her assignment extends including Simon Heath, CEO of World strength of its filmmakers. World Pro- past the intended 72 hours, she delves Productions, and Strong, an executive ductions is also behind the acclaimed into the sunless, isolated world of sub- producer and director on the show — hits “Bodyguard” and “Line of Duty”; mariners, then struggles with isolation with an extra challenge. Strong is a BAFTA-winning director; and loneliness. “How do you create a story set on a and Tom Edge, the creator and execu- Strong explains, “She is both brilliant nuclear submarine, in the middle of the tive producer of “Vigil,” comes off “Judy” and the best person for the job as far as North Atlantic, that is both realistic and and “The Crown.” anyone can tell. She is also deeply dam- visually entertaining?”, says Strong. Vigil’s cast includes BAFTA winner aged through past trauma.” ɿ

‘LOVE ISLAND’ SEDUCES YOUNG VIEWERS BACK TO TELEVISION

Summer staple viewership numbers for its slot. Four “Love Island” series are cur- proves a popular rently on air in various territories, including the U.S., as they managed to format, even COVID-proof production and make their air dates. during pandemic In Mallorca, the German edition is restrictions currently producing its fourth season, following three successful seasons. The Netherlands/Belgium version is shoot- By Wambui Hardcastle ing its second season in Gran Canaria. The American version also managed to rom it’s 2015 revival through adapt, swapping tropical breezes for F summer 2019, “Love Island” Las Vegas heat. Season 2 of the series became ITV2’s most-watched premiered on Aug. 24. show ever. It turned a population into “Love Island” USA executive producer religious viewers, tuning in for daily Simon Thomas says, “Our team wasn’t sunny escapism for eight weeks on end. prise dates, who they want to see leave 43% of Love Island viewers were under simply focused on how we could do it. The BAFTA Award winning show — and ultimately, who wins. the age of 30. With young people watch- Rather, the discussion was, ‘How do we brings young “Islanders” in search of The voting keeps the audience ing the least live broadcast television of make it better, more fun and more dra- love together in tropical isolation. They engaged and the show’s official social any demo in the U.K., that is quite the matic, while also making it safe for our compete to remain coupled up and media channels stay connected with feat. Australia channel 9GO! saw its cast members and crew?’” retain public favor, lest they find them- viewers around the clock. And simply 16-39 audience triple since “Love Island” “Despite everything,” he says, “I think selves dumped from the show. The pub- put, “Love Island’s” format rakes in the launched. In Finland, too, “Love Island” we’ve really cracked a way to bring fans lic votes for which Islanders have sur- views. In 2019, YouGov reported that delivered more than triple the average a ‘Love Island’ worthy of the name.” ɿ

TV THE WORLD LOVES | 41

Untitled-9 1 9/21/20 3:09 PM PUTTING CREATIVITY ITV Studios managing director Julian Bellamy empowers far-flung producers to develop FIRST their own concepts

By Tim Dams

sked for the secret to running a global studio, A ITV Studios managing director Julian Bellamy has a simple answer: “Hire good people.” “Give them a very clear direction, trust them, empower and enable them to do their job. And obviously hold them accountable, just as I am,” he adds. A former producer and network executive, Bellamy joined ITV Studios in 2014. Having worked both as a buyer and creator of content, he understands the demands of production as well as the needs of broadcasters and streaming platforms. Drawing on this experience, Bellamy says that during his time in charge at ITV Studios he has sought to build a company that is “creative, entrepreneurial and global” in outlook. Bellamy believes creativity is “the very first foundation stone of any producer, large or small.” ITV Studios, he adds, gravitates toward working with entrepreneurial talent: “The people who tend to flourish with us are a blend of great creators, but there’s a commercial mindset that comes with them. More often than not, they are people who want to build businesses.” ITV Studios, he explains, has a “very strong philosophy” about how it works with creative talent in the group, and that is by giving them trust and freedom. “There is an independence of spirit running through the group,” says Bellamy. “We think you get the best out of people if they feel they are running their own shop.” Bellamy also stresses the global “[Creativity is] mindset of ITV Studios. Just 10 years ago, ITV Studios was essentially a U.K. group the very first with a relatively small international arm. These days, it is much more worldly: foundation stone 55% of its revenue is now generated outside of the U.K. of any producer, As for so many in the entertainment industry, the COVID-19 pandemic has large or small.” proved a testing time professionally for Bellamy. ITV Studios, he says, had JULIAN BELLAMY some 230 shows that were shooting, either in the field or in studios, when lockdowns hit. Most had to shut down. But now 80% of those shows are back in production and that figure is rising daily. COVID-19, he reckons, has been a catalyst for technical innovation. “It’s going to leave a lasting impact on the business,” says Bellamy. ɿ

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Untitled-13 1 9/21/20 3:13 PM Untitled-4 1 9/16/20 11:35 AM Untitled-4 1 9/16/20 11:36 AM ITV0334_Romulus_TeaserArt_VarietyAd_AW.indd 1 15/09/2020 11:15 ABC (4) Diary phOto mollY's backstage images of this year's emmys live's' molly mcnearney shares the glitz ison pause as ‘jimmy kimmel beast together.” real camaraderieoftamingthis the samebattle.Sothere’sa But wewerekindofallfighting to yellthingsateachother.... and it’slive,you’retrying people withtwomasksonyourface, she says.“Communicatingwith “It wassoincrediblychallenging,” most unusualawardsshowever. Center, takingpartinperhapsthe her experienceinsideStaples Jimmy Kimmel,tochronicle who alsoismarriedtoEmmyhost co-head writerMollyMcNearney, Variety 4 asked“JimmyKimmelLive”

2 3 1 awards emmy primetime the 72nd feeds toallthesepeople.” off livetelevisionwithallthese in thesecircumstances, topull work thateveryonedid,especially well. Ifeel really goodaboutthe be apartof allthat.Ithinkitwent one like that.Itwasanhonorto know ifthere willeverbeanother “It wasanhistoricEmmys;Idon’t at once.Andpretty seamlessly.” He’s doingamillionthings mom (whowaswatchingourkids). commercial toorder dinnerfor my Jimmy cameoffstage in “I’m pretty sure thisiswhen cutouts. Theydidn’tsaymuch.” “I madealotof smalltalkwiththe for thesafety of everybody.” really depressing, butnecessary have itbecompletelyemptywas all thesegreat things—andto all thesepeoplehaveaccomplished depressing. It’ssuchahugenight— Staples Centerwas kindof “I gottatellyou:Justgoinginto 2 4 3 1

pg 43 Jimmy Kimmel hosting the Emmys

In a year

defined by chaos, the Primetime Emmy Awards somehow captured the moment. A freewheeling format made up for the fact that there were relatively few surprises among the winners Sunday as the show found an easy balance between entertainment and reﬂecting the turmoil that has gripped the wider world. Here are the top lessons learned from the night.

The Old Ways Are Dead For what seemed like ages, host Jim- my Kimmel and executive producer Reginald Hudlin leaned into a risky, uncomfortable gag in which Kim- mel was made, through deft use of crowd reaction shots from a previous year, to appear to be delivering a monologue to a live audience. Twit- ter erupted. Furious viewers were either confused and outraged that a crowd of non-socially distanced celebrities had been gathered, or just outraged at what they were certain was a terrible choice akin to pro sports piping artiﬁcial crowd noise into empty stadiums. Then, after an excruciating 4 minutes, 45 sec- onds, Kimmel blew up the joke. He lessOns revealed the theater to be empty, then transitioned into a walk-and- talk where he showed off the sci- leArned ence ﬁction-esque set from which he would serve as a virtual master An unorthodox ceremony had much to teach about the Emmys’ future of ceremonies for a show that would weave together more than 140 live feeds from around the world. “What could possibly go right?” he joked. Plenty, it turned out. Thanks to precision work by Kimmel, Hudlin, director Hamish Hamilton and a crew that more than earned its pay, the Emmys at last did what every

by awards show has tried to do for years daniel but none has quite managed: inno- holloway and vate. The pace was energized. The will jokes were fresh. Speeches that thorne touched on politics, racial injustice and even the abuse of power by the pg 44 media moguls whose product was TELEVISION ACADEMY/AP the 72nd Regina King in “Watchmen” primetime emmy awards

being celebrated felt more authentic how many will depend on ambition. when delivered from people’s living No one had any right to believe that rooms rather than a theater packed “Watchmen” — a comic very much with smiling, glammed rich folks. of the 1980s that spawned a tru- This Emmys provided proof of a rad- ly awful feature a decade ago, and ical concept — that only complete whose enigmatic co-creator Alan reinvention of the kind seen Sunday Moore insisted was impossible to night can make awards shows worth adapt — would be as good as it was. watching. Even once it’s possible to It succeeded because HBO and War- gather hundreds of celebrities in a ner Bros. gave executive produc- theater again to hand each other stat- er Damon Lindelof a lot of latitude ues and applaud, the industry should to reimagine the story in a way not resist the urge to return to normalcy. dissimilar to what Noah Hawley did with FX’s “Fargo,” but on a cosmic Lower Viewership Expectations scale. Even Disney Plus’ “The Man- And yet for all that, the ratings still dalorian,” a surprise drama series sucked. The Emmys sank to an all- nominee and winner of seven Cre- time low for the second year in a ative Arts Emmys, had a whiff of row — though in some small way, risk about it, as Lucasfilm allowed the 6.1 million total-viewer tally for Jon Favreau to create a series that Sunday night can be viewed as a feels more like a Western than a semi-recovery. While it represents third-generation “Star Wars” movie. a 12% drop from last year’s 6.9 million viewers, that’s far less disas- HBO Is Still King trous than the 33% year-over-year players — and will continue through digital distribution platforms. Plenty FX chief John Landgraf once com- plummet the 2019 show suffered. 2026. It is difficult to envision it con- of huge-budget series based on that pared competing with Netflix to “get- Just two years ago, the Emmys com- tinuing long after. ABC and unscript- IP are in the works, from the rapid ting shot in the face with money every manded an audience of more than ed chief Rob Mills pulled off a great expansion of the “Star Trek” universe day.” The streamer’s strategy of bom- 10 million viewers, and it’s hard to show Sunday. But there were small under Alex Kurtzman at ViacomCBS barding its customers with original see it recovering to those heights signs that the network was, perhaps, to multiple live-action “Spider-Man” programming inspires much grous- anytime soon. Part of that is clear- less than overjoyed to be hosting the series at Sony. WarnerMedia is plot- ing but thus far has worked. The com- ly attributable to changing view- Emmys. For instance, viewers who ting a spinoff of its yet-to-be-company continues to grow subscribers, ing habits and overall awards show tuned in just prior to the start of the pleted, Matt Reeves-helmed “The and its stock is up 17% year to date at decline over the past few years. The ceremony were not, as usual, greet- Batman” for HBO Max. Disney Plus a time when most media companies Oscars sneaked in just before the ed with a pre-show, but instead an has multiple Kevin Feige-produced have taken a shellacking. pandemic hit, but the Emmys dip episode of “Celebrity Family Feud” “Avengers” spinoff shows in the pipe- Yet Netflix still hasn’t seized the is not much worse than how other with Steve Harvey in which mem- line. And Amazon is still slow-cook- awards crown from generational awards shows have experienced in bers of the band Fall Out Boy defeat- ing the one property to rule them all, monarch HBO. For three straight the COVID-19 era. Earlier in 2020, ed their counterparts from Weezer. “The Lord of the Rings.” years, Netflix has surpassed HBO the VMAs put up uncannily similar It’s inevitable that, as more proj- in total nominations. But after the numbers, falling from 6.8 million The Age of IP Has Arrived ects based on well-worn library con- two services tied with 23 wins each viewers in 2019 to 6.4 million this HBO miniseries “Watchmen” tent begin to stream, more will find in 2018, HBO reasserted itself the time around. Meanwhile, the BET made a nerdy bit of history Sun- their way into the Emmys race. Just following year with 25 trophies to Awards held on to its audience from day by becoming the first com- Netflix’s 23. the year before, albeit from a small- ic book adaptation to win a series This year, with “Game of Thrones” er starting point, at 3.7 million. prize at the Emmys. It’s unlikely to having ended, HBO was supposed to As the recent downtick in live- be the last. The historic Emmy run fade. Then came “Watchmen” and sports ratings demonstrates, the pan- of “Game of Thrones” demonstrat- “Succession” Season 2. The War- demic has accelerated trends toward ed that the Television Academy, nerMedia service walked away with audience fragmentation and on-de- unlike its feature counterpart, has 30 Emmys after earning 107 nom- mand viewing. Those trends are not no squeamishness about honoring inations. Netflix, meanwhile, got going to reverse soon. In the short genre programming. “Watchmen” ratioed. The streamer collected 21 term, the networks carrying these provided further proof. Emmys on 160 nominations. On shows will need to adjust their ratings But the real significance of the Sunday night’s primetime telecast expectations — a tough thing to do, limited series win is not that “Watch- it was all but shut out, winning only given they’ve already paid for them. men” is a comic book story or a genre The emmys at two awards to HBO’s 11. The Emmys wheel deal, which story. It’s that “Watchmen,” like an “last did what For all its awards (and mone- sees the telecast rotate among the increasing chunk of the highest-end every awards tary) fortune, Netflix has never won Big Four broadcasters from year to television, is based on corporate-con- show has tried an Emmy in one of the three major year, was renewed in 2018 — a bit trolled IP. Media consolidation has to do for series categories — drama, come- of a surprise, as ratings had already put massive intellectual-proper- years but none dy or limited. Since the O.G. Netflix begun to ease downward and ty libraries into the hands of a few original “House of Cards” premiered the broadcast networks had long companies that now, thanks to the has managed: in 2013, HBO has won 13 awards in

MARK HILL/HBO stopped being significant awards streaming wars, all have their own innovate." those categories. Hail to the king. Zendaya with her lead drama actress Emmy

A particularly

strange year in television and beyond got a ﬁttingly strange Emmys show to match, with nominees awaiting the results from home while Jimmy Kim- mel threw jokes into an empty Staples Center. But with a smart, lively production and a string of winners both expected and surprising, the 2020 Emmys ended up more memorable for what they got right than wrong. Variety’s chief TV critics Daniel D’Add- ario and Caroline Framke discuss.

Daniel D’Addario: Am I wrong to think that was the best Emmys ceremony in years? Obviously, it’s desirable to have everyone back in the same room together for many reasons. But within the constraints of the present moment, the producers pulled off a compelling, intriguing show, one that kept you watching to see what would happen next (and not just in a train- wreck sense). There was genuine whimsy to, for instance, the hazmat- ted trophy presenters and the explod- ing boxes containing trophies. And the at-home setting seemed to allow presenters to be franker, more candid and tv’s Weird, more thoughtfully politically engaged than they otherwise might, speaking without the ceremony — and without wOnderful the glaring lights — of the stage. This is all to say that much of what worked about traditional awards shows was replicated, down to a very celebrAtion satisfying list of winners. While the ﬁrst hour’s “Schitt’s Creek” sweep The constraints of the pandemic felt to this viewer repetitious after yielded a surprisingly delightful Emmy telecast not too long, the limited series and drama categories reﬂected a pleas- ingly broad consideration of what was good on TV over the past few

by years, from plenty of “Watchmen” daniel and “Succession” representation to d’addario and Uzo Aduba of “Mrs. America” to — caroline my favorite win of the night, in part framke because of the surprise of it — Zen- daya for “Euphoria.” Well-produced pg 46 or not, an awards show with only FRANK OCKENFELS/ABC the 72nd primetime emmy awards

Primetime Emmy Winners > expected winners can’t help but be a vibe and prevalence on Netflix, but it dud, and the shock of Emmy crown- began as a low-rated, hidden Canadi- ing a 24-year-old rising superstar an gem on the now effectively defunct over more established TV figures network Pop TV. Its trajectory from Drama Series Supporting Drama Actress was a delight. that to record-shattering Emmy dar- “Succession” Julia Garner (“Ozark”) I know you’re a Zendaya admirer ling is unprecedented, extraordinary as well; did any other moments stick stuff. (For what it’s worth, my favor- Comedy Series Supporting Drama Actor out to you? ite of those many “Schitt’s” wins is “Schitt’s Creek” Billy Crudup (“The Annie Murphy’s supporting turn, Morning Show”) Caroline Framke: Zendaya’s win, in long the most underrated element of Limited Series a blunt word, rules. “Euphoria” is the show’s success.) “Watchmen” Supporting Comedy Actress a deliberately punishing, divisive Foregone conclusions or no, how Annie Murphy show, but no matter what you think did you find the “Watchmen” and Lead Drama Actress (“Schitt’s Creek”) of it, watching even just a few min- “Succession” wins, Dan? Zendaya (“Euphoria”) utes makes it clear just how good Supporting Comedy Actor she is in that lead role. I truly think D’Addario: Yeah, none of the top wins Lead Drama Actor Daniel Levy the show would collapse under its came as big surprises. But “Watch- Jeremy Strong (“Schitt’s Creek”) own ambitious weight without a men” and “Succession” both struck (“Succession”) performance that sharp at its cen- me as shows being awarded in — and Supporting Limited Series/ ter, so I was thrilled to see the Acad- this is not common for Emmy — the Lead Comedy Actress TV Movie Actress emy agree in no uncertain terms. exactly right moment. “Watchmen” Catherine O’Hara Uzo Aduba That she’s also the youngest recipi- grew over the course of its season into (“Schitt’s Creek”) (“Mrs. America”) ent ever, and the category’s second a series of startling power and weight, Supporting Limited Series/ Black honoree, period, only under- addressing America’s history of racist Lead Comedy Actor lines how invigorating this win is. exclusion as these issues grew more Eugene Levy TV Movie Actor Yahya Abdul-Mateen II As for the rest of the show, I was urgent in the national discourse. So (“Schitt’s Creek”) (“Watchmen”) just as impressed as you by the pro- too grew “Succession,” whose bur- duction of the ceremony, which nished but uneven first season gave Lead Limited Series/ Drama Writing could have just been a monotonous way to a second that combined the TV Movie Actress Jesse Armstrong, string of Zoom calls (though just show’s careful eye for detail with a Regina King (“Watchmen”) “Succession” as with our banal daily Zoom calls, splashy adventurousness when it (“This Is Not for Tears”) there was still some fun in getting came to character, location and story. Lead Limited Series/ TV Movie Actor even a sliver of a peek at everyone’s It was interesting, though, that Comedy Writing Mark Ruffalo (“I Know home setups, which were large- neither “Watchmen” nor “Succes- Daniel Levy, “Schitt’s This Much Is True”) ly charmingly lo-fi, give or take a sion” swept as “Schitt’s” had. The Creek” (“Happy Ending”) “Schitt’s Creek” ballroom). The dominance of “Watchmen” relent- extraordinary circumstances of the ed somewhat to allow acting wins for Limited Series/TV Movie/ pandemic keeping everyone as sep- Mark Ruffalo of “I Know This Much Dramatic Special Writing arate as possible clearly inspired Is True” and for Uzo Aduba of “Mrs. Damon Lindelof, Cord the Emmys team to come up with America” — the latter an especially that would be the dominant force in Jefferson, “Watchmen” solutions that weren’t just feasi- happy result for a consistently great entertainment. Which means next (“This Extraordinary ble but creative. Obviously, I hope performer and for a series that, in year’s Emmys will be a fascinating Being”) things are back to normal, whatev- other years, would likely have run continuation of this plotline, assum- er “normal” means, next year. But I the table. And while Julia Garner is ing there’s enough new TV to reward. Drama Directing also hope that this level of ingenuity a bright spot in what is for me a dim Andrij Parekh, sticks around no matter what. “Ozark,” I wished Sarah Snook had Framke: That’s a big assumption — “Succession” (“Hunting”) Going back to the winners, received the win, though “Ozark” is though at this point, one of the only though: The night was both more and winding down while “Succession” networks to have plenty of content Comedy Directing less interesting than I expected. With has seasons more to go. banked to roll out during the pan- Andrew Cividino, Daniel Levy, “Schitt’s Creek” “Schitt’s Creek,” “Watchmen” and That final comparison — “Ozark,” demic has been, in fact, Netflix, so I (“Happy Ending”) “Succession” winning their respec- which has won prizes over the years would be surprised if it doesn’t make tive categories as predicted, that but never pieced together a best dra- a stronger showing in 2021. But I’ll Zendaya win was the biggest upset. ma win, versus “Succession,” which also just be interested in general Limited Series/TV Movie/ Dramatic Special Directing (The other, to me, was Maria Schrad- has seemed to roar into the spot to see if the next round of winners Maria Schrader, er winning directing for a limited previously reserved for “Game of will be quite as representative of the “Unorthodox” series over a formidable “Watchmen” Thrones” — draws out an interesting year in which they premiered as this trio and a posthumous nomina- subplot of the evening. HBO is thriv- year’s, which as you said, ended up so Variety Talk Series tion for Lynn Shelton.) But I’ll admit ing as an awards force, and the great- perfectly tailored to reflect the time. “Last Week Tonight With that even though I figured “Schitt’s est visibility for rival Netflix was for a Going forward, will TV work to con- John Oliver” Creek” would do well, I was nonethe- Canadian sitcom the streamer popu- front this tumultuous period head- less floored by just how thorough- larized in second run but did not itself on, or will it linger behind in the Competition Program ly it dominated. The show became a produce. Not for the first time, the world that came before? I’m not sure “RuPaul’s Drag Race” genuine phenomenon thanks to the morning after an awards show seems which I’d prefer at this point, but can’t perfect marriage of its comforting a disappointing one for the service deny how curious I am to find out. the 72nd primetime emmy awards House Parties

It was the Emmys Zoomed in from around the world. Gone was the late-night party hopping that usually follows the starry telecast. Instead, celebrations were COVID-safe stay-at-home soirees. Here, nominees and winners share some of their best snaps of the evening.

Jeremy Strong (“Succession”) in New York City

Giancarlo Esposito (“Better Call Saul,” “The Mandalorian”) in Los Angeles

Stefani Robinson (“What We Do in the Shadows”) in Los Angeles

“The Good Place” star William Jackson Harper with Ali Ahn and Chico in Los Angeles

D.J. “Shangela” Pierce (“We’re Here”) in Paris, Texas

“Succession” star Brian Cox (second from left) with his family in New York

“Pose” star Billy Porter in Bellport, N.Y.

pg 48 STRONG: COURTESY OF JEREMY STRONG; ESPOSITO: COURTESY OF GIANCARLO ESPOSITO; AHN/HARPER: COURTESY OF JACKSON HARPER; HARPER; OF JACKSON COURTESY AHN/HARPER: ESPOSITO; OF GIANCARLO COURTESY ESPOSITO: OF JEREMY STRONG; COURTESY STRONG: OF SHANGELA COURTESY SHANGELA: DENISENKO; CHURCH/PAVEL LUCKY PORTER: OF BRIAN COX; COURTESY COX: O’BRIEN; BRITTANY ROBINSON: Dylan McDermott (“Hollywood”) in Los Angeles

Ken Jeong (“The Masked Singer”) with wife Tran and Mocha in Los Angeles

Antoni Porowski (“Queer Eye”) in New York City COURTESY OF DANIEL AND EUGENE LEVY; JEONG: COURTESY OF KEN JEONG; OF KEN JEONG; COURTESY JEONG: AND EUGENE LEVY; OF DANIEL COURTESY OF KIERAN CULKIN; LAKSHMI; COURTESY OF PADMA LAKSHMI OF PADMA COURTESY OF KIERAN CULKIN; LAKSHMI;

Jeremy Pope (“Hollywood”) in Orlando, Fla.

Eugene Levy and Daniel Levy (“Schitt’s Creek”) with Deborah Divine in Toronto

Anthony Anderson (“Black-ish”) in Los Angeles JEREMY POPE; DUPLASS: COURTESY OF MARK DUPLASS; CULKIN: COURTESY CULKIN: COURTESY OF MARK DUPLASS; COURTESY JEREMY POPE; DUPLASS: Jesse Armstrong (left) with “Succession” writers in London POROWSKI: COURTESY OF ANTONI POROWSKI; MCDERMOTT: COURTESY OF DYLAN MCDERMOTT; ANDERSON: COURTESY OF ANTHONY ANDERSON; LEVY’S: LEVY’S: OF ANTHONY ANDERSON; COURTESY ANDERSON: MCDERMOTT; OF DYLAN COURTESY MCDERMOTT: POROWSKI; OF ANTONI COURTESY POROWSKI: OF POPE: COURTESY WRITERS; OF SUCCESSION COURTESY SUCCESSION:

Padma Lakshmi (“Top Chef”) in New York City

Kieran Culkin (“Succession”) and Jazz Charton with daughter Kinsey in New York City

Mark Duplass (“The Morning Show”) with daughters Molly and Ora in Los Angeles Ken’sWith ‘The Masked Singer’ and ‘I Can See Your Voice,’ Ken Jeong is suddenly unscripted TV’s biggest star

By MichaelDay Schneider (THIS SPREAD) MICHAEL BECKER/FOX (5) p.51 every single crew member bit of a lark, with celebrities was safe,” he says. “It really competing for a trophy, there is so scary out there, and easy are real stakes and the poten- to slip. I was the one really tial for a life-changing prize saying, not to be a Debbie for the players on “I Can See Downer, but that we have to Your Voice.” finish safely.” (They did just “There’s been one moment that; the show wrapped within particular on an upcom- out any positive COVID tests.) ing episode of ‘I Can See Your Beyond COVID, Jeong was Voice’ that might be one of already tackling a new chal- my favorite moments of my lenge with “I Can See Your career,” he says. “I get choked Voice.” Although he has fronted up thinking about it — some- awards shows and been a thing I had no idea was possi- guest host for talk shows such ble on a game show.” (Sorry, as “Ellen” and “The Late Late no spoilers!) When Fox announced last of comfort knowing that the Show With James Corden,” this Jeong says the biggest cre- month that its new singing safety protocols on set were represents the first time Jeong ative challenge on the new competition “I Can See Your good enough for him. has served as a regular TV show was finding the right Voice” would launch this fall “Ken is really tough on any- emcee. Plestis says Jeong was tone, but he was inspired behind Season 4 of smash hit thing COVID-related because his first pick for the new show. by seeing how “The Masked “The Masked Singer,” it sur- he wants to protect his family “Ken is my good luck Singer” evolved into a pop prised almost everyone. While and everyone else,” says Craig charm; he’s Fox’s good luck cultural phenomenon via a most programs were still Plestis, an executive producer charm,” Plestis says. “He’s new similar feel-good approach to investigating how and when on both shows. to the hosting gig, but he took reality TV. Heading into Sea- to get back into production Jeong hung up his stetho- charge and he owned it.” son 4, the hobnobbing among during the pandemic, “Voice,” scope nearly two decades ago, Like “The Masked Singer,” Jeong and fellow panelists which debuts Sept. 23, had after “Knocked Up” and “The “I Can See Your Voice” is based Jenny McCarthy Wahlberg, already wrapped an entire Hangover” turned him into on a South Korean format (in Nicole Scherzinger and Robin stealth shoot by early August. a household name. But the this case, from entertainment Thicke is almost as much of a The network’s secret star says his medical back- company CJ ENM). On the draw as the costumed celebri- weapon? Ken Jeong, the ground has been reawakened Fox show, a celebrity panel — ties themselves. comedian who may be the a bit this year in light of the including Cheryl Hines, Adri- “The chemistry is just most ubiquitous face on Fox coronavirus. enne Bailon-Houghton and a off the charts,” Jeong says. this season. Jeong is the cen- “It was really the most sur- rotating roster of guest stars “We just know each other’s terpiece of what Fox has real experience filming any- — assists a contestant who’s rhythm so well. No one else now jokingly dubbed “Kens- thing in my career,” Jeong been tasked with figuring out can probably talk to Robin day,” a Wednesday lineup says of “Voice.” “I had to go who’s a good singer among Thicke like I can. We have a that includes both “Masked into host and comedian mode a group of performers. After very unique bond.” Singer,” where he serves as a on camera, and then off cam- sifting through clues, asking McCarthy Wahlberg says panelist, and “I Can See Your era, I had to go back to being questions and witnessing lip- the byplay has naturally devel- Voice,” which he hosts. a doctor and really just kind sync challenges, the contes- oped over the years. “So I think As the rest of Hollywood of think medically, think of tant makes their selection, that’s what you’re seeing and now gets back to work, Fox safety. I would take my own who then duets with a famous what we feel,” she says. I’m credits Jeong’s physician steps as well, and I really musician. With a $100,000 totally OK screaming at Ken bona fides for giving them think that helped set the tone.” prize on the line, the con- that he’s an idiot. And I love a bit of a head start. By now, On set, Jeong says he testant then learns whether him, but because our friend- pretty much everyone knows befriended the occupational their chosen singer actually ship is so tight now, we feel so the star’s background as a health reps from WorkCare, has talent. much more freedom to just real-life doctor — Jeong even who were there to administer Jeong says his mother, have fun with each other, and toplined the ABC sitcom “Dr. regular COVID tests, enforce a “Masked Singer” fan who none of us take it seriously.” Ken,” inspired by his previ- social distancing and regu- convinced him to join that “The Masked Singer” ous career. The comedian’s late the different zones where show, is also an “I Can See came at a perfect time for involvement in both “Voice” crew was stationed. “It was Your Voice” viewer and again Jeong, who was still nursing and “Masked Singer” gave important to me that not only advised him to take the job. the wounds over the cancel- cast, crew and other stars a bit the lead talents were safe but While “Masked Singer” is a lation of “Dr. Ken” after two MICHAEL BECKER/FOX quit itallandcorrectly guess theunicornisTori Spelling. three years, workfull-timeasaphysician,soIcould college, gotomedschool,beadoctor,domyresidency for It wasnotagoalof minetobuckledown,workhard in thing Ifeel like Icanleave my creatively, themost fulfilling ‘Dr. Ken.’ Becausethat tomeis ily, just watch of oldepisodes or what my Ithinkabout fam who Iamasahumanbeing “If anyone wants toknow utive ontheshow. producer whowasJeong, alsoanexec in arecurringrole. even cast hisdaughterZooey who’s alsoaphysician, and scriptsby hiswife,run Tran, affair:He’da deeplypersonal Ken” hislife, about butitwas seasons. Not onlywas “Dr. “I was devastated,” says - - I’m 100% sure, and100% don’t want todothat unless To go throughthat I again, one andthat got canceled. know, Icreated because ate another‘Dr. Ken’? Idon’t says. “Doyou want tocre able toreplicatebe that,” he TV. “Idon’t know if I’ll ever episodicreturn toscripted to ready sure whenhe’ll be “Dr. Ken,” Jeong says he’s not two yearsall-consuming on followed by hismunity” that particularly stung.”that particularly Andwhenthat went,mark on. After six seasons of“ComAfter sixseasons - - only because heisadoctoronly because whole COVID situation not throughoutthishuge rock morality.a great He’s a been a phenomenalwork ethic and president Rob Wade. “He’s got Fox alternative entertainment he issoapproachable,” says “Masked Singer.” with jackpot the unscripted ers: Endgame” before hitting Rich Asians”and“Aveng on“Crazy withparts back bouncedand immediately passionate of what I’m doing.” “People just swarm tohim; Jeong’s still plentybusy, - Your Voice.” Can See gig on“I the hosting to accept advised him mother says his Ken Jeong SHOW FAMILY

human being.” he’sbut alsobecause agood ter person because of it.” because ter person AndI’mthat happened. abet inlife.possible But somehow never thoughtthat would be Tori Spelling,” hequips. “I rectly guess theUnicorn is so Icould quititallandcor work full-timeasaphysician, my residencyfor threeyears, adoctor, be school, med do work hardincollege, go to ofminetobuckledown,goal toKensday.led “Itwas nota vels at that thecareerpath Even now, Jeong still mar p.53 - - - HOW ‘KAJILLIONAIRE’ STAR EVAN RACHEL WOOD BECAME THE PERFECT MUSE FOR MIRANDA JULY BY KATE AURTHUR

PHOTOGRAPH BY RYAN PFLUGER

P.56 montages. Wood has successfully tog- gled between movies and television, and currently stars on HBO’s “West- world,” though … yes, her character, Dolores, did die in the show’s May finale. (“All I know is Dolores, as we know it, is dead,” she says. “And that is true. But as far as I know, I’m not leaving.”) She is also an established singer in the band Evan + Zane (with guitar- ist/singer-songwriter Zane Carney) — “Some people call us a cover band, but I call us a themed cabaret band,” she says with a laugh, emphasizing I n each word. Singing and acting: Wood knows she needs them both. “I can be very socially awkward at times,” she says. “But when there’s a script and the words are there, and you know where the conversation is going to go, it gives me such freedom to feel and to let my emotions out in a safe way. I can’t say the wrong thing. My whole life — I mean, God, I’ve been doing this the since I was 5, Jesus — so my whole life it’s been this really therapeutic thing.” Wood is an activist as well, and in 2019 created the Phoenix Act, which extends the statute of limitations on domestic violence to five years (from three). California Gov. Gavin Newsom new signed the bill into law in October, and it took effect in January. The causes Wood focuses on stem from her per- Miranda July film, “Kajillionaire” — which Focus Features bought after the Sundance sonal experiences — with domestic vio- Film Festival this year, seemingly a lifetime ago, and which will hit theaters Sept. lence and sexual assault — which she 25 — Evan Rachel Wood plays Old Dolio, the third in a trifecta of scam artists. Her has revealed publicly over time. “I do partners are Robert and Theresa Dyne, played darkly and comically in equal feel like if I’m going to be speaking and measure by Richard Jenkins and Debra Winger. Robert and Theresa incidental- representing something, it’s best that I ly (very incidentally, as they see it) are Old Dolio’s parents, and have raised her know what I’m talking about,” she says. to be a grifter in the small-scale deceptions that keep them semi-housed and If former child actors can be guard- fed. Wood learned of the role through a mutual friend she and July share, and ed, or opaque, Wood does not seem the two of them had dinner together in December 2017 after Wood had read the to be. In fact, she quit Twitter a few script. It’s not often that Miranda July makes a movie, after all — “Kajillionaire” months ago because by freely express- is only her third feature, including her 2005 debut, “Me and You and Everyone ing her opinions, she would acciden- We Know” — so Wood “shot to the moon” in excitement, she says. tally make headlines. “And it would July was a “fan” of Wood’s, but thought she was “mysterious,” and wanted to learn be, like, ‘Evan Rachel Wood goes on more about her. “I knew she was a very good actress, but she’s such a shape-shifter a rant!’ or ‘Evan Rachel Wood attacks that I remember looking at different things online and being like, Who is she?” July this person!’” she says. Not wanting to says. “So I remember when we met over detract from the work she is doing, she dinner, I was still really looking for clues “SHE’S deactivated her account. as to her soul. Like, of course she could SUCH “Honestly, I think it’s one of the play any part, but with her soul, is there A best decisions I ever made!” she says, an Old Dolio in there?” During their dis- SHAPE-SHIFTER laughing again. “Really.” THAT cussion, Wood compared Old Dolio to £ I Edward Scissorhands — and bingo, July REMEMBER says: “That to me was, like, ‘OK, this is LOOKING just a matter of us doing this very enjoy- AT able work together,’ to sculpt it. But DIFFERENT absolutely — the soul is there.” THINGS In “Kajillionaire,”aiire,”re,” WoodWood shape-shifts,shsh to Wood, 33, has been acting since she ONLINE borrow July’sy’s term,erm, iintintoo Old Dolio: a was a child: Her first credited role was AND neglected, barely verbal person who when she was 7, in the 1994 CBS mini- BEING has been conscripted by her delusion- series “In the Best of Families: Mon- LIKE, al parents into a life of petty crimes ey, Pride and Madness.” Throughout WHO that satisfy her father’s anger while he IS her career, she’s starred in indie films SHE?” waits for, as he ominously calls it, “the (“Thirteen”) and mainstream ones — DIRECTOR Big One” to hit. Old Dolio has grown up (“Frozen II”), as well as leading Julie MIRANDA in a cult of three. And when the Dynes Taymor’s Beatles musical “Across the JULY meet the charismatic and utterly win- Universe” (2007), which underper- ON ning Melanie (Gina Rodriguez) — who formed at the box office but became EVAN has problems of her own, sure, but nor- a cult classic on cable — particularly RACHEL mal ones — Old Dolio and Melanie enter with stoners drawn to the psychedelic WOOD into a relationship that just might free was a proud lion. And so occasional- “I ly on set when the camera was on me, LIKE she would shout out, ‘Proud lion!’ and I GETTING would know what she meant.” MESSY; For July, it was about finding Old I Dolio through physicality. “Really, it’s LIKE TRYING about, what does is it feel like intel- A lectually? What is the speed of that MILLION mind?” July says. “And I think by the THINGS.” time she was in that kind of animal, — EVAN knocking-books-off-the-shelf place, RACHEL it was like, ‘OK, keep that feeling. And WOOD now you have these lines,’ you know?” Old Dolio’s voice is a deep, monotonous alto, and seems put on for the role. — like, we’re used to fucking in movies. ANIMAL CROSSING Yet it turns out that is, in fact, Wood’s Will this register as anything?” Evan Rachel Wood and natural register — she’s just been trained If it wouldn’t have before, it certain- director Miranda July out of it by a speech therapist after devel- ly will now. Plus, July adds, using the decided Old Dolio oping nodes on her vocal cords. She doomsday language she gave Robert in would have the energy of a “proud lion.” had to learn to speak in a higher voice “Kajillionaire,” “I’m pretty sure we’re (to Wood’s dismay) so she can continue in the Big One!”

to sing. “I had to get over this idea that £ the higher my voice was, the less people ON LOCATION were going to take me seriously, or think Miranda July and DP Sebastian Winterø I was smart,” she says. “Which is very discuss a shot on unfair to put on women, but it is some- the set of the Focus thing I’ve thought about.” Wood was aalreadylreadyready takingtaking ttime off, as she Features film. Wood’s Old Dolio is a cipher who has does betweeneen seasonsseason ofo “Westworld” lived on the margins of Los Angeles (“to recover,” she says), when the stay- — something that fascinates Melanie, at-home orders happened. So, as one and attracts her too. “Kajillionaire” is, asks these days, how has her quaran- among other things, a queer love story, tine been? “I’m privileged, so I’m fine,” which is important to Wood, who came she says. “However, quarantining with out as bisexual in 2011. But it’s com- a small child evens the playing field a plicated: “I think gender is everything little bit.” (Her son, to whom she gave and nothing in this movie,” she says. birth during her marriage to Jamie “It’s never spoken about, and none of Bell, is 7.) the characters are necessarily think- “It’s been a wonderful mixture of cha- ing about it.” os and precious moments,” Wood says. As for the romance itself, Wood con- She plans to return to “Westworld” LOVE STORY tinues, “It’s never talked about; it sim- when it begins production again. But The relationship ply is. And that in itself meant so much given that the show took its sweet time between Gina Rodriguez’s Melanie to me as a queer woman.” between seasons even before there was and Wood’s Old Dolio Of course, the world has changed a global pandemic, she has no idea is at the heart of dramatically since “Kajillionaire” when that will be. “I’m assuming by “Kajillionaire.” had its celebratory premiere in Janu- the time we go back, everything should ary at Sundance. And with movie the- be” — she pauses for a long beat, and aters having become contested spac- switches to upspeak — “functional?” es during the coronavirus shutdowns, Wood will be playing another char- Old Dolio from the cult, and introduce there is a mournful aspect to releas- acter on the show — she thinks. Anyone her to the joys of the world as well. ing a movie these days. Indeed, “Kajil- who’s watched the befuddling “West- Usually, Wood says, she doesn’t like lionaire” will get a shortened theatri- world” knows that anything is possible. a lot of rehearsal. “I like getting messy; I cal release, and will hit premium VOD She will certainly miss Dolores though: like trying a million things,” she says. But on Oct. 16. “I was so proud that Focus “I’ve been on such a journey with her. she was in July’s world, she knew, so the bought it, and so excited for every- And it’s influenced my own life, and two of them created Old Dolio at July’s thing they could do with that theatri- changed me as a person.” studio before the movie began shoot- cal release,” July says with a sigh. And It all goes back to why Wood loves ing in the summer of 2018. July would Wood adds: “There’s obviously some acting in the first place. When asked dress Wood in the baggy clothes Old grieving there. I feel for Miranda — what she gets out of her profession, she Dolio hides in, and they would impro- because, of course, there are so many has an eloquent answer. vise, focusing on the character’s “lim- plans and things that we wanted to do.” “It just has taught me tremendous itations.” July wouldn’t let Wood express If there is a bright side, it’s that empathy, because I have to imagine herself with her hands, for instance, nor some of the thematic power of “Kajil- myself as someone else,” Wood says. could she look her in the eye. lionaire” has accidentally deepened “And it’s given me a greater understand- “And then we’d do it again, and she’d because of the current circumstanc- ing of people and psychology, and what say, ‘You’re actually not allowed to use es. The idea of touch is fraught in the makes people do the things that they do. words this time; you have to commu- film, and Old Dolio’s yearning for affec- And honestly, I think it’s made me — I nicate through movements or sounds tion will now feel more resonant than it hope it’s made me — a better person.” or your eyes.’ Or ‘OK, do this one, but would have pre-pandemic. When they do this like you’re like a wild animal, filmed the scene in which Old Dol- like you’re a creature,’” Wood remem- io and Melanie first touch one anoth-

TOP: BRAD FRIZZELL/FOCUS FEATURES; CENTER, BOTTOM: MATT KENNEDY/FOCUS FEATURES (2) FEATURES KENNEDY/FOCUS MATT BOTTOM: CENTER, FEATURES; BRAD FRIZZELL/FOCUS TOP: bers. “Eventually, we found that the er, July recalls thinking, “This feels so best animal to channel for Old Dolio intense to me. But it’s also just nothing P.57 The pressures (and boredom) of quarantine have led many to find connection in online role-playing games based on unscripted TV hits By Caroline Framke P.59 own homes. ty show gamefromthecomfort ofour oferstwhile playing dreams thereali fanslike meawayTV tolive outour by writerKevin O’Keeffe, gave bored Circle,”This iteration of “The helmed could watch, withoutlosingmy mind. FaceTime callsIcould endure, shows I only somany Icould make, recipes andfairenough).Therewerecept, alaughabletainment must con- be for thisdesperate enter ofbeing idea you have inwhichcasethe children, gettingthe timemeant creative (unless knows findingaway how long, topass demic crisis, stuck at homefor who byhiswin. embarrassed grace tobe enth-hour additionwhohadthegood out Icameinsecond place toanelev whereIfound reunioncall, our Zoom anguishon inthrilled I was screaming day. BySunday night’s “season finale,” rounds, talktoafew andcallita people On aFriday, I’d Ifigured play acouple throughouttheweekend. es scheduled votingwith occasional andchalleng over themessaging platform Discord, This version would take place entirely posts.through texts media andsocial andcommunicate solely apartments which contestants live inseparate lockdown-friendlyalready seriesin Circle,”tual version of “The Netflix’s friends asked toplay ifIwanted avir some quarantine withnoendinsight, amonthinto InApril, puter screen. my TV butthroughanapponmymy com TV .60 P. I watched thisyear In thosefirst few monthsof thepan unfolded noton ------“Survivor” tropes. Island” simulated “The Quarantine Winners atWar.” sode 6of “Survivor: Tribal CouncilinEpi Diaz-Twine are the chos andSandra Spradlin, Tony Vla Jeremy Collins, Kim Denise Stapley, PROCESS ELIMINATION

- - vor,’ out,” sowe reached says “The only onestothinkthisway. Wheth leaving hislivingroom. show that heloves somuch—without ofthe aspect social at that least crucial —or could play thegameof“Survivor” ly simulation Rogers that promised he QuarantineIsland,”“The anonline-on intheform of height ofthepandemic camealongatof the that opportunity show. Muchtohissurprise, avariation getting mightbe cast ontheCBS soned, step of herea hisnewfound fandom, to doinordersucceed.” Thenext archies andthemaneuvering you have like hier really itarethesocial about ers says. “But what now I as anadult, physical ofit,” challenge aspect Rog themostprobably excited the about a kidwatching ‘Survivor,’ Ithinkwas sons injust afew Iwas months. “When vor,” through29(!)sea- steamrolling intheworldtine immersed of “Survi- thefirst fewspent monthsofquaran little elsetodo, host the“Gayme Show” together.might aswell bored be inotherwords, bored, wehad tobe ately craving somethingtodo.” Ifwe at home,ple whoaretrapped desper- is amuchbigger askthanaskingpeo end whenthey cango outintheworld “asking togive people upafullweek impossible. AndasO’Keeffe putsit, thosethingsfeltnections whenboth ence onlinetohave funandmake con- thereality-show experi reproduced approximations,together loose fans challenges orthrowing ly re-creating Instagram meticulous or Discord, platforms media likeer usingsocial “I knewMatt was afanof‘Survi- As it turns out, we were As itturnsout, farfromthe Take Matt comedian Rogers. With ------went looking for a project. “Justwent for looking aproject. being store trips,high-stakes they grocery shake uptheirlives beyond taking Officially restless enoughtowant to wereRance feeling Nix, thesameway. lockdown, ThiLamandhisroommate, for agamelike this.” setup “So quarantinewas theperfect thing elsebut‘Survivor,’” out. hepoints “In ‘Survivor,’ you’re notdoingany time, thedays at go ithelped least by. hey, even ifitdidn’t outfor pan himthis ever ontheseriesitself.And applytobe less experience educational shouldhe butconcedes itwas anonethe- pointed, Hewas disap merged. their two teams Hollandrightafter Mary comedian) outby hisclosested ally(andfellow ic twist worthy of primetime, was vot- andinadramat villain, unrepentant tual timeby embracingtheroleof an was stressed out!” allies andenemies,” Rogers recalls. “I andtalktoyourwhat hadhappened would doischecktheSlacktosee wake up, andthefirst thingthat you and YouTube. singleday you’d “Every Zoomplays outonInstagram, Slack, gamethattious andall-consuming er, ithadbecomeamuchmoreambi- “season” howev- ofherexperiment, By thetimeRogers thesecond joined er’s assistant onNetflix’s “BigMouth.” adayeven jobaswrit- asshebalanced cially lonelyfirst weeks ofquarantine, tain herfriendsduringthoseespe- toenter- “Survivor” of avirtual idea the show, Krasnigor cameupwiththe watch himplay.” Adevoted follower of Krasnigor, “and itwas somuchfunto Quarantine Island” Kelsey creator Rogers madethemost of hisvir- A couple weeks intoNew York City’s - - -

(PREVIOUS(PREVIOUS SPREAD) LOVE IS BLIND,BLIND , THETHE CIRCLE:CIRCLE: NETFLIXNETFLIX (6);(6) ;SURVIVOR: SURVIVOR: ROBERT ROBERT VOETS/CBS VOETS/CBS (THIS (THIS PAGE) PAGE) ROBERT ROBERT VOETS/CBS VOETS/CBS NETFLIXNETFLIX ourselves butas“catfish” (i.e., fictional er already, we played thegamenotas able future. Since oth- we kneweach forto interactinperson theforesee of agroupof friendswhowere unable antine Island,” thecast was composed Quar “Love IsQuarantine”and “The rience withthe Discord “Circle.” Unlike madness that was theshow.” ofthe part ontheshow orbeing being any whetheritwas kindofconnection, parties,” hesays. “People were craving watch otherandorganized Zoom each friendswithSome of thembecame with deeptheoriesandfanscandals. singleday were commenting every try fromaroundthecoun group ofpeople “Acumstances forced themapart. solid folks together cir just whenglobal it andtheknowledge that hebrought experience, hemetthrough everyone remains grateful for thewhirlwind exists, isonindefinitehiatus. But Lam a farstricter lockdown than currently the telephonethanthey did.) over thenotionof bonding understood think again; better nocontestant pool confused by theconcept thanothers, contestants would moreboomer be er Nite.” (Ifyou’re assuming that the “Boom- ers” andthewildlypopular like “Queer Queens,” “Essential Work seasons byfeaturingscope themed lor.” theshow its Onaroll, expanded Bache if they were tuninginto“The would give resultsandopinions —as tagram Live —inwhichLamandNix night,” viewersinfor tuned theIns “date Every Quarantine” livestream. she recognized himfroma“Love Is whom hespoke for thefirst timeafter ing Lam’s own neighbor, Brooklyn with out what would includ next, happen thousands offollowers eager tofind TheInstagram quicklyamassedful. “Love IsBlind” was slickandstress andfunasQuarantine” was aslo-fi commentary.tagram withcolorful eos, whichLamwould onIns- thenpost “confessional”them short vid reaction go onblindFaceTime dates andsend had30individualswillingto they soon off; Itpaid somethingdifferent. to try knew, that betting somewould down be theysheet toabunchof singlepeople loveisquarantine) andsentaGoogle They madeanInstagram (@ potential. nomenon inwhichLamandNixsaw phe —wasengaged media still asocial face toface once they agreetobecome — aseriesinwhichcouples onlymeet Netflix’sBack inMarch, “Love IsBlind” something the mindsetthat we have doing tobe live inNew York City, in we get trapped whohave andpeople doers ADHDwho That was certainly true ofmyThat was expe true certainly “Love IsQuarantine,” outof borne For afew gloriousweeks, “Love Is ,” Lamexplains withalaugh. ------would toget.’” hope like, ‘Wow, thisispretty close towhat I Iwas something that was entertaining, toproduce whowas trying somebody ever want anyone —butas toget hurt “Obviously, withmy friends, Idon’t Circle”inquarantine.lenge of“The before takingonthechal Brother” and organized onlineversions of “Big O’Keeffe,marvels whohadplayed in could that get invested people init,” that anonlineversion ofthegame Circle”proper.“The like thecontestants whowindupon —just tions ofthegamethanintended swept upinthepsychological implica versions ofourselves andgot farmore we upplaying nonetheless ended as bly usingfake profiles, that itwas clear Even thoughcontestants were ostensi “Real Housewives” reunionspecial. was asdramatic andmessy asany ing depthsofgameplay were revealed reunion session inwhichtheshock TheZoom tities andbackstabbing. tionally fraughtwithmistaken iden- however,ing, emo- thegamebecame days schemingandcatfish ofchatting, ing thestate of theworld. Afterthree could ofbemoan instead laughabout adecentcle” could distraction be we Cir wasidentities). Thehope that “The toobscureourtrue meant personas of themadness thatwastheshow.” whether itwasbeingontheshoworpart People werecravinganykindofconnection, found uniqueways ofgetting people shows reality of thesevirtual each their waking hoursplaying agame, willingtospend tocast people trying whenal lockdown nodoubthelped Is Quarantine.” inspiration for “Love The showwasan on “Love IsBlind.” Barnett tietheknot Amber Pike andMatt TWIST OFFATE While being inastateWhile being ofperpetu atestament totheformat“What “ ------—Thi Lam friends. Why wouldn’t Ikeep going?” for theaudience. Imake amazingnew stop,” shesays. “It’s funfor me. It’s fun this untilIhave to an actualreason outside lockdown. “Iwant tokeep doing Island” arewell hertime, worth even challenges oforganizing“Quarantine And yet asfarKrasnigor the seesit, circumstances working they’re with. more, dystopian given theparticularly as theiroriginalinspirations —ifnot just asmuchwork andinnovation shows that reality require transmedia for araptaudience.head comes toacils”) whereeverything version oftheCBSshow’s coun “tribal monies” (i.e., theirless ethnocentric cere “banishment the nightlyZoom convenein whichteams andcrafting items, monitoringtheSlackchannels household withbasic ple toperform storming physical challenges for peo- bybrain- sive qualitiesof“Survivor” theimmer re-create of producers tine Island,” Krasnigor andherteam Quaran butstill!) On“The out, pan a couple whometontheshow. Itdidn’t move for cross-country mid-pandemic Is Quarantine”didinspireat one least might findlove. (For therecord: “Love theirparticipants and Nixhoped that showed just how sincerely Lam tiously enthusiastic Instagram updates outofbite-size dates withinfecmeals for awhile. “Love IsQuarantine”made andreality into anotherpersonality allowed contestantsdesign, toescape Circle,” byaccident andby both emotionally involved. O’Keeffe’s “The Each of these creators produced Each ofthesecreators P.00 P P . 6 0 1 0 - - - - - SYLVIA ANOTHER FIRST IN YOUR MIGHTY CAREER CONGRATULATIONS FROM YOUR SONY FAMILY

Variety_Sylvia_Rhone_05.indd 2 9/18/20 5:29 PM Untitled-8 1 9/18/20 5:07 PM FOCUS

TRIED & TESTED IN HER FOURTH DECADE IN THE MUSIC BUSINESS, EPIC RECORDS CHIEF SYLVIA RHONE IS STILL REACHING NEW HEIGHTS SONY MUSIC

VARIETY 63 FOCUS VARIETY’S CREATIVE LEADERSHIP AWARD

SYLVIA RHONE smashed the C-suite ceiling long before such buzz words as diversity and gender parity came into the lexicon. In 1994 at the age of 42, she was running a major record company as chairman and CEO of Warner Music Group’s Elektra (Metallica, Missy Elliott and Natalie Merchant were among the hit artists on the roster at the time). She was already being recognized with such descriptors as “ﬁrst woman” and “only African American” to hold such a title. A decade later, she would take the chief executive position again at Universal Motown (Akon, India.Arie, Erykah Badu). And for the three- peat, Rhone would ascend to chairwoman of Epic Records, home to Travis Scott, Camila Cabello and DJ Khaled, among others, in 2019. To hear Rhone tell it, her current role at the Sony Music label outshines her previous accolades, as trailblazing as they were. “It’s profoundly more significant now because of the culture change taking place,” she said on the heels of her promotion last year. “Black culture and women around the globe are finding their voices like never before. It’s a watershed moment.” Indeed, if actions speak louder than words, Rhone’s calling card has long been advocacy for women and people of color among the corporate ranks. But with the one-two punch of the pandemic along with widespread civil unrest over racism and police violence, the Philadelphia native has helped guide social-justice efforts not just at Epic, but also across Sony Music. “We’re approaching those inequities head-on,” she says. As for COVID-19, Rhone acknowl- ‘CHANGE IS THE edges that the pandemic could have presented great challenges to the company, but credits efforts to ONLY CONSTANT’ keep business on track. “In antic- ipation of the quarantine, we enhanced our virtual and digital EPIC RECORDS CHAIRWOMAN SYLVIA RHONE marketing efforts,” she says. REFLECTS ON A FOUR-DECADE CAREER AND WHERE “We made sure that all areas of the SHE SEES THE MUSIC INDUSTRY HEADING NEXT company were over-communicating during the health crisis. My prior- By SHIRLEY HALPERIN ity was to make everyone stay connected, focused and healthy. Our productivity and efficiency are still at an all-time high.”

64 VARIETY CONGRATULATIONS TO CHAIRWOMAN SYLVIA RHONE CREATIVE LEADERSHIP AWARD

LOVE, FRENCH MONTANA & SAL

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FOCUS VARIETY’S CREATIVE LEADERSHIP AWARD

ing, art and content development,” she says. “The term creator is more important than ever, but also less deﬁned than ever. Creators are crossing genres, ver- ticals, industries, lifestyles and culture more ﬂuidly and naturally today.” To wit: rapper Travis Scott, whose NAME RECOGNITION thematically consistent, multilayered Rhone’s leadership vision has included a performance on style is to “unite and rally the the video game “Fortnite,” drawing team to achieve 12.3 million live views to the April 23 consistent success event, and a partnership with McDon- for artists.” No wonder she ald’s for his own “meal,” which has regularly elicits seen such swift sales that the franchise public shout-outs is experiencing an ingredient shortage. from acts on the Epic roster, like Rhone says the artist “has clearly DJ Khaled. emerged as one of the leaders in this space as he keeps music in the center of everything he does, effortlessly inte- No kidding. Rhone’s track record is a But it’s at Epic, which she joined in grating his brand into any corner of cul- thing of envy among music-business vet- 2013 — bringing aboard her joint ven- ture he desires — from Nike to street art erans. Under Rhone’s watch at Elektra, ture, Vested in Culture, and where to high art to ‘Fortnite’ to McDonald’s the label enjoyed hits by Busta Rhymes, she was later named president before and beyond. … We’ve recognized the Tracy Chapman, Jason Mraz and Third ascending to the chairwoman role — new ways fans want to consume music, Eye Blind, in addition to Elliott and Mer- that Rhone has really shown her mettle, and we’re strategically intertwining our chant. At Universal, Rhone helped usher taking the reins in opening the label’s assets to capitalize on our shared fan in Motown’s neo-soul era, signing and business up to other creative industries base to develop more experiential acti- developing the likes of Badu, and played and forward-thinking partnerships. vations for the consumer.” a key role in partnering with the Cash “At Epic, we’re guided by the creators Such “next-level integration,” as Money label, home to Lil Wayne, and who drive the zeitgeist, and that includes Rhone describes it, is informing Epic’s

later Drake and Nicki Minaj. leaders in technology, ﬁlm, fashion, gam- collaborations with artists on its roster, EARL GIBSON III/AP

CONGRATULATIONS SYLVIA RHONE on receiving the Variety Creative Leadership Award! 3{f¢ DINA TRAILBLAZER

PIONEER

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CONGRATULATIONS ON DEFINING GREAT LEADERSHIP!

DOUG, STEVE AND ALL YOUR FRIENDS AT 12TONE

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so there is opportunity for young executives looking to work at the intersection of music, gaming and visual media. What is Rhone looking for in her hires? “Young executives to be passionate and curious and want to learn every facet of the industry,” she says. “It’s a never-ending education process where you must focus on long-term career development and consistently put points on the board. Don’t be afraid to take risks. I encourage

people to always color outside the lines, CLUB ‘HAVANA’ that’s where the magic begins.” The Epic team How healthy is the recorded music behind the hit: SVP, sector? Despite a slump in the 2000s, the promotion, Sandra Afloarei (from result of the convergence of several tec- left); Rhone; EVP, tonic shifts in the industry — piracy, the A&R, Joey Arbagey; decline of album sales and the phasing Camila Cabello; EVP and GM, A&R, Ezekiel out of CDs — streaming has brought back Lewis; EVP Rick robust growth. The most recent mid-year Sackheim; manager report issued by the Recording Indus- Roger Gold and VP of digital marketing try Assn. of America shows an uptick in Lisa Kasha. recorded music revenue so far in 2020, to the tune of 5.6%. In 2019, global recorded music revenues topped $20 billion, per trade group IFPI. Says Rhone: “Music has been at the tip of the spear of digital dis- ruption, but now we’re innovating into “For a label, it’s about supporting the Still, challenges abound in a POWER growth rather than decline.” artist’s vision and allowing them to cre- business “where change is the only PLAY Also unique to the streaming age: a ate; arming them with the insights and constant” — and a fast-moving, fickle A few of Epic’s hit song can emerge from anywhere and resources to expand their visions and and sometimes nonsensical one. For wins under Rhone isn’t reliant on label backing to launch. grow their audience. There are so many her part, Rhone has seen and done it Further blurring the lines of precedence, new platforms emerging and data sets all, but she’s still cautious not to rest today’s young music consumers aren’t being generated, it’s our job to filter the on her laurels. loyal to speciﬁc genres or even platforms. noise and help them prioritize, then exe- “I’ve been in this business long Rhone sees possibility in that. cute so they can fulfill their dreams. enough to see the 45 grow into the 1.5 BILLION “The younger generation identiﬁes We see this with Camila embracing her 12-inch and the cassette grow into the To-date audio and makes hits now more than ever,” she Cuban roots, or Travis creating a fasci- CD; now, vinyl has come back to eclipse streams of Travis says. “Today there are more platforms nating interior world of his own or DJ CDs. Streaming has completed the shift Scott’s 2018 smash to garner exposure, with the social-me- Khaled representing his unique persona. from ownership to access model, with “Sicko Mode”

dia explosion and brands like TikTok Every artist has an individual strength, conventional streaming still growing AGOSTINI/AP/INVISION FUTURE: EVAN AP; and Twitch transforming global media a special superpower and it’s our job to and gaming and video offering unfore- culture like never before. Our business amplify that vision.” seen growth. More models and platforms thrives on young artists and also relies on When Rhone’s career was just start- we can’t even imagine yet will emerge. 92,000 young professionals behind the scenes. ing in the 1980s, a large part of her job It’s incumbent upon the leaders of the Radio spins of DJ True success [is] a combination of this as an executive in Atlantic’s Black Music industry to manage the potential with Khaled's “Popstar” fresh energy and experience.” department — working with the likes of smart spending and dealmaking.” since July 17 Epic’s success stories during the En Vogue and MC Lyte — was artist devel- After four decades, Rhone has Rhone era also include former Fifth Har- opment. That remains today, despite earned a place alongside the titans of mony member Cabello, rappers Future the instant gratification that a viral Tik- the record business — including some and 21 Savage and Meghan Trainor. Tok trend can produce. Adds Rhone: “We of her own mentors, like former Sony How does the label approach these must be patient and supportive to allow Music CEO Doug Morris, the only person 4.4 MILLION very different artists? And is there a com- developing acts to flourish. Our goal is to have held chief executive positions To-date song mon thread when it comes to long-term to build the next class of career artists at all three major label groups (Warner, project units of Camila Cabello's success? “Hits make career artists and — talent such as Zara Larsson, Madison Universal and Sony) — but surprisingly 2017 hit “Havana” career artists make hits,” offers Rhone. Beer and Tyla Yaweh, among others.” she still considers herself a “student” of the trade. “I’ve learned in a business as unpredictable as ours that things don’t always go according to plan.” So what advice would Rhone impart “Don’t be afraid to take risks. I encourage 5 MILLION on those inspired to follow her lead? “Be Song project units people to always color outside the lines, persistent but with a purpose,” she says. of Future's “Life Is that’s where the magic begins.” “Competence fosters conﬁdence; vision, Good” featuring hard work and fearlessness creates the Drake since January

SYLVIA RHONE luck you need to be successful.” Source: Alpha Data B. MIRADOR/SIPA/ STHANLEE KHALED: STRAUSS/AP/INVISION; JORDAN SCOTT: IMAGES; WIRE/PA PA (BOTTOM) FRANK MICELOTTA (TOP) CABELLO:

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“As of 2019, both women and minorities are within striking distance of proportion- ate representation when it comes to lead roles and total cast,” says Darnell Hunt, dean of the UCLA College division of social sciences and the report’s co-author. “Behind the scenes, it’s a very different story. That begs the question: Are we actually seeing systematic change, or is Hollywood just appealing to diverse audiences through casting without fundamentally altering the way studios do business behind the camera?” Fostering an environment where executives are as diverse as their audience makes a difference, according to Kalia Booker, director of drama programming at HBO. “Everyone is dying for diversity now,” says Booker. “People constantly forget that diversity doesn’t mean just Black and white. It means Asian American, it means people with disabilities, it means the queer community, it means elders and seniors.” Jiao Chen makes a habit of championing diverse voices as VP of creative development for Columbia Pictures, recently acquiring Kevin Kwan’s “Sex and Vanity” for adaptation, but acknowledges there’s more work to be done. REVISITING THE PAST Kiersey Clemons (left) and Janelle Monáe star in “Antebellum,” part of a wave of “Everyone who is a gatekeeper, myself projects intended to broaden the range of storytelling in Hollywood. included, we all need to do more in our day- to-day jobs to break down those uncon- scious biases, as well as these antiquated NEXT-GEN LEADERS TACKLE barriers of entry,” says Chen, who has trained himself to question whether he has DIVERSITY AND INCLUSION considered all potential candidates for open writing and directing assignments. PRODUCERS AND EXECUTIVES PUSH FOR CONTENT THAT REFLECTS For Sandino Moya-Smith, director of A BROAD SPECTRUM OF AMERICA BY LATESHA HARRIS development at MGM and the son of Indige- nous Mexican farmworkers turned civil-rights advocates, sustained improvement WITH THE SPOTLIGHT ON DIVERSITY and Latin content can travel,” he says. “Most exec- is the overriding goal. inclusion shining ever brighter, Hollywood’s utives didn’t grow up on both sides watching “There is always more to be done. Ideals emerging leaders of color take their responsi- ‘Friends’ and Spanish-language telenovelas. I of diversity and inclusion are like democ- bility for improving representation on screen take the responsibility of bringing them my racy: they take continual, informed engage- and off seriously. experience and showing them that there’s a ment to grow and flourish,” says Moya- “What I’ve been really focused on is trying to business there.” Smith, who is developing MGM’s “Respect,” address diversity, equity and inclusion,” Aaron While acting jobs for women and people of the Aretha Franklin biopic starring Jennifer Edmonds, director of development and pro- color have grown overall, those groups remain Hudson. “I think a vast majority of the indus- duction for Lionsgate, tells Variety. “That’s underrepresented behind the scenes in Holly- try wants to do more, but in the past that through the content I’m championing and wood, according to UCLA’s 2020 Hollywood desire’s been cyclical, rising and falling with working on, as well as efforts I’m making within Diversity Report. the headlines. There would be short bursts Lionsgate, along with leadership, and the third “What’s being green-lit matters,” says of engagement that would ebb once the thing is trying to help support the next level of Ana-Christina Ramon, director of research and immediate media fervor would die down.” executives that are coming up behind me.” civic engagement for the UCLA college divi- He believes a permanent shift may be His Lionsgate projects include “Antebellum,” sion of social sciences, and co-author of the under way, but cautions that “we can’t ever starring Janelle Monáe; the studio’s multi- report. “Although the industry is changing in afford to let our guard down.” pronged “The 1619 Project,” a collaborative front of the camera, white men are still doing Jamal Salmon, SVP of theatrical market- effort with Oprah Winfrey and the New York the overwhelming majority of making major ing analytics for Paramount, strikes a simi- Times; plus an Angela Davis biopic. decisions behind the scenes at the studios.” lar note. “Going forward, we know that “Projects like ‘1619,’ for me, it’s just an honor The report analyzed 11 major and mid-major these issues are built on hundreds of years to be a part of that,” he says. studios and found that 91% of C-level positions of history, and no one thinks that three Jaime Dávila, producer of Netflix’s forth- are held by white people and 82% are held by months of action or one year of action will coming Selena Quintanilla series, is similarly men. Among all senior executive positions, fix all of those things,” he says. “It’s all

passionate about Latinx fare: “I know that 93% are held by white people and 80% by men. about longevity for me.” KENNEDY/LIONSGATE MATT

70 VARIETY CAMPANARIO ENTERTAINMENT warmly congratulates our president Jaime Davila on being named one of Variety’s HHOLLYWOOD’SOLLYWOOD’S NNEWEW LEADERSLEADERS

0923 WV Stacked Ads_CAMPANARIO & ALTER.indd 6 9/18/20 2:21 PM FOCUS HOLLYWOOD’S NEW LEADERS

‘LOVECRAFT’ DUTY Parul Agrawal worked on HBO’s “Lovecraft Country” in her role as VP of drama development for WBTV.

PARUL AGRAWAL VP OF DRAMA DEVELOPMENT, WARNER BROS. TELEVISION, 37

Describing her path to WBTV more than 10 years ago, the NYU grad from a family of doctors says: “I never planned it, but I pretty much had the 360-view of being in post, being in a writers’ room, being on set and being at a production company and now being here.” Agrawal gives credit for the shows she’s worked on at WBTV, such as HBO’s “Lovecraft Country,” HBO Max’s upcoming “Gossip Girl” and Fox’s “Prodigal Son,” to her entire team. “I believe we, as storytellers, have a social responsibility in the kind of content we put on screen.”

SAM ALPERT SVP OF MARKETING, PARADIGM, 39

When the COVID-19 pandemic put a stop to touring, Alpert and his team were thrown into the untested world of live streams. In that market, inundated with stripped-down livingroom performances, Alpert has strived to give at-home audiences a unique experience, and shows with Oliver Tree, Rebelution and Liz Phair have done just that. “There are new models coming out where you will want to pay EMERGING TALENTS for a ticket because you’re seeing a piece of art, you’re seeing something different,” Alpert says. “These top-tier artists are going to try and one-up each other. It’s like the modern-day OVERCOME HURDLES launch of the music video.” IN A CHALLENGING YEAR

THE 40-AND-UNDER CROWD IS ADAPTING TO THE NEW NORMAL

THE PANDEMIC HAS POSED extra challenges for Hollywood’s emerging leaders, KATIE BARON who have had, in many cases, to manage teams working remotely while also PARTNER, ALTER, KENDRICK & BARON, 36 coping with a disrupted entertainment marketplace — and our country’s reckoning with racial injustice. But the talents on this list have prevailed, Over the past year, Baron has handled more than finding ways to connect with their teams via Zoom and pivot whenever nec- 30 large music catalog acquisitions for her firm’s essary. The list includes executives, creatives, lawyers, agents and some clients, with an aggregate value topping $500 million, half of which has been generated during showrunners — each 40 years old or younger. the pandemic. Transactions include Primary Wave’s purchase of interests in the recordings of Whitney Houston, Burt Bacharach, Culture Club, Air Supply and Donny Hathaway, and music publishing rights in the Ray Charles and Boston catalogs. Other clients include Steve Miller, CATEGORIES: George Clinton, Gamble and Huff, and the estates Social of Ira Gershwin, Isaac Hayes, Jule Styne, Ben E. Agency Creative Digital Film Legal Music Management Impact TV King and Noel Coward. With the pandemic, the option for artists “to sell their copyrights or their income streams in writer or artist’s royalties is Compiled by Thomas K. Arnold, Jem Aswad, Andrew Barker, Shalini Dore, Diane Garrett, LaTesha Harris, Paula Hendrickson, Carole Horst, looking more attractive given that they’re taking

Todd Longwell, Jenelle Riley, Ellise Shafer, Jazz Tangcay, Danielle Turchiano, Chris Willman the hit from the lack of touring income.” RJ LEWIS ALPERT: BROS.; MIRELLA ROSOL/WARNER AGRAWAL: ELIZABETH MORRIS/HBO; COUNTRY: LOVECRAFT

72 VARIETY HOLLYWOOD’S NEW LEADERS FOCUS

CORY BENNETT LEWIS NAOMI BULOCHNIKOV-PAUL JIAO CHEN JAIME DÁVILA HEAD OF PRODUCTION, BAD ROBOT, 39 SENIOR VP OF COMMUNICATIONS, ABC VP OF CREATIVE DEVELOPMENT, COLUMBIA PICTURES, 34 CO-FOUNDER AND PRESIDENT, CAMPANARIO ENTERTAINMENT, 37 ENTERTAINMENT, 35

Since joining Bad Robot in 2015, Bennett Lewis Chen was promoted to VP in July, and has has worked on an impressive list of high-profile After stints at Freeform, Netflix and Current TV, been busy developing projects including Kevin Dávila speaks three languages: English, Spanish projects, including Disney’s “Star Wars: The Bulochnikov-Paul moved to broadcast TV for Kwan’s “Sex and Vanity” remotely during to the and Hollywood. His Campanario Entertainment Rise of Skywalker”; HBO’s “Lovecraft Country” the first time in November. Just a few months pandemic. The exec, who worked in Australia’s is only one of a few Latinx-owned and -operated and “Demimonde”; Apple’s “Little Voice”; in, she had to pivot again, this time to virtual indie film scene before relocating to Hollywood production companies. Producing both Netflix’s “Lou”; and Hulu’s “Castle Rock.” She events: She and her 40-plus person team put and starting over again six years ago, considers domestic and international projects, Dávila’s serves as liaison with partner companies on together a campaign for “The Disney Family the challenging theatrical marketplace “scary goal is for Latinx stories to join mainstream all physical production matters, a job that has Singalong” “from our bedrooms, closets and and exciting at the same time. Obviously the canon with mass appeal. Currently producing become particularly challenging in the wake of bathrooms,” she notes. (Those two specials media landscape is shifting very rapidly and the “Selena the Series,” centered on the late Tejano the pandemic. “We’re working with our studio drew 16 million viewers combined). The 72nd pandemic has accelerated those changes.” Still, singer, for Netflix, Dávila is determined to get partners on what this new work environment annual Primetime Emmys followed, months he believes the appetite for communal movie Hollywood to rethink Latinx as a niche genre. looks like, and it feels like we’re writing the later. “My job changes week over week. I feel viewing, be it at a drive-in or multiplex, remains “Every part of my career, I pushed to make manual as we go,” says Bennett Lewis, who like I’m learning every day,” she says. “I tell the strong. “I don’t think that’s ever going to die, that sure that there is more inclusion, and it’s really was mid-production on Apple’s adaptation of team, ‘Mistakes are OK because that meant desire,” says Jiao, who helped develop “Bad Boys exciting that Hollywood is now much more Stephen King’s “Lisey’s Story” when the virus hit. that you took the risk in the first place.’” for Life” and previously worked at Fox 2000. interested in doing exactly that.”

KALIA BOOKER COURTNY CATZEL MICHAELA COEL AARON EDMONDS DIRECTOR OF DRAMA PROGRAMMING, HBO, 39 PARTNER AND CO-HEAD OF N.Y. NON-SCRIPTED ACTOR-CREATOR, “I MAY DESTROY YOU,” HBO, 32 DIRECTOR OF DEVELOPMENT & PRODUCTION, PROGRAMMING, ICM PARTNERS, 34 LIONSGATE, 33

A former stage actor, Booker manages more A BAFTA Award winner for her performance in than 20 projects from her perch at HBO, Catzel’s nonfiction and doc clients include Story “Chewing Gum,” her first series, Coel plumbed Edmonds’ Hollywood career started in an including Misha Green’s “Lovecraft Country” Syndicate (“The Innocence Files,” Stacy Abrams’ new depths with “I May Destroy You,” produced Uber. In the driver’s seat, he pitched himself “Dirty Thirty” from “Power” producer Courtney “All In”), Bungalow Media (“Surviving Jeffrey for the BBC and HBO. Coel’s latest creation, to passengers until it got him a job in post- Kemp and a series inspired by Bong Joon Epstein”), Nigel Lythgoe Prods., Emmy-winning which debuted in June, grapples with fallout production. Now, as Lionsgate’s director of Ho’s “Parasite.” Determined to foster more director Rudy Valdez (for which she inked two from her sexual assault. Coel, a U.K. native born development and production, Edmonds is inclusive programming at HBO, she brought in doc features), anchor Gretchen Carlson and NBA to parents from Ghana, co-wrote, directed and developing “The 1619 Project” with the New York Marisa Kennedy, a diversity consultant. Booker star/philanthropist Dwight Howard. “Frankly, I’ve produced the series in addition to starring in Times and Oprah Winfrey and a forthcoming notes that she had some success as a stage culled a list intentionally over the past couple it, finding new backers for the project when biopic about civil-rights leader Angela Davis; actor, but never felt in control of her destiny. of years that’s particularly female-focused and Netflix refused to give her any ownership. She’s he also worked on “Antebellum” for the studio. “I wanted to make a difference and influence activism-focused,” she says. “I think using my also appeared in “Black Mirror” and “Black Earth Edmonds has believed in diversity and inclusion how people think,” she says. “Now look at the platform to represent really important voices Rising.” As for her next, as-yet-undetermined since his days as a community organizer in reach I have, the impact I have in affecting that have important things to say is something project: “I sometimes feel like a story is walking Harlem. “It feels good to be a part of projects others. It’s so gratifying.” that I strive to do. And, you know, that is often around, looking for a body that’s available to that drive culture and spark conversation and, shown in the product.” come through,” she told Variety last month. hopefully, spark change in our society.”

ROB BROWN NIA DaCOSTA ZACHARY ELSEA VP OF BUSINESS AFFAIRS, KOBALT MUSIC, 34 “It feels good WRITER-DIRECTOR, “CANDYMAN,” 30 PARTNER, KINSELLA WEITZMAN ISER KUMP & ALDISERT, 36 to be a part of projects that Brought in from Kobalt’s London division in DaCosta grew up inspired by “the crazy white Only 36, Elsea has already established himself 2016 to be the first attorney in its L.A. office, drive culture dudes making films in the ’70s” including as a leading music biz litigator. Notable cases Brown has closed more than a thousand Martin Scorsese and Francis Ford Coppola. include repping Lil Wayne in a personal injury deals in his tenure. These include a reupping and spark She attended NYU Tisch School of the Arts not suit and Evanescence’s former manager in a deal with Finneas, following Billie Eilish’s only because it was Scorsese’s alma mater, but post-arbitration fee dispute and defending breakthrough, and deals with Roddy Ricch conversation, also because “it was the only place you could music publisher Reach Global Music in a and Issa Rae’s Raedio Publishing. He was still shoot on film.” After her feature film debut, contract dispute with Chuck D of Public Enemy. also proactive during the music industry’s and, hopefully, “Little Woods,” snagged the Nora Ephron Prize He also works on the team representing the recent Blackout moment. “I don’t want to at Tribeca, DaCosta landed the plum assignment estate of Michael Jackson on numerous matters, be categorized as only able to lead in this spark change in of directing the new “Candyman,” a “spiritual including the Quincy Jones dispute over particular topic of conversation, but as I do fall sequel” to the 1992 horror film. Up next, she’ll be “Leaving Neverland.” “It’s never dull because the into this category, it’s important for me to use our society.” the first Black woman to direct a Marvel film as landscape in music, film and television is always my voice when it’s necessary,” he says. “And it’s she takes over “Captain Marvel 2,” a project she changing, both in how content is distributed and

PAUL: BOB D’AMICO/FREEFORM; DAVILA: ZACH LYONS; COEL: NATALIE SEERY; DACOSTA: ERIK TANNER DACOSTA: SEERY; COEL: NATALIE LYONS; ZACH DAVILA: D’AMICO/FREEFORM; BOB PAUL: always necessary.” Aaron Edmonds says, “I can say absolutely nothing about.” how it’s enjoyed by fans and viewers,” says Elsea.

VARIETY 73 FOCUS HOLLYWOOD’S NEW LEADERS

ALLIE GANZ SHANI GONZALES EVP, FILM STRATEGY & BUSINESS DEVELOPMENT, MANAGING DIRECTOR OF WARNER CHAPPELL MUSIC UNIVERSAL PICTURES, 39 U.K., HEAD OF INTERNATIONAL A&R, WARNER CHAPPELL MUSIC, 39

Elevated to her current role a year ago, Ganz has had her hands full overseeing Universal’s slate Named managing director of Warner Chappell’s planning amid a pandemic. Early on, the studio U.K. operation earlier this month, Gonzales is decided to pivot and release “Trolls World Tour” a founding member of Warner Music Group’s directly to home entertainment at a premium diversity and inclusion council, and in that role, price, considered a bold move at the time. While helped plan her division’s open discussion on hoping for the best, “we’ve had to plan for the racial injustice earlier this year; another is planned worst, and in some of the cases it kept shifting later in 2020. During the pandemic, she has been more toward the worst case,” she says. A big running her global A&R team virtually. “Zoom believer in the ongoing viability of the theatrical meetings will never fully replace the vibe and ‘ALADDIN’ SCREEN DUTY market, she grew up in L.A. with a screenwriter energy of in-person [songwriting] sessions, but Allison Erlikhman has worked on live-action projects such as “Aladdin,” dad (Oscar nominee Lowell Ganz), but gravitated they’re opening up opportunities for people from starring Naomi Scott and Mena Massoud. toward the business side of Hollywood herself, different countries, genres and backgrounds to joining the studio in 2005 as an analyst. connect and create music together.”

ALLISON ERLIKHMAN LIZZIE FOX KFIR GOLDBERG LUDWIG GÖRANSSON VP OF PRODUCTION, WALT DISNEY STUDIOS MOTION SENIOR VP, NON-FICTION PROGRAMMING, HBO MAX, 35 EXECUTIVE, DEVELOPMENT & PRODUCTION, COMPOSER, 36 PICTURE PRODUCTION, 32 ALTERNATIVE, OBB MEDIA, 31

Fox joined HBO Max from CNN a year ago, In just six years, Göransson has rocketed from Erlikhman and her team have been nimble attracted by the chance to build a platform A producer who also leads sports, unscripted, fledgling composer to Oscar-winner and triple enough to jump between productions at from the ground up. The WarnerMedia streamer alternative and branded content for OBB Grammy honoree. The Swedish-born musician Disney Plus and theatrical. These include live- launched mid-pandemic in May, while Fox and Media, Goldberg oversees Kevin Hart’s “Cold as won an Oscar for his “Black Panther” score, and action theatrical “Aladdin,” as well as Disney her team were working remotely. It launched Balls” and exec produced the 10-part YouTube two of his three Grammys for “This Is America,” Plus’ “Stargirl.” “We’re obviously at a crossroads with “On the Record,” a doc HBO Max acquired Originals documentary “Justin Bieber: Seasons.” which he co-wrote and produced with Donald in the industry with the streaming boom and a at Sundance, and has since added “Expecting Upcoming projects include a Demi Lovato Glover as Childish Gambino. His third Grammy change in how people all over the world access Amy” and “Class Action Park.” “We have so docu-series, also for YouTube Originals. Being came for his “Black Panther” soundtrack. content. Now more than ever, people value the much more content to create,” says Fox, who a leader in Hollywood, he says, means being Göransson also received an Emmy nom for “The experience of watching a movie and of having considers working on “Parts Unknown” with able to adapt: to COVID-19 and a multi-platform Mandalorian’s” score. He scored Christopher stories told. There’s just a huge opportunity Anthony Bourdain at CNN one of her proudest world. “It’s really about having the opportunity Nolan’s “Tenet” and the second season of for even more content to be made and for that career accomplishments so far. “I think the next to create things that people will want to see, “Mandalorian” and considers himself “fortunate content to be made by a variety of different couple of years are going to be great because and you have the responsibility to do that the to work on projects that feel very meaningful.” He people who may or may not have gotten a there’s so much content. There’s enough room right way — to treat people well and share believes in “going all-in on everything I do. Fully chance to do that before.” for everyone in the sandbox, honestly.” messages you’re proud of,” he says. commit and give everything you’ve got.”

ZEV FOREMAN KITTY GAMBEL MIKE GOLDBERG TIFFANY GRADDICK PRESIDENT OF PRODUCTION, FILM, ENTERTAINMENT VP, UNSCRIPTED AND ALTERNATIVE TELEVISION, MGM, 34 PARTNER, APA SCRIPTED LITERARY, 39 ATTORNEY, LICHTER GROSSMAN NICHOLS ADLER ONE, 39 FELDMAN CLARK, 34

Gambel successfully shepherded an overall deal Growing up, Goldberg was only allowed to play At eOne, Foreman shepherds a slate that includes with Bethenny Frankel and sold Frankel’s first video games 30 minutes a day. Today, they’re Graddick reps a diverse collection of writers, everything from tentpole features based on post-“Housewives” project to HBO Max. She also the cornerstone of his business. He’s closed directors, actors and producers including Barry Hasbro IP (G.I. Joe, Dungeons & Dragons, etc.) to expanded MGM’s slate of documentaries and 30-plus deals for film and TV adaptations of Jenkins, Viola Davis, Tate Taylor, Dev Patel, Lily- “Blue Bayou,” about a Korean adoptee (portrayed steered the studio into the podcast space, using gaming IP, including the pacts for the scribes Rose Depp and doc directing team Elizabeth by actor-director Justin Chon) facing deportation the pandemic as an opportunity for her team to and prodco DJ2 Entertainment on the hit “Sonic Chai Vasarhelyi & Jimmy Chin. Prior to joining that Focus will distribute, and “The Starling,” examine the way they do things. “Just a couple the Hedgehog” feature. Other notable clients the firm in 2019, she was senior counsel at starring Melissa McCarthy, which landed at years back, an unscripted exec wouldn’t be include Derek Kolstad, the screenwriter behind 20th Century Fox, where she negotiated and Netflix. Separate from eOne, he produced pitching a premium doc series or producing a the “John Wick” trilogy, Kevin Hart’s Quibi series drafted licensing deals with Apple and Google “Antebellum,” starring Janelle Monáe. “More podcast, but now it’s totally democratized,” says “Die Hart” and the 2021 actioner “Nobody.” “Now and above-the-line contracts for films. “Being than ever, we’re thinking about which films will Gambel, who is passionate about adding diverse more than ever, cream rises to the top,” says in-house was a great learning experience,” says be made with the goal of landing in a theatrical voices on both sides of the camera. “It’s my job Goldberg, who was elevated to partner at APA in Graddick, who in her spare time DJs under the space and which are better suited for other to figure out the best medium for telling the February. “Your more speculative developmental nickname Gold Hoops. “But I was drawn to the platforms,” says Foreman, whose other producing story, and in some cases, the story works across flyer projects are harder to sell.” idea of representing people and creators and

credits include “Dallas Buyers Club.” multiple platforms.” helping individuals realize their dreams.” LICHTER GROSSMAN GRADDICK: HARGRAVE; AUSTIN GORANSSON: LIAO; DANNY TELLES; GOLDBERG: JOSH FOX: SMITH/DISNEY; ALADDIN: DANIEL

74 VARIETY HOLLYWOOD’S NEW LEADERS FOCUS

BARRIE GRUNER AMANDA LEBOW SANDINO MOYA-SMITH VP, ORIGINAL SERIES MARKETING & PUBLICITY, HULU, 38 AGENT, CAA MEDIA FINANCE, 34 DIRECTOR OF DEVELOPMENT, MGM, 34

When Gruner’s marketing responsibilities One of CAA’s young rock-star agents, Lebow Moya-Smith believes that the future of Hollywood expanded two years ago, she was more than focuses on nonfiction films and series. Key deals relies on fostering and championing the next up for the challenge. From a pivotal 2019 Super include brokering a deal for the Lance Armstrong generation of diverse executives, thereby Bowl spot promoting “The Handmaid’s Tale” to documentary, “Lance,” to ESPN; closing a seven- ensuring more faces at the table. The son of touting series including “Little Fires Everywhere” figure deal for Edgeline Films’ “The Fight”; and immigrant farm workers turned civil-rights and “Normal People,” Gruner leads a flexible negotiating a music-doc series for Bill Simmons’ advocates, he has worked on films including marketing organization. “In the early days of “The Ringer” with HBO. “Leadership in this “Ocean’s Eight,” “The Florida Project” and the COVID-19, the real highlight was leading a team moment is all about true advocacy and trust,” she forthcoming “Respect” with Jennifer Hudson. His that could pivot the marketing campaign, still says. “We’re in the midst of an incredibly exciting advice to aspiring leaders: “Hollywood can be break viewership records and spark the types of moment for documentaries. The next year will intimidating, and you really have to stare down conversations we all hoped for,” she says. Buzz likely be as unpredictable as ever, but I’m certain that intimidation and remind yourself that your from “Normal People” fans turned into marketing that the current craving will continue to be strong story has value, that you have value. If you are gold; the series snared four Emmy nominations, for films and series which tackle real life issues true to your ideals, your word and your fellow including one for star Paul Mescal. and illuminate the truth.” person, you will come out ahead.”

HILARIE HOLT STEPHANIE LEVINSON SHAUNA NEP EXECUTIVE DIRECTOR OF SCRIPTED PROGRAMMING, SVP OF CASTING, 20TH TELEVISION, 36 VP OF PHILANTHROPY, SB PROJECTS, 33 SONY PICTURES TELEVISION, 34

Employed by the same company since “Since the company was founded, SB Projects Since her 2018 promotion, Holt has overseen graduating college, Levinson is a rarity. “I’ve has always incorporated social good into such shows as “On Becoming a God in Central worked under really great female bosses who’ve everything the company and our clients do,” says Florida” and “Atypical,” and counts working with taken time to mentor me, teach me, and give Nep of Scooter Braun’s 12-year-old management creative, collaborative showrunners among her me the space to make my own judgments and concern, which counts Ariana Grande, Justin favorite parts of the job. While the pandemic put my own mistakes.” She says the pandemic has Bieber and Demi Lovato on its roster. Among its a halt to running around town to attend table forced the entire industry to be more flexible; initiatives: Demi Lovato’s the Mental Health Fund; reads and tapings, Holt says the challenges it with casting, that means self-taped and Zoom Lil Dicky’s $800,000 donation to fight COVID- posed also led to out-of-the-box ideas, including auditions. “The actors are calmer, they’re able to 19 and climate change; and Ariana Grande’s a “Happy Endings” Zoom special that benefitted

OWTIME; OWTIME; do it on their own terms, and we’re getting really partnership with HeadCount to register voters. two charities. She’s cautiously optimistic about great performances.” Her focus: making good “There is so much need, and our artists want to the future. “We know what it’s like to have the shows with strong messages. “That’s what we’re help,” says Nep, who helps mobilize “massive thing we love, making great TV, stop in an instant, committed to at this point. I’m hopeful that other fanbases to take action on issues that matter and and to start the experience — the camaraderie ‘FIRE’ STARTER places are thinking like that, too.” help them vote safely this election cycle.” and joy of returning to production Barrie Gruner oversaw marketing for Hulu’s “Little Fires Everywhere,” which landed five Emmy nominations, including one for Kerry Washington.

ROHAN KOHLI JUSTIN LUBLINER NICHOLAS NESBITT SENIOR DIRECTOR OF A&R, WARNER MUSIC NASHVILLE, 34 OWNER, DARKROOM, 30 DIRECTOR OF ORIGINAL STUDIO FILM, NETFLIX, 38

Soon after joining Warner’s country A&R team “My label guy, Justin, was like the only person I Nesbitt joined the streamer’s original studio film in 2017, Kohli joined Dan + Shay on insisting, trusted to begin with,” Billie Eilish said of Lubliner team three years ago and is prepping “The Gray counterintuitively, that the ballad “Tequila” be when accepting Variety’s Hitmaker of the Year Man,” a global spy thriller directed by the Russo their next album’s first single — and because of award last year. “That’s no shade to anyone, but brothers and starring Ryan Gosling and Chris which they became superstars. Ingrid Andress’ I feel like he saw something in me.” Lubliner Evans. Recent projects include Eddie Murphy tradition-breaking “More Hearts Than Mine” founded Darkroom as a 20-year-old USC student in “Dolemite Is My Name”; the Michael Bay subsequently hit No. 1, after a long chart dearth of and gradually transformed it from an EDM- actioner “6 Underground”; and the upcoming rookie women: “It’s so fun and beautiful to watch focused marketing company into a multifaceted “Jingle Jangle,” produced by John Legend. “It’s a great song hit the top of the charts,” Kohli says. enterprise that includes publishing, management incumbent on all of us to hire different voices in “I always drove by Warner and thought, ‘God, and branding. Now focused on the label side, front of and behind the camera so that we can how cool would it be to work there someday?’ he was one of the first members of Eilish’s tight- have better and more expansive storytelling,” — thinking there was a 0% chance,” he says. FINDING ‘GOD’ knit team, which united around her after the he says. “After we make it through COVID, it’s a “It speaks to how open-minded country is that Hilarie Holt’s projects at Sony then-14-year-old Eilish posted “Ocean Eyes” on personal goal of mine to occasionally work from they’re gonna take a shot on an A&R who’s an Pictures TV includes “On Becoming a SoundCloud late in 2015. Other artists include home — especially knowing I can now gracefully LUBLINER: MATTY VOGEL; NESBITT: PHYLICIA J. L. MUNN/NETFLIX PHYLICIA J. NESBITT: VOGEL; MATTY LUBLINER: LITTLE FIRES: ERIN SIMKIN/HULU; LEVINSON: THE LITTLE MARKET; KOHLI: WARNER MUSIC GROUP; ON BECOMING A GOD: PATTI PERRET/SONY/SH PATTI A GOD: ON BECOMING MUSIC GROUP; WARNER KOHLI: LEVINSON: THE LITTLE MARKET; LITTLE FIRES: ERIN SIMKIN/HULU; Indian guy from L.A.” God in Central Florida.” Oliver Malcolm and Gryffin. scramble eggs and Zoom at the same time.”

VARIETY 75 FOCUS HOLLYWOOD’S NEW LEADERS

YASMINE PEARL DAVID ROGIER RACHEL SHUKERT TALENT AGENT, WME, 35 CO-FOUNDER AND CEO, MASTERCLASS, 37 EXECUTIVE PRODUCER, SHOWRUNNER, “THE BABY- SITTERS CLUB,” 40

Pearl recently signed breakout pandemic Five years after Rogier founded MasterClass, comedy star Sarah Cooper and Emmy nominee business is booming for the subscription A first-time showrunner, Shukert brings what Jovan Adepo (“Watchmen”), adding those education platform, where students learn through she gleaned from working in different writers’ clients to a diverse roster that includes young classes taught by more than 90 experts, ranging rooms — including “Supergirl” and “GLOW” — actor-producer Marsai Martin, LeBron James from guitar legend Carlos Santana to celebrity to Netflix’s reboot of “The Baby-Sitters Club.” and his production company SpringHill, plus chef Gordon Ramsay. Business has been up as “Part of good leadership is being able to balance Naomie Harris, Maisie Williams and Algee much as tenfold compared to a year ago, with your own vision with the ability to collaborate. Smith. She also champions Color of Change, LOOKING FOR ‘WATCHMEN’ twice the engagement rate. In May, MasterClass It’s having your own sense of what you need, the nation’s largest online racial-justice announced it had raised another $100 million being able to really value what other people can Yasmine Pearl signed Jovan Adepo, bring to it, and synthesizing their ideas into a organization and is passionate about the need Emmy-nominated for his work in to fund more offerings. “We knew early on that coherent style and a coherent strategy.” Shukert for greater change. “You can’t ever do enough. “Watchmen.” people could benefit from a new learning model, We are decades behind, there’s not enough one that sits at the intersection of education and has adapted to working in a virtual writers’ room, time to do enough.” She adds: “My intentions inspiration and where you can access content on but says time constraints reduce opportunities are to champion, amplify, support and create a your own time,” Rogier says. “The pandemic has for tangential conversations to spark new ideas. safe space for creatives who have not had that accelerated these trends.” “When you’re noodling with each other is when safe space before.” the energy of the room coalesces.”

JAMIE PILLET JAMAL SALMON JUSTIN SIMIEN PARTNER, A3 ARTISTS AGENCY, 31 SENIOR VP OF THEATRICAL MARKETING ANALYTICS, CREATOR, “DEAR WHITE PEOPLE,” DIRECTOR, PARAMOUNT PICTURES, 30 “BAD HAIR,” 37

As a one-time child actor, Pillet encourages the ones she represents to view each job as Salmon started working in sports analytics His 2014 feature film debut, “Dear White a tile in the mosaic of their careers. “Anybody before ditching ESPN to work at Netflix. At People,” put him on the map (he was one of Variety can book a job and be a one-hit wonder, but Paramount, he and his team treat every movie ’s 10 Director to Watch) and spawned it really takes a lot of attention to detail and launch as a political campaign, identifying “swing the hit Netflix series of the same name. The thought to be able to forge a path for a young moviegoers,” and coming up with strategies acclaimed show is getting ready to start work artist,” she says. She’s spent much of her to get those people into theaters on opening on its fourth and final season. “I’ve been living downtime reading books her clients might weekend. He’s involved in diversity and inclusion with these characters since 2005. I love them want to option, and feels optimistic about the task forces and teaches entertainment analytics dearly and it’s been a pleasure, but I also future. “Whenever there’s wreckage, there’s at UCLA Anderson School of Management. have so many more stories I want to tell.” That rebirth. After the 1918 Spanish flu, we had “There are a lot of different types of people includes his sophomore feature, “Bad Hair,” a the Roaring ’20s. The arts always come back. needed to create things; there are so many seats, comedy horror film about a Black woman’s killer After every war, we have a rebirth of art, and I even at the data-in-entertainment table,” he says. weave (literally) that premieres Oct. 23 on Hulu. feel like this will be nothing different.” “It’s just a matter of finding your seat.”

“The past six RYAN PRESS MIKEY SCHWARTZ-WRIGHT MARIA SNYDER PRESIDENT OF A&R, U.S., WARNER CHAPPELL MUSIC, 39 months have AGENT, UTA INDEPENDENT FILM GROUP, 33 AGENT, CAA, 29 given artists

The global pandemic hasn’t slowed Press down. a chance to Schwartz-Wright played a key role in selling Snyder’s negotiating skills helped secure Julia “If anything, the deal flow has increased,” says ‘reset,’ and for the breakout hit “Palm Springs” to Hulu/Neon Louis-Dreyfus’ inaugural streaming deal, with Press, president of U.S. A&R for two years. at Sundance, and also was involved in the fest Apple TV Plus, as well as Plan B Entertainment’s “Everyone’s sitting down, so you get to have a this reason I’m sale of “Uncle Frank” to Amazon. He packaged, TV agreement with Amazon. Snyder also lot more one-on-one engagement.” His roster financed, and sold client Małgorzata Szumowska’s helped orchestrate Melissa McCarthy’s return includes Lizzo, Summer Walker, Partynextdoor, expecting a ton “The Other Lamb,” which came out this summer to television in Hulu’s “Nine Perfect Strangers.” Justin Trante and the late rapper Pop Smoke, plus through IFC. Szumowska’s next film, “Never “During these unknown times, I think the three emergent hitmakers like Section 8 (“The Bigger of new, exciting Gonna Snow Again,” premiered at the Venice Film most important things for leaders are flexibility, Picture”) and SethInTheKitchen (“Rockstar”). Festival earlier this month. On leadership, he says: communication and transparency,” says Snyder. “Signing people is one thing, but being able to material to flood “It’s still about finding dynamic, exciting artists “I’m looking forward to production being back in actually develop them is what publishing is really and helping them do their thing.” As for COVID- full swing,” she says. “I think the past six months about,” Press says. “It’s one of the last places the industry.” 19, he says, “While tough, the hardest times can have given artists a chance to ‘reset,’ and for where that old-school artist development and also be the most creative. There will no doubt be this reason I’m expecting a ton of new, exciting

songwriter development stage still exists.” Maria Snyder a lot of cool stories to tell.” material to flood the industry.” WEINER JONATHAN PRESS: SIMIEN: RICK PROCTOR; NETFLIX; SHUKERT: HBO; WATCHMEN:

76 VARIETY HOLLYWOOD’S NEW LEADERS FOCUS

JONATHAN STRAUSS AND DAVID STROMBERG BEAU SWAYZE DEREK WAN ALEXANDRE WILLIAMS GENERAL MANAGER, CACTUS JACK, 32 MANAGER, MANAGEMENT 360, 36 DIRECTOR OF NONFICTION SERIES, NETFLIX, 40 CO-FOUNDERS, CREATE MUSIC GROUP, 34 AND 32

You could call Stromberg the Cactus Jack of Part of the new generation of Hollywood With experience gained at Bravo and E!, Wan Strauss and Williams started Create Music in all trades — at least of the Travis Scott kind. managers, Swayze joined Management joined Netflix in 2018 and helped the streamer 2015 to track and collect YouTube royalties The rapper’s calling card is a multi-product 360 nearly eight years ago after five years increase its slate of hits, with such series for independent artists, many of whom didn’t mini-empire and Stromberg, as manager at CAA. He reps 20 emerging Hollywood as “Tidying Up With Marie Kondo,” “Love know they were owed money. Since then, it and GM, is in charge of all branding, merch, actors, helping YA talents such as Kathryn Is Blind” and “Floor Is Lava.” “Finding ways has grown into a mini-empire with a staff of artist development and creative consulting. Newton (“Big Little Lies,” “The Society”) to give voices to underrepresented groups 125 people (average age: 26) that handles This includes Scott’s recent partnership cross over to the mainstream while retaining is a priority,” he says, citing series such as rights management, distribution, music with McDonald’s and Cactus Jack’s Fortnite their youth followings. Other clients include “Deaf U,” “Indian Matchmaking” and “Styling publishing and advertising. CMG brought event, “Astronomical,” which reached 45 Kelsey Asbille (“Yellowstone”), Trevor Hollywood.” Wan adds that “shows that feel in $28 million in revenue in 2018 and is million viewers in April and launched Scott’s Jackson (“Grown-ish”) and supermodel buzzy and can spark lots of conversation or enjoying a major windfall from distributing collaboration with Kid Cudi straight to No. 1. Taylor Hill, whom he placed this year in three the potentiality to be meme’d are exciting. controversial rapper 6ix9ine’s music. With his Says Stromberg: “It’s all really a testament films, including “The Broken Hearts Gallery.” Real, authentic and aspirational characters single “Trollz,” Create became the first true to Travis’ vision and the ability to have such A Kentucky native whose father was a are key.” At Netflix, “we have the opportunity independent company to score a No. 1 single a clear perspective on all of the brands professional wrestler, Swayze tries to always to take risks. With a global membership base, in the U.S. in many years. Next up for the working together but still making each keep it positive: “It’s just constantly being in I always feel like it’s a responsibility to delight high school friends: a 25,000-sq.-ft. space in moment feel important.” a place where you’re elevating yourself, and audiences with diverse storytelling they can’t Hollywood that includes five state-of-the-art that way you can elevate your clients.” get elsewhere.” recording studios and a soundstage. STRAUSS, WILLIAMS: ADRIEN ORDORICA (2); STROMBERG: PHOTOGRAPH BY TERENCE PATRICK; WAN: NETFLIX WAN: TERENCE PATRICK; BY PHOTOGRAPH (2); STROMBERG: WILLIAMS: ADRIEN ORDORICA STRAUSS,

VARIETY 77 BROADWAY TO WATCH

THE ARTISTS AND ORGANIZATIONS MAKING AN IMPACT ON THE STAGE

Variety to fete Broadway standouts of 2020

By Gordon Cox

Broadway may be shuttered due to the pandemic, but Variety is keeping its annual tradition of celebrat- ing the world of stage with a digital event, “Legit! The Road Back to Broadway,” presented by City National Bank at 9 a.m. PDT Sept. 24 in the Variety Streaming Room. Panels will feature Variety’s Broadway to watch, playwrights Jeremy O. Harris (“Slave Play”), Matthew López (“The Inheritance”) and Katori Hall (“Tina: The Tina Turner Musical”) and a roundtable with Alia Jones-Harvey (“Ain’t Too Proud” and “Amer- ican Son”), Tom Kirdahy (“Hadestown”), Kevin McCollum (“Mrs. Doubtﬁre” and “Six”) and Carmen Pav- lovic (“Moulin Rouge”) about re-opening Broadway. To register, visit: variety.com/roadtobroadway.

Jocelyn Bioh Playwright

Bioh always had acting in her then. She began work on the Disney Plus sights, but she came to writing adaptation of the musical “Once on This almost by accident. While study- Island,” and is gearing up for premieres of ing performance at Ohio State, her play “Nollywood Dreams” and musical she found that her program cast all its parts “Goddess,” based on a Kenyan myth. to type. “That really limited the roles I could Bioh acknowledges that, as recent years get, and subsequently get credit for,” Bioh have brought increasing awareness of sys- remembers. “I took a playwriting course just temic inequality, her perspective as a Black to get the credits I needed.” woman and as the daughter of Ghana- Encouraged by her instructors, the ian immigrants have given her work politi- Washington Heights native went on to get cal resonance. “I just assumed everybody a master’s in playwriting at Columbia and knew what I knew, but this past couple of continued to hone her voice as a writer years have really opened my eyes,” Bioh while juggling New York acting gigs in says. “I find that my writing is educat- shows including “The Curious Incident of ing people on who exactly the immigrant the Dog in the Night-Time.” She found she is and what exactly their dreams are, and was drawn to writing African comedies — humanizing them.” and it was that focus that led to her breakout Off Broadway success “School Girls, Influences: Branden Jacobs-Jenkins, Char- or the African Mean Girls Play,” one of the layne Woodard, Grace Jones most-produced plays of 2019. Representation: Agency: UTA; Legal: Nina Her career has gained momentum since Shaw

78 VARIETY BROADWAY TO WATCH FOCUS

Camille A. Brown Director-Choreographer

When Brown was a screen gigs, including Netflix’s Influences: Ella Fitzgerald, Mar- kid, she got teased upcoming adaptation of “Ma lies Yearby, Dianne McIntyre a lot over the sound Rainey’s Black Bottom,” which Representation: Agency: of her voice. “It she choreographed. Michael Moore Agency & WME made me really insecure,” Now, too, she stands to she remembers, so she grav- poised to become the first Black itated toward expressing her- female director-choreographer self through movement. “Dance in Broadway history with Ntozake was a way for me to create a Shange’s influential choreo safe space for myself.” poem, “For Colored Girls Who Since then she’s found Have Considered Suicide/When her voice not just in the con- the Rainbow Is Enuf.” cert dance world, where she’s For that milestone, she’d helm made her mark as the founder a new production aiming for Broadway of Camille A. Brown & Dancers, post-COVID Broadway after serv- but in theater as well. Driven ing as choreographer for a differ- Advocacy by her love for musicals and for ent staging at the Public Theater dance that is rooted in charac- last year. ter and story, she started with “It’s exciting and terrifying, Coalition shows at Playrwrights Hori- and I feel like it is a huge respon- When the murder of George zons and the Public and then sibility,” she says. “But when I go Floyd this summer set off a moved up to Broadway with her into something, it’s never just series of uprisings calling for Tony-nominated choreography about me. I am really thankful racial justice, the Broadway for “Choir Boy.” that I have a community that I Advocacy Coalition was one of the first Soon she was tapped for can share this experience with.” organizations in the theater industry to act, organizing a three-day digital forum devoted to listening and healing, including one day exclusively for the Black Broadway community. But “Broadway for Black Lives Matter Again” was just the latest initiative for a group that has been bridging arts and activism since 2016. BAC grew out of a Facebook post by Michael R. Jackson actor Amber Iman, angered over Broad- Writer-Composer way’s lack of response to the deaths of Black men at the hands of police. “I was so It took Jackson a lege with the goal of writing as the writer-composer of “A frustrated,” says Iman. “It was like a stab while to find his on a soap opera, but at NYU, Strange Loop,” which earned in the chest that all of these people are way toward writ- he fell in love with playwriting critical raves and a slew of dying, we’re under attack, and people on ing a song. Born in instead. With further encour- awards, including the Pulitzer, Broadway had done nothing.” Detroit, he discovered a love agement from instructors and in its 2019 Off Broadway pre- Spurred by a group of artists including for performance through his mentors, he began to write lyr- miere. Now it’s lined up for an Adrienne Warren and Britton Smith, who experiences at his Black Baptist ics and then to try his hand at eagerly anticipated move to were Iman’s castmates in “Shuffle Along” church and went on to act with composing tunes. “If I didn’t Broadway — claiming space at the time, BAC’s initial event in 2016 a children’s theater company. have all those people to say, on the Great White Way for a led to ongoing initiatives with partners Soon he began to write, but it ‘Keep going,’ it never would musical described in its open- including Columbia Law School’s Center was a visiting artist in one of have occurred to me to do ing number as a “big, Black and for Institutional and Social Change. “Our his classes that noted his flair it,” he says. queer-ass American Broadway main theory of change is we take stories for dialogue and suggested Now, after years of work- show.” (In the wings, he’s got from those who are most directly affected he explore screenwriting. That ing largely under the radar, new musicals “Teeth,” “White by the issue and we link those stories to idea pointed him toward col- he’s broken out in a big way Girl in Danger” and “Accounts the policies that perpetuate those sto- Payable” in various stages of ries,” explains Smith. development.) BAC is a robust organization pushing for “I feel like the culture mar- institutional change with industry power ket has shifted as the world has players, launching a fellowship for “artiv- shifted politically, and I’m ben- ists” and hosting forums — all while ensur- efiting for being the tortoise ing its members take the time for self-care. for running the race,” he says. They also work to connect the racial jus- “I’ve always been writing Black, tice organizations that sprang up in the queer, audacious work, and theater world over the summer. “It’s all now the culture market is more rooted in communication, coalition and ready for that.” community,” Iman says. Influences: Robert O’Hara, Founding Members: Jackie Bell, Amber William Finn, Kirsten Childs, Iman, Cameron J. Ross, Britton Smith, Adri- Tori Amos

BROWN: JOSEFINA SANTOS; JACKSON: JOEY STOCKS JACKSON: SANTOS; JOSEFINA BROWN: enne Warren, Christian Dante White Representation: Agency: WME

VARIETY 79 FOCUS BROADWAY TO WATCH

Brian Moreland Producer

Moreland started out as a per- Governors of the Broadway League just as former, but when he decided the industry grapples with making systemic to be a producer, he put in the changes to become more equitable. work where he knew it would With theater and the world at large strug- pay off: networking. “I started off by knock- gling with uncertainty, Moreland is commit- ing on everyone’s door in New York City,” ted to helping the business to return both Moreland recalls. “I sat down in a booth at safely and inclusively. “The theater offers us Bond 45 for about two years, with a lunch a place to feel and process and laugh,” he or a coffee or a drink with anyone who says. “I think that when we come out on the would say yes.” other side of this, theater is going to be the It worked. Those meetings led him to thing that is going to heal us.” join the producing teams of shows including “The Lifespan of a Fact” and “Sea Influences: Robert Wankel, Theresa Hayes, Wall/A Life,” and now he’s the lead pro- Jefffrey Richards, Phylicia Rashad ducer on not one but two notable shows Representation: Legal: Nevin Law Group aiming for New York. “Blue,” a play with music directed by Phylicia Rashad with Leslie Uggams and Lynn Whitfield attached to star, had been ready to premiere at the Cody Renard Apollo before the pandemic postponed its spring run, but it remains on the docket Richard with Broadway as a possible berth. He’s Stage Manager also shepherding Keenan Scott II’s play “Thoughts of a Colored Man” to New York Richard is a Broadway regular after a lauded run at Baltimore Center — but as a stage manager, he Stage, among other projects. never got the spotlight. That In a Broadway industry where Black pro- changed in June, when Rich- ducers can be counted on one hand, he’s ard (“Freestyle Love Supreme,” “Hamilton,” also recently taken a seat on the Board of “Dear Evan Hansen”), one of the very few Black stage managers on Broadway, shared a candid journal entry on social media, detailing his experiences in the industry. He hadn’t initially written it with the intention of taking it public. “As a young Black stage manager, it had been Kate Navin ingrained in me to not speak out of turn, because it will affect how people see me,” Artistic Producer, Audible Inc. he says. “But in that moment, I wanted When the pandemic shut down Off Broadway plays with big-name talent to break the cycle and not lose my voice. live events across the country, (Carey Mulligan, Billy Crudup) and record- I thought that, by sharing, it would theaters everywhere struggled ing them for audio release, and also had empower other people too.” to reach beyond Zoom readings launched a fund for emerging playwrights, Since then, he’s become a high-pro- and find new ways to keep artists working whose work would feed into Audible’s grow- file voice in the movement for change, and audiences engaged. Among the most ing catalog of theater for your ears. especially as the industry addresses the innovative solutions: the Williamstown The- Navin had been a theater agent for more diversification of the Broadway workforce ater Festival’s 2020 season, this year pro- than a decade before she joined Audi- not just on stage but in every position duced in partnership with the audio enter- ble, whose editor-in-chief, David Blum, was behind the scenes, too. While continu- tainment company Audible, which would a fan of stage work and saw the poten- ing to speak out, he also teaches at insti- record and release audio versions of WTF’s tial for collaboration. “The heart of the idea tutions including NYU and Columbia, and 2020 shows featuring stars including Audra was, ‘Hey, we at Audible think that the- he’s partnering with Broadway Advocacy McDonald and Carla Gugino. ater artists aren’t appreciated enough or Coalition to launch a scholarship program The key player for Audible in that deal was employed enough, and we don’t think the for BIPOC students pursuing non-perfor- Navin, who had already been leading Audi- world appreciates what they contribute mance degrees. ble’s theater initiatives as the artistic pro- enough,’” Navin says. “And I agree! It was All these activities contribute toward ducer of Audible Theater. In her three years why I became an agent: Advocating for art- getting Broadway back up and running — in the post, Audible had begun producing ists and getting their work out there.” both safely and more inclusively. “During Now, Navin finds herself able to address the pandemic I’ve been able to sit and what she called the “pain points” for emerg- figure out what my purpose is,” he says. ing writers with robust resources and a nim- “That helps me with using my voice. Now bler development timeline, while cultivat- I have a better sense of what I stand for: ing an audience that appreciates new work. Showing up and being more of myself and “We hope we can be a way to keep theater practicing what I speak, and actively walk- relevant and grow talent and audiences ing in the path of the things that I want to with theaters shut down,” she says. see happen.”

Influences: Gloria Steinem, Amy Richards, Influences: His mother, Jenifer Lewis, Margo Lion Borris York

808 0 VVARVAVARIETYARA R IETIEI ETE T Y BROADWAY TO WATCH FOCUS

Ephraim Sykes Actor

When the the- or two about playing a real per- more loudly.” questions and allow us to look ater industry gets son onstage, after scoring a Sykes learned to sing and at ourselves, all with this mind- back up and run- Tony nomination as David Ruf- dance in church. He got his first set of love and bringing peo- ning, Sykes will find fin in the Temptations musical Broadway gig in “The Little Mer- ple together.” himself at the center of what’s “Ain’t Too Proud.” “The key for maid” and went on to appear certain to be one of the most me is to to do all my research in shows including “Rent” and Influences: Derrick Baskin, talked-about new shows on and then throw that away, and NBC’s “Hairspray Live!” Michael Jackson, Muhammad Broadway. In “MJ The Musical,” think about how it has trans- As for tackling the King of Ali, Harry Belafonte, Michael B. he’ll face the monumental chal- formed me,” Sykes explains. Pop, “I want there to be a lot of Jordan, Jordan Peele lenge of embodying Michael “The more I stop trying to honesty behind this show,” he Representation: Agency: Cun- Jackson — the influential pop impersonate him, the more I says. “We love this extremely ningham Escott Slevin Doherty; star who left behind a compli- can be real about who Ephraim complex human being, and Management: Silver Lining cated legacy. is, somehow the person I’m we just simply want to explore Entertainment; Legal: Franklin, Luckily Sykes knows a thing playing can come through even that. We want to present the Winrib, Rudell & Vassallo

Shaina Taub Writer-Composer-Actor

Growing up in small- John and Paul Rudnick. town Vermont, the But even as Broadway beck- writer-compos- ons, Taub says she’s always er-performer Taub keeping in mind the Shake- lived through Disney movies speare adaptations (“Twelfth and cast albums: “Beauty and Night,” “As You Like It”) she the Beast,” “Guys and Dolls,” “A wrote for Public Works. That Chorus Line.” ongoing program makes com- But while she knew she munity engagement a priority, wanted to perform, she didn’t and she says her experiences discover writing and songwriting with those shows have under- until she got to New York Uni- scored the importance of cre- Schele Williams versity, when her instructor, the ating work that will survive to Director influential downtown theater- become cast albums and school maker Elizabeth Swados, pushed plays, moving and inspiring When Disney The- has the London-bound “Man- her to create. audiences around the country. atrical Prods. dela the Musical” on deck along “It was the first time I was “To create something with decided to revive with “Indigo,” a musical about empowered to do something Public Works, whose primary its Tony-winning a neurodiverse autistic young like that,” Taub says. “Liz said motive is access and inclusion, musical “Aida,” execs turned to woman. She’s also written her the only way you can learn is by has pushed me to include that someone who really knew the first children’s book, “Your Leg- doing. Do, make, create. Jump in some way in all my projects,” show: Williams, who had been acy,” about Black enslaved his- off the cliff before you’re ready.” she says. “If I write a show that an actor in the original cast tory, due in October 2021 and She hasn’t stopped cre- has a commercial life in New before embarking on a career being developed as an ani- ating since, and when the- York, the actual end game is for as a director. mated series with Gabrielle ater gets back up and running, high schoolers to put that show Now at the helm of Disney’s Union and Dwayne Wade. she’ll bring two big-ticket proj- on in Wisconsin.” major new production, set to With the pandemic putting ects to the boards: “Suffragist,” tour the U.S. and play Europe as most of her directing activi- planned for a run at the Pub- Influences: Howard Ashman, well, Williams is taking the oppor- ties on pause, Williams was one lic Theater with commercial Jeanine Tesori, Stevie Wonder tunity to find even more truth of the founding members of producers attached, and “The Representation: Agency: WME; and authenticity in a fictional Black Theatre United, the starry Devil Wears Prada,” on which Legal: Schreck, Rose, Dapello story rooted in very real history. group of Broadway veterans she’ll collaborate with Elton and Adams “I would say that every part of working not only toward cen- the story is different because I’m sus awareness and getting out a Black woman,” Williams says. the vote, but also collaborating “I’m going to do a deeper dive, for change with leaders in the because what is often imposed theater industry as well. “We’re on stories that involve Black in a unique position to have a people are a lot of biases and productive conversation about assumptions. I ask a lot of ques- ways forward,” she says. tions of the writers.” (In this case, that’s David Henry Hwang, who’s Influences: Suzy Bassani, Baay- penning a new book for “Aida.”) ork Lee, Thomas Schumacher

SYKES: DAVID NEEDLEMAN DAVID SYKES: In addition to “Aida,” Williams Representation: Agency: CAA

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By ANDREW BARKER

BBC-Amazon anthology series “Small Axe” – the ﬁrst installment of which, “Lovers Rock,” kicked things off Sept. 25. The fest has saved another premiere for closing night, Azael Jacobs’ surrealist New York comedy “French Exit,” featuring Michelle Pfeiffer and Lucas Hedges.

Alternating Currents As usual, NYFF offers New Yorkers early looks at favorites from the year’s previous festivals, and 2020’s devastated festival calendar hardly seems to have presented a problem: Pedro Almodovar’s English-language debut “The Human Voice,” Liz Garbus and Lisa Cortes’ top- ical “All In: The Fight for Democracy” and Garrett Bradley’s Sundance-winning doc “Time” are among the highlights. But some of the most interesting off-the-beaten-path fare are found in the festival’s Currents program. Among the JUST JUDGING by the slate, last year’s New York At the Drive-In more intriguing prospects: John Gianvi- Film Festival offered a testament to the nearly six- Taking advantage of 2020’s most unex- to’s “Her Socialist Smile,” about Helen decade-old fest’s place in the fall awards circuit fir- pected revival, NYFF hosts drive-in pub- Keller’s lesser-known advocacy for pro- mament, and in New York filmgoing culture. Mar- lic screenings at three area venues: the gressive causes; Ephraim Asili’s “The tin Scorsese’s “The Irishman” world premiered on Bronx Zoo, the Brooklyn Army Terminal Inheritance,” about a Black arts and opening night last year, and a strong slate of future and Queens’ New York Hall of Science. activism collective in Philadelphia; and Oscar nominees (“Marriage Story,” “Parasite,” Some of the buzzier films programmed Nuria Gimenez’s experimental debut fea- “Beanpole”) all had their Gotham bows at the fest. – including Chloe Zhao’s “Nomadland,” ture, “My Mexican Bretzel.” This year is a different story, for reasons that and Spike Lee’s “David Byrne’s American should be all too obvious, and the festival is mak- Utopia” – screen at multiple venues, and Old Is New ing no bones about its off-year status, right down to opening night film “Lovers Rock” will Revivals have long been an import- a cheeky John Waters-designed poster that brags: unspool at all three. Without the usual ant element of NYFF’s programming, “No awards! No world premieres! Fewer films than out-of-towners amassing in Manhattan and this year presents an intriguing Toronto!” Not that many New Yorkers are likely to for the Lincoln Center galas, broaden- slate of classic material. The most novel care about such old-normal measuring sticks, espe- ing the NYFF’s screenings to those three offering is surely “Hopper/Welles,” the cially when the festival is offering a cornucopia of boroughs ought to open up the festival to recently discovered footage of Orson well-curated cinema that will unspool over a lei- New Yorkers who might never have paid Welles and Dennis Hopper in conversa- surely pace, starting Sept. 25 and extending through the old fest a visit. (Nearly all program- tion, while Bela Tarr’s long, and difficult Oct. 11. Below are some highlights. ming also has virtual screening windows, to find, 1988 film “Damnation,” screen- further expanding the fest’s audience.) ing virtually for five days. Wong Kar-wai’s “In the Mood for Love” offers a more Top of the World crowd-pleasing option, and for those Despite Waters’ claims to the contrary, who miss visits to New York’s more outre GOING FOR A RIDE NYFF hosts a number of world pre- revival houses, the John Waters-pro- “French Exit,” mieres, perhaps most notably Sofia Cop- grammed drive-in-only doubleheader, starring Michelle pola’s New York-set father-daughter dubbed “Art Movie Hell,” pairs Pier Paolo Pfeiffer and Lucas Hedges, is one of the comedy “On the Rocks,” which reunites Pasolini’s notorious “Salo, or the 120 highlights of the New the director with her “Lost in Transla- Days of Sodom” with kindred spirit Gas- York Film Festival, tion” star Bill Murray, and the first three par Noe’s “Climax” for a wild night at the which takes its event

TOBIAS DATUMAS/SONY PICTURES CLASSICS PICTURES DATUMAS/SONY TOBIAS to the boroughs. installments of Steve McQueen’s ﬁve-part Bronx Zoo.

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SWEET FINISH Dinara Kasko and an assistant get her cakes, designed with the aid of a 3D printer, ready for presentation at the Met.

The trick for the filmmakers was capturing the chefs at work under less than Lensing a Film About ideal circumstances and on a very condensed 11-day schedule. “A lot of the food was being prepared in the kitchens right in Cake That’s Fit for a King the Metropolitan Museum of Art. And the kitchens are very industrial; the lighting is terrible,” says Gabbert, who is no stranger DOCUMENTARY SHOWS HOW A COTERIE OF TOP PASTRY CHEFS GAVE to food docs, having directed “City of Gold,” THE MET’S EXHIBITION ON VERSAILLES ITS JUST DESSERTS By Carole Horst about Los Angeles food critic Jonathan Gold, and episodes of Netflix’s “Ugly Deli- cious,” among other credits. THE MAKING OF “Ottolenghi and the Cakes Ottolenghi’s unique recipe books; when she Gabbert worked with DP Judy Phu to of Versailles” was as complex as the confec- heard that he was the subject of the film, she develop a strategy for the shoot. “I tried to tions created by the renowned pastry chefs wanted to be a part of the project. “I just kind pair each pastry chef with two camera oper- it focuses on — and the result is equal parts of knew that any documentary placing him at ators,” says Phu. “I had one camera oper- beauty for both food and film. the center would be special,” she says. ator on a shorter zoom lens, so that they The IFC Films documentary (in select Audiences see Ottolenghi traveling could get [both] close and wide angles and theaters and on demand Sept. 25) follows around the world, tapping Dominique be physically present,” giving viewers a feel- chef Yotam Ottolenghi as he assembles an Ansel, who invented the cronut; London ing of being right by the chefs. “And then Avengers-like team of pastry chefs to bring duo Sam Bompas and Harry Parr; Ukraine- I moved the second camera operator fur- the splendor and beauty of Versailles, in based Dinara Kasko; Tunisian Ghaya ther away on a telephoto zoom, capturing dessert form, to New York’s Metropolitan Oliveira, who works in New York restaurant the texture of all of their work.” This allowed Museum of Art for the opening of a special Daniel; and Singapore’s Janice Wong, giv- editors Philip Owens and Faroukh Virani exhibit about the French palace. ing them carte blanche to create confec- to play with the different types of rhythms Helmer Laura Gabbert had read tions worthy of Versailles. caught by the different lenses. And if one IFC FILMS IFC

VARIETY 85 ARTISANS

cameraperson had to back off because they were getting in the way, “my telephoto camera operator was still able to capture everything else,” Phu says. Phu’s main cameras were the Canon C300 Mark II. “We deﬁnitely wanted to go with a ﬂoaty camera feeling,” she says. Her team didn’t use tripods but mostly leaned on a

handheld strategy, either “shoulder work GRAPHIC GUMSHOES or hugging-the-hips type of work.” Adds the Sasha Lane, Desmin DP: “I had a Steadicam operator who floated Borges, Ashleigh through the space. We had too many GoPros LaThrop, Dan Byrd and Javon “Wanna” Walton there — my cameras were definitely allowed play characters on just to capture anything; we had one in a a mission to stop freezer somewhere that ended up dying.” a deadly virus in Amazon’s “Utopia.” Phu notes that the chefs are “pretty savvy about filming and lighting and photography themselves,” being veterans of social media, and sometimes they moved themselves and their creations into a better light for the cameras. “So everybody kind of collaborated in a moment’s time.” Though the film is about the confluence of beauty and the culinary arts, the lighting Gabbert and Phu had to work with was a challenge. “As I walked through the kitchen Creating Clues for a spaces, I was definitely like, ‘Oh, my gosh, this is a lot of metal and steel that bounces light everywhere,” says Phu. “Everything Conspiracy in ‘Utopia’ is fluorescent light, because people who work in kitchens need to see everything.” Artist got inside an unstable character’s mind So the DP abandoned the idea of stylizing for the look of the comic book within the show the spaces and embraced the grittiness of the light available. “I just had to lean into all By Danielle Turchiano of that and rely on beautiful compositions more than lighting, because I could never WHEN AUTHOR and showrunner Gillian created the art, and it was somebody who add light in that space.” More light would Flynn was adapting Dennis Kelly’s U.K. was a little schizophrenic — a little unsta- add more heat, which could melt a meticu- drama series “Utopia” for Amazon Prime ble mentally — so it needed to have this lously modeled glacé, or the gelatin sculp- Video, the areas she wanted to lean fur- conflict of drawings that were full of lit- tures created by Bompas and Parr, or Ansel’s ther into were the titular comic book that tle details and drawings that were not that delicate confectionary swans. “You cannot united her core characters and revealed detailed. It’s a reflection of his mental state affect temperatures for a pastry chef,” Phu a dark conspiracy about the outbreak of a as he did the comics,” Ruas says. cautions. When she did have to use addi- global virus, as well as the backstory of a Ruas also had to fashion a version of tional lighting, the elements were small, key character, Jessica Hyde (Sasha Lane). Jessica as a young girl. For this, he used very low-heat-emitting LED lights. “It was an opportunity where we can reference photos of Lane and “imagined The night of the gala presentation of the really tell a whole other layer of story on her as a kid,” he says. “The artist is draw- Met exhibit, Gabbert, Phu and the producers top of story,” Flynn says. ing from memory, and in his mind her created a complex strategy, complete with a While Flynn and staff writer Ryan Enright face and her features are changing [as] his grid, a floor plan and an Excel spreadsheet, to penned the comic book script, the visuals memory is mixing with his own ideas. So I choreograph the camera crews and the party- came from artist João Ruas. Flynn was a fan created a character that is sort of based on goers in the Met’s sculpture hall admiring the of Ruas’ work from Bill Willingham’s comic the actress but not completely.” chefs’ creations, making sure the filmmak- book series “Fables,” and the fairy-tale style Ruas also had to embed the Easter eggs ing team captured the best footage but didn’t he used there perfectly matched what she Flynn wanted within the comic panels — knock over any priceless art in the process. had in mind for “Utopia.” everything from virus symbols to loca- “It wasn’t a competition show,” Gab- “I remember saying, ‘I want this to tions through the use of a country’s shape bert says. “It was really this exploration of look like Arthur Rackham on acid.’ I grew or flag colors. The images had to be hid- food as our history, culture. And we also up with his illustrations,” Flynn says. “I den enough that a character wouldn’t really tried to steer clear of the ‘chef’s table’ remember thinking, ‘How amazing that notice them on first glance at the page, but model [with] slow-mo and locked-off cam- would be to take advantage of a really detailed enough to read on camera. era. We wanted to have a fluid kind of curi- screwed-up children’s story?’” “We’d say, ‘This tree needs to have five ous feel — and reflect, on film, Yotam’s Ruas created all of the “Utopia” pages by leaves,’ and if it’s the shape of a country curious mind.” hand, first sketching a page based on the we’re trying to hint at, it doesn’t have to be script and sharing that sketch with Flynn perfect, but you have to be able to recognize for approval before moving on to the final it,” says Flynn. “And we made a rule that we version, which was painted in watercolor. don’t put anything in an Easter egg that the “You cannot affect The aesthetic for the pages was purposely plot hinges on. We didn’t want it to be a frus- temperatures for a different from his own, even though he was trating experience; we just wanted to sprin- working in his usual medium. kle in enough so that it was fun for anyone

pastry chef.” Judy Phu, DP “The artwork reﬂected the person who who wanted to look for those hints.” ELIZABETH MORRIS/AMAZON

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Worlds Diverge for Sherlock Holmes’ Detective Sister Production designer helps ‘Enola Holmes’ director track down a fresh take on old England for a new-generation sleuth

By Jazz Tangcay

FOR “FLEABAG” director Harry Bradbeer, There’s traffic, noise and people — with no green was indicative of gender when it greenery at all. It’s a very different world to came to building the world of the title char- the feminine, calm, green-and-blue world of acter for “Enola Holmes,” based on the YA the countryside and that grand estate. book series by Nancy Springer about the We built some of those East End of Lon- teenage sister of Sherlock Holmes. don streets around the [Old Royal] Naval The film, which bows on Netflix on Sept. College in Greenwich. She’s in this gritty 23, sees young Enola, played by “Stranger world of menacing shop facades, and Things” actor Millie Bobby Brown, trek the streets are filled with extras. And as from the British countryside to the unwel- she goes along, those streets get meaner, coming streets of London in search of her smaller and gloomier. It’s chaotic and dis- mother (Helena Bonham Carter), who has orienting to her. gone missing. Along the way, she meets Lord Tewksbury (Louis Partridge), another Ferndell Hall young, free-spirited soul. Carlin: We found a house that no one had ever Bradbeer teamed up with Oscar-nomi- filmed before [for exteriors]: Benthall Hall in nated production designer Michael Carlin Shropshire. The chief gardener who ran the (“The Duchess”) to create the sets and loca- place — his daughter was a huge fan of the tions that make up the 16-year-old’s world books, and they bent over backward. They in 1884 England. They spoke with Variety didn’t cut the grass or prune anything, and about their work. they allowed us to go in and for two weeks do what we needed. The Color Palette For our interiors, we shot at West Hors- Michael Carlin: We were adamant that we ley Place in Surrey. We continued with the didn’t want a period version of Victorian green theme here. We had free rein in the London which largely comes from black- because you notice a red bus or a red post 50-bedroom house. We used false walls and-white photographs. We had an idea that box, it pops right out. We were leading up and period wallpaper. It was a time of the we were going to track this green theme in to the moment when [Enola’s] red dress ar- PERIOD AESTHETIC Arts and Crafts movement that was trying Ferndell Hall [the Holmes family estate]. rives. She finally takes on the adult world Millie Bobby Brown, to reintroduce nature. There were motifs in That was the female color that we tried to with a little bit of the male gaze as she takes top with Louis the decoration, and the wallpaper felt like continue through her story and with the suf- possession of her look boldly. Partridge, finally the planets were growing up the walls. breaks out the title fragettes in the East End in their tea shop. character’s red dress Bradbeer: We used the William Morris wallpa- We limited the use of red and used it within The Menacing Streets of London in “Enola Holmes.” per. He was an amazing designer, and he was the male spaces. Carlin: Enola comes from the country to the Bottom: The streets one of those extraordinary characters at the of London were Harry Bradbeer: We wanted to ration the city. There’s a culture clash. When she gets presented as gray and end of that period of the 19th century. He felt red. I’ve been obsessed with rationing red to London, it’s terrifying and strange to her. gritty. right on character for that design.

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Amarah-Jae St.Aubyn, Steve McQueen -Swaby

scene of TOP BILLING TOP REVIEWS The movie, whichwas to open selected don’t want to end. thedream delectably lulling reggae-pop anthem, ahit anthem, delectably lullingreggae-pop enraptured by thesheerswayenraptured mov of it, comes on:It’s “Silly Games,” Janet Kay’s gesture that seemscoercive, butisactually raw slice drama. of culturallyobservant and disco flutesandKay’s voice soaring ritual).Thena hypnotica flirtatious sound slow foreplay. Isthat adropof sweat roll several minutesafterthesongisover. They that keep acappella, thepartyers singing, tothepoint inmotion, ofbodies trance-out the party like opium. the party the ’80sthat McQueen(“12Years aSlave,” this year’s New York Film Festival, is part of “Small Axe:part ACollection of Five Black Britishexperience fromthe’60sto Films,” of dramas about the ananthology ing fromslow dancingtoslow grooving to ing down thewall? Thescene becomes a into anecstatic highregister, thesonghits in theU.K. in1979.With itsmeltingchords “Lovers Rock” isareverie“Lovers that’s Rock” alsoa The dancers other, nuzzleuptoeach - - “Widows”) directed for“Widows”) directed BBCOneandAma detailed, idiosyncratic,detailed, voy at timesnearly euristic dub reggae mood piece thateuristic casts dubreggae mood a chised people whoweren’t people chised allowed togo even whenthey do, this doesn’t orfeel look and of goatcook uplusciouspots curry way McQueenhasstaged it’s it, avibrantly up their giant homemade speakers intheup theirgianthomemadespeakers afternoon, whentheroly-poly DJ,afternoon, Sam arriving andminglingdancing —but startackee andthenpeople andsaltfish, spell of time-machine reality. of time-machine spell their own, complete withJamaican hulk to whitedance clubs, sothey hadtocreate that’s story, onatrue notbased butthe tall-ceilinged living room, andthewomen livingroom, tall-ceilinged son (Kadeem Ramsay), and hiscrewset it takes place inthat house, inthe starting allof andnearly is only70minuteslong, ing London subculture of disenfran-ing Londonsubculture zon Studios. Thisistheonlyone of thefive bouncer and entry charge. “Loversbouncer andentry Rock” like amovie party. McQueen wants totake usintoathriv It moves like andbreathes party, areal VARIETY REVIEWS 91 - - - - SPONSORED BY

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MODERATED BY JAZZ TANGCAY Artisans Editor, Variety

UPCOMING EPISODES Episode 9: The Entertainment & Media Workforce October 6 Episode 10: The Future of Sports & Live Events October 13 ELIZABETH MORRIS/FX “‘Lovers Rock’ isa voyeuristic dub vibrantly detailed, David Tanner, Steve McQueen. Overland,Anita MichaelOverland. production, inassociationwithAmazonStudios, EmuFilms. Ramsay, Kedar Williams-Stirling, JoshuaViner Okwok, Francis Lovehall, EllisGeorge, DanielFrancis-Swaby, Kadeem time: McQueen. Newland, McQueen. Jamaican roots, andshe’s having noneof it. CREDITS: The cameradriftsandhovers andlingers, dynamics of attraction, and courtship of old-world machostyle. the Whereas one connection that just mightlast: “Lovers culminates, inanexultant by theend, club, oneslow-burn reggaereverie that (Daniel Francis-Swaby), who’s got aquietly (Amarah-Jae Aubyn, St. makingacharis- (Shaniqua Okwok) quicklysoursonwhat

not so many people, thewholethingshot read what’sread going on—thesubmerged moment of fist-raising BlackPower, and resplendent inascarletdress, gets lured promdress, isaborn- ice-cream ruffled matic debut),inherdistressed-silver with lotsof loungingandacrowd of want toget outof your head. film’s central character, theteenage Martha and thesongs, whichseguefrom“He’s the as his come-on has promised. Meanwhile, haspromised. as hiscome-on Britisherwith middle-class and-bred time-machine reality.” that castsaspellof that generates itsown it drama,because randomness through withadocumentary too muchdialogue,too butthat works outfine, of reggaeknownto theromanticmode as snapshot of an era, a moment, aseriesofsnapshot of anera,amoment, nojoke.to be waythreatening abouthimthat turnsout turns out to be assoulfulandprotectiveturns outtobe whoinhis terrific actorfrom“BlueStory”), aggressiveshe thinksistoo avibe. But power. of themenareJamaican Anumber Rock” isnothingmore(orless) thana Rock” Martha meetsFranklynMartha Ward, (Micheal the Greatest Dancer” to“KungGreatest Dancer” Fu Fighting” Cindy (EllisGeorge), girl, thebirthday is eavesdropping, andwe’re asked to immigrants who carry theirown versionimmigrants whocarry into the glamorous spell cast byinto theglamorousspell Bammy funky dark linoleum Mondrian party shirt funky darklinoleumMondrianparty because the music does thetalking. themusicdoes because lets usknow that anything mighthappen. lovers rock, almost neverlovers stop. rock, Thereisn’t lives. Yet itlingers like asongyou don’t idiosyncratic, nearly reggae moodpiece At theparty, Martha’s friendPatty Watching “Lovers Rock,” theaudience One night, one homemade danceOne night, 70 MIN.

A BBCFilm release ofaTurbine Studios,LammasPark Music: Cast: MicaLevi. Reviewed online,Sept.16, 2020. Amarah-Jae St.Aubyn, Ward, Micheal Shaniqua Camera: ShabierKirchner. Director: Executive producers: McQueen. Editors: Screenplay: ChrisDickens, Tracey Scoffield, Producers: Running Courttia Courttia

in “Fargo,”Season4. breasted suit)star Turman (indouble- trousers) andGlynn Hendrix (ingreen (holding hat),Corey Jeremie Harris Chris Rock(seated), SOUL OFTHECITY creates a threat that athreat creates grows inpower. his outbursts, shutting off hischarisma doesn’t always deliver fearsomeness in to wringmenace fromhisrole;thoughhe crimefamily, of alocal leader Rock works exactly.is weak, AsLoy Cannon, the is. herereally whatabout thestory compensates forthe season anuncertainty though thevolume of into incidentpacked the Coens’) usualbuoyant confidence, as movenine episodes withoutHawley’s (or sors, andcomes away overstuffed. Thefirst more sweeping thanany of itspredeces in 1950Kansas City, setsouttotellastory misfire. depictinggangrivalry Thisseason, the toneandsetting a of theCoens’ film, as themost decisive move yet away from by Chris Rockled andwritten by Hawley afield. range further fundamentally of “Fargo,” even asthey in windingupresonanttalesthat still feel amidchaos.reality Theshow hasexcelled Hawley’s ability tofindmomentsof lived still thebest —have proved creator Noah second season, UFO-bedecked 1970s-set, Until now, theshow’s bigswings—like the complicatedincreasingly crimestories. frigid climate andrigidpropriety, totell places against humangreed asetting of Ethan Coen’s 1996Midwestern noir, which installment borrowed thetoneof Joel and ity withinitsconstrained format. Each found asurprisingamountof elastic- Schwartzman, Jessie Buckley, E’myri Crutchfield reviewed); Sept.27 STARRING: DRAMA: IN ITS FIRST THREE Fargo BY DANIEL D’ADDARIO REVIEW TV That isnotto say that what’s on-screen Which makes theshow’s fourth season, FX (Season4;11episodes,nine

Chris Rock, Jason

seasons, “Fargo” -

Coen, EthanCoen.60min. White, E’myri Spencer Crutchfield, Karen Huston, Stephen Aldridge, Jack Vincent Meredith, MatthewHendrix, James Elam, Andrew Bird, Anji Bruno, Ben Whishaw, Francesco Acquaroli, Jeremie Harris, Corey Buckley, Glynn Turman, Timothy Olyphant,Salvatore Esposito, Gaetano CREDITS: together: Buckley, inparticular, deliv allowed. than aBlackgirlin1950mightbe withambitionstodomoreCrutchfield) the Lundegaard case, (E’myri aschoolgirl standby since Frances McDormandtook purity of intentionthat’s a“Fargo” been theseason’sperhaps tothe onlynod inlawman Olyphant)and, (Timothy soldier (BenWhishaw), ahumorless nurse (Jessie Buckley), adolefulfoot These includeaderanged andhomicidal various othercharactersenterthescene. Fadda (afloridJason Schwartzman) — Jostothe ambitiousandtempestuous with theItaliansidetakingitscuesfrom keep peace. Amidswelling acrimony — failsto predictably of television, season premiseofwildly unrealistic afantastical gesture, asitisthe designed onethat, of peacekeepingthe Italianmobasasort Cannon hissonwithaof hastraded and could be still. and could still. be flicker of theshow that mighthave been, the season’s outsized lunacy, feels like a Rock’s humanwistfulness, real in abreak more satisfying notesofhumanconnection, theharderand workCoens’ buthasditched thewackinessthat hasmaintained of the Sure. But against thecontext of aseries to get at issues of racismandexclusion? card launchasomewhat thinlywritten way of thefirst-ever apart out onbeing credit- that acharacterahistoricallyidea missed Isthe asnottheirclass ofrejected person. andwas ontheidea episode, abank pitched afterhe,invented card, credit inthefirst forthe framewithagiantposter thenewly Rock’sinto theseason, shares Loy balefully of theseriesaresotonallyoff. Anddeep makes theviewer wonder why otheraspects ontheoutside—onethat tobe means understandinga painstaking of what it with sparkle you intorobbingyourself” theway about Huston, America“tricks showdown withacharacterplayed by Jack plays themwell. Hisobservations, ina possessesits best —soulfulness. fewevil andtoo givinguswhat theseriesat acters standing infor of thegrandest sorts lost here, has been balance withmany char terizations arenotnewfor “Fargo,” buta Outsize herownoccupies charac orbit. out muchof anything inoneanother, each of normalcy;farfrombringingthe balm able gapbetween monstrous maniaand representanunbridgewith Crutchfield overplayed thisrole.) Thescenes sheshares oneseeswhyretch-inducing ipecac; she Mayflower whobakes fullof desserts the ter isablack-widow Oraetta nursenamed though it’s hardtoblameher. (Hercharac ers atic-laden vastly performance big, too These pieces don’t consistently fit Rock gets thosenotes, and though,

Executive producers: Cast: VARIETY Noah Hawley, Warren Littlefield,Joel Chris Rock, Jason Schwartzman, Jessie REVIEWS - 93 - - - - FACETIME

In your new Netflix special, you say Michelle Buteau you’re having a “good-ass year” — you have to be referencing 2019, right? Yeah, I started working on this material ‘The Material Will last summer, and it was a good-ass year, and the goodness was to be continued. I almost named the special “A Good-Ass Tell You Where It’s Year,” and I was like, “That is hella inap- propriate because it is not anymore!” Now we’ve just got to get through the Supposed to Go’ damn day.

When you’re writing both a stand-up By Danielle Turchiano special and a book, how do you deter- mine what material goes where? I think the material will tell you where it’s COMEDIAN, ACTOR and author Michelle Buteau is busier than ever. supposed to go. There are certain stories She not only stars in BET Plus’ “First Wives Club,” hosts Netflix’s “The that are just more [about] fear or [are] Circle” and will lead and executive produce “No Pulling Out Now” for dramatic or ridiculous that you can’t really do on a stage because everyone’s not going Quibi, but she also recently shot a stand-up special (also for Netflix) to get it and also you just sound crazy, so and wrote her first book. Now, at a time when her audience may some stories just really lend themselves really need a laugh, the fruits of that work are paying off: Her special, to print. And I didn’t even realize I had all “Welcome to Buteaupia,” is streaming Sept. 29, and her book, “Survival of these stories until I started podcasting. People kept referencing these stories, and of the Thickest: Essays,” is out in December from Simon & Schuster. they feel like they have similar experiences or feel less alone. [So for the book] I was like, “This is a dope opportunity to show

‘GOOD-ASS’ LAUGHS a different side of myself.” Michelle Buteau stars in Netflix comedy special What makes you want to get so personal, “Welcome to Buteaupia.” rather than political, in your stand-up? If I’m going to do stand-up, I want to have an escape. I don’t want to think about how sad the patriarchy really is and how misogynistic health care is, and I would rather not talk about 45 because I would be ﬂipping tables like a Jersey ‘Housewife.’

What can we expect in Season 2 of “First Wives Club”? We are trying to figure out how to safely film Season 2. It’s already been written — I’ve read some of it — but they’re trying to figure out how to make it COVID-friendly to shoot, so there will be some rewrites. But it’s pretty juicy. All I can say is, I really appreciate [creator] Tracy Oliver for not only hiring two women — Jill Scott and I — who are not size 8, but to also write in steamy scenes that all women will feel seen in and appreciated because big bitch- es need love too! We are worthy of love. So I am very excited.

What does COVID-friendly mean to you? That is the question I ask every day, all day, because information is coming in faster than I can comprehend, and so I think that for me to feel safe on set, everybody [has to be] on the same page, be super vigilant about being safe, getting tested, keeping our distance, staying quarantined, being efﬁcient with our time and our shots and then also not getting too comfortable. THINGS YOU DIDN’T AGE: 43 HOMETOWN: Hamilton Square, N.J. CURRENTLY BINGE-WATCHING: “Indian Matchmaking,” “I May Destroy You,” “90

Week 2 we’re doing the [right] thing, Week /NETFLIX KNOW ABOUT Day Fiancé” INSPIRATIONS: Wanda Sykes, Tig Notaro, RuPaul CAUSES SHE MOST CARES ABOUT: Education in Jamaica, Planned Parenthood, ACLU, Black Lives Matter and women’s marches: “To name one organization is like to name your favorite 3 I see a nose — no! Put your nose away! I MICHELLE BUTEAU Whitney Houston song — you can’t; there’s always going to be more than one.” don’t want to see it. Don’t get comfortable

— we’ve still got to stay safe. PRICE MARCUS

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