Mccaffery Mysteries

Welcome to another edition of International Insider. This week you have me, Jesse Whittock, telling you the great stories from beyond America’s shores.

Indian incentive

Draw them into: Indian television production is one of the big developing international narratives of 2022, and the country is desperate to attract more foreign actors to its shores in the wake of a difficult pandemic. Our Asia Editor, Liz Shackleton, looked at a new 30% cashback that the country’s Ministry of Information and Broadcasting has rolled out in recent months. Here’s the science part: the incentive will reimburse up to 30% of eligible expenses up to around INR 20 million ($260,000). An additional 5% (INR 5 million/$65,000) is available for productions with larger Indian crews. To be eligible, productions must obtain I&B approval and spend a minimum of INR 25 million ($325,000). There are several other caveats, but Liz explains it better than me, so read more here. Sources say the (relatively moderate) incentive will come in handy for independent projects looking for the final financial piece of the jigsaw. As is often the case, nothing is completely straightforward in India and several points are still unclear – including how each project is assessed, how long reimbursement and script approvals will take, as well as the daily logistical problems for international productions. But make no mistake: India is going international and you’ll be seeing a lot more of this beautiful country on the big and small screen very soon.

Also in Asia: Liz reported on the 29 projects selected for this year’s Asian Project Market (AMP) at the Busan International Film Festival. New works from Thai Aditya Assarat, Chinese Wang Qi, Vietnamese Le Bao and Myanmar’s Maung Sun, whose producing partner Ma Aeint is currently in prison, sentenced to three years of hard labor by the country’s hardline military junta. Ma Aeint is still attached as a producer on Maung Sun’s project Future Laoban and we will wait to see how things develop. For a full list of APM selections, click here.

Under Korean management

From ‘Squid Game’ to super-agent: Soyoung Lee is a South Korean talent agent you need on your radar. Founder of one of the biggest agencies in the country, Saram Entertainment, she is the face of the company which represents squid game Apple TV+ star Hoyeon, Kinha Kim Pachinko and Oscar nominee Yeri Han minari. Like Netflix squid game has conquered the entertainment world, and its biggest stars are signing with major US agencies, Soyoung quietly tends to the interests of its voluminous book of Korean stars. Unlike losing her clients to rivals in the United States, she told Max in an extensive interview that she even thinks the explosion of Korean TV means she could eventually find American actors working in his country. What a truly intriguing turnaround for TV and film that would be. With Paramount Global’s Chief Honcho, Bob Bakish, recently designating Korea as a key territory for Paramount+, and content budgets in the country have grown significantly, we’ll be watching developments closely.

On site in Locarno

In the “TGV”: Let’s move on to Zac Ntim, who wrote this missive after a trip to the fashionable film festival in Switzerland. Locarno drew big crowds and big stars for its 75th edition, which kicked off last week with a lengthy opening ceremony followed by the international premiere of the action comedy festival High-speed train. The crowded opening night took place in Locarno’s famous Piazza Grande square and was a return to form for the festival after a full cancellation in 2020 and a slimmed down version last year. Despite mixed critical response, High-speed train was well received by festival-goers, who gave the film a warm applause as it was introduced by a surprise video call from star Brad Pitt.

Awards Season: Although Pitt didn’t make it to Locarno in person, his co-star Aaron Taylor-Johnson did drop by the Piazza, where he received the festival’s Davide Campari Excellence Award. Shows what just showing up can do for you. In fact, Taylor-Johnson was the first of several high-profile names to land at the festival to receive awards, with Jason Blum, Daisy Edgar-Jones and Matt Dillon taking home the festival award for lifetime achievement. accomplishments, an honor which he told Deadline comes with a comedic balance of positives and negatives. “I’m too young,” he joked. “But I’m doing this because I hope there’s a director here who says, ‘Good job,’ because I’m only as good as the directors I work with.” The festival has yet to award any prizes for its official competition section, but German filmmaker Lukas Nathrath took home the top prize in the First Look sidebar for unfinished projects with a feature debut. one last evening. The award comes with €50,000 ($51,500) in post-production services from Swiss and German production house Cinegrell. The festival ends on Monday. For more information about Locarno, read here.

Depp Impact

Johnny is Louis: Johnny Depp finally made a headline this week that had absolutely nothing to do with his ongoing court drama. Melanie got this big scoop as she unveiled a first look at Depp as France’s King Louis XV in director Maïwenn’s historic love story Jeanne du Barry. Predictably, social media exploded when news of the image, which shows a side profile of a heavily made-up Depp, spread like wildfire. Production company Why Not also confirmed that filming for the film began quietly on July 26, with the resulting feature marking Depp’s first film role in three years and coming shortly after winning his savage libel lawsuit. , rambunctious and often disturbing against ex-wife Amber Heard. Read Mel’s full story here.

Racism runs rampant in UK TV and film

Damning report: In Britain, there is a lot of talk about how the film and television industry can eradicate – or at least begin to genuinely combat – racism. Sadly, many believe these words are rarely matched by action and a Bectu survey published this week found that 61% of ethnic minority respondents experienced racism at work. Similar numbers had witnessed racism and/or said it had impacted career progression. Systems for reporting racist incidents proved totally ineffective and there was a crushing lack of confidence in the ability of broadcasters and unions to deal with complaints. Really depressing stuff. “It is now the job of industry leaders to listen to our demands and formulate a racism reporting body,” said Philippa Childs, head of Bectu. “It’s not too late to tackle racism in broadcasting, and we’ll keep the pressure on until we see real progress.” With the Edinburgh TV Festival fast approaching, now is the time for action. Read on to find out more.

Lars Von Trier’s diagnosis

” In good spirits ” : Sad news as longtime Lars Von Trier producer Louise Vesth has revealed the Oscar-nominated director and Cannes Palme d’Or winner has Parkinson’s disease. The diagnosis was made public ‘to avoid speculation’ ahead of the premiere of Von Trier’s next series Exodus from the Kingdom, which was unveiled as a selection from the TIFF Primetime program on Wednesday. Von Trier will continue to work on the show and Vesth said the Dane was “in good spirits and being treated for his symptoms”. Deadline wishes him good luck.

The essentials

🌶️ Hot : Jason Isaacs (Harry Potter) will portray Hollywood royalty Cary Grant in a dramatic biopic for ITV and BritBox International, Max wrote on Monday.

🌶️ Another: Baz scored a scoop by revealing 61st Street star Tosin Cole landed the lead in the blue story the Netflix series from creator Rapman Supacell.

🌶️ A third : Season two of Capturinguh, captured the coveted August holiday slot on BBC One in the UK, previously occupied by ratings hits Bodyguard and Vigil.

🧑‍💼 New Job: Former Bron Studios head David Davoli joins Anonymous Content as president of International. Andreas broke this one.

🎤Address: British news broadcasting heavyweight Emily Maitlis will deliver the influential James MacTaggart Memorial Lecture at the Edinburgh Television Festival later this month.

🤝 Deal concluded: Nancy was the first to announce the news Universal International Pictures has reached a deal that will see Majid At Fattaim Distribution release its films in Saudi Arabia and other GCC countries.

🏆 Latest rewards: Park Chan-wook’s Decision to leave will represent Korea in next year’s International Feature Film category at the Oscars, a first opportunity for the acclaimed author.

🏆 Box office: Black comedy about domestic violence by Alia Bhatt darlings got Netflix’s highest global opening for a non-English Indian film, by Caroline Frost.

🇺🇦 Ukraine 1: Max has revealed that Oscar-nominated producer Den Tolmor is creating a feature film based on a Canadian “lone wolf” sniper who fought the Russians during the first months of the invasion, tentatively titled The good fight.

🇺🇦 Ukraine 2: A series of anthologies documenting the early days of the Russian invasion, Those who stayedis forthcoming from Red Arrow International Studios and FILM.UA.

🇺🇦 Ukraine 3: I reported that the Organization of Ukrainian Producers has completed filming its latest film inside the war-torn country, in the form of a doc Mariupol. Hope not lost.

Max Goldbart and Zac Ntim contributed to this week’s International Insider

JOHANNESBURG (AP) — South African prosecutors have charged seven independent minors with the rape of eight women nearly two weeks ago in Krugersdorp, west of Johannesburg.

Seven other men are to be charged with rape on Thursday, officials said.

The rapes of the women – who were part of a film production crew shooting a music video at an abandoned mine in the area – have sparked protests and violent attacks against independent miners, known as zama-zamas.

Residents accuse the miners of operating illegally and committing many other crimes in their neighborhoods.

Following the rapes, angry locals went on a rampage, assaulting the miners before handing them over to the police and burning down the camps where they lived, their belongings and their mining tools. Protests broke out in and around Krugersdorp, including Kagiso, Bekkersdal and Mohlakeng.

The 14 suspects were identified by witnesses on Tuesday, according to the National Prosecutor’s Office. More than 80 suspects have been arrested in a police raid on a disused mine in Krugersdorp after reports of rapes and robberies emerged.

Seven of the suspects were charged at Krugersdorp Magistrates’ Court on Wednesday with multiple counts of rape, sexual assault and robbery. The other seven will appear in court on Thursday, officials said. Those who will be charged on Thursday were in another court on Wednesday where they were charged with being in South Africa illegally.

“We cannot rule out the possibility that more people will be charged and added to the docket as investigations continue. We will be led by the direction the investigation takes,” National Prosecuting Authority spokeswoman Phindi Mjonondwane told the court.

Illegal mining is rampant in many parts of South Africa, such as Gauteng and Free State provinces, where miners dig for gold deposits in disused and abandoned mine shafts. Miners hold gold illegally and often operate in heavily armed syndicates, according to local reports.

Various community and political organizations protested outside the court where the men appeared on Wednesday, demanding that the suspects be denied bail and that the government address the scourge of gender-based violence in South Africa.

What makes “Bluey” so special?

The beloved animated preschool show about a 6-year-old Blue Heeler dog named Bluey, his younger sister, Bingo, his mother, Chilli, and his father, Bandit, returns for its highly anticipated third season Wednesday on Disney+.

After launching in Australia in 2018, “Bluey”, which is co-commissioned by the Australian Broadcasting Corporation and BBC Studios, premiered on Disney Junior in September 2019. There are now “Bluey” toys and books “. “Bluey’s Big Game,” a stage show, will begin its U.S. tour at Madison Square Garden on November 18. Earlier this year, a life-size Airbnb of the Heeler house was meticulously created in Brisbane. (One lucky family even got to stay the night.) And Lin-Manuel Miranda and Natalie Portman both lend their voices to episodes of the new season.

“It’s been magical five years, really,” says “Bluey” creator Joe Brumm.

Both popular and critically acclaimed, “Bluey” is arguably the best kids’ show currently on television. But what exactly sets it apart from the litany of children’s shows now available to viewers? What’s the secret sauce that makes “Bluey” exceptional?

When you pull back the curtain on the inner workings of the series, the answer becomes clear.

Workshop culture

As production wrapped in April on the show’s third season, The Times received a virtual tour of Ludo Studio in Brisbane, Australia, where the show is being produced from script to screen. The open-concept studio, which features exposed brickwork and wood-beamed ceilings, is dotted with “Bluey” memorabilia. There’s the little red wagon featured in the Season 1 episode “Wagon Ride,” the Airbnb house watermelon rug (the rest was donated), and the original melodica used to compose the “Bluey” theme. The shelves are lined with multiple awards (including the International Emmy Award) and a mammoth production schedule (“a train that doesn’t stop,” says Daley Pearson, executive producer and co-founder of Ludo Studio) is pinned to the wall.

It’s representative of the warm working environment Brumm cultivated on “Bluey,” inspired by his three years previously working on British animated series “Charlie and Lola.” “It was a wonderful atmosphere,” he says. “Great people, great project, great place. I wanted to do a show that was good and successful and fun, but the main thing I wanted was that feeling of return. It was about taking a new generation of animators and making them fall in love with being animators and making them realize that they had chosen very wisely in their careers. Because it’s a magical career.

The majority of Ludo’s staff have been with the show since its inception; many were promoted as the series progressed. “You really have to give the animators, the art directors, the designers the ability to create and put their own work into the show,” says director Richard Jeffery. “When you create that culture, amazing things happen. People can thrive that way.

Each seven-minute episode of “Bluey” takes four months to produce. There are four rotating teams working on an episode, with each team shifted by a week. Every Friday, the entire “Bluey” team comes together to screen episodes that are at various levels of completion. Every 10 episodes, they throw a milestone party, with themes like “superheroes,” “kings and queens,” and “the 80s.”

Lead animator Seb Powell, who leads one of the four animation teams, says these screenings are “vitally important”. “As creative people, you have to see your end product. You have to see what you earn and what your teammates earn,” says Powell. “When you don’t have that, you feel like you’re on a treadmill.”

They all credit Brumm for the tone. “Joe is the most laid-back, unassuming person I’ve ever met,” says Melanie Zanetti, who plays Chilli. “But at the same time, he is very clear in his vision and he also demands excellence. I think when you’re a team of people and you know you’re doing something wonderful, that energy is contagious.

The “Bluey” team with their 2022 Logie Award for Most Outstanding Children’s Show.

(Ludo Studio)

Writing

Neither sweet nor sarcastic, the show’s cohesive tone is perhaps its greatest asset. “Each episode usually starts with something that I notice in my kids’ lives or in the lives of my wife and I that keep coming back,” says Brumm, who writes each episode.

Typically, an episode centers around a game that Bluey and Bingo are playing. “Play is a child’s first draft of life,” says Pearson. “That’s where you learn responsibility and compromise and all that hard and great stuff.”

Bandit and Chilli never seem to get tired of playing with their children. Charlie Aspinwall, executive producer and co-founder of Ludo Studio, says the show is “the perfect representation of patient parenting.” “If you had a perfect world with as much time as you wanted, you might be able to parent that way,” he adds.

The scenarios of the show are intimately linked. Perhaps the most beloved is the Season 2 episode titled “Sleepytime,” which won an international Prix Jeunesse award in June. In the episode, Bingo wants to put “a big girl” to sleep, meaning a sleep where she stays in her bed all night. In seven minutes, “Sleepytime” captures the musical beds that unfold during the night, as well as a nostalgia for growing up.

Surprisingly, Brumm names Dan Harmon’s comedy “Community” as one of his inspirations. “I just copied the way he structured his story,” he says. “It’s interesting how you can condense that into seven minutes. Sometimes your plot points just have to be one-shot.

Brumm counts the Season 2 episode “Bin Night,” where each week Bluey and Bingo help Bandit take out the trash and recycling bins while talking about their lives, among his favorite episodes. “It was written like a musical score,” he says. “I think that sums up what ‘Bluey’ is about: the rhythms of life and how good it is for kids to have those rhythms, young and old.”

“Bluey” also lets parents make mistakes, Zanetti says. “They apologize for what they did, and I just think she’s an amazing model,” she says. “Showing that being vulnerable is actually how you bond. I also love that mom and dad have equal amounts of domestic and emotional work. Bandit, for example, is regularly shown doing the laundry or helping to make the bed.

The show never frequents its young audience. “It doesn’t speak to them. He doesn’t try to teach them things. They learn through experience and play,” says Aspinwall. But he says you need “a bit of a grain in the oyster” to balance out the show’s inherent sweetness. So, for example, you see Bandit plunging the toilet and wondering “What are these kids eating?” in Season 1’s “Grannys.”

“‘Bluey,’ it was just that I was rejecting a lot of other shows and forming a little fence around her,” Brumm says. “I don’t care what’s been done before, because when I watch children’s TV, most of the time I want to turn it off. “

“Bluey” draws scenarios from intimately relatable experiences. Here, Bluey is trying to use her umbrella to stem the spray of rainwater.

(Ludo Studio)

The look of the show

With animation, everything is intentional – nothing happens, says Pearson. It takes a lot to give a cartoon dog show a sense of authenticity.

The show’s color palette, which producer Sam Moor describes as “a vibrant pastel”, captures the light in Australia. “I wanted ‘Bluey’ to be when you see it, you say ‘Hey, it’s ‘Bluey’,” Brumm explains. “The main thing is that we have the blue and orange from Bluey and Bingo. I think those two colors kind of caught on in Australia.”

The series also has a special effects department. It makes the splashing water in “The Creek,” the falling building blocks in “Daddy Robot,” and the splashing mud in an upcoming Season 3 episode feel real. “We do anything that adds a kind of realism to their world,” says host Nicole Clowes. “We’re the garnish of the show, the sauce on your sundae.”

The sound of the show

As sound designer, Dan Brumm, Joe’s brother, creates the soundscape for the show. “This show is very naturalistic and very organic,” he says. “I try to make everything feel as real as possible so that kids and their parents are kind of immersed in that world.”

No sound is produced. Brumm, who also voices the character Uncle Stripe, travels around Brisbane with his microphone to capture the distinct sounds of children playing on a playground, sliding down a slide or swinging in a swing. For “Wagon Ride”, Brumm borrowed his brother’s little red wagon and recorded as he wheeled his two daughters around. “They make a pretty unmistakable noise,” he says. “I try to put myself and my family in the sounds that I create.”

Bluey and Bingo are playing when they realize mom and dad are cleaning up, so they try to run away until mom freezes them.

(Ludo Studio)

Composer Joff Bush scores each episode, rarely using the same music twice. “During a seven-minute episode, we’ll be talking for hours,” Bush said. “We talk about mythology. We talk a lot about what these stories are about, what perspective we’re going to come from with the characters. I probably spend more time on a seven-minute episode than when I worked on an album. There’s a lot of attention to detail.”

Bush, who plays Busker, is particularly interested in the musical dramaturgy of post-war Japanese cinema. “There is a way to stop your readers,” he laughs. But it uses the same “character seeding” technique popular in this genre. So, for example, if they want to emphasize Chilli’s storyline a bit more in a certain episode, they can seed a musical note played earlier in the episode. “One note could change the whole story,” he says.

All of this will be featured in the highly anticipated third season of the show.

“The theme for the season is, ‘Please don’t let this season be the season where everyone says it wasn’t as good as the season before,'” Brumm laughs. “The theme, as always, is play, and how play can help children grow into adults, helps them grow, helps them reunite a family, eases difficulties… In the end, that’s all that ‘Bluey’ is.”

Six women of varying ages are needed for The Sauk’s upcoming production of “Steel Magnolias.”

The action takes place in Truvy’s beauty salon in Chinquapin, Louisiana, where all the women who are “anybody” come to get their hair done. Aided by her passionate new assistant, Annelle (who doesn’t know if she’s still married or not), the outspoken and wise Truvy hands out free shampoos and advice to the town’s grumpy rich, Ouiser, (“I’m not mad , I’ve just been in a bad mood for 40 years”); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good old boy”.

Auditions will be at 7 p.m. on Tuesday, August 16 and 2 p.m. on Saturday, August 20 at the Sauk Theater, 240 E. Chicago in Jonesville. The auditions will consist of cold readings of the script. No preparation necessary. Please bring a list of all conflicts from August 21 through October. 23. There are roles for six women (ages 19-70). Anyone 18 and older can audition for the production. Ron Boyle will direct.

Performances are October 13-15 and October 20-22 at 8 p.m. with matinees at 3 p.m. on October 16 and 23. All performances are at the Sauk Theater, 240 E. Chicago in Jonesville. All tickets are $8-$13. The October 13 performance is a preview of Pay What You Can. Preview tickets are not sold in advance. All senior tickets for the October 20 show are $5. Tickets are available at www.thesauk.org or by calling 517-849-9100.

“Steel Magnolias” is sponsored by Olivia’s Chop House and Saucy Dog’s Barbecue. The 2022 season is sponsored by Joyous Journey Photography. The 2022 media sponsor is WCSR Radio Hillsdale and The Dale 99.5 FM.

After a few weeks at various vintage locations in Ibadan, West Africa’s leading film company, FilmOne Entertainment, has wrapped filming and is now in post-production on its first original feature film, Adire. With the next few weeks scheduled for editing footage, sound and special effects, the film is set to have its world premiere soon.

Set in modern times with a touch of “vintage” Nigeria, Adire is a drama that captures the escapades of a young fashion entrepreneur (now a retired prostitute), who suffers the impact of a collision between the consequences of his adventurous past and a wasted present. by the toxicity of the wife of a judging clergy. It stars award-winning and iconic actresses, Kehinde Bankole (Adire) and Funlola Aofiyebi-Raimi (Folasade) in lead roles and features other leading actors in supporting roles including Yvonne Jegede, Yemi Blaq, Femi Branch, Idowu ‘Iya Rainbow’ Philips, Ibrahim Chattah, Lizzy J, as well as Ifeanyi Kalu, Kelechi Udegbe, Mike Afolarin, Dami ‘Goldfish’ Ogunsi, Tomi Ojo, Layi Wasabi, Onyinye Odokoro, among others. The film is directed by acclaimed filmmaker, Adeoluwa ‘Captain Degzy’ Owu, and has Emmanuel ‘Cinemmaofficial’ Igbekele Odihiri as the cinematographer.

Adire is written by Jack’enneth Opukeme, one of the brilliant minds at FilmOne Entertainment. “Adire is a theatrical portrayal of the struggles of young women in today’s world, performed by actors who resonated with her message and were generous enough to allow their vulnerability to bring authenticity to her emotions. unreservedly, his humor and utter grandeur. I am grateful to the management of FilmOne Entertainment for giving me the opportunity to tell this very unique story, and I am sure it would leave audiences wanting more.” said Opukeme.

FilmOne Producer and Head of Production Mimi Bartels expressed her satisfaction, “The film is professionally developed in-house and was a creative joy to work with. The cast and crew brought their A game, diligently helping to bring the story to life,” said Bartels, who is Nigeria’s highest-grossing producer in 2021.

“What we set out to achieve is to tell a culturally inspired and engaging story that would resonate with viewers of different works of life and demographics. With the amount of work that has gone into this, I predict it will be a household name, and we couldn’t be prouder,” she said.

Reflecting on the impact of the project, the director, Captain Degz, is enthusiastic: “Adire is the truth and therefore
much more. I really enjoyed working on this project and also learned some valuable life lessons.

Addressing ‘live and let live’, it promises to leave an imprint on your heart,” he said.

Producer, Barbara Babarinsa, admired the technical input in the development of the story: “Adire embodies an unconventional poetic dialogue that redefines the whole essence of storytelling. It is a relatable, culturally rewarding and timeless work of art. We gave everything for it; we did some magic,” she said.

FilmOne Entertainment is renowned for its co-productions in the recent past, with a filmography that includes several blockbuster and award-winning films, such as Aki & Pawpaw, Fate of Alakada, Ghost and The Tout Too – all written and co-developed in-house; Prophetess, The Wedding Party franchise and Sugar Rush, to name a few. Therefore, Adire is the first film produced solely by the company, imagined, developed and produced exclusively by its content team.

FilmOne Entertainment co-founders and Adire executive producers Kene Okwuosa and Moses Babatope jointly expressed their satisfaction, “Over the years, we have engaged in production partnerships that have allowed moviegoers to enjoy the best on the big screen and in streaming. Therefore, to solidify our successes, we decided to tap into the abundance of talent and professionalism that makes up our production team to make our first original – a masterpiece for global audiences. Adire will long resonate with the standards of great storytelling,” they said.

Adire is just the first in FilmOne’s slate of originals set to shoot this year. Two other titles should be completed before the end of the year. Publicity and media engagements in preparation for the film’s release will begin in the coming weeks.

Editor’s note:

ABOUT FILMONE ENTERTAINMENT

FilmOne Entertainment is an independent entertainment company focused on the distribution and production of film content, inside and outside Nigeria. We distribute and produce a wide range of consumer and commercial images, including international and indigenous films, and maintain strategic alliances and relationships with international studios and distributors.

The FilmOne team comprises West Africa’s most recognized professionals in film distribution, production, marketing and general consultancy, with a combined experience of over 50 years, acquired in the UK, in the United States of America and Nigeria.

All in all, Prince Harry’s opening speech on July 18 at the United Nations to celebrate Nelson Mandela International Day was a decent strike, both for the prince, for the Mandela Foundation which invited him and for the UN. The prince took great pains to outline the details of the great man’s monumental 27-year incarceration, generously quoting Mandela, with, as always, a nod to the prince’s mother, Diana, whose acquaintance with Mandela was sincere. Harry mentioned the photo of Diana and Mandela together, laughing, at ease in each other’s presence during a meeting in 1997, a photo given to Harry by Archbishop Desmond Tutu, which Harry has said to have “on my wall and in my heart”. Even though Harry remained focused on the subject of the man, the message was that his mother was always with him, and with us.

The prince listed many of the current crises facing Africa, from the historic drought in the Horn of Africa to the work of his own charity supporting children orphaned by HIV in Lesotho and Botswana, Sentebale. He kept the big issues in mind, the most important of which was Mandela’s global reach and relentless activism. This was Harry at his best, straight arrow, heart on his sleeve, telling us what he was thinking.

He concluded with these words: “Let us seek what we have in common, let us empower all to claim our democracies and harness the light of Mandela’s memory to illuminate the way forward. Unapologetically idealistic, with a large dollop of that extreme ease of connecting to everyone, you’d almost think Harry Mandela’s International Day speech was a bit of old Harry, before his abrupt and publicly bitter departure from 2019- 2020. British monarchy and his family. In a weird way, the speech kind of served as proof that that other, quirky, charming Harry – the one who can effortlessly merge the personal and the political – somehow still exists.

Except. While we can say that every man now has overhead, Prince Harry has overhead, including his wife and family now that he is no longer a member of the royal family. Meghan Markle may have some cash stashed away from her years in Canada as a TV actress and lifestyle blogger, and hopefully she will. But, either way, that amount won’t even bear the freight of her sizable carbon footprint, like the private jets she’s taken to and from the Queen’s Jubilee in June, or even the prodigious staff shelling the “content” for Archewell’s entertainment and media weapons. On the surface, at least, there’s no money-making content from Archewell’s for-profit content arms. Facing intense problems of its own, Netflix, after going deep into the Windsors of Montecito business with a $100million report, has just canceled Ms Markle’s show pearlan animated film that was nearing production.

Harry seems to realize that he needs to go out and earn ducats. That’s why when they arrived in California and Hollywood in 2020 and 2021, Harry and his wife landed a veritable blizzard of deals, including with Netflix and Spotify, but also with corporate mental health startup BetterUp. and towards his the inevitable autobiography told to autobiography.

The most imminent lucrative projects in the pipeline are inextricably the products of this new rain-making Harry. The first is his autobiography told with The tender bar author JR Mohringer, a book that has now been rescheduled to become a staple in fall book lists. The second, which will debut at an undetermined point when Netflix feels it has enough storytelling in the box, is Harry and Meghan’s ongoing documentary/reality show behind the scenes as they manage their many charitable endeavors. global and commercial projects under the Archewell umbrella. Of the two projects, the book will undoubtedly be the most explosive and, for Harry in any case, the most successful.

But the last time we visited some of the deals made and generated by the leaders of the fledgling foundation/engine of political engagement/entertainment production house/self-improvement entity/lifestyle empire, there were the content problem. In practical terms, this means that there is a large creme de la creme superstructure of Hollywood and Silicon Valley talent in Archewell’s divisions. But apart from the ongoing production work on the documentary Soul of Invictus – a deep-dive documentary, starring Harry, into the 2020 Invictus Games – and aside from continuing work on Netflix and the couple’s personal documentary/reality show, and mental health documentary series with Oprah “The Me You Can’t See”, there were no products. The couple have a lot riding on this autobiography and the Netflix documentary of their lives, in other words.

Part of the problem is that it’s simply difficult to produce impactful content in any medium, and that difficulty is compounded when it’s as difficult as figuring out what the production entity, Archewell, actually is. supposed to do. This is a non-profit, yet somewhat commercial media/charity venture. But the last time we visited some of the deals made and generated by the leaders of the fledgling foundation/engine of political engagement/entertainment production house/self-improvement entity/lifestyle empire, there were the content problem. And this problem has not gone away.

The second complication is that the couple are, admirably, deeply politically engaged in a wide range of causes, some of which, like Sentebale, Harry’s Lesotho and the Botswana HIV Orphans Charity, or Invictus, are well established. But these efforts and many others take time and pay off. Therefore: They seem rushed and spread quite thinly. It was on their way to The Hague Invictus ceremony and games that they dropped at Windsor to reconnect with the Queen.

This picture is not mitigated – in fact, it is only intensified – by the long-running tensions between the Montecito Windsors and the Windsors of Windsor. These tensions came to a head with the March 2020 accusations of racism made by the couple to Harry’s family in the CBS interview with Oprah Winfrey. This brings us back to Harry’s next book, which is due out in a few short and blustery back-to-school weeks. For its part, the royal family would fear the publication.

Netflix sues ‘The Unofficial Bridgerton Musical’ for copyright infringement and unauthorized musical stage production

Netflix Inc on Friday July 29 sued the creators of an alleged unauthorized musical production of its popular period drama Bridgerton, accusing them of copyright infringement after creating a demand for their infringement on TikTok.

The lawsuit was filed against Abigail Barlow and Emily Bear in federal court in Washington, DC, three days after a sold-out performance by The Unofficial Bridgerton Musical in the Kennedy Center of this city.

A lawyer for the defendants made no immediate comment, having yet to review the complaint.

Bridgerton, based on the best-selling romance novels by Julia Quinn, drew 82 million viewers in the first four weeks of the series’ Netflix debut, a record at the time. It was renewed for a second season and inspired a spin-off series and live event, The Queen’s Ball, hosted in six cities.

Netflix said after Bridgerton was first published in December 2020, the defendants began posting about the series on TikTok, where they have 2.4 million subscribers, including creating songs based on characters, scenes, dialogues and plot points.

The company said it repeatedly warned the defendants to quit, but they followed up with an album titled Bridgerton’s Unofficial Musical, which won a Grammy Award, and their stage show.

“The Barlow & Bear ride started on social media, but expands ‘fan fiction’ far past its breaking point,” Netflix said. “This is a gross violation of intellectual property rights.”

This week, the Barlow and Bear musical played to a sold-out crowd at the Kennedy Center in Washington, where Netflix was hosting its own live Bridgerton Experience.

The Kennedy Center show “attracted Bridgerton fans who would otherwise have witnessed the Bridgerton Experience and caused confusion about whether Netflix had approved unauthorized derivative works of Barlow & Bear,” Netflix said in the court case.

A performance in September is scheduled at the Royal Albert Hall in London, according to the lawsuit.

The lawsuit seeks to stop the alleged violations, as well as unspecified damages. – Rappler.com

Production on Netflix’s ‘The Witcher’ season three has been “paused due to rising COVID-19 cases.” The news comes amid unconfirmed online rumors that star Henry Cavill has tested positive for the virus, but the streamer only says filming has ‘paused due to COVID and we’ll be up and running as soon as it’s safe. to do it,” according to The Hollywood Reporter.

Season 2 production was also halted due to the 2020 pandemic, pushing the season release to December 2021. No premiere date has been announced for the show’s third season, which also features Freya Allan, Anya Chalotra, Mimi Ndiweni and Eamon Farren. Robbie Amell, Meng’er Zhang, Hugh Skinner and Christelle Elwin were also added to the cast.

The official login line recounts, in season 3, as the continent’s monarchs, mages, and beasts clash for capture, Geralt takes Ciri of Cintra underground, determined to protect his newly reunited family from those who threaten to destroy it. Lauren Schmidt Hissrich serves as showrunner and executive producer along with Tomek Baginski, Jason F. Brown, Sean Daniel, Mike Ostrowski, Steve Gaub and Jaroslaw Sawko. (ANI)

(This story has not been edited by the Devdiscourse team and is auto-generated from a syndicated feed.)

Mumbai: Bollywood star Alia Bhatt said on Monday she would love to produce her actor-husband Ranbir Kapoor’s debut film and would be “upset” if he didn’t ask her to be part of the project.

During promotions for his latest release ‘Shamshera’, Kapoor reportedly expressed a desire to try his hand at filmmaking.

The actor, who will next be seen in ‘Brahmastra Part One: Shiva’ alongside Bhatt, said he had already written a story during the pandemic-induced lockdown and was looking for writers to flesh it out.

During the launch of the trailer for his upcoming film “Darlings”, Bhatt’s first production venture, the actor was asked about the possibility of producing Kapoor’s debut film.

“We discussed it, actually. I told him that if you didn’t force me to produce it, I would be very upset!

“I told him that if you don’t want to take me as an actor, that’s fine, he said to me: ‘No, no, I need you, you are a tyrant’, as a joke. I I’m a creative producer so I’m going to make my creative contributions at the writing stage and produce it,” she told reporters here.

“Darlings” marks the directorial debut of writer Jasmeet K Reen. The dark comedy set in Mumbai will begin streaming on Netflix from August 5.

Bhatt produced the film through his Eternal Sunshine Productions banner, in conjunction with superstar Shah Rukh Khan’s Red Chillies Entertainment.

The actress, last seen on the big screen in ‘Gangubai Kathiawadi’, said she was surprised by Reen’s sharp writing and immediately wanted to produce ‘Darlings’.

“When I met Jasmeet in 2019, I had a busy schedule. But I’m used to taking narration because you never know where a good script can come from. The narration was quite normal and suddenly it changed speed.

“I was right on the edge of the seat and it’s rare that I’m surprised by a script, but it happened with ‘Darlings’. Naturally, I thought I’d like to be a producer on that too,” said declared the 29-year-old added.

Bhatt recalled Khan telling her that he doesn’t usually co-produce films but made an “exception” for her. The duo had co-starred in “Dear Zindagi,” the 2016 coming-of-age drama film.

“He (Khan) said we would have a lot of fun and enjoy shooting the movie. He recently saw the movie and in typical ‘Darlings’ style, he messaged, ‘Thank you Darlings for made this movie,'” she said.

“Darlings” stars Bhatt alongside Shefali Shah, Vijay Varma and Roshan Mathew.

According to the official synopsis, the film explores the lives of a mother-daughter duo trying to find their place in the city, “searching for courage and love in exceptional circumstances while struggling against thick and thin.”

“Nope”, the UFO thriller by Jordan Peele topped the North American charts in its first weekend in theaters with estimated ticket sales of $44 million, Universal Pictures said Sunday. While it doesn’t come close to the $71 million debut of “Us,” it’s still very impressive for an R-rated original film — and the biggest of the pandemic for an original screenplay.

‘No,’ which opened in 3,785 theaters in the United States and Canada, is Peele’s most expensive film to date with a production budget of $68 million, not including costs. marketing and promotion. “Us” cost around $20 million to produce, while “Get Out” was made for just $4.5 million. Both films ultimately grossed over $255 million worldwide.

Reviews were largely positive about “Nope,” which features Daniel Kaluuya, Keke Palmer and Steven Yeun and pays homage to UFO movies like “Close Encounters of the Third Kind” and “Signs,” and is currently 83% based on Rotten Tomatoes.

Notice “No”:Jordan Peele takes UFOs for successful ride with Daniel Kaluuya, Keke Palmer

“That’s a big number,” said Jim Orr, president of national distribution for Universal. “It’s amazing how well that plays too.”

“Jordan Peele made an amazing movie,” Orr added. “And it’s absolutely something that should be seen on the big screen.”

The film is off to a strong start with $6.4 million from Thursday previews. By the end of Friday, it had grossed $19.3 million. About 68% of the opening weekend audience was between the ages of 18 and 34, which is the “sweet spot” for a horror movie. Audiences were also quite diverse according to exit polls, indicating 35% Caucasian, 33% Black, 20% Hispanic and 8% Asian.

And many chose to experience “No” in IMAX, which accounted for about $5.2 million of its first weekend earnings.

“It’s incredibly gratifying to see a visionary like Jordan Peele, who represents a new generation of filmmakers, use our technology in innovative ways and create an experience meant to be seen in IMAX,” said Rich Gelfond, CEO of IMAX.

The experts weigh:Should ultra-long blockbuster movies have intermissions?

Word of mouth will be critical in the coming weeks for “No”, which begins its international rollout on August 12.

“An opening weekend for a Jordan Peele movie is not the right measure. We have to see where it will be in a month,” said Paul Dergarabedian, senior media analyst for Comscore. could have solid, long-term playability as word gets out.Just watch ‘Elvis’ to see that a movie doesn’t need to open big to be a big hit.

“No” knocked “Thor: Love and Thunder” in second place in his third weekend. The Disney and Marvel blockbuster starring Chris Hemsworth and Natalie Portman added $22.1 million, bringing its worldwide total to $598.2 million.

Universal”Minions: The Rise of Grulanded in third place with $17.7 million in its fourth weekend. The animated pic grossed $640.3 million worldwide.

Sony’s adaptation of the best-selling “Where the Crawdads sing”, meanwhile, sees a modest second drop over the weekend. The film starring Daisy Edgar-Jones has grossed an estimated $10.3 million from 3,650 locations. It has now grossed $38.3 million domestically.

Related:‘Crawdads’ author Delia Owens is wanted for questioning in connection with a murder. Here’s why.

from Paramount”Top Gun: Maverickrounded out the top five in its ninth weekend with an additional $10 million. Earlier this week, it overtook “The Avengers” to become the ninth-biggest domestic release of all time with a total of $635.6 million.

In limited release, “Marcel the Shell with Shoes On” continued its expansion and grossed $846,950 from 590 theaters.

Estimated Friday-Sunday ticket sales at US and Canadian theaters, according to Comscore. Final national figures will be released on Monday.

1. “No”, $44 million.

2. “Thor: Love and Thunder,” 22.1 million.

3. “Minions: The Rise of Gru,” $17.7 million.

4. “Where the Crawdads Sing,” $10.3 million.

5. “Top Gun: Maverick,” $10 million.

6. “Elvis,” $6.3 million.

7. ‘Paws of Fury: The Legend of Hank’, $3.9 million.

8. “The Black Phone,” $3.5 million.

9. Jurassic World Dominion, $3 million.

10. “Mrs. Harris Goes to Paris,” $1.4 million.

Hossein ZiaShakeri, Senior Vice President of Business Development and Strategic Alliances at Spectra Logic, presents the project

The SVG College Summit returned to Atlanta for the first time since 2019 for two days of panels, case studies, workshops and networking. The agenda for this year’s event touched on critical topics facing the business, ranging from live/streaming strategies; live production tools and solutions; production models based on cloud, REMI and IP; content distribution strategies; what the Name, Image and Likeness (NIL) means to you; staffing/training of your production teams; and more.

Faced with a growing and siled media archive, the University of Georgia needed a solution to unify its media archive and ensure long-term accessibility by deploying best practices to protect and preserve these irreplaceable assets even in the face of disaster. At SVG College Summit 2022, Spectra Logic explained how they helped the university consolidate its disparate storage silos into a single repository that spans the university’s future vision of managing assets across multiple sites and campuses. .

Presenter:
Hossein ZiaShakeriSpectra Logic, Senior Vice President of Business Development and Strategic Alliances

When director Wesley Broulik got the call from the Saratoga Shakespeare Company board to bring the theater back to Congress Park this summer, he jumped at the chance.

He has performed and conducted shows with the company in years past, but bringing the free performances back to Congress Park after two bleak summers seemed particularly important.

“A big part of my mission as an artist is about access . . . having a cost is not a barrier to the arts,” Broulik said. “It shouldn’t cost you $125 [or] $65 to go see a show. It’s the difference between parents bringing their kids to a show and exposing someone to live professional theater, or not going at all.

Beyond that aspect, the production – “Much Ado About Nothing” – seemed on point and feasible for the company to manage with a small cast. The story revolves around two romantic couples; Hero and Claudio; Benedict and Beatrice. Ten actors make up the cast, with some, like Michael Pemberton and Aly Tu, doubling the roles.

Pemberton plays both the villain, Don John, and the clown, Dogberry. You play Hero, a docile woman who is harmed by Don John’s plot. You also play Verges, who is Dogberry’s assistant.

This is the first time that Pemberton or You have been in a Saratoga Shakespeare production. Tu recently graduated from Albright College and was looking for some interesting roles when she came across the production. Pemberton, who has starred in films like ‘Bridge of Spies’ and ‘The Family Stone,’ moved to Saratoga from New York in 2019. Earlier this year, he was in REP’s ‘The True’ and was looking for more ways to get involved in the local arts community.

Part of what appealed to him about the Saratoga Shakespeare show was the challenge of playing both villain and comic relief.

“I trained at a place called Hilberry Rep in Detroit years ago, and we did seven shows in a nine month season and so I definitely played a villain on one show and a comedic relief on another emission. But I think it’s the first time I’ve done it in the same show, which is great. It was part of the draw for me,” Pemberton said. “I tend to throw myself towards the things I fear.”

The same goes for you.

“The hero is the one who’s been wronged for most of the play and isn’t able to lend her own voice and everything and everyone makes the decisions for her. So we made Verges that mastermind behind thoughts and ideas of Dogberry, which is such a fun contrast to Hero,” Tu said.

The show, which also features Tim Dugan as Benedick and Laura Menzie as Beatrice, will take place in the round, with minimal set and costume changes. Most of the character transitions will be through the physical and voice changes of the actors.

It’s a different approach for the company.

“Staging and Staging [this] is kind of like specific choreographic Jenga but part of it is this idea of [getting] going back to basics, a very stripped down approach and focusing on storytelling,” Broulik said.

It helps to have a cast of dedicated actors, who Broulik says are some of the hardest working around.

“I’m humbled when I work here as an actor. I’m even more humbled when I’m working here as a director,” Broulik said.

Rehearsals began July 5 on the Skidmore College campus, and they staged the production in a week.

“When we were talking about my arrival on board, [Wesley] told me, it’s like being shot by a cannon. And he wasn’t exaggerating. With a contract like this, you are only entitled to 30 hours of rehearsal per week. So we’ll only be in the rehearsal room for 60 hours, whereas typically you’ll be in a rehearsal room for almost 200 hours,” Pemberton said.

He and Tu thank Broulik and production manager David Girard for making the rehearsals efficient and fun.

“David and Wesley lead these rehearsals in a very smart and efficient way. They laid the groundwork for us at the start of the rehearsal and then the rest, we just play and discover and find our feet,” Tu said.

There’s also an added sense of anticipation as the cast sets up production after the company hasn’t performed a show at Congress Park since 2019.

“There’s a different energy, there’s a hunger for all of us to want to play, to bring theater to the community again in the park for free,” Tu said.

“It’s a way for our community to get out, take a deep breath and [be in] a nice and safe environment together, and again enjoying something we haven’t been able to enjoy in a while. And make sure Saratoga Shakespeare gets going again in the future,” Pemberton said.

This season, Saratoga Shakespeare is led by Steve Greenblatt, the chairman of the board, and the company does not have an executive director.
“I’m glad Saratoga Shakespeare is not gone. That he finds a way forward to produce as we emerge from the pandemic,” Broulik said.

He added that keeping the shows at Congress Park reflects the connection between the community and the company.

“The fact that it’s in downtown Saratoga means it’s owned by the city, by the merchants, by the community,” Broulik said. “It’s accessible. It’s free and you can stumble upon it. I think there’s some value in that.

“Much Ado About Nothing” presented by the Saratoga Shakespeare Company

WHEN: 6 p.m. Wed. July 20 – Sat. July 23
WHERE: Convention Park, Saratoga
MORE INFO: saratogashakespeare.org

Categories: On the trail, Entertainment, Life and arts

Lessons Learned is a column in which Brews News reaches out to start-up breweries a year after first opening to understand the challenges of opening a new brewery and share key lessons for all breweries in the making.

Seasonal readiness and scaling up production were some of the lessons learned by Bowden Brewing in its first year of business.

The brewery opened in July last year and was co-founded by Alex Marschall, Jake Phoenix, Oliver Brown, Joshua Talbot and Matthew Orman while working at New Orleans inspired bar, NOLA.

In a similar experience at Mount Gambier’s Woolstore Brewery, the downtown brewery struggled with COVID-19 restrictions in South Australia. However, as co-founder Alex Marschall explained, the challenges were expected.

“In the midst of COVID, we’ve had a number of closures, reopenings and limited capacity, so the venue and the commercial kitchen have had a number of challenges,” he said.

“But overall I think it went pretty well and it was what we expected, which is pretty good.”

The brewery itself is located in Factory 3 Bowden, which is a site that features various businesses as well as Bowden Brewing. As a result, the development application was filed with the State Commission’s Assessment Committee as well as the local council.

Marschall explained that preparation was a hard lesson learned for the company, not just with the development request process.

“When we were opening, the state government [was a challenge] so we were still figuring that out. There was a little less planning, maybe we could have done that,” he said.

“In terms of planning, going from beer production to selling on site, for us it was a challenge to try to predict the type of market flow and to try to plan a bit ahead to the seasons too.

During the colder seasons, Adelaide embraces a dark beer culture with various events held to showcase the breweries’ dark beers. Using it for your business is essential if you’re in a similar field, but preparation should be a priority, Marschall advised.

“You need to plan at least six weeks ahead in planning certain styles to fill your ready-made board. If you hit winter and you don’t have dark beers on board, you’ve already missed the boat,” he said.

“A bit of that planning, trying to predict what will sell and how much will sell, until you find a bit of a balance.”

This approach then feeds into other aspects of the business, especially when it comes to scaling production.

“We scaled our equipment to be able to work towards our production capacity,” Marschall said.

“When we originally opened, we originally had double sized fermenters that only made one batch to half fill the fermenters to help with volume.

“While we are now at about full capacity, we are doubling down on everything we do and filling the fermenters to the brim.

“Obviously with the addition of canning machines, we end up canning and kegning half the batch. So it’s about finding that balance in packaging.

Marschall said the brewery is now considering prioritizing maintenance and advised others to do the same.

“A year from now, we really need to start focusing a bit more on the maintenance of the equipment as well,” he explained.

“Not all, but a lot of equipment has 12 monthly maintenance inspections that also need to be done.

“So with that in place, brand new gear, usually you’re right for a little while, but now you want to start taking care of it so it lasts as long as it can and doesn’t burn out. in six months. ‘ time.”

Local cooperation

For a brewery based in an inner-city suburb, Bowden Brewing experienced a huge range of customers, which contributed to a local clientele.

“The area being quite apartment-heavy construction means we see a lot of people coming here with their friends from the freeway and using this entertainment space, which is good and what we wanted from the start,” said Marshall explained.

“With also being in the new development, there was a lot of excitement for us to open, and that kind of continues.

“So we have a lot of loyal locals that we see coming back every week, always eager to come and try the new beers we’ve released, which is good.”

Marschall advised that other businesses should use the collaboration to work with other local businesses.

“So we’re working with the other companies that now live in space as well. We had a coffee roaster open right next to us, as well as a dessert bar which will open shortly,” he said.

“Try to work with all the other local businesses around you to activate the whole space and have distinct but related offerings across all businesses.”

With the addition of the cannery, the brewery intends to expand its wholesale business by focusing on distribution to independent bottlers, while continuing to work with local businesses.

“We did a little more canning than we originally planned, which turned out to be a good thing,” Marschall explained.

“Everything can still get that view, as well as going to a few independent bottle shops and trying to get in, not far, but a bit more into the Adelaide community.

“So we still mainly sell what we can locally, but a bit more in bulk. Get a little more statewide exposure I guess.

The genius of “Bull Durham” can be found in many scenes, including one in which minor league veteran Crash Davis (Kevin Costner) coaches newcomer Ebby Calvin (Nuke) LaLoosh (Tim Robbins) on the art of being interviewed.

“You’re going to have to learn your shots,” advises Crash. “You will have to study them. …Note this. “We have to play them one day at a time.”

“‘I have to play.’ … It’s quite boring, you know?, Nuke replies.

“Of course it’s boring,” Crash says. “That’s the goal. Write it down!”

Yes, most real post-game interviews are boring. But writer-director Ron Shelton’s 1988 film about the Durham Bulls baseball team remains the exact opposite of boring.

The greatest sports movie of all time – according to a 2003 Sports Illustrated ranking that still stands – is the subject of Ron Shelton’s new book, “The Church of Baseball: The Making of Bull Durham: Home Runs, Bad Calls, Crazy Fights, big swings and a kick.”

Shelton will talk about his memoir on Thursday at a virtual event hosted by the Henry Ford Centennial Library in Dearborn. Joining Shelton in the Zoom discussion will be Jim Burnstein, the director of the screenwriting program at the University of Michigan (and a screenwriter and producer who immersed himself in sports films with the script for “D3: The Mighty Ducks”).

Released in 1988, “Bull Durham” stars Costner as an older, wiser receiver on the Durham, North Carolina team, Robbins as the mix of raw talent and naivety that is Nuke. and Susan Sarandon as Annie Savoy, a so-called baseball groupie. who is in love with the game and who practices serial monogamy by romanticizing a player each season.

What makes “Bull Durham” such a timeless film? Burnstein says the short answer is that Shelton designed it that way.

“Ron Shelton billed it as ‘Lysistrata’ in the minor leagues. And you don’t have to be an Aristophanes or baseball fan to get it,” Burnstein says, referring to the old play. Greek on a battle of the sexes.

“He’s a pitcher, a catcher and a woman who tells the tale. She sleeps with one of them, but the other one is the good guy. You can’t help but love all of these characters. The story rings true because the minor league world Shelton creates is the one he inhabited. It’s funny and sad and perfectly cast. ‘Bull Durham’ is the benchmark for sports movies because it’s not s it’s not about sports.”

Although the movie ended up being both entertaining and sexy and bittersweet, the editing process was as nerve-wracking as, well, getting a closer look at a Detroit Tigers trying to preserve a winning score as he are two outs in the ninth inning.

Shelton reveals production ups and downs in his book, such as a studio executive wanting Anthony Michael Hall to play Nuke instead of Robbins. The memoir was praised by the likes of author Daniel Okrent, who exclaimed, “No insider has ever written so well, and so revealingly, about script rewriting, studio battles, backing vocals, the whole sausage-making process of any movie.”

All great art is the product of a struggle, even if it’s a commercially successful film like “Bull Durham”. In an email interview with Free Press this week, Shelton made it clear that the process of bringing the project to screen involves both the agony and the ecstasy of creative expression.

When asked when and how he realized his film was a classic, Shelton replied, “It’s only now that I’m beginning to understand. The experience of making it was so unfortunate that I couldn’t even watch it for 10 years. Now enough time has passed that I can enjoy it and, it seems, write a book about it.

So which cast member provided the most comedic relief during production? “The cast were hardworking and professional and committed to the task at hand, but Robert Wuhl was a comedic tonic for everyone, keeping things light and funny and always irreverent, which helped through the battles,” Shelton said. .

Wuhl was equally effective on screen in what is probably his best performance ever as pitching coach Larry Hockett. During the film’s hilarious mid-game reunion on the pitcher’s mound, Hockett offers advice on what to buy a player for a wedding gift: “”Chandeliers always make a great gift, and, uh, maybe you could know where it’s saved, maybe a mise en place or maybe a silverware pattern is good. OK, let’s take two!

Shelton, who was nominated for the Best Original Screenplay Oscar for “Bull Durham,” played minor league baseball himself for about five seasons. Thanks in large part to his expertise, the action on the ground in the film was as precise as the dialogue was offbeat.

“One of the opposing hitters, Butch Davis, actually made the majors a few years later,” Shelton said. He added that the baseball “coordinator-guru” for the film was Grady Little, a Durham Bulls manager who went on to manage in the major leagues for the Boston Red Sox and Los Angeles Dodgers.

After “Bull Durham,” Shelton went on to make a few more sports-themed movies, including 1994’s “Cobb” starring Tommy Lee Jones as the iconic and controversial Detroit Tigers great, and 1996’s “Tin Cup.” , a romantic comedy rooted in golf that reunited him with Costner.

For “Cobb,” Shelton said he filmed footage at Detroit’s old Tiger Stadium, which he described as his “all-time favorite baseball park,” and dined while in the Greektown neighborhood of Detroit. Motor City.

“And I hung out in Detroit with Ernie Harwell, who had a lot of stories about Ty Cobb that I had never heard,” he said of meeting the late and legendary Tigers announcer. .

From “Bull Durham” to 1984’s “The Natural” and 1989’s “Field of Dreams,” baseball movies have an emotional force and enduring resonance that puts them in a league of their own, pun intended.

Shelton admitted he didn’t know why. “I don’t know because it’s very difficult to get them made. There are almost no foreign sales for American baseball films or television, and that is the problem,” he said.

Maybe it’s because baseball is the stuff dreams are made of (to borrow from that literary star William Shakespeare) – and “Bull Durham” is the ultimate ode to that dream.

As Annie says in the voiceover that opens the film (and inspires the title of Shelton’s book): “I’ve tried them all, really. And the only church that really feeds the soul, day in and day out, is the baseball church.

Contact the Detroit Free Press pop culture critic at [email protected]

“The Church of Baseball: The Making of Bull Durham: Home Runs, Bad Calls, Crazy Fights, Big Swings and a Hit”

6:30-7:30 p.m. Thurs.

Zoom virtual chat with author Ron Shelton, the writer-director of “Bull Durham,” about his new memoir. It will be led by Jim Burnstein, director of the screenwriting program at the University of Michigan.

To register for this event, visit the Dearborn Public Library website (www.dearbornlibrary.org) and click on the calendar of events and the registration link.

Hosted by the Henry Ford Centennial Library of Dearborn.

Maurice Leblanc’s ArséneLupin Gentleman-Thief novels based on the French series “Lupin” season one and two were released in January 2021 and June 2021 respectively, with a total of five episodes each. Netflix has acquired the rights to simulcast it worldwide. The series was watched by 70 million households in its first month, making it the most-watched non-English series on Netflix at the time. Without further ado, let’s dive into Lupin’s Season 3 updates.

Season 3 of Lupine has been renewed, and it is already in production, confirmed Omar Sy last year. “We can’t hide anything from you. Lupin Part 3 is confirmed!” he tweeted after a French reporter shared the news.

We can’t hide anything from you. 👀 Lupine part 3 is revealed! We can’t hide anything from you. 👀Lupin part 3 is confirmed!

– Omar Sy (@OmarSy) May 11, 2021

But since November, Sy and Netflix have made no announcements about whether filming is underway or complete in Paris.

According to the storylines of the last two seasons, almost all the key characters will reprise their roles in Lupine Part 3. This includes Omar Sy (AssaneDiop), Antoine Gouy (Benjamin Ferel), Etan Simon (Raoul), LudivineSagnier (Claire) and SoufianeGuerrab (Youssef Guedira).

Additionally, Hervé Pierre (Hubert Pellegrini), Vincent Londez (Captain RomainLaugier), ShirineBoutella (Lieutenant Sofia Belkacem), Vincent Garanger (Gabriel Dumont), Stefan Crepon (Philippe Courbet) and ClotildeHesme (Juliette Pellegrini) are also set to return to Lupin. 3.

The main cast, Omar Sy, plays a modern-day gentleman thief who takes inspiration from Arsene Lupin and swears to avenge his father’s death in the mystery thriller series.

Season 2 of Lupin ended with Belkacem receiving new evidence, which suggests that Assane was not Leonardo’s killer. Youssef tells him and Laugier about Dumont’s corruption, and the three decide to arrest him at the Pellegrini’s concert at the Théâtre du Châtelet that evening.

Philippe, in reality an accomplice of Assane and Benjamin, brings several boxes of computer equipment into the theater, one of which contains Assane. When the music starts, Assane sneaks into Hubert’s private box, holding him at knifepoint and forcing him to confess to framing Babakar for the necklace theft and having him and Fabienne murdered, being responsible. of Raoul’s kidnapping and blame Assane for Leonard’s death.

After Assane leaves, Hubert’s men pursue him through the theater and he is eventually caught by Dumont. However, Laugier, Belkacem and Youssef arrive, arrest Dumont and temporarily release Assane. Assane goes to the stage, where he publicly accuses Hubert of all his crimes, including the theft from the foundation. The stunned guests begin to leave in a frenzy. Assane, still wanted for several high-profile crimes, manages to get away with them, disguised as a firefighter.

He sends Youssef a recording of Hubert’s confession, allowing the police to arrest the businessman. Although Assane is recognized by a group of officers, he manages to evade them after stealing a speedboat. He reconciles with Claire and Raoul before going on the run. Lupine Season 3 will start from here.

As for the premiere date, currently there is no confirmed news, however, series co-creator George Kay spoke with Radio Times ahead of the Lupin Part 3 renewal. He said they expect the new season to launch in 2022.

Also Read: Alice in Borderland Season 2 Adds New Cast Members (Plus Everything We Know So Far)

As San Diego kicks off Pride Week, we celebrate the creatives who make the fabric of the region’s LGBTQ community so rich, vibrant, and colorful.

RELATED: What you can expect at San Diego Pride as it returns in person after two years of hybrid events

David McBean

Occupation: Actor, teacher and musical director

Age: 44

Place of birth: San Diego

Born and raised in San Diego, David McBean has a long history in the local art scene. He attended the San Diego School of Creative and Performing Arts. At 14, he came out and began his “journey as a singer, actor and queer pianist in the 1990s, when the AIDS crisis was still active”, he says. He first performed in the ensemble of San Diego Comic Opera, then acted as an understudy in “10 Percent Revue”, his first production at the Diversionary Theater, before joining the cast. Since then, he has performed in numerous Diversionary productions, including “The Rocky Horror Show”, “The Boys in the Band”, “Psycho Beach Party”, “The Mystery of Irma Vep” and “Twist”. He was most recently in Diversionary’s “Eighty-Sixed,” a quarter century after his first show. He also starred in ‘The Legend of Georgia McBride’, ‘La Cage aux Folles’ and ‘Fully Committed’ for which he won a Craig Noel Award.

What pride means to me: My journey as a queer man has been arduous. The product of religiously sanctioned hatred, my coming out process was rooted in anger. An outcry against cultural messages that the way I love is an affront to God, society, and “Americana.” Luckily, I had supportive parents, a loving arts community, and the arms of arts educators to guide my path of discovery. Today I am blessed to be a performer, teacher, and music director – a living example of a thriving queer artist, an advocate for my students (whatever their identity) and I experience Pride as a calmer and more peaceful self-expression. -Love and acceptance.

Paris Sukomi Max

Occupation: Artist and Associate Managing Director at insideOUT San Diego and Mo’s Universe

Age: 33

Place of birth: San Diego

Instagram: @parissukomimax

Take a look at her Instagram page and you’ll quickly realize that San Diego native Paris Antoinette S. Quion, whose stage name is Paris Sukomi Max, is all about celebrating and uplifting the LGBTQ community. . As one of San Diego’s most prominent drag performers, her influence goes far beyond the stage. She is active in the community – as a citizen, as a businesswoman – and does all she can to uplift people. On November 20, 2021 – Transgender Day of Remembrance – she posted: “Remember those who lived so bravely and openly so that future generations can live authentically.”

What pride means to me: As an artist, I’ve always hoped to do more and have more reach beyond being on stage to have a bit of an impact in improving the community that I love so much. I quickly learned that our visibility itself is a great way to show members of our community struggling to embrace their true selves that we can dream beyond just being alive and making it better. really. When you’re ready, we’ll be there with open arms.

Laurent flower

Ballet dancer Lauren Flower at Lake Murray at La Mesa.

(Ariana Drehsler/For the San Diego Union-Tribune)

Occupation: Ballet dancer at Golden State Ballet

Age: 27

Place of birth: Fresno

Instagram: @lauren_flower

Lauren Flower, you could say, has always had a love affair with dance. She started dancing at the age of 3 and honed her skills as a young dancer at the Tucson Regional Ballet and Ballet Arts. Over the summer, she took intensive summer courses at the School of American Ballet, Pacific Northwest Ballet and Houston Ballet before continuing her training – on full scholarship – with Houston Ballet II, the second company of the Houston Ballet. After stays abroad, she returned to Arizona in 2013 and joined Ballet Arizona. Four years later, she joined the Boston Ballet. Today, she is a member of San Diego’s brand new Golden State Ballet.

What pride means to me: Pride for me is being vulnerable and celebrating by expressing my true and authentic self. As an artist, my goal is to recognize and showcase the beauty of queer identities through movement, dance and storytelling. Pride means accepting myself and others as they are and as they identify with. Within the LGBTQ+ community, it’s beautiful to embrace all sides of who we are and to enlighten each other. I am proud to identify as a queer woman in the ballet industry and to work alongside many LGBTQ+ artists today.

Lavina rich

Contemporary dancer Lavina Rich at Liberty Station’s NTC Park.

(Ariana Drehsler/For the San Diego Union-Tribune)

Occupation: Choreographer and founder of Push Process Movement

Age: 44

Place of birth: San Diego

Instagram: @pushprocessmvmt

Lavina Rich was recently named one of three winners of the NTC Foundation’s Emerging Artists program, which allocates studio space at Liberty Station to dancers and choreographers. “As a board member who served on the selection committee for the Emerging Visual Artists Program, we witnessed so much creativity,” said Victoria Reed of the NTC Foundation. “Each contestant impressed me with their passion and unique approach to dance. Lavina is a dancer who has taken a break and is ready to refocus on her dance experience and message. Rich, who studied dance at Grossmont College and the University of California, San Diego, explains that her mission as a dancer and choreographer is to explore “the human experience through movement, humor, and shared emotions.”

What pride means to me: Pride means being able to be authentic yourself. It means acknowledging all of our differences and similarities – and finding joy in those spaces. This means building connections across many types of mediums. Because performance matters so much, I hope to be able to pass on my experiences to the younger generation and see them flourish in building a strong dance community here in San Diego. Here’s to everyone who identifies as mixed-race, as queer, as middle-aged dancers, as chubby, as quirky art-makers. We have this.

Hervey Garcia

Muralist Hervey Garcia sits by his paintings, ‘Sunflower Goddess’ and ‘Sunflower God’, in Hillcrest.

(Ariana Drehsler/For the San Diego Union-Tribune)

Occupation: visual artist

Age: 29

Place of birth: Tamaulipas, Mexico

Instagram: @hervey.garcia

Ask Hervey García what motivates him as an artist, and he’ll give you a pretty simple answer: his “main goal in life is to touch the feelings of the viewer through the visual arts.” Born in Reynosa in the Mexican state of Tamaulipas, García is interested in a variety of artistic media, including painting, illustration, photography and film. He painted many murals all over Mexico as well as in California and North Carolina. As a painter – he uses everything from acrylics to oils – his style falls into the categories of realism and magical realism.

What pride means to me: As an artist, Pride means being yourself without being ashamed of your true identity. It’s being honest with everyone and not being sorry for who you really are, regardless of your sexual preferences, religion or ethnicity. For me, Pride is not a date, it’s an attitude towards life, and it’s a state of consciousness that, little by little, is reaching every corner of the planet.

Christian Garcia-Olivo

Artist Christian Garcia-Olivo sits in front of his acrylic on wood panel painting titled ‘Essentials’ in his art studio in San Diego’s College East neighborhood.

(Ariana Drehsler/For the San Diego Union-Tribune)

Occupation: Artist

Age: 33

Place of birth: St. Barbara

instagram: @christian.garcia_olivo

Christian Garcia-Olivo stands at the intersection of many identities: he was born in Santa Barbara to immigrant parents, and he is a bilingual, Latinx and LGBTQ artist. The complexity of this intersection – which has created “a life of constant doubt, self-criticism and self-denial” – informs his work as an artist, hoping to “weave human connections and explore associations in our visual perception. He has exhibited in Italy, Spain and throughout Southern California, including his first solo exhibition at Bread & Salt in Logan Heights in 2020.

What pride means to me: As an artist, Pride is visual rainbow overload. But most importantly, it reminds us every year that we are finally here. We are recognized, we are supported and we belong. Pride is unity. It’s feeling whole, embracing all parts of yourself and living simply. I use painting as a medium to translate my human experience and rewrite our history as magnificent beings, no longer defined by stereotypes or smothered in categories. My name is Christian Garcia-Olivo and I am proud to identify as a bilingual, Latinx, LGBTQ+ artist with immigrant parents.

ALPHARETTA, Ga., July 7, 2022 /PRNewswire/ — Innovative New All-in-One Music Production and Entertainment Center Opens in Subway Atlanta. The unprecedented media complex is the brainchild of label heads Emerald Nation Entertainment Lamar and Kimberly Robinsonwhich has just announced the official opening date set for August 6^e2022. “We created this entertainment complex to be a mecca for new and established artists from Atlanta as well as around the world,” the Robinsons explained.

With an established track record of veteran music producers and music industry executives, emerald nation has also recently expanded its prowess in the industry, teaming up with famed Sony Music New York-based label “The Orchard”, which will serve as exclusive distributor for emerald nation worldwide releases.

With several articles in Billboard and other major media, emerald nation planted its indelible mark on the world of music and entertainment, with new Hip-Hop and R&B recording acts such as “Bobby Zeppelin“, “G-wiz” and the legendary rapper “Big Gooch” of the TRU Stone Family, who broadcast on 75k play weekly as a collective, on global services such as Spotify, Tidal and Apple Music.

Emerald Nation Entertainment has established a multi-faceted “A’ La Carte” media complex in the city of Alpharetta, Georgia unmatched by its predecessors. This universal multimedia center includes:

• A large-scale luxury entertainment facility
• A state-of-the-art recording studio with accomplished in-house engineers
• A sprawling “green room” designed for filming music videos and photo shoots
• Huge “Live” performance area and dance studio and rehearsal space
• A complete video podcasting studio and several meeting rooms
• On-site hair salon with professional stylists Full-service Bar & Grill
• A luxurious living room inspired by the cinema

When asked to comment on the future of their multiplex and global distribution company, label heads Lamar and Kimberly said, “We’re not just building a national network of recording artists and producers, but we’ve also found a way to inspire creatives to realize their full potential in a relaxed and friendly environment.”

Emerald Nation Entertainment has also ensured its success by employing prestigious executives such as VP of Distribution, Grant Bakerthe nephew of the legendary jazz singer/ Songwriter Oscar Brown Jr., who has also worked with Bravo TV’s Real Housewives star Kandi Burruss of multi-platinum band Xscape, as well as international recording artist Akon and more. Also, under the tutelage of iconic music producer mike powellcredited for his work with the 8-time Grammy Award-winning singer Anita Boulangerlabel head lamar robinson served as apprentice and understudy.

Media Contact:
Lamar or Kim Robinson
Phone: 678-587-5488
E-mail: [email protected]
Website: www.emeraldnationent.com

SOURCEEmerald Nation Entertainment LLC