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P.2 2 He’s Gotta Have It Director-activist Spike Lee reflects on his career, Chadwick Boseman, the election — and his hometown. By CLAYTON DAVIS
P.3 0 New York State of Mind With more eyes than ever on Gotham due to the pandemic, Variety looks at some of the key players. Plus: the Impact List.
P.6 1 Vanguard Award Netflix honcho Ted Sarandos will be hailed at Mipcom for championing global television. By ELAINE LOW
P.74 10 Scribes to Watch We unveil the latest class of screenwriters poised to break through in an unusual year. (COVER AND THIS PAGE) PHOTOGRAPHS BY QUIL LEMONS BY PHOTOGRAPHS AND THIS PAGE) (COVER
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11 TIPPING SCALE Big station groups bulk up with streaming options, national newscasts
14 MAKING CONTACT As Hollywood moves toward more diversity, Black stunt performers seek more visibility
16 WITCH HUNT? The probe into the death of actor Sushant Singh Rajput has Bollywood in the crosshairs
17 EYE ON LEBANON “Capernaum” filmmaker Na- dine Labaki turns her camera on post-explosion Beirut
19 DIRT Josh Brolin buys homes in P.3 2 Atlanta and Simi Valley
Shereen Pimental, who stars as Maria in “West FOCUS Side Story” on Broadway, reflects on the show going dark during the 80 KILLER FILMS AT 25 COVID-19 pandemic in Indie stalwart Christine a photo essay on the Vachon reflects on a lockdown’s impact on quarter century in the biz the Great White Way.
82 BFI LONDON FILM FESTIVAL Variety, VOL. 349, NO. 14 (USPS 146-820, ISSN 0011-5509) is published weekly, except the first week of September and the last week of December, with 21 special issues: Jan (6), Feb Event is experimenting with (1), June (4), July (5), and Aug (5) by Variety Media LLC, 11175 Santa Monica Blvd., Los Angeles, CA 90025, a division of Penske Business Media. Periodicals postage paid at Los its slate as it goes low-key Angeles, CA and at other mailing offices. Postmaster send address changes to: Variety, P.O. Box 15759, North Hollywood, CA 91615-5759. Canada Post International Publications Mail Product (Canadian Distribution) Publications Mail Agreement No. 40043404. Return undeliverable Canadian addresses to: RCS International Box 697 STN A, Windsor, Ontario N9A 6N4. Sales agreement No. 0607525. Variety ©2020 by Variety Media, LLC. Variety ARTISANS and the Flying V logo are trademarks of Penske Business Media. Printed in the U.S.A.
89 SERVING UP SCARES “Welcome to Blumhouse” production teams share anthology’s spooky secrets P.1 8
91 BITTERSWEET SONG Editor Liron Reiter was guided Pierce Brosnan puts by country music in cutting his Malibu estate “Yellow Rose” on the market
93 SHINING A LIGHT “The Forty-Year-Old Version” DP Eric Branco tells how he illumi- nated the black-and-white film
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Colman Domingo Fear the Walking Dead TABLE TALK Like the zombies he flees Stars who discussed from in this spinoff, his their Hollywood score has risen. journey with Variety’s Clayton Davis (top right) include (clockwise from top left), John Leguizamo, Benjamin Bratt, 544 Stephanie Beatriz, Cristela Alonzo and Patrick J. Adams Julio Torres. The Right Stuff His number is hardly stratospheric, but it’s holding steady. News IN HONOR OF NATIONAL HISPANIC HERITAGE involved the comedian riffing on objects Month (Sept. 15-Oct. 15), prominent Lat- placed on a conveyor belt. “One of my hap- Latinx inx talent gathered for “#REPRESENT: Suc- piest moments was going to the warehouse cess Stories,” a roundtable discussion of their where this conveyor belt was being made unique journeys in Hollywood. John Legui- for the show, and I thought like, ‘Oh, my 42 Stars zamo, Cristela Alonzo, Stephanie Beatriz, God, how did I trick these executives into Kate Siegel Benjamin Bratt and Julio Torres spoke can- greenlighting this thing that no one’s gonna The Haunting of didly about their early careers, when they watch — like, four people are gonna watch,’” Celebrate Bly Manor first felt they had “made it” and the future of said the “Los Espookys” co-creator. “But I The screw turns as her Latinx representation in the entertainment just wear my niche badge with pride.” Vscore inches up — and Hispanic Hill House vanishes. industry. The roundtable was moderated by The “#REPRESENT” video vertical is Variety film awards editor Clayton Davis. dedicated to candid conversations about Heritage Torres recalled an instance when he was race, culture and Hollywood. Vscore, powered by Variety Business prepping his 2019 HBO experimental com- Intelligence, identifies the social footprint, familiarity and availability of over 25,000 • For the full story, head to Variety.com. Month edy special “My Favorite Shapes.” The show actors. For more info please visit Vscore.com UAN/INVISION/AP Variety Poll Say What?
Will Users Take a “In order to create change and to really make people tell stories that represent the world in which we live — which is a colorful Bite of Apple One? world full of all different types of people — rules like that need to Pollster YouGov asked 590 U.S. adults ages 18 or older be set. There are so many stories in my 29 years of being in this who owned an Apple device how interested they were in business that have been told from a white straight male’s point the new service. Overall, 33% were intrigued by at least of view, and it does a great disservice to people who are living in one of the three plans, with pricier packages offering the world because they don’t get to see themselves represented more cloud space, Fitness Plus and Apple News Plus. on the screen in a way that makes them feel seen and heard.” (Respondents could choose more than one plan.) Hilary Swank on the Oscars’ new diversity and inclusion guidelines
54% None of these “Everyone was willing to scale the mountain. I keep saying to people, ‘No, no, really, we’ve actually reinvented the wheel. We 18% Individual are changing everything everyone has ever understood about ($14.95/month) how you make television.’” Family Showrunner Krista Vernoff on shooting “Grey’s Anatomy” during 15% the COVID-19 pandemic ($19.95/month)
Don’t “We set out to make a horror show, and those were the initial 13% Know stories we wrote. But you learn and adjust as you start watching 6% Premier the film, and a few things conspired to tell us, ‘We have to focus ($29.95/month) a lot more on the characters than we’re currently doing.’ ... We realized the actors we had.” Data provided by YouGov for Variety Intelligence Platform Analysis. Survey Fielded Between
Sep. 28 To Sep. 30, 2020. For more analysis, please visit variety.com/vip/ Creator Eric Kripke on the evolution of “Supernatural” SANJ WILLY SWANK: USA/AP; JC OLIVERA/SIPA SIEGEL: HOLDEN/INVISION/AP; MARK VON ADAMS: USA/AP; B. MIRADOR/SIPA STHANLEE DOMINGO:
8 VARIETY HULU PROUDLY CONGRATULATES ANDY SIARA
VARIETY’S 2020 CLASS OF 10 SCREENWRITERS TO WATCH
Untitled-8 1 10/2/20 11:33 AM Untitled-5 1 10/2/20 11:31 AM NEWSNATION Broadcasters Bulk Up have inmany madeitmuch easier regions sets TV Smart out acable subscription. holds that watch freeover-the-air with- TV ofswelled Americanhouse thenumber whichhas on thefalloutfromcord-cutting, in innovative ways. newsandprogrammingassetsusing local togenerate newprofit sourcestrying by Group andE.W. Scripps—areincreasingly ing Nexstar SinclairBroadcast Media, the biggest groups—includ independent of outletsacross thecountry. become local leviathans thatbecome local own dozens nation’s largest station groupshave TV NEW PLATFORMS AS TRADITIONALREVENUESOURCES SHRINK LARGE STATION GROUPS LOOK TO ENHANCEO AFTER YEARS OFBUYING AFTER Station owners tocapitalize arelooking At anunsettled timefor TV, broadcast and selling, the and selling, TOP BILLING TOP - -
innovative ways. their assetsin stations areusing an exampleofhowTV and RobNelson Donlon, MarniHughes Albert Ramon,Jon Nation” Nexstar’s “News ADDED VALUE — featuring — is VER-THE-AIR VIEWINGOPTIONS ANDEXPAND INTO petus forpetus owners toget creative withtheir receive fromMVPDs, whichisanotherim- retransmission consent revenue that stations marketplace lowertional pay TV means CEO of ScrippsCo. for,” says presidentand Adam Symson, whatever platform alsosigningup they’re televisionrightalongside broadcast the-air recognize theirability towatch freeover- andthecord-neversthe cord-cutters who will continue togrow withyounger people, apps suchasNetflix andHulu. lessly outletsand switching between local waynels theold-fashioned while still seam- for viewers toaccess chan broadcast local At thesametime, erosioninthe tradi “We believe strongly that over-the-air
yCnha Littleton By Cynthia
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consolidation amongstation owners. towardwheeling anddealing regional grabs aftermorethanadecade of steady there many high-value stations leftupfor the size of Nexstar andSinclair. Nor are acquisitions that madeby groups canbe Therearen’tall hasshrunk. that many big station over-fact that landscape theTV isthe broadcasters activity amonglocal Fox andTheCW. tiate affiliation termswithABC, CBS,NBC, groups bydefinitionhave moreclouttonego basis. Moreover, station bigger andhealthier that soldonaquasi-national can be tory chas existing assets. Station owners arealso Yet anothercatalyst for the range of ing bigger advertising deals withinvening bigger advertising deals VARIETY TOP BILLING 11
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“Chicago, P.D.”), movies, court shows and The Big Three other low-cost fare. The skinny on the U.S.’ biggest station groups Scripps intends to keep things status quo with Ion, which generated revenue of $587 million and earnings before interest, Sinclair taxes, depreciation and amortization of Nexstar Media Group E.W. Scripps Co. Broadcast Group $335 million. But over the long term, one of the reasons Scripps went after Ion was HEADQUARTERS Irving, Texas Hunt Valley, Md. Cincinnati a bet that there is unlocked value in the Ion TV stations purely from the spectrum STATIONS OWNED 197 91 107* bandwidth they have as licensed commer-
MARKETS SERVED 115 89 76* cial TV stations. The U.S. broadcast TV sector is in the midst of a transition to a % OF U.S. HOUSEHOLDS 63% 50% 73% new broadcasting standard — known in REACHED wonky terms as ATSC 3.0 — which prom- ises to one day open a new world of data- MARKET CAP $4.1 billion $1.4 billion $951 million and information-delivery capabilities to STOCK PRICE YTD Down 22% Down 44% Down 26% local stations. That could involve every- ($90.53, closing ($18.69, closing ($11.66, closing thing from hyper-local news and weather price on 10/5) price on 10/5) price on 10/5) updates to supporting addressable adver- tising technologies. OTHER PROGRAMMING WGN America; WGN 23 regional sports Newsy (streaming HOLDINGS Radio; Antenna TV networks (acquired service); Stitcher “We think there will be new business in 2019); STIRR (podcast distributor); models developed around data-casting (ad-supported Katz Networks and advanced advertising,” Scripps’ streaming service); (multicast channels); Symson says. “New forms of programming Tennis Channel; Comet Bounce; Court TV; will come to bear. We intend to take a lead- TV; Stadium; Ring of Court TV Mystery; Honor (wrestling) Grit; Laff ership role not only to create value to our investors but to bring these products to America.”
SOURCES: COMPANY REPORTS, VARIETY RESEARCH *TOTALS INCLUDE SCRIPPS’ PENDING ION MEDIA ACQUISITION Symson and Nexstar’s Compton empha- size the importance of looking to fill pro- gramming voids in the marketplace and “There are limits on how much more the road,” says Sean Compton, Nexstar’s to attract distinct niches. In other words, Nexstar and Sinclair can acquire,” says exec VP of WGN America, WGN Radio and you can’t just throw a bunch of previously John Janedis, media analyst with Wolfe director of acquisitions. produced news segments together and Research. “There is a realization there that Sinclair is planning a headline-driven expect to draw a crowd. “News Nation” there are a lot of national ad dollars and morning news program to debut early next was designed to play to WGN America and there is an audience that is increasingly year on more than 60 of the company’s Nexstar’s stronghold of viewers in the viewing free-over-the-air as opposed to 190 stations that will originate from Sin- Southeast and Northeast who are in the being part of [a pay TV bundle]. That bundle clair’s WJLA-TV Washington, D.C., station. market for straightforward headlines, is losing 6%-8% of its subscribers a year. If Like “News Nation,” Sinclair’s still-untitled not opinion shows, as the Big Three news you’re a company that has been reliant on 6-9 a.m. program will draw on news and cablers deliver in primetime. that bundle, you’re looking for ways to span human interest stories produced across Compton notes that “News Nation” has your reach and expand your advertising.” Sinclair’s wide footprint. served up more comprehensive coverage Nexstar on Sept. 1 launched “News In January 2019, Sinclair launched of the raging wildfires in the West because Nation,” a three-hour primetime newscast the STIRR ad-supported free streaming it has so many reporters to pull from in on its WGN America cabler that draws sto- service that also aggregates news, sports affected markets. He also points to the ries and resources from Nexstar’s 190-plus and local fare from various Sinclair mar- ongoing focus of “News Nation” on storm- TV stations, which stretch from Los Ange- kets. Even Fox’s O&O group has taken to driven natural disasters in Louisiana. les to San Angelo, Texas, to Burlington, Vt. recycling some locally produced programs Over-the- “When we say we want to super-serve “News Nation” has been a big gamble mixed with a handful of originals for the air will America and the heartland, we mean it,” for Nexstar, as it replaced primetime enter- ad-supported streaming service Fox Soul, continue Compton says. “We’re not just there for the tainment programming on WGN America. aimed at Black viewers. to grow with day to get some images and split.” But it hasn’t been a huge financial risk “This is all a five-year defensive play for younger Symson notes that the ballast provided for the station group, given that much of broadcasters,” says media analyst Daniel people who by Ion stations “opens up a tremendous the material is derived from work already Kurnos with Benchmark Capital. “They’re recognize number of paths for [Scripps] to continue done at the local level. Nexstar built out trying to gain from national scale. They’re their ability in a leadership role in journalism and a 14,000-square-foot studio in the WGN trying to benefit from better retrans nego- to watch free broadcasting.” Chicago building and hired on a few dozen tiations and better negotiations with net- broadcast Making those investments is hard at journalists to handle the national broad- works. All of that protects their cash flow.” television a time when local TV advertising has been cast and its companion app, which delivers Last month, Cincinnati-based E.W. alongside hammered by fallout from the pandemic, round-the-clock headlines. Scripps Co. bought Ion Media, a TV sta- whatever although the record political dollars that The news initiative was most important tion owner based in West Palm Beach, Fla., platform are raining down this election cycle under- to Nexstar as proof of a concept the com- for $2.65 billion in cash. Ion stations are they’re also score why investors still like local TV, pany hopes to build on significantly in the typically low profile in their markets, but signing up with all of its challenges. coming years. “We’re reinvesting the money the company as a whole enjoys massive for.” “These [stations] have got to figure out a that we would have spent [on programming] profit margins (upwards of 50%) by run- way to slow that loss of reach by growing in Adam Symson, contracts into this ‘News Nation’ product ning acquired drama reruns (think “Blue president-CEO, other areas,” Janedis says. “In some ways and additional products we may sell down Bloods,” “Law & Order,” “Criminal Minds,” Scripps Co. everyone’s using a similar playbook.”
12 VARIETY salutes our clients ANDY COHEN LADY GAGA MATTHEW LÓPEZ TREVOR NOAH NICOLLE WALLACE GEORGE C. WOLFE
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and our colleague RACHEL ADLER
Variety’s 2020 New York Impact Report Honorees
Untitled-4 1 10/2/20 11:08 AM TOP BILLING
hashtags #BlackStuntWomenExist, #Black- Lack of Diversity StuntMenExist, #BlackStuntDoublesExist, #BlackStuntPerformersExist.” The initiative drew responses not just from the stunt world but from actors Alfre Is Double Trouble Woodard, Nia Holloway, Jurnee Smollett and Shireen Crutchfield, who posted photos with their stunt doubles to raise awareness. BLACK STUNT PERFORMERS FACE JOB HURDLES DUE TO FEWER Abney got to know more stunt people TIES TO THOSE IN CHARGE, BUT THINGS ARE STARTING TO CHANGE than ever, she says: “I was able to find that many Black stunt people in 48 hours. I don’t By Jazz Tangcay know why it’s hard for stunt coordinators to find people of color.” Black performers are hoping to move past the conversations surrounding misrep- resentation. “I want to focus more on the light than the dark,” says “Black Panther” stuntman Terrence Julien. “That light being the strides Black stuntmen and Black stunt- women are taking to make a change and rise above the challenges and barriers they face.” But stunt performers don’t have agents working for them in the same way that leading actors do. Like many jobs in Hollywood, getting a gig in the stunt world depends more on who you know than on what you can do. Stunt people of color say it’s hard to get a foot in the door. Julien, a trained marksman and scuba diver who doubled for Chadwick Boseman in “42” and for Marlon Wayans in “A Haunted House 2,” praises the late “Mis- sion Impossible III” performer Conrade Gamble and Tom Elliot (“Criminal Minds”) for guiding him, but he says the old ways of doing business are hindering careers. “Without agents pushing, stunt coordi- nators don’t know who you are,” he says. “They don’t know your capabilities, so you remain out of sight.” “Wonder Woman 84” stuntwoman WHETHER IT’S JUMPING out of a building Likewise, “Stargirl” actor Anjelika WALKING TALL Cheryl Lewis, who has doubled for Aun- or driving a burning truck through traffic, Washington called out a blackface incident Tiffany Abney, janue Ellis, Alfre Woodard and Regina Hall, there’s no question Black stunt perform- as late as 2017 on her Instagram page. “My surrounded by believes the decision about who gets the job vehicles driven by ers are crucial to the success of all types of 4th job as an actor, my first recurring guest Jay Lynch (left) and starts before a director calls action. “If the movies and shows. From “Tenet” to “Black star, and my first time having a stunt double Chris Cole on the writer doesn’t list the race or gender, the Panther,” their death-defying work has — and they painted her black,” she wrote set of a commercial default casting is white male,” she says. shoot, has asked helped several recent blockbusters deliver this summer, helping kick off the conversa- Black stunt perform- The situation won’t change until coor- stunning action sequences. tion on diversity and representation. ers to post photos dinators put more effort into researching However, their contributions are often Tiffany Abney, who has doubled for of themselves on other approaches to hiring. “A white male social media along- overlooked. As the conversation about rep- Gabrielle Union and Aisha Tyler — and fell side the stars is hired as a coordinator,” Lewis says. “He resentation in all Hollywood disciplines off the “H” in the iconic sign in Ryan Mur- they’ve doubled for. doesn’t know what to do, so he asks another grows, stunt casting, which isn’t often phy’s “Hollywood’’ when she stood in for white male. They don’t know any Black addressed, is finally getting a closer look. Laura Harrier — has also used social media female stunt performers.” Black performers, who regularly put their to spotlight the world of stunts: “I called Stunt performers say it’s time to focus lives in danger, say the biggest barriers to on my fellow Black stuntmen and stunt- on nurturing the coming generations. Julien greater visibility are employers not mak- women to post pictures of themselves on is working hard to guide up-and-coming ing the effort to widen their networks. The social with actors they’ve doubled using the stunt people in the same way that Gamble practice of “painting down” white stunt mentored him. “I want to make myself read- performers as stand-ins for performers of ily available for any Black stunt performer color, which continues to this day, has called that comes my way,” he says. attention to racist practices in the industry. Some performers are optimistic that Spurred by events such as recent cov- the picture is changing. Abney has seen a erage of Michelle Rodriguez’s white stunt spike in veteran stunt performers reach- double in the “Fast and Furious” films, Without agents pushing, stunt ing out to newcomers. “They have so much members of the stunt community issued a coordinators don’t know who you experience to offer and to help someone else letter to SAG-AFTRA last week highlighting are. They don’t know your capabili- be better and to train a better way,” she says. issues of racism, homophobia, xenophobia ties, so you remain out of sight.” “I appreciate that people are beginning to
and misogyny. Terrence Julien, stunt performer step up and take a leadership role.” BLACK MOTEN JAMES
14 VARIETY Untitled-7 1 10/2/20 11:33 AM TOP BILLING India’s TV Meltdown
IS THE MEDIA ORCHESTRATING A BOLLYWOOD CIRCUS OR CREATING A POLITICAL DISTRACTION?
By Naman Ramachandran
MEDIA CIRCUS INDIAN MEDIA, fueled by aggressive tele- The death of actor Sushant Singh Rajput vision anchors, has worked itself into an on June 14 has unprecedented feeding frenzy since the generated enormous death of popular 34-year-old actor Sushant attention from TV anchors in India. Singh Rajput at his Mumbai home June 14. The question now is whether this is Bolly- wood on self-destruct or a further example of media manipulation in service of a conser- vative political agenda. The Mumbai police initially ruled the death a suicide. But media and the public So far, so Bollywood. But the political his film and television output, including found it difficult to accept that a successful angles are rarely far from the surface. Why “Chanakya,” “Pinjar,” “Upanishad Ganga” actor with hits like “M.S. Dhoni: The Untold have only women been called by the NCB? and the upcoming historical epic film Story” and “Kedarnath” under his belt would Why is free-spirited Bollywood — which has “Prithviraj,” starring top Bollywood actor take his life. Within days of Rajput’s death, often led the social agenda on issues includ- Akshay Kumar. Dwivedi describes the rumors involving the highest echelons of ing gender identity, arranged marriages and current scenario in India as a “media cir- Bollywood circulated on social media and religious integration — under attack? cus” but disagrees that it is in the service WhatsApp, suggesting that the self-made Liberal filmmaker Hansal Mehta, known of diverting attention from other issues. outsider from a small town was depressed for Muslim rights biopic “Shahid” and sem- “All the [TV] channels cannot work on the as a result of being shunned in the elite, inal gay rights film “Aligarh,” is a trenchant agenda of any government,” he tells Vari- nepotistic circles of the film industry. presence on Twitter. “These are enter- ety. “So this projection that it is to divert By the end of July, when the police ruled tainment channels masquerading as news attention from success or failure of the out foul play, the narrative changed. The channels,” Mehta tells Variety. “What they government, I do not buy this argument.” star’s father, K.K. Singh, accused Rajput’s for- are doing is, in the absence of entertain- The general audience appears to mer girlfriend, the actor Rhea Chakraborty, ment at the multiplexes, providing us daily be consuming the ongoing drama with and her family of abetting suicide and finan- entertainment featuring Bollywood stars on relish. “Suddenly you are getting a peek cial misappropriation. India’s Enforce- news channels.” into their homes, their lives,” says Mehta, ment Directorate for financial crimes began Mehta cites several burning issues in referring to Bollywood stars on daily an investigation. The following month, the India, like contentious farm legislation, primetime display. Supreme Court transferred the investiga- unemployment, plunging GDP and toxic On Oct. 2, Johar tweeted a letter tion of Rajput’s death to the Central Bureau pandemic numbers (6.3 million infected and to Prime Minister Modi, with leading of Investigation and rumors that Rajput was counting), that have taken a backseat to the filmmakers Rajkumar Hirani, Aanand L. murdered began to circulate. daily drip feeds that Indian news channels Rai, Rohit Shetty, Sajid Nadiadwala, By the end of August, the narrative claim are leaked to them by the investigative Ekta Kapoor and Dinesh Vijan tagged, changed yet again, and a third national agencies. A producer who wished to remain launching the Change Within initiative investigative body, the Narcotics Control anonymous for fear of being targeted in an to celebrate the 75th anniversary of Bureau, got into the act. In early September, increasingly authoritarian political atmo- India’s independence. Chakraborty was arrested on suspicion of sphere, tells Variety: “The fascists have found The following day, Kumar released a supplying marijuana to Rajput. Bollywood as a tool for policing thought. The video saying that the industry has a drug Haranguing television anchors appointed media is completely manipulated, including problem but that not all Bollywood stars themselves judge and jury, with daily trials social media.” should be tarred with the same brush. on primetime television. Matters went into Civil society has been under attack from Mehta is saddened by the general overdrive when WhatsApp messages with “These are the Modi government, which seems to accept perception of Bollywood caused by the Chakraborty led the NCB to haul in actors entertainment no other authority or version of the truth. media maelstrom. “We are still providing Deepika Padukone (“xXx: Return of Xander channels Human rights activists languish in jail. livelihoods through this tough time,” he Cage”), Sara Ali Khan, Rakul Preet Singh and masquerading Amnesty International recently closed down says. “We are providing content to the Shraddha Kapoor for drug-related question- as news its India operations after years of frustra- ecosystem that is still running — the OTTs, ing. Prominent filmmaker Karan Johar was tion. “We are in an undeclared state of emer- and the audiences are getting films and forced to issue a statement denying claims channels.” gency,” the producer says. shows to watch. Rather than appreciating that drugs were consumed at a party at his Hansal Mehta, Chandraprakash Dwivedi is a respected that, there is this campaign to vilify and filmmaker home in 2019. chronicler of Indian history and culture via make us look like drug addicts.” AGENCY TIMES/NEWSCOM/MEGA GOKHALE/HINDUSTAN PRATHAM
16 VARIETY TOP BILLING
As an artist, Labaki, who is also an Nadine Labaki Bears actor, has always taken her cue from daily life in Lebanon, be it the bustling Beirut beauty salon in her first feature, “Caramel,” a safe haven for women of different back- Witness in Lebanon grounds to gossip freely; or “Where Do We Go Now?” set in a village surrounded by land mines where Christians and POST-EXPLOSION, THE ‘CAPERNAUM’ DIRECTOR IS FILMING IN BEIRUT Muslims manage to coexist. Or, of course, AND HOLDING TO ACCOUNT THE POWERS THAT BE By Nick Vivarelli “Capernaum,” in which Beirut becomes the inferno where Zain al Rafeea, a real 12-year-old Syrian refugee fighting to survive in its slums, decides to sue his parents in court for giving him life. Following the film’s release, Zain and his family resettled in Norway, and Labaki has been intermittently making a creative documentary about “the very thin line LESS THAN TWO MONTHS after Beirut was “got organized so quickly and efficiently” between fiction and reality” in the child’s blasted by one of the biggest non-nuclear to remove broken glass and debris and amazing journey. The movie, which launched explosions ever recorded, director Nadine start fixing damaged buildings and provid- at Cannes in 2018, brought the director Labaki has taken to the streets of the Leba- ing food and diapers to displaced survi- international acclaim (she was already the nese capital with her camera. vors stands as further proof, says Labaki, Arab world’s most bankable director). But “I don’t know where it’s going to lead, or that Lebanon “has always been functioning Labaki says she has been “almost para- if it will ever lead anywhere,” says Labaki, without a government.” And that, she notes, lyzed” creatively since that time. whose latest film, the Oscar-nominated “is the only hope I still have of rebuilding Even before the blast, she was trying to “Capernaum,” shed light on Beirut’s preex- the country.” get her head around what was happening isting desperation. But as teams of volun- Still, Labaki wants Lebanon’s leaders in Lebanon as it plunged into an economic teers clear rubble, feed survivors and try to to be held accountable, and she’s calling for crisis caused by unsustainable public debt, rebuild — and the country’s “corrupt” gov- an international probe into the “man-made” prompting escalating riots and protests ernment, Labaki points out, does the bare disaster. “We need to know the truth,” in 2019. You really need to “have the right minimum — Lebanon’s most prominent she says. distance [to] deal with the situation respon- filmmaker isn’t staying idle. Among those the filmmaker holds sibly” and remain fair, she says. The only positive development since accountable is the current ruling class, Labaki is coming out of that stagnation. Aug. 4, when 2,750 tons of neglected which Labaki calls a “mafia” that is widely Recently, the director started “filming ammonium nitrate detonated in the city’s blamed for decades of systemic rot, and everything” in Beirut since the blast — port, leaving 190 dead, more than 6,500 Hezbollah, the militant Shiite party that is because “we need, at least, to capture what’s injured and roughly 300,000 homeless, both Lebanon’s strongest military force and LOCAL PRESENCE been happening,” she explains — though is that civil society and volunteers, many its most powerful political power broker Nadine Labaki it’s still unclear how the material will discusses a shot of whom are young Lebanese, have been amid the sectarian forces that have been take form. with DP Christopher working ceaselessly. in charge since civil war ended almost Aoun on the set of Meanwhile, the rest of the country’s pre- The fact that a network of unpaid workers 30 years ago. 2018’s “Capernaum.” viously flourishing film community is at a standstill. The blast ripped through the center of Beirut, which is the cultural heart of Lebanon, where most production com- panies and movie theaters are located. To make matters worse, banks aren’t allowing individuals to withdraw more than $100- $200 per week, depending on the location, in a clumsy effort to curtail the economic crisis and prevent capital flight. And yet, Labaki and her family — she has two children — aren’t going anywhere. She also hopes there won’t now be an exodus, especially of young Lebanese. “I have this sort of feeling that it is my duty to just stay here,” she declares, and perhaps thinking of Zain, adds, “It’s as though this country is a small child who is sick and needs help.” But a collective outcry and continued support from outside Lebanon are also needed. While the international commu- nity mobilized immediately after the blast, “It’s not enough,” she says, and concern is already dying down. “Just because this tragedy happened in a small country that is almost invisible on the map,” Labaki says, “it doesn’t mean it can
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OFFICIAL PARTNER SUPPORTING PARTNERS 2020 The New York Issue
22 Do the Spike Thing by Clayton Davis In the year since Variety 30 last celebrated New York, so Come Back many things have changed to New York — for the world, and for a city by Sarah that’s lost thousands of peo- Jessica Parker ple. The movie and TV pro- ductions that usually stud all 31 five boroughs have been halted Closed by the coronavirus pandemic. Until Further Notice Broadway has been dark for six by Brent Lang and months, a hiatus without prec- Rebecca Rubin edent. Times Square has lost its bustle; downtown has lost its glow. 40 But something has arisen: a Live renewed sense of New York City WithKelly as a symbol of strength and resil- Ripa ience. During an uncertain time for by Daniel D'Addario the entertainment industry, the art- ists in the pages that follow are persist- 42 ing. Spike Lee, our cover subject, spent Cynthia a socially distanced morning in Brook- and the City lyn with our Clayton Davis. Cynthia Nixon by Daniel D'Addario speaks out about her vision for the city where she’s worked all her life. Sarah Coo- 44 per is pioneering a different kind of politi- (Almost) cal satire from home. Kelly Ripa returned Live From to the studio to do the sort of light, warm New York chat she’s shared with her audience for by Caroline Framke two decades, and Amber Ruffin launched a streaming talk show. 46 The way forward for New York City will The require new ways of thinking. But it will also Pandemic and rely on some classic traditions. Sarah Jes- Andrew sica Parker, a New Yorker down to her stilet- Cuomo tos, writes in this issue about why Broadway by Cynthia Littleton must find a safe way back. She’s joined in our pages by Broadway actors in front of their 48 theaters, where they once brought the world Weathering to the island of Manhattan, and will again. the Storm When they do, they’ll be met with standing by Jem Aswad ovations from (socially distanced) packed houses; for now, they have applause from the 50 entertainment world, which is — not for the She's Hired first time — looking to the energy and innova- by Rebecca Rubin tion of New York to see what lies ahead.
P. 21
2020 The coronavirus hit his hometown The New York hard, but SPIKE LEE, director, Issue activist and proud New Yorker, still has hope for the future P. 22 Story by Clayton Davis Photographs by Quil Lemons
is covered by a mask. And yet, Spike Lee still gets recognized on a walk in Fort Greene, Brooklyn. On this sunny September morning, the 63-year-old director and activist is partici- pating in a socially distanced photo shoot on the street outside his production company, 40 Acres and a Mule Filmworks. As Lee stands on the corner, a dark Subaru screeches to a halt. “I’m a huge fan,” proclaims the driver from inside the car. Lee nods, but he’s accustomed to stopping traffic. A few minutes later, a FedEx driver also rolls down his window to say hello. As we follow Lee around, he keeps an ongo- ing dialogue with his neighbors — it’s hard to tell if they are fans or friends (or both). He points to his watch and tells a man, “You’re running late.” This is followed by a selfie with another man sitting on his stoop and a wave to a jogger coupled with a warning. “Where’s your mask?” he quizzes her. “Put it on your mouth!” Lee is as synonymous with New York as J. Lo is with the 6 train. He’s lived here since grade school. His parents — his mom, Jac- quelyn Lee, was a teacher and his dad, Bill, is a jazz musician — moved to Crown Heights in the ’60s, and they became what Lee recalls as the first Black family in Cobble Hill. Lee now splits his days between his Brooklyn produc- tion company, a brick building with flags that carry the names of some of his movies, and the Upper East Side apartment where he lives with his wife, Tonya Lewis, a lawyer and pro- ducer. When he’s not sitting courtside at a Knicks game, he’s a film professor and artis- tic director of the Graduate Film Program at NYU’s Tisch School of the Arts. New York is the setting of many of Lee’s movies: his 1986 breakout hit (which debuted in Cannes) “She’s Gotta Have It,” 1989’s zeitgeist-defin- ing masterpiece “Do the Right Thing,” 1994’s semi-memoir “Crooklyn” and 2002’s “25th Hour” among them. His hometown has also been, of late, the source of heartbreak. The past six months have seen the deaths of at least 24,000 people in the city from COVID-19, as Donald Trump (whom
2020 The New York Issue
P. 25 Lee has nicknamed “Agent Orange”) dragged How do you think New York is doing six Fill in the blank for me. Donald Trump is — his feet and dodged responsibility for the U.S.’ months into COVID-19? I got to give it up to On the wrong side of history. And he should not inadequate response to the deadly virus. “It Cuomo. I think he did a great job because it eas- even talk about Abraham Lincoln. goes to show you, shit could change in a sec- ily could’ve gone the other way. I remember ond,” Lee says. “The world changed.” But Lee all those movies — “Death Wish” and “Escape How did you finance your first film, “She’s isn’t going anywhere, and he dismisses any talk From New York” — it was full of drug addicts Gotta Have It”? I got to thank my grand- of his favorite city being finished. and prostitutes and dope dealers and mug- mother. My grandmother put me through film Even in these times of uncertainty, Lee has gers. And then, later, I remember the summer school and Morehouse. I was the first grand- had a prolific year. In June, Netflix released of ’77, the blackout, 9/11. New York was dead. child, and she used to save her Social Secu- his latest film, “Da 5 Bloods,” a post-traumatic And they’re running that same narrative. New rity checks for 50 years for her grandchildren’s Vietnam war drama starring Delroy Lindo York has always gone through hard times and education. And she gave me seed money for my and Chadwick Boseman, who died at 43 in rebounded, so I’m not buying that. thesis film, “Joe’s Bed-Stuy Barbershop,” which August from colon cancer. Lee wasn’t aware But here’s the thing — it was the Black and won a Student Academy Award. And the seed of his illness when they were making the Brown people of New York City that kept this money for “She’s Gotta Have It.” movie together, but he recently rewatched it motherfucker going. And we saw it [with] MTA I first had to get the money to shoot. Then, — discovering new meaning in a pivotal scene buses, the subway, hospital workers, cops, fire- the next stage, we get the money to get the film where Boseman’s character, Stormin’ Norman, men, nurses, first responders. And also, we out of the lab. Then, they get enough money for is bathed in a heavenly white light. As a trib- paid the price. We didn’t have a choice. We had me to live on so I could edit the film. And then, ute, Lee now has a flag of Boseman flying out- to work. A lot of these people, I think, wanted to hopefully, in the third stage, I show it to poten- side his office. work. They wanted to help. And then, we suf- tial investors and finish the film. I shot it in 12 In September, Lee opened the Toronto fered the most because of the condition we live days — two six-day weeks — for $175,000. Film Festival with his film “American Uto- in. We’re just not healthy. We don’t have the pia,” a cinematic recording of the Broadway health services that other people have. I don’t How does art speak to you at this time of your show starring Talking Heads frontman David think you have to be a medical Einstein to see life compared with when you first started Byrne, which premieres on HBO on Oct. 17. that we over-index Black and Brown people: out? It’s just what I do. That’s what I love. My For 90 minutes, I sat down with Lee to talk hypertension, obesity, we can go down the line. father, Bill Lee, jazz musician, used to compose about these times and his remarkable career. a lot of the scores for my films, so I just grew up We hunkered down (after a temperature check Where do you think we’re headed? I know in a very artistic household. My love of arts is and with six feet between us) in his office at 40 they call me “Negrodamus,” but I can’t call never going to change. Acres and a Mule. To his right was a shelf of this one. And also, Nov. 3, who knows what the DVDs of his movies, including “Jungle Fever,” world’s going to be like. And they might not be Tell me about growing up in New York in “Malcolm X” and three Blu-ray Criterion cop- able to declare a winner. This could be a civil the early ’60s. I’m the product of New York ies of “Do the Right Thing” (he’s one of only war. And we got to come out and vote because City public schools from kindergarten. I’m four Black directors whose films have been this motherfucker is not going to leave, and the eldest. My mother was dragging me and selected for inclusion in the collection). While he’ll say that the vote was invalid or rigged. He’s my brother, Chris, to Broadway plays, movies, Lee has yet to win an Oscar for directing, he doing that shit already. He’s laying the ground- museums. My brother — my late brother, Chris took home a statuette for best adapted screen- work to say the election is bogus. — and I, we were my mother’s date. My father play in 2019 for “BlacKkKlansman.” was on the go. He was taking me to the jazz Lee has a reputation for sometimes being When Trump says, “Make America Great clubs in Newport, jazz fests, stuff like that. And Hollywood’s prickly uncle. You’re not quite Again,” what does that really mean? Roll also, my love of sports comes from my father. sure if you’re going to be embraced with a back the clock. If it was up to him, I’d be sing- I’m just so blessed because I grew up with both hug or received with a snarl and a frown. ing, “Let my people go.” I’d be singing Negro parents in the house. I didn’t want to see a lot But once he’s more comfortable, he lets you spirituals, “Wade in the Water,” all types of of stuff. My mom would just say, “You’re going!” in and quickly warms up — cracking jokes, stuff. Along with stealing the land from Native sharing memories and reminiscing about his Americans and genocide, that’s how this coun- I lost my big brother two and a half years ago. unique journey as an artist. try was built. I’m sorry to hear about your brother. His tag
2020 The New York Issue
It was the Black and Brown people of New York City that kept this motherfucker going. P.26 And we paid the price. — Spike Lee
name was Shadow. He was one of the original he says, “I died for you.” I mean it was hard to look We got to be in the room. I tell you, this is the graffiti people. He went to [High School of] Art at the film again for me since his transition. It is truth. My early years in this industry, when I and Design until he got kicked out. You ask peo- just a whole ’nother experience. had meetings in Hollywood — and I’m not going ple in the know, they knew my brother Shadow. There’s a line in the movie where Clarke to name who it is — they would bring Black peo- [Peters] says he’s the best damn soldier ever. And ple from the mailroom and have them in the You had both “American Utopia” and “Da 5 Chadwick was — is — a soldier. This is conjecture: meeting like they were executives. I didn’t know Bloods” come out this year. You saw that [flag] There’s a possibility he thought this might be his what was happening. So it wouldn’t be a “Lily- hanging outside? The thing with Chadwick? I last film. And God gave him one more with “Ma White” with the studio heads. And I peeped that didn’t know Chad was sick. Rainey’s Black Bottom.” But now looking at that, shit right away. I understood why. Look, I wasn’t he was playing it. Stormin’ Norman says, “If I blaming my brothers; they just opened the Were there any signs? He did not look well, but have to go out, I’m going gangbusters.” And that’s mail. I knew what the deal was, but it’s just so my mind never took that he had cancer. It was a what he did. obvious. “Come on, man, what’s your job?” And very strenuous shoot. I mean, we all didn’t get as soon as my meeting was over, I knew they’re to Vietnam until the end of the movie at Ho Chi You and Delroy Lindo have collaborated on going right back down to the mailroom. Word as Minh City. But that other stuff, the jungle stuff, four movies. How did it feel to work together a bond on my mother’s grave, they were doing was shot in Thailand. It was 100 degrees every again? Funny story. I saw Delroy in “Joe Turner’s that shit. day. It was also at that time the worst air pollu- Come and Gone.” That’s how I got to cast him as tion in the world. I understand why Chadwick West Indian Archie in “Malcolm X.” Then he was What message do you have for Oscar voters didn’t tell me because he didn’t want me to take in “Clockers.” So we are now working 25 years. who don’t agree with the new set of rules? it easy. If I had known, I wouldn’t have made him He didn’t tell me, because I forgot; I offered him They probably voted for “Driving Miss Daisy” do the stuff. And I respect him for that. the role to be one of the corner men in “Do the and “Green Book.” Right Thing,” and he turned it down. And he How did you hear about Chadwick’s death? said, “Glad Spike didn’t hold that against me!” Only six Black filmmakers have been nom- That night, for some reason, I went to bed early. inated for best director, including you for And the fact that I went to bed early, I woke up This was going to be an even bigger year for “BlacKkKlansman.” But none of them have early. It must have been I was tired. I went to open you. You were selected as the first Black jury been Black women. They always have it my phone, and my phone — the whole thing had president of the Cannes Film Festival, which harder, no matter what it is, so why should it been blowing up. I turned it off. I was in shock. was canceled due to COVID-19. Yes. I’ll there be different in film? That’s that simple. And most recently, with my lovely wife, Tonya, next May [as jury president]. we watched it [“Da 5 Bloods”] again for the first Did you think you were going to win the Oscar time after his transition. And it plays totally dif- What are your thoughts on the Academy’s new for best adapted screenplay for “BlacKk- ferent. He’s a ghost already. You know the scene representation and diversity standards? A lot Klansman”? I could have had a shot once I I’m talking about? It’s the scene where he comes of loopholes. Hire a white publicist. I need to sit got nominated. I had a shot. You got to be in it back, him and Delroy. I felt it when we shot it. down with somebody from the Academy. Look, to win it. I didn’t know a Morehouse brother, I think their heart is in the right place. I will say Samuel L. Jackson, was going to be presenting. You’re talking about the scene at the end, that. But the battlefield for me is the rarefied He came out. I said, “Oh.” When he opened the where he’s standing in the light in the jungle air of the gatekeepers. These are the people, envelope, he said, “The house!” I didn’t hear and reveals his bullet wound? It was God’s heav- individuals who decide what we’re making and [my name], because the people were yelling and enly light. We didn’t have light. You know, Delroy’s what we’re not making, who’s going to write it, screaming. It was a great moment, and that pic- talking to the camera, talking about his conversa- who’s going to direct it, who’s going to produce ture’s famous where I jumped up. Sam luckily tion with God? We go up, and we come down and it, who’s a star in this. In speaking about the caught me. That was pure adrenaline and joy. we find this heavenly light. It’s Chadwick standing subject, I always go to Lin-Manuel’s “Hamilton” in that light, in that pose. That was God up there. — You got to be in the motherfucking room. You got to We’re both New Yorkers. We both love the I don’t care what nobody says. That was God’s be in the room where it happens. If we’re not in the Knicks. We haven’t won the NBA champi- heavenly light, because that scene’s not lit. That’s motherfucking room where the motherfucker onship since 1973. How does that change? natural light. And that was God sending heavenly happens, ain’t no motherfucking thing going to I like our coach. I was at Game 7, the Willis Reed light on Chadwick. Paul, played by Delroy Lindo, change. Quote that! game. It’ll happen.
2020 The New York Issue
I understand why Chadwick didn’t tell me because he didn’t want me to take it easy. I respect him for that. — Spike Lee P. 29 2020 Theater has saved New York The New York before. Now New Yorkers need Issue to save the theater
P. 30 By Sarah Jessica Parker
One of my most vivid memories of my life as a This isn’t just New York’s problem: I feel they have to monitor themselves, as the com- theater actor and theatergoer was on Sept. 13, terrible about regional theaters, like the Cin- fort level is everything. Opening theaters with- 2001. Broadway had reopened after a two-day cinnati Playhouse, which I grew up attend- out masks seems much further away. But I’m break from the most terrible day for New York ing. But New York especially needs theater encouraging people to come back to New York City, and at the end of “The Producers,” the because so many New Yorkers need theater and reinvest in our community. Whether it’s a entire cast sang “God Bless America.” It is so — the thousands of people employed directly theater or a small business, you can’t reopen moving to remember now, in part because the and indirectly by the industry, doing collat- a business until you have the patrons there crisis we are living through today is so differ- eral work, from the servers at the surround- — it’s a psychological thing. And I believe it’s ent. It’s not just that there was such unity then ing restaurants to the people responsible for incumbent upon people who’ve had success in — it’s also that there was a beginning, a middle dry-cleaning costumes. Theater is the way we this city to reinvest, to come home. and an end to the tragedy. The current crisis induce visitors to come to our city and plan I am seeing this in the West Village, where New York is living through is a purgatory that those special afternoons and evenings, which I’ve lived for 28 years and where I run a store is very unfamiliar, one that lingers on with a keep such a vast web of my fellow citizens that has happily seen more traffic lately. Over painful uncertainty. Sept. 11 was unthinkable, employed and afloat. All the people I know and the weeks after Labor Day, I have come to feel but we could walk ourselves through the grief all the people I don’t know who are out of work really encouraged by signs of life. I’m feeling and, crucially, grieve collectively. Nothing need theater for the rent, and the mortgage, that more people are really willing to stick it before has stopped lives, jobs and the econ- and children’s educations — all the count- out, and that feels like proof of something ele- omy like this. And the one thing I keep forc- less “ands” that are creating so much anxiety mental in our city. ing myself to remember is that I can’t go to the across the city and the nation. While it’s impossible to know what’s going theater to get through it. I was supposed to have spent this spring to happen with theater, it’s clear that what When I’m not working, the theater and and summer onstage in Neil Simon’s “Plaza comes ahead will be different from what the ballet is where I go, to connect and to be Suite.” My makeup is still sitting there at the came before for reasons totally unrelated to inspired. That possibility is missing now, and Hudson Theatre — so are my speakers and my COVID-19. Part of why I’m eager for its return we need it more than ever. We need the escap- book. At least we cleaned out the fridge. Any is the sense of a cultural shift that was already ism that live theater has always given us so theater professional can look back to March underway and so necessary and important, beautifully, to be with our fellow man in the 9, 10 and 11 and recall those rumblings; I with new voices, new points of view and new audience, laughing and weeping and finding remember looking out into the house during investment in the theater from performers something entirely new to connect with. As an our tech rehearsals and wondering, “Who’s and the audiences. audience member, you’re part of something talking? Why is John Benjamin Hickey talking That can perhaps marry with some famil- together, a communion. Any actor has expe- to the stage manager?” You felt like you had iar names, and the happy collision creates rienced that off night: a not-so-engaged audi- something looming in front of you, some- an excitement that wasn’t necessarily there ence, which has always confounded me, as it thing you didn’t want to hear. We realized by before. Audience members who feel their sto- feels a collective decision (and rather a mys- that Wednesday that it was inevitable, but we ries haven’t been told onstage can know that’s tery, as you hope you are performing at the thought we’d be back in two weeks. We also going to change, and that their stories will same level with the same conviction every assumed the government would step in: We coexist a few doors down from the entire his- single performance). But a good audience is a couldn’t have known the economic and per- tory of theater. Something a veteran theater- special and memorable few hours. It’s a gift. sonal devastation for so many in the absence goer might never have seen coming coexists A spirited and enthralling volley. It is suste- of action. on the same block as revivals of Neil Simon nance. To be a part of that, experiencing the Now, I am enormously hopeful, but we all and “The Music Man,” with a whole creative stories of people so different from ourselves know to be realistic about the timing. We don’t universe in between. Those who have missed and hearing the songs that make us hum as we marry ourselves to a reopening date. Theater attending plays can revive a cherished tradi- leave the theater — frankly, we couldn’t need presents some specific and tough challenges tion, and a previously untapped audience can
all of that more. — you don’t want audience members to feel start a new one. NEWS NGALA/FOOTWEAR FLO
P. 32 Issue New York The 2020 CLOSED UNTIL Flo Ngala by Photographs Rubin Rebecca and Brent Lang by
GUTTER CREDIT GUTTER CREDIT the shutdown hashadastaggering economic thebills. topay and struggling Thefalloutfrom professionalstheater have outof ajob been stage hands, designers, ushersandother night. an opening them)fromever tostart about experiencing that wereping productions inpreviews (or shuttering 31musicalsandplays andstop The coronavirus has devastated Broadway, Since March, tensofSince thousands of March, actors, FURTHER NOTICE -
actors fromsixmajorproductions. the pandemic, by memorialize cutshort aBroadway season and notourists liningupat stage doors. To may TKTS booth never anunmanned return, ghost town, withmarqueesfor shows that hotels that cater totheatergoers. and endangering themany restaurants and costingtoll, thecityanestimated $15million These days, like Times Squarelooks a Variety checked inwithseven P. 33
Katrina Lenk BOBBIE, “COMPANY”
Did you leave anything in your dressing room? In April, they set up a two-hour time frame where we could go in and get everything out of the dressing room. You had to wear masks and gloves and stay six feet apart. It was scary, and I was nervous. The ghost light was on, and the sets were just as we’d left them, in a state of shimmering suspension. It was like the theater was just there biding its time, waiting for us to come back.
What’s the economic impact of the shutdown? Those of us who can get unem- ployment are grateful for it. Being an actor is always difficult. You get really good at finding ways to survive. But the problem is that many of the jobs that you would usually take in restaurants or other industries aren’t avail- able during the pandemic.
Why does Broadway matter? Theater can be such a potent force for change. It holds up a mirror to society and is a wonderful tool for empathy. We need that more than ever.
2020 The P. 34 New York Issue
André De Shields HERMES, “HADESTOWN”
Have you stayed in New York through the pandemic? I have. I’m not panicked, and I’m not fearful. I’m looking at the problem, and it looms large on the horizon, but what I have learned is that when faced with a problem, if you avoid it, it grows larger. However, if you approach the problem directly, you will dis- cover it’s porous and you will be on the other side of it before you know it. We as a society are not grappling with the issue, because all we want to do is get back to normal. But “normal” is over. Nothing will be the same again.
Have you been back to the Walter Kerr Theatre? Right after the pandemic started, I walked from my apartment in Hell’s Kitchen to the theater and put my hands on the stage door to bless it. I whispered, “We’ll be back.” Now I just look around Broadway and see the theater as part of a still-life painting. The marquees are up, P. 35 but the lights are out. P. 36 .36 P.
while watching Zoom. while watching Zoom. from college inmy livingroom in theshow. Ihadtograduate semester at JuilliardwhileIwas to lately. Iwas finishingupmy alotofthingstoadjust been en away fromus. But therehave of,anditwas just tak dreamed way shows. Itwas amomentI’d ple whowere intheirfirst Broad- me andfromalltheotherpeo It felt like away itgot pulled from to share with people every night. every to sharewithpeople this show that Iloved able being to realize that Ican’t go perform going insidethetheater. It’s hard marquee andknow I’m not Square? Is itstrange beinginTimes have itendabruptly? fessional milestoneonlyto toreach thispro-it difficult Broadway Was debut. “West isyour SideStory” “WEST SIDESTORY”MARIA, Shereen Pimentel
It’s sadtowalk byour Issue New York The 2020
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GUTTER CREDIT GUTTER CREDIT
until you onstage. get back overcome but you it, don’t know my IthinkI’ve ed ability tosing. Itabsolutelyout feeling affect- it. Icouldn’theal. with walk ablock lungs alittle over two monthsto my tofeel Ittook starting normal. months torecover. I’m just now memaybe fourIt took orfive
grateful for that. with her, andinaweird way, Iam has given mealotof timetobe I know. Having thisdowntime ALS. She’s thestrongest person difficultbattle with ing avery taking careofher. She’s fight- soI’ve been My wife ill, hasbeen
Two words: Fuck, yes. a bailout? Should Broadway get What have you beendoing? March. How are you feeling? You hadcoronavirus in ROUGE! THEMUSICAL” HAROLD ZIDLER,“MOULIN Danny Burstein
- P. 37 P. 38
wrapped up in that. upinthat. wrapped college, soalotofmy identityis professionally since Iwas in acting I’ve been an actor?” areyou whenyou’reof “who not struggling with the question withthequestion struggling
breaks. breaks. an emptytheater, my heart WhenIthinkabout stop crying. kids inthecar, andIcould not withmycame back wife and togather myback belongings, I Snyder: like checks. temperature of otherprecautions,and loads Jules: We allhave billstopay, and
paycheck iscoming in. we don’t know whenthenext
will reopen? When doyou thinkBroadway your theater? What’s itlike tobebackat James Snyder: Jenny Jules: shutdown you? affected How hasthe AND THECURSEDCHILD” “HARRY POTTER HERMIONE GRANGER, HARRY POTTER AND and Jenny Jules James Snyder It willtake avaccine
The first timeIcame Issue New York The 2020 It’s horrible. been
I’ve been really really I’ve been
GUTTER CREDIT GUTTER CREDIT could one day onBroadway. be not have that I to dream dared to take metoashow, andIwould family would nothave able been cost what they cost today, my of communities. Iftickets expensiveprices aretoo for alot is anelitist experience. Ticket At thesametime, Broadway Broadway toreflect that. needs a shiftinconsciousness, and only move There’s forward. been businesstheater was. We can towhatcannot go the back It hasto. There’s nochoice. We
recognized. recognized. tobe anditdeserves last season, work happened A lotofgood we’ll celebrating be theseshows. the futureholds, soI’m gladthat But wedon’t really know what until we could doitinperson. Initially, Iwanted themtowait
Broadway produces? the kindsofstoriesthat movement change Will theBlackLives Matter forward virtually? Tony Awards are moving Are you happy that the TURNER MUSICAL” THETINA “TINA: TINA, Adrienne Warren
P. 39 2020 The After 20 years, Kelly Ripa New York continues to steer one Issue of the biggest daytime talk shows on TV
P. 40 By Daniel D’Addario
It’s been almost two decades since Kelly Ripa In some ways, the at-home tapings were lib- all of my imperfections out there” — which in took over as co-host of the show now known as erating — at least for the “Live” audience. “Peo- recent years has made an intriguing contrast “Live With Kelly and Ryan”; her 20th anniversary ple really loved it because they felt it was with Seacrest’s crisper and less personal emcee comes in February. This time 20 years ago, Ripa intimate,” Ripa says. “Once in a while, I’d tilt the image. For Ripa, “it took a few years to look says, she was sure that the job she’d end up get- computer and you’d see Mark [Consuelos, her directly into the camera,” given her acting back- ting hired for was an impossible one. “I am the husband] sleeping in bed. It was a very exciting ground. The “American Idol” host is “so polished girl that when Kathie Lee [Gifford] left, thought, way of doing business.” and I’m so not,” she says. “He’s one of those guys ‘Whoever takes over for her, I feel sorry for her. Ripa was on a two-week vacation in the who pays attention to how long 30 seconds is, Nobody can do that job,’” she says. “I never in my Caribbean when the show’s in-studio tapings and I’ve never done that a day in my life.” wildest thought process thought it would be me.” were postponed indefinitely in March: “When To hear Ripa tell it, bringing in Seacrest was Back then, Ripa was an Emmy-nominated Kelly heard what was happening,” says execu- a long game. “When Regis first announced his actor from the ABC soap “All My Children.” tive producer Michael Gelman, “she said, ‘Look, retirement, it was a strange thing,” she says of Now, having sat on the couch next to three male I want to be a part of it.’ We made it back, and we Philbin’s 2011 departure (he died in July at 88). co-hosts — Regis Philbin, Michael Strahan and never missed one show in the pandemic.” “I think there was a contract dispute, I don’t currently Ryan Seacrest — and done months of The thrown-together broadcasts epitomized know what happened, but he announced he was broadcasts self-recorded from home earlier this what Ripa calls the “on-the-fly, guerrilla-style” leaving on air, and it was a shocking moment. year, she’s among the most enduring stars in tone of “Live”: “If something breaks down, we But then he decided he would wait until the end daytime television. fix it. Nobody’s coming in from Hollywood to fix of his contract, so he’d be there for a year.” Over “It’s not just about me,” Ripa says of the it.” To wit: Ripa notes that she was very content the course of that year, she says, Seacrest and show’s ongoing success. “It really is not. I don’t shooting in front of a window at home in full nat- Ripa tested the waters: “He reached out to me think I’m the show. I think the show is the show.” ural light — until the show sent her a ring light. and said, ‘Do you think there’s any chance that if The format — 20 minutes, right at the top, of two “By the way,” she says of her blown-out, non-stu- this goes down, we could work together?’” Their people chatting loosely about whatever pops into dio lighting, “I thought I looked amazing.” pairing would be deferred until after Strahan’s their minds — may indeed predate Ripa, but she It’s all part of what Ripa calls “my overall run on the show from 2012 to 2016, and was has made it an art form. willingness to let all my foibles unfold and put met with some trepidation by executives. “What says. “I think I do a good job because my con- servative viewers think I’m liberal and my lib- eral viewers think I’m conservative. I irritate both sides.” This time, though, she felt the view- ership behind her: “I had quite the confidence the audience felt the same way I did. As a work- ing woman, she was a trailblazer — she would never take a moment like I took to self-indulge in the loss. She fought so many battles in her life, and she did it in a way that’s so much more eloquent and gracious than I have been in my life. She never became bitter, and it’s hard not to become cynical and bitter.” Ripa’s own battles have included, for exam- ple, her efforts to be taken seriously as a pro- ducer. “I read 36 books a year,” she says, and recently plucked the novel “Mexican Gothic” by Silvia Moreno-Garcia for a drama to be pro- duced by Hulu and ABC Signature. “I begged Hulu, I begged ABC, saying, ‘Please, please, I try to be a good employee!’” She also sounded a notable call for “respect in the workplace” in 2016 after Strahan announced his departure to join “Good Morning America” and ABC hadn’t informed her. She walked off the show for a dayslong break; her address to viewers upon her return made headlines and, she says, cata- lyzed a response from her peers. “I heard from all of them,” she says. “I don’t think there was an on-air woman that I didn’t hear from: either a personal letter or an email or a text or DM. It’s so easy to think that it’s just you. But you’d be amazed how many people don’t feel seen or heard at all. I didn’t kick up a fuss; it wasn’t a big thing; I was just like, I’m not doing this. If I’m not worthy of a discussion, if I’m not wor- thy of you running this conversation by me — it was outrageous.” Ripa resists cynicism as she attempts an uphill struggle: “It’s hard not to become cyni- cal; I try not to. Sometimes it’s that scene from ‘The Godfather Part III’ — ‘just when I think I’m not cynical, they pull me back in.’” She laughs. “What am I going to complain about? They didn’t buy my series? I try to stay the course. the show liked about Regis and me,” Ripa says, a climate that has most richly rewarded, lately, What I lack in actual talent, I make up for in “is that we didn’t really have a relationship. They its network mate “The View,” with its strongly work ethic and in extreme capabilities in mul- liked two people coming together, having break- opinionated political junkies. “Live,” airing two titasking. I’m able to always be working while fast and letting it all unfold. The network and hours earlier at 9 a.m. in New York and with a looking like I’m not doing much of anything.” studio’s fear of Ryan and me is we are so close softer mandate, has no politics in its DNA, though Through it all, she remains a part of New and we’ve been so close — it’d be like working Ripa has ushered the nation through hard news York’s TV culture — anchoring a show that with yourself!” before: On Sept. 11, 2001, for instance, she — began its life as a local broadcast and raising a But the pair’s apparent intimacy has reaped fresh from maternity leave — and Philbin took family that’s sent two children to NYU. During other benefits, like their mutual ease in the most over broadcasting the news for ABC. “We were the COVID-19 crisis, Ripa and Consuelos have challenging of circumstances. “2020 is, we can on the air watching as the second plane went into donated $1.5 million to the nonprofit WIN NYC, all agree, the worst year ever,” Ripa says, “and the building,” she says. “You don’t know what led by former mayoral candidate Christine I remember thinking it was going to be really you’re made of. That was my first realization that Quinn, to buy necessary supplies for schoolchil- fun.” Not merely did Ripa defer her plans for a this show is real life, and that I am a member of dren forced into distance learning. “We were “Roaring ’20s”-themed 50th-birthday party (“I our audience. It became clear to me that the job watching our kids with their Wi-Fi,” Ripa says, never mentioned it again,” she says.), but she was going to be hard at times. Hard things would “and obviously we can’t help them — they aged has had to address topics far more consequen- happen to me personally.” out of us being able to help them in third grade tial than what she got up to last night. And when Notes exec producer Gelman: “We’re nor- — but they still found at-home schooling very she speaks to Variety, she’s one day removed mal people talking about our normal lives, and challenging. How are kids in the homeless sys- from a near-tears on-air eulogy for Justice Ruth people experience what happens in Amer- tem surviving?” Bader Ginsburg; in conversation, she calls the ica through us. We try to put a positive spin on “New York City has had a pull on me,” she jurist’s death “the shit cherry on the horrible things, but we can’t ignore what’s going on.” says, since she first went to the city as a young shit sundae we’ve been ingesting this year.” But Ripa, an apolitical host, viewed the Gins- girl to see the Rockettes. “It’s truly a love affair It’s striking that “Live” is enjoying continued burg story, specifically, as in some ways tran- I’ve had since I was a child. I saw rejection after boom times (its 33rd-season premiere in Sep- scending the cut-and-thrust of politics. “I have rejection after rejection. But I would rather be
DAVID M. RUSSELL/WALT DISNEY DTCI M. RUSSELL/WALT DAVID tember registered some 2.66 million viewers) in conservative viewers and liberal viewers,” she rejected here than accepted anywhere else.” Like so many people, Cynthia Nixon had big plans for 2020. Her new series, Netflix’s “Ratched,” was to premiere (this plan, at least, remained unchanged, as the show launched in September). And her next series, Julian Fellowes’ HBO drama “The Gilded Age,” was meant to start shooting on March 17 in New York City. Instead, after a “last hurrah” birth- day party for wife Christine Marinoni in their NoHo apartment, Nixon found herself suddenly out of work, with her youngest child, Max, homeschooling and her middle son, Charles, missing high school graduation. “As a die-hard New Yorker, it’s very hard for me to imagine what would make me leave the city, short of a nuclear bomb going off,” she says. But there have been easier times, both for an actor in the city and for a politically engaged resident. “I’m 54 and I’ve been acting basically since I was 12,” she says. (Before “Sex and the City,” Nixon famously performed in two Broadway plays at once, dashing across Times Square to make it work, as a freshman at Barnard.) “I’ve seen a lot of ups and downs. And I love going to the theater, I love going to the movies, and I miss it in a really profound way, the ceremony of it and the beauty of it.” Nixon, who has been receiving updates from the “Gilded Age” pro- duction about precautions that will be taken — “I’m very heartened by how they have kept us updated about how we are going to navigate this brave new world,” she says — expresses some concern about what her job will be like upon return. “In the same way that Zoom conversa- tions are not in-person conversations,” she says, “I do worry a little that socially distanced and masked relationships on set are going to be a pale imitation of what they have been before.” It’s not the only, or the most impactful, change that Nixon has watched with dismay since this turbulent year began. The performer, who ran against New York Gov. Andrew Cuomo in the 2018 Democratic primary, noted that liv- ing between the East Village, SoHo and Union Square, she was in “the nexus of a lot of the protests”: “For us, who are people who join pro- tests, it was really horrifying to see how much police violence the largely peaceful protests 2020 were met with. When we tried to join protests, The Even during these hard we could barely get out of our front door, and New York times, actor and former people would come staggering toward us who Issue had been pepper-sprayed.” gubernatorial candidate As Nixon calls the police response to the Cynthia Nixon will demonstrations “chilling” or cites the need to tax New York’s 118 billionaires — “which is six never give up on New York more than we had last year, and they’ve earned $77 billion just since the pandemic” — it’s hard not to recall her 2018 run. Nixon earned some 34% of the vote against incumbent Cuomo and spawned viral “I’m a Miranda and I’m voting for Cynthia” campaign merch. Nixon refers to that election — which saw Democrats retake the state Senate and a Dem- ocratic Socialists of America member win a state Senate seat — as one in which she was “part of a progressive blue wave that really took over New York, when we elected so many pro- gressive people to the legislature.” But over the course of 2020, her once unpopular opponent P. 42 By Daniel D'Addario has come to be celebrated nationally for his response to COVID-19, with his daily briefing been true of him — is that he can inspire peo- carry germs home to their families. This seems videos must-see viewing across America. How ple with his rhetoric. I admire his broadcasts, to me like a perfect storm for a real eruption of did this make her feel? and I think that was something he did well, but the pandemic, because we’re not investing and “It’s just very much like what happened in the fact of the matter is, he didn’t shut us down we’re taking so few precautions.” 2001 with Rudolph Giuliani, a mayor that I was soon enough.” With Cuomo enjoying a boosted national not a fan of,” she says. “He had a moment: He Nixon, whose son Max, 9, is in New York profile, is Nixon considering a rematch against had a crisis when New York needed him. And in City public school, reserves special ire for the him in 2022? “You know, people have been try- that moment, he showed bravery and he com- state’s approach to reopening schools: “We ing to get me to run against Andrew Cuomo forted people, but that didn’t change all the ter- spent so much money building hospitals out pretty much since he was elected,” she says. rible things about when he was mayor. But it of thin air,” she says, “but there is none of that Having been inspired by activist Zephyr made him a symbol and a hero for people who approach when it comes to making sure that Teachout’s run four years prior, she took him needed and wanted to see bravery. Right then, when 1.1 mil- lion schoolchildren go back to on in 2018, knowing that “obviously I’m better the thing about Andrew Cuomo — as has always school — that ride public transportation and disposed to get on television and in the news- papers.” Looking ahead, she says, “I know we will have a great challenger. I will be support- ing whoever that challenger is. But I also think it would be really, really helpful to have a per- son of color challenge Andrew Cuomo.” Beyond state government, Nixon is thinking of the future of the city in which she’s worked for 42 years. “That’s a blip in New York’s his- tory,” she says, “but you never step into the same river twice. New York is New York — it is big and varied and has been through so many things over the hundreds of years that it has existed. I don’t think New York will be perma- nently harmed, but what may happen is like the seasons. We may go into winter for a while in New York, and a spring will come. But because of what we’ve been through, we may not see spring for a few years, or a bunch of years.” For those inclined to see Nixon as Miranda, the pragmatist she played on “Sex and the City” for six seasons and two movies, there’s an echo of the HBO classic here. “Seasons change ... so do cities,” Carrie intones wistfully in “I Heart NY,” the show’s last episode to be filmed before Sept. 11, 2001, and one viewed by fans as a sort of accidental response to the tragedy. Nixon, whose tastes in quarantine have run to “Watch- men” (“I am not a person who watches much television generally, but it’s such an extraor- dinary show, and I’m glad I watched it at this moment”), can see why, for some, “Sex and the City” has become a soothing bit of nostalgia in troubled times. “It has an escapist part of it,” she says, “but it also has such a surprisingly real part of it, for a show in which so many outlandish things happen. ‘Sex and the City’ is so much about liv- ing life to the fullest, and experiencing and tak- ing a bite out of life — all of the stuff that is not happening right now.” For Nixon’s part, though, the on-screen New York she likes the best is that of her favorite movie ever: the 1974 subway thriller “The Tak- ing of Pelham One Two Three.” “My younger children indulged me the other night and watched it with me and my wife. New York is not like that in some ways — but in some ways, it’s exactly like that. And it was voyeuristic for me in that way to sit there and look at a New York City subway that was packed with people, all working together.” It’s a New York to which Nixon is eager to return. Whenever it is that the city returns to a version of normal, she says, “I cannot wait to go see a Broadway show — or any piece of theater. And I cannot wait to take the subway
ZOEY GROSSMAN/NETFLIX ZOEY to get there.” 2020 The How Amber Ruffin New York landed her own Issue late-night talk show
P. 44 By Caroline Framke
In 2013, after years of scraping by on improv and confidently, “The Amber Ruffin Show.” opening monologues, desk pieces and inter- and putting on free comedy shows for the joy That being said, Ruffin notes with a sunny views, Ruffin trusts her gut to make every of it, Amber Ruffin got what she thought might smile and a matter-of-fact shrug, “Late night show unique. To be as timely as possible, “The be her big break. “Saturday Night Live” was was never a dream of mine. I watched late Amber Ruffin Show” will tape Fridays during (finally) looking to add a Black woman to the night, and I love late night. But you gotta see it the day before the episode drops in the eve- cast after years without, and flew Ruffin to New to be it, and I didn’t see it. I was like, ‘OK, I hope ning. She hopes to have an in-studio audi- York from Los Angeles to try out alongside these white men are having a great time!’ I ence soon, but even then the show won’t have many other comedians she’d long admired. “I never assumed that it might ever be me.” guest interviews. Instead, Ruffin anchors made all these new friends because it was all It’s not lost on her that streaming is the the half-hour with surreal sketches, mono- comedy Black women,” Ruffin recalls. “We all Wild West when it comes to talk shows, or that logues that show off her sunny charm and sin- came to New York on this big fun trip and had she’s the first Black woman since Robin Thede cere attempts to make her audience (especially a really nice time with each other.” Ruffin was to get a shot at hosting a show like this. (BET’s her Black viewers) feel better during a terri- thrilled with her audition (“I thought for sure “The Rundown With Robin Thede” ran from ble time. Altogether, “The Amber Ruffin Show” I was going to get a call any day saying, ‘Ya did 2017-18, and then the network abruptly can- feels like late night meets “Mister Rogers’ it, buddy!’”), and crushed when she narrowly celed it.) So Ruffin is more than ready to make Neighborhood.” missed out on the slot that instead went to something new, both out of necessity (due to “When you see it as ‘hosting a late-night Sasheer Zamata. But the experience nonethe- the pandemic, she won’t have an audience) show,’ you put a bunch of restrictions on it,” less gave her a taste of the kind of success she and because she sees no need to adhere to the she explains. “But once you see it as ‘This is could have if she let herself believe in it. typical structure of network late-night shows. your show that is late at night,’ it becomes this “Once I got a whiff of ‘SNL,’ I was like, ‘Oh, For one, airing on Peacock rather than linear beautiful alive thing — and you can make it something big could happen for me,’” says Ruf- television means that she’s not as beholden to whatever you want it to be.” fin. “That was the first time I’d even thought considerations like commercial breaks and Ruffin’s confidence in breaking the rules such a thing was possible.” Seven years later, broadcast network constraints. For another, of late night comes from conquering it in her Ruffin is taking this interview from her new it’s her show to do with as she pleases, an own way first. Even though “SNL” didn’t pan office at 30 Rock, just a few weeks before opportunity she doesn’t intend to waste. out, her audition caught the attention of Seth the Sept. 25 launch of her own weekly late- “We don’t have a format,” she laughs — and Meyers, who reached out shortly afterward night show on Peacock. It’s titled, simply she means it. While most hosts feel tied to to offer Ruffin a writing job in 2014 as he was P. 45
taking the reins of NBC’s “Late Night” from fin to explore on “Late Night.” One is the solo It’s an astonishing trajectory — especially Jimmy Fallon. In her early days there, Ruffin interlude “Amber Says What” — which lets her since Ruffin’s initial hiring at “Late Night nervously pitched punchlines that she thought monologue at length about news of the day With Seth Meyers” came with a bevy of head- Meyers would like. As it became clearer that while Meyers barely contains his laughter off- lines proclaiming that she was the first Black he’d allow her more flexibility, however, the screen. In June, shortly after George Floyd’s woman to write for a network late-night show, self-proclaimed “doofus” (more specifically, death sparked worldwide protests against period. “It didn’t exactly feel that way,” Ruf- a “wear-a-dinosaur-suit, sing-about-balo- police brutality, Meyers ceded an episode’s fin says carefully. “A lot of Black comedy peo- ney [kind of] doofus”) started writing exactly opening minutes to Ruffin so that she could ple kind of know one another, so it didn’t feel the kind of jokes she wanted to. As she puts it: describe a lifetime of frightening encounters like I was the ‘only, only, only’ as all those arti- “Every day I thought, ‘Well, today is the day I with the police in a way the host himself never cles made it seem. But yeah, I didn’t have a get fired, so I gotta go out with a bang.’” could. In using these carved-out spaces with- lot of people I could call.” That stark statis- The gambit worked — and landed her prime out compromise, Ruffin has become one of late tic got a startling in-person illustration at spots delivering her jokes in front of the cam- night’s most recognizable and vital voices. one of Thede’s recent birthday celebrations, era too. Alongside Jenny Hagel (who’s now Ruffin has also found more and more promi- when they tried to gather every Black woman head writer of “The Amber Ruffin Show”), Ruf- nent gigs outside her work on “Late Night.” She involved in late-night comedy for a group din- fin anchored “Jokes Seth Can’t Tell,” a pithy gave “Drunk History” some of its most mem- ner. “Maybe we were missing one or two people back-and-forth that features punchlines about orable moments (look up the way she tells who live in L.A., but it was like, 10 people,” Ruf- the experiences of lesbians (Hagel) and Black the Carrie Nation story) and hosted the 2018 fin remembers with an exaggerated grimace, Americans (Ruffin). “I definitely did not know WGA Awards while also celebrating her nom- “and we were like, ‘Ooh yeah, this isn’t right.’” it would fly,” she says of the idea, which Hagel ination with the “Late Night” team. In 2019, Four Emmy nominations and one “Black brought to her in the first few months of their she joined the historic writers’ room of HBO’s Lady Sketch Show” later, Ruffin fondly remem- working together. “I was like, ‘It’ll make us Emmy-nominated series “A Black Lady Sketch bers the younger version of herself who was laugh, but it can’t be on national television!’” Show,” a treasured collaboration that makes shocked at the idea of getting an “SNL” audi- She was, she happily admits, wrong. “Jokes her beam anytime it’s mentioned. And now, tion. “The dream was to be able to support Seth Can’t Tell” has since become one of the in 2020, “The Amber Ruffin Show” has finally myself doing comedy, so the dream’s been show’s signature segments that’s accordingly given her the chance to be her own extremely accomplished,” she says. “I just did not dream
VIRGINIA SHERWOOD/PEACOCK VIRGINIA opened more avenues of expression for Ruf- enthusiastic boss. big enough.” HOW THE PANDEMIC MADE ANDREW CUOMO TOO SEXY FOR HIS SHIRT GABRIELE HOLTERMANN-GORDEN/SIPA USA/AP IMAGES (6) IMAGES USA/AP HOLTERMANN-GORDEN/SIPA GABRIELE
2020 The The governor’s press New York briefings managed Issue to soothe viewers’ fears during the worst days of the coronavirus
P. 46 By Cynthia Littleton In a year when all of entertainment was turned ery was so pitch-perfect that I found myself yell- ing cry. “I will turn this state upside down to get upside down, nobody saw it coming: The hottest ing, ‘Yes!’ at the TV.” the number of beds we need,” Cuomo assured property in daytime TV as America went on lock- Cuomo connected with viewers because he those watching on March 24. down was a 62-year-old career politician holding instinctively did what a great talk show host Cuomo’s sessions soon began running an hour court in Albany, N.Y. must do — make it personal. He joked about or longer. The charts and graphs became more On March 2, New York Gov. Andrew Cuomo his shortcomings as a divorced father when it stylish and meme-friendly. conducted a media briefing in an effort to spread came to making family meals. From the start, he Perhaps the biggest surprise was Cuomo’s vital news and information about the coronavi- spoke candidly and humbly about his own fears. emergence as a sex symbol, particularly after the rus outbreak that was just starting to be recog- He made references to his now-89-year-old curve of the state’s infection rate started to flat- nized as a massive public health threat. With fear mother, Matilda, and his adult daughters, Cara, ten. Chelsea Handler gushed about the gov in a across the country spiking, Cuomo’s briefing was Mariah and Michaela. column, “Dear Andrew Cuomo, I Want to Be Your carried live by New York’s local TV stations — and “Late last night my daughter called me, and I First Lady,” penned for Vogue in late March. nationally on CNN and other news outlets. could hear in her voice that she was anxious. She “Thank you for your different outfits, your tight That 12-minute introduction, part of a 34-min- had seen on the news that a person tested pos- white polo shirts, your forceful language, and your ute session with other state leaders, was the first itive,” Cuomo said on March 2, with the accent clear, easy-to-read graphics that are probably of 111 consecutive daily briefings for New York- and gesticulations befitting an Italian American meant as a learning manual for Donald Trump. I ers and the wider world about the grim progress political scion from Queens. “And my daughter love your bar graphs and pie charts, Governor,” of the worst pandemic to hit the U.S. in a cen- said, ‘Don’t tell me to relax. Tell me why I should Handler wrote. tury. Cuomo became the most unlikely TV star be relaxed.’ Which is a very big difference there.” Nelson, head of Curly One Prods., whose as he walked viewers through charts and graphs Within days, Cuomo was heralded as a leader credits include “The Rosie O’Donnell Show,” demonstrating the scope of the threat. Nobody who stepped up to the challenge of communi- “Chelsea Lately” and “The Sharon Osbourne was more surprised than the governor when he cating in uncertain times. Over the course of Show,” says Cuomo struck the right tone to started generating social media shoutouts and his briefings, especially as the rates of infection make viewers want to come back for their daily pop culture buzz for his style and substance. and death spiked in March and April, he looked fix of feel-good TV even if the subject matter was “Governor Cuomo doing a daily, live corona- squarely at the cameras and the reporters in the decidedly feel-bad. Plus, he had the intangible virus briefing was must-see TV,” says Corin Nel- room and told them the unvarnished truth — “it” factor that came through the screen, much son, a veteran talk show producer and native taming COVID-19 would be hard and painful. His to Nelson’s surprise. New Yorker who watched Cuomo’s sessions from command of government systems and public pol- “He was so sexy. Come on, who doesn’t want her home in Los Angeles. “As a host, he made you icy was evident as he detailed what the Empire a superhero with a New York accent to fight the feel informed, connected, protected and enter- State was doing to combat the virus and where bad guys and defend you?” Nelson says. “I wish tained — when we needed it most. His direct, the federal government was falling short. “Venti- he could be our president — or my personal no-bullshit, unfiltered and often charming deliv- lators, ventilators, ventilators” became his rally- president.”
P. 47 2020 The The pandemic has New York been a cataclysm for live Issue entertainment, but Peter Shapiro is hoping the music business can ride it out
P. 48 By Jem Aswad
“It feels like New York is starting to come back,” otic mix (he’s opened locations in Las Vegas and As with virtually everyone else in live enter- says veteran live-music promoter and venue Nashville too). Three years later, he acquired tainment, Shapiro’s businesses have been dealt owner Peter Shapiro, speaking from his Man- and renovated the historic 2,000-capacity Capi- a crushing blow by the COVID-19 pandemic. And hattan office on a mid-September afternoon. tol Theater in Port Chester — the New York sub- like so many others, he’s facing it with a combi- “There’s a lot of activity on the street right now,” urb about 30 miles north of Manhattan — which nation of optimism, resilience and innovation, he says, glancing out his window. “People on the hosted legendary concerts by the Grateful Dead, acknowledging the rapidly rising river without sidewalk, cars on the street, some buzz in the Janis Joplin and Pink Floyd in the early 1970s. obsessing over it, all while furiously bailing water. air. People are wearing masks, but we’re starting Outside the metropolitan area, he co-founded “We’ve pivoted,” he says. “Our venues are all to get used to it. the annual Lockn’ festival in Virginia and, per- wired, so we’re doing livestreams [with artists “Obviously, it’s not where it was, pre-pan- haps most illustriously, orchestrated the Grate- performing in the venues with no audience], par- demic,” he concludes. “But it’s also nowhere ful Dead’s 2015 “Fare Thee Well” concerts in ticularly from the Brooklyn Bowl in Nashville: near as empty as it was early in the summer.” Santa Clara, Calif., and Chicago, which united We’ve had Jason Isbell there, Margo Price, Lar- Over the past 25 years, Shapiro, 48, has the group’s surviving founders for five nights, kin Poe, Billy Strings. About six weeks ago we become a New York live-entertainment institu- each with a different set list. Not only did the started selling tickets for them; we sold a couple tion as established and recognizable as some of concerts gross an estimated $52 million, but thousand for Margo Price, and if you put, say, a the city’s biggest venues. In the mid-’90s at the some 400,000 people paid between $20 and just $10 minimum on them, a lot of people choose to ripe old age of 23, he took over ownership of the over $100 for livestreams or pay-per-views of pay more, just to help out. We’re selling merch; legendary downtown jam-band mecca Wetlands the shows. Along the way he co-founded the 3D we’re broadcasting archived livestreams of past — where Pearl Jam, Phish, Oasis and the Dave tech company 3eality Digital, worked as a film- concerts. We’re adjusting and trying to stay flex- Matthews Band all played early in their careers. maker (co-producing “Tie-Died: Rock ’n Roll’s ible. Obviously, it’s not the same as what it was — Over the intervening years he’s become a serial Most Deadicated Fans” and U2’s 2007 film “U2 at all. But it’s meaningful.” entrepreneur with a showman’s instincts and a 3D”), and even purchased the New York-based Similar scenarios, of course, are playing flair for emerging technologies, and not just in jam-band magazine Relix. (Something of a serial out all across the country and the world. The the New York area. joiner, he’s also the chairman of music-based live-music industry that was the engine of the In 2009, Shapiro founded the Brooklyn Bowl voter-registration nonprofit HeadCount and music business came to a screeching halt in franchise, which combines live music with bowl- serves on the boards of New York Public Radio March, as every tour was postponed or can- ing and a restaurant in a surprisingly symbi- and the City Parks Foundation.) celed and virtually every venue shut its doors. P. 49
A business that Pollstar projected to bring in 25% capacity, that’s not a sustainable business playing ticketed livestreamed shows in venues.” $12.2 billion in ticket sales alone — a fraction model. The Paycheck Protection Program and The greatest challenge is that even though of the massive business ecosystem around con- rent moratoriums are the only reason more hav- full tours are being rescheduled for 2021, there’s certs and live events — is instead looking at $9 en’t closed permanently. no solid timetable for recovery. “I wish I could billion less and mass layoffs and furloughs. In a “This isn’t just about art and keeping a night- answer that, bro, but no one really knows, and summer survey by the newly formed National club going — independent venues are economic no one can tell you they know for sure,” Shapiro Independent Venues Assn., which rapidly grew drivers for their communities,” says NIVA’s says. “And it makes me wanna cry. to more than 2,800 members, some 90% of the Audrey Fix Schaefer. “For every dollar spent on a “But,” he continues, “do I think everyone’s independent venues in the U.S. said they would ticket, there’s $12 of economic activity generated bullish that this isn’t going to last for three years? be forced to close within months without fed- for restaurants and parking lots and other busi- Yes. Could we have concerts outside next sum- eral aid. NIVA has shown impressive Capitol nesses.” Government funding “would allow us to mer because people will have figured out how Hill savvy, hiring top lobbying firm Akin Gump hold on until the reopening, and we will be major to live en masse? Maybe — if people adhere to to promote the Save Our Stages Act, authored economic drivers of renewal.” the rules. But the problem is when they don’t,” by Sen. Amy Klobuchar, D-Minn., and Sen. John Despite his unflagging optimism, Shapiro is which has been the case at every recent mass Cornyn, R-Texas, and which the House passed aware of the uncertain road ahead. “Do I think a gathering in the U.S., from outdoor concerts in last week as part of the Heroes Act. Save Our lot of people are teetering? Yes,” he says. “PPP did Arkansas and South Dakota to presidential ral- Stages aims to bring $10 billion in relief funds help, but we need another round of government lies. “So maybe it’ll be next spring or summer, to venues. It’s unclear if the Senate will pass the support or you’ll see a lot of places close soon.” because I don’t see concerts starting up in the Heroes Act on to the White House. NIVA is one Like nearly every other business owner in his middle of the winter.” of countless industry organizations clamoring industry, he’s had to furlough some staffers (he When the stage lights are turned on again, for federal aid in a divided and seemingly dead- declines to say how many). “I’m proud of how Shapiro is hoping — and expecting — to be one locked Washington, where legislation has taken many people we’ve been able to keep,” he says. of the survivors, welcoming fans back to his a backseat to the chaos of the 2020 election. “Every day and week we’re having to adjust to venues. “I’m doing my best to hold on tight, Concert venues were among the first busi- our new reality in real time. Now, we’re about whatever it takes. A lot of people are leaving nesses to close due to the coronavirus and will be to head into fall and winter, and although that or have left New York, and a lot of businesses among the last to return. And while there’s vague makes it even more challenging in some ways, it aren’t reopening. But I want to do whatever I
ERIC RYAN ANDERSON ERIC RYAN talk of venues opening with social distancing and will probably create more opportunity for bands can to make it to the other side.” She’s
2020 Her Trump impersonations made The New York Sarah Cooper a star. Now the Issue comedian is out to prove she can do more than TikTok videos.
P. 50 By Rebecca Rubin
Is there anyone on the planet who hasn’t seen For most of us, Cooper’s channeling of sha Lyonne and executive produced by Maya Sarah Cooper’s impersonations of Donald Trump has been one of the only good things to Rudolph) and developing a comedy series at Trump? Her viral videos, set to the soundtrack emerge from the pandemic. Inspired by the CBS based on her popular book, “How to Be Suc- of the president’s own (gibberish) words, have daily White House coronavirus briefings, where cessful Without Hurting Men’s Feelings.” Gone become ubiquitous during the pandemic. the president rambled from one non sequitur are the days of hoping that an agent, manager, Every time the 42-year-old New York comedian to the next, Cooper quickly became a household someone, anyone, may call her back. uploads a new clip satirizing the commander in name. Her sarcastic expressions and maniacal “I’ve gone from basically making TikToks at chief, she generates tens of millions of viewers mannerisms shed a parodic light on how little home to talking to Natasha Lyonne and Maya on TikTok and Twitter. the leader of the free world was doing as thou- Rudolph every day,” Cooper says. On the phone, It’s not just Trump’s detractors obsessively sands of Americans died. The fact that a Black she’s soft-spoken in a manner that belies the delu- waiting to see what she posts next; even his sup- woman (Cooper is Jamaican American) was so sions of grandeur she assumes while mimicking porters are fans. So Cooper doesn’t necessar- successful at mocking the president made her Trump. Her voice is gentle, bordering on exhaus- ily believe the media-obsessed president when meteoric rise even more fitting. tion, as she considers how she ended up in a vir- he said in an August interview with Fox News “If you listen to any single [Trump family tual writers’ room with Rudolph and Lyonne. “I that he hasn’t seen her routines. “Are they good member], they talk a lot and they aren’t really have to kind of pinch myself,” she admits. or bad?” Trump, at the time, asked the reporter. saying anything,” Cooper says. “But it didn’t For Rudolph, the decision to work with Cooper (The journalist helpfully suggested that Cooper even really hit me until he was doing his daily was a no-brainer. The former “Saturday Night Live” “doesn’t mean it to be positive.”) briefings. I just recognized that he was saying so actor, who recently won an Emmy for imperson- Cooper sighs when asked about Trump’s many words without any substance. That’s what ating Kamala Harris, jokes that Cooper’s videos denial (which he delivered, suspiciously, around made me start to lip sync him; I wanted to pre- are “the only way I can absorb Trump.” the same time he threatened to ban TikTok). tend like I had that power.” “Everything’s Fine” came together quickly, “I think he’s proven himself untrustworthy It didn’t take long for the aspiring stand-up, with the goal of getting it on Netflix before the elec- enough,” she says. “I don’t know if he has seen who left her job at Google as a user-experience tion. Rudolph was immediately impressed with them, but he has such a short-term memory designer in 2014 to pursue comedy, to land on Cooper’s zealous work ethic. She frequently finds problem that he probably forgot them.” She con- Hollywood’s radar. Cooper signed with talent herself encouraging Cooper to take breaks and siders for a moment. “He must have seen them,” agency WME and later guest-hosted “Jimmy unplug from the internet every once in a while. she says, “but I don’t know if he registered what Kimmel Live!” She is working on a Netflix spe- “I don’t think she sleeps,” Rudolph says. he was looking at.” cial called “Everything’s Fine” (directed by Nata- “Every time she comes up with an idea or some- Hired
one else does, she takes a stab and tries to fully “So many people ask me that,” she says, anism to ease tension and make sure every- realize it. It’s nonstop working her butt off.” “which makes me feel like maybe I have brain body’s feeling good,” she remembers of her There’s at least one reason Cooper hasn’t damage. I listen to these recordings over and childhood. “I just love when people feel comfort- taken her foot off the gas since March: Her com- over and over, hundreds of times. As soon as I able and happy. I was always making my family edy special is her first chance, post-viral fame, make the video, it’s like, poof — it’s gone.” laugh, and they’re making me laugh.” to prove that her humor extends beyond her Although Cooper’s career has been entangled She hopes to expand the boundaries of com- Trump pantomimes. She’s had bouts with viral with Trump in a weird Harry-Potter-and-Volde- edy to include edgy roles for more than just success before (she wrote a popular blog post in mort-like fashion, she hopes he’ll be booted white men. “Larry David gets to be an asshole 2014, which she later turned into a book about from the Oval Office in January. “I want him to and fuck things up on [‘Curb Your Enthusiasm’] satirical “tricks to appear smart in meetings”). go away for so many reasons,” she says. “For my and walk around being completely unaware of But in today’s hyper-capricious news cycle, sanity, this isn’t something that I want to do for who he is pissing off,” she says with admiration. stretching your 15 minutes of fame — or turning the rest of my life.” “It would be great to have more exciting char- a meme into a moment — is no simple task. Yet, Her Hollywood ambitions range far and acters like that in comedy for women and for Cooper doesn’t feel daunted by the prospect of wide, with plans to produce, write and act. She women of color.” forging an identity beyond her political imper- quips, “I’m just hoping to Phoebe Waller-Bridge For now, she has enjoyed getting acclimated sonations. “Oh, no,” she says, brushing off any this thing.” Trump or no Trump, her creative to show business from the comfort of her couch doubts. She is giddy at the singular thought of no aspirations center on one common theme: “I in Brooklyn, alongside her husband, Jeff Palm, longer having to endure her email inbox getting want to make people laugh,” she says. “That’s and 10-month-old cockapoo, Stella. “The spirit flooded with daily suggestions of videos she sim- my No. 1 thing.” of New York isn’t gone,” she says. “Neither is the ply must tackle. That’s been a prevailing sentiment in Coo- feeling of knowing that a place as magical as the And to no longer have to immerse herself per’s life since growing up in Rockville, Md., as city can exist and thrive.” daily in the psyche of Trump? Well, a girl can the youngest of four siblings, raised on “The Before the pandemic, Cooper jokes that she dream. At the height of the pandemic, Cooper Cosby Show” and “Three’s Company.” (“Jack performed in mostly empty basements. When would find herself spending hours on end pars- Tripper was my first crush on television,” she it’s safe again to gather in large crowds, it’s rea- ing his speeches to perfect her movements to his says.) As she got older, she found herself obsess- sonable to assume she’ll no longer have trouble increasingly crazed tone and inflection. Some- ing over the dry comedy essential to “The Col- filling seats. how, she swears, his voice hasn’t seeped into her bert Report” and “The Office.” “Yeah, right. Maybe?” she says, still trying to subconscious: It hasn’t given her nightmares. “I always turned to humor as a defense mech- come to grips with fame. “We’ll see.” Variety’s New York Impact Report embraces the persistence and perseverance of the folks in the biz. This year, we’ve all dealt with a global pandemic, racial reckoning, protests, contentious election campaigns, a Supreme Court upheaval and an economic meltdown, but, like a lot of us, showbiz has responded not with despair but with fundraisers, organizing for racial equity and generally adapting business models to not only create safe and pro- ductive work spaces for employees, but also to continue to keep the entertainment industry humming. P.5 2 ©2020 Viacom International Inc. All Rights Reserved.
Untitled-1 1 10/5/20 11:02 AM Frances Berwick President, Entertainment Business, NBCUniversal Berwick was promoted to head of the newly formed entertainment busi- ness unit in August as part of an overall corporate restructure, and now maps out programming strat- egy and content spend across its English-language networks includ- ing NBC, Bravo, E!, USA and Syfy. She touts having more than 50 produc- tions “on the go” and how they’ve kept programming moving despite the quarantine. Post-quarantine, Ber- wick says she can’t wait to get back to people-watching on the subway into work, even though she knows it “sounds bizarre."
Rachel Adler Brianna Agyemang Black Theatre United Bob the Drag Queen Television agent, CAA Jamila Thomas Advocates “We’re Here” Every day, Adler’s clients report on #TheShowMustBePaused Black Theatre United was born From discussing racism in the drag the world: She reps some of the big- On Friday, May 29, in response to on a June night when Schele Wil- fandom to interviewing a New York gest names in journalism and on-air the deaths of George Floyd, Ahmaud liams and other celebrated mem- City COVID-19 nurse, Bob the Drag personalities in the biz. From Hoda Arbery, Breonna Taylor and many oth- bers of the Black theater com- Queen has pivoted content to online. Kotb to Martha Raddatz to Andrea ers at the hands of police, a message munity came together to create “I’m adapting my career,” she says. Mitchell to David Fahrenthold, Pete circulated on social media: “#TheS- substantive change with the indus- Earlier this year, she appeared Buttigieg and Andrew Yang, the howMustBePaused. An initiative cre- try. Its mission includes protect- on HBO’s Emmy-nominated “We’re press and public intellectuals are in ated by two Black women in music in ing Black talent, Black lives and Here” and co-produced the show the trenches, making sense of our observance of the long-standing spreading a message of empower- with her “RuPaul’s Drag Race” alum- national discourse. “Our clients have racism and inequality that exists from ment through activism within the nae Shangela and Eureka O’Hara. been particularly heroic in the last the boardroom to the boulevard,” community. Brandon Victor Dixon, The show took drag across small- several months, risking their health it called for June 2 to be “a day to dis- Audra McDonald and Billy Porter town America, opening conversa- and exposure to their loved ones, to connect from work and reconnect — to name a few — are among its tions and unleashing the strength be on the ground and bearing wit- with our community.” The message founding members. “That conver- of compassion. Elsewhere, she has ness, and offering insight in such gained momentum with astonish- sation began with, ‘There are Black kept busy, hosting a “Sibling Rivalry” a consequential time. They work ing speed over the weekend, as most people getting killed on our streets podcast and her “Bob Live” show. hard to balance empathy and anal- of the biggest companies in music — what are we going to do? That The thing she misses the most and ysis when so many stories are cre- first pledged to observe the day — night Black Theatre United was is looking forward to again are drag ating so much noise, and yet require and then pledged millions of dollars born,” says Williams. Black Theatre shows. “My favorite thing to do in so much attention,” she says. What toward Black Lives Matter and other United is a community “committed the city is going to drag shows, and New York-centric thing does she charities; to hold company-wide town to using our voices and platforms to especially amateur drag competi- look forward to doing in 2021? “I halls about diversity; and to revise advocate for social justice. We are tions.” When she’s not beefing up can’t wait to beat my personal best their personnel policies to advance also committed to eradicating sys- her Instagram content, there’s Sea- 11-minute dash across the city from diversity. Those two women, Jamila temic racism in the theater industry son Two of “Were Here” to look for- my office in the Chrysler Building to Thomas of Atlantic Records and Bre- on Broadway and stages across the ward to. “I can’t wait to see how that CNN’s office in Hudson Yards; 7 train anna Agyemang of Apple’s Platoon country.” It will look to develop men- transforms,” she says. I miss you!” artist-marketing division, were prob- torship programs for young Black ably as surprised as anyone at how theater artists, encourage census quickly their initiative took off — participation, and advocate voting but they haven’t let up. On Sept. 2 education and registration. There is they issued an even stronger list of a unity, she observes, and that unity demands before standing down, tem- is one she hopes will bring change porarily, to focus on to the systemic racism that exists voter registration. across the industry.
P.54 GILES NETTER/HBO JAKES BOB: CAA; ADLER: BERG/NBCUNIVERSAL; LISA BERWICK: Untitled-3 1 10/2/20 11:08 AM Liza Burnett Fefferman Andy Cohen Harris Faulkner Liz Garbus Exec VP, Communications for Via- TV host, Executive Producer Anchor, Fox News Filmmaker comCBS Entertainment and Youth Renaissance man Cohen continues With her ratings on the rise, Faulk- Despite the pandemic, Garbus has After joining Viacom in 2016, Burnett adding fresh projects to his estab- ner has had a breakout year, add- been moving “full steam ahead on Fefferman received a bump in Jan- lished roster of TV shows, includ- ing more special reports to her multiple projects and fronts.” Not uary to exec VP, communications, ing publishing “The Meaning of duties. As a Black woman journal- only did the prolific documentary for ViacomCBS entertainment and Mariah Carey” later this year via his ist in an interracial marriage, she director and producer helm her first youth that more than doubled her Andy Cohen Books imprint; radio has been personally buffeted by narrative feature, “Lost Girls,” she oversight to nine brands and their (his “Radio Andy” SiriusXM chan- recent events. “Let’s really look at directed and produced the six-part content studios. She also co-heads nel recently celebrated its five- what change can be. …. The media documentary series “I’ll Be Gone in the new MTV Documentary Films year anniversary); and cartoons are watched. They are read. They the Dark,” about the Golden State with Nina L. Diaz, president and chief (Quibi now airs the animated “Andy are listened to. They have power of Killer. “All In: The Fight for Democ- content officer of the E&Y Group at Cohen Diaries”). He’s been host- influence in our lives, but they have racy” is her latest project completed ViacomCBS, and worked with former ing “Watch What Happens Live responsibility, too. And so I think it is in lockdown. Released Sept. 18, the HBO doc maven Sheila Nevins on the With Andy Cohen” and virtual “Real important that people see me as a documentary is an urgent cry to Oscar-nominated “St. Louis Super- Housewives” reunions from home. Black woman doing what I do.” vote while highlighting the history of man.” Her group earned 16 Emmy Plus, he’s a new father and COVID- voter suppression. She says “being wins in September, which is “some- 19 survivor. Once things “go back to busy and focused is the best anti- thing we’re enormously proud of,” normal,” top of his list of New York dote to the chaos of these times.” A she says. Quarantine has made her things to do is a Madison Square New York native, Garbus looks for- “miss the density of people” in New Garden concert where he can “just ward to city-centric activities again, York. “Really being able to social- go absolutely ape-shit.” such as “going to Yankee Stadium, ize with friends and family again. I’m going to the Film Forum and wav- looking forward to that [in 2021].” ing at my kids every morning as they walk down the street to go to school. That, I miss the most.” Lady Gaga Singer-Songwriter Earlier this year, Gaga spearheaded the successful “One World: Together at Home” fundraising event, to help fight the spread of COVID. Her sixth Elvis Duran album, “Chromatica” was released in iHeartRadio Host May, and in August, Gaga won four Danny Burstein As COVID-19 raged on, New York- MTV Video Music Awards and was Actor based syndicated radio personal- honored with the inaugural Tricon Six-time Tony nominee Burstein con- ity Duran provided information and Award. Her new book, “Channel Sloane Harris tracted COVID-19 early on in the comfort to a city — and nation — Kindness,” is a collection of essays Co-President, ICM pandemic. After nearly a week- in despair. The pandemic’s impact by teens on mental health. Harris, whose clients include writer long hospital stay, Burstein returned on radio, “turned our world upside Taffy Brodesser-Akner, took the home to resume his duties as a down,” says Duran, who, along with co-president reins last October, and caretaker for his wife (and fellow his Z100 Morning Zoo stars, took was one of the leaders in establish- actor) Rebecca Luker, who is fight- comfort in continuing to broadcast ing a $20-an-hour base salary for ing her own battle with ALS. He daily, even if forced to do so from all assistants — the first agency to recently came back to visit the Al kitchen tables with five-hour Zoom do so — and set a goal to fill 50% of Hirschfeld Theater, where he was sessions. “It gave us the ultimate all open positions with diverse and playing Harold Zidler in Broadway’s gift in being able to do what we do inclusive candidates. “I’m a prod- “Moulin Rouge” before the shut- best: strengthening meaningful con- uct of the legacy agency career path down. “[Visiting the theater] told me nections with our listeners,” says and that experience gave me a ton how ready I am to get back to work Duran, adding that the show pro- Scott Greenstein of respect for our assistant pool,” and how eager my entire being is to vided a sounding board to listeners President and Chief Content Officer, he says. “So I do a lot of listening take those first steps again and sing “stuck at home” while shining a light Sirius XM and credit them with conveying that those first notes again,” he says. on those working on the frontlines. Born in Freehold, N.J., Greenstein — no matter how proactive we’ve “It’s in our souls and our DNA to be in Duran wasn’t lacking for concerts has lived and worked in New York for tried to be in the past — we were that building.” even during coronavirus, organizing 35 years. COVID has made Sirius XM never going to accomplish our diver- HARRIS: ICM virtual events like “Elvis Duran’s Stay “focus on creating a more human sity and working wage issues with-
at Home Ball” benefitting Project experience,” he says. “The over- out reformation of our whole sys- GAGA: AP; Cure and “Elvis Duran’s Drag Spec- whelming positive response to our tem.” He notes that “ICM made the tacular” benefiting Lady Gaga’s Born expanded streaming product vali- 50/50BY2020 commitment in 2017. This Way Foundation. “These events dated our belief that consumers are We’ve maintained that momentum have morphed into a whole new making new choices across audio. with our Diversify/ICM and InQlusion “It’s in our souls and our standard,” he says. “The iHeartRa- We can clearly see the increasing initiatives and it has been thrilling to dio Music Festival is a shining exam- demand for real curation, artist-first witness our colleagues embracing DNA to be in that building.” ple of how far we’ve come since the programming, and the compelling and insisting on meaningful change: -- Danny Burstein beginning of the pandemic.” unique content.” Inclusion in every sense of the word.”
P.56 DURAN: ALEX KROKE; NEWS; FOX FAULKNER: COHEN: NBCUNIVERSAL; FEFFERMAN: VIACOMCBS; Rashida Jones Kevin Liles Bryan Llenas Jen Lyon and Justin Kantor Senior VP, NBC News and MSNBC Co-founder/CEO, 300 Entertainment Correspondent, Fox News Co-founders, the New York Indepen- More than six months into the Over the course of his 30-plus year Llenas’ star has been on the rise this dent Venue Organization (NYIVA) COVID-19 pandemic, a handful more career, Liles has been an artist, a year on the cable news network, as When the National Independent people have joined Jones at the NBC manager (Mariah Carey, D’Angelo, he’s tackled the biggest news of the Venue Organization was being News 30 Rock headquarters, where Trey Songz) and president/CEO of a year: the coronavirus, the national founded in the spring to represent she has been working for the dura- major label — but he seems to have demonstrations in support of Black shuttered clubs’ and theaters’ efforts tion, but most of the programming found his true calling at the helm of Lives Matter and the Jeffrey Epstein to get government relief, Lyon (a pro- is still being produced remotely and 300 Entertainment, the indie pow- case. He’s also immersed in issues moter) and Kantor (a club owner) the opportunities to interact with erhouse that has had huge suc- surrounding diversity. “There are made sure a New York state sub-org those that are in the building remain cess with Young Thug, Migos and, communities in America that lack was formed to give more local inter- limited due to health and safety most recently, Megan Thee Stallion. diversity. There are families and ests a voice, too. “As an industry, we requirements. Balancing the need But he’s also stepped up for his art- young people who do not interact never had a trade group,” says Kan- to cover the pandemic, presiden- ists, his staff and New York itself in with people of color or LGBTQ peo- tor. “In normal times, venues are usu- tial election and ongoing racial pro- the pandemic, with a COVID relief ple on a daily basis. As a result, their ally competitors. But people need to tests can be tricky. But “in many fund and free psychological care — perception of minorities is largely know that Live Nation and AEG are cases these stories intersect — and they’ve given away more than determined by what they see in the almost a completely different indus- you can’t cover one without touch- 100,000 meals to the city. “The pan- media. As a reporter at the Fox News try than we are, particularly because ing on the others,” she says. “It’s an demic, police brutality and the divi- Channel who just happens to be of how dire our situation is” as inde- incredible news cycle to guide our sive administration have created brown, gay and Latino, I am keenly pendents, he adds. “We’re at least in audience through.” During the pan- a triple negative effect on us as aware of how I can impact percep- a position now to ask with a unified demic, she’s most missed eating human beings, but these challenges tions and view it as my responsibil- voice” — and get in front of the gov- at restaurants. “But we have been are necessary sometimes for seis- ity to represent these communities ernor and NYC mayor, beyond lobby- lucky to safely enjoy outdoor eating mic change,” he says. “The people proudly. This means working hard ing D.C. They’re realistic that, without this summer.” of 300 have risen to meet the chal- to become the best reporter I can quick aid, many venues won’t sur- lenges that this year has presented, be, but it also means living authen- vive the shutdown. But Lyon says she and we have hit more milestones tically and choosing to be out and has “just doubled down on my faith to this year than we ever have.” open about my relationship with my stay in the industry — which is proba- partner. Coming out is never easy bly masochistic, but it’s true.” and choosing to make my private life public and open was hard.”
Justin Kalifowitz CEO, Downtown Music Publishing “New York is magic — it is the world at its best.” Spoken like a true Byrd Leavell (read: native) New Yorker, Kalifow- Partner, UTA Jay Mandel itz acknowledges that the pandemic Books are not dead, and Leavell is Partner, WME has been “extraordinarily tough, but living proof of that, having closed Matthew López Mandel’s client Mary Trump sold 1.35 six months out, I look at what our 24 deals so far this year. He’s work- Playwright million copies of her bombshell tome people achieved under such diffi- ing with Chip and Joanna Gaines After becoming the first Latinx writer about her uncle Donald Trump and cult circumstances and I’m in awe of and set up a deals between Flat- to win the Oliver, Drama Desk and their family, “Too Much and Never the continued innovation and end- iron Books and iHeartMedia, the Drama League awards for “The Enough,” in its first week, a record less commitment to our clients.” The first-ever imprint deal for a line of Inheritance,” López has moved on for publisher Simon & Schuster. “One publishing entrepreneur supervis- podcast-based books between a to write the book for “Some Like never knows how a book will perform ing a staff of more than 600 and a major book publisher and podcast It Hot,” a musical adaptation aim- — too much gets left to timing, luck, roster that includes such hitmakers network, with the first title from the ing for Broadway in 2021, along with consumer mood, publisher execu- as Ryan Tedder and Benny Blanco, deal, “Stuff You Should Know,” hit- “some film projects.” But he’s also tion and a million other factors. But I also lauds “the explosion of creativ- ting shelves Nov. 7. “Publishing is an been re-exploring his identity, re-in- did know that the story hadn’t really ity from the artists we serve.” Pulling extremely competitive marketplace, corporating the diacritic in his sur- been told.” Mandel’s clients also double duty as the head of the New but our creators benefit from hav- name. “At 19 or 20, you may not real- include science writer Mary Roach, York Is Music coalition, what’s he ing pre-established audiences with ize how much you allow the white Pakistani novelist Mohsin Hamid craving about life in the city? “Com- millions of listeners who are eager to world to take this away from you,” and essayist/novelist Sloane Cros- plaining about the tourists over din- consume more of their content,” he he says. “But even small things are ley. One thing he looks for in a book: ner at Raoul’s before jumping on a says. “One of the great things about not small.” Next year, he’s hoping to “Obsession. … the customer ide- packed subway ride to a sold-out publishing is that we always prove remove something again. “I hope we ally must think, ‘I MUST know more concert at MSG, followed by drinks the naysayers wrong. Book sales elect a new mayor,” he says. about this story or person or thing.’
FOX NEWS; KALIFOWITZ, LOPEZ: ANDREW MORALES/VARIETY (2) ANDREW MORALES/VARIETY LOPEZ: KALIFOWITZ, NEWS; FOX in the Village and late night pizza have remained resilient through Hard to have a bestseller without at Joe’s.” every sea change the industry has that feeling.” faced because reading a book is still simply one of the most enjoy- able, comforting things you can do.”
JONES: VIRGINIA SHERWOOD/NBCUNIVERSAL; AURORA ROSE/WDD; LLENAS: LLENAS: ROSE/WDD; AURORA SHERWOOD/NBCUNIVERSAL; JONES: VIRGINIA P.57 Thalia Mavros Lauren Patten Founder, the Front Actor Four years after founding female-led Before Broadway’s shutdown, it was documentary production studio/cre- rare that Patten did not receive a ative think tank the Front, filmmaker standing ovation for her supporting and former Vice executive Mavros is role as Jo in Broadway’s “Jagged seeing the fruits of her labor roll out: Little Pill.” The jukebox musical — MSNBC anchors Neon Quibi series “The Sauce” premiered told through Alanis Morissette’s dis- in April, plus, she has two documen- Rachel Maddow, Joy Reid, Tom Quinn, CEO/founder cography — tells the stories of res- taries centered around female issues Nicolle Wallace Elissa Federoff, president, distribution idents of a wealthy Connecticut of abuse and sexuality in the pipeline. MSNBC’s new power trio is made Christina Zisa, president, publicity neighborhood and their struggles One has sold to cable, the other is in up of anchors who have stood very Christian Parkes, CMO with sexuality, addiction and assault. the dealmaking process for stream- well on their own. Maddow, Reid For a three-year-old company, Neon “As a country and then as a respon- ing. In addition, she’s worked closely and Wallace have all enjoyed a has been glowing particularly brightly sibility of artistic institutions, I think with National Geographic to help growing presence on the NBCU- lately, thanks to a history-making we’re hearing a lot of calls for art to them “reimagine what their offerings niversal-owned cable-news out- Oscar win for “Parasite,” plus Golden reflect more of what actual life looks could be in digital and broadcast.” let. Viewers of recent coverage of Globe nominee “Portrait of a Lady on like. The show doesn’t shy away from Next year she’s most looking forward the Democratic and Republican Fire” and double Oscar-nominated taking a real in-depth look at the to diving back into the “magic that National Conventions, however, saw documentary “Honeyland.” Respond- things that people are dealing with New York offers … discovery, sponta- them utilized in a new configuration ing to COVID-19 quarantines, the as a country right now,” she says. neity and closeness.” — together. On the same set. At the company made “Spaceship Earth” same time. available on a blank wall in Brooklyn, “It’s like watching these events and partnered with Brooklyn restau- with your sharpest, most fun girl- rant Locanda Vini & Olli for “Shir- friends, except we can’t have cock- ley” screenings (via streaming). The tails,” notes Reid. team looks forward to the city open- Each anchor is familiar to the ing up again so they can get a mani- MSNBC faithful. Maddow has held pedi (Federoff); drunk in a dark bar forth at 9 p.m. for 12 years. Reid with friends (Zisa); cycle Central Park recently took over MSNBC’s 7 p.m. (Parkes); and walk the cobblestone slot after building an audience on streets near their office, heading to Michael Paull Diana Mora the weekends. And Wallace, who lunch at the Crosby Hotel (Quinn). President, Disney Founder, NYC Nightlife United (NNU) captured attention by turning a Streaming Services There are organizations like NIVA late-afternoon timeslot that isn’t From a former Nabisco factory in and NYIVA that represent indepen- usually the most talked about ele- Manhattan’s Chelsea neighborhood, dent venues that exist below the ment on any network’s schedule Paull oversees the global operations AEG/Live Nation level. But who rep- into a smart-set salon, was recently center that serves up Disney’s resents performance spaces that given a strong vote of confidence streaming services — including are even smaller than that? NYC — two hours each day. With more Disney Plus, which rocketed from Nightlife United does. And with gov- on-air time comes more responsi- zero to 60.5 million subscribers in ernment relief looking ever out of bility. Wallace says she is mindful of its first nine months. The former sight, founder Mora is looking to col- being precise and intelligent as the Amazon digital video VP leads the Trevor Noah lect grants for tinier or more local- 2020 election draws near. “I think teams that designed, built and ized performance spaces throughout it’s incumbent on all of us to not get Host, “The Daily Show With manage Disney Plus, which in mid- the boroughs … not unlike her own ahead of the story — that’s our duty Trevor Noah” pandemic has continued to launch venue, Friends and Lovers, which to the viewer.” In the five months since “The Daily into new markets in Europe and has introduced artists like Princess All three look forward to a day Social Distancing Show,” as it has Asia-Pacific, as well as ESPN Plus. Nokia to Brooklyn. “We serve a need when life returns to some sort of been rechristened, first aired from New features Paull’s group created DISNEY CENTRAL; PAULL: STREIBER/COMEDY ART YILDIZ; NOAH: EBRU MORA: Y ANDERSON; in propping up smaller businesses norm. Maddow is eager to sam- Noah’s home, the program has evolved for Disney Plus include the $30 that don’t qualify for some of these ple “fishing the spring run of striped into a lo-fi but substantive affair. early access “Mulan” release and a bigger aid packages,” she says. “The bass in the Hudson and the East Noah’s guided the Comedy Central new social-viewing option (currently biggest parameter for the applica- River,” but doesn’t think it will be staple to not only strong ratings but in testing) for streaming TV shows tion process is that you are giving possible until 2022. Reid hopes to also cultural relevance. Since its first and movies together with friends. back to and really add value to your visit more friends and restaurants at-home telecast aired on March 23, Paull also oversees Bamtech Media, community.” NNU received so many in person. And Wallace would like to Noah and his team have brought on which runs baseball’s MLB.TV grant applications that it had to shut take her son to laser tag and base- newsmakers sans laughs and delved streaming package. the window after a week. But she’s ball games. into all of the issues buffeting the thrilled that corporations are step- Each endorses the idea of working country and the world from the host’s ping in to contribute and help these together again. “Any time I can be apartment. And the shape that the local nightspots where govern- on with Joy and Nicolle, I’ll be there,” show has taken in crisis appeals to JENN PATTEN: (4); NEON PARKES: ZISA, QUINN, FEDEROFF, AP; ment hasn’t. “All of a sudden bigger says Maddow. “Co-anchoring cover- Noah. He seems liberated by not hav- brands are reaching out to be proac- age with those two is the most fun ing to play to a studio audience. “When tive and say, ‘What do you need from I’ve had on TV in ages.” you make the show with a live audi- us?’ When we got our first corporate ence, you are at the mercy of those Variety donor, I literally cried.” people,” he told in August.
P.58 KROPA/INVISION/ ANDY WALLACE: STREIBER/MSNBC; ART MSNBC; REID: MADDOW: Jeremy Pope Seth Rudetsky and Steve Stoute Adrienne Warren Actor James Wesley Founder & CEO Actor Pope’s Broadway debut in 2018 “Stars in the House” creators UnitedMasters & Translation Warren is all but a Tony Award yielded two Tony nominations for In a time of quarantine, Sirius XM Stoute has spent his career push- shoo-in for her performance in the his work in “Choir Boy” and as Eddie Broadway host Rudetsky and pro- ing for diversity in the music biz and titular role of “Tina: The Tina Turner Kendricks in “Ain’t Too Proud: The ducer husband Wesley have gone to advocating for the Black under- Musical.” But recently, her focus has Life and Times of the Temptations.” their strengths: theater, trivia and dog, but he doesn’t consider rac- been the Broadway Advocacy A year later, his television debut in fundraising. Their daily series “Stars ism to be the biggest obstacle. Coalition, which she co-founded in Ryan Murphy’s “Hollywood” earned in the House” has brought casts of “How could Black music be, by far, 2016 in response to the Black Lives him an Emmy nod. Next, he tack- TV series, Broadway shows and films the biggest-selling genre, and yet Matter movement. “You were in les film as Sammy Davis Jr. in Janet together virtually for live discus- we have so few executives at the front of a sea of white faces in the Mock’s upcoming “Scandalous!” sions and performances — and a call top?” he asks rhetorically. “Nepotism theater, and then you weren’t sure “It’s kind of like falling in love with for donations to audiences, raising is really what’s driving the issue. if those white faces cared about these people and trying to just do nearly $500,000 for the Actors Fund Heads of record companies hire their you as a person, cared about your them justice,” he says. “Taking time and other charities over the 200 friends and their friends’ kids, and life,” she says. “We are experiencing to acknowledge the great impact shows they’ve created since March. it becomes systemic.” UnitedMas- a shift in consciousness. … We’ve that they had on the world and “The biggest surprise is that peo- ters’ aim is to spread the wealth. In been talking about diversity and also acknowledging that they were ple are still donating even though July, it launched a new subscription inclusivity for some years. Now we’re human and had their own struggles.” times are tough,” says Wesley. Once tier that gives its artists 100% of the talking about action.” quarantine lifts, they have two goals: royalties from digital services, and in game night in their apartment with the past year, it has cultivated part- friends (in person) and an in-store nerships with TikTok, ESPN and NBA trip to the original Levain Bakery. 2K20 to provide more opportunities for its diverse roster. Stoute sees the inroads he’s made not as per- sonal accomplishments but rather within the context of what he and his New Yorker peers — people like Sean Combs and Jay-Z — are doing Jane Rosenthal collectively. “If we continue to build George C. Wolfe Tribeca Enterprises and Tribeca Film companies and hire diverse people Director Festival Co-founder and CEO within our company and train them, Wolfe was in post on a screen adap- Tribeca was the first big film festival they will go on to populate their own tation of August Wilson’s “Ma Rain- to take to the internet this year as Brian Stelter companies with diverse talent. What ey’s Black Bottom” for Netflix when COVID-19 shut down New York City Journalist we’re doing is fantastic, and we can the pandemic shut down New York and a big chunk of the world. How- Off-piste news cycles are now status continue to do more.” City. “I was forced to go from being ever, Rosenthal and her team exe- quo, which makes CNN’s chief media obsessive and driven, to standing cuted a successful pivot to online. correspondent/“Reliable Sources” still,” he says via email. “Not an easy “We have experimented with vir- anchor infinitely valuable. “Sources” transition, but in standing still I was tual screenings for over 10 years, so regularly ranks No. 1 for 25-34 view- afforded time to think and listen, one could say that the past experi- ers on cable. “The mission is to find which freed me to start writing, which ence really helped to inform how we news in all the noise,” Stelter says. in turn helped me rediscover that were able to pivot so quickly,” the His book “Hoax: Donald Trump, Fox anger and rage are fuel for taking “Irishman” producer says. “We are News and the Dangerous Distortion action, not a goal unto themselves.” debuting a new section in 2021 ded- of Truth” became a New York Times Wolfe, along with Ruben Santiago, icated to online premieres as part bestseller, and he executive pro- made some changes to the script. of the official slate, bringing the Tri- duced March’s HBO doc “After Truth: Michael Strahan “In as much as I have a deep respect beca experience and indepen- Disinformation and the Cost of Fox TV host for August Wilson and reverence for dent film to online audiences.” Also News.” Next year, he’s looking for- NFL star-turned-morning host Stra- his writing, a healthy dose of irrev- new for Tribeca in 2021: The fest will ward to more freedom outdoors: han is a big part of the ABC team, erence is essential in order to honor invite video games to join as offi- “I miss those spontaneous nights co-hosting “Good Morning Amer- the material by making it soar.” He is cial selections and vie for the Tri- walking around the city with my wife ica” and “GMA3: Strahan, Sara & looking forward to “cursing out beca Games Award. She created without a mask,” he says. “I miss Keke,” plus emceeing “$100,000 a bunch of gawking tourists as I fight the global We Are One film festival that sense of discovery.” Pyramid.” But he stays connected to cross 7th Avenue in the mid-40s in partnership with YouTube, which to his roots by headlining the Thurs- at 7:45 [p.m.], because that means brought together more than 20 fes- day Night Football Pregame Show the theater district in its entirety is tivals to offer free programming for on Fox and “Fox NFL on Sunday” — finally alive again.” 10 days. She also launched the Tri- all while co-running his SMAC Enter- beca Drive-In in seven markets, and tainment. And he’s a designer: Hav- is part of Gov. Andrew Cuomo’s “If we continue to ... hire ing sold out his Super Bowl Capsule Profiles by Michele Amabile New York Forward Reopening Advi- diverse people they will go on Collection, MSX by Michael Strahan Angermiller, Jem Aswad, Randee sory Board. As for the future, she to populate their own com- will release team-specific styles for Dawn, Shalini Dore, Jeremy is “looking forward to going to a all 32 NFL franchises later this year. Helligar, Carole Horst, Haley Kluge, crowded, noisy restaurant with all panies with diverse talent.” “I can’t wait to see a Broadway show Geoff Mayfield, Brian Steinberg, of my friends.” -- Steve Stoute in 2021,” he says. Jazz Tangcay, Chris Willman
POPE: SOPHIE ANDREASSEND; RUDETSKY: MARC J. FRANKLIN; STETLER: SIPA USA/AP; STRAHAN: HEIDI GUTMAN/ABC STRAHAN: USA/AP; SIPA FRANKLIN; STETLER: J. MARC RUDETSKY: POPE: SOPHIE ANDREASSEND; P.59 WITH LOVE AND RESPECT
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INNOVATOR VARIETY VANGUARD HONOREE TED SARANDOS HAS TAKEN NETFLIX TO NEW HEIGHTS AMID COVID
CONTENT KING Netflix received a record number of Emmy nominations (160) this year.
PHOTOGRAPH BY ART STREIBER VARIETY 61 FOCUS VARIETY VANGUARD AWARD
CONQUER STREAMING, CHANGE THE WORLD Ted Sarandos was promoted to co-CEO of Netflix after overseeing its content operations since 2000.
TED SARANDOS is not much for change, TED SARANDOS’ personally. It’s a funny thing to say about the recently minted co-CEO of Netflix, one of the entertainment world’s biggest STREAMING SUCCESS disruptors, but as he points out, he’s had only “two cars and one job over the past 20 years.” STEMS FROM “I am one of those folks who ends up doing things a long time, so I’m not one of these people who flips things easy,” he LOOKING AHEAD says with a laugh. His previous car, which lasted 11 years, was an Acura MDX; he drove NETFLIX’S CO-CEO IS FOLLOWING HIS PROMOTION IN around a Ford Explorer for a decade JULY WITH A SPECIAL HONOR CELEBRATING HIS IMPACT before that. The job, of course, is at Net- flix — the streaming giant that has shaken ON INTERNATIONAL TELEVISION By Elaine Low up how Hollywood does business and
how the world consumes entertainment. LATOUR/VARIETY ROB
62 VARIETY CONGRATULATIONS TED from Harley and all your friends at
1007 WV Neuman and Associates - Ted Sarandos.v3.indd 1 10/1/20 3:36 PM think about whether hemightsome think about in 2000asaDVD buyer, hedidn’t quite tence, Sarandossays, “That’s how about I itsexis-sity tooccasionally remember by-mail business andthepublic’s propen the next generation of consumers.” buster, butwe were really competing for uscompetingabout directlywithBlock had aDVD ontheirshelves. talk Sopeople “Idon’tmail, believe even Blockbuster four years that Netflix offered DVD by legacy business. dent tohave ina acompany mired too underscore that itisnotpru theidea shift fromDVDs Both tostreaming. ferent fromhishandlingof Netflix’s employment isinmany ways notsodif VHS toDVD at hisformer place of toreact.”“uniquely inaposition including Blockbuster, putting Sarandos plicated thingsfor national competitors withstudios comrevenue-share deals a“no-brainer,”been hesays, buttheVHS toDVDsshift fromVHStapes should’ve shake thingsup:DVDs. Anindustrywide a different camealongto technology Coast Video, when Sarandosremembers executive at videorentalchainWest of entertainment. businesscant contribution totheglobal whohavethe industry madeasignifi anhonorthat hailsthoseinMipcom, receive ness, to selected Sarandoshasbeen service. with thestreaming —haveObama inked multiyear deals President andfirst ladyMichelle Obama phy —andmorerecently, former U.S. “American Ryan HorrorStory’s” Mur “Grey’s Anatomy’s” ShondaRhimesand worldwide). suchas Respected creators side (193milliontotalsubscribers state60 millionpaying subscribers American marketplace, withmorethan platformdominant streaming inthe that itwould.” [in],butIwas confidenthappen super would take orthetimeframeitwas going I wasn’t sureexactly whatthat shape an enormousdifference intheworld. Reed andNetflix were going tomake hesays.decision?’” “Itfelt tomelike Like, ‘What’s the20-year horizon onthis thought aboutthingsinthoseterms. co-founder Reed Hastings. theplaceday alongside winduprunning 64 FOCUS Even so, Netflix whenSarandosjoined (Of thecurrentstate of Netflix’s DVD- inthe firstSarandos notesthat when, Swiftly tacklingthemigration from daysDuring hispre-Netflix asan And so, for onthebusi hisimpact Netflix now holdsthethroneas Idon’t back, Ilook thinkIever“When Variety VARIETY VREY VARIETY ’s Vanguard Award at VANGUARD AWARD ------has helpedNetflixgrowto193millionsubscribersin190countries. Sarandos (secondfromleftwithCourtneyB.Vance,JasonBatemanandIdrisElba) BIG BRANDBOSS with local-language originalsmadeto burrow intonon-U.S. deeper markets thecompanyinal content, isseekingto of arobusthas developed orig pipeline “Orange IstheNew Black.” Now that it slate that “Houseof Cards” included and gramming scene in2013withaninitial organization that way.” pens,” headds. “You just can’t scalethe your that hap fingerprint oneverything sense of yourself that you have tohave [whopick]what onNetflix.” goes people whopickthe whopickthepeople people onNetflixthat tobe pickingthe used went frompickingalltheprogramming ing decision-making,” hesays. “Myrole carefulaboutnotbottleneck very to be visionthat weglobal that you had, have if we were realize going this toreally movies andseriestolife. power heoffers hisexecutives tobring Heoftenof toutsthevast old. greenlight the studio andnetwork power structures style isalittle morerock-and-roll than content-creating studio untoitself. decade,the past allthewhilebecoming a overlish asolidfootprint intheindustry thinkingandestab legacy Hollywood Netflix tosubvert hashelped approach think about ittoo. It’s just still there.”) That fast-moving, Silicon Valley-style Netflix burst onto the originalpro The key isnothaving “some false thingIknewrightaway“The was To Sarandos’management that end, - - - - - talents is steadfast. Taketalents issteadfast. former CBS way we could dowhat we’ve done.” ative executives. But Ithinkit’s theonly that would untenable be for somecre step.essary side subscribers. Inhisview, it’s anec- flix that heseesfor thefirst timealong- online, butnow thereareshows onNet cutbeforeand watch itwent every script draft of every would every read and own them.” make decisionsandtake themseriously whowill team, to have trusted areally and theonlyway you could dothat is functions at thescalethat we’re doing, one’s ever donemost of really these Becauseno someone elsehasdoneit?’ is nottosay, ‘Well, how dowe doitlike way we“The thinkaboutthosethings slate of animated series,” says Sarandos. ever done, healthy ontopof thevery tures ayear, whichnomajorstudio has sixanimatedfea releasing tobe path one who’s doingittoday —we’re ona not just asbigsome tostep upandbe inrapidfashion. happen way that hebelieves hecanmake that anddelegatingNetflix, work istheonly at onmakingbloom Sarandos isfocused attract theworld subscribers over. Sarandos’ faithinhisexecutives’ “I dothinkthat that’s just something Sarandos misses thedays whenhe “Our animation ambitionrightnow is thatAnimation isanothersucharea - - - -
STEWART COOK/VARIETY born with cinema
Proudly Congratulates
Ted Sarandos & 1HW½L[
Recipients of Variety Vanguard Award
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VARIETY_NETFLIX_def.indd 1 29/09/2020 10:09 Untitled-6 1 10/2/20 11:32 AM FOCUS VARIETY VANGUARD AWARD
EYE ON EXPANSION Reed Hastings (far left) and Sarandos are now jointly running Netflix. An area of hopeful growth for the streamer is animated films, to follow success of series such as “Big Mouth” (below).
“No one’s ever really its goals. Netflix in early September two, five, 10 years?’ And the answer is announced the abrupt exit of Cindy Hol- not always ‘yes,’ meaning that the priori- done most of these land, Sarandos’ first hire in Los Ange- ties of the business shift.” functions at the scale les in 2002, back when Netflix’s South- That method has served the company that we’re doing.” ern California outpost consisted of the well, he says. Ted Sarandos two of them in a small shared office in “Sometimes it’s not always just, ‘Is Raleigh Studios. Holland is largely rec- this person the best person?’ It’s ‘Is this ognized for her key role in shaping the the best person for the next 10 years?’ streamer’s original programming slate And I think that’s a question we’ve prob- into what it is today. Sarandos said in a ably all asked about ourselves at any and Universal Television exec Bela statement that since becoming co-CEO, given point in our careers,” he explains. Bajaria, who in four years has rock- he had wanted to simplify the way the Netflix continues to move fast even eted from working in unscripted to lead- company’s content teams operate, with as the entertainment landscape around ing local-language originals to becoming one head of film and one head of TV. The it shifts into full streaming wars mode, Netflix’s head of global TV. After Bajaria new structure meant there was no role newly populated by Disney Plus, HBO was ousted as president at Universal TV left for Holland. Max, Apple TV Plus, Quibi and Peacock. in 2016, Sarandos quickly came knocking The move recalls the philosophy of Sarandos gamely finds it “refreshing” with a position in unscripted, a division Netflix co-founder Hastings, who ele- to see added competition in the game. with which she had little track record. vated Sarandos to co-CEO, and his well- With the U.S. streaming market ever “When he did it, I was struck by how known “Keeper Test.” It’s “super sim- nearing saturation, no doubt some of refreshing, how bold, how confident [it ple,” Hastings told Variety in September. his comfort with the playing field comes was]. Like, ‘Let’s just do it. I believe you “It’s, ‘Would you keep the person if they from the wide head start that Netflix has can do it,’” Bajaria told Variety in July. wanted to leave?’” had in acquiring customers and build- “It’s very inspiring in a way. And what it When asked how his leadership style ing production hubs internationally from does is it allows people to learn differ- compares to Hastings’ methods in light which to produce local-language content. ent things.” of the recent executive changes he’s “I’m excited about the future,” he Conversely, the company is known made, Sarandos has this to say: “The says. “I think it’s great that there’s more for shuffling and reshuffling its execu- thing that I always do is constantly think people doing what we’re doing, because I tive deck when it sees fit, cutting loose about the next two years, and, ‘Is this think it keeps us sharp.”
even longtime lieutenants to better serve organization most suited for the next And while he acknowledges the seri- BIG MOUTH: NETFLIX AHN YOUNG-JOON/AP; HASTINGS/SARANDOS:
66 VARIETY 1007 WV Stacked Ads_GUILLANE & HOUSE AD.indd 6 10/5/20 2:39 PM FOCUS VARIETY VANGUARD AWARD
ousness with which Disney is treating LOCAL LANGUAGES, the endeavor — having “Mulan” bypass a theatrical release and sending it GLOBAL APPEAL straight to steaming is no small decision — Sarandos believes that at this stage, “everyone’s level of commitment still NETFLIX IS IN HOMES IN ALMOST 200 COUNTRIES, needs to be defined.” WHICH OFFERS CONSUMERS LOOKS AT COUNTLESS BY ELAINE LOW “There’s still a thing called Disney DIFFERENT CULTURES Plus, it’s not just all called Disney,” he says. “There’s still HBO Max [and] HBO. As soon as it’s one big HBO, you’ll know ANNA WINGER’S that they’re taking that really seriously. “Unortho- from Germany that [people similar: make sure the shows dox,” based on Deborah Feld- are] talking about, or that’s are relevant to the territory Everyone’s at a different life cycle with man’s 2012 memoir about a been nominated for eight they’re created for, first and a [different] level of commitment to the young woman leaving the Emmys this year?” he says. foremost. While the global next phase of delivery to consumers.” ultra-Orthodox Jewish com- (The limited series ulti- success of “Casa de Papel,” For now, when asked to reflect on the munity in New York to start mately won one Emmy, for otherwise known as “Money legacy he hopes to leave behind, the Net- life anew in Berlin, was not Maria Schrader’s directing.) Heist,” has been welcome, flix co-chief circles back to his passion intrinsically designed to be Sarandos believes that that Sarandos believes that it was for storytelling. an international darling. “flattening of the Earth,” so to critical for the series to first The mandate of Netflix’s speak, is still in its infancy. play well in its native Spain. “If I was able to create an environ- German television group, says Focusing on produc- Likewise, young adult soap ment where people can tell stories that co-CEO and chief content tions made in other coun- “Summertime” homed in on really matter to people, that they remem- officer Ted Sarandos, is sim- tries for local audiences has the strengths of modern Ital- ber and keep that alive and always put ply to “make great TV” for the been a major growth mar- ian storytelling. the creative first, I think that will be a subscription streaming ser- ket at Netflix in recent years Sarandos believes Net- great legacy,” he says. vice’s German audience. But as it looks to bolster its 193 flix has made U.S. audiences Sarandos points to prolific 98-year- one function of Netflix over million-strong subscriber more comfortable watching the years has been broaden- base. The company has set shows and movies with subti- old producer Norman Lear and “Satur- ing the American palate for its sights beyond the U.S. and tles, first through its licensed day Night Live” creator Lorne Michaels television and movies, offer- built out production hubs in foreign-language program- as iconic storytellers whose work has ing non-wU.S. programming Madrid and outside London, ming, and then through its shaped popular culture and the business from international creators and has even stopped using own original content. in profound ways. to acclaim from both casual the term “international orig- “I think if you’re feel- “The idea that they’re still around, viewers and critics alike. inals” in favor of “local-lan- ing a little adventurous and that they’re not faces on Mount Rush- “If you think about the his- guage originals” to better want to try something [new], tory of German television, reflect its global, less Ameri- you’re much more likely to do more — they’re people I have dinner with which is probably the most ca-centric stance as a studio it in the subscription model, sometimes — to me, that is mind bog- subsidized and also probably, and distributor. where if you don’t like it, you gling. And I hope that at some point in outside of the U.S., maybe Outside Germany, the just turn it off,” he says. “And I my life, that I could be that for somebody the biggest economic model mandate for Netflix’s other think we basically give people else coming up and wanting to dislodge for television in the world — local-language originals an adventurous experience something I created.” can you name another show teams across the globe is with content to try things.”
SUBSTANCE AND SUBTITLES “Unorthodox” was told in a mix of Yiddish and Hebrew but spoke well enough to an American audience to be nominated for eight Emmys.
“I think it’s great that there are more people doing what we’re doing, because it keeps us sharp.”
Ted Sarandos ANIKA MOLNAR/NETFLIX
68 VARIETY KUDOS.
TED SARANDOS VARIETY VANGUARD AWARD RECIPIENT MIPCOM 2020
mip com FOCUS VARIETY ICON AWARD
BLAZING A TRAIL TO THE CROISETTE
WITH HER ICON AWARD, JUDITH LIGHT IS SET TO BE THE BELLE —
AND BOSS — OF CANNESERIES By Danielle Turchiano
IN FEBRUARY, Judith Light was in Los Angeles supporting her husband, Rob- ert Desiderio, at a launch event for his novel “The Occurrence: A Politi- cal Thriller” when she was stopped by a woman who wanted to share how much one of Light’s roles meant to her. “She came up to me and she said, ‘I am in a corporate job now because I watched you on “Who’s the Boss?” and I knew that women could work outside the home, and I’m teaching my daugh- ter the same thing,’” Light recalls. It has been almost three decades since “Who’s the Boss?” signed off. Light is starring in Netflix’s “The Politi- cian,” and will soon be seen on the big screen in Lin-Manuel Miranda’s feature adaptation of Jonathan Larson’s “Tick, Tick … Boom.” After lending her trans- formative acting talents to numerous boundary-breaking roles, she is receiv- ing Variety’s third-ever Icon Award at Canneseries. But the power of the per- formance she delivered as Angela Bower, a single mother and intelli- gent executive running a business while a man tended to the domestic chores in her home, in the 1980s and 1990s sitcom shattered stereotypes and clearly resonated long after the series wrapped. (A sequel series is in develop- ment at Sony Pictures Television.) “I treasure the show, my time there and everyone involved, so of course they have my love and my support,” Light says of the reboot, though she is not currently involved. The show “was about the feminist movement and nobody really knew it at the time. It was on the cutting edge, it was expansive, it was revolutionary. What’s happening is that generations
70 VARIETY (OPPOSITE PAGE) ROBERT ASCROFT (THIS PAGE) GIOVANNI RUFINO/NETFLIX “Creativity comes she admits people toldhernottodoshe admitspeople tray in“Lombardi,” MarieLombardi Broadway afterthreedecadestopor- tor ThomasKail about returningto that therearenosmallroles. them operate theway that they do.” areandwhat makeshuman beings lifeous about andtheworld andwho ity comes curi- outof curiosity—being themaswell.curious about Creativ- for that watch thepeople them tobe thesecharactersandIlongous about I’m going curiousabout; I’m tobe curi- “I amalways for looking thethingthat ter away totheaudience,” sheexplains. the characterandgivingthat charac- prove of something—instead creating likeend uplooking you’re to trying you’re aversatile actor, you always have puttogether.” ofthe othercreative theteam parts for rolesinwhichshecan“relishwhat the rolesshetakes. shelooks Instead, todraweffort suchalinebetween all bindshercharactersisambition. truly Tick…Boom,”vens from“Tick, what Politician” agent Rosa andliterary Ste- Story,” Standishfrom“The Dede Sen. tion of GianniVersace: AmericanCrime Assassina- tor MarilynMiglinfrom“The add tothemixentrepreneurandinven- centered onmoth Light’s most pivotal have performances Games,”in “Manhunt:Deadly many of to thereal-life RichardJewell’s mother to findanewvoice in“Transparent,” matriarch ShellyPfefferman whohas to Ryland onthe“Dallas”reboot, ing tome.” oneof themisfascinat-Because every themnow?’ amIabout ‘Where saying, all of thosewomen that I’ve played and That’s why shealsorevels at in“looking alwaysdo it, timetoreflectonit.” needs acter that you do, for whatever timeyou lot of people.” But for her, “every char- characters “still live inthepresentfor a toit,”are speaking Lightsays. have by itandsothey impacted been are now catching upwithitandthey Judith Light out ofcuriosity.” When shefirst metwithdirec- Light isalsoabigbeliever intheidea “I thinkifyou’re toprove that trying For there isnotanassertive Light, From Judith thescene-stealing Light hasseenfirst-hand how the erhood. But whenyou of Fame, amongotheraccolades. Walktions andastar on theHollywood to Live,” four Primetime Emmy nomina- time Emmys for herwork on “One Life twophilanthropy consecutive work, day- venson Tony Award for herextensive She alsoreceived the2019Isabelle Ste- Parties,” Assembled “The respectively. and 2013for “Other Cities”and Desert noms, that inwins, resulted in2012 She went ontotwo moreconsecutive first Tony Award nomination in2011. “Lombardi,” her for whichsheearned of thedrivingforcepart of takingon from your head.” not they’re —because your trajectory are thechoices you make that change upgoingended for ninemonths. Those aone-off,”going tobe sherecalls. “It thoughtitwas “Everybody the project. of and thesizeit because of thepart Working withotherprolificproduc- Light’s connection withKail was politician inNetflix’s“ThePolicitian.” Judith Light(left,withBetteMidler)playsacareer SOPHISTICATED SENATOR completely satisfied,” Lightsays. get todowith my Iamutterly and work, me.’ inspired body Andifthat’s what I somethingfor me, modeled some- body executive Some- Iknewcould. because today? That an woman ‘Ibecame said, includes Light’s audience aswell. ence Iget.” doesn’t fromanexperi- Ichoose work. at —that thisinterms of my career’ says. “It’s notthat you go, ‘Letmetalk time: ‘Doyou get Light itinyour gut?’” that Igive toyoung actorsallof the Andthat’samazing people?’ theadvice itwork? Does DoIgetit? towork with Light’s morerecent careerdecisions. Tick …Boom” have someof alsoguided itician,” aswell asMirandaon“Tick, for “Assassination” both Pol- and“The ers anddirectorssuchasRyan Murphy “How doyou at Angela look Bower And of course, theexperience “At theendof theday Isay, ‘DoIget VARIETY 71 FOCUS VARIETY CREATIVE CHANGE AWARD
“What I do has always been at the forefront of pushing Black women and people of color forward. I’ve been doing that for years, and I think everyone’s catching up — not to me, but overall,” Thede says. “The good thing is, I don’t have to force anyone because they are in desperate need and they know that this is an [important] change.” QUISIN NIENT E NUM EUM, TEM. T UT EAQUIS ANT, TEM Thede notes that she focused so heavily on late night because she hap- NUM EUM, TEM ASPID QUAM, QUIATUSCI VOLUPTAT pens to know most of those showrun- By XXXXXXX XXXXXXXX ners personally. But, she has not stopped there. “Grace and Frankie” showrun- ner Marta Kauffman previously told Vari- ety that her company Okay Goodnight has been “broadening our pipeline for those that are historically underrepre- sented and marginalized through new hiring approaches, including reaching out to women writers of color” who were referred to them by Thede. For Thede, it’s all about giving those coming up behind her “the opportuni- ties that those in front of me helped me get.” To further aid with this, she is also “aggressively mentoring.” “I have, like, 25 mentees — and that’s just the people I directly speak to on a regular basis,” she says. “I also take a lot of writers under my wing and they know they can contact me for anything. Once these people become producers and showrunners of their own shows, they’ll hire me, and it becomes full circle.” As creator, writer, executive producer and actor on “A Black Lady Sketch Show,” Thede is most interested in “relatable ROBIN THEDE sketches that make people feel seen.” The series centers on Black female voices both behind-the-scenes (Issa Rae is TRANSFORMS THE another executive producer, for example; Amber Ruffin is a writer, and Dime Davis is a co-executive producer and director) ENTERTAINMENT BIZ and on-screen, with a core cast consisting of Thede, Quinta Brunson, Ashley Nicole VARIETY BESTOWS HONOR ON THE MULTI-HYPHENATE Black and Gabrielle Dennis. It picked up WHO HAS BEEN HELPING HIRE BLACK WRITERS a coveted variety sketch series Emmy nom and a variety/sketch TCA Award win By Danielle Turchiano for its first season. With “A Black Lady Sketch Show,” MULTI-THREAT ROBIN THEDE isn’t just a due to the racial reckoning the country Thede feels she has “a unique opportunity writer, producer, reality show host and and the industry is experiencing. to continue to broaden people’s opinion actor, she is also a one-woman employ- “This year, specifically, I called a bunch [and] expectations of what Black women ment agency. of the late-night showrunners that I knew in comedy can do, and that’s all we want. Over the past year, as many across the didn’t have any Black writers and I had We want to tell weird and strange and film and television industry have claimed really, really open and honest conversa- hyper-normal stories — just things we they want to do better with inclusion of tions with them about the need to hire haven’t been able to be in charge of in this women and BIPOC in front of and behind Black people on their staff,” Thede says. way before.” the camera, Thede has found herself hav- That is why, in addition to her ground- And she looks forward to doing more of ing many “really specific” and frank con- breaking work on HBO’s “A Black Lady that through her new overall deal: “I get to versations about how to do so. Sketch Show” and new overall deal with employ lots more people and create even Although this is not something Thede Warner Bros. Television Group, Thede more things that I’m passionate about. only started doing this year, the demand will be honored with Variety’s Creative There’s a certain level of creative freedom
for her attention has increased, partially Change Award, presented at Mipcom. that I haven’t had before.” SOPHY HOLLAND
72 VARIETY MILL VALLEY FILM FESTIVAL FOCUS
BAY AREA FEST STEERS TOWARD DRIVE-IN THEATERS
MILL VALLEY FILM FESTIVAL OFFERS A MIX OF ONLINE AND ON THE GROUND EVENTS
By Malina Saval
THE 43RD ITERATION of the Mill Val- ley Film Festival may not look as it has in previous years due to COVID-19 with many of its sections navigating online, but that in no way detracts from what the fest, running Oct. 8-18, will and already has accomplished on the artistic front. One of Mill Valley’s most notable endeav- ors: 57% of films screening in the San Francisco Bay Area fest are directed by women, a number that goes above and beyond its intended goal of reaching the 50% mark by 2020. “We are doing what we set out to do with the fest’s gender equity Mind the
Gap initiative,” says Mark Fishkin, MVFF THE BROTHERS GIBB founder and executive director of the Cal- Music doc “The Bee Gees: How Can You Mend a Broken Heart,” directed by five-time Oscar nominee Frank Marshall, will ifornia Film Institute. play closing night at the Lagoon Park-Marin drive-in theater at the Mill Valley fest’s main outdoor venue. “When you look at the films screen- ing this year, from ‘Herself,’ directed by Phyllida Lloyd, to ‘Nomadland,’ directed online (many of them pre-taped) spotlights film at Sundance and knew right then by Chloé Zhou, there is just some mirac- and tributes to such high-profile actors, that we needed to honor this film and ulous work being done by women. Look screenwriters and filmmakers as Judi this performance.” at ‘Spring Blossom,’ actor- writer-direc- Dench (“Blithe Spirit”), Delroy Lindo (“Da Fishkin is also committed to keeping tor Suzanne Lindon’s feature debut. What 5 Bloods”) and Aaron Sorkin (“The Trial of the spirit of community involvement alive. a remarkable film from such a young, the Chicago 7”). While indoor theaters aren’t an option, first-time director. We got a terrific ter- Other MVFF Award recipients include MVFF is presenting a series of outdoor rific lineup, it’s a really strong schedule Kate Winslet (“Ammonite”); Viola Davis drive-in movie nights at Lagoon Park-Marin of films and that’s what makes it so satis- (Mind the Gap Tribute Award); Regina King Center in San Rafael, starting with an open- fying. It’s the most challenging fest we’ve (“One Night in Miami”); and Clare Dunn, ing-night screening of “Blithe Spirit” and ever done and yet it feels so good.” who wrote and stars in “Herself,” Lloyd’s culminating in an Oct. 17 closing-night Along with its roster of buzzy film Dublin-set drama about an abused wife and showing of Frank Marshall’s new documen- screenings, MVFF will again showcase mother who builds her own house. tary “The Bee Gees: How Can You Mend a Variety’s 10 Screenwriters to Watch, fet- “When I first saw Clare [Dunn] on screen Broken Heart.” ing the selected scribes in an online panel in ‘Herself,’ I remember thinking, where “I think of bringing together the discussion. The fest will also honor Char- did this woman come from? She is amaz- community as almost like a cumulative lie Kaufman, writer and director of Net- ing,” says Fishkin. “An actress like that just process,” says Fishkin. “No, we can’t have flix’s enigmatic psychological drama doesn’t come around every day. I saw the wine and hors d’oeuvres and the parties, “I’m Thinking of Ending Things” and but it’s about implementing all of these this year’s recipient of Variety’s Creative incremental touches. Impact in Screenwriting Award. “I’m always interested in “Mostly, it’s about the community’s pas- “There’s lots of food there for thought,” defying expectations or sion for film and the excitement and us says Kaufman of the film. “I’m always fulfilling that need. The drive-in is our interested in defying expectations or pushing something. It’s new venue and it serves the festival, and it does pushing something. It’s new for me so for me so consequently it so very well. Look, I’ve built theaters that consequently it will probably be new for are inordinately expensive and at Mill Valley people watching it.” will probably be new for we do that because we believe in the theat- Mill Valley festival’s expansive slate, people watching it.” rical experience. Maybe we can’t have what which includes its Doclands documen- we’ve had in the past, but we can have this Charlie Kaufman LENNOX MCLENDON/AP LENNOX tary section, also features a bevy of and, for now, this is enough.”
VARIETY 73 FOCUS 10 SCREENWRITERS TO WATCH
WRITING THE FUTURE
VARIETY HIGHLIGHTS CINEMA SCRIBES MAKING HEADWAY IN AN UNCONVENTIONAL YEAR. THEY WILL BE FETED ON OCT. 13 AT THE MILL VALLEY FILM FESTIVAL AND PARTICIPATE IN AN ONLINE DISCUSSION.
Clare Dunne “HERSELF”
When writing her first Duel” in Dublin, while writing feature film, “Herself,” her first screenplay for episodic Dunne had no plans on television. “At the moment, I have claiming the lead role of Sandra, a lovely balance,” she says of jug- a young mother who leaves her gling acting with screenwriting. abusive husband to reclaim her “Some days I’m flowing with ideas; life. But as a new screenwriter, it some days I’m chilling in bed.” was a no-brainer that she listened Her writing, Dunne believes, to Phyllida Lloyd’s only condition reflects her outlook on life of for directing her script. believing in the ideas she wakes “It wouldn’t have happened up to. When the coronavirus- without Phyllida,” Dunne tells Vari- forced lockdown is over, Dunne ety from her hotel room in Ireland. is eager to tell more stories that “I had a hard time shaking off San- contribute to today’s “visionary dra. I’ve been in her, writing her for activism,” by reckoning with Tracey Deer and Meredith Vuchnich years, and I knew exactly who she painful histories and voicing was. But I didn’t want that as an new truths. “BEANS” actor — I needed Sandra to discover — Woojeong Janet Lee herself one step at a time.” Dunne spent her summer star- Reps: Agency: UTA (U.S.), Lisa Deer’s directorial debut, who really need to listen have a very ring in Ridley Scott’s film “The Last Richards Agency (Ireland) “Beans,” a coming-of-age big wall when it comes to that, and tale centered on a smart I thought connecting with a child Mohawk girl whose family becomes would be a safe way into the topic.” embroiled in the 1990 Oka Crisis in The film was the second runner-up Quebec, made its world premiere at for the prestigious People’s Choice the recent Toronto Intl. Film Festival. Award at TIFF this year. “Helping Deer, who is Mohawk, lived through Tracey Deer tell this story is one of the confrontation in which the Indig- the great honors of my life and I am enous people protested the expan- incredibly grateful for her trust,” sion of a golf course into their lands. says Vuchnich. “Most people, myself The dispute also laid bare ugly sys- included, don’t know what it’s like temic racism. The screenplay from to experience the world as an Indig- Deer and Vuchnich delves into pain- enous person. I learned so much ful memories of that time, as well through this process, and still have as issues of assimilation and univer- tons to learn. I believe this film can sal truths tethered to teen crushes help people understand more and do and defying your mom by wearing better. I believe ‘Beans’ is a story that too much makeup. Deer notes that the world needs to hear right now.” addressing these big issues through —Carole Horst the eyes of a child would be less threatening. “A lot of the people Reps: Management: OAZ
“Most people, myself included, do not know what it’s like to experience the world as an Indigenous person. I learned so much
through this process.” Meredith Vuchnich MCCALL DUNNE: BARRY GAPIC; CHAMOUN; VUCHNICH: CHRISTINA DORY DEER:
74 VARIETY Untitled-9 1 10/2/20 11:38 AM FOCUS 10 SCREENWRITERS TO WATCH
Shaka King and Will Berson “JUDAS AND THE BLACK MESSIAH”
With “Judas and the Black of a crime-drama narrative, which is a unified whole. The story is more Messiah,” scripters King inside of a genre film. Give people a timely than ever, telling of govern- and Berson look at the history lesson and entertain them.” ment infiltration into radical groups. 1969 murder of Black Panther activ- Due to decades of lies, the Black The film, from Participant and WB, is ist Fred Hampton and the imme- Panthers are still a hot-button topic, expected to open early in 2021. diate cover-up. A lot of misinfor- and Berson adds, “I think we’ll get a — Tim Gray mation was deliberately spread to lot of flack from all sides. But if we exonerate the Chicago police and can honor Fred Hampton’s legacy Reps: King Agency: UTA; FBI agents. and purpose, that’s OK.” Legal: Steve Rosenthal “This is an opportunity to counter King wanted to do a project cen- Berson Management: Epicenter; that, to shed light on an important tered on Hampton, and was shown Berlant Legal: Myman Greenspan topic,” says King, who also directed. a script that Berson had completed. Fox Rosenberg Mobasser “It’s a Fred Hampton biopic inside So they worked together to make Younger & Light
Kemp Powers “ONE NIGHT IN MIAMI”
Ever since Powers’ debut continue to this day. play, “One Night in Miami,” “Ultimately, this film is about what, premiered in 2013, producers if any, responsibility does the Black Jess Wu Calder and Keith Calder artist have?” Powers says. “The con- have been trying to adapt it into a flict between Sam and Malcolm in the film. And for most of that time, Pow- film is sort of the conflict that’s going ers wasn’t interested. on in my psyche before I make up my “When I first wrote the play, I mind about a project: This question didn’t see myself making a transi- of when do I want to tear it all down tion into writing for film and TV,” Pow- versus when do I want to try to work ers says. “It wasn’t even necessarily within the system. That’s going on an aspiration at the time.” Fortunately inside of me all the time, and I would the producers eventually changed argue probably for a lot of other Black his mind, and “this thing I didn’t artists as well.” think would happen started to hap- Reluctant screenwriter though pen organically.” he may have once been, Powers has The play, which Powers adapted since jumped in with both feet. He himself into the Regina King-directed was brought into the Pixar fold a few film that premiered at Venice last years ago as a writer and co-direc- month, is a speculative dramatiza- tor for the studio’s upcoming “Soul,” tion of a real-life event in 1964, when a process which Powers compares newly crowned heavyweight cham- to “Navy SEAL school for writers.” pion Cassius Clay (soon to rename He’s also developing two other fea- himself Muhammad Ali) spent the tures, one for Phil Lord and Christo- night in a hotel with friends Malcolm pher Miller, and the other for Michelle X, Jim Brown and Sam Cooke. In Pow- and Barack Obama’s Higher Ground Viggo Mortensen ers’ hands, their imagined discussions Prods. — Andrew Barker amount to an unusually politically “FALLING” astute hangout film that foreshadows Reps: Agency: Gersh; Management: so many of the knotted questions of Media Talent Group; Legal: Gang, racial identity and responsibility that Tyre, Ramer, Brown & Passman After acting for more than says this approach stems from 30 years, Mortensen makes his own mother. After watching a his filmmaking debut movie, the two would talk about with “Falling.” Variety critic Peter “what might have happened, about Debruge enthused, “Lance Henrik- what was left out. If the movie had sen gives the performance of his engaged us, it was always because career, but it’s writer-director-star we had been inspired to fill in part Viggo Mortensen who makes the of the story, to understand its struc- film’s universal themes resonate so ture and the motivations of its char- strongly … His script manages to be acters. To this day, as a reader and tough yet tender.” a writer, I am as interested in what “Falling” explores the subjec- is not on the page as I am in what tive memories of a father and son is.” The result is a knockout work (respectively played by Henrik- that stays with the audience long sen and Mortensen). But the emo- after the final credits. tional conscience is wife/mother — Tim Gray Gwen (Hannah Gross). Mortensen tells Variety, “I’ve always been Reps: Agencies: UTA, Imperium 7 drawn to stories that are not fully (voiceover); Management: Omni explained to me, that invite me to Artists, Rawlins Co. Legal: Good- see and think for myself.” It’s not man, Genow, Schenkman, Smelkin-
autobiographical, but Mortensen son & Christopher GETTY IMAGES BY DOYLE/CONTOUR MATT MORTENSEN: MALIK; DAMU POWERS: KING: SASKIA;
76 VARIETY 10 SCREENWRITERS TO WATCH FOCUS
Andy Siara “PALM SPRINGS”
Siara’s “Palm Springs” other’s therapists, then on another did not start out as a time- hand, try to make each other laugh loop movie, but rather as we were digging through our one inspired by his own concept own psyches and our own sub- of love and a trip to Palm Springs conscious,” he says. The balance with director Max Barbakow. between humor and emotion is at Contrary to many other time-loop the core of Siara’s film. In fact, it’s films, Siara’s plot utilizes repeated a signature goal found at the core time as a device for a more broad of everything he writes. “My goal storyline about love, marriage is always to try to hit that special and commitment. laugh-cry dynamic in a scene,” he And after over four years says. “If you can laugh in a scene, of changing and adding to the and cry in the same scene — like a original idea, eventually his script true cry that is from a deeply emo- came to life. tional spot — that’s the goal.” Emma Seligman “I would put away ‘Palm — Eli Countryman Springs’ and go back to it … and “SHIVA BABY” whenever I went back to it, me and Reps: Agency: UTA; Management: Max would get into a room and LBI Entertainment; Legal: Todd After her short film “Shiva was also challenging to display almost, on one hand, act like each Rubenstein and Morris Yorn Baby” premiered at the SXSW Danielle’s bisexuality, which felt Festival in 2018, writer-direc- extremely important to me since tor Seligman was looking forward to I’m bi and I wanted a bi protagonist, returning with the feature version — but there’s only so much you can until the pandemic brought things to get away with showing in one day a halt. The festival went digital and with different love interests.” the film was a hit, taking the Grand Seligman says the film was influ- Jury Award for Narrative Feature enced by “my manic, ridiculous fam- before playing at Toronto. Seligman is ily” but also credits Joey Soloway for still overwhelmed. “I told myself that paving the way “for modern, nuanced even if the movie sits on a shelf and and queer Jewish storytelling.” no one sees it, at least we finished She also credits her professor at our first movie,” she notes. “So having NYU, Yemane Demissie, who advised low expectations has made this kind her to write about something she of response unbelievable.” knew. “When I was deciding what my The film is primarily at the titu- film school thesis would be about, I lar shiva, as Rachel Sennott’s Dan- originally wanted to do something ielle juggles interactions with med- epic and dystopian, as many college dling relatives, her ex-girlfriend and seniors want for their theses,” she her sugar daddy, who shows up with notes. She also admits to going to his wife and child. “I always knew the school with “a lot of sugar babies” at feature adaptation would also take NYU, which inspired this “beautifully place in one day in the same loca- uncomfortable clashing of worlds tion for budgetary reasons. Therefore, that would unleash a woman’s deep- the most challenging aspect of writ- est anxieties about community pres- ing this was filling the story up with sure, sexual validation, self-worth and enough events to keep you hooked uncertainty about her future.” “ My goal is always to try to hit that special but not so much that would make the — Jenelle Riley film fall into a total unbelievable slap- laugh-cry dynamic in a scene.” stick style,” Seligman notes. “It Reps: Agency: WME Andy Siara
Remi Weekes “HIS HOUSE”
Weekes makes his fea- felt very rejected. And because of ding filmmaker isn’t only interested ture directorial debut with that we wanted to pull away and to in telling horror stories. “I like emo- “His House,” a tale of mar- rebel against the culture.” Weekes tional cinema —I like melodrama, I ried Sudanese refugees who face says that, in some ways, those two like feelings, I love romantic film,” he unspeakable horrors once arriv- sides are still at war with each other. says. “Whatever my next film will be, ing at their new home in England. Which is why he represented both I hope I tell stories that are about The British filmmaker says he was perspectives in the film through its feelings over things.” inspired to develop the story by stars, actors Sope Dìrísù and Wunmi — Angelique Jackson examining his experience grow- Mosaku. For Weekes, the story is ing up as a person of color in Lon- less about the social and political Reps: Agency: CAA, Independent don. “[Me and my friends] always aspects of immigration, “but more Talent Group (U.K.), Legal: Good- felt torn,” he says. “There was one about what it means to be a per- man, Genow, Schenkman, Smelkin- side of us that wanted to fit in and son in this world and what it means son & Christophe wanted to assimilate, and kind of to have to move through it.” Though disappear into the culture and be the film landed a big pickup by Net- part of, I guess, Britishness. But then flix before it premiered at the 2020 WEEKES: PETER SEARLE/SUNDANCE FILM FESTIVAL WEEKES: PETER SEARLE/SUNDANCE there’s also this other side of us that Sundance Film Festival, the bud-
VARIETY 77 FOCUS 10 SCREENWRITERS TO WATCH
Kata Wéber “PIECES OF A WOMAN”
Multilingual playwright of a Woman” is a universal story, Wéber is a woman on a Wéber is emphatic that she didn’t 10-year plan. For 10 years herself experience a stillbirth. “This she was an actress and the next is an art piece,” she points out. “I am decade a writer. Working with not a visionary, I am not thinking in helmer Kornél Mundruczó, with pictures at all, I am thinking in dia- whom she previously partnered logues, in feelings, intentions, yes. on 2014’s “White God,” she made And also measures, like this has to “Pieces of a Woman,” the story of a be big and long.” Boston couple who lose a child. “I Wéber and Mundruczó go back come from a theater background to the early 2000s when she acted and I’m working in German houses, in his first features, and while she in Poland, in Switzerland, so always I has worked with other directors on am constantly working in other lan- plays, her films have only been with guages,” Wéber says. “It is not new him. “We have this relationship, he Tracey Scott Wilson for me, it is very familiar. You have stands for me if I need help with “RESPECT” a text and you have to find the best the script or I have questions and possible way of the translation.” For I stand for him during shootings. I “Pieces of a Woman,” which is win- never interrupt, I think, only if I feel Growing up in Newark, anytime I thought I was just being too ning accolades, she worked with there is a big misunderstanding.” N.J., Wilson listened to the precious, I just thought, she’s a char- translators who understood the As for future projects, she’s songs of Aretha Franklin and acter in the movie.” emotional center of her film. “After working on a historical Hungarian dreamed of one day becoming a nov- Inspired by screenwriter Charlie all these years I am finding that only story, but she wants to talk to Mun- elist. But she discovered her true call- Kaufman for his sheer audacity and the most important meanings stay, druczó over whether they should be ing was writing for performers on the imagination, she relishes the chal- only what is universal, all the rest English-language or in Hungarian. — Shalini Dore stage and screen. lenges of writing for different media. you don’t need.” A playwright first, she began col- Theater offers immediacy, she says, She had two “pillars” to the laborating with Liesl Tommy on the- while TV writing projects allow more story, the birth scene and the dinner Reps: Agency: United Agents (U.K.), ater projects, and that connection expansive character development. As scene with the trial. While “Pieces CAA (U.S.) helped pave the way for Wilson’s for film: “I love the challenge of hav- first feature screenwriting credit on ing to fit a story into a structure and “Respect,” which Tommy directed. having to figure out that puzzle,” says Wilson, a writer and producer on Wilson, who lives in Brooklyn with her “Fosse/Verdon” and “The Ameri- wife and is working on some projects cans,” was surprised by how much for FX. “I love studying movie scripts she didn’t know about Franklin’s life and looking at films and just figuring when she began working on the MGM out how the puzzle works.” biopic in May 2019. She admits it was — Diane Garrett a bit daunting to write a movie about such an iconic figure, but “once I sort Reps: Agency: WME; Management: of started to look at her as a charac- Manage-ment; Legal: Frankfurt Kurnit ter in a movie it became easier. So Klein & Selz
“I love the challenge of having to fit a story into a structure and having to figure out that puzzle.” Tracey Scott Willson
78 VARIETY KUDOS.
JUDITH LIGHT VARIETY ICON AWARD RECIPIENT CANNESERIES 2020 FOCUS KILLER FILMS AT 25
10 years, fellow principal David Hinojosa. NEW YORK INDIE Killer Films is credited as a pillar of the so-called “New Queer Cinema” of the REBEL CHRISTINE early ’90s, putting forth lasting works of art about the LGBTQ community from directors including Todd Haynes (“Far VACHON IS STILL From Heaven”), Kimberly Peirce (“Boys Don’t Cry”), Rose Troche (“Go Fish”) and Larry Clark (“Kids”). MAKING A MARK In the early aughts, the blood-and-guts indie fare of Killer achieved record com- mercial success with Robin Williams’ PILLAR OF LGBTQ FILMS REFLECTS ON A QUARTER- “One Hour Photo” ($52 million at the domestic box office). In the past decade, CENTURY OF KILLER FILMS Killer Films produced career-defining By Matt Donnelly roles for Cate Blanchett with “Carol” and Julianne Moore with “Still Alice.” This year, the shingle’s “Shirley” played Ber- lin, while its film “The World to Come” wowed Venice. The company has a com- bined 12 Academy Award nominations and two wins, along with numerous nom- inations and wins from bodies including the Hollywood Foreign Press Assn. and Film Independent. “I remember Michael Barker and Tom Bernard from Sony Pictures Classics said on a panel once, ‘You can’t build a busi- ness on home runs. You have to build it on singles and doubles,’” Vachon recalls. “And once I looked up that sports meta- phor, I realized that that’s what Killer has done. We have a lot of singles and dou- bles, and the occasional triple.” It’s astounding that an independent film production company would have survived 25 years, especially in the paradigm-shifting streaming era or, as Vachon deadpans, “the past six months” — referring to the economic devastation of COVID-19 and the global shuttering of COMPANY WEBB/THE WILSON WEINSTEIN CAROL: EVERETT COLLECTION; URTESY movie theaters. The Killer process has always been the same, Koffler says. “It begins with some authentic connection to the project, and that has guided us over the years to a consistent space of original storytelling,” Koffler says. “There’s usually something trying to be said in each project that has a freshness to it, or a unique way to tell what might be a conventional story. For BY HER OWN admission, Christine Vachon rience can be,” she says. “And it can’t me, there’s always a meaningful spark, is not a nostalgic person. This would nor- be copied. It almost felt medicinal, after and then we figure out where this would mally make a conversation about the 25th everything we’ve been going through.” fit in the market before we invest all the anniversary of her pioneering indepen- In short? “There wasn’t a dry eye in resources into how to make it.” dent film company Killer Films a challenge the house.” Vachon, who is 57, is one of the last fig- but, luckily, recent events have changed Bringing audiences inside movie ures standing from her generation of New her perspective. theaters for a collective storytelling York’s indie rebels. Scott Rudin long ago Vachon attended September’s Venice experience has been a mission for Killer PIONEER PRODUCER expanded from movies into film and tele- Intl. Film Festival, for which she served Films, which has produced more than Christine Vachon vision, with a current focus on block- has spearheaded as a juror, an event greatly strained by the 80 features. From “Boys Don’t Cry” to some of the most pop buster Broadway shows. James Schamus, coronavirus pandemic. With a masked “Hedwig and the Angry Inch,” these culturally important the architect of Focus Features, has piv- audience spaced three seats apart, open- projects were stitched together by the films in the arthouse oted to directing and academia in addi- space, from “Hedwig ing night made Vachon “revisit, in a very hands of Vachon and her ride-or-die and the Angry Inch” to tion to the occasional producing job. In
profound way, what the theatrical expe- partner Pamela Koffler and, for the past “Far From Heaven.” the end, says Cinetic founder John Sloss, STUDIOS/CO 20TH CENTURY DON’T CRY: BOYS COME: SONY PICTURES; TO THE WORLD PAGE) (OPPOSITE CHARLES SYKES/INVISION/AP (THIS PAGE)
80 VARIETY KILLER FILMS AT 25 FOCUS
that’s been inspired by their own catalog. “We deal with the irony of companies that were created because of Killer Films, that we now sometimes compete with for projects that used to automatically come to Killer,” Vachon says. “That’s OK, because we’re big believers in a healthy ecosystem.” Hinojosa joined the company “hav- ing already metabolized” Vachon and Koffler’s style. “I think what’s really funny is that now when you sit down with filmmakers, you see in their look books, they are filled with photos and references to other Killer mov- ies,” he says. “It’s sort of folded in on itself, and what’s great about that is that we can add to this legacy but also reinvent it.” How did Killer come to be? For Cindy Sherman’s 1997 horror-comedy “Office Killer,” Vachon and Koffler named FESTIVAL PLAYER that standalone shop “Killer Films.” “The Vanessa Kirby name stuck. starrer “The World to Come,” directed “We loved the name, and also loved by Mona Fastvold, the expression if something was really played at the great, it’s killer,” Vachon says. “And it felt Venice Film Fetival this year. very symbolic that it was the first movie that we were first taking producer cred- its. It was a time when Pam and I worked ABOUT A BOY together on movies including ‘Kids,’ Hilary Swank won ‘Stonewall’ and ‘I Shot Andy Warhol.’ an Oscar for her Those films allowed us to have the stabil- groundbreaking lead ity of an ongoing office, and to start devel- performance in “Boys Don’t Cry.” oping projects, which we hadn’t really done before — most notably, ‘Boys Don’t Cry.’ It also allowed me to understand that the relationship that Pam and I had devel- oped on those projects was something worth holding on to.” Killer Films has staved off an outright purchase by one of the major studios or tech giants. The company is in the midst of a first-look film and TV deal with MGM under Michael De Luca, which Vachon calls fruitful. REEL LOVE Given that Vachon is not nostalgic, Cate Blanchett and she is not one to keep mementos. Her Rooney Mara earned Oscar noms for their roles in office has some of Haynes’ elaborate story- Todd Haynes’ romantic boards from “I’m Not There” in frames, drama “Carol.” and she’ll occasionally keep a ticket stub from a Killer Films red carpet premiere in the corner of her desk as a reminder Killer’s longevity has been due to its similar kind of attention to themes about of the victories. founders’ taste and tenacity. marginalized subjects. It’s remarkable “I get stopped on the street maybe “They’re fierce and they have great how consistent they are, and how unmoti- once a month by somebody who says to taste,” Sloss says. “They don’t have large vated they are by commercial trends.” me, ‘You made my favorite movie.’ And egos. It’s not about them, it’s always about In a more cynical media lens, Killer I never know what title they’re going to the project or the storyteller. They are the Films has what many contemporary com- say,” Vachon says. “Sometimes they’ll first one to compromise to get a film made, panies can’t buy: a true brand, forged say ‘Hedwig,’ and sometimes they’ll say much to my frustration sometimes.” from a deep library of tremendous risks. ‘Velvet Goldmine,’ sometimes ‘Far From Haynes says the fire that bore the com- “By the time we realized that we had a Heaven’ or even this little-seen, hard-to- pany has been the key to its success. brand, it was too late to do anything about watch Holocaust film called ‘The Grey “The early days of Killer that came it,” Vachon says. Not only has it solidi- Zone.’ If you can make a number of out of the new queer cinema, that was an fied them a place in cinema history, it’s movies that have the power to be some- urgency to tell stories from the culture,” created interesting competitive dynam- one’s favorite, that’s a great thing. That’s Haynes says. “They’ve continued with a ics and even helped them find new talent what I want our legacy to be.”
VARIETY 81 FOCUS BFI LONDON FILM FESTIVAL
In other words, it’s business as usual, FESTIVAL OF but completely different. Physical screen- ings will still proceed at the BFI South- bank but, continuing a hybrid model FESTIVALS recently used by the Toronto Intl. Film Festival, a rather larger audience will be able to view films via the BFI Player ADJUSTS LINEUP streaming platform. This year’s edition mostly retains the programming structure WITH FEW PREVIOUS EVENTS, introduced by former fest director Clare Stewart in 2012 — theming films by such LONDON FEST EXPERIMENTS WITH SLATE categories as Love, Dare, Debate and so on By Guy Lodge — but applies it to a significantly slimmed- down selection of around 60 features. Gone is the usual headlining range of starry red-carpet gala premieres; ditto THE LATE-SUMMER reactivation of the ers often manage to secure a heavyweight the extensive juried competition short- film festival circuit presented fest direc- or two — than on cherry-picking the best lists. Instead, in keeping with the festival’s tors and programmers with an array the year’s other festivals had to offer, overriding for-the-people spirit, awards of challenges, both expansive and re- and bringing those highlights to British for best film, documentary, short and strictive. On the one hand, they’ve had a audiences for the first time. What hap- XR project from the entire program will bounty of withheld titles to choose from; pens to a festival of festivals, then, when be determined by the viewing audience on the other, the industry stasis of the the fests haven’t come through? through online voting. Greater public past six months has put any number of As this year’s LFF lineup (running accessibility and engagement in exchange previously expected projects indefinitely Oct. 7-18) demonstrates, director Tricia for a more modest lineup — it’s altogether out of reach. Tuttle and her staff have decided on a a very 2020 compromise. 2020’s London Film Festival, in particu- mixture of pragmatic downsizing and And yet a measure of glitter endures. lar, has felt the domino effect of the year’s resourceful experimentation — yielding The program may have it discreetly listed other cancelled and compromised events. a festival that may appear more low- COURTING AUDS in the two-film Family section, but the fes- A predominantly public-oriented affair, key than past editions, but shows the Steve McQueen’s tival has nabbed the world premiere of “Mangrove” from the the LFF has always placed less stress on lights still on at its organizing body, the “Small Axe” series Pixar’s much-anticipated animated block-
major world premieres — though organiz- British Film Institute. will open LFF. buster “Soul” — London’s highest-profile AMAZON
82 VARIETY BFI LONDON FILM FESTIVAL FOCUS
first-dibs coup in many a year. The Jamie Foxx- and Tina Fey-voiced comedy was REALITY CHECK AT to have premiered at the ill-fated Cannes Film Festival back in the spring; in this respect, London, which usually feasts off EXPANDED FESTIVAL the French fest’s highlights for its lineup, has actually gained a small boost from LFF’S ‘BLENDING XR’ TRIES TO SPAN ALL FORMS OF Cannes’ cancellation. “Soul” provides a rare shot of Holly- VIRTUAL EXHIBITION By Guy Lodge wood pizzazz in a festival whose inter- national outlook is even more pronounced this year — with represented nations IF THE LONDON FILM Festival’s feature been redeveloped for individual users running the gamut from Kenya to Argen- film lineup offers a condensed version at the festival. It has been announced as tina to India to the Philippines — along of the existing format, organizers have the start of an ongoing VR partnership with its commitment to elevating taken advantage of that downscaling to between the two cultural institutions. homegrown filmmaking. invest increased energy and innovation in Other selections range from “Ilios,” As usual, British productions bookend their new LFF Expanded sidebar. Blend- Marcel Karnapke and Mika Johnson’s the fest. Steve McQueen’s “Mangrove” ing XR — or X Reality, a catch-all term that VR interpretation of a COVID-affected — the second feature-length episode of spans virtual, augmented and mixed real- world, to “Birds of Prey,” in which auteur the artist-filmmaker’s “Small Axe” TV ity forms — and immersive performance, Abel Ferrara takes us through one of his project — will open proceedings. (The it represents the LFF’s first attempt to unfinished films — if more traditional- first, “Lovers Rock,” is duly featured in engage with new forms that have made minded cinephiles find themselves the Love section.) The closer, meanwhile, fast inroads into traditional festival pro- regarding the Expanded section with will be Francis Lee’s romantic period gramming in recent years, from Sun- confusion or suspicion, there’s an entry drama “Ammonite.” In choosing stories dance’s New Frontier program to Venice’s point for them too. of Black protest and same-sex love, from trailblazing VR competition. Black and queer filmmakers, respectively, Though plans are afoot for a physical to bracket the festival, programmers have installation in future editions of the festi- pointedly underlined the BFI’s pledge to val, this year will see the program unfold promote more diverse storytelling and in a dedicated virtual exhibition space, talent. (That said, the female director the Expanse. It will house a gallery of 20 count, while making up a third of the immersive videos, as well as a virtual the- feature selection, is a notch lower than in ater for events and talks across the fes- previous years.) tival. Entirely free to access, it’s also, as McQueen and Lee’s films premiered with the rest of the fest, set up for home at the New York and Toronto festivals, viewing — provided, of course, that you respectively: even if on a smaller scale, have your own VR headset. (For those who the LFF has maintained its role as a snap- don’t, and don’t fancy sampling a less shot of the year in festival program- immersively formatted selection of vid- ming. From pre-lockdown times, Sun- eos on their home browser, a temporary dance is represented via such selections in-person viewing space has been set up as Miranda July’s quirky “Kajillionaire,” at BFI Southbank.) Josephine Decker’s speculative Shir- Directing the programming of LFF ley Jackson biopic “Shirley” and Garrett Expanded is Ulrich Schrauth, an expert Bradley’s doc “Time,” a heartrending pro- in the field also known as the artistic test against the injustices of the U.S. penal director of Hamburg’s VRHAM! virtual system. Berlin has donated the likes reality festival. Brought on by London of Christian Petzold’s mythical update before the onset of the pandemic, he “Undine,” Abel Ferrara’s bizarro headtrip had to change strategy in his first year: VIRTUAL “Siberia” and the dynamite Riz Ahmed “Shifting the full artistic program into Nubiya Brandon showcase “Mogul Mowgli.” the virtual realm makes it even more starrer “All Kinds of Limbo” is among the Fresher in people’s minds are a host accessible for all kinds of audiences and LFF Expanded sidebar of titles from the recent Venice-Toronto- creates new opportunities for creative experiences. New York run, none more gilded than formats and artistic impression,” he Chloé Zhao’s “Nomadland,” which has said in a statement. thus far racked up Venice’s Golden Lion, Despite Schrauth’s ample international Toronto’s People’s Choice Award and a experience, this is no copy-paste of other surfeit of awards chatter since its early- VR programs. Among the selections giv- Tipsheet September premiere. For Zhao’s film, ing it a specifically London image and WHAT: BFI London Film Festival London represents another stop on its outlook is “All Kinds of Limbo,” a collab- WHEN: Oct. 7-18 peripatetic international journey; for oration with the BFI’s physical and spir- WHERE: Southbank, London London, its inclusion is a vital indication itual neighbor the National Theatre: first WEB bfi.org.uk/london-film-festival that, after a testing year of uncertainty commissioned by the latter as a multi- and compromise, the festival still has its player experience, this genre-melding
SIMON SORTED finger on the pulse. journey through West Indian music has
VARIETY 83 FOCUS HAMPTONS INT’L FILM FESTIVAL
documentary directors Glenn Kaino BUZZ TITLES and Afshin Shahidi. The timely doc, about the legacy of Tommie Smith’s fist- raising gesture during the 1968 Olympic GO ONLINE Games, will also be awarded HIFF’s Film of Conflict & Resolution Award, given to HAMPTONS TRIMS SLATE BUT PUMPS UP THE VOLUME a title that deals with issues and societal effects of war and violence. ON AWARDS-WORTHY OFFERINGS AND EVENTS “We liked the idea of opening with a By Addie Morfoot film that spoke to current issues and the upheaval going on right now,” says Nugent. HIFF is the first and possibly last film FOR THE PAST 27 years the Hamptons land,” starring Francis McDormand. festival the docu, which took eight years Intl. Film Festival meant fancy cocktail Odom, Winslet and Yeun will virtually to complete, will participate in. hours, plenty of celebrity sightings and participate in fest’s annual A Conversa- “After Tribeca went away, we realized the unspooling of award season’s buzziest tion With … series. that most festivals were going to happen in films. The 28th annual edition, like The 30 features and 21 shorts that the new paradigm,” says Shahidi. “So we everything in 2020, will feel different. make up this year’s lineup originate from decided to focus on finding distribution.” The Long Island-based fest, which new and established filmmakers and (Starz recently picked up “With Drawn runs Oct. 8-14, will be virtual and offer a includes acclaimed titles from Sundance Arms” and will air the doc just weeks select number of drive-in screenings. In and international festivals — even from after HIFF on Nov. 1.) addition to scaling down the lineup from the cancelled Telluride and Cannes. Fellow docs making either their world, 120-plus to 51 films, only a quarter of the The lineup is 49% female filmmakers and U.S. or East Coast premieres at HIFF fest’s typical staff will be in attendance. 47% BIPOC filmmakers. include Alex Gibney’s “Crazy, Not Insane,” But what won’t feel different this “I participated in the Cannes virtual Nathan Grossman’s “I Am Greta,” Lisa year is the fest’s core — its content. HIFF market and I watched some of the South Immordino Vreeland’s “Truman & Ten- will still offer the most eagerly awaited by Southwest and Tribeca films online,” nessee: An Intimate Conversation” and titles of the year so far, including Lee Isaac says HIFF artistic director David Nugent, Rick Korn’s “Harry Chapin: When in Chung’s “Minari” featuring Steven Yeun; who also kept abreast of other festivals Doubt, Do Something.” Regina King’s directorial debut “One including Toronto and Venice when curat- HIFF will also screen Michael Dweck Night in Miami,” starring Leslie Odom Jr.; ing the 2020 lineup. and Gregory Kershaw’s doc “The Truffle Francis Lee’s “Ammonite,” starring Kate Nugent also relied on a personal Hunters.” The Sony Picture Classics pickup Winslet and Saoirse Ronan; Tara Miele’s tracking sheet. about a group of traditional truffle hunt- “Wander Darkly,” with Sienna Miller “If we hear about a film that is in er-gatherers premiered at Sundance and and Diego Luna; Florian Zeller’s “The production by a filmmaker we like, then was selected for Telluride and Toronto. Father,” toplining Anthony Hopkins and we stay in touch and track that project,” “One of the things that’s really excit- Olivia Colman; and Chloé Zhao’s “Nomad - Nugent says. “ ‘Nomadland’ has been ing about being a part of the Hampton’s on our radar for literally two years.” film festival is that they are doing drive-in Nugent has a gift for selecting films screenings and our film will be part of that strike a chord. This year marked that,” says Kershaw, who will attend the Tipsheet TOP OF THE LINE the 10th consecutive time a HIFF film HIFF with Dweck. “Even if we’re going WHAT: Hamptons Intl. Film Festival Isaac Lee Chung’s has become the eventual best picture to be socially distanced and in our own WHEN: Oct. 8-14 “Minari” (left) and winner at the Oscars. Regina King’s “One cars while it’s happening, there’s still this WEB hamptonsfilmfest.org To secure the festival’s opening Night in Miami” are magic that happens when people are in two of the blue-chip night film — “With Drawn Arms” — titles screening at the same place, experiencing something Nugent reached out to first-time feature the Hamptons Fest. on a screen together.” MINARI: MELISSA LUKENBAUGH/A24; ONE NIGHT IN MIAMI: PATTI PERRET/AMAZON ONE NIGHT IN MIAMI: PATTI LUKENBAUGH/A24; MINARI: MELISSA
84 VARIETY INTRODUCING
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mip com FESTIVAL LYON LUMIÈRE FOCUS
CLASSIC FILM CELEBRATED IN TIME OF CORONA
LUMIÈRE FESTIVAL MAKES CONTINGENCY PLANS IN CASE IT HAS TO GO VIRTUAL By Ed Meza
IF ALL GOES AS planned, the Lumière David Lynch’s 1980 “The Elephant Man” Film Festival will kick off this month in and Volker Schlöndorff’s 1979 Oscar-win- Lyon, France, to again celebrate clas- ner “The Tin Drum” in French and Ger- sic cinema and fete such guests as Viggo man theaters, while a restored edition Mortensen and Oliver Stone. of Bernardo Bertolucci’s 1987 epic “The This year’s edition, which runs Oct. Last Emperor” became Taiwan’s high- 10-18, is taking place under strict health est-grossing film in June. and safety measures, including limiting Further opportunities for European public gatherings to a maximum of 1,000 catalog titles may arise from an expected people. Due to recent spikes in cases and European Commission directive that hospitalizations, restrictions have been could require streaming platforms to changing around the country, making the have a 30% share of European works in festival’s organization more complicated. their catalogs — one of this year’s main While COVID-19 continues to cast topics in Lyon. its shadow over industry gatherings, The MIFC opens Oct. 13 with a key- growing opportunities for heritage film note from Nathanaël Karmitz, chair- under the pandemic is sure to be a major man of French film group MK2, who is topic of discussion at the fest’s Intl. expected to discuss business strategies, Classic Film Market (MIFC). heritage policy and the company’s cur- Headed by Bertrand Tavernier, Insti- rent projects, including a new Claude tut Lumière president, and Cannes topper Chabrol collection restored in 4K. Thierry Frémaux, Institut Lumière direc- In April, MK2 sold a classic film tor, the fest is one of the world’s premier package to Netflix that included works events showcasing heritage cinema and by François Truffaut and Charlie Chaplin. film restoration. The company also launched its MK2 This year the event is paying tribute Curiosity service during the “national to Jean-Pierre and Luc Dardenne with confinement” with free access to five or the Lumière Award for lifetime achieve- for a worst-case scenario in view of the SPECIAL EVENT six catalog films every week and it has ment. Stone will present his new autobi- fast-changing situation. Greta Garbo and John now become a long-term project. Gilbert-starrer ography, “Chasing the Light,” and a newly “We have to take into consideration “Flesh and the Devil” Another focus will be Portugal. This restored version of 1989’s “Born on the that something might happen, so we have will unspool at the year’s guest country is a good represen- Fourth of July.” that in mind and we are trying to orga- festival. tation of what is happening in Europe, Mortensen and fellow guest of honor nize it the best way we can,” says MIFC Duchaussoy says. The Portuguese Cinema- Thomas Vinterberg will be on hand program coordinator Gérald Duchaussoy. theque has agreements with rights hold- for Lumière’s Cannes Official Selection Market panels and presentations will ers and distributors, organizes events, 2020 premieres, which will include be accessible online to accredited par- promotes Portuguese cinema at festivals, their respective works, “Falling” and ticipants, but organizers are planning digitizes and restores films and has also “Another Round.” to move the entire event into the virtual launched a platform during the lockdown Among this year’s other premieres sphere if it becomes necessary. with pics from its archive, he points out. are Pixar’s “Soul” and 14 restored prints “It’s on everyone’s mind at the Representatives from the Portuguese that include Joseph L. Mankiewicz’s moment, the confinement, the repercus- Cinematheque, Lisbon-based distrib Cary Grant starrer “People Will Talk” sions for theaters, TV and the platforms,” Midas Filmes, streaming platform Filmin (1951); George A. Romero’s long-lost Duchaussoy states. “The situation is boil- and pubcaster RTP Memória will take 1973 pic “The Amusement Park”; Robin ing at the moment, especially for cinemas part in round-table discussions. Hardy’s 1973 horror classic “The Wicker and for heritage films.” Man”; Peter Weir’s 1975 “Picnic at Hang- While opportunities for heritage film ing Rock”; and David Cronenberg’s in the time of corona are not exactly on “The Brood” (1979). the agenda, they are certain to be dis- Tipsheet Despite the health precautions, inter- cussed. Cinemas around the world have WHAT: Festival Lyon Lumière est remains high among festgoers and been struggling due to the pandemic and WHEN: Oct. 10-18 industry reps, with tickets selling briskly the dearth of new pics, resulting in fresh WHERE: Lyon, France and MIFC accreditations, while down 20% opportunities and audiences for classic WEB: festival-lumiere.org this year, at the same level as 2018. catalog titles. Nevertheless, while hopeful that all Following lockdowns in Europe, Stu- goes as planned, organizers are prepared diocanal released 4K restorations of
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Untitled-12 1 10/2/20 11:55 AM ARTISANS TOPARTISANS BILLING
[Ava, played by Amanda Christine], we wanted to be intimate with the camera, so Creating an Anthology we used a handheld and kept the camera static where needed. For other moments, especially when we were trying to show fear, we’d follow the character and shoot of Thrills and Chills around in 360. The black box is a headset, a virtual CREW MEMBERS REVEAL THE TRICKS THEY USED TO RATCHET UP TENSION pathway to Nolan’s memories, but that’s his
IN AMAZON’S ‘WELCOME TO BLUMHOUSE’ MOVIES By Jazz Tangcay safe space, so the changes there are subtle; we used a wider lens but kept closer to him. However, the camera movement is shaky. When he’s in the box, we show his memo- ries. We moved left if he moved right, and vice versa. It was a subtle transition, but it tells the audience something is off about what he remembers. “WELCOME TO BLUMHOUSE” is an anthol- Hilda Mercado, cinematographer, ogy of eight horror thrillers executive “Black Box” Philip Fowler, editor, “The Lie” produced by Jason Blum; each tells a Summary: A man undergoes a painful Summary: A father and a daughter spot the different story, with different casts and experimental treatment to try to regain his girl’s best friend on the side of the road and crews. The first two films, “Black Box” memory after a car accident in which his offer her a ride. When the friend doesn’t and “The Lie,” bowed on Amazon Prime wife died. return after a rest stop, the family is thrown on Oct. 6, with the next two, “Nocturne” “‘Black Box’ called for a lot of practical into chaos. and “Evil Eye,” dropping Oct. 13. The final IDENTITY CRISIS effects, especially when it came to [space] “When you’re watching people do terri- four movies will debut next year. Sarita Choudhury as transitions. It’s a psychological movie ble things, you still need the audience to Below, the members of the crew break Usha tries to see — one that doesn’t take the audience feel their humanity and to understand into the soul of her down how they built the tension that drives daughter’s boyfriend for granted. When our character, Nolan why they’re doing them. With Kayla [Joey the action. in “Evil Eye.” [Mamoudou Athie], was with his daughter King], it was understanding where she’s ALFONSO BRESCIANI/AMAZON STUDIOS BRESCIANI/AMAZON ALFONSO
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coming from, because a lot of her actions SONG SUNG BLUE could be perceived as psychotic or abnor- Eva Noblezada, picking with Dale mal behavior. Watson (left), stars What we realized in the editing pro- in Diane Paragas’ cess was that we needed to ground the “Yellow Rose.” family story with a vision of what things looked like when they were a cohesive unit, before the trauma. The home video section that opens the film wasn’t scripted and hadn’t been shot; it came together in the editing room. We used home videos from each of the actors individually, and the challenge was to cut them together with the use of voiceover and to make it seem like all three characters [Kayla; her father, played by Peter Sarsgaard; and her mother, played by Mireille Enos] are in the same place. It was fun to manipulate foot- age and completely repurpose it.”
Carmen Cabana, cinematographer, “Nocturne” Summary: A pianist studying at a classi- cal music institute sells her soul to be more gifted than her sister. “With ‘Nocturne,’ everything was very com- posed and set to represent the oppres- sive nature of the school and make it feel like a prison. Through the sporadic use of color, I wanted to highlight Juliet’s [Syd- ney Sweeney] moments of deliberation and the things that represent her passion. That contrasted with the pale life she was living. The party scene was challenging. We shot it outside, and it was this black hole at nighttime because there was no natural light source. When Juliet runs into the cave, there was nowhere to put the lighting, so you have to think outside the box. We had her run with a flashlight, with a crew mem- ber running with a light card ahead of her [so that the light bounced off and lit her]. Young Immigrant’s Tale That’s a trick that I read years ago, when Darius Khondji was working on ‘Seven,’ Cuts to the Bittersweet and he used that technique for a scene.”
Ronit Kirchman, composer, “Evil Eye” ‘YELLOW ROSE’ EDITOR LEANED INTO COUNTRY MUSIC TO Summary: A superstitious mother is con- BALANCE A TEEN’S AMERICAN DREAM — AND NIGHTMARE vinced her daughter’s new boyfriend isn’t By Jazz Tangcay who he claims to be. “One of the overriding goals, when we started to spot the film, was to make sure that the mother-daughter drama was WITH A BACKGROUND in documentary movie, from Sony Pictures Classics, bows deeply felt, without giving too much away. filmmaking, Diane Paragas strove to make in theaters Oct.9. We wanted to calibrate the sense of tension her narrative feature debut, “Yellow Rose,” Though the film considers how the and unease from the beginning. which revolves around a 17-year-old Fili- crackdown on immigrants affects an The aim was to create a contemporary pina American immigrant who dreams of entire family, Paragas and editor Liron thriller score characterized by dramatic becoming a country singer, look as natu- Reiter knew they had to narrow in on Rose themes that embody the different worlds ral as possible — particularly when those when the first cut came in at more than of different generations. The daughter’s dreams are shaken. two hours. “We needed to tell her journey,” world was a lighter vocabulary with guitars. Played by Eva Noblezada (Tony-nom- Reiter notes. There was a little bit of an Indian music inated for her role in the 2017 Broadway Reiter says she used music cues to influence peeking through. But as the revival of “Miss Saigon”), Rose spends her balance the despair and difficulty Rose mother’s experience becomes more cen- nights listening to records and writing experiences separated from her mother tral to the storytelling, those Indian music songs. But when her mom, Priscilla (Prin- and now living with her aunt (“Miss Sai- influences become richer and come to the cess Punzalan), is picked up by immigra- gon” Tony winner Lea Salonga). “The film fore. There’s a host of Indian instrumenta- tion agents, Rose understands that she is a love letter to country music,” Reiter tion for the sound palette. The flutes took must flee — and make choices that con- explains, “and so the music, the score and
SONY PICTURES (2)SONY PICTURES on a role akin to a voice.” front the reality of her life in the U.S. The the songs really help drive the rhythm and
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ACTIVATE OR UPDATE YOUR REGISTRATION VARIETY.COM/AWARDSUPDATE JEONG PARK/NETFLIX “If your isn’t heart breaking Liron Reiter, editor along for theride.” — you’re notgoingtocome two — mother anddaughter when you’re watching these moment isearned.” admits. “But themovie itsjob;their does “It’s almost asifIcutitblind,” theeditor scene was thefirst onesheworked on. tech issues. Paradoxically, Reiter says the home toCalifornia, andthescene had traveledPunzalan hadalready back time constraints shoot. of the19-day via FaceTime, andthedirectorfelt the It features Rose onthephonetohermom scene inthefilmwas thelast of theshoot. along for theride.” going through—you’re not going tocome — motheranddaughterwhat they’re whenyou’rebreaking watching thesetwo know isn’t Ifyour herplace in. heart and lost inaworld that shenow doesn’t imprisoning herwhileRose small looks cilla’s world felt like itwas caving inand Reiter says. that Pris “Itwas important was compassion tocreate andempathy, Thekeythe moment. thescene toediting thebittersweet portrayed better nature of since forreplacing herfirst it idea asong, score layered over thetopof thesequence, going intoa prison.”both yetgoing intoaprison, inaway they were intoafieldandhermomwas running be Notes Paragas: “Ialways knewRose would images of Priscilla taken being toprison. the director. Reiter intercutthescene with tragic,”but at thesametimepainfully says tain future. achinglybeautiful “Ithadtobe Rose’s toward face assheruns anuncer the Texas aswell in landscape asthepain morphic lensestocapturethescope of Kowa TheDPshoton1970s-era fin. ana- the sequence, whichshecallsherMacGuf August Thurmer’s style toportray poetic oncinematographerhour andrelied Paragas shotthescenedusk. duringmagic ahayfieldand thetwo upon at happen drivesElliot (LiamBooth), hertosafety, agents, herworld collapses. Herfriend, guitar. of thecountry in thefineart and plays himself,mentoringyoung Rose cian DaleWatson,who’s first seenat aclub emotional tone.” Somescenes show musi- For Paragas, themost challenging Paragas hadChristopher H.Knight’s When Rose seeshermomtaken by ICE
- - - tive shotsof audience andcuts toreaction wide andlow fromthecrowd’s perspec that scene. To reflectthis, Branco shoots water inthisworld she doesn’t because know underground club. Radhaisafishoutof likehouse intheBronxsetuptolook an the ambientlightwas doingoutside.” the sunwas we setting]; hadtomatch what was shotin10minutes[because “Everything ing inthroughthewindows.” Adds Branco: of thebuildingto“give usthisnice glow com 12’ x24’overhang that was totheroof rigged gaffer Harmon-Townsend, Tyler whosetupa ment fromtheoutside. studio apart- toilluminate thetop-floor erty on thesidewalk prop orlightsonanearby Branco couldn’t gettoputacrane permits ahot zone, labeled had been which meant onthesamestreet andthearea shooting Butward. anothermovie hadjust finished lighting schemeseemspretty straightfor day coming throughthewindows —the and withthelast lightof lying onherbed battles. intotheworldlured of hip-hop toanundergroundrapclubandis she goes ative juices reinvigorated oneday when the brinkof turning40,shefindshercre tomake theater On high school endsmeet. hasn’t soldanything inawhileandteaches who comedy Radha,aplaywright about thesemi-autobiographical and directed Netflix series“She’s Gotta Have It,” wrote in blackandwhite.” “Awith atitlepage that read, New York tale Radha Blank’s “The-Forty-Year-Old Version” an inbox message that ascriptfor included serendipitous whenhereceivedseemed cinematographer EricBranco.ency” Soit raphy for apassion “Clem- haslongbeen Pay Off for Comedy Meta Film Stock, Lighting Style SHOOTING BLACK-AND-WHITE HEART OFRADHABLANK’S ‘THEFORTY-YEAR-OLD VERSION’ DP GETS EXPERIMENTAL TO SERVE UPARTISTIC CRISISAT
The hip-hop battle took place battle ina ware took The hip-hop hiskey including The DPcredits team, When we first meetthecharacter, she’s awriter-producer onSpikeBlank, Lee’s By JazzTangcay STREETS OFNEWYORK still photog------DP EricBrancohaddirectorRadhaBlank’sback. certain levelcertain of humanity.” like takingthecolor outforces you toseea asoversexualized,often presented andIfeel ble treatment,” shesays. cultureis “Hip-hop acters] akindof sophisticated andvulnera- black andwhite. “Iwanted togive [the char in shechosetoshoot was oneofthereasons ter was at alow point,” Branco says. choice thescriptwherecharac tostart shewants topursue.dream “Itwas agreat the decisionshehastomake which about in tighterandcloserwithhislenstoshow her way career, inhertheater theDPgot come rap demobutalsoseeingopportunity and shefindsherselfnotonlyrecording a But ashercircumstancesher luck. change we first meether, she’s muchdown on very tray herinan“honest andraw way.” When by softening theresolution. “shockingly sharp.” thetexture Headjusted thefootagequite sophisticated, hegot was withthecamerabeing he noticed that, Branco shotthoseclipsonaniPhone. But throughoutthemovie.tributes tothestory that of con locals diverse Greekchorus from the1970s,” hesays. an ArricamLT lenses Speed andZeiss Super locations. of both vibe “We upusing ended thatand maintainagritty matched the look 35mm black-and-white filmhewas shooting the club, Branco tocomplement aimed the era,” hesays. of lightplayed thisribbon position] oncam “Iliked how whenwehead. [shotfromalow square of LEDlightsandplace themover such shots. hehadhisgaffers riga Instead, the spotlight-driven noirlightingstyle of battle,hip-hop butBranco wanted toavoid whoaren’tmembers feeling heract. Blank says thefilm’s focus onhip-hop In framingRadha,Branco wanted topor His choice of camerachanged for the For andat thescenes intheapartment A boxing ringwas broughtinfor the VARIETY
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FILM REVIEW turbulence of that era still casts a shadow revolution-for-the-hell-of-it bravura, and BY OWEN GLEIBERMAN over our own, something about it resists Tom Hayden (Eddie Redmayne), the but- being captured with any real on-screen toned-down, furrowed-brow co-founder of authenticity. Yet Aaron Sorkin’s “The Trial Students for a Democratic Society, neither The Trial of the Chicago 7” is the rare drama about like nor trust one another, in part because the ’60s that’s true and powerful and they have a deep rift: Do you work to of the moving enough to feel as if it were taking change the system from within or jolt the place today. system with shock therapy? (The movie’s Sorkin doesn’t just restage the infa- answer: both.) Chicago 7 mous trial, in which a motley crew of Sorkin has a flowingly combative love for antiwar leaders were charged with plot- words, for drama that’s charged with com- DIRECTOR: Aaron Sorkin ting to stir up violence at the Demo- peting notions of what’s right. He wants to STARRING: Sacha Baron Cohen, Eddie cratic National Convention in Chicago in hash it all out, to let the animating passions Redmayne, Mark Rylance, Frank Langella, Yahya Abdul-Mateen II 1968. He jumps into the trial, goes out- of the ’60s make their case — in court, but FREEDOM FIGHT side the trial, cuts back to the demonstra- also out of court, among the people who Yahya Abdul-Mateen tions, and leads us into the combustible fought the establishment and were still II, Ben Shenkman, clash of personalities that was going fighting among themselves about what they Mark Rylance, YOU CAN COUNT ON one hand (or maybe on behind the scenes — the way, for believed in. As a docudrama, “The Trial Eddie Redmayne and one middle finger) the good dramas that Alex Sharp star in instance, that the Yippie ringleader of the Chicago 7” is layered and enthrall- have been made about the political coun- “The Trial of the Abbie Hoffman (Sacha Baron Cohen), ing, and it adds up to something that could Chicago 7.” terculture of the 1960s. Though the with his viper’s grin and showbiz-ready scarcely be more relevant: a salute to what NETFLIX
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had contempt for them — overruling every objection, suppressing key testimony, put- ting his fear and loathing of the defendants right out there. He took their worst paranoia about the American criminal-justice system and made it come true. Sorkin has structured “The Trial of the Chicago 7” ingeniously, so that it’s never about just one thing. It’s about the theat- rical insanity of the war in the courtroom, about how the government would stop at nothing (including flagrant attempts at jury tampering), and about the poli- tics, at once planned and spontaneous, of how the Chicago protests unfolded. It’s about the sneaky prevalence of FBI under- cover agents, about how William Kunstler, played with masterful dour puckishness by Mark Rylance, combines the mind of a litigator with the heart of a grizzled rabbi, and about how Abbie and Tom circle each other with resentment, until they’re forced to confront each other in a great scene that political freedom in America really means. The defendants, on trial for “conspiracy,” seems to sketch in the next half century of The Chicago 7 trial, which began on looked as out of place as the Grateful Dead American politics. Sept. 24, 1969, and lasted for close to six at a meeting of the chamber of commerce. The performances are rich, avid, juicy months, was one of the signature events Abbie Hoffman mouthed off in court like a and, in several cases, memorable. Sacha of the decade, and it was a theater of the stand-up comedian — he was Lenny Bruce CULTURE CLASH Baron Cohen may be a head taller than absurd — a mythological made-for-reali- gone dada in a headband. And the judge, Sacha Baron Cohen the real Abbie Hoffman, but he catches ty-TV showdown between the rude, shaggy, Julius Hoffman, who was born in 1895, kept is Abbie Hoffman the exuberance of Hoffman’s rascal Jew- say-what-you-feel radical left and the charging the defendants and their lead and Jeremy Strong ish charisma — the haughty Boston accent plays Jerry Rubin uptight, controlling forces of the strait- attorney, William Kunstler, with contempt in Aaron Sorkin’s and fun-loving literacy, and the moral laced American mainstream. of court when, in fact, it was clear that he docudrama. gravity that centered everything he said. Eddie Redmayne makes Tom Hayden the slightly uptight soul of the New Left, Yahya Abdul-Mateen II invests Bobby Seale with an incendiary awareness of how a rotting legal system is out to railroad him, and the 82-year-old Frank Langella, as Judge Hoff- man, does something uncanny. With his shiny reptilian eyes and lordly scowl, he digs into this grumpy old man, full of bitter decorum, and makes him the embodiment The WGAW wishes to honor the following members of a world that will do anything to hold for their devotion to their craft and contribution to all of our lives. onto its power. They will be missed. The trial, as Sorkin presents it, is really THOMAS G. ARDIES LAWRENCE R. ROSEN about the soul of America — the ability to question the most fundamental actions of 8/5/31 6/16/20 LORI S. GOLDEN 2/8/36 9/14/20 the government. The overlap between the 9/18/51 4/10/20 MICHAEL BORTMAN JOE C. RUBY 1968 Chicago protests and the Black Lives 4/20/40 7/21/20 JOHN HAMILL 3/30/33 8/26/20 Matter protests that have taken place this CHADWICK BOSEMAN 8/27/49 9/1/20 IAN SEEBERG year is all too obvious. Yet the true parallel 11/29/76 8/28/20 RONALD HARWOOD 2/8/47 8/21/20 is that “The Trial of the Chicago 7” is really about what it looks like when a society JERRY P. B ROWN 11/9/34 9/8/20 SIDNEY STEBEL starts to treat people speaking freely as if 9/28/38 8/21/20 MOMOKO IKO 6/28/23 7/28/20 they were doing something dangerous. The MEL R. CHASE 3/30/40 7/19/20 ROBERT STEINHAUER movie reminds you, quite stirringly, that 12/20/34 7/15/20 LEWIS P. M ACADAMS 5/5/40 8/31/20 the Chicago 7 weren’t attacking America. They were upholding it. RICHARD DECKER 10/12/44 4/21/20 JAMES L. STIMPSON 5/13/50 9/17/20 ROBERT T. N EWSOM 1/1/51 9/20/20 CREDITS: A Netflix release of a Marc Platt/DreamWorks production, in JERI EMMETT 12/3/52 7/4/20 MARK ANTHONY TRELA association with Paramount Pictures, Cross Creek Pictures, Shivhans Pic- tures. Producers: Marc Platt, Stuart Besser, Matt Jackson, Tyler Thomp- 11/18/35 7/18/20 9/15/52 6/25/20 son. Executive producers: Walter Parkes, Laurie MacDonald, Marc Butan, ALAN PARKER Anthony Katagas, James Rodenhouse, Nia Vazirani, Kristie Macosko Krieger, Lauren Lohman, Thorsten Schumacher, Slava Vladimirov, Jared RICHARD FIELDER 2/14/44 7/31/20 BRYAN WINTER Underwood, Andrew Robinson, Jan McAdoo, Maurice Fadida, Shivani Rawat, Monia Levinson, Ryan Smith, Nicole Shipley, Steve Matzkin, 4/13/25 7/22/20 JODY ANN RANNEY 7/19/60 6/17/20 Sarah Schroeder-Matzkin. Director, writer: Aaron Sorkin. Camera: Phe- don Papamichael. Editor: Alan Baumgarten. Music: Daniel Pemberton. Reviewed at Digital Arts, Sept. 23, 2020. MPAA Rating: R. Running time: JULIANNE GAVIN 7/9/39 8/3/20 JEFF WRIGHT 129 MIN. Cast: Sacha Baron Cohen, Eddie Redmayne, Mark Rylance, Frank Langella, Yahya Abdul-Mateen II, Joseph Gordon-Levitt, Michael 11/6/54 7/27/20 2/2/60 7/20/20 Keaton, John Carroll Lynch, Jeremy Strong, Alex Sharp, Noah Robbins, Danny Flaherty, Ben Shenkman, Kelvin Harrison Jr., Caitlin Fitzgerald,
John Doman, J.C. MacKenzie TAVERNISE/NETFLIX NIKO
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TV REVIEW BY DANIEL D’ADDARIO The Haunting of Bly Manor
HORROR: Netflix (nine episodes; all reviewed); Oct. 9 STARRING: Victoria Pedretti, Amelia Eve, Benjamin Evan Ainsworth, T’Nia Miller RESIDENT EVIL Amelie Bea Smith stars in “The Haunting of Bly Manor.” TWO YEARS AGO, Netflix’s “The Haunting of Hill House” was the most pleasant of sur- prises — though perhaps “pleasant” is not the word. The series was often terrifying, thanks what, exactly, the journey has been for. also roved between its family members and in part to strong pacing, performances that Which is not exactly Jamesian! The mas- skipped back and forth in time? Perhaps worked across the board and a willingness ter novelist was not one to use an extraneous it’s the nature of the house’s curse, which to wear an unusual ambition and intellect word, character or moment; “The Haunt- has certain members living through a night- proudly. Methodically built using the work of ing of Bly Manor,” lacking his precision, is mare whose horrific power is its repetitious novelist Shirley Jackson and ready to flaunt instead sprawling. The story starts off in the blandness. T’Nia Miller, who plays the house- its acumen as well as its jumps in time, Mike U.K. in 1987, as an American expat (Victo- keeper of Bly Manor, is well equipped to limn Flanagan’s TV series, released before his ria Pedretti) pleads with the lord of a local the painful boredom of being stuck in time, high-profile leap to elevated multiplex mate- manor (Henry Thomas) for a job caring for but she could do a lot more too. rial with 2019’s “Doctor Sleep,” seemed proof his orphaned niece and nephew. These two Pedretti, such a revelation in “Hill House,” positive that there was a path for genre fare unfortunate souls, who find in Pedretti’s is misplaced this time around; that she’s left beyond Ryan Murphy’s venerable “American character an eager and solicitous au pair, are behind is the consequence of a show that Horror Story.” played by Amelie Bea Smith and Benjamin can’t quite get a bead on what it wants to be. That makes “The Haunting of Bly Manor” Evan Ainsworth; the two explain away their Bundling together James’ stories is a theo- a deflating disappointment. The follow-up, chaos as the stuff of children even when it retically laudable goal as long as you don’t which shares with its predecessor a sen- seems to originate from a deeper and more consider that stories are self-contained for a sibility, a high-flying literary inspiration sinister wellspring. reason: They possess themes and elements (the work of Henry James this time), a crisp So far, so familiar: This is the plot of the that would take meaningful effort and great and pristine visual aesthetic and some cast novella “The Turn of the Screw,” retold ele- good luck to merge. Flanagan did not get CREDITS: Executive members, never takes flight. For one thing, producers: Mike Flanagan, gantly. But the decision to draw upon vari- lucky this time, and this second “Haunting” Trevor Macy, Darryl Frank, it’s too rarely really scary; for another, and Justin Falvey. 60 MIN. ous other James works yields diminishing series looks less like the alternative it might Cast: Victoria Pedretti, Oliver more important, it gets confounded by its Jackson-Cohen, Amelia Eve, returns. The further we get from the show’s have been and more like “American Horror T’Nia Miller, Rahul Kohli, own story. By the time the series concludes, Tahirah Sharif, Amelie center, the less a center is apparent at all. Story”: a show with a lot to recommend it but Bea Smith, Benjamin Evan after some nine hours, it’s fair to wonder Ainsworth, Henry Thomas Why is this a problem, when “Hill House” precious little in the way of cohesion.
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Why did you set your film in New York? Radha Blank That New York tale about the struggling art- ist, we’ve seen that, but we haven’t seen [Black people] centered in that. I wanted ‘I Don’t See a Lot of to, hopefully, add to the canon of classic New York films. Sometimes the film is a love letter; sometimes it’s a ‘Dear John’ letter, New York Films Focused because John be getting on my damn nerves, but I would not be who I am without the city. I would not have the voice that I have as a on People Like Me’ playwright, an artist and a Black woman.
By Angelique Jackson How does “Forty-Year-Old Version” pay homage to classic New York films? What might be familiar is the black and RADHA BLANK keeps her Sundance directing award on the mantel in her white and the 35mm of it all, or just the New York City home. “It’s still a little surreal to me,” she tells Variety of cacophony of sounds in New York. What receiving the prize from the indie nonprofit where she’d workshopped might be new or refreshing is just where the camera is angled. My film pays homage her movie “The Forty-Year-Old Version.” “From what I understand, to those rare stories that not only center a me and Ava [DuVernay] are the only Black women to [win].” Even more Black woman but centers her internal jour- surreal has been promoting her directorial debut during a pandemic. ney around identity. Much like the full-circle nature of winning that trophy, Blank’s film — This film seems like a time capsule of which follows a down-on-her-luck playwright who turns 40 and adopts pre-pandemic New York. the rap persona RadhaMUSPrime on the way to finding her true voice — New York is definitely a poster child for mirrors the city’s attempt to rebound from the devastating pandemic. resilience. Last time I saw something like this was around 9/11. I see that feeling of fel- lowship in the streets, but also there is this kind of dark, unspoken feeling where we all know we’re going through something. Yes, we’re all walking around with masks on, but people are moving forward with their lives in a way that I feel like only New York can. I’m really curious: How are artists going to adapt to our new world? Of course, we have to figure out what the world is first.
What’s it like to promote your film during the coronavirus? It’s been so interesting, having shown the film at Sundance — which is such a bless- ing that I had six jam-packed audiences, whereas a lot of filmmakers did not get that opportunity [after film festivals were can- celed or went virtual]. Nobody shoots a 35mm black-and-white film for it to end up on your iPhone. The folks at Netflix really made an exception to accommodate us [with events like a drive-in premiere at the BlackStar Film Festival], because they know that for me as a filmmaker, engaging the community is part of my activism.
You say filmmaking is your activism. How have the demonstrations against racial injustice affected your work? I can’t stop thinking about Breonna Taylor, and how the only thing that might sep- arate us is a couple of years and the fact that I have a film. I want to be in a place of gratitude, but try to use my voice and my platform to keep her alive and to speak to the reality [that] there’s an opportunity for me to make an independent film, have the THINGS YOU DIDN’T KNOW AGE: 44 BIRTHPLACE: New York I LOVE N.Y.: Inspired by the works of Spike Lee and John Cassavetes, Hal Ashby’s support of Lena Waithe and get acquired by ABOUT RADHA BLANK “The Landlord” and Kathleen Collins’ “Losing Ground” as well as “Annie Hall” and “Manhattan” BIRTHDAY TWIN: The film is dedicated to the memory of Blank’s mother, Carol, with whom she shares a Sept. 24 birth date. Netflix, but in the same country, we have
Breonna Taylors and Sandra Blands. PARK/NETFLIX JEONG
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