“Television shows us who we are, where we stand as a society and how far we still must travel. As a black trans woman who spent her youth searching for refl ection, I’ve seen this impact fi rsthand. With ‘Hollywood,’ I got the opportunity to time travel to the Golden Age of Hollywood to rewrite some wrongs with my mentor and collaborator Ryan Murphy. We realized this medium gave us an opportunity to imagine what equality could have looked like then, if the people pushed to the margins were brought center stage.” Janet Mock, Writer/Director

“You’re always surprised. Something might happen on the day, whether it’s Tan walking around a store or Jonathan cutting somebody’s hair, Karamo unearthing someone’s true feelings, there are moments that you’re always listening for, that you’re always tuned into, and you have to guide the cameras specifi cally to them. Details count, like if there’s a closeup, can you see their eyes well enough? Sometimes those things are very tricky to get.” Hisham Abed, Director “We’ve all been able to realize a dream and at the same time get to help people, which is rare, you don’t usually get to follow your dreams and help other people attain their own.” Bobby Berk, Co-Host (Queer Eye)

“There is such a sense of mutual respect and collaboration, and sense of gratitude for being there. It’s heaven. At the end of the day it’s really generosity that everyone has for everyone else.” Laura Linney, Actor (Ozark)

“Filming is a profoundly collaborative process, not due to some ideology but simply because of the number of people that have to contribute to make the whole. There are far too many to name who have contributed with great skill and artistry to make the show what it is.” Tobias Menzies, Actor (The Crown)

“In an industry that is desperate for change and constantly yearning for representation, I am grateful to be a part of a show that sparks timely and necessary conversation. A revisionist history of what a more inclusive Hollywood could have looked like six decades ago.” Jeremy Pope, Actor (Hollywood) Amid calls for social change, the entertainment business wrestles with a legacy of exclusion

by Elaine Low and Angelique Jackson

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“It wasn’t something I was trying to 77 FILM do. There was no media strategy. “The Outpost” P.7 7 It’s like God aligned all of this; he 79 TV put this music in my heart. I hope it “The Baby-Sitters Club” encourages everybody else to start “The Outpost” singing their truth.” 81 MUSIC review Country singer Mickey Guyton on why she released “First Rose of Spring” “Black Like Me” sooner than she planned P.82 DICKINSON: APPLE TV+; NAYYAR’S HOUSE: JOSHUA SPOONER; RICK DIAMOND/SHUTTERSTOCK; OUTPOST: SCREEN MEDIA FILMS OUTPOST: RICK DIAMOND/SHUTTERSTOCK; SPOONER; HOUSE: JOSHUA NAYYAR’S DICKINSON: APPLE TV+;

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News Stars of ‘Tenet’ Film Delayed Once More Upcoming TV Premieres

WARNER BROS. has again pushed back the release date for Christopher Nolan’s “Tenet,” 54 starring Robert Pattinson and John David Washington. It’s the second delay for the Ernie Hudson highly anticipated tentpole, which has been Carl Weber’s The Family Business primed to reignite moviegoing after lengthy The second season of this cinema closures due to the coronavirus. BET crime drama might be The movie, which cost $200 million to fuel for his sputtering score. make, was first slated to arrive in theaters July 17 but was postponed to July 31. Now its release is scheduled for Aug. 12. “Warner Bros. is committed to bringing 41 ‘Tenet’ to audiences in theaters, on the big Mireille Enos screen, when exhibitors are ready and pub- Hanna lic health officials say it’s time,” a Warner Her number got some big Bros. spokesperson said in a statement. “In love in May; now she hopes to make a killing. this moment, what we need to be is flexible, and we are not treating this as a traditional movie release. We are choosing to open the movie midweek to allow audiences to dis- 47 cover the film in their own time, and we plan to play longer, over an extended period far Alicia Silverstone beyond the norm, to develop a very different The Baby-Sitters Club Her VScore has been yet successful release strategy.” steady as viewers clue in to The latest shift comes after New York the Disney Channel series. Gov. Andrew Cuomo announced that movie theaters in his state would not be included in Phase 4 of reopening. Vscore, powered by Variety Business Intelligence, identifies the social footprint, familiarity and availability of over 25,000 • For the full story, head to Variety.com. actors. For more info please visit Vscore.com OCK; SILVERSTONE: GREGORY PACE/SHUTTERSTOCK; KRAVITZ: LAURENT VU/SIPA/SHUTTERSTOCK LAURENT KRAVITZ: PACE/SHUTTERSTOCK; GREGORY SILVERSTONE: OCK;

Variety Poll Say What? Users: Cable, Satellite “I’ve been really trying to not think too much about just what that TV Have Lowest Value character means to everybody else, just because it can be distracting in the wrong way, especially when you’re trying to become someone A new Hub Entertainment Research study shows that users else. When the announcement came out that I had gotten this role, of video services think their cable or satellite service offers my phone rang more than it has ever. More than my birthday, more the lowest user value, with major streaming services Netflix, Hulu and Disney Plus all rated 1.7 times greater. than my wedding, more than anything, so I felt that immediate NETFLIX pressure. I feel very clear on who Selina is and what she wants, and 39% 34% I’m trying to stay more focused on that.” HULU Zoë Kravitz on playing Catwoman/Selina Kyle in “The Batman” 36% 34% DISNEY PLUS “We’ve been finishing ‘I’ll Be Gone in the Dark’ and I’ve been editing on 33% 37% AMAZON PRIME VIDEO another film, so I haven’t gone back into the field since COVID, but 42% 27% interviewing somebody with a mask on or gloves or whatever we’re VMVPD i.e., Sling TV, YouTube TV going to have to do is going to feel very different. But I do think there 35% 31% is a way to do it safely, because with docs there are smaller crews, so I APPLE TV PLUS do have optimism that documentaries can operate in a very safe way.” 35% 27% Liz Garbus, director AVOD i.e., Tubi, Pluto TV, Crackle (Net) 32% 26% RENT OR BUY “I think that there’s no opinion on the series that is wrong. Everyone 29% 15% is entitled to their own opinion, in the way that they perceive it. Good Value MVPD i.e., Xfinity, Spectrum, DirecTV And I’ve never frowned upon any which way anyone wants to look at 28% 15% Excellent Value [the show].” Data provided by Hub Entertainment Research for Variety Intelligence Platform “13 Reasons Why” star Dylan Minnette Analysis. For more analysis, please visit variety.com/vip/ MICHAEL BUCKNER/VARIETY/SHUTTERST ENOS: SANJUAN/INVISION/AP/SHUTTERSTOCK; WILLY HUDSON: BROS.; SUE GORDON/WARNER MELINDA TENET:

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Hollywood’s Taxing Situation

LEGISLATURES AND LOCAL GOVERNMENTS UNDER FISCAL PRESSURE ARE TAKING A HARD LOOK

AT ENTERTAINMENT INDUSTRY TAX CREDITS By Brent Lang and Gene Maddaus

HOLLYWOOD HAS enjoyed a symbiotic rela- spending as they grapple with a shrinking focused on government and corporate tionship with state governments for years. tax base brought on by the economic col- accountability. In return for shooting movies and shows lapse. Without assistance from the federal In Georgia, lawmakers reined in spend- in Louisiana or New York City, it received government, leaders like New York Gov. ing by $2.6 billion, instituting tough mea- generous tax incentives that allowed pro- Andrew Cuomo have even raised the pros- sures that included more than $1 billion in ducers to shave millions of dollars off their pect of laying off firefighters, police officers, cuts to K-12 education. In a Senate Finance budgets. These states got something for health care workers and teachers as they Committee hearing last week, two lawmak- their generosity too. Not only did they have look to get costs under control and plug ers discussed capping the state’s tax credit, the thrill of seeing their local communi- budget shortfalls. That has put increased which pumped $860 million into the enter- ties used for the backdrop of, say, a zombie MAKE OR BREAK pressure on film and television tax breaks, tainment industry in 2019. apocalypse in the case of the Georgia-shot The merit of giving which states have long used to entice pro- “It’s much more on the table than it has “The Walking Dead,” but they also were tax incentives to duction jobs. ever been,” says J.C. Bradbury, a professor of shows like “The able to provide residents with thousands of Walking Dead,” “In today’s environment, film produc- economics at Kennesaw State University. good-paying jobs. starring Andrew tion incentives are a luxury, and no states Bradbury notes that two audits exposed Due to the coronavirus, that could all Lincoln and Jeffrey are looking for budget luxuries,” says lax controls in the program and raised Dean Morgan, for change. Across the country this sum- shooting in-state is Greg LeRoy, executive director of Good doubts about whether the state was getting a mer, state officials are slashing billions in being questioned. Jobs First, a nonprofit advocacy group return on its investment. GENE PAGE/AMC

VARIETY 17 TOP BILLING

“What really brought it to the forefront including what they offer for film and tele- In recent years, there has been talk of lift- is the state budget crunch,” Bradbury says. vision production,” says Michael Thom, ing the cap to compete with more generous “The governor has said we have to cut 14% associate professor at the University of credits elsewhere. across the board.” Southern California’s Sol Price School But the state legislature recently ended So far, no bill has been introduced to of Public Policy and the author of stud- a session where it had to cover a $2 billion cap the program. And any such bill would ies that are critical of production incen- shortfall, and came up with $600 million in likely meet stiff opposition from the Geor- tives. “Peer-reviewed studies are clear, cuts. More are expected in the next legisla- gia-based entertainment industry, which and so are analyses from quite literally tive session. Sen. John Arthur Smith, who has become a vocal constituency over every state that’s run the numbers: These chairs the Finance Committee, says the the past decade. Insiders are also confi- incentives drain money from budgets. Cut- film credit could well be up for discussion. dent that Gov. Brian Kemp, a Republican ting them solves that problem; expanding “I strongly suspect the next legislature who is eager to burnish his pro-business them makes it worse.” will probably be talking about that,” Smith bona fides, would veto any bill that tried Similar debates could arise in New says. He argues that the benefits of the to cut incentives. They also believe that York, where Cuomo has said the state credit have mostly been felt in the Santa the GOP-controlled legislature would kill faces across-the-board cuts of 20% if the Fe area, and lawmakers there are likely to efforts to end the benefits before a vote federal government does not come up defend it the most. was even cast. Studios expect that states with a relief package. “It has not been widespread throughout will be in such dire need of returning peo- “Right now the stage is being set to cut the state,” he adds. ple to work that they will have no choice aid to cities and towns, which employ For states like New York, Louisiana and but to preserve these measures. They emergency workers and first responders,” New Mexico, film and television shoots point to the billions in economic activ- says Dave Friedfel, director of state stud- have kept thousands employed as light- ity that Georgia-shot productions such ies at Citizens Budget Commission, a New ing technicians, makeup artists, cater- as “Stranger Things” and “Avengers: End- York-based civic organization. “So I don’t ers, grips and other critical below-the-line game” are estimated to have contributed know how you can justify sending hun- jobs. Casts and crews have also patronized to the local economy as evidence that the dreds of millions of dollars to Hollywood. hotels and restaurants, creating a spillover incentives are paying for themselves. Other Ideally this credit should be eliminated, effect that results in millions, even billions factors may help protect the credits from but a solid first step would be to reduce of dollars in economic activity. lawmakers and citizens who would like to the amount.” It’s possible that instead of being see them scaled down or excised entirely. The state’s film incentive, considered forced to simply defend existing tax “The health emergency shut down pro- one of the most generous in the country, is incentives for film and television produc- duction, so a much lower amount [of credits] capped at $420 million per year, and has tions, state lawmakers may find them- is going to be paid out,” says Hilde Patron, drawn criticism in the past for massive sub- selves being lobbied to come up with a professor at the University of West Geor- sidies for major TV shows. “Blue Bloods,” the other breaks to lure movies and shows gia’s Richards College of Business. “It’s also CBS drama, was subsidized to the tune of to their borders. To shoot safely during a popular program. People like having the $80 million over a four-year period. COVID-19, film productions are expected film industry here. They think it’s exciting to “Does a production like ‘Blue Bloods’ to outfit staff in protective equipment, have ‘The Walking Dead’ shoot here.” really need New York’s money at a time provide frequent testing and mandate However, Patron and other experts when the lines at food pantries are at social distancing. These measures could ADDED BENEFITS think that opposition to the tax incentives record levels?” asks Ron Deutsch, execu- cause budgets to swell and contribute to “Stranger Things,” could build if social programs keep being tive director of the Fiscal Policy Institute. “I starring Millie costly production delays. There’s a world impacted. In that kind of atmosphere, any- don’t see how you can justify spending this Bobby Brown and in which states could be asked to help thing that could be perceived as a corporate much money in this way when you’re pull- David Harbour, and defray these bills. “Avengers: Endgame,” giveaway could become politically toxic. ing teachers out of classrooms and nurses with Robert Downey “Given their track record, it would not “Many budgets are in flux due to pan- out of hospitals.” Jr. and Chris Evans, surprise me if the industry asked for addi- demic-related uncertainty, but it would New Mexico’s lawmakers have long sup- are Georgia-shot tional taxpayer support,” says Thom. productions studios surprise me if states did not use this ported that state’s film and TV production say have contributed In the coronavirus era, however, Holly- opportunity to revisit corporate welfare, credit, which is set at around $100 million. to the local economy. wood may not like the answer it receives. STRANGER THINGS: NETFLIX; AVENGERS: DISNEY AVENGERS: THINGS: NETFLIX; STRANGER

18 VARIETY TOP BILLING

notes both acquisitions are in line with Canada Stays the the company’s strategy of banking on big names and big franchises — especially, in current circumstances, without being able to see a finished product. Course Despite In the fall, Citytv’s marquee franchises extend to unscripted programming like “Dancing With the Stars,” “The Bachelor- Hollywood Void ette” and “Hockey Night in Canada” fol- lowing a 12-year, $5.2 billion deal in 2013 to air NHL games. Waiting to hear how the BROADCASTERS LEAN INTO TRIED-AND-TESTED TITLES NHL season unfolds is an ongoing part of those “endless contingency plans, which IN THE FACE OF SLIM U.S. PICKINGS By Amber Dowling are constantly being updated with varia- tions for all of the variables that could pos- sibly occur,” says Mindell. On the specialty side, Eves reveals Corus looked at other international mar- kets, acquiring series like Sky One’s work- place comedy “Intelligence” and Sky Atlantic’s thriller “Devils.” To fill content hours, they also bet big on streaming ser- vices; the company announced a deal to bring Peacock original productions to var- ious channels across the Corus slate, while adding a slew of CBS All Access program- ming even though the streamer is available in Canada. “Some of the subscription services just don’t have a marketing platform that we have here at Corus,” Eves says. “This is going to bring those shows to a whole new audience.” Across the board, all of the private broadcasters, which typically come under fire from critics this time of year for lean Canadian content on the main networks, also announced renewed commitments to local programs like medical dramas AS HOLLYWOOD gets into gear with “Next” from Bell Media, which had previ- “Transplant” and “Nurses,” sitcom “Jann” decreased pilots and staggered produc- ously commissioned the Fox-produced AI and police procedural “Hudson & Rex.” As tion, Canadian broadcasters that typically series for its midseason schedule in fall U.S. broadcasters look North to round out rely on U.S. programming acquisitions to 2019. For its part, Bell, which declined to their own schedules, that has created new anchor their fall schedules have also be interviewed for this story, stuck with opportunities for all CanCon creators — a faced a shortage of new product. But a its other 2019 midseason acquisition, Fox trend that’s paid off in particular for pub- dearth of American shows is also leading drama “Filthy Rich.” It rounded out the lic broadcaster CBC, which has a Canadi- to new opportunities. CTV schedule with Chuck Lorre sitcom “B an-first, acquisition-second approach to The three private broadcasters — Bell Positive” and the incoming “Supermarket its schedule. Media, Rogers and Corus — presented vir- Sweep” reboot. According to Jennifer Dettman, executive tual upfronts to advertisers last week, The network airs “Law & Order: SVU,” director of unscripted content for CBC, that unveiling schedules that remained fairly but it did not invest in the upcoming Chris approach allows the network to have more similar year on year as executives banked Meloni-starring spinoff; that landed at Rog- control of the fall schedule. There’s a “back- on stability and returning series, with a few ers, where it joins the three Dick Wolf “Chi- log” of Canadian content that will bolster its coronavirus-era tweaks. cago” series on Citytv. ABC’s incoming “Big slate for the entire year, but it also puts the “It wasn’t really a seller’s market,” says Sky” was not picked up. broadcaster in prime position to woo inter- Corus Entertainment’s senior VP of broad- “Having a similar schedule year over national buyers — especially in the wake of cast networks, Daniel Eves. “There was year is a good thing for both viewers and buzzy sales on shows like “Coroner” and less product available, but there was also advertisers,” says Hayden Mindell, Rogers’ “Fridge Wars,” which both sold to The CW. In less to show in terms of what a pilot would VP of TV programming and content. Like the long run, Dettman speculates the shift be. The combination of not knowing what many in the industry, the executive reveals could be good news for Canadian television the product would look like [along] with a major part of his job focus has shifted to in general. the timing in the market itself [meant] drawing up contingencies in the wake of “These partnerships help elevate bud- there wasn’t a leverage point on either side the pandemic. gets, which in turn help elevate production AI ON THE MOVE in terms of the sellers being able to charge Although Mindell says there is a plan values,” she says. “There are more oppor- John Slattery, more, or for us being able to point to an in place until December, the schedule for Fernanda Andrade and tunities for partnerships on shows that abundance of programming to pick from.” Rogers-owned Citytv includes a look for- Jason Butler Harner they haven’t seen before. There’s really star in Fox series Corus rounded out its Global TV fall ward with the midseason pickups of “Young great storytelling, and really great series “Next,” which Corus schedule with the Queen Latifah-led Rock,” starring Dwayne Johnson, and “Mr. snatched away from that I’m hoping more people in the world

FOX drama “The Equalizer” while snatching Mayor,” toplining Ted Danson. Mindell Bell Media. will get to see now.”

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GUEST COLUMN Lena Waithe

Change Must Be Mandated, Not Requested

HOLLYWOOD NEEDS NEW DIVERSITY RULES AND WAYS TO ENFORCE THEM

MONEY IS THE only language that people what we need to say to the studios, net- are a million white shows just like it. in Hollywood understand. The only way works and streamers: These are the rules. There are way more shows about white we’ll see change in an industry that bene- You abide by them or you get fined. angst than there are about Black life — fits from systems of inequality as they exist I have faith that this country can live up normal, everyday Black life. today is to hit people in their pockets. to its promise. Because anything is pos- We are just now getting to a place We need mandates for inclusion. The sible. There was once a time in this coun- where a show like [the Waithe-cre- studios, networks and streamers all need try when Black people were property. Four ated comedy] “Twenties” can exist. TBS to live by new rules, and if they don’t live hundred years later a Black man becomes couldn’t do it. Hulu didn’t buy it. We’re on by them, there need to be financial reper- president of the United States. That took a BET. A show on BET has never been nom- cussions. The studios need to greenlight a long time, but it happened. inated for an Emmy. You could argue that certain number of projects from Black peo- Nothing says more about who we are as the content has not been there in the past, ple, brown people, people with disabilities, a country than our last two presidents. We but the content has improved. Whether people who identify as LGBTQIA+ and other have a Black president for eight years, and you’re Black or white, you can’t tell me that marginalized communities. Hollywood is then who follows him? Trump’s racist ass. [the 2017 BET miniseries] “The New Edi- nothing if not a mirror of America. Whenever Black people get too close to free- tion Story” wasn’t Emmy-worthy. Maybe We have to hit the sources of funding for dom, those in power start feeling oppressed. if it had been about the Beach Boys it this business. If your studio hasn’t green- For me to be sitting where I sit now would have gotten some love. lit enough projects brought in by underrep- as a Black queer woman in this industry The trades, including Variety and The resented communities — everything gets is progress. But the reality is I’m one of Hollywood Reporter, are also a part of the shut down. You can’t go into production on very few. I don’t want people to look at me, problem. When it comes to Emmy hopefuls anything. That’s how serious this situation Issa Rae or Donald Glover and say, “We’re or Oscar predictions, Black and brown peo- is. I can sign all the petitions and go to all good. We did it.” ple are often left off those lists. We’re never the meetings I want. But we need mandates. I think some people look at the progress IN THE LEAD a part of the conversation or roundtables. Jonica T. Gibbs We need new rules and a way to enforce we’ve made and think there’s not much left And when we are there — there’s usually stars in BET’s them. If an NBA player goes against the to do. But what people have to understand “Twenties,” created only one or two of us. rules on the court, they’re penalized. That’s is that for every Black show we have, there by Lena Waithe. The irony is that the trades then write stories asking, “Why are these awards shows so white?” It’s because of the narra- tive you put out into the industry. Change comes slowly or not at all. I think it’s going to take some time. But there was a point in time when Amer- ica was segregated — that was the law of the land. My mother was born into that in 1953. It’s important to remind people that it was not that long ago. There were new civil rights laws written [in the mid-1960s] that allowed people to live differently. If there was no law and if integration was not enforced, it would probably still exist today. Just like MLK said: “Freedom is never vol- untarily given by the oppressor — it must be demanded by the oppressed.” Part of the attention being paid to racial justice in Hollywood in the wake of George Floyd’s murder is lip service, and part of it really does have good intentions. Unless we change the laws and change the rules of this industry and this country — history will continue to repeat itself again and again and again.

Lena Waithe is a writer, producer and actor. MICHAEL KUBEISY/BET

20 VARIETY TOP BILLING Priyanka Chopra Jonas Is on a Global Quest

THE ACTOR AND PRODUCER’S NEW TV DEAL WITH AMAZON BROADENS HER REACH

AS WELL AS THE STREAMER’S By Marc Malkin Photograph by Caitlin Cronenberg

PRIYANKA CHOPRA JONAS remembers globally. She’s a powerhouse producer, when she was a teenager watching Sarah and we are thrilled to collaborate with Michelle Gellar in “Buffy the Vampire her for years to come.” Slayer” in her native India — and later, when Before striking the deal, Chopra Jonas she moved to the U.S. for high school. was already collaborating with Amazon “I was like, ‘That’s who I want to be,’” on two television projects: “Sangeet,” an Chopra Jonas, 37, tells Variety. “She was unscripted series co-produced with her an amazing teenage idol. But what if at 13, husband, Nick Jonas, based on the Indian I had seen someone who looked like me? pre-wedding tradition in which the fam- The only person that I saw at that time ilies of the bride and groom compete who was culturally representative of me against each other in song and dance, was Apu from ‘The Simpsons,’ and he was and “Citadel,” Anthony and Joe Russo’s played by a white guy, which I found out spy series in which she’ll star with Rich- much later, obviously. But as a teenager, ard Madden. I didn’t see representation of myself in Amazon hopes Chopra Jonas will help American pop culture or even global pop grow the studio’s footprint in India. In a culture outside of the stereotypical carica- report published in May, research firm tures of South Asians.” Media Partners Asia forecast that Amazon Over the course of her U.S. career, will reach 17 million subscribers in the Chopra Jonas has aimed to course-cor- country in 2020, just behind market leader rect Hollywood’s treatment of South Asian XXXXX Disney Plus Hotstar, with 18 million. actors and people behind the scenes. Now, Si perius tant. M. “My quest really is to be able to tell female Variety Evignat rei patum as is exclusively reporting, she’ll in tem ingulique stories, work with creators from around have a larger platform than ever from eresendeo aperbes the world and create a cross-pollination of which to do that, having signed a two-year ignocciem atiam storytelling,” Chopra Jonas says. “Amazon iam inul te quempli multimillion-dollar first-look television ntemusatu qua erem, is such a great partner to do that because deal with Amazon. nost virium ex sed their reach and outlook is so global. My “I didn’t think as a 13-year-old when Amazon television deal is a global deal, so I I was watching TV that something was can do Hindi language, I can do English lan- missing, but now as I’m older, I wonder if guage, I can do whatever language I want.” I would have been a lot more confident in On the film side, Chopra Jonas has at high school if I would have not been afraid least one project with Amazon that she of every other person that looked differ- can talk about: She’ll topline and pro- ent than me,” Chopra Jonas says. “I wonder duce “Sheela,” a feature based on the Net- if I wouldn’t have put my head down and like Mindy Kaling and Aziz Ansari, there flix docu-series “Wild Wild Country.” She’ll walked in the hallways feeling like a uni- was no precedent for having someone who star as Ma Anand Sheela, assistant to guru corn that everyone was staring at. I wonder was an Indian immigrant from outside of Bhagwan Rajneesh (also known as Osho). if that would have changed my high school the American culture to come in and break Amazon aside, she’ll next be seen in Net- experience. I think it would have.” global entertainment.” flix’s “We Can Be Heroes” with director When Chopra Jonas arrived in Hol- After becoming in 2012 the first major Robert Rodriguez, as well as the streamer’s lywood about eight years ago, she was Bollywood star signed by CAA, Chopra “The White Tiger,” an adaptation of Aravind a massive Bollywood star with some 60 Jonas made her U.S. debut the following Adiga’s Man Booker Prize-winning best- film credits to her name and shelves lined year as a voice actor in Disney’s animated seller of the same name. She’s also shoot- with Indian acting awards. “When I got “Planes.” Her career began to take off in ing Warner Bros.’ “The Matrix 4,” which the opportunity to come to America and 2015 when she landed ABC’s “Quantico,” recently resumed filming after production get representation, I remember the first marking the first time a South Asian female was halted by the pandemic. thing that I had to do was swallow my actor headlined a network television series. Says Chopra Jonas’ longtime manager pride,” she recalls. “I had to explain who I It was a general meeting with Amazon Anjula Acharia, “Priyanka’s willingness to was and what I wanted to do. There have Studios head Jennifer Salke that led to the challenge the status quo is exactly what been some incredibly prolific Indian actors first-look deal. “Priyanka and I bonded global audiences are crying out for, and for that have worked in American movies and over a shared passion for diverse global this reason alone, she is one of the most have done incredible work — like Irrfan storytelling,” Salke tells Variety, adding, unique talents in the landscape right now.” Khan, Tabu, Anupam Kher, Amitabh Bach- “Priyanka is drawn to exciting original chan — and outside of Indian Americans content and characters that can resonate Naman Ramachandran contributed to this report.

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In early March, Bobby Bones began hosting Opry Plays to Empty a highlights show culled from the previous week’s performances. But when the Opry had to bar audiences and go with a small number of socially distanced stars perform- Seats, New TV Audience ing acoustically in the round, the decision was made to go completely live on TV, too, to match the immediacy felt in radio broad- CLOSING IN ON THE CENTENNIAL MARK, RADIO’S casts and streaming. LONGEST-RUNNING BROADCAST SKIPS THE IN-HOUSE An empty house means the Opry’s loss of gross ticket revenue could easily exceed AUDIENCE BUT DRAWS A VIRTUAL CROWD By Brian Mansfield $250,000 per show, and close to 50 Opry shows have been affected through the end of June. Yet the average audience for each show without actual concertgoers is approx- imately 2 million, according to the Opry’s combined metrics. And Garth Brooks and Trisha Yearwood’s appearance May 2 drew more than 5.5 million viewers and listen- ers through various media, by the Opry’s measure. “If you had asked me in January if we’d have a 2 million Saturday-night audi- ence now … I would have thought that would be awesome,” says Drew Reifenberger, Cir- cle Media’s GM. During the pandemic shows, Bones emcees for TV and livestream audiences from the center of the auditorium, while an Opry announcer assumes the same role for radio listeners from the side of the stage. A thematic thread connects the mini- mized number of artists booked each week. “We’ve seen that connection between fam- ilies, like Vince Gill with Amy Grant and their daughters, and Garth and Trisha,” says Gina Keltner, director of Opry talent booking and logistics. “We’ve booked close friends like Luke Combs and Craig Morgan, who commiserated and shared new quaran- tine-themed songs they had written during their downtime.” As Nashville has begun to loosen restrictions, so has the Opry. Musicians have been added onstage, and the size of the crew has increased. During a Salute the Troops performance on Memorial Day weekend, the Opry seated five members of the U.S. military in the balcony — the first audience members allowed in the Opry BRAD PAISLEY knows the Grand Ole Opry canceled a Saturday performance just House in two months. Each change brings has its ghosts, but March 21 felt downright once, on April 6, 1968, because of Nash- new challenges. “We ran into a predica- eerie. There was no anticipatory murmur ville’s curfew following the assassination of ment one week where two artists wanted of excitement from fans filing into the host Martin Luther King Jr. in Memphis. But for to bring their own piano players, so we had venue in Nashville that night. Instead, he the past 14 weeks, radio’s longest-running to address sanitation of the piano between and fellow Opry members Vince Gill and show has aired without fans on site for the the two players using it,” Keltner says. Marty Stuart sat on stools six feet apart first time since it began in 1925. The Opry House reopened for tours on and looked out at nearly 4,400 dark seats A ghost town it isn’t, if virtual crowds June 26 (as did the Ryman Auditorium, the and a few cameras, along with members of count. Despite the lack of nearby bodies, the show’s former and occasional fill-in home). the skeleton crew of 25 or 30 on duty. If an Opry — the only major entertainment pro- But with Nashville’s Phase 3 reopening hav- empty Grand Ole Opry House always feels duction to keep regularly originating from ing gone into effect June 22 and set to last at a little haunted to Paisley, “it feels really a public venue during a nationwide time of least a month, paying ticketholders won’t be haunted when there’s no one there but you sheltering — has actually been seen by far admitted in any configuration before late July know everyone’s listening.” more people than it has in years. It so hap- at the earliest. Every Saturday night in the

Continuing to present shows since pened that not long before the virus hit, a FORWARD FACING meantime, the circle will remain unbroken. quarantining began in mid-March has deal was made to start televising the Opry Gwen Stefani and “It’s probably some combination of rev- allowed the Opry to maintain its streak of again for the first time in a decade, thanks to Blake Shelton join erence and stubbornness that we make sure Dustin Lynch and Trace more than 4,900 consecutive weekly radio Circle, a new TV network created as a joint this keeps going on every Saturday,” Paisley OLE OPRY LO/GRAND Adkins on the May 9 broadcasts. To the best of anyone’s knowl- venture between Ryman Hospitality Prop- edition of “Saturday says. “I love that these traditions exist. I think

edge, in its 95-year existence, the Opry erties and Atlanta-based Gray Television. Night Opry.” it has been a beacon of light.” CHRIS HOL

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IN THE RUNNING Michael Schneider Peak TV, Peak Nominees

TELEVISION ACADEMY’S MOVE TO INCREASE NUMBER OF EMMY CONTENDERS COMES WITH CAVEAT

THE TELEVISION Academy has finally lis- Reese Witherspoon, as this now gives both Until now, most categories have had a tened to our pleas — well, sort of. The org of her drama series contenders, HBO’s “Big limit of five nominations, except the afore- recently announced plans to expand the Little Lies” and Apple TV Plus’ “The Morn- mentioned seven in comedy and drama, as number of comedy and drama Emmy nomi- ing Show,” a better shot to land nods. well as six in variety talk, variety sketch, nations from seven to eight, acknowledging The TV Academy bumped up the number structured reality, unstructured reality that the volume of eligible programs contin- of comedy and drama nominees from six and competition programs. Also previously ues to rise. to seven in 2015, just as the streaming rev- guaranteed six nominations were comedy As a matter of fact, according to the TV olution had gotten underway. The expan- and drama series directors; lead, support- Academy, Emmy submissions for 2020 have sion to eight feels like a slow, incremental ing and guest performers; and writers — in increased by 15% over the previous compe- change, but it’s a move in the right direc- addition to limited series directors, lead tition year. We’ll find out soon, as nomina- tion. “It’s long past due,” one awards exec and supporting performers, writers and tion ballots arrive July 2, the exact amount tells me. “The Academy needs to innovate to technical direction for a series. per category. But that’s a pretty impressive find new ways to embrace the new TV land- Moving forward, besides the comedy growth given how much the COVID-19 pan- scape. This is a smart first step — let’s hope and drama races, any other categories with demic impacted production toward the end there’s more to come.” more than 240 submissions will also get of this year’s eligibility period. And to TV Academy chairman-CEO eight noms under the new model. Catego- Of course, the coronavirus shutdown Frank Scherma’s credit, since he took over ries with between 161 and 240 submissions actually spawned several last-minute con- the post in 2018, he’s been aiming to do get seven, and 81 to 160 submissions get tenders, including numerous benefit spe- just that. “The increase in submissions is six. Categories with 20 to 80 submissions cials and even the return of “Parks and a reflection of the number of new voices, stick with five nominations, and anything Recreation.” But as FX Networks chairman new television platforms and a tremen- below that faces a sliding scale between John Landgraf has been hyping for years, dous growth in content from existing plat- BETTER ODDS zero to four noms. the expansion in original programming is forms across our industry,” Scherma said Reese Witherspoon, How might that impact some of the key nothing new, and this year’s rapid increase in announcing the last-minute rule change, who has been races? Ultimately, this rule change may ubiquitous in Emmy- also has a lot to do with the launch of just weeks before voting was set to begin. worthy dramas like actually decrease nominations in several streamers Disney Plus, Apple TV Plus, HBO But the change also sets up a new tem- “Big Little Lies,” key categories. Last year, there were 35 lim- Max and Quibi. plate for the number of nominations in all only sees her chances ited series and 21 TV movie submissions, for a trophy improve The biggest winner of the rule change other Emmy categories, and this is the part with the increase which meant those nominations would have this year may very well be the ubiquitous that may be concerning. in nominees. stuck with five (just barely for TV movie). There were 53 competition, 43 structured reality and 54 unstructured entrants, which means those fields would have slid from six to five nominations. Ditto variety talk and variety sketch, both of which had 20 entries last year. Going by last year’s submissions, that also means that there would have been seven nominees in the comedy supporting and eight in the drama supporting catego- ries, but just six for lead actor and actress. That isn’t a new disparity; per the Acad- emy’s old 2% rule (which has been elim- inated due to the new setup), contenders who came within 2% of the sixth slot were included as ties — which is why last year, for example, there were eight comedy support- ing actress nominees and seven drama sup- porting actor nods. All of these limitations and potential con- tractions are why we still think the Academy didn’t go far enough, and as we’ve argued for several years, the number of nomi- nees in the key drama and comedy cate- gories should really go up to a nice, round 10 — with others either staying the same or

MERIE W. WALLACE/HBO MERIE W. expanding. Peak TV demands no less.

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IF EXPOSING his life in the semi-auto- work and trying to remain [and] act normal THE BIG TICKET biographical ABC comedy “Black-ish” in a world that’s not normal. I think that’s Marc weren’t enough, Kenya Barris has topped what we’re all trying to do, right? Malkin himself by not only creating but also star- ring in “#BlackAF.” The Netflix series — Are you hopeful about the future? I have which is the first project under the overall kids, so I have to be hopeful. I also am hope- $100 million deal that Barris signed with ful in the moment that I’m seeing. It feels to ‘As Much as the streamer in August 2018 and has been be a much more unified moment than I’ve picked up for a second season — is a satir- seen in a long time. It reminds me of the civil ical look at himself, his family (series rights movement, where people are just like, co-producer Rashida Jones plays his wife) “Enough is enough,” from all different walks I Can’: Kenya and his career. of life. That means a lot to me. Fame and fortune aside (he’s also the writer behind movies “Girls Trip” and the Do you think it will last? I think there will Barris Is upcoming “Coming to America” sequel), be lasting change. I don’t know that this Barris isn’t numb to the harsh, and some- moment of unity and this moment will last, times fatal, realities of being Black. “Still but I think there will be lasting change. Ready to Get when I’m with my boys in the car, I’m like, I do want to believe. My hope is that this ‘Police, 8 o’clock. Police, 3 o’clock,’” the moment will bring about some changes 45-year-old Inglewood native tells Vari- that can’t be taken away. ety from his home in the Valley. “I’m like, Involved why am I calling out the police? I’m OK, How much do you feel with the posi- dude. I have no reason to do this, but I tion that you’re in that you have to get still call them out. I’m still like, ‘Everyone involved? And is it to have a voice? Is it THE ‘#BLACKAF’ CREATOR AND should just be aware — to our right there to create? I think all the above. I feel like STAR TALKS ABOUT WAYS TO are officers.’” literally all the above. I want to get involved, EFFECT CHANGE IN THE INDUSTRY boots on the ground. I want to say some- How are you coping with these days? I’m thing. I want to write about it. I want to talk — AND THE COUNTRY trying to get back to work. I think for the to my friends who I know don’t look like last two or three weeks it’s been a little hard me, but I believe their heart is in the right to work, honestly. Trying to get back to place. I want to talk to people who I think

CHRISTMAS IN JULY NEVER SOUNDED BETTER

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their heart isn’t in the right place. I want hours while there were voting booths to sort of make this a moment of clarity empty inside. and of healing. I look at right now what’s happening with the police and I tell people, “They I imagine a lot of the big decision know they’re being watched, and this is meetings you’re in are still very white, happening. What the fuck do you think but is there a different feeling or ener- they’re doing when they’re not being gy now? Are people trying to change? watched?” It’s a compulsion. It is some- It is absolutely a different energy. I’m thing that they have been doing for so absolutely seeing more representation. long that they can’t stop themselves. I’m lucky. I work for Netflix, and Disney I am not anti-police. If I hear a creak has done a really good job in some in my house, I am the first to call the aspects too. Netflix is a company that is police. I definitely feel like we have to very much about diversity. One of the change the structure. It doesn’t need to craziest words I ever heard was “safe be a mobilized army. The power needs spaces” because the least safe place is a to be given to people who understand safe space. You don’t want to be around it and respect it. I read somewhere that people who all think like you. There is it’s 1,500 hours to become a barber and zero growth that’s going to happen. You it’s 880 to become a cop. That’s insane. I need to make sure that the people that feel like we have to sort of make a person you’re around are a sampling of the who goes into law enforcement under- world that you actually want to live in. stand that this is a respected job with a lot of weight to it and that why not have How involved will you be in the 2020 four years of college or why not have two elections? As much as I can. I might and a half years of academy under your write an episode of “Black-ish” about belt? Why not get the sensitivity train- it. The census is a really big deal to me. ing? Why not do these things? I think that voter suppression is a real, real, real problem. We saw it recently on the Super Tuesdays, with people being This interview has been edited and condensed. Hear the entire interview on Variety and iHeart’s told they had to wait outside for seven “The Big Ticket” podcast on June 30.

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WEDNESDAY, JULY 8 4 PM PDT / 7 PM EDT

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An exact replica of Laverne Cox’s rainbow clutch will be auctioned to benefit the Anti-Violence Project.

Bid Listen Read Make a Rainbow ‘Mordechai’ ‘Sex and Houston trio Khruangbin’s songs Vanity’ have already been tapped for Statement TV shows; the band is poised to “Crazy Rich Asians” author Kevin break out even bigger with its third Kwan’s romantic romp pays album, which melds dub, Middle homage to “A Room With a View” LAVERNE COX HAS TEAMED with accessories label Eastern sounds and chill funk for with a story that jets from Capri Edie Parker on an exclusive auction in honor of Pride an ideal summer patio soundtrack. to the Hamptons and beyond. month. The actor and executive producer of documen- tary “Disclosure” chose a cause near to her heart — the National Coalition of Anti-Violence Programs’ Anti-Vi- Eat olence Project. Cox carried the bespoke acrylic hand- bag emblazoned with “Oct 8, Title VII, Supreme Court” Vampire Pizza

to the 2019 Emmy Awards, and designer Brett Heyman If endless take-out dinners are has created an exact replica that’s available at charity- starting to get old, this immersive buzz.com/catalog_items/2066900. game and story experience should help spice up the home dining experience. Order delivery or pick EDITED BY PAT SAPERSTEIN | [email protected] up at L.A.’s Ghost Pizza Kitchen.

Netflix’s ‘Athlete A’ Gives a Voice to Gymnasts Producer Jen Sey explains why the documentary isn’t just the story of Larry Nassar

It turns out many fields have their own Harvey Weinsteins, she’d like the movie to give athletes the confidence to and in the case of gymnastics, it was Olympics team doc- stick up for themselves. “I hope that young people who tor Larry Nassar. The powerful new documentary “Ath- see the film are inspired by the courage of the women lete A,” now streaming on Netflix, tells the story of his who came forward and know they can do the same,” she hundreds of victims and looks at how the abuse contin- says. “The thing that was most important to me, and I ued for decades despite numerous reports made by the think it comes through loud and clear, is that the film young athletes. One of the film’s producers, Jen Sey, was not just be a salacious piece about Larry Nassar — that it once a champion gymnast. She wrote the book “Chalked tells that story clearly but links it to the broader culture of Up” about her experiences in the sport, becoming one of abuse that allowed for him to prey on young women for

CLUTCH: DANNY MOLOSHOK/INVISION/AP/SHUTTERSTOCK; ATHLETE A: NETFLIX; SEY: BLAIR RAUGHLEY/INVISION/AP/SHUTTERSTOCK SEY: NETFLIX; A: ATHLETE MOLOSHOK/INVISION/AP/SHUTTERSTOCK; DANNY CLUTCH: the first to reveal the brutal gymnastics culture. Sey says decades.” PAT SAPERSTEIN

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$4M

HOLLYWOOD HILLS 4,100 SQ. FT. 5 BEDROOMS

6 BATHS

spread’s more-than-4,100 square feet of living space is apportioned throughout Kunal Nayyar Aims for the three-bedroom and 3.5-bathroom sin- gle-story hacienda-style main house and two one-bed, one-bath guest cottages. Big Bang for His Bucks A small gated motor court, a densely verdant courtyard garden and a sky- light-topped entrance gallery lead to a KUNAL NAYYAR, one of the highest-paid actors on TV during “The Big Bang Theory,” spacious living room designed for both Neha Kapur and his wife, former Miss India-turned-fashion designer , have hung intimate and grand-scale entertaining. A a not-quite-$4 million price tag on their remarkably private former home, tucked fireplace sits between mirror-backed book- into a little-known pocket of the Hollywood Hills’ Nichols Canyon area. Nayyar and shelves, and a wet bar is set into a curved Kapur acquired the secluded compound about 8½ years ago for $2.85 million. wall of windows where French doors con- According to current listings held by Markus Canter and Cristie St. James of nect the room to a serene courtyard gar- den. A separate dining room easily seats Berkshire Hathaway HomeServices California Properties, the just-over-half-acre 10, and the expensively accoutered kitchen is flooded with light through a large sky- light directly over a doublewide island topped with gleaming black granite. MARK DAVID Outside, a variety of desirably private THE REAL ESTALKER tree-shaded terraces are enhanced by NAYYAR'S HOUSE: JOSHUA SPOONER; NAYYAR: MATT BARON/SHUTTERSTOCK MATT NAYYAR: SPOONER; HOUSE: JOSHUA NAYYAR'S

28 VARIETY DIRT

carefully trimmed boxwood hedges. Next woodwork and refinished hardwood to the swimming pool, one of the two guest floors mix harmoniously with a variety of cottages is well suited to a home office or modern-day creature comforts, such as screening room. flush-mounted in-ceiling speakers and a multi-zone heating and cooling system. Just inside the front door, a grand entrance ‘Making a Murderer’ hall is flanked in classic style by formal living and dining rooms. Beyond the liv- Pair Could Make Killing ing room, where the couple keep their A handsome and thoughtfully updated gleaming trove of Emmys in a glass cab- 1920s Italianate villa in the fashionable inet, a den features a built-in banquette Los Feliz area of Los Angeles, owned by covered in plush azure velvet. A kitch- $5.5M acclaimed documentary filmmakers Moira en-sized butler’s pantry links the dining Demos Laura Ricciardi and , has come up room to an up-to-date farmhouse-style MALIBU 4 BEDROOMS for sale at nearly $3.3 million. The four- kitchen arranged around a large island 3,500 SQ. FT. 5 BATHS time Emmy-winning creators of the sensa- with top-quality finishes and appliances. tionally popular Netflix true-crime series Upstairs, the master suite has a walk-in “Making a Murderer” acquired the stately closet and a bathroom sheathed in marble. home just over three years ago for not A long, gated driveway leads to a Jordan Schur Snags quite $2.85 million from renowned con- detached garage behind the house, where ductor, violinist and L.A. Philharmonic a broad, partly trellis-covered patio with Malibu Beach House music director Gustavo Dudamel. built-in fire pit looks out over a grassy yard An eagle-eyed snitch tattled — and tax Set elegantly above the street, obscured and swimming pool surrounded by verdant records confirm — that veteran music and by mature trees and fronted by a deep and plantings. movie executive Jordan Schur has ponied wide porch, the roughly 3,600-square- Listings are jointly held by Konstantine up a tad more than $5.5 million in what foot house has three bedrooms and 3.5 Valissarakos of Nourmand & Associates appears to have been an off-market deal bathrooms. Beautifully preserved vintage and Richard Yohon at Sotheby’s Intl. Realty. for an oceanfront home along Malibu’s sce- nic Las Tunas Beach. Last available on the open market in 2019 through Gayle Pritch- ett of Pritchett-Rapf & Associates at a price of almost $5.6 million, the airy contempo- rary has four bedrooms and 4.5 bathrooms in a mite more than 3,500 square feet. Inside, voluminous rooms that feature gleaming hardwood and honed-stone floors are filled with sunlight though floor-to- ceiling expanses of glass that reveal post- card-ready sunset views over the Pacific Ocean. In the double-height living room is a stone-faced raised-hearth fireplace and glass sliders to an oceanside deck. An adjoining dining area is convenient to a high-end kitchen fitted with custom wood cabinetry and granite countertops. An ocean-facing master suite offers a fireplace and commanding coastline views $3.3M through full-height windows that open to a slender terrace. In addition to a cedar- lined walk-in closet, there’s a long dress- LOS FELIZ ing corridor with two built-in dressers and 3,600 SQ. FT. a bathroom replete with a pair of frost- 3 BEDROOMS ed-glass vessel sinks atop Biedermeier- 4 BATHS inspired wood plinths.

Gigi and Bella Hadid Street, splashing out $5.82 DIGS Splurge in New York million for a NoHo townhouse duplex with three bedrooms Buyer for Doris Day Homeme Supermodel sisters Gigi and and three-and-a-half bathrooms. Bella Hadid recently went on The 2,955-square-foot property The former Beverly Hills home of the a property-buying spree in also has a 770-square-foot late Hollywood icon Doris Day was New York City that came to a private garden with an outdoor recently sold for a smidge over $11 mil-mil- combined total of almost $12 refrigerator, a gas fireplace, a grill lion — quite a bit below its original million. Bella, the younger of the technology, a 100-bottle backlit and impeccable landscaping. $14.5 million asking price. The “Pilloww pair, bought a renovated SoHo wine room, custom lighting Inside, the home is outfitted with Talk” star lived in the four-bedroom, penthouse for $6.1 million. Her and motorized blackout shades Douglas fir floors and mahogany three-and-a-half-bathroom contempo-o- new home has two bedrooms and in the bedrooms. Gigi, on the windowsills that frame large rary-style building from the 1950s untiltil two bathrooms in 2,180 square other hand, opted for a place casement windows throughout

DEMOS & RICCIARDI'S HOUSE: JO DAVID; DAY: ERIC CARPENTER/KOBAL/SHUTTERSTOCK DAY: HOUSE: JO DAVID; & RICCIARDI'S DEMOS 2006. MAE HAMILTON feet and features smart-home on the other side of Houston the space. MAE HAMILTON

VARIETY 29 THE

CAN AN ENTERTAINMENT INDUSTRY BUILT ON EXCLUSIVITY COMMIT TO DIVERSITY AND INCLUSION?

30 VARIETY OVER REPRESENTATION

STORY BY ELAINE LOW AND ANGELIQUE JACKSON TYPE ILLUSTRATION BY ANNIE JEN

VARIETY 31 FORMER “GLEE” STAR Amber Riley remembers the time early in her career when a producer told her that she and other actors of color were “a little more disposable, because that’s the way the world is.” As her professional trajectory continued, she witnessed her fair share of bad behavior, and knew who would — or would not — be held accountable. “Being told that the white girls are not fireable is being told that you’re disposable,” she tells Variety. Riley internalized that message to the point that she was “distraught” going into auditions in her post- ”Glee” career, dealing with anxiety and a loss of confidence. “I just felt like, there’s a million Black actors that want this — what is special about me? … That’s what that feels like [when] nobody cares,” says Riley. “They don’t care that you’re being abused on set, wheth- er that’s verbally or otherwise. They don’t care.” Riley recalls all this in the wake of “Glee” actor Samantha Ware revealing that the show’s star, Lea

Michele, allegedly threatened in FROM THE GROUND UP 2015 to “shit in [her] wig.” Riley’s The death of George support of Ware on social media led Floyd has ignited calls to Black actors with similar expe- for reform not only of the criminal justice riences reaching out, and prompt- system but of industries

ed her to create #unMUTEny, a including Hollywood. PRESS/SHUTTERSTOCK (2); MENENDEZ/PACIFIC MIDDLE; MERCEDES MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK BOTTOM: TOP,

32 VARIETY movement to “end Black silence in the entertainment industry, hold power structures account- able for suppressing Black expe- riences and confront micro- aggressions with courage.” “We need to address behaviors that are allowed on sets,” says Riley. “We need to address why the Black experience is diminished when it comes to telling you what hap- pened, why we’re not believed, why we feel afraid for our jobs, why we feel disposable.” Riley is not the only one in Hol- lywood and elsewhere speaking up about the need to lift Black voices. The death of George Floyd while in the custody of Minneapolis police in late May has been a catalyst on an international scale, prompting hun- dreds of thousands to march in the name of Black Lives Matter and to call for reform of the law enforce- ment and criminal justice systems.

This has permeated other indus- AMPLIFIED OUTCRY tries, including Hollywood, whose Amber Riley speaks at a controversy-shy mega-corpora- BLD PWR and Black Lives tions took the unusual step of issu- Matter gathering in Los Angeles on May 30. ing public statements decrying rac- ism as thousands of Black artists shared their experiences with work- place discrimination. Some surmise that the coronavi- that there are some people who are What many in the entertainment rus pandemic left the millions con- now saying, ‘Oh, maybe we should industry are ready to say aloud is fined to their homes little choice but be doing things differently,’ but the this: The institution itself is imbued to pay attention; others attribute the need for that change has existed with white supremacy and a patri- acceleration of the Black Lives Matter certainly for as long as I’ve been in archal structure designed to prof- movement to the increasing power the business, and I would argue that fer advantages unequally. Now the of social media. The entertainment it’s been necessary since the first question is whether Hollywood, a industry’s recent reckoning with Hollywood blockbuster was ‘The town built on the very premise of gender parity, sexual misconduct Birth of a Nation.’” exclusivity and gatekeeping, can and #OscarsSoWhite has perhaps The industry has long evolved make good on its commitment to positioned it to be more inclined to past films like “The Birth of a Nation” inclusion — and amplify the voices engage in some self-interrogation. and Disney’s “Song of the South,” of Black talent and other creatives “Ahmaud Arbery, Breonna Taylor, and more women and people of col- of color the way it has purported to. George Floyd, all those deaths com- or have come to occupy positions of ing in quick succession — I think power, both in front of and behind it’s opened up an entirely different the camera. But that has not been conversation that particularly in enough to cancel out generations of Hollywood, coming in the wake of hurt and exclusion. #MeToo, I think everyone is realiz- Black writers still “can’t get a shot ing that the business has been built to write their stories,” says direc- The Tenor on some systemic wrongs that need tor Matthew A. Cherry, who won an to be righted,” Netflix vice president Oscar this year for his animated OF THE CURRENT conversation of original content Channing Dungey short film, “Hair Love.” around racism and police brutality tells Variety. “If you look at a big majority of has undergone a tectonic shift, even Regardless of the cause, this studio films that have come out, be though unarmed Black men have moment appears to be an inflec- they biopics or stories with primar- been dying at the hands of police tion point in the way we think about ily Black characters, a lot of times officers for years. The 2014 deaths institutional racism. But no part you have white screenwriters who of Michael Brown in Ferguson, Mo., of the issue is news to the Black are able to tell those stories,” he says. and Eric Garner in New York, for community. “This is tricky, because a lot of times instance, sparked waves of outrage “This is no more urgent today they’ll say, ‘OK, we want a big-name but no internal soul-searching in, than it was four months ago to peo- writer on it,’ or ‘We need to rely on say, the headquarters of NASCAR ple who’ve been paying attention,” the credits of said writer.’ It’s just or Aunt Jemima parent company says The Black List founder and CEO like a lose-lose situation because

SHALAE MADISON SHALAE MADISON Quaker Oats. Franklin Leonard. “And it’s great you can’t get credits if you don’t get

VARIETY 33 opportunities. And the people that’ve been getting opportunities for the last 30, 40, 50 years haven’t been us.” Most studios and networks boast a slate of well-intentioned inclu- sion initiatives to showcase acting, directing and writing talent from communities of color. But structur- al shortfalls, perhaps more damag- ing in their subtlety, persist. Take “IF YOU LOOK AT A BIG MAJORITY OF TV diversity programs, which are STUDIO FILMS THAT HAVE COME OUT, BE THEY often great stepping stones for writ- BIOPICS OR STORIES WITH PRIMARILY ers and directors of color to get their BLACK CHARACTERS, A LOT OF TIMES YOU first job on a series. HAVE WHITE SCREENWRITERS.” “But what ends up happening is that a lot of them get stuck there, MATTHEW A. CHERRY, OSCAR-WINNING DIRECTOR right?” says Dungey. “Because once they’re no longer the diversity hire that’s paid for through the program, they still are facing that same barri- er to entry. They don’t have the same relationship. It makes me so frus- trated when we’re putting together a director list for a season of television, that such structures incentivize show- representation. When she started on and then they come back and they runners to not promote those diversi- “A Black Lady Sketch Show,” she was say, ‘We have one woman, one per- ty hires but instead replace them with “pitching hot fire,” unencumbered son of color — that’s good.’ And then a new “free” writer of color. by having to explain cultural refer- you know, the other eight are white That’s not to say the programs ences to a mostly white audience in men. And I’m like, ‘Wait a minute; have not seen writers who have gone order to set up a joke. you’re telling me that there’s no one on to big success. Mindy Kaling, “In a room full of all Black wom- else you can find that makes this?’” Donald Glover and Alan Yang are all en I didn’t have to do that first task,” The salary for a writers program alumni of NBC’s Diverse Staff Writ- says Black. “I was just doing the com- hire typically comes from the studio er Initiative, for instance. NBC’s pro- edy. And it made work so much eas- or network running the program, not gram funds the salary of a staff writ- ier. And I was like, this is how white the showrunner’s budget. “A Black er for three years; if a showrunner men are working all the time. It’s like Lady Sketch Show” staff writer Ash- wants to promote that writer to story I was doing comedy with a boulder ley Nicole Black, who has not par- editor, then he or she need only pay on my back and someone just took it ticipated in such a program but has the difference. off, and now I’m running up the hill.” heard from many who have, contends But the latest Writers Guild of Some go so far as to indicate that America inclusion report makes the industry’s approach to diversi- obvious the glaring continued racial ty and inclusion is an act of misdi- disparity in writers’ room ranks. In rection, when the focus should be on the 2019-20 season, 51% of staff the conditions that have allowed the LEADING THE ROOM writers were white, and the rest were Counterclockwise from bottom left: main benefactors of the status quo — Ashley Nicole Black, Robin Thede, people of color. That parity did not white men — to remain in positions Lauren Ashley Smith, Holly Walker, translate to the upper echelons: More of control. Akilah Green, Rae Sanni and Brittani than 80% of executive producers and Nichols are members of the “Black “When people who have benefited Lady Sketch Show” writers’ room, which showrunners were white, while fewer their whole lives from white suprem- is composed solely of Black women. than 20% were people of color. acy and patriarchy are asked to create “The system is racist,” says Black. a program or hire a woman or two or “So the system is going to tend change the way they think about who’s toward elevating white people and qualified, they’re all pretty game to do not elevating people of color. And it,” says “Transparent” creator Joey the only way to fix the system is to Soloway (who recently changed their attend to every single part of the sys- name from Jill). But instead of being tem. So if you’re just getting people rewarded with an episode to direct or in the door and you’re not attend- being given “a pat on the head,” they ing to how long they stay there, how say, the issue is “asking white peo- quickly they’re promoted and elevat- ple and especially white men to really ed — the system, once they’re in the interrogate what they’re willing to give door, is going to tend toward kicking up to be anti-racist.” them back out the door.” The dialogue now happening Black’s experience on the HBO in the industry is about more than comedy series has been unique — inclusion and creating spaces, Solo- she is part of a writers’ room popu- way says. “It’s about, I think, white lated only with Black women — and a people and men being willing to say, testament to the necessity of healthy ‘Wow, the help I’ve had from living

34 VARIETY RAPOPORT: LEXIE MORELAND/WWD/SHUTTERSTOCK; BENNET: LARRY NEUMEISTER/AP/SHUTTERSTOCK; BARBERICH: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK Newsrooms inCrisis by Mekeisha Madden Toby of insensitivityandracism have beenroiled by charges Print anddigitalpublications an incendiaryop-ed. after thepaperpublished page editorsteppeddown New YorkTimeseditorial JAMES BENNET diversification. need ofsignificant for indire anindustry meanthe changes many what questioning outlets have left Now, moves atthose other organizations. Variety the Los Times, Angeles at TheNewYork Times, resulting indisruption tions inrecent weeks, publica- and digital ber ofhigh-profile print made itsway toanum- hands ofthepolice of George Floyd atthe caused by thedeath The culturalupheaval andseveral to the destruction ofto thedestruction Matter, Too”response in “Buildingsthe headline thepaperranafter (a day before Bennet), 6 executive editorJune vice president and resigned asthe er, Wischnowski Stan Philadelphia Inquir- breakers.” At the whom hecalled“law- to subdueprotesters, troopsment ofmilitary called for thedeploy- Republican politician June. Inthepiece, Tom Cottoninearly from ArkansasSen. an incendiaryop-ed paper published stepped down the after Benneteditor James when editorialpage The NewYork Times departure occurred at The mostnotable my is mainhesitation down for years. But licly asked tostep net, have beenpub- people, like Ben- the fore. pay inequitycameto over inclusionand a sickout, andrancor ture, staffers staged Wischnowki’s depar- protests. Priorto property duringFloyd “Some ofthese fails to reflect thecity’s and anewsroom that payAngeles, inequities proteststality inLos covering policebru- of whitebiaswhen sive toaddress claims has launchedadefen- Norman Pearlstine Times executive editor ing posts.Los Angeles has given uptop-rank- in pay basedonrace. disparities resentments regarding dredging upworkplace in brownface surfaced, loween photoofhim resigned whenaHal- tit EICAdam Rapoport same day, BonAppé- tion atthewebsite. The of racialdiscrimina- complaintsJune 8after ery29, steppeddown co-founder ofRefin- the editor-in-chief and changes?”necessary the leeway tomake the sive, willhebegiven Days works tobeinclu- dent ofdiversity. Even if Inquirer’s vicepresi- as MichaelDays, the to inclusiveness, such is more dedicated someone inthere who “Let’s say thattheyput Poynter Institute. and diversity atthe the director oftraining out,” says DorisTruong, for thepeoplewhoare is goingtotake over that we don’t know who in brownface. photo surfacedofhim after aHalloween Bon AppétitEICresigned ADAM RAPOPORT But noteveryone Christene Barberich, Black journalists. with vacancies desk sity andfillmetro editor tooversee diver- vowed tohire asenior nal memoinwhichhe “B” andsentaninter- withacapitaldescribed that Blackpeopleare the paper’s styleso 8, Pearlstine changed up. Theweek ofJune diverse racialmake- light on an unflatteringspot- newsroom diversity put Piya Sinha-Roy on with freelance reporter social mediaexchange aterseaside after temporarily stepped email tostaff. Eller wrote inaJune4 of reflection,” asshe “take aseriousmoment leave toallow herto took avoluntary in-chief ClaudiaEller become more mindfully is “Whatshedoingto during thisperiod key for question Eller ly whitenewsroom. discrimination. complaints ofracial of Refinery29leftafter The EICandco-founder CHRISTENE BARBERICH At At Truong says the Variety Variety , editor- ’s most- takes time.” hasshownry us,that sticks, andashisto- change isthat quo.the status Real my reverted backto and thentheAcade- for acoupleofyears, saw improvements #OscarsSoWhite. We A similarexample is this personisgone? to take placeonce areal changes going What kindofstructur- limited intheirutility. ignations are very Clark pointsout.“Res- somewhere else,” lar, top-tierposition to getanothersimi- ers are inaposition offend-all ofthese not theend,because are thebeginningand are happeningnow Black Journalists. the NationalAssn.of longtime memberof andaMedia Studies ia’s of Department University ofVirgin- professortant inthe dith Clark,anassis- tracked, says Mere- canbeable changes cosmetic untilnotice- while onleave. ist onracialsensitivity” with adiversity special- since 2013, is“working for thepublication editorial operations Eller, whohasheaded for on thewrist.” not asymbolic “slap that Eller’s leave is ofmakingsuretance stressed theimpor- inclusive?” Shealso “The actionsthat Such moves are A representative Variety says in patriarchy, the help I’ve had from living in white supremacy, has really done a number on everybody else.’’ Actor Kendrick Sampson recently recruited more than 300 Black cre- atives — including Tessa Thompson, Sterling K. Brown, Common, Vio- la Davis, Tiffany Haddish, Issa Rae, Octavia Spencer and Kerry Wash- ington — to sign a letter denouncing Hollywood for “encouraging the epi- demic of police violence and culture of anti-Blackness.” “The lack of a true commitment to inclusion and institutional sup- port has only reinforced Hollywood’s legacy of white supremacy,” wrote Sampson. “This is not only in story- telling. It is cultural and systemic in Hollywood. Our agencies, which often serve as industry gatekeepers, don’t recruit, retain or support Black agents. Our unions don’t consider or defend our specific, intersectional struggles. Unions are even worse for our below-the-line crew, especial- ly for Black women. Hollywood stu- dios and production companies that exploit and profit from our stories rarely have any senior-level Black executives with greenlighting power.”

SOLIDARITY SPEAKING Kendrick Sampson attends a Black Lives Matter protest in Los Angeles Internally, on June 7.

STUDIOS AND NETWORKS have made attempts to break down barriers to entry for Black people and other peo- ple of color through executive incu- is a founding member of Time’s made all the difference, which is why bators and pipeline programs. But Up-backed Who’s in the Room, an it was very important to me that I also those efforts are not as fast-moving executive mentorship program that would become a mentor.” as many would like. Look no further aims to improve diversity among Cherry similarly feels a responsi- than a snapshot of any major enter- executives and producers. Eighty bility to keep the door open for oth- tainment company’s board of direc- percent of its 23 mentees, all of er Black creators, in the vein of Ava tors or executive team to see mostly whom started as senior assistants DuVernay, Jordan Peele and Michael white men looking back. to decision-making executives, have B. Jordan’s efforts to promote Black Tara Duncan, the incoming since been promoted or moved into talent. Yet speaking out comes president of Disney-owned cabler new positions since completing their despite a very real fear of profes- Freeform and one of the few Black first year in the program. sional repercussions, which is why network heads in the industry, “I’ve had to navigate issues of Cherry tweeted his support for John being called aggressive and angry,” Boyega after the “Star Wars” actor says Duncan of her experience in took the megaphone at a Black Lives the industry, adding that she has Matter protest in London on June 3 been challenged to defend the val- to address the crowd. ue of projects from creators of col- “Look, I don’t know if I’m going to or about which she has been pas- have a career after this, but fuck that,” “THIS IS NO MORE URGENT sionate. “There’s this sort of instinct Boyega said at the protest. Hollywood TODAY THAN IT WAS that if it’s featuring a predominantly heavy-hitters including Peele, Olivia FOUR MONTHS AGO TO Black cast or it’s from a Black creator, Wilde, J.J. Abrams, Mark Hamill and PEOPLE WHO’VE BEEN then that’s only going to appeal to a Rian Johnson also publicly affirmed PAYING ATTENTION.” niche audience. So yeah, these are their support for the young star.

issues that I have faced continuously “I think people are realizing that LAUREN/SHUTTERSTOCK CHELSEA FRANKLIN LEONARD, THE BLACK LIST in my career. For me, that mentorship we have an opportunity to actually

36 VARIETY Black counterparts — Cross-Culture, and whether they have Cross-Media done enough thus far. For Gold House In pledging solidarity with Black chairman Bing Chen, creatives, industry groups representing it hasn’t been enough. other people of color are addressing “The answer’s no,” he racism within their own communities says, “and the answer is no for all of us until, to be clear, racism is by Audrey Cleo Yap entirely curbed for any community, not just the Black community.” When social media For some organiza- SHOW OF SUPPORT Latinx experience that’s users used the hashtag tions, this moment is a Michael B. Jordan and very complex,” he says. #BlackoutTuesday on chance to emphasize a Jamie Foxx star in “Just For many groups, Mercy,” a film promoted June 2 to protest rac- shared history and — in by nonprofit Gold House this coalition-building ism and police brutality, some cases — heritage through a theater buyout. is based on the idea the Instagram account with the African Ameri- that a rising tide lifts all for Gold House post- can community. It’s also boats: Greater repre- ed an image of a hybrid an opportunity to con- sentation for one group tiger-panther with the front anti-Black racism. means more opportuni- words “Black Lives Mat- Jose Antonio Vargas Latinx-led organiza- ties for others. ter,” followed by links to is the founder of Define tions like the National “The challenge is social-justice causes. American, a nonprofit Hispanic Media Coali- when we, as those It was a show of sup- that has advised the tion see this juncture as diverse and underrep- port by the nonprofit, writers’ rooms of shows an opportunity to high- resented groups, are which aims to increase like “Roswell” and “Super- light the shared heri- placed in a corner and representation of Asian store” on stories involv- tage between members told to fight amongst Americans and other ing immigration. A former of the Latinx and Black ourselves for the crown,” minority groups in every- Washington Post report- communities, specifically says Brickson Diamond, thing from film to digital er, Vargas is an undocu- Afro-Latinos. On June founder of Blackhouse, startups. In the past, it mented immigrant from 13, NHMC organized a a nonprofit that pro- has promoted films like the Philippines. Black Lives Matter motes Black filmmakers “Crazy Rich Asians” and To help those who demonstration in Whit- on the festival circuit. “Just Mercy” through come from non-Black tier, Calif., outside that “[We] shouldn’t consid- theater buyouts. immigrant families city’s police station, at er ourselves to only have A refocused lens engage their commu- which Afro-Latino activ- a finite piece of the pie on the systemic issues nities, Define American ists and speakers (Whitti- that we have to divide, regarding race in Hol- published the “Guide to er is almost 68% Hispanic while the mainstream lywood has galvanized Difficult Conversations or Latino) were featured. takes the rest.” SHARING EXPERIENCES organizations like Gold About Anti-Blackness.” “It’s going to take In the meantime, Angela Davis appears House to express solid- “It’s important, I think, the whole Latinx village cross-cultural collabo- in Ava DuVernay’s arity with the African to kind of meet people to destroy the anti- rations continue to take documentary “13th,” among the films that Gold House, American community. where they are,” says Var- Blackness,” says NHMC a decidedly educational the Coalition of Asian They are asking deeper gas. “Most of our fami- president Brenda Victo- approach. To commem- Pacifics in Entertainment questions about how ly members would not ria Castillo. orate Juneteenth this and NALIP promoted in commemoration of they can further coali- refer to themselves as Ben Lopez, executive year, Gold House part- Juneteenth this year. tion-build with their quote-unquote woke.” director of the National nered with the Coalition Assn. of Latino Indepen- of Asian Pacifics in Enter- dent Producers, cites the tainment and NALIP to organization’s Women promote a slate of films of Color TV Pilot Incu- (including Ava DuVernay’s bator program and its “13th”), curated by Color partnership with the Afri- of Change, that illuminate can American Film Crit- the Black experience. ics Assn. as examples of As Castillo observes, effective coalition-build- meaningful coalition- ing. Lopez says NALIP building is an ongoing is also working with The process. “There’s always Black List. more work to be done,” “We decided to she says. “We’re going make sure that we pri- to continue to figure out oritized the recruitment ways that we can support of Afro-Latinx [writ- BLM in the Black commu-

JUST MERCY: JAKE NETTER/HBO; 13TH: NETFLIX NETTER/HBO; JAKE MERCY: JUST ers]. There’s an overlap nity. Absolutely, we can between the Black and always do more.”

VARIETY 37 Representatives The Synergy ofBlack Angeles in2019. coalition’s eventsinLos Black, attendoneofthe of MyPublicistIs Fant, foundingmembers Noel-Schure, andPhylicia Trell Thomas,Yvette Tucker, VanessaAnderson, Ernest Dukes,Erica MUTUAL INTERESTS by AngeliqueJackson in amostlywhiteHollywood How toptalentsfindaway tosucceed cists, even atthelarge so few Blackpubli- throughs andthere’s awards-show walk- throughout hercareer. her fieldhascontinued ing herselfreflected in the trend ofnotsee- doing thework.” And Black women who were to findexamples of ety 2007, shetells to enterpublicityin Anderson decided founder Vanessa When AMPRGroup , “it was really hard “I gotoallthemajor Vari- Black peopleormyself.” tothisbusiness,service then Ihaven’t donea ‘Vanessas’ inthefield, there aren’t 20more walk away from thisand field,” sheexplains. “IfI Black women into this and for me,specifically, other peopleofcolor, It’s my dutytobring have tobeapipeline. out,butIalsostories andgettingtheirtalent is aboutworking with that beingapublicist 15, Irealized 20times, Marsai Martin. represents IssaRaeand cy,” says Anderson,who ally own ourown agen- two orthree ofusactu- andonlyBlack talent, sent mostofourA-list thatrepre-agencies “After seeingthat10, was created, we Publicist isBlack. coalition calledMy Records) —toform a Music atColumbia Fant ofUrban (Head Thomas andPhylicia (Remy Trell Ma,Jeezy), DukesSampson), Ernest (Yara Shahidi,Kendrick cé), EricaD. Tucker (who represents Beyon- — Yvette Noel-Schure cists andmediaexperts son joinedtoppubli- ing together. there’s power inwork- that— shesuggests agents,” Andersonsays from referrals from of my clientelecomes relationship —“40% naturally symbiotic those roles have a few, butbecauseall arement industry also yers intheentertain- licists, agentsandlaw- Black managers,pub- one. Thenumbersof ence isn’t anisolated “Once thegroup Last year, Ander- Anderson’s experi- to build.” thatyouindustry want community andthe you,that support your aroundbuild teams you is tostay Blackand thingsmost important So, Ithinkoneofthe ty, rightnow. especially do nothave communi- are who incompanies ic toward peoplewho ly feel very sympathet- average experience.” way, butthatisnotthe who don’t thinkthat ourselves withpeople to beablealign land], we’ve beenlucky he says. “[At Wonda- powerful positions,” chy, etc., thatare in supremacy, patriar- investment inwhite significant amountof people whohave a world andHollywood. betweenilarities that someofthesim- notes his grandmother)and Waters (whoisalso forstaff Rep. Maxine in politicsaschiefof manager, Moore worked those conversations.” are atthecenterofall so thatBlackpeople relationships we have, ship is,andleverage the relation-an important point ofviewonwhat and we have the toshift a relationship business ing we sitin.We’re in ofwhichbuild- less other’s regard- success to beinvested ineach “Wethis business. have er iskey in tosuccess oth- each to support putting forth theeffort says thatBlackpeople Monáe’s Wondaland, atJanelleaging partner thing andeverything.” for aboutany- ustotalk ing board, asafe space morphed intoasound- “It’scontinues. really [with referrals,]” she other’seach pockets toputmoneyintrying immediately started He adds,“Iactual- “There are still Before becominga Mikael Moore, man-

RODIN ECKENROTH/GETTY IMAGES have their back and say, ‘We support you; we’re gonna hire you regard- less, you know what I mean? We do have your back,’” Cherry says, point- ing to celebrities such as Gabrielle Union — who filed a harassment complaint against NBCUniversal, Fremantle Media and Simon Cow- ell’s Syco amid concerns about rac- ism and on-set misconduct — and Mo’Nique, who last year filed suit against Netflix, alleging pay inequi- ty and gender and racial bias. For her part, “Glee” star Riley is no longer worried about speaking up. Late 2019 saw her falling into a deep depression that hobbled her so much that she couldn’t sing or work; she lost 25 pounds and ended up in the hospital. Riley has since learned how to manage what turned out to be anxiety, and does not care

if she is blackballed, so long as she GOING OFF SCRIPT can improve the entertainment Actor John Boyega speaks at a landscape for the next generation. Justice for Black Lives protest “I’ve made my money,” says Riley. in London on June 3; Hollywood heavy-hitters such as Jordan “I can continue to make money in Peele and J.J. Abrams later publicly the background. I can be a part of a expressed their support of his action. production team, and you don’t even know my ass is there, and be making more than being in front of the cam- era. There’s not going to be anyone the U.S. population but create the constructive direction, executives that’s going to be able to stop me.” bulk of Hollywood’s output. and creators are cautiously optimis- The momentum is building WarnerMedia chief enterprise tic about the changes to come. around calls to action. Leonard and inclusion officer Christy Haubeg- “When I have brought this up, I Black were among the 1,000 Black ger, who recently joined the HBO have been pleasantly surprised at artists, including Union, DuVernay and Warner Bros. parent company the willingness to listen and think and David Oyelowo, who formed the after spending 14 years working to there is still, quite frankly, some Black Artists for Freedom collec- improve representation at CAA, says fear,” Freeform’s Duncan says. “I tive; in an open letter they urged cul- the next step is to do more than “ran- think we’re all grappling with where tural institutions to cut ties with law dom acts of diversity.” to start. And how do we do some- enforcement and “put their money “I’m a big fan of databases,” she thing that feels effective and some- where their mouths are.” says. “I like taking excuses away. thing that’s truly going to make a dif- The ball is now back in the Nobody can say, ‘I couldn’t find them.’ ference? I will say I definitely think court of Hollywood’s power play- And so we’re building a centralized there is a real desire. But I think, ers— studios, networks, agencies, set of tools for our executives, and for again, we have to acknowledge that production companies — to move our partners, like our production com- it’s not just about doing the right the story forward. pany partners, to be able to access, thing. This is also good business.” “I would love to see a major studio to facilitate, looking at more diverse Ultimately, Riley believes it comes or streaming platform make the pub- opportunities. Everyone’s trying to down to ensuring that Black voices are lic commitment that, at a minimum, hire more female episodic directors, properly valued, which she considers their spend on production will reflect and everybody’s got kind of a list. I’m the industry’s biggest blind spot. She demographic realities of the popula- like, ‘No, no, we’re gonna make one big advises Black creatives and their allies tion of the U.S. for minority groups,” list for you.’ I’m a believer in systems, not to lose sight of the end goal. says Leonard. “If we as a business and I think systems are the only way to “I need people to understand are going to spend a billion dollars get sustainable change.” the long game,” says Riley. “I need on content, 13% of that is going to go As part of the move in recent years everyone to be disciplined, after the to the African American communi- toward increased accountability, motions and all of the commotion ty for stories by and about people in companies such as WarnerMedia and and all of the passion and the per- that community, 50% of it will go to Netflix have publicly released gran- formance has died down. And I need women, etc. If they want to really go ular internal demographic break- them to be consistent with their mes- big, they would commit to a floor of downs, offering transparency on how sage, with their feelings, because we the way the world actually is.” many people of color are on staff and all know when we stop seeing results, That may sound radical, he in the upper ranks. Whether other it’s gonna take self-discipline to says, but the notion becomes less entertainment giants will follow suit make sure that it gets done.” so when considering that white remains to be seen. While the con-

NEIL HALL/EPA-EFE/SHUTTERSTOCK men make up only about 30% of versation appears to be moving in a Jazz Tangcay contributed to this report.

VARIETY 39 40 VREY VARIETY Clinton / Schumer for the Win Hillary andAmy, Hillary bothsubjects Clinton /Schumerfor theWin sit down togetherover Zoom of new documentaries, decideto

GUTTER CREDIT GUTTER CREDIT Ramin Setoodeh Story by

Joan Wong Illustration by

VARIETY 41 “Hillary,” now playing directorNanette onHulu, “Trainwreck” actor and comedian took toher actorandcomedian took “Trainwreck” Amy,” July9,director Alex- onHBOMaxbeginning campaign andmorethan35hoursofnewinter- campaign careers andlives astrailblazingfeminists. ¶In over duringaconversation Zoom for can watch up, theskyopen literally.” ¶“Wow, views withClintontoexplore and thepolitician you’ve gotten what you asked for. Andnow you road as a comedian whoisnavigating asacomedian road pregnancy mon experience: BothClintonandSchumerare millions of Americans who had supported Don- millions ofAmericanswhohadsupported with herfamilyonMartha’s Vineyard. with thequote. ¶“That’s me,” ¶ Schumerreplied. Clintonasked whenpresentedwho saidthat?” weak. You’reweak. you notjust misinformed, didn’t ander HammerchroniclesSchumer’s life onthe attempt information,” Schumerwrote. “Well, ald Trump. “People whovoted you for him, are the person behind the pantsuit. And in “Expecting Andin “Expecting the pantsuit. behind the person the subjectsof their about recent documentaries Festival,tual TV onVariety.com whichstreamed Burstein minesunseenfootage fromthe2016 For anhour, nearly SchumerandClintonspoke Instagram account toexpress heranger at the Chappaqua, N.Y.,Chappaqua, whileSchumerwas self-isolating for thefirst time. ¶Clintonspoke fromherhomein last week. Whatlast broughtthemtogether week. was acom- Hillary Clinton: Amy Schumer: “There’s here.” abigger story not?” “Why I said, those hours, tousandgoes, andshecameback director, thisincredible hired at wholooked all hours ofit—anddoacampaign retrospective. We footage —webehind-the-scenes 2,000 hadabout was touseallthis andtheidea 2016 campaign, the about to be itwas supposed the projectstarted, decide that? likeIt seemed nothingwas off-limits. How didyou you andallfriends. morethanmost familymembers obviously. loved Ireally thedoc. Imean, cial. Love would’ve butIwould’ve meant, known itwas spe with Hillary,day Zoom Idon’t know what that little girl, if somebody toldmeIwas going tosome ifsomebody little girl, anytime, funway. butthisisareally WhenIwas a A results of the 2016 election, theresults ofthe2016election, lary Clinton. Shortly afterthe Shortly Clinton. lary MY SCHUMER That was akindofevolution. When It’s soexciting toget totalkyou had amessage for Hil- Variety ’s vir- - - “I really didfeel“I that Iwas thiswalking Rorschach test, that peoplewould project ontomeallkinds offeelings and experiences intheirown lives.” Schumer: Schumer: Clinton: Schumer: Clinton: would against competing would boys. be be were hardfor me, I andoftentimesthepeople thingsthatin pushingmy own boundaries, trying Ihaddifferentbecause aspirations. Iwas interested saw Ireally thatof throughmy tolerated. schooling, was always afeeling of somewhat unwelcome, kind the boys. games, Iwantedtoplay andthere baseball whenIwanted toplay tomy with back childhood explain ittoyou.” Ithinkcameintopublicaware AndI’dso confused. say, “Idon’t know. Ican’t kills people.” and They would sobewildered just be out oftheblue, like “Oh, Ican’t vote for her. She me, would say andsomebody somethingsototally me, for example, they’d have conversations about you say have whitemen? been centage you who’ve would ofpeople interviewed ple don’t want you there? for tocome togripswiththat. alotofpeople was ontheworld stage, andIthinkitwas difficult ofus.expected boomer, Iwas ababy andthereI en’s lives, women’s about roles, andwhat was ness whentherewas wom- somuchturmoilabout your public persona, what is the discrepancy? your what isthediscrepancy? publicpersona, versus persona how havereal people interpreted Whenever your youmet. theothersideofthat, hear Whenfriendsofminewould for campaign I have alotof experience going withthat, What’s itlike inaplace tobe wherepeo- You’re oneofthewarmest I’ve ever people Through your life andcareer, what per- - Clinton: Schumer: Schumer: head, 75%to80%. head, me thanany ofrejectionyou sort byotherwom you dofeel it’s alittle bit, timetoputthearmoron. some ofwhomarenolonger inthebusiness. But I experienced withwell-known malebroadcasters, that ofsomethemoreegregiousinterviews tary understand it. I really didfeel Ireally thatunderstand Iwas it. thiswalk what they’ve projected ontoyou projected isyour business? what they’ve tome, That, en. feels unforgivable. Doyou feel like exists. Therearesomeexamples inthedocumen there’s always of someimbalance power that andthat’s doingtheinterviewing, theperson position; incharge isinasuperior The person setting. norms, aninterview thinkabout because going anddoingstand-up. Amy, Idon’t know how And therefore, withthat. muchat peace Iwas very end oftheday, therightdecisionfor me, my family. and itwas noteasy. Ifelt like at Iwas the making, ously, inthedocumentary, [that] quiteabitabout challenge. personal We painful, very obvi talked, my decision tostay inmy marriage, which was a own lives. Obviously, itwas around most apparent me allkindsoffeelings andexperiences intheir ing Rorschach would that test, people projectonto Clinton: Clinton: Hillary Clinton I think about you,I thinkabout frommy perspective, bravely I was interested, because I wanted to try to to totry Iwanted because Iwas interested, Oh, wow.Oh, Iwould say, offthetopofmy I thinkit’s areinforcement ofcultural What does that What do? does Nothing has been more frustrating for morefrustrating Nothing hasbeen - - - -

GUTTER CREDIT (THIS PAGE) BARBARA KINNEY/HULU (FOLLOWING PAGE) HBO MAX GUTTER CREDIT “Expecting Amy.” road withhusband Amy Schumerhitsthe Chris Fischerin Show MustGoOn Schumer: Schumer: Clinton: Clinton: with me this real sense of deep responsibility that senseofdeepresponsibility with methisreal fundamental values tohumanity. SoIhave carried totheConstitution, toour so muchthat iscontrary tosendinthemilitary,protesters, andtrying and the terribledecisionshemadearoundpeaceful right now between COVID, andtheeconomy, and hewouldfeared be. Trump, butofcourse he’s worse thanIever been worried Iwas about “How really didthishappen?” lose, —like, senseofresponsibility butIfelt areal Ididn’temotional gutpunch. thinkIwas going to whentheydown seeme. intears Itwas suchan made yourself dothoseshows. mester, andyou were sickthewholetime—andyou pregnancy. Ihadmorningsickness for thefirst tri you did60shows whenyou were sosickduringyour that people werethat people somelancholyfor solong? I’ve everpain felt inmy life. How diditfeel toyou suchaparty.going tobe Itwas someoftheworst Ihadtakenpsyched. anedible. Ithoughtitwas I was at theJavits Iwas Center [onelectionnight]. wasn’t Ididmy inthehospital, shows. tokeep going.” sickandtry I canjust be SoifI laying andIcanbe here, or sick, really going tobe got tosuckitup.” withpneumonia.Butnosed Ifelt like, Ijust “OK, around withpneumonia.ThenIactuallygot diag mentary “Hillary.” a scenefromthedocu- daughter Chelseain paigns in2016with Hillary Clintoncam- Family Moment And we’re seeingthat play out dramatically Istill tothisday have whobreak people During the campaign, Iwas walking Duringthecampaign, You dohave really towork twice ashard. Whenyou’re you’re sick, really like, “I’m - - Clinton: Clinton: Clinton: Clinton: Clinton: Clinton: Schumer: Clinton: Clinton: Schumer: Schumer: Schumer: Schumer: Schumer: Schumer: Schumer: Schumer: and to send him back tothegolf courseand tosendhimback full-time. Icantoretirehim, todoeverything time trying president.”became SoI’m most ofmy spending “Oh, my Ijust gosh, can’t thefactthisman bear dish pizza.Ilove allkindsofpizza. voting? toget people election, your be? last meal she haze you? Isthat your those shoes?” dynamicwithher?Does at youshe looks andshesays, “You’re wearing dynamic, andinthedoc,such abeautiful when That seemslikerelationship withHuma[Abedin]. TV shows? TV good sleeper? good I wondered that longtime. for avery Areyou a have access Areyou watching toontheroad. any can to try to take our country back. back. totake ourcountry can totry Iamnever going toquitdoingallthat Irunning. I’ve donealotof eventsBiden. for otherpeople night!” Orareyou like, isthat person?” “Who up?Doyouself glammed feel like, “Igot itthat questions. Doyou ever wearyour hairinaponytail? er. tired. really Iusuallygo to bed “I wish [Hillary] would uphergame.”“I wish[Hillary] she were attached toaliedetector, shewould say, White House. She’s fashionista. I’m areal sure, if or anothersince inthe shewas aninternback the characterandstand-up? looks, andtheclothes. Doyou relate toherat all, velous] Mrs. Maisel.” Ilove allthe1950sand’40s always amazingtoseeyou. funny.really Thisisalife highlightfor me. It’s some kind of a graph. some kindof agraph. what year itwas byplotting allmy hairstyles on ologic digwithmy tofigureout hairstyles, andtry seen before because I was too busy, Iwasseen before too because like “[TheMar It’s acombination. Ifeel like I’m anarchae- Yeah, sleep- I’ve always good areally been Oh, brother.Oh, deep- Probably afully loaded Yes, theponytail’s long. notvery You are. Well, shehasworked for meinoneform I’m catching up on seriesthat I’ve never Yep. donethreeevents I’ve already for Ihave always loved your andadmired I wantI toaskyou someinsanesoftball She wants togive you amakeover. That’s I like tothinkthat I’m funnierthanher. Is that your going tobe roleinthe2020 What’s your favorite What would meal? What’s itlike for you seeyour- toreally That’s that’s because good, what you Right, soit’sRight, just acutelittle sprout? VARIETY 43 -

PADMA LAKSHMI

“One thing I ALTON try to do in my BROWN videos is to show that everything is replaceable, especially in this time where the rules of “There is something very appealing about that cooking should live aspect and the feeling that anything can be more fluid.” happen. We’re gonna drink while we cook. [Our] refrigerator looks horrible, just like yours.”

ANTONI POROWSKI

NADIYA HUSSAIN “I would look at the comments every day as I post videos and try to tweak “If there’s some- recipes. It made me reposition my thing that you’re thinking. What else are people missing not used to eating, in different parts of the country?” even though you’re skeptical, there is an element of you that thinks, ‘Maybe I should just secretly give it a go.’” GUY FIERI

“Restaurants are really important to the fabric of our community. And they’re 2744 VARIETY going to need some help and support.” Celebrity Chefs Help Americans Spice Up

ALEX Their GUARNASCHELLI

“People are realizing that if they Quarantine make a mistake, it might end up being delicious.”

DON’T THROW AWAY THAT BANANA PEEL AND LEMON RIND: PROS SHOW FANS HOW TO MAKE DO WITH WHAT’S ON HAND

By Rebecca Rubin

VARIETY 2745 Alton Brown was nearly three thinking. What else are people missing in dif- months into quarantine when he ferent parts of the country?” decided to get adventurous. The Padma Lakshmi, the host of “Top Chef,” chef and host of Food Network sta- has taken to Instagram to give her nearly ples like “Good Eats” and “Iron Chef 800,000 followers a step-by-step breakdown America” was preparing curry with of how to prepare everything from lasagna to his wife when they realized they baby back ribs. Her young daughter, Krishna, didn’t have any rice on hand. Instead, frequently lends a hand in the kitchen. they turned to an unlikely substitute “It’s a teaching moment for a lot of people — oatmeal, mixed with heaps of ghee who are intimidated by cooking,” Lakshmi and turmeric — to pull together their says of her social media feed. “One thing I try savory dish. to do in my videos is to show that everything “That’s probably not something is replaceable, especially in this time where I would have done pre-quarantine,” the rules of cooking should be more fluid.” admits Brown. “At this point, I’m That kind of flexibility is helpful, since looking at everything in the kitchen people who have been at home since March a little differently.” are tired of turning to the same recipes. A license to get creative is em- “I don’t think we can make assumptions blematic of Brown’s spontaneous that Americans — even those who know how nature on “Quarantine Quitchen,” a to cook — can make 20 to 30 meals in a row new YouTube series he created with without taking a break by grabbing takeout,” his wife while sheltering at home. says Alex Guarnaschelli, who hosts the Food Since ingredients are scarce and Network series “Supermarket Stakeout” and people are exercising more caution frequently appears on shows like “Beat Bob- about going to the grocery store, the by Flay,” “Iron Chef” and “Chopped.” “What coronavirus pandemic has given you’re going to make, and how you’re going to the general public a renewed appre- put it all together, can be very anxiety produc- ciation for cooking. And celebrity ing, especially for people with lots of kids and chefs have been at the forefront of people who lost work.” the at-home culinary revolution, guiding America through the global crisis by livestreaming On Twitter, Guarnaschelli routinely inter- cooking classes, offering tips and tricks on Instagram Live and engaging with fans on Twitter. acts with her 673,000 followers, who come to More than 100,000 viewers tune in to Brown’s weekly series, where the couple sips cock- her for advice on how to beautify cakes (“Make tails, occasionally break out a guitar to strum a few tunes and challenge each other to create a a ganache or buttercream frosting that cov- dish based on random ingredients scraped together from the refrigerator and pantry. “Quar- ers up any little flaws”), seasoning fish (“Salt, antine Quitchen” gives an unvarnished look at one of the most popular celebrity chefs in rare pepper, lemon. Maybe some oregano? Keep it form, bantering with his wife and throwing around the occasional four-letter word while he simple”) or saving over-salted risotto (“Add performs the seemingly impossible task of assembling an edible meal from tamarind candies, mascarpone cheese or reduced cream”). For pumpkin puree, kale and coconut milk. kitchen novices, or even those trying to spice “What people are responding to, besides just the food, is the reality of a couple at home,” up everyday meals, it’s like having your own Brown says. “There is something very appealing about that live aspect and the feeling that chef on speed dial. Guarnaschelli says it pro- anything can happen. If somebody drops an f-bomb, which occasionally happens in my house, vides a boost of confidence. it’s not going to be edited. We’re gonna drink while we cook. Sometimes we have to go to the “I think that’s why so many people turn to refrigerator, and guess what? The refrigerator looks horrible, just like yours. And guess what? chefs and say, ‘Can I do this?’ People are real- Sometimes there are dishes piled on the sink, just like your house.” izing that if they make a mistake, it might end With live sports on hold, movie theaters shuttered and vacation plans scrapped as COVID-19 up being delicious too,” she says. “I’ve made continues to span the globe, it’s unsurprising that people have turned to food as a diversion. some great dishes by accident. I’ve made many Yes, we need it to survive. But culinary experts point out that it provides a level of comfort awful ones, by the way.” beyond mere sustenance. Such missteps can be forgiven, especially “I’m always intrigued — I’ll use that word — by people who tell me they don’t give a shit about in quarantine, where a lack of ingredients can food. I always call bullshit,” says Antoni Porowski, the resident foodie on Netflix’s “Queer Eye.” force people to be more creative than they’d “As soon as you start talking to somebody about what their childhood was like, there’s always normally like. Some are resorting to comb- some kind of a tradition, whether it’s a special holiday or a weekly family ritual of Sunday night ing through their pantry for anything edi- dinners. There’s a sentimentality. Food can be so comforting.” ble. Others are finding that staples, like but- Viewers aren’t just looking to celebrity chefs for entertainment. Because restaurants have ter and flour, are nowhere to be found, and been closed and there are mouths to feed, many people who are not accustomed to cooking they need a substitute. That’s been the inspi- three meals each day, every day — must feed not only themselves but their families. So they’re ration behind a new series from Porowski turning to the pros for guidance. called “Show Me What You’re Working With.” At first, Porowski used social isolation to test complex recipes he hadn’t had time to crack In the Netflix show, Porow ski asks anyone while filming “Queer Eye.” But he realized that near-empty grocery stores would make that dif- who needs a little encouragement to let him ficult. So he decided to showcase a Tex-Mex omelet, complete with salsa and sour cream. “A lot know the food they have on hand. From there, of people commented, like, ‘We haven’t had eggs in our grocery store for over a week,’” he recalls. he comes up with a simple recipe using rogue Considering that feedback, Porowski came up with a recipe for chicken tenders, supplanting egg ingredients. In recent episodes, most of which wash with a yogurt marinade. are 10 minutes long, he’s made fried sardine “I would look at the comments every day as I post videos and just try to tweak recipes balls and shakshuka with a Korean twist.

because of the experiences at grocery stores,” Porowski says. “It made me reposition my “I don’t go in with any assumption or any NETWORK FIERI: JOHN LEE/FOOD AP/SHUTTERSTOCK; GUARNASCHELLI; (PREVIOUS SPREAD)

46 VARIETY goals,” says Porowski. “It’s actually a lot like ‘Queer Eye,’ where it’s asking open-ended questions: ‘ Show me what’s in your fridge. What’s in your pantry? Do you have any weird ingredients you don’t really know how to cook?’ I work with that.” As with Brown’s show, Porowski has found that audiences have been especially receptive to the do-it-yourself feel. It’s a unique chance for viewers to see TV personalities offering advice A Guide in their natural habitats — and it gives everyone permission to make mistakes. “I love my cooking shows, from ‘Top Chef’ to literally every single Food Network show. But to Chefs’ I think people really want to relate to something,” Porowski says. “When I started making my videos, I was like, ‘I’m literally going to record one take, and if I mess up something, that’s just Pantries what the video is going to be.’” The scaled-back production is symbolic, in a way, of go-to recipes like banana bread and sourdough starter kits, that have become the breakout stars of quarantine. Try scrolling through Instagram or Facebook without coming across an attempt at baked goods. “People go back to basics,” Porowski says. “It’s no sur- prise that bread has had this unbelievable moment. Peo- ple are so obsessed with [it] because it’s a simple thing.” As a child, Nadiya Hussain, winner of Season 6 of “The Great British Bake Off,” was taught to repurpose food that WITH CORONAVIRUS STAY-AT-HOME MEASURES others would be inclined to discard. The host of Netflix’s EXTENDING INTO THEIR FOURTH MONTH, PEOPLE “Time to Eat” is instructing people on Instagram and Twit- Alton Brown HAVE BEEN COOKING MORE THAN EVER. HERE, ter about innovative ways to use leftovers. SIX CELEBRITY CHEFS RECOMMEND STAPLES THAT Dried beans. You In Hussain’s house in London, where she lives with her can feed a family of EVERYONE NEEDS IN THEIR PANTRY. husband and their children, no orange peel goes un-zest- four for six months ed; no scrap goes unused. Recently in an Instagram sto- on different kinds ry, she broke down how to incorporate banana peels in of beans. Beans are cheap. They’re a pulled-chicken burger. “There were lots of people who plentiful. They’re were like, ‘That looks a little bit mad,’” she admits. Even so, incredibly nutritious. she’s refined the art of collecting things that “we would normally throw away,” using the zest They can be turned of citrus fruits for casseroles, curry and icing. into anything, from dips to soups to Padma Lakshmi “I find a way of being creative but also helping at the same time,” she says. “As soon as I salads. You can do You should always have onions, started to put stuff like that up on social media, there was a massive response. I think it’s a anything if you’ve garlic, ginger, potatoes, rice, quinoa, curiosity. If there’s something that you’re not used to eating, even though you’re skeptical, got enough beans. cornmeal and fennel, because those there is an element of you that thinks, ‘Maybe I should just secretly give it a go.’” things add flavor to your dishes. For those looking to take a break from the stove or grill, Guy Fieri has been providing an Then there’s your spice kit — oregano, thyme, crushed red chili, cumin, escape from the kitchen with a variety of food competition events for charity. The restaurateur coriander. You should have things that and TV personality teamed up last month with actor Bill Murray for “Nacho Average Show- are not as common, like sumac and down” on Food Network’s Facebook page, enlisting all-star judges like Shaquille O’Neal and za’atar, which are from the Middle East Guy Fieri actor Terry Crews to decide who makes the best tortillas with all the fixings. Fieri also hosted and add great flavor to dishes that My go-tos are spices, grains, aren’t necessarily Middle Eastern. a cookoff between Will Smith and Kevin James in April, in which the two Hollywood heavy- beans and pickled peppers. weights went toe-to-toe putting their own spin on pasta. Certain things like frozen “I couldn’t eat the food, but I got to watch it and give corn and peas work out better than canned because these guys little hints and directions on how to make it,” [canned vegetables are] Fieri says of the matchup between Smith and James. “Oh, mushier when they sit in the it was hysterical. You know I like to say it, but everybody liquid the entire time. Antoni Porowski Alex Guarnaschelli loves food. You don’t even have to be eating it. It just gives Everyone should Lentils, chickpeas and beans — whether people comfort.” have lemons. I put they’re canned or uncooked and dry. There The events raised money for Fieri’s Restaurant Employ- lemon zest literally in are new ways to use them, and we’re all 99.9% of everything looking to ideally make more than one meal ee Relief Fund, which gives financial aid to restaurant that I make. It just out of one thing, right? workers affected by coronavirus shutdowns; an estimat- adds another level of ed 8 million of them are out of work. Since May, Fieri has flavor, and it’s a free ingredient because it helped 40,000 people with grants of $500, distributing already comes with more than $20 million. His goal is to collect $100 million. the lemon. “I hate this time we’re in. It just breaks my heart because there are so many tragedies and so many sad stories,” Fieri says. “But boy, it gives you a little bit of hope for mankind when you see people stepping up and getting involved. Restaurants are really important to the fabric of our community. And so they’re going to need some help and support.” As states begin reopening, restaurants have started to resume business. But dining venues Nadiya Hussein will look different, at least for now, since they’ve been given strict guidelines to ensure safe- Dried spices are really important. If I didn’t have ty, like capping capacity and keeping plenty of space between tables. Those whose livelihoods my spice cupboard, I would be stuck because it’s are rooted in the restaurant industry note that dining out is about more than getting out of the all about adding flavor to things. I found lots of house to grab a meal. people have bought these things but aren’t sure “Yes, we want delicious food. And yes, we want to take pictures of it and put it on Instagram,” how to cook with them. And that’s where social media is amazing, because you can learn how to Brown says. “But what we really crave as humans is that communal aspect of being there with cook things that you’re not used to. other people, even if you don’t know them.” And if you’re at home, getting tips for making the hungry people you know happy.

VARIETY 47 TUESDAY, JULY 7 5 PM PDT / 8 PM EDT

An exclusive Q&A following a screening of the season finale with series stars Bob Odenkirk, Rhea Seehorn, Tony Dalton, Michael Mando and Co-Creator/Executive Producer/Writer/Director Peter Gould

Moderated by MICHAEL SCHNEIDER Senior Editor, TV Awards, Variety

REGISTER NOW VARIETY.COM/BETTERCALLSAUL GUTTER CREDIT SCREENS FORMUSIC CONSIDERATION CRAFTS YOURFOR EMMYS 2020 AWARDS HAVE NEVERBEENSOFULL OFIMPRESSIVE FEATS. ORIGINAL SONGS, THECREATIVE ARTS FROM PERIODCOSTUMES TO NATURE CINEMATOGRAPHY, COMPOSING AND CONTENDERS CATEGORIES AT THEPRIMETIMEEMMY VARIETY 49 EMMYS: FOR YOUR CRAFTS CONSIDERATION

Reshaping American History Through Settings SMALL-SCREEN PRODUCTION DESIGNERS WERE TASKED WITH BRINGING

TO LIFE PERIOD-SPECIFIC ENERGIES By Jazz Tangcay

FROM THE ALTERNATE history versions of version of the entertainment industry time, nor was it affordable,” he says. 1940s America in Netflix’s “Hollywood” within the show, Ferguson says interiors of A deep-dive into historical archives and HBO’s “The Plot Against America” to most sets were built on a soundstage. For helped him settle on using a color palette the very real reflection of the 1970s and the bungalows, he was able to source the that was focused on neutrals. “We kept 1980s political movements over the Equal iconic green-and-white Martinique wallpa- it warm using pale greens and ochres,” he Rights Amendment in FX on Hulu’s “Mrs. per. “That wallpaper was not cheap,” Fergu- says. And it was only when the show got America,” muted tones, warm glows and son says. “But we couldn’t use a knock-off.” into the Nazi Germany propaganda that bold energies were the palette of choice Other details, such as Jack Warner’s he used pops of red. for production designers who created fic- real desk, were incorporated into sets to Across departments on “Mrs. America,” tional worlds, often in real-life locations. aid in authenticity but also to inspire the it was a goal to make clear distinctions For “Hollywood,” set in a post-World whole production team. between the feminists and the conserva- War II Tinseltown that actually embraced In contrast, “The Plot Against America” tive, anti-ERA women. The former played inclusion, production designer Matthew is a dystopian world in which the xenopho- in spaces “strongly rooted in gem tones,” Flood Ferguson recalls executive producer bic Charles Lindbergh has become presi- says production designer Mara LePere- Ryan Murphy requesting “that golden dent and anti-Semitism runs rampant in Schloop, while the latter “lived in a dated Hollywood sheen and harvest tones.” the United States. The series follows the palette from the 1950s, or the era of the This set a very specific expectation for the Levins, a Jewish family, and capturing domesticated woman.” There, she used look of the show, which was shot in Los their home environment was essential to earth tones, such as dark-stained woods Angeles last year. both production designers Richard Hoover and stone to “represent the masculine Shooting such a distinct time period (who worked on the first three episodes) presence in their lives.” in the middle of the 21st century compli- and Dina Goldman (who worked on the Still, as time passed in the story (and in cated matters, though. Whether he was final three). the case of Sarah Paulson’s Alice Macray, re-creating the iconic Schwab’s Pharmacy PIVOTAL PIT STOP Hoover found Newark, N.J., to be the positions changed), LePere-Schloop shifted or the bungalows at the famous Beverly Ernie’s gas station ideal setting for the Levin family home, her designs accordingly. Hills Hotel, Ferguson says, “There wasn’t in “Hollywood” was which had to be a safe haven as the out- “I didn’t want to present a cliche of the an essential set one practical location that we didn’t have piece that not only side world disintegrated. The “frames and period,” she says. “Understanding that life to augment or change to make sure we encapsulated the era, doors symbolized the feeling of being kept and design aren’t created in a vacuum and were truthful to the period as possible.” but was also where inside,” Hoover says. that it is layered and nuanced, most people main characters made To minimize challenges and better con- important industry Color-wise, the “tonality was muted and their spaces are constantly evolving

trol the aspirational, almost fantasy-like connections. because color was not in fashion at that and being tweaked.” ADYANI/NETFLIX SAEED

50 VARIETY ALI GOLDSTEIN/NETFLIX Designs Period-Defining Vegas of was yesteryear designing“how aliveperform wrestling show. the fictionalFan-Tan Hotel&Casino to to relocated the characterstemporarily “a few layers” of life ontheStripwhen 1980s-set wrestling comedy, butalso Las Vegas” of Netflix’s inthethirdseason was excited toshow notonlythe“glitz of “GLOW” COSTUME DESIGNER COLOR ANDPRINTS TO DENOTE TIME COSTUMES INSERIESSETFROM THE1930S TO 1980S RELY ON For of capturingthe onepart Morgan, the loudoutfits. bright lights,to Las Vegas,fromthe boldness of1980s “GLOW” capturedthe The thirdseasonof CASINO COUTURE BethMorgan to create anaestheticto create that shenotes was of styles andaccessories, includingfans, The waitresses therewore amish-mash cultures” for theFan-Tan Hotel&Casino. intentional combination of “all theAsian a “GLOW” spinonsuchcostumes viaan in theday. was But putting anotherpart cuts andfabrics found inthetown back waitresses,” soshewent for authentic women were overly sexualized ascocktail

By

Jazz Tangcay nem (Rose Byrne): “I often re-created theirnem (Rose Byrne): “Ioften re-created Schlafly (Cate Blanchett) andGloriaStei- essential for suchcharactersasPhyllis 1980s.”to theearly proved Thisresearch of from thelatter the1950s part history of documentaries, fashion photobooks, her “own for research costumes withalot Bina Daigeler combined andspecialized the 1970sand1980s, costume designer ratifying theEqual RightsAmendmentin traces adecadeinthefightfor andagainst diditwork!” andboy did, never thoughtof [that],” sheadmits, “butI acid yellow “Iwould have andhotpink. of butalso puttogether thepalette as part mauvethe newdecade. pale used Roberts which saw anintentionalchange toreflect inthecolor Thisincluded palette,taking. moreheavily oncreative risk-she leaned (now played by OliviaColman), shesays, aboutQueenElizabethII a documentary” they “weren’t because But, disposal. doing of footage royal ofthereal-life familyat her Crown”“The 3,therewas awealth Season job for Amy Roberts, costume designerof marking time. The useof color key alsobecame to ters ingarbfromthe1930sto1980s. withdressing charac-television season ofothercostumeber designerstasked this not onlyfor butalsofor Morgan, anum- worldsthe specific of theshows was key buttakingcreative licensesearch tofit the timeandplace. of somewhat “ignorant” tobe supposed leopard-print suit. leopard-print gan says ofSandy’s signature power-player take andpeople notice,”into aroom Mor- former showgirl-turned-business woman. Davis’ new“GLOW” characterSandy, a also attracted whendesigningfor Geena “Her wealth comes fromthepridewithin.” great senseof ambition,” Wittenborn says. “acharacter highlighted woman witha the show Using was itonthat depicting. in1930sLosAngeles,class societies which color withhigher- typicallyassociated ItwasDormer) inherRioincarnation. a Magdapresent theshape-shifting (Natalie designer Christie Wittenborn wanted to “Penny Cityof Angels” Dreadful: costume she went andmore daring. bolder icana ‘ideal’ of awoman.” But for Steinem, that classic toportray palette Amer-pastel Schlafly, Daigeler explains, asofter “Iused in thecharacters’politics. For conservative todifferentiate thedivide of the story parts contrasted itselfindifferentpurposely major historical events,” shesays. exactlyiconic looks tocoordinate withthe Meanwhile, for “Mrs. America,” which ofthe part When itcametotheresearch re- This balance of relyingonreal “She’s whenshewalks well respected It alsodrewalleyes, something Morgan Similarly, burgundywas bold how The “Mrs. America” color often palette VARIETY

51 52 VREY VARIETY Re-Making Madonna’s pop stars fellpop to choreographerJamalSims. Virgin,” thetasktotake queensofdifferent musicalskilllevels andturntheminto hits, while alsodonninghermost iconic looks. From to“Like a “Lucky Star” to some ofMadonna’s queenshadtoperform asthecompeting though, greatest camewithalittle numbers. morepressure, The12thseason song-and-dance one. It’s unique achance flaunttheirtalentsasthey perform for thequeens totruly Each year, the“Rusical” challenge on “RuPaul’s DragRace” isahighlyanticipated Image ThroughDrag ‘RUPAUL’S DRAG RACE’

yJz Tangcay By Jazz

VH1 EMMYS: FOR YOUR CRAFTS CONSIDERATION

JAMAL SIMS Choreographer

“Madonna is so iconic. Her styling and everything are so iconic and if you get it wrong, people are going to know. You have to be flexible [as a choreographer] and know when to pivot. With Widow Von’Du — who had hurt her knee in a prior episode — we could have made that knee worse. I had to make sure she could perform. I want them to do the best they can. I’m not setting them up for failure. It’s a fine line in finding how to push them without hurting them. A number like this should take a week and a half, but we didn’t have that luxury. It was done in two days.”

JAIDA ESSENCE HALL Performer

“Jamal took the feel of what ‘Justify My Love’ gave, but injected what the music and the world is reflecting now. I had never seen the video before. [Judge] Michelle Visage said, ‘It’s sexy.’ I watched it twice and then knew what the vibe was. You had to learn it so fast. It was less about the choreography and music; it was more about learning who Madonna was in that period. When they pulled out the wardrobe, I saw a bra and panties and stockings. I thought, ‘There’s nothing here.’ I was nervous about wearing that outfit, but the wardrobe helped you bring out the character and made you feel alive.’

GIGI GOODE Performer

“I’m not a choreo queen, but I was excited to bring it to life. My performances revolve around what I’m wearing. I can move rhythmically but I’m not strong. I was shaky and nervous, and I wasn’t prepared to be nervous. I was confident in my ability to sing. I don’t know why I was shaky, but when we got on stage with Jamal, he said, ‘OK, what are you willing to do and can [you] push to the limit?’ I said, ‘I weigh 120 pounds and I am more than willing to be thrown into the air.’ Jamal brought out what I didn’t know I had.”

NICK MURRAY Director

TOM CAMPBELL “A lot of what I shoot is dependent on what is choreographed. Executive producer What you see in the rehearsals is a small snippet. It’s the first time the queens are seeing Jamal, and he has to gauge the talent because not everyone has the same ability. He has to cultivate “Every year, we challenge ourselves to think of new and better their talent. We shoot a rehearsal and I get to learn some of the things to do. We asked, ‘Why haven’t we done Madonna?’ We basic moves and then the group choreography. After that I’ll meet wanted to see how we could push the queens. With this group, with producer Mandy Salangsang, and discuss how I want to shoot we knew from their audition tapes that they were talented it. I’m heavily involved in the entrance and exits and how to make in a variety of ways and across the board. We thought we’d it all visually enticing for the viewer. But it needs to work from a have them record their vocals, and sing and dance. It was the choreography point of view in terms of getting one performer on hardest ‘Rusical’ in herstory.” and another off in a visually coherent way.”

VARIETY 53 EMMYS: FOR YOUR CRAFTS CONSIDERATION

WARRIOR Jason Momoa plays a father and tribe leader who navigated rough terrain without sight in Apple TV Plus’ “See.”

How do you balance time when you have so many details to work on? It’s a TV show and it’s cascading VFX. You’re in prep on one episode and in post on another. It’s really hard to manage, but I was fortunate that I had Eve Fizzinoglia as a visual-effects producer. She had experience and she had done this so many times before, so she knew how to schedule all of this and she kept me in check and made sure I had done all the creative stuff that needed to happen in post before the next episode. That was the thing about working in TV, it was about getting all the pieces to fit in the puz- zle in a way that fits into the bigger picture.

What were some of your favorite shots that you helped put together? Creating Digital In Episode 1 our heroes escape and have to cross this ravine with a rope bridge and there’s this torrent of water. It’s all Contacts and Getting VFX: there was no ravine, no forest and no cliffs. There was hardly any mist and fog. There was a rope bridge that was three or four feet off the ground with a blue screen Back to Nature underneath it. It was all effects. THE VFX OF ‘SEE’ WERE BOTH WORLD-BUILDING AND How did you want to harken back to the CHARACTER-DEFINING By Jazz Tangcay present in this very futuristic world? The show was set 600 years in the future with the premise that nature has taken over completely and there’s very little evi- The futuristic dystopia of Apple TV Plus’ “See” is a What attracted you to “See”? dence of the landscape left; nature has crept world in which the population, or at least 99.99% of What attracted me to this was what would back in the world of “See.” We did want a this mean visually because you have an few artifacts of the present day. We wanted it, is blind. The first season begins centuries after entire culture that hasn’t seen for so long that to have the same feel as the end of the a virus swept the globe, killing most in its wake but that they’ve forgotten culturally what “Planet of the Apes” movie when you see leaving the rest without sight, only to pass that trait vision even is and how would that look? the Statue of Liberty was on the beach. In Exploring that idea was so exciting to me Episode 4 they are on a raft, these concrete down to future generations. The show was filmed in because every single person needed a structures are sticking out of the water Vancouver, a very well-known backdrop for today’s blind-eye effect. That was going to involve and it’s not obvious until we have the over- television audiences. In order to fully enhance the a lot of VFX because [director Francis Law- head shot that you realize it’s a street with rence] didn’t want to use contact lenses. houses on it and they’re covered in vines world, visual-effects supervisor Adrian de Wet and If he did that, he would need someone on and you recognize them as housing struc- his team utilized approximately 3,000 effects shots, set installing contact lenses. There were tures. We wanted that to be evocative of a in addition to some of the stunts between warring soldiers and lots of extras doing battles. futuristic world where sea levels have risen We had close-ups and so we had to do the so much that it obliterated this town. All society factions the Payan Kingdom and those who blind-eye effect on every single one and that’s left are these things of this civiliza-

live in the forest within the world of the show. that’s why it was a huge undertaking. tion that is long gone. APPLE TV+

54 VARIETY THEY BOLDLY WENT The two-part season finale of “Picard” saw his freighter travel through the Borg transwarp conduit to the planet Coppelius.

Building Bridges, Borg Cubes and Flying Orchids in Space

VFX REIMAGINES THE FAMILIAR WORLD OF STARFLEET FOR

‘STAR TREK: PICARD’ By Jazz Tangcay

Captain Jean-Luc Picard (Patrick fans are well- versed in VFX and they What went into planning the two- want stuff rooted in science. We had to part finale? It was a massive undertak- Stewart) returns for a new adventure keep that in mind when we created it. It ing. The finale was the largest in terms of in CBS All Access’ “Star Trek: Picard,” really boiled down to tons of references shot count that we had done on “Star Trek: two decades after he was last seen on- and working closely with our vendors and Discovery” and “Picard” to date. Once we then putting it in the hands of the artists to got the script, the first step was to discuss screen. This later-in-life titular captain bring it to life. it, and the second step was to get a story- retired from Starfleet but now has board artist to get the beats out of how we to face the consequences of what his What was the most exciting thing to do want the story to go. A lot of it takes place in the world of VFX for the show? The in space, so we choreographed the battle- absence has caused. With space being sequence with the orchid was an interesting field and spent a lot of time laying that out as vast as it is, the series used multiple challenge. When you bring in something like with creator Akiva Goldsman on the sto- visual-effects houses to put together a giant biomechanical Borg cube or multiple ryboards. In advance of shooting, we did biomechanical orchids that can bring down rough animations in previz so we had an intricate sequences that included the Borg cube, how do you do it in a way idea to show the actors Akiva’s set. the Borg cube ship, space battles and that looks photo real? How do you do some- thing that isn’t going to take the viewer out What are some of the effects you worked various planets. DNEG was one such of the story? At the end of the day, if some- on that seem less obvious that they are house, with VFX supervisor Jason body looks at it and gets pulled out of the VFX shots at all? We extended the Borg Zimmerman, who also works on “Star story, we aren’t doing our job. We looked at cube interiors [through VFX]. I enjoy doing textures and colors and how it would look the invisible stuff because they see the Trek: Discovery,” leading the team. against the Borg cube and the La Sirena, breakdowns and they don’t even realize which is a bigger ship. Once we had the pre- what we’ve done. They were just so much How did you create the look of Mars for viz done, we put the CG model in and made fun to do because the Borg cube is such a “Picard” when it’s so well-known? sure it was properly rigged. It was a mas- part of the “Star Trek” world and a big deal That was so interesting because we have sive sequence that required between 60, 70 in the universe. The bridges of both the imagery and a lot of references. We also shots. It was challenging to have the orchid Federation and Romulan ships were all CG. have the Mars rover, which shows us what take the cube down. Showing the orchid and Typically, we’ve built those in the past, but it looks like on the surface. We knew what cube together was great because then you in this particular instance, it made it more it was going to look like and we knew we get a completely different understanding of fun to do it as CG, and most people don’t

AARON EPSTEIN/CBS AARON were going to show an attack. “Star Trek” how big one is next to the other. realize. It’s subtle and refined.

VARIETY 55 FRIDAY, JULY 10 2 PM PDT / 5 PM EDT

An exclusive screening & Q&A with executive producer/star Claire Danes, producer/star Mandy Patinkin, creator/executive producer/writers Alex Gansa & Howard Gordon and executive producer/director Lesli Linka Glatter

MODERATED BY CYNTHIA LITTLETON Business Editor, Variety

REGISTER NOW VARIETY.COM/USOHOMELAND DISCOVERY CHANNEL equipment not built for such brutal weather. notbuiltforequipment suchbrutal camera ready ashefollowscamera ready thecast and ment suchashisphone, hedoesn’t keep raphers whowork intheunpredictable remote Alaska. the Faint ofHeart Not Is Elements for Capturing Real world ofnature. Othersinclude“Deadliest and itcandiewithin10seconds. Ihave to a GoPro, tofilming areused theseartisans Zero” callsfor directorof photography their gear miles from production houses. milesfromproduction their gear tolivetheir struggles off thegridin put it right back inmyput itrightback jacket. Thecamera Richard Jones. Whetherusingadroneor Michael Cheesemantoalways have a Catch’s” David Reichert and“Serengeti’s” it out in the elements for long. Hestoresit outintheelementsfor long. in extreme conditions andhave to learned batteries candietoo,” hesays. become resourceful whentakingcareof himself insubzero using temperatures AMONG CINEMATOGRAPHERS SHOOTING INEXTREMEENVIRONMENTS CREATES RESOURCEFULNESS NATIONAL GEOGRAPHIC’S “I’ll usemy iPhonealotfor theGoPro, In ordertoelongate thelife of equip- Cheeseman, forCheeseman, example, often finds Cheeseman isoneof many cinematog- “Life Below

reality program. the unstructured the waterfor nights inandon long daysand Catch” crewspends The “Deadliest FILMING DEEP SEA By

Jazz Tangcay The show following hasbeen 100-foot crab boats outtotheremotewaterscrab boats along often stop working andCheesemandoesn’t case withinaminute,” hesays. out what buttostop you theother need, viewfinder. But that isn’t withoutitschal- need a temperature checkontheweather atemperature need night shoots, 30-foot waves andlongdays subzero temperatures, theviewfinderwill to know how thecameraisperforming. snow andit’s crab fishingseason noeasy the BeringStraitduringkingcrab and sees itscameracrewbattling elements. to keep hisbatteries fromfreezing. Once theLEDdisplay off,he’llusethe goes freeze orfog over. “Often, we’re shooting feat. Once leavesfeat. the boat theshore, it’s blind,” hesays. batteries from dying, youbatteries fromdying, have toclosethat lenges, either, to whensubjected because keeps handwarmers orhotbottles inside Pelican casesand inheavy-duty his gear “I’ve learned ifwe’re“I’ve learned outside, you take Discovery’s Catch” “Deadliest similarly In suchconditions, theLEDdisplays EMMYS: FOR YOUR CRAFTS CONSIDERATION “create cinematic images,” hesays. An “Panasonic camerasthat have dualISO “We tomake need foot- possible itthebest Jones admits. “We have astabilized estimates, citingacombination of big covers,” hesays. over “custom housingandspecialty effective form of protectingthegear haveelectric tape proven themost tobe silicon glueand bag, Ziploc old-fashioned compromise that for thecamera,” hesays. comes withitsown complications. tofimlionsandleopards, which can desert get hot, especially at especially mid-day.”get hot, will fiber system, butblackcarbon gimbal moments, elements-wise, andwe don’t Catch”moments on“Deadliest areoften waves that causecamerastoflyoverboard when thecrewis“having ourworst which also happened to be thetimewhen tobe which alsohappened fishing crew. as thecameragangworks tocapturethe and saltspray, whichcauseserosionof age we can.” we age that, it is about being resourceful itisaboutbeing withthat, show for morethan10seasons, says its such animalswere at theirmost active. protecting gear. technology intheirVariCamtechnology LT,” which functionality over time. by inthemorningtofilm, going outearly key tohave But anironstomach. beyond hand, putitscrewinthemiddleofAfri- hand, “We lose10camerasaseason,” he “It’s hotandthecamerasdooverheat,” Jones was often able toavoid suchrisks Reichert, who has been working whohasbeen ontheReichert, But for capturingthebest Reichert, Discovery’s “Serengeti,” ontheother Reichert andhiscameracrewuse

VARIETY 57 or is chockfull of, music.or ischockfull elusive —even whentheshow centers around, have found is somethingmusicsupervisors name emblazoned onTV inafront-end credit peers, especiallyinHolly ”I worked music-intensive onavery show the Showthe WhenMake Tunes THERE’S NOTHING LIKEVALIDATION 58 EMMYS: MUSICFOR SCREENS Academy now recognizes ourwork withan Award for herwork on“Euphoria” (the dance,” says Jen Malone, who thisyear reevaluates their stance.” studio saidtheDirec- “The main credits). won a Guild of Music Supervisors (GMS)won aGuildof MusicSupervisors and asked for because afront-end credit sor to be a technical credit. Even theTV atechnicalcredit. sor tobe tors Guildof Americawillnotallow it the show aroundmusicand was based Emmy category soI’dEmmy category that theDGA hope HBO seriesshows atitle cardinlieuof FRONT-TITLE CREDIT, IT’S BEENALOSING BATTLE FOR MOST MUSICSUPERVISORS FIGHTINGTHEDGA TO GET because they considerbecause a musicsupervi-

comes tocredits. short shriftwhenit music supervisorsget The “HighFidelity” NAME CHECK Guild presidentJoel C. Highputsthe By

James PatrickHerman VREY VARIETY wood, but seeingyour fromyour does nothavedoes against butitisa apolicy it, can be granted intherightcircumstances, granted can be nized in this industry and not be labeled andnotbe nized inthisindustry non-negotiable. “We musicsupervisors negotiation.” ative recog- contributions tostorytelling and guidelinesinplace for ustoeven fight as farIhave not found, theDGA does ative’ And isantiquated andmisinformed. as just paper-pushers,” says Malone. “Call- that even Ioften feel like Idon’t have any supervisors. “Ihave toldtheDGAsupervisors. been the DGA’s vetting of waivers frommusic isalongstanding “There small screen. precedent thatinafilm amaintitlecredit insight into,” Amanda Krieg Thomassays. ity. “Credits complex areavery system ing ourwork to‘cre- ‘technical’ asopposed for inTV.” afront-end credit but TV can be muchtrickier,” canbe but TV hesays of vis-à-visbig pictureintoperspective the have hadtofightfor years toget ourcre- have clear, rules reasonable transparent, GMS members contendGMS members itshouldbe She’s notaloneinseeking clar- “American of Soul Soul:TheUntoldStory “Queen &Slim.” “Igeton maintitlecredit “Spider-Man: Into theSpider-Verse” and “Insecure” inadditiontosuchfilmsas A surprisingadmission considering the Train” wanted toseehercontribution ducer 2of of “American Season Soul,” dramatically different onthebigversus clearances, whenthey fall especially complex intricaciesinvolved inmusic cess don’t and, about the get me started offered tosharehiscardviaasplit-screen. official musicsupervisor, Robin Urdang. for thejobalongwithseries’ co-credit 35-year televisionshow, ‘Soul Train’ —itis veteran music supervisor hasworked onveteran musicsupervisor gible for Emmys since 2017andtwice the needle drops.needle Icannottell you the sheer rience: the music supervisor for BET’srience: themusicsupervisor music invisualmedia. request —anditdid.request inthefront-end credits.reflected The wall-to-wall music,wall-to-wall whichincludesre-mas- “‘Americanwrote inaletter totheDGA. nominations andwins. It’s worth noting mit herbio, alist of of songs thenumber writer, thenetwork andthecomposer, who winners were of “The theshowrunners amount of creative work involved inmak- ated by Kenny ‘Babyface’ Edmonds, score films soitmakes sensethat you should also get it on a TV showalso get since itonaTV theDGA con- sider what music supervisors provide sider what music supervisors “I’mtechnical. onlyaskingyou torecon- scenes over musicalstyles.” disparate tered performances,tered originalmusic cre- self anadvocate of of theimportance so many projectsby Ryan Murphy, him- some, butnotother, screenandadvertis- through,” Judith McCreary, executive pro- small screen. “It’ssmall screen. definitelysomething same for filmandTV, success rates are for allcompanies.”the board process isthesameacross ther adds:“The trols [approval] onfilmsaswell. I’m sup- show’s Sodidthehead agreed. creators that music supervisors have eli- onlybeen that musicsupervisors protocols. for Aspokesperon theguildfur- she cleared and information pertaining to andinformation she cleared pertaining portive of those pushingfor of those thisnow.”portive DGA’s as definitionof musicsupervision Kier Lehman, music supervisor for HBO’s musicsupervisor Kier Lehman, I would love [onTV],” toseehappen says Marvelous Mrs. Maisel,”Marvelous whoclaimed Only theDGA hadthepower todeny her ing seamless musicaltransitionsbetweening seamless ing credit requirements on a case-by-case onacase-by-case requirements ing credit few factors:Neumeister was asked tosub- by Kurt Farquhar butnotleast, andlast, Soul’ at the look isabehind-the-scenes basis,” theDGA website reads inregardsto her stature intheindustry, suchasawards “The DGA willconsider waivers“The of “Ashley’s work was integraltothepro- The showrunner alsochallenged theThe showrunner While thevetting process may the be Presumably ona thedecisionwas based Consider Ashley Neumeister’s expe-

PHILLIP CARUSO/HULU RAMOS: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; I AM NOT OKAY WITH THIS: NETFLIX “Imagine ifthey weren’t theretopro- — didfor HBO’s “BigLittle Lies,” anaccom- Approval hinged onmoving theunitpro- duction manager andthefirst andsecond of theco-producers, staff writer, direc- choices totransitionwell toscore, origi- characters live. Theremay have a been one canget amaintitleifthey ask andthe andIdon’tcredit have anagent,” Jacobs asdidRandallPosterend credit on“Vinyl,” vide suggestions, guidance andmultiple nal songsandneedle-drops.” ney who submitted Neumeister’s waiver, more technicalthancreative, butthat was more thanherEmmy win. SueJacobs —notably music supervision? went over —andstraight to hishead we canfightfor it,’ “says Lehman. would never agreeto, mainlynottosquash whichthenetwork wanted atrade-off, assistant directorstothefirst card(ahead another show withnocomposer. the network —withtheirdemandsfor the DGA was But willingtomake adeal. time that rolewas themusicsupervisor’s show theworld tocreate inwhichthese says. “Itmust have afluke, been butany- over whotook the two musicsupervisors thought, ‘That means it is possible andthat itispossible means ‘That thought, andplaythe credits adsover them,” says tor of photography andguest stars). “They to themoving picture,” added. McCreary the very first Emmy the very winnerofthecategory prominent placement intheendcredits. plishment that seemstoimpress her peers power play. DGA feels thework iswarranted.” Neumeister, whofelt like apawn inthis instead of responding tothelawyer, ofinstead responding they for Jacobs 2alsoreceived onSeason front- long before Iwas born.” writerof thehand inwiththehead “I don’t believe Ieven toget tried that “I was excited whenIsaw I itbecause According attor- totheproduction Who hasreceived for afront-end credit Neumeister “Iworked herselfpleads: But itwasn’t asingularachievement; Am NotOkayWithThis.” works ontheaptly titled “I supervisor NoraFelderalso “Stranger Things”music SCREEN TIME Alison Rosenfeld andTom Wolfe —were America,” to tweeted: “Huluhasdecided electricians, drivers, on-setmedic, animal on Netflix’s “Stranger Things”follows the of showsobscure theendcredits ontheir of Hulu’s whiletheshow’s “HighFidelity” asexecutiveend credit musicproducer creatively does not happen by itself— nothappen creatively does of theirlevel of creative input,” Neu- ect pay indicates, thesector’s skillslook visors face. “It’s of similartoourgoal the relegated to the end credits (theones tothe end credits relegated ridiculous,” Jacobs says. “Inmy idealis- meister says. role issoimport- “Their nect toanotherproblemthat musicsuper- wrangler andcaterer. with Cate Blanchett. debutontheseriesalong who madeherTV without them. Musicandhowwithout them. itisused get thembecause credits who get opening unions dictating whogets what.” unbelievable work.” Walter thenshared among others, music supervisor Mary Mary among others, musicsupervisor a seriesof 24screenshotshighlighting, acknowledged forand crewcanbe their amount of work.” ant that theshow would thesame notbe ourwork theimpact hasonprojects,”about suppose that willneversuppose withallthe happen tic world, itwould ameritsystem, butI be shots ofalltheframessoouramazingcast by thosebingeing). skipped —ManishRaval,trio of musicsupervisors slightly incredulous Ramossays.slightly incredulous to be widely undervalued. “The people “The widelyundervalued. to be screen- [so]Itook platform rude!) (very Ramos —aveteran of Tarantino movies Lehman says. Oscar category andraisingawarenessOscar category it’s theendresultof anastronomical but inTV, I’m intheendcrawl,” buried a “I personally find all credit provisions findall credit “I personally “I’ve gotten infilms maintitlecredit As Dahvi Waller, of “Mrs. theshowrunner And as music supervisors’ per proj- per And asmusicsupervisors’ This may explain Questlove’s front- The issue does, of however, credits con- She’s notalone:Nora Felder’s credit music] suggested Markmusic] suggested Dawn Soler [ABC’s SVP of hadn’t scored before, sound. Butsinceshe the architect ofthat drama ofFlorence; Isais and Ilove thefire and have afemale composer I felt to itwas important Florence +theMachine. knownbest from on IsaSummers,whois Fires,” you tookachance Hollywood, butfor “Little composers working in There are so few female and have blanche. carte write theirown stories working withauteurswho the studio. I’m usedto tors, theshowrunner and director butseveral direc- show tonotjustone ent versions you have to there are differ- allthese atatime.Andepisodes working onfour orfive blewmyules mind. You’re post-production sched- The difference in about working inTV? what surprisedyou most 30yearsAfter inmovies, screen segue. Variety Fires Everywhere.” Shelet “Mrs. America” and“Little foras musicsupervisor thisyearher markonTV my filmography,” made as “the unsunghero of Quentin Tarantino praised Ramos,thewomanMary ‘LITTLE FIRESEVERYWHERE’ AND‘MRS. to Experience TV Tarantinothe Mary Ramos Brings SCREEN CREDITS AMERICA’ AREAMONGFILMVET’S SMALL Screens summit. Music for at the2019 Mary Ramos ON CUE in onhersmall

By JamesPatrickHerman

VARIETY the wholeexperience. withsounded seamless posers sothatthey — produced by ourcom- Cure’s “Pictures ofYou” dith Brooks andthe period —“Bitch” by Mere- covers ofsongsfrom the would becooltohave “Mrs. America”]. Iknewit cally accurate[unlike didn’t have tobehistori- It was setinthe’90s but project was ablankslate. freedom, ultimately. The I hadthemostcreative is theonewhere Ifeel like for Quentin’s vision,this ects where I’m support As opposedtootherproj- really bearsyour stamp. “Little Fires” feels like it process. theand thatstarted you’re hopingtoachieve, in onthekindofthing tives?” hone Descriptors you writedown adjec- score. Isaid,“Why don’t aboutthehelp themtalk Isa, Ididanexercise to runner metwithMarkand ing for. Whentheshow- convey whatthey’re look- have therightwords to And directors don’t often there’s curve. alearning you’re nottheboss,so process andoftentimes poser. It’s acollaborative wants tobecome a com- any recording that artist It’s abigeye-opener for Isham composewithher. 59 titular comedian Midge Maisel(Rachel win (LeRoy McClain),thesinger for whom ofing apalette newmusicfor Shy Bald- setabout creat-the era,showrunners Klezmer andiconoclastic standards of contains theshowtunes, classical music, Amazon Prime Video hit. for the unfamiliarterritory competition, crew hasitssightsontheoriginalsong Robin But thisyear, Urdang. the“Maisel” and DanPalladino andmusicsupervisor show Amy creators Sherman-Palladino two— thepast have of gone totheteam to Emmy Awards for musicsupervision enviable batting average whenitcomes 60 Original Song Competition ‘Mrs. Maisel’ Dipsa Toe Into EMMYS: MUSICFOR SCREENS ALSO OFF TO THE SONG RACES... SONG TO THE OFF ALSO Song;” thebubbly popofthe Chance theRapper tenders are a sexually charged folk songfrom 1962, at anothernomfor oneofitsspoofs; amongthecon- ofthepastthreenominee each years. and“Saturdaymentary NightLive,” whichhashada songs from anawards show, two specials,amocku- the originalsongtrophy atlastyear’s Emmys, topping Schlesinger, RachelBloomandJackDolgentookhome The “Crazy Ex-Girlfriend” ofthelateAdam team “THE MARVELOUS MRS. MAISEL” MUSICAL TERRAINFOR THEAMAZON HIT TUNES WRITTENFOR THECHARACTER SHYBALDWIN MARKNEW If history repeatsIf history itself, “SNL” couldwell belooking While the soundtrack to season three While thesoundtracktoseason VREY VARIETY ’s Halloween-themed “Spooky Aidy Bryant has an -sung “Over-

By PhilGallo night Salad;”and (“Secret inthe current Law”) season. CBS AllAccess, saved himfor onespecialtune Coulton “In theMix.” extensively Andafter using locked infor itstheme song, “Mixed-ish”new ABCseries hadahigh-profile singer commanded attentionfor itssynch Kenya uses. Barris’ “Little Fires Everywhere,” ashow thatconsistently include Other high-profile songsinthe2019-20 season Ingrid Michaelson ’s songsayear earlier, “TheGood Fight” on like hemust exist.” for Shy Baldwin’s you albumbecause feel used-record store today, you could search wanted tofeelreally like ifyou went toa when shegave usthosetwo names. She “Amy fromthebeginning was clear really those artists,” says Moore, thelyricist. that at onehitrecord. included least ofand SamCooke work abody to create tolisten toJohnny Moore Curtis Mathis tasked songwritersThomasMizer and taste for theburgeoning soulmusic, and style witha ina’50scrooner one rooted a uniquemusicalpersonality, some- act. asanopening Brosnahan) serves “It wasn’t of apastiche somuchtobe soughttogiveThe creators Baldwin the Weeknd ’s “Build ItUp” for Hulu’s Mariah Carey ’s “On theCouch.” “TheMarvelous Baldwin needed character Shy Mrs. Maisel” repertoire. his ownpop — PHILGALLO IN TUNE Jonathan , whosings lands inyour andtellsastory.” ear songthat hooky areally created hopefully was thesame. wherewe “Itgets toapoint of “Bottle of Pop,” Mizer says theambition “One Less Angel” Motown ortheearly style that was we theneedle hadtothread.” hisromantichitatbe thesametime. So “Italsohadtofeel like itcouldinner truth. inwhichBaldwinreveals his number play onthat one, writingan11o’clock details of thescenes. before they even knewthe Has toKnow” bizarrely, “No One theduocrafted a secretBaldwiniskeeping and, of thebiggest stars outthere.” making [theviewer] believe that Shy’s one “Becauseithastodotheworkreasons: of full two minutes. times,a 6;both thesongruns in Episode in aMiamishowroom The tuneisreprised knowclearly thelyricsandmelody. mance at aUSOshow; wherethesoldiers Angel” viaBaldwin’s isintroduced perfor- ing thesongs.” of helpfulin elevat- that eraandisreally asoundthathelps tocreate remindsus the studio at thesametime. Ithinkit andthesingers in ments withtheband — sitinastudio andrecord alllive instru- We oldschool right. very dideverything make note, word surethat felt every every again. We’d play versions andforth to back ing thesongtoourselves over andover details, details,” Mizer says. “We kept sing- ‘One Less Angel,’ itwas allaboutdetails, “One Less Angel” asthehit. man-Palladino. identified Sheimmediately toSher- whichtheyand achorus, took of themintohalf-songs, averse basically five they turned titles andmusicalhooks; Mizer gaveshoot. apage of Moore 20-plus receiving theassignment andthefirst sel,” hadlittle morethanamonthbetween on“Mai- project priortoherembarking ing withSherman-Palladino onatheater an Emmyforsong. Mariah Careyeyes MIXING ITUP Whether itwas “No OneHastoKnow,” Mizer says chopscameinto histheater The season’s involves plotcurveball Why show Mizer thewholenumber? In theseason’s first episode, “One Less “In thewritingprocess, with especially Mizer andMoore, whowere work-

MRS. MAISEL: NICOLE RIVELLI/AMAZON; CAREY: MJ PHOTOS/SHUTTERSTOCK CORINNE SCHIAVONE into somealternate universes. totheshow’swith anod premise, them ittook scoring projecteverfilm orTV has. Andthen, ’n’them asclosetotheirrock rollday jobasany on thethoughtfulscience-fiction drama took Inch Nails of times. Whichistosay, theirwork Nine InchNails of times, itwas Nine theleast down tothis:Itwascould boiled themost be forcomposed HBO’s series“Watchmen” limited Took On‘Watchmen’ and Atticus Ross How TrentReznor THE SCORETHAT Amongthepieces that got for used that When Reznor andRoss —Oscarwinners music they’re knownmusic they’re for underthat aegis fit inhere. “And we’d never hadanoppor- about howabout well thedrivingelectronic away fromsomestuff we would doin that asdirectly. Soonce we thecue took tunity inascoring situation toexplore they were diggingwasn’t really that far withsomeinitialideasto theproducers Nine InchNails,” Reznor says, talking from them, wefrom them, were off totheraces.” musicthatfor “the musicfor thepilot, for 2010’s —came Network” Social “The WELL OUTOFTHEIRWHEELHOUSE THE NINEINCHNAILS PRINCIPALS WORKED BOTH INSIDEAND Trent Reznor andAtticus Ross

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Chris Willman do inNineInchNails.’” que theme“How theWest Was Really Won” ed-about piecesed-about of original musicinthe emerged, itwasn’temerged, onetorest onlaurels,” —wrongly,episodes it. asthey describe easy, thisiskindof like because what we Way ItUsed toBe,” withvocals by Laura first episode werefirst episode theJohn Carpenter-es- accused of therewas coasting, astylistic and “Nun With a Motherf*&*ing Gun,” a and “NunWith aMotherf*&*ing show —once it fansrealized spread forspread thescore intermsof theway broad 1.But avery sode thenitbecame to exponentially increase.” ‘Oh, thisisgoing tobe tothink, started “Ithinkwe racing. set NINfans’hearts period song.”period Dickinson, became oneof themost became talk-Dickinson, Reznor says. was asked began being “What it goes fromagospel choirtoa1940sit goes in-your-face stuff, there’s alotof itinEpi- iar with each other and a true friendship otherandatrue iar witheach familiarity therethey they assumed might be ablebe tokeep upthroughtheremaining bit of action-sequence soundtrackingthat “As morefamil- ourcampsbecame Although theduowouldn’t want tobe The faux period tune in question, “The “The tuneinquestion, The fauxperiod Ross more itthisway: describes “The The composers David Bowie. touch sacred referencing SOUND AND ground in VISION was original culturally relevant issue today.” social foronly intermsof hisrespect thecanon, afantasypremiseanddealt expanded won’t it.’ lethimhear But tosomething itled and somethingwe’re proudof.” very that ended up being, I think, quite beautiful quitebeautiful Ithink, upbeing, that ended Damon down and thought, ‘Ifitsucks,Damon down andthought, we re-juxtaposing totake onahot-button,re-juxtaposing wanted, which was incredibly daring, not was daring, incredibly which wanted, with danger of how you it,” could ruin says with race. “Iwas curious:what would Reznor, “even what before he learning that isfraught Damon dowithaproperty but afearlessness and inre-appropriating Velvet,’ I’llnever that songandnot hear delof asked themtocontribute. “Isup- doing television—itwas like anine-hour come up with something that does this?’” come this?’” upwithsomethingthat does ored Clown’ored with‘Blue imprinted became cover of David Bowie’s “Life onMars”Lin- came outsatisfyingly exhausted.” exactly like somethingfrom1940with extreme ‘How panic: inthehellarewe gone. Against thecondensed timelineof get asked,” Reznor continues, “because going torecord that sounds abigband music and not a needle drop.music andnotaneedle we could have inanactualvocal dropped moment inthestory, andtwo, it’s oneof regular film—we felt like we’d moved into movie, inathirdof thetimewe would doa We fun. made itendupbeing cameout we even writeasonglike But that?’ those we get that doneinless thanaweek? Can with somethingthat was notthat farout- ahead of it, saying, ‘Doyou saying, of thinkyou it, ahead could about aweek —itwas I coming inhot. a vocal that fitsover thisscene, andcan and inotherways, asfaroutwe’ve ever the phone call, withnotquiteenoughtime the phonecall, piece fromthe1940stoplay over the the publisherwouldn’t license. Ithink of thematterthink thetruth was, they something you want tofuckup.” songseverthe best andit’s written, not theirlesson aboutpublishers learned think of Frank puffingonnitrous. Booth ship withBowie like Trent butthat’s did, something we’ve never donebefore and trust- loving, of thingsinsideavery sorts something easy. Therewere momentsof side thewheelhouseof NineInchNails, pose ‘difficult’ or ‘scary’ could applied be ‘difficult’pose or‘scary’ I mean, after[RoyI mean, Orbison’s] ‘Candy Col- Damon [Lindelof] thoughtitwould be Damon [Lindelof] ing, respectful andexciting respectful ing, atmosphere better ifwe diditrather thandropin lynching scene,” Reznor says. “But we’d get had aDorisDay trackintherethat haunting musicagainst horrifyingimages. hallowed One, ground. it’s apivotal [there],” hesays. “Ididn’t have afriend- “In Episode 6,whenwe’re“In Episode inthe1940s, “Anyway, to alotof thosethingsstarted That prideextends to how “Watchmen” Reznor says: “We didn’t want tolet The resultingtrackwas “in finished Ross totheinstrumental alsopoints VARIETY 61 on Board Composers Top With Came Debut Plus TV Apple EMMYS: MUSICFOR SCREENS NAMES FOR ITS SERIES’ SCORES MADE SURETO LANDA-LIST THE FLEDGLINGSTREAMING SERVICE

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Jon Burlingame “Defending Jacob,” Icelandic composer “Three Billboards Outside Ebbing, Mis- OutsideEbbing, Billboards “Three And then piano seemed rightforAnd thenpianoseemed Aniston’s for “Dickinson.” &Lace andIanHultquist Drum forBrook “Little America” and for “Defending Jacob,” Michael Morning Show,” Atli Örvarsson toscoreCarter Burwell “The tapping choices fromthestart, some pretty sharp music Plusmade service, Apple TV FOR ANEWSTREAMING TV, butwas by theJennifer intrigued Anis- Two-time Oscar nominee Burwell (“Carol,” OscarnomineeBurwell Two-time character, yet cool, very itcanbe because could take tragic situations openly andput wanted someonewho ers films:“They worked very well. It had an urban feel-worked well. Ithadanurban very also letsomeemotionin.” an ironictinge onthem.” the way they thoughtof themselves. It’s a to fitthesecharacters. We wanted toplay the main instruments: “Uprightbass the maininstruments: ton-Reese ayemcast Witherspoon sendup. souri”) hadnotpreviouslydoneepisodic in reality, alotof thesecharacterswere. ing to it, aversion ofing toit, hipness that seemed bit jaunty, whichhelpswithhow awkward, For series thedarkfamilylimited Piano, string were and percussion bass Explains theveteran of 18Coen Broth- Apple TVPlusdidn’tjust Morning Show”),butalso Aniston, left,andReese in itsseries(Jennifer cast toptalenttostar Witherspoon in“The to scorethem. TOAST OFTV

“Drum &Lace”) scored itwithoutregardto“Drum “It felt asoftness like and themusicneeded “Cultural abad appropriation isbasically Armenian, TanzanianArmenian, on andIrishartists 19th-century American poet EmilyDick- Americanpoet 19th-century The music is really astudy inafamilyfall- The musicisreally delightful, fact-based anthology of fact-based the anthology delightful, emotion, character,emotion, noneof them location, captured EmilyDickinson’scaptured internal tur- episode, theonlymusical butthat mightbe exotic withmuchof the[score],” hesays. on hisexperience asaworld musicartist, cago Fire /P.D. /Med” dramas)was cho- emotional arc, butwe’re just usingcon- overlaying my voice onscenes that were voice” Iansays. progressed, asthe season very personal toEmily, personal very drewyou itreally music, butwe conscious still of arevery it We’llmoil. take it!” relatability,” shenotes. “Once we started really do.”really who collaborated with Indian, Pakistani,who collaborated withIndian, working onfor couple thepast of years. when it comes to the story andthecharac-when itcomes tothestory all. Married musical partners SofiaandIan musicalpartners Married all. films orTV, butrather musiche’d written and themes, soyou’re from notstarting and recorded astring groupthat ranged about the period whenitcomes totheabout theperiod a way that mechanical synthesizers can’t these are a collection of short stories.these areacollection ofshort They tortions, tothinkthat butthey it seemed the eradepicted. throughline of theseries. the endof theday, we didn’t go really too the Real World inthe1990s. label “But at the plot or thriller aspects of it.”the plotorthrilleraspects Örvarsson that comes morethandriving withthat, sen notfromanything he’d written for temporary instruments andsounds.” instruments temporary ters. We’re still scoring thenarrative, the series] a little too fake-tourist.”series] alittle too producers. “It’s just abunchof guitardis- played thepiano, theelectronics, added been musicI’ve pianobased post-classical, Hultquist (she’s known professionally as inson, may haveinson, themost unusualscore of Örvarsson (best known for (best theNBC“Chi-Örvarsson ing toAmerica—butintermsof culture, immigrant experience inAmerica–based andthesadness andloneliness ing apart, idea, andIthinkitwouldidea, have made[the zero for episode,” each says. Brook “But in, helpingtoaddthat extrain, connection in for a then-unreleased soloalbum. for athen-unreleased from threeto25players. be really loud,” really be says Sofia Hultquist of her have anything incommon.” have ametaoverall com- theme—people have for hired “Little been America” –the “Dickinson,” areimagining of thelife of “Normally you canbuildupmomentum As he explains: “This minimalist, As heexplains: “This Adds IanHultquist: “We don’t worry For themaintitle, wanted itto “They Brook’s guitarwork is heard oneach Brook’s isheard guitarwork Canadian composer Michael Brook mayCanadian MichaelBrook composer Sofia’s “Emily’s vocals became internal

APPLE TV+ filmmakers told him not to treat various colors required by a into a much more fragmented Docs Look to Score this tale of an elephant herd mostly underwater story meant version of itself,” he says. “It crossing Africa’s Kalahari Desert the use of synthesizers as well. alludes to her earlier ideals.” in Emmy Race as a doc, but rather as a drama For composer Will Bates, who The Apple TV Plus doc series with all its danger and excite- scored Hulu’s four-part “Hillary,” “Home” hired Amanda Jones to

COMPOSERS OF NON-FICTION ment. So he researched the about former senator and presi- score the “Maine” episode, music of the region, especially dential candidate Hillary about an environmentally PROGRAMMING FACE DIFFERENT its percussion, and added those Rodham Clinton, the challenge advanced house in the snowy MUSICIAN DEMANDS THAN DRAMAS influences to his 70-piece Lon- was “finding the right tone.” New England woods. By Jon Burlingame don orchestra. For the evocative Says the U.K.to-L.A. transplant: Jones, a member of L.A. band vocals, he recorded American “It was a tonal knife-edge to try the Anti-Job, played acoustic soloists and a 16-voice choir. and be cautiously optimistic and electric guitar, added retro LAST YEAR, the Television Acad- The biggest challenge: “Ele- about her life, whilst not slanting synths and lent her warm voice emy added a seventh category phants are very hard to read it one way or another.” to a couple of scenes. for music: documentary series or emotionally. I had to rely on the Bates created a music-box “The sonic palette needed to special composition, long filmmakers to describe their melody for her childhood, which be cool and hip,” she says. “I sought by composers as music emotions.” morphed into a piano theme tried to tap into the cultural for nonfiction programming can Price, a nominee for last year’s later on. But for the 2016 elec- point of view, mixing it with their have very different demands “Our Planet” doc, had a similar tion, “I took that piece and put a surroundings. Youthful, fun, than that of dramatic narratives. experience on “Dolphin Reef,” sledge hammer to it, turning it organic.” The streaming services offered which followed a family and vari- numerous docs during the 2019- ous other denizens of the deep 20 season. Disney Plus debuted around a chain of Polynesian two Disneynature works that islands. were intended for theatrical “The way that Disney has histor- release but sidelined because of ically done nature films is more the pandemic: “Elephant,” with a of a family-based thing,” he says. score by previous Emmy winner “Telling about the interconnec-

Ramin Djawadi (“Game of tion of everything, it’s story-led WORLD MUSIC Thrones”), and “Dolphin Reef,” and character-led.” Nature docs like which featured music by Oscar Price recorded a 76-piece “Dolphin Reef” rely on score winner Steven Price (“Gravity”). orchestra and 24-voice female to tell stories Djawadi notes that the choir at Abbey Road. But the without speech.

BEWITCHED AND BEWILDERED Netflix series “The BABY YODA. Jean-Luc Picard. A emerged with a bass-recorder elves, monsters; anything less Witcher” has seen its music go viral. medieval witcher. A world in theme: “a distinct, lonely sound wouldn’t reflect the diversity.” which fairies have sex with following this gunslinger on his (Bonus: their song “Toss a Coin humans. A science-fiction journey,” he says, referring to to Your Witcher” became a viral anthology. Fantasy and sci-fi the bounty hunter of the title. sensation after minstrel Jaskier prospered on TV during the past Göransson later added guitar, sang it in the second episode.) season. bass, drums and other percus- With fantasy “Carnival Row” “Tales From the Loop” (Amazon sion “to combine the organic (Amazon), composer Nathan Prime Video) boasted a and flute sounds with tech, Barr found the the perfect vehi- high-profile theme by famed which is a big part of the show, cle for the 1928 Wurlitzer pipe minimalist Philip Glass in part- and also with the cinematic, organ that he spent four years nership with Scottish composer orchestral feeling of ‘Star Wars.’” restoring. “The filmmakers loved Paul Leonard-Morgan. The soundtrack for “The the way it sounded,” he says. “It In classic Glassian fashion, Witcher” (Netflix) became its became a tool that they really piano and strings became the own phenomenon earlier this liked leaning into.” primary voice for the miniseries, year, eventually tallying 100 mil- Jeff Russo’s theme for “Picard” but as Leonard-Morgan relates: lion streams for the colorful may be the most gentle and inti- “By Episodes 2 and 3, we were so score by Sonya Belousova and mate of the “Star Trek” scores to Yodas, Witchers much on each other’s wave- Giona Ostinelli. date, with prominent solos for length that people didn’t know Obsessed with offbeat instru- piccolo and cello. “It needed to and Trekkies, what was coming from Philip or ments, the two played the be somewhat contemplative, to from me.” Renaissance-era stringed hurdy- reflect his current life, where Oh My! Baby Yoda became a mega- gurdy, the Chinese erhu, Arme- he’s been and his desire to per- meme upon the debut of “The nian duduk, dulcimer, mandolin, haps fix his past mistakes and Mandalorian” (Disney Plus) last ethnic flutes, even toy pianos, heal himself,” says the Emmy SCI-FI AND FANTASY SCORES IN THE fall. Its soundtrack: courtesy of totaling 64 instruments when all winner. “The sound of ‘Star Trek’ RUNNING FOR EMMYS TAP INTO BOTH Oscar winner Ludwig Göransson was said and sung. has always been grand and THE PARANORMAL AND THE TRADITIONAL (“Black Panther”). He went on a Says Belousova: “It’s such a orchestral. But it’s really all

DOLPHIN REEF: DISNEY+; WITCHER: KATALIN VERMES/NETFLIX KATALIN WITCHER: DISNEY+; DOLPHIN REEF: By Jon Burlingame two-day forest retreat and diverse continent, with dwarfs, about internal relationships.”

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AS AMERICA’S VERSION OF ‘BIG BROTHER’ TURNS 20, THE TEAM BEHIND THE SUMMER STAPLE REFLECTS ON ITS BEGINNING

HOW FAR THEY’VE COME Since debuting in 2000, “Big Brother” has delivered 21 U.S. seasons and seen the global franchise grow to more than 50 territories. MONTY BRIINTON/CBS

VARIETY 65 FOCUS ANNIVERSARY

SUMMER HOME The U.S. version of “Big Brother” was Ten houseguests an unscripted competition series that moved into a saw 10 strangers living in a “house” on specially- constructed set a soundstage in Los Angeles, competing for a nationally for half a million dollars. With them were monitored dozens of cameras and microphones so experience starting in July that everything the houseguests said and 2000. did, even in private with each other, could be broadcast to the audience — an idea that has admittedly taken on darker con- notations as the years have gone by and government surveillance has become more prevalent. “It was the beginning of ‘always on, always live’ and all of the social experi- ments and the producers playing God a little bit as well, holding this mirror up to a changing society,” Peter Salmon, chief creative officer, Endemol Shine Group, says of the early days of the franchise. When the U.S. version launched, Salmon was at BBC One, and coinciden- tally he had premiered the social exper- iment series “Castaway 2000,” which tasked three dozen people with creat- ing a community on a remote island, ear- lier in the year. But Salmon recalls seeing “Big Brother” and realizing they got some things right that he had gotten wrong. “It was culturally cheeky and smart, savvy and political,” he says, noting that the American version had its own distinct identity and personality from the jump. Based on the Dutch format that pre- miered just a year before, “Big Brother” was an idea not completely foreign to American viewers: its concept of put- ting people from all walks of life in a house together was similar to MTV’s “The Real World.” But its competition FLASHBACK TO THE element upped the ante for reality TV, and it became a summer staple that kept CBS top of discussion during pre- NEW MILLENNIUM’S viously slow months; inspired a “Celeb- rity” spinoff series; an “After Dark” com- panion series; online 24/7 live feeds; and ENDURING SOCIAL arguably also inspired a handful of sim- ilar programs through the years, from ABC’s short-lived “The Glass House” to EXPERIMENT the global “The Circle” franchise and Endemol’s own “The Island.” ‘BIG BROTHER’ BROKE ONTO U.S. SMALL SCREENS “Survivor,” which had premiered on the Eye network just months earlier, had JULY 5, 2000, CHANGING EXPECTATIONS FOR REALITY put its contestants through grueling phys- COMPETITION SERIES By Danielle Turchiano ical competitions and dramatic transfor- mations as they lived without proper food and shelter on an island. However, the THE YEAR 2000 was a simpler time in so ject of fiction because Alexa had yet to first season of “Big Brother” relied more many ways. In the pre-Sept. 11 world, be invented. heavily on houseguests’ interpersonal cell phones still had buttons, only fea- But the latter certainly made for com- drama to fill five nights of content, of what tured one game and were actually used pelling television, as was evidenced were cut-downs of daily in-house happen- to make calls; Netflix was still known when “Big Brother” launched July 5, ings. A sixth episode featured a live evic- as a DVD-by-mail rental company, and 2000, on CBS. It was only seven months tion (then called “banishment”), a struc- the idea that someone was listening to into the new millennium, but television ture the series still uses today.

your every word seemed to be the sub- was about to be changed forever. “I had never even heard of anything MONTY BRINTON/CBS

66 VARIETY ANNIVERSARY FOCUS

STARTING A were given the power to evict each other, 5 million total live viewers. The franchise FRANCHISE IN STYLE instead of viewers voting as they did in overall has also grown to include more Season 1. than 50 territories. (Left) George Boswell departed It also increased the number of “They want real people: They want Season 1 in a houseguests, and continued to do so in people to come on and be genuine, and toga and later the years since, and limited the amount that’s the good, the bad, the ugly and returned for an “All Stars” of broadcast episodes it delivered per occasionally the inspiring and marvel- edition of “Big week. Through the years Endemol has ous,” Salmon says of the audience. Brother” in also boasted using new technology to “Big Brother” launched at a time of 2006. (Below) Cameras captured both capture footage and to push it out on change in U.S. television. Scripted genres candid moments new platforms, such as the OTT season were making strides (the third season from houseguests in 2016. An ongoing goal, Salmon says, is finale of teen drama “Dawson’s Creek” for the 88-day duration of the to keep it feeling contemporary and envi- aired the first primetime male same-sex season. ronmentally conscious while also being kiss, for example) and powerful messages cost-effective for the buyers. were being sent in late-night (David Let- New seasons of “Big Brother” have terman brought all of his doctors on stage not come without controversy, though — with him when he returned to host his sometimes centering on the lack of diver- talk show after having heart surgery). sity in casting and sometimes on specific The start of the new millennium also casting, be it a houseguest who uses hate delivered such new networks as Oxygen, speech or, in the case of the “Celebrity” VH1 Classic, Boomerang and SoapNet — edition, just a controversial public figure not all of which are still standing. on broadcast television trying something (see: Omarosa Manigault and Anthony Over the years, the emergence of Net- like that,” says executive producer Rich Scaramucci). After Les Moonves left the flix as a key player in producing origi- Meehan. “The size, the scope, the ambi- network following sexual misconduct nal content, in addition to the advent of tiousness of it really stood out to me.” allegations in 2018, the show made more other streaming platforms, have caused That first season averaged the show’s headlines for its host (and his wife) Julie even more changes to the landscape. highest live viewership to date, with just Chen signing off the thrice-weekly show Yet, even as viewers’ attention is pulled over 9 million total viewers. But at the by using her full, married name — some- in countless new directions with emerg- time, it was being compared to “Sur- thing she had never done previously. And ing streaming platforms, “Big Brother” vivor,” which launched with approxi- most recently a producer came under remains a constant. mately 15.5 million total live viewers fire for asking Black Season 21 houseg- “The idea of cameras everywhere is on premiere night alone. (“Survivor’s” uest Kemi Fakunle to behave in a more fully accepted now,” Grodner says. “The finale, which aired in August 2000 while stereotypical way during diary room seg- idea of us putting our lives out there for “Big Brother” was in the middle of its ments. Fakunle and fans of the show everyone to see is accepted now. Was ‘Big freshman run, became one of the high- spoke out about how she was edited in Brother’ ahead of everything, in its way? I est-rated finales in history with almost the broadcast. don’t know, but it did feel incredibly novel 52 million total live viewers.) Yet this has not stopped the series and like a huge risk, but now there’s a “In the first season, everything was from being a consistent performer, with whole generation that doesn’t know any- exactly what they had done in Holland — the three most recent seasons averaging thing else.” from the technology in the house to the tone, everything. And I think maybe that was the first time that they realized that what works in Europe doesn’t always necessarily translate to an American audience,” says executive producer Alli- son Grodner. “I think one of the biggest issues was that the most interesting people — those who were creating the most story and drama — were getting voted out by Amer- ica because they were seen as trou- blemakers. Maybe there was a moral- ity issue,” she continues. “In the end you were left with people who weren’t making the most dynamic story.” So in the second season, Grodner says they definitely “borrowed from ‘Survivor’ in terms of turning the game inside.” “Big Brother” houseguests needed to be more strategic and competitive, as the format was updated to include physical compe- titions in which they would win rewards, such as the chance to be the “head of

CBS (2) household.” Additionally, the houseguests

VARIETY 67 FOCUS IN PRINT

‘WORLDS’ TRAVELER SEEKS ANSWERS

BEST-SELLING THERAPIST JAMES HOLLIS EXPLORES HOW TO GET TO A HEALTHIER STATE OF MIND

DESPITE THE MEDIA OVERLOAD By Steven Gaydos

THERE’S NEVER A bad time for finding wis- ing Jungian therapist based in Washing- tainty about our place in the world that dom that heals our wounds and helps us ton, D.C., Hollis has authored more than disappeared in the 19th century. chart a path through the rough patches of a dozen best-selling books, while his “On a collective level,” Hollis writes, life, but so far, 2020 seems an uncommonly many video lectures and interviews are “our culture’s treatment plans for the rich opportunity for us to plumb well- widely available to those seeking more absence of a personal, intimate rela- springs of personal growth, a time when enriching alternatives to movie and TV tionship with the gods are materialism, necessity is quite the mother for all kinds series binging. hedonism, narcissism and nationalism, of inventions and reinventions. “Living Between Worlds” (Sounds True), as well as a coursing nostalgia for a world From his first published work, “Harold which came out June 23, is a terrific place that never really existed. Our contempo- Pinter: The Poetics of Silence,” a break- to start digging into Hollis’ sage counseling, rary Odysseys are redirected to the Apple through study of the famed playwright packed as it is with his trademark bracing, Store, the palliative pharmacy, or forays published in 1970, Dr. James Hollis has no-punches-pulled observations about along the River Amazon Prime. Guided by exhibited an uncanny ability to effortless- what he sees as the increasingly perilous Google, whereby all things are knowable, ly synthesize disparate social, cultural, state of modern life. we wonder why we are so absent-spirit- philosophical and psychological studies Hollis travels the Jungian path in his ed, so lost, and so adrift. We may say that into cogent therapeutic tomes. Best- fundamental belief that modernity may these secular surrogates, these ‘isms,’ known for his decades-long work in the have infinite comforts and distractions, constitute our values, our de facto reli-

field of “depth psychology,” and a practic- but nothing can or will replace the cer- gions, those in which we most invest our HOLTMANN OXANA

68 VARIETY IN PRINT FOCUS

energies. But we have to ask the obvious The rapidity of change is taking us to a question, ‘How well are are they working place where many political states are for us?’” something other than benevolent. I know The short answer to that question, many people who said Trump would derived from Hollis’ 40 years as a therapist, change once he became president, the clearly is “Not that well.” weight of the office might curb his tenden- In between his packed schedule of ther- cies. But I worked with patients decades apy sessions and zoom conferences, Hollis ago who were in daily contact with him. spoke with Variety from his D.C. office about So it appears to me that he’s the same his new book and his long-view of how we guy today that he was then. There’s no got to the present moment and how we accountability, he’s not responsible to the might navigate our way through it, to a truth or even to what he said yesterday. healthier, better, more productive place. So how did he become president? The pandemic has wreaked havoc on His appeal is to the America that has dis- the entertainment business, but it’s appeared. He’s a carny man, a showbiz guy also wreaking havoc on the personal who brags that he’s No. 1. He puts on an lives of the people who work in this interesting persona. He also has a prom- business. Your profession deals with the ise that appeals to many people’s deepest discomforts and disequilibration that fears and needs and he’s very intuitive mortality and discovering a purpose in comes with so-called “normal” times. about those needs and fears. life. Though when I meet people who tell How have things changed this year? me they are successful, I tell them, “That There’s been almost no other topic among “Living Between Worlds,” like your and a couple of bucks will get you a cup my patients for the last few months. previous books, blends an enormously of coffee.” Ironically, they are suddenly Productive people who are professional positive message about healing with introduced to issues they never thought and mature are finding it intellectually some very tough observations about they had to deal with. difficult to achieve motivation. There’s a the way people live today, including the general disorientation. larger culture that we all live inside and Some might ask if that isn’t happening experience every day. right now on a national or global scale. What have you learned from the I like to quote Harry Truman, who said, It is happening to our culture and the more reactions to the pandemic that you’re “I don’t give people hell, I just tell them fragmented the culture, the more ambigu- seeing? the truth and they think it’s hell.” Jungian ity that is introduced into our bloodstream It reveals how much all of us plug into a psychology flies in the face of the “five and that leads to anxiety. Today, there is a work schedule, to our workouts, our sports easy steps to happiness” and the whole greater fragmentation, an erosion of family and entertainments and when there are self-help industry. foundations, of a national consensus. We suddenly no plug-ins, we are very quickly always have conflicts and disagreements, at loose ends. Frankly, for some folks on If you’re not offering “instant inner but today it’s hard to find something that this planet, getting up in the morning is a peace,” to use a Bob Dylan phrase, what holds. Someone once said, “When all the supreme victory. draws people into Jungian therapy? Vio- brave knights are beaten, the know-noth- lence and sensation are the essence of pop- ings will steal the culture.” People are more depressed? ular culture. Sex, drugs and rock and roll. It’s less depression and more a sense of It’s often harder for those who are seduced In your books, you celebrate artists and oppression, a heaviness, a malaise. And the by the glitz and their own expectations. It’s the creative types, but I get the distinct rush back is part of the denial system. We all very seductive. They live in a world of impression that outside of Harold Pinter, can fix this! expectations and it’s difficult for them to you’re not that plugged into a lot of what break away and come to their own encoun- we call “popular culture.” “Living Between Worlds” was written ter. The select population of people who I guess you could say I remain a devotee before the pandemic and upheaval, but seek me out are pretty thoughtful people. of modernism and postmodernism. I’m you were already lamenting a kind of They’ve reached a point where they say, “I still drawn to the great masters: Rilke, disorientation that feels very current have to go forward in my life.” This usually Yeats, Kafka. and alarmingly accelerating. happens in their 30s and 40s when they For quite some time, people have been have a history that they have to look at. Any filmmakers? recognizing how their roles define them. I’ve always been drawn to the works of Suddenly, when they can’t perform those You’ve written extensively about what Ingmar Bergman. He has great insights roles, that directed energy tends to invert. you call “The Middle Passage.” Is that into subjects I study, such as loss of faith, The result, very often, is self-medication, another name for “middle age” and does betrayal, depression. but the truth is that people are floating it still happen somewhere around the around looking for any possibility. And it age of 40? What do you hope that people might has accelerated, even before the pandemic, There’s also a later version of that middle learn during this difficult time? there’s no question about it. Yeats [wrote], passage, when a person is radically obliged To learn what fear makes us do, or keeps “Things fall apart and the center cannot to ask, “Who am I, apart from my roles and us from doing. There is that summons to hold.” That was 1917. my history?” each of us, to face all of this. It is a moment In your 50s and 60s, it comes again of accountability, when you ask, “Am I Has this led us in some way to the cur- perhaps with a second marriage that going to be responsible for what brought rent political situation? worked out better, along with aging and me into this world?”

VARIETY 69 FOCUS KARLOVY VARY INT’L FILM FESTIVAL

miere, and one of Gomarasca’s tasks has EASTERN PROMISES been to help producers identify from “the vast panorama of festivals” the best platform to launch their films. Among PLEDGES HELP the considerations when evolving a bespoke festival strategy are the film’s timeline, the filmmakers and produc- FOR PROJECTS ers’ ambitions, and the subject and style of the film, as “each festival has its own taste,” she says. One of the objectives INDUSTRY EVENT WILL CONTINUE ONLINE EVEN THOUGH of the strategy is to choose the best KARLOVY VARY CANCELS FEST ON THE GROUND partners to handle the film’s foreign sales, and First Cut Plus has devel-

By Leo Barraclough oped a “matchmaking” process to help them do this. Mentor Katarzyna Siniarska, head of sales at New Europe Film Sales, says that due to the pandemic a key question is whether to launch films now at the small number of festivals that have dig- ital editions — with the chance to shine when so many other pics are absent — or wait until the physical editions return, when there will be more to choose from. Another issue with the festival can- celations, she says, is that producers may be tempted to let their local distrib- utor release the film without waiting for a world premiere at an “A” festival, thus diminishing the impact of its launch. It is also important to establish clear channels of communication with the festivals, rather than the producer and the sales company engaging in sepa- rate discussions with the programmers. “There has to be a unified message that is coming from one source,” she says. It’s never too early to think about a film’s marketing and publicity, and if it can be integrated during the film’s development and production so much the better. International publicist Michael Arnon of the Wolf agency, another of the men- tors, says: “We are always telling people ALTHOUGH THE PUBLIC PART of this the projects’ marketing and commercial FISHY POINT that they need to make their marketing, year’s Karlovy Vary Film Festival — the chances. The sessions covered promo- Ernestas PR and positioning part of the storytell- Jankauskas’ new key event for the film business in Cen- tion, marketing, press, trailer-making, dramatic comedy ing process from an early stage.” How- tral and Eastern Europe — was can- festival launch and sales strategy. “I Am Fine, ever, Arnon adds that it is important to celed, the festival is pressing ahead with Ilaria Gomarasca, former festivals Thanks” will be hold back images and information about presented at its industry section, Eastern Promises, manager at Pyramide Intl., is head of Karlovy Vary. a film “to make sure they come out at a which runs July 6-8 in an online format. First Cut Plus, and one of its mentors. time that really supports the project.” Eastern Promises selects 41 proj- Although she praises the great vari- Marketing specialist Boris Pug- ects in development, production and ety and creativity of the projects from net, formerly with French distribu- post-production from Central and East- Central and Eastern Europe, she says tor Le Pacte, recommends that produc- ern Europe, the Balkans, the former the producers need a “more interna- ers develop an in-depth knowledge of Soviet Union, the Middle East and North tional approach.” the markets in various countries. He Africa, and presents them to potential “Producers have a very specific and points to the success in France of Net- co-producers, sales companies, interna- clear vision of the market in their own flix’s “Banlieusards,” about a Black fam- tional buyers and festival programmers. country, but the international market ily living on the outskirts of Paris, which An addition to the section is First Cut is a new game for them — there are new surprised many in the business as they Plus, which will feature eight films in players and what they are playing for is didn’t understand what young adult and post-production from Central and East- different,” she says. diverse audiences wanted. ern Europe. It has also delivered a men- A key moment in the life of most Such market knowledge will affect

toring program that seeks to improve international films is its festival pre- how a producer pitches and develops FILM FESTIVAL INTERNATIONAL VARY KARLOVY

70 VARIETY KARLOVY VARY INT’L FILM FESTIVAL FOCUS

a project, and even the scriptwriting. WORKS IN PROGRESS “When you have a better knowledge of the market you even write differently,” Pugnet says. He adds that if a producer ABSENCE Risteski BROAD PEAK Producer: Gabija Siur- has a view about the possible marketing (Iran/Slovakia/ Producer: Darko (Poland/Italy) byte, Dansu strategy for their film it can help them Czech Rep.) Popov, Vertigo Visual Director: Genre: Dramedy secure representation by a sales agent. Director: Ali Mosaffa Genre: Leszek Dawid A scientist hides her Many of the mentors recommend that Producers: Ali Comedy-drama Producer: Pola Lan- breakdowns that man- producers hire a professional stills pho- Mosaffa, Arina, I/O Seven stubborn citi- gowska, East Studio ifest itself as crazy tographer on set, rather than rely on Post, Hypermarket zens pay a harsh Genre: Drama/biopic hallucinations in screen grabs, whose quality is far infe- Genre: Thriller price for staying true The tale of incredi- order to maintain her rior. “It is so essential to determining An Iranian man visit- to their own values. ble determination social image. how much leeway and how many options ing Prague to find that pushes a man you have, and how much ambition you out about his father’s STOP-ZEMLIA toward the edge. THE RUNNER can have with your marketing. It all communist past is (Ukraine) (Lithuania/ starts with the assets,” Arnon says. entangled in a death. Director: Kateryna DESKMATE Czech Rep.) Although the majority of the mentees Gornostai (Turkey/Romania) Director: Andrius were producers, Arnon says when direc- THE ALLEYS Producer: Vitaliy Director: Ferit Blaževičius tors attended sessions, “they were really (Jordan) Sheremetiev, Karahan Producer: Marija involved and hands-on. It was a positive Director: Bassel Viktoriia Khomenko, Producer: Kanat Razgute, M-Films surprise to see their enthusiasm and Ghandour Natalia Libet, Olga Dogramaci, Asteros Genre: Love story/ acuity for international marketing.” Producer: Beskhmelnytsina, Film thriller Producers should be open to accept- Rula Nasser, the Esse Production Genre: Drama After her boyfriend ing that the marketing campaign Imaginarium Films House In a boarding school has a psychotic epi- adopted in their home market may not Genre: Drama Genre: Drama cut off in the Anato- sode and disappears, work in foreign markets, Alexis Hamaide, In a claustrophobic A teenage girl des- lian mountains, a boy Maria decides to let formerly with French sales and pro- neighborhood where perately wants some- falls mysteriously ill. nothing stop her from duction house Playtime, and now with gossip and violence one who doesn’t helping him. Grab- L’Avventura Studio, says. “We wanted police people’s need her, instead of IMACULAT bing at every clue producers to grasp that their partners — behavior, the lives of appreciating her lov- (Romania) about his where- whether it is sales agents or distributors residents intertwine. ing friends. Director: Monica abouts she embarks — will market the film in different ways,” Stan, George Chiper on a fast-paced odys- he says. The producer should be ready to BLACK MEDUSA TROUBLED MINDS Lillemark sey through the city. deliver different marketing materials to (Tunisia) (Latvia) Producer: Marcian suit the local strategy. Directors: Ismaël Directors: Raitis Lazar, Axel Film THE USERS (Serbia) Sales companies also need producers and Youssef Chebbi Abele, Lauris Abele Genre: Drama Director: Ivan Ikic to keep an open mind, Siniarska says. Producer: Utopia Producer: Tritone When young Daria Producer: Milan “It’s not that we expect the producer to Films Studio enters rehab, she Stojanovic, Sense have a certain set of [promotional] tools Genre: Drama Genre: Dramedy gains the protection Production ready, it is more that we expect them to Nada leads a double To get his creative of the mostly male Genre: Drama be open to dialogue, and quite flexible in life: By day she is a juices flowing for junkies inside, but Three teenagers living terms of how we work with a film.” video editor, living a an upcoming art soon learns that the in an institution for lonely and unevent- exhibition bipolar special treatment people with special ful life; by night, she Martin locks comes at the cost of needs have to navi- wanders from bar to himself in a black her own desires. gate newfound feel- bar hunting men. 2x2 meter cube. ings of desire as well JANUARY as envy when an unex- FIELD (Georgia) WIAROŁOM (Bulgaria/Portugal/ pected love triangle Director: Lasha (Poland) Luxembourg) forms among them. Tskvitinidze Director: Piotr Director: Andrey Producers: Pan- Złotorowicz Paounov WILD ROOTS sionati, Terra Incog- Producers: Munk Producer: Vanya (Hungary/Slovakia) nita Films Studio, Canal Plus Rainova, Portokal Director: Hajni Kis The life of a couple, Poland Genre: Drama Producer: Julie Berkes, Nika and Salome, Genre: Drama The story of two men Proton Cinema changes radically: After years away, a and a bird trapped Genre: Drama Nika becomes a young woman comes by a snowstorm, A lonely, ex-con murderer, while back to her village who try to solve a bouncer is reunited Salome converts to and reunites with mystery while it one day with his wild a religious sect. her childhood love. slowly devours them. child daughter. The two outsiders bond, SNOW WHITE I AM FINE, THANKS but the father’s vehe- DIES AT THE END FIRST CUT PLUS FIERY LOVE STORY (Lithuania) ment nature and a “The Runner,” directed by Lithuanian Andrius (North Macedonia) (WORKS IN Director: Ernestas family secret stand

TRITONE STUDIO TRITONE Blazevicius, has been selected for Final Cut Plus. Director: Kristijan PROGRESS) Jankauskas between them.

VARIETY 71 We picked the very best movies and TV shows to stream right now so you don’t have to.

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BINGE NOW Variety.com/WhatToWatch ELIZABETH VIGGIANO/NETFLIX Bend Music Competition Crew Helps Will Ferrell love thecomedy abouttheinter withboth Judge” and“Wedding Crashers” fell in But thedirectorof “The on hisdesk. by Will Ferrell andAndrewSteelelanded Song Contest even existed untilthescript their big break. DanStevens, DemiLovatotheir bigbreak. whoseethecontestLars andSigrit, as asaspiringIcelandicMcAdams musicians and thecontest itself,founded in1956. of FireSong Contest: TheStory Saga” — national musiccompetition —“Eurovision ‘EUROVISION SONGCONTEST: THESTORY OFFIRESAGA’ DIRECTOR DAVID DOBKINANDHISTEAMPUTLAUGHS ANDLOVE IN DAVID DOBKIN The movie stars Ferrell andRachel had no idea theEurovision hadnoidea TOP BILLING TOP - ARTISANS in Húsavík,Iceland. ready onlocation wardrobe options David Dobkin,has McAdams anddirector Will Ferrell,Rachel from right),with B. Sheppard(second Costume designerAnna SHE’S PREPARED Koetcha, whohasworked withLovato, 2”)andmusicproducer Savan“Zoolander GregHaydeneditor Thunder,” (“Tropic Far From Home,” “InglouriousBasterds”), designer AnnaB. (“Spider-Man: Sheppard Runner 2049”and“Skyfall”), costume designer Paul directorfor “Blade Inglis(art production that included team the-line an off-kilter abelow- heassembled spin, onewith letter albeit tothecompetition, whichbowed June film, 26onNetflix. intheand Pierce Brosnanalsoappear To puttogether what Dobkincalls alove

yJz Tangcay By Jazz long. Thedominantfeature waslong. thevideo Itwas was huge built. burgh, —250feet the That’sford, England. where ourstage for U.K., includingWarner StudiosinWat journey inaway.ard of Oz’ is: There’s noplace like home. It’s a‘Wiz had toreturnto. Theemotionalcentral arc of theplaceidea whereLarsgrewupand itflowed because withthe coast], northern inHúsavík upshooting [alongtheended context of ourothervisualdecisionsand two. We at looked how they played inthe We scouted smalltowns andshortlisted main prioritywas findingasmalltown. Iceland were setinReykjavik, butour Theelimination contestsbuild toit. for tohaveneeded avisualarcwhereyou Wecontest itselfovertaking everything. was adanger of“There theEurovision Paul Inglis about putting themovie together. Britney Spears. Here’s what they hadtosay Ariana Grande, Usher, TheWeeknd and We of alsoshotinvarious the parts final contest, which

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------“Salacia.” in Tourmaline’s as MaryJones Rowin Amonestars BEAUTY POWER AND our energy tovocalizeour energy that.’” foris real ustoo, and we’re going tospend notjust alive tobe butfullyalive —deserve you’ve saying been for years —whichisyou ‘Yes,are saying, we agree thisthingthat identifiable howso readily many people wear whitefor anditmade theprotest, found “Everyone powerful: was asked to trans lives, an actionthat Tourmaline cametogether for15,000 people Black MuseumonJune 14.MorethanBrooklyn of whitetogathersea at thesteps of the maline watched asprotesters moved ina on Black Trans Acceptance Putting the Spotlight JOURNEY TO MAINSTREAM RECOGNITION FILMMAKER WHOCREWEDON‘MUDBOUND’ TALKS ABOUTLGBT MONONYMIC FILMMAKER andactivist Tour- City municipal houseof recordsCity municipal whilethe Jones’ transcriptsintheNew court York Tourmaline’s siblingCheGossett found by theNew York press inthe1800s. Jones, atranswoman whowas outed andfocuses onthelife of Mary Line Art, Museum andculturalprogramHigh was commissionedshort by the Brooklyn The— wrote, andproduced. directed on theaward-winning film“Mudbound” Tourmaline —anassistant tothedirector premiere of “Salacia,” videothat an art acceptance comes ayear after the This momentof mainstream

By MegZukin

TOURMALINE (2) ARTISANS

director was working on a film about gay liberation activist and drag queen Marsha ‘Apollo 13’ Production P. Johnson. “Salacia,” a 16mm experimental film, Team Remembers uses the style of Black folktales to elevate and amplify Jones’ beauty as she discovers her power amid transphobia and systemic the Wild Years of VFX racism. MoMA screens the film as part of its permanent collection. Looking back on the project a year HOW RON HOWARD’S GROUNDBREAKING FILM DELIVERED THE later, Tourmaline says she thinks the LOOK OF A REAL-LIFE MISSION GONE WRONG By Jazz Tangcay subject matter has only grown timelier and more pressing. “It feels like a paradigm shift where a lot of people who came before me and who are here RON HOWARD’S “APOLLO 13” celebrates its now created a moment for other people 25th anniversary on June 30. With the help to catch up with us,” she says. “It’s real of post house Digital Domain, the 1995 film simple things, like Black trans people depicted a 1970 space mission that turned deserve to be alive, and we deserve to be into a fight for survival after an oxygen tank joyful in that life.” exploded in the service module. A pillar of Tourmaline’s work is that Variety looks up Kelly Port (“Avengers: Black trans people also deserve to be in Endgame”) and Matthew Butler (“Ready the spotlight. She makes films that lift Player One”), two VFX supervisors who up women from the past, like Jones and worked on the film in their junior years at Johnson, and contemporary women the house. such as Miss Major Griffin-Gracy. ALL SYSTEMS GO Griffin-Gracy, a Black trans elder whose What are some of the memorable VFX Special effects from Digial Domain activism dates to Stonewall, is the scenes you worked on for “Apollo 13”? helped launch “Apollo 13.” subject of Tourmaline’s 2016 film “The KELLY PORT: This was one of the first film Personal Things.” projects I ever worked on. I was responsible “She was an abolitionist way before that for the directional thruster effects, floating was a trending word,” Tourmaline says debris after the explosion and, if I remember of Griffin-Gracy. “In 2007, she organized correctly, some parts of the moon. computer space that was in critical dan- a conference around Black trans people MATTHEW BUTLER: This was a time when we ger of overflowing. These are not issues we and abolition that I went to, and [it] really were bootstrapping like crazy. Back then, deal with today, but back then you had to fix changed my life.” there weren’t any set procedures or mech- your own carburetor. Tourmaline is finishing a second short anisms at Digital Domain to facilitate the film about Jones, “Mary of Ill Fame,” workflow, like there are now. We had so Is there anything from the shoot you were and just debuted her Pride campaign many brilliant minds who were inventing especially proud of? film for beauty brand Dove, created in neat tricks, but they were insular and we PORT: Rob Legato [VFX supervisor] and collaboration with Aaron Philip, a Black needed a cohesive plan. I worked mostly Erik Nash [VFX DP] came up with some trans model who has cerebral palsy. The on the technical side of things, making brilliant motion-control setups with the project, which highlights unsung Black and sure that the pipeline was well oiled; that miniatures using all kinds of interesting Indigenous leaders, harnesses the ethos of included gathering the necessary data on passes, like orange matte passes and var- Tourmaline’s work. set, mimicking the camera representation, ious UV light passes [to separate light, “My artwork is about the beauty of the scanning the film, animating and creating color, diffusion and reflection within an nobodies, the beauty of the people who synthetic representations of the product, image before passing them through a com- are not seen,” Tourmaline says. “How compositing the final image and rendering positor to combine them back into a single it can be a beautiful, pleasurable thing out to disk. For “Apollo 13,” we would also image]. We also did a reverse blue-screen to not be in the spotlight and to find our then output it all back to film. pass and finally a pass over the model. power outside of it.” Reflecting on the One of the coolest things they did on the June 14 protests, she adds, “But it also is What were conditions like? live-action shoot was build a partial set really cool when you’re [doing] that for PORT: These were early days of visual within NASA’s “vomit comet” that simu- years and then 15,000 people show up and effects, and Digital Domain was only a cou- lates zero-gravity effects. say, ‘Actually, we’re here.’” ple years old at the time. We had an amaz- ing miniature department, and they were Was there any moment that stands above cranking stuff out like crazy. There was a the rest? time where you could go on our big stage PORT: Buzz Aldrin had asked what NASA and see miniatures for “Titanic,” “Apollo archive was used to get some of the launch 13” and “Dante’s Peak.” The air was filled footage of the Saturn V [the disposable first “My artwork is with an intense creative energy and just stage of the rocket that was used to get the incredible for a person like me just getting mission into space], because he had never about the beauty of into the industry. seen it before. We, of course, loved hearing the nobodies, the BUTLER: Coming from the aerospace something like that, since it meant we had industry, I was so geeked to be involved, achieved our goal of keeping it as realis- beauty of the people albeit at a peon level. I remember how tic-looking as possible. We based a lot of the who are not seen.” guerrilla our approach was. I’d hear a col- shots on stock footage but made them bet- league yell, “Stop writing to stage 26; it’s ter. It’s like what our collective memories of

UNIVERSAL PICTURES UNIVERSAL Tourmaline filling up.” They were referring to physical those iconic shots are.

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BESIEGED Orlando Bloom stars in “The Outpost.”

FILM REVIEW children, in their playground games, pro- defaulting to a streaming release. Home BY PETER DEBRUGE verbially refer to as “the mush pot.” Adults viewing may not be ideal for such a film, might call it a suicide mission. And yet, on and yet, “The Outpost” represents the most The Outpost Oct. 3, 2009, 53 American soldiers found exhilarating new movie audiences have themselves trapped in this Afghan Alamo, been offered since the shutdown began, swarmed by an estimated 400 enemy which softens the compromise of watching forces, in what would become one of the it under less-than-ideal conditions. deadliest confrontations the Army sus- “The Outpost” makes clear in its open- DIRECTOR: Rod Lurie CAST: Scott Eastwood, Caleb Landry Jones, tained in the region. ing moments how tense life in such a Orlando Bloom Lurie similarly found himself in the camp must be at all times, as bullets blaze mush pot after his ill-advised 2011 remake down from above, cutting fiery streaks of Sam Peckinpah’s “Straw Dogs” — which across the screen. If this were fiction, is hardly a place of strength from which to audiences might be able to better predict JUST A FEW minutes past the midway mark stage either a career comeback or an epic who lives and dies among the ensemble. of “The Outpost,” director Rod Lurie re- homage to real-life heroism. Even so, work- But unless they’ve read journalist Jake creates the Battle of Kamdesh, and for ing with a relatively modest budget, the Tapper’s book, “The Outpost: An Untold nearly the next hour of this intense, immer- director commits himself to delivering Story of American Valor,” things don’t play sive modern-day combat thriller, audiences an authentic account of this unthinkable out in predictable ways. experience how it must feel to be caught in worst-case scenario, which is like having a The biggest name involved here is a sustained Taliban siege on a vulnerable front-row seat to hell — or it would be, if Orlando Bloom, who plays First Lt. Ben- location in Afghanistan. one were able to experience it in a movie jamin Keating, the commanding officer Situated at the bottom of three tall theater, the way the director intended. who receives the order to start prepping mountains in hostile territory, exposed to Instead, the film saw its U.S. premiere the team to close down the location — daily attack from all sides, Combat Outpost at SXSW canceled by the coronavirus and although they don’t yet realize that’s the Keating represents a terrifying example of was later forced to scrap plans for a July Army’s goal. Rather, the immediate direc- an indefensible military position — what 3 theatrical push from Fathom Events, tive is to move a heavy-duty truck out SCREEN MEDIA FILMS

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from the bottom of this basin up a series TV REVIEW steeling myself for the moment that this of narrow roads and tight switchbacks, so BY CAROLINE FRAMKE modern reboot of a children’s property it might be more useful elsewhere. That would turn dark and sexy, as per increas- sets up what seems like an update of “Sor- The ingly typical “Riverdale” standards. But cerer,” William Friedkin’s underseen, much to my pleasant surprise (and down- ultra-suspenseful “The Wages of Fear” right relief), Rachel Shukert’s update of remake. “The Outpost” illustrates how Baby-Sitters Martin’s beloved books is, in fact, a show such a mission might have gone wrong. about young teenagers starring young Written accounts of the Battle of Kam- Club teenagers that’s entirely appropriate for desh contextualize events by explaining young teenagers. Such a concept should the decisions that endangered the men sta- not be radical, and yet, it’s remarkable that tioned at COP Keating, whereas “The Out- the sweet sincerity of this “Baby-Sitters COMEDY: post” thrusts audiences into their shoes. Netflix (10 episodes; all reviewed); Club” so closely matches that of its source July 3 Overwhelmed and confused, frustrated by STARRING: Sophie Grace, Malia Baker, Momona material while also bringing it into a recog- orders that put them directly at risk, the Tamada, Shay Rudolph, Xochitl Gomez nizable 21st century. members of Bravo Troop, 3rd Squadron, The show begins in a picture-perfect 61st Cavalry Regiment recognize they’re Connecticut town with determined tomboy in a tough spot. Still, they don’t believe the Kristy (Sophie Grace) starting the Baby-Sit- local informant who insists that a Taliban ters Club as a way to hang out more with attack is imminent. FOR A CERTAIN subset of ’90s girls, “Are her best friend Mary-Anne (Malia Baker), During one of their walks up the moun- you a Kristy or a Claudia?” was the original reconnect with Claudia (Momona Tamada) tain, Staff Sgt. Romesha (Scott East- (and completely G-rated) version of “Are and make some money while they’re at it. wood) points out just how easy it would you a Carrie or a Samantha?” As each book New girls Stacey (Shay Rudolph) and Dawn be to overwhelm their low-ground posi- of Ann M. Martin’s “Baby-Sitters Club” (Xochitl Gomez) quickly join in, bringing tion. Coming across as more than just series focused on a different member of attitudes from New York City and Califor- a younger cover-band version of father the club — from determined president nia, respectively. Believable tensions crop Clint, Eastwood cowboys it up in the role, Kristy to artsy VP Claudia to shy secretary up as the group evolves; nothing hurts spitting out lines like “It’s the Big One. Mary-Anne — it let readers take a peek into quite like a middle school friendship Saddle up!” and coolheadedly picking off a tween life that could, perhaps, reflect fight, after all. But “The Baby-Sitters Club” Taliban snipers when everyone around their own. The books are straightforward isn’t as concerned with drawing out drama him is ducking for cover. He’s the only one and heartfelt, telling stories of smart and as it is with underlining the unshakable here who behaves like a Hollywood action ambitious girls on the precipice of grow- fact of the girls’ affection for each other. hero, whereas the others — most notably ing up that take great care not to conde- And as becomes even clearer when glam- Caleb Landry Jones as Staff Sgt. Ty Carter scend to them (like some of the grown-ups orous high schoolers try to invade their — embrace the fear and panic that threaten in their lives do by default). turf for the sole purpose of making quick to overwhelm their training. Maybe that’s why, halfway through the cash, everyone in the Baby-Sitters Club “The Outpost” isn’t glamorous, but it’s first episode of Netflix’s “The Baby-Sit- actually loves and reveres the job of look- respectful of the sacrifice and split-second ters Club” adaptation, I realized I’d been ing after children, whom they always take decision-making that Bravo Troop faced, amplifying the terror of such an impossi- ble assignment by attempting to mirror the characters’ point of view. At times, the camerawork suggests first-person shooter games, or the swiveling perspective of vir- tual reality simulations. Cheating Bulgaria for Afghanistan, Lurie and DP Lorenzo Sen- atore embrace long takes, but don’t employ them to show-offy effect, making every attempt to place audiences in the scene, which pays off best in the film’s spectacular nearly hourlong finale. That sequence deserves to be seen on the big screen — and maybe it eventually will, when megaplexes start booking the movies obliged to bypass them during the shutdown. In the meantime, it’s as if we’re all stuck in the mush pot these days, bom- barded on all sides. Here’s a movie that understands that metaphor, as well as the existential need to keep on fighting.

CREDITS: A Screen Media release of a Millennium Media presentation of a Millennium Media, Perfection Hunter production, in association with York Films. Producers: Paul Merryman, Paul Tamasy, Marc Frydman, Jef- TWEEN TIMES frey Greenstein, Jonathan Yunger, Les Weldon. Executive producers: Avi Lerner, Trevor Short, Rob Van Norden, Boaz Davidson, John Kalafatis, Shay Rudolph, Tommy Vlahopoulos, Joanna Kalafatis, Jake Tapper, Eric Johnson, Andrey Momona Tamada, Georgiev. Co-producers: Hank Hughes, Ty M. Carter. Co-executive pro- ducers: Samuel Hadida, Victor Hadida, Cory Hardrict. Director: Rod Lurie. Malia Baker and Screenplay: Paul Tamasy, Eric Johnson, from the book “The Outpost: An Sophie Grace are Untold Story of American Valor” by Jake Tapper. Camera: Lorenzo Sena- tore. Editor: Michael Duthie. Music: Larry Groupé. Reviewed online, Los among the members Angeles, June 24, 2020. MPAA Rating: R. Running time: 123 MIN. Cast: of “The Baby- Scott Eastwood, Caleb Landry Jones, Orlando Bloom, Jack Kesy, Cory

KAILEY SCHWERMAN/NETFLIX Hardrict, Milo Gibson, Jacob Scipio, Taylor John Smith, Jonathan Yunger Sitters Club.”

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“The sweet sincerity It’s a high level of output, to say the MAKING ENDS least: “First Rose of Spring” is officially his MEET of this ‘Baby-Sitters 70th studio release, and it’s almost as if Willie Nelson Club’ closely matches appears at Farm he’s out to have his discography reach 100 Aid in East Troy, before he does. You could almost imag- that of its source ma- Wis., in 2019. ine that he and his producer and co-writer terial while bringing it of some years, Buddy Cannon, have some kind of assembly line going to pump out into the 21st century.” these albums about all things autumnal — which would count as a funny kind of a factory to imagine. But the fact is, Nelson’s seriously (even when the tykes are being on a serious streak of excellence, and if total nightmares). any one of these albums came out in iso- As in the books, the series’ Kristy strug- lation instead of rapid, workmanlike fash- gles to adjust when her mother (Alicia ion, we’d probably all be proclaiming it a Silverstone) gets engaged to her much stunning valedictory statement instead wealthier boyfriend (Mark Feuerstein); of just another dip into the endless sup- Mary-Anne works to convince both herself ply of Willie’s Reserve. “First Rose” is good and her protective widower father (a per- enough to blush about, anyway. fectly cast Mark Evan Jackson) that she isn’t He and Cannon have cut down on the a child anymore; Stacey hides the sever- original songwriting this time — after pen- ity of her chronic illness before embracing ning all of “Problem Child” and five tracks it as an intrinsic part of who she is. There of “Last Man,” they’re down to just two on are, however, some pointed updates to the this effort. But it’s a chance to show off what canon. Dawn, for one, is no longer a blond good curators they are, and with an ear flower child but a Latina budding activist toward themes that fit in with the recent who attends new moon “sharemonies” with ones they’ve favored. her crystal-loving mother (Jessica Elaina As the opener, the title track (written by Eason). Mary-Anne learns to use her voice Randy Houser, Allen Shamblin and Mark when her new babysitting charge, a young Beeson — names that will mean some- transgender girl, has to go to the hospital thing to country fans) is the story of a deep, and her harried doctors carelessly misgen- nearly lifelong romantic love that goes all MUSIC REVIEW der her. And Claudia — who, when Mar- BY CHRIS WILLMAN the way up to the wife’s death. It’s a weeper, tin first introduced her, was an instantly but Nelson is more sanguine about death in iconic Japanese American character at a the original song that follows, “Blue Star,” time when vanishingly few existed in young First Rose where the elder narrator tells his younger adult literature — has to contend with the companion (“If I beat you to the end, I’ve fact that her beloved grandmother Mimi had a big head start it’s true”) just where to (Takayo Fischer) has been quietly carrying of Spring meet him in the night sky. the trauma of being in an internment camp Not everything that has to do with when she was a child. advanced age anticipates the final curtain,

While some may call these tweaks an ARTIST: Willie Nelson though. Toby Keith’s “Don’t Let the Old Man attempt to be more timely, watching them LABEL: Sony Legacy In,” written for Clint Eastwood’s “The Mule,” unfold makes it obvious how timeless is about maintaining a junior outlook as a these stories really are. All are rooted in senior. The saddest and maybe best song, character; the lessons learned are direct “Stealing Home,” is a nostalgic companion and compassionate; the explanations are piece to Miranda Lambert’s “The House That clear in a way that acknowledges chil- NO ONE CAN accuse Willie Nelson of not act- Built Me” — testimony to how you both can dren’s capacity to understand and empa- ing his age … which, at 87, is an impressive and can’t go home again later in life. thize. So much of this new “Baby-Sitters feat. Throughout a recent string of albums, There are jauntier asides, like a cover Club” speaks to the care that went into it. he’s been remarkably willing to devote much of the Jimmy Dean/Dean Martin hobo/ (The costumes alone, from Cynthia Ann or most of the content to reflections on aging, Rat Pack/slacker classic “Just Bummin’ Summers, are crucial to each babysitter’s which include looking back on both regrets Around” and a version of the Johnny Pay- characterization; Claudia’s wardrobe in (or the lack of them — he did name a recent check prison-themed hit “I’m the Only Hell particular, as is good and fitting, deserves record after Frank Sinatra’s “My Way”) and My Mama Ever Raised” that Nelson had to its own “Teen Vogue” spread.) It’s true that, sweeter memories, or even ahead, to the remake, since Merle Haggard never did. But again as with the books, most of the con- reunion of lovers beyond the grave. Just judg- it’s the mixture of Zen and rue when our flicts introduced per episode get wrapped ing by his current song themes, the big sleep friend for decades Willie is chronicling how in a neat bow by the end. Every parent, no is something that’s always on his mind. the calendar marches on that really makes matter the issue, is loving and understand- Indeed, after the gentle one-two-three “First Rose of Spring” a melancholy but ing. Every heartbreak, no matter how dev- punch of 2017’s “God’s Problem Child,” weirdly uplifting beauty. You might not even astating, can be healed with a hug. Even 2018’s “Last Man Standing” and last year’s have to be half an octogenarian to appre- when that doesn’t always ring entirely true, “Ride Me Back Home,” some critics were ciate its deep, sweet stock-taking ... or the the palpable warmth underlying each reso- referring to the succession as a “mortality sound of that acoustic guitar that’s as bat- lution proves irresistible. trilogy.” Surprise: With the new “First Rose tered as his voice is not. Long may he be of Spring,” it’s a tetralogy. Stay tuned for this sadly Trigger-happy.

CREDITS: Executive producers: Lucia Aniello, Naia Cucukov, Michael 2021, when Nelson will surely be bringing De Luca, Lucy Winn Kitada, Rachel Shukert. 30 MIN. Cast: Sophie Grace, Malia Baker, Momona Tamada, Shay Rudolph, Xochitl Gomez, us a fifth installment in a knockin’-on-heav- CREDITS: Producer: Buddy Cannon. Musicians: Willie Nelson, Buddy Mark Evan Jackson, Mark Feuerstein, Alicia Silverstone, Jessica Elaina Cannon, Chad Cromwell, Kevin “Swine” Grantt, Mike Johnson, Catherine

SUZANNE CORDEIRO/SHUTTERSTOCK SUZANNE Eason, Takayo Fischer en’s-door pentalogy. Marx, Larry Paxton, Mickey Raphael, Bobby Terry, Lonnie Wilson

VARIETY 81 FACETIME

“What Are You Gonna Tell Her?” can already lay claim to the most sobering Mickey Guyton country single of the year. Then you upped the ante with “Black Like Me.” It wasn’t something I was trying to do. There ‘I’m Begging People was no media strategy. It’s like God aligned all of this; he put this music on my heart. I hope it encourages everybody else to start in My Industry toWant singing their truth. What made me want to be part of this genre is because they sang real songs. Then something happened to Stand With Me’ where everybody only wanted light and fluffy party songs, and it was difficult for By Chris Willman me to find my footing in that. So I made my own footing.

AS THE FOREMOST Black woman in country music, Mickey Guyton What’s the response to “Black Like Me” sometimes feels she’s facing a “double whammy” of race and gender, to been? Shockingly big, for me. That song the point of “walking on eggshells” in putting on a friendly face for the was close to my heart with the things I had genre’s gatekeepers. But the powerhouse vocalist has forged newfound been dealing with within the industry, and through my life — pain that I’ve felt unable strength in outspokenness. In February, she released “What Are You to talk about because people don’t like Gonna Tell Her?,” a searing ballad about systemic sexism. And once the uncomfortable conversations. I thrive in Black Lives Matter protests began, she brought out “Black Like Me,” a uncomfortable conversations, because out song she’d been holding back for an upcoming album, to encourage of those comes healing. I’ve felt silenced for a very long time. Part of it was my doing. country fans — and the industry — to see things through her lens. And part of it was seeing the cancel cul- ture, which started within country music during the Dixie Chicks [controversy in 2003]. When you’re a woman and already not getting played on radio, the last thing you want to do is say one more thing to stop them from wanting to play you altogether. But if you’re speaking the truth in love … I’m not here to shame anybody. I’m just begging people in my industry to want to stand with me and figure this out.

One of the first reactions from a country star to the recent protests was Chase Rice sarcastically tweeting, “Yeah, rioting helps.” Your thoughts? Oh, I responded to it. I’m not saying that riots and looting are what you should do when there’s social unrest. However, Chase Rice has benefited from Black culture. [Co-writing] “Cruise,” which Florida Georgia Line recorded, those are R&B melodies and lyrics; he’s made millions off Black culture. Yet he didn’t even say a single word about Black people being mistreated. If I see damaging comments like that, it is my job as a Black woman in this industry to let him and the rest of the world know: If you can first speak about the mar- ginalization of people of color, by all means, have your way, but until you do, then you just should continue being silent.

THINGS YOU DIDN’T KNOW ABOUT MICKEY GUYTON

AGE: 37 BIRTHPLACE: Arlington, Texas PLAY BALL: Inspired to take up country singing as a child after seeing LeAnn Rimes perform the National Anthem before a Texas Rangers game NO IDOL-ATRY: Auditioned for “American Idol” but was cut before Season 8’s live shows. GOOD OLD DAYS: Sang Patsy Cline’s “Crazy” for President Obama at a PBS taping at the White House in 2011 MATHIEU BITTON MATHIEU

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