Mccaffery Mysteries

The New Mexico state district attorney could press charges against four people, including actor Alec Baldwin, for the fatal shooting on the set of “Rust”.

In a recent letter to the state finance board, Santa Fe Dist. Atti. Mary Carmack-Altwies said up to four people could face criminal charges in connection with last year’s crash that claimed the lives of cinematographer Halyna Hutchins and injured director Joel Souza.

The letter, reported for the first time by the Santa Fe New Mexican, said his office is considering charges, including homicide and firearms violation, against four people.

“One of the possible defendants is well-known movie actor Alec Baldwin,” the district attorney wrote in a letter dated Aug. 30 and seen by The Times. She did not identify any other people who could be charged.

“If costs are justified, the [1st Judicial District attorney] plans to sue up to four people. My expenses for the ‘Rust’ [case] will start immediately and will be expensive,” she wrote.

The urgent request for funding could not wait for the next legislative session because “the evidence has just been rendered, the State is ready to make indictments in the ‘Rust’ case”, she writes.

Carmack-Altwies requested $635,500 for what she described as potentially four separate jury trials and to hire a special investigator, media spokesperson and experts.

The state gave the district attorney’s office $317,000 to appoint a special prosecutor to oversee the case, according to the state’s office website.

The prosecutor appointed Andrea Reeb as special prosecutor.

Baldwin’s phone, one of the outstanding pieces of evidence in the case, has been turned over to prosecutors, ABC News reported.

Baldwin’s attorney, Luke Nikas of Quinn Emanuel, cautioned against assuming his client will be charged.

“The DA has made it clear that she has not received the sheriff’s report or made a decision on who, if anyone, may be charged in this case,” Nikas said. “And in my communications with the DA’s office just a few weeks ago, after the August 30 funding application was submitted, I was told that it would be premature to discuss the matter because they don’t had not yet reviewed the case or deliberated on their charging decision.”

Baldwin has repeatedly denied guilt in the shooting.

Next month will mark a year since the accident on the set of the low-budget western as questions linger over how a live tour ended on production in breach of safety practices.

Last month, another key piece of evidence was handed over to police. A long-awaited FBI report, including an analysis of the gun Baldwin fired, concluded that the gun “functioned normally when tested in the laboratory.”

The report noted that for the Pietta Colt .45 replica to fire, the trigger had to be pulled. Those results seemed to cast doubt on Baldwin’s statements late last year to ABC News’ George Stephanopoulos that he hadn’t pulled the trigger.

However, Nikas, who was also the film’s producer, said the report’s findings had been “misinterpreted”.

“The gun only fired once in testing – without having to pull the trigger – when the hammer was pulled and the gun broke in two different places,” Nikas said. “The FBI was unable to fire the gun in a pre-test, even when pulling the trigger, because it was in such poor condition.”

Earlier this year, Hutchins’ family filed a wrongful death lawsuit against Baldwin, producers and “Rust” production members who they say broke “the most basic rules of gun use.” in a film production.

Lawyers for the Hutchins family sued gunsmith Hannah Gutierrez Reed, who they say was responsible for maintaining the guns on set and did not check that the gun or ammunition was safe before the first assistant director Dave Halls does not hand over the gun to Baldwin. The complaint also accuses Halls, a defendant in the lawsuit, of failing to verify that the revolver was safe.

Baldwin blamed Gutierrez Reed and Halls for the tragedy in a interview with CNN last month.

A representative for Halls and Gutierrez Reed did not respond to requests for comment.

A New Mexico state agency has imposed its maximum fine on the producers of “Rust” for breaching safety, saying they showed “complete indifference” to employee safety. Rust Movie Productions LLC has denied the allegations.

LOS ANGELES (AP) — “The Crown” will return to its Netflix throne in early November.

The drama series about Queen Elizabeth II and her extended family will begin its fifth season on November 9, the streaming service announced on Saturday. The debut will take place two months after the Queen passed away on September 8 at the age of 96.

Production on the sixth season was suspended on the day the Queen died and again for the funeral of Britain’s longest-serving monarch.

In the upcoming season, Imelda Staunton becomes the latest in a succession of actors who have played Elizabeth over the decades of her life and reign. The first two seasons starred Claire Foy as the young Princess Elizabeth ascending the throne and becoming queen. Seasons three and four introduced Olivia Colman as a more mature queen.

The show won 22 Emmys, including a Best Drama Series trophy and Best Drama Actress honors for Foy and Colman. Josh O’Connor, who played Prince Charles as a young man in 13 episodes, won the Emmy for best dramatic actor.

The central role of Princess Diana shifted from Emma Corrin in season four to Elizabeth Debicki (“Tenet”) for seasons five and six. She stars alongside Dominic West as Prince Charles. The Prince, Elizabeth’s eldest child, became King Charles III upon his death.

Other newcomers include Lesley Manville as Princess Margaret and Jonathan Pryce as Prince Philip.

Season five of “The Crown” is set to cover the royal family’s turbulent 1990s, when Charles and Diana’s marriage fell apart. The Princess of Wales died following a car accident in Paris in August 1997.

The series was widely acclaimed as a drama, but some criticized it for its lapses in historical accuracy. Two years ago, Netflix rejected requests to add a disclaimer to the series.

Peter Morgan, creator of “The Crown” and author of other dramas of recent history, including “The Queen” and “Frost/Nixon,” has defended his work, calling it documented and true in his mind.

EXCLUSIVE: Film industry veteran Emily Wolfe has joined the film division of Plan B Entertainment as she continues to expand her prolific slate of films.

“We are thrilled to have Emily join our team as we look to the future of our business and continue to build our feature film slate. She will be a welcome addition to our growing business,” said Brad Pitt, Dede Gardner and Jeremy Kleiner of Plan B Entertainment.

Wolfe recently served as co-producer on Millie Bobby Brown’s fantasy film Damsel. Former executive of Netflix, she worked for four years on more than ten films including The King, Rebecca, Let It Snow, Earthquake Bird, The Midnight Sky, Yes Dayand Paul Thomas Anderson’s unique reel, ANIMA. She started her career working for Lindsay Doran and Stacey Snider.

Plan B has a first feature deal with Warner Bros. Discovery where they are currently in production on Bong Joon Ho’s untitled film starring Robert Pattinson; and a second-look deal with MGM Studios, where they’re set to release Sarah Polley’s women who talk via Orion Pictures, and in post-production on writer/director Cory Finley’s adaptation of Unseen Hand Landscape.

In addition to women who talkPlan B’s 2022 feature slate includes Andrew Dominik Blond debuts later this month on Netflix and Emmy Award-winning director Maria Schrader’s adaptation of She says for Universal Picture which will be released in November. Other upcoming Plan B projects include David Michôd Wizards! for A24; an untitled Formula 1 racing film from director Joseph Kosinski and starring Brad Pitt, as well as Jon Watts’ untitled thriller starring Pitt and George Clooney for Apple; and with MGM an original film by writer/director Lee Isaac Chung; a big screen adaptation of Hedda Gabler writer/director Nia DaCosta; plus adaptations of bestselling author Chandler Baker’s features The husbandswith Kristen Wiig attached to the star and also a producer, and New York Times by best-selling author Lisa Taddeo Animalwhich she will adapt for the screen, marking her feature film writing debut.

Opening just a day after what would have been Agatha Christie’s 132nd birthday, CLOTA’s new production of Christie’s “Witness for the Prosecution” offers a truly captivating theatrical experience.

The play – which opens on Friday – is directed by local playwright and novelist Daniel Stallings, who said he failed to tie in with the anniversary when scheduling dates. Although a self-proclaimed “superfan”, Stallings said he always knew that when he was directing someone else’s play, he wanted it to be by Christie.

This production does not disappoint. From the stunning, expressionistic setting to the excellent acting and inventive direction, “Witness for the Prosecution” is a thrilling experience full of suspense. That is, unless you’ve already seen the classic movie starring Marlene Dietrich. In this case, the suspense may be a little less, but the play will entertain all the same.

The story resumes the murder trial of a certain Leonard Vole (Calvin Johnson in a breathtaking tour de force). Did he? That’s the question, of course, and the one the infamous lawsuit attempts to answer.

Vole is accused of killing wealthy widow Emily French (who is only seen in one photo). The entire story takes place in his lawyer’s office and in court and the exposition comes in the form of interviews and testimony in court. In recent years, true crimes and court cases have become a high-profile source of entertainment. But that’s where it all started, folks. No one unfolds a legal drama better than Dame Agatha.

What makes the performance so delightful is that the theatrical elements are on par with Christie’s work. The stylized red and black ensemble works perfectly to convey the high-stakes situation for someone accused of murder in 1950s England. (Full disclosure: This reporter’s mother, Dorothy Saitz, and Sandy Pryor did the striking paintings above and inside the stage door.)

Avoiding spoilers, the direction takes some bold and successful risks that set it apart from most homegrown productions. The courtroom scenes in which Vole fights for his life do well as pure drama.

Each actor nails their role, with Beth Sparks-Jacques in particular playing the role of Dietrich with panache. Sparks-Jacques also made the costumes, which are wonderful (especially his). It’s a fun show to watch.

Also of note are Jonathan Blair and Olivia Holm as two opposing attorneys. Watching these two tangle in the courtroom is high-level entertainment.

Other actors include Haley Puckett, Ed Kramer, Stallings, River Cotterell, Monica Dwyer, Nicole Johnson, Madeleine Smith and Murolo Patchin. It’s a cliché to say that there are no small roles, only small actors. This means that a good actor can turn a small role into a memorable role. In this case it is true. Even the smallest characters are rendered with a classic theatrical flair. I was particularly impressed with the decision to use English accents where appropriate. Done wrong, it can really hurt. But these accents were perfect and really added to the atmosphere of the room.

It seemed like quite a long play, but it keeps the suspense going throughout. I honestly didn’t see the ending coming and was shocked. (The review is for the dress rehearsal/press preview on Tuesday night.) I also found it oddly funny, which may be due to the excellent character introduced.

Minus a few dress rehearsal blurbs, the technical elements of the play flowed perfectly. I don’t list the technical team, but they all deserve congratulations. I was also particularly impressed with all the graphics associated with this production. Even the program looks really cool.

In another note, the play is set during the reign of Queen Elizabeth II who literally just became history. Her photo is seen on a back wall and her recent death adds another eerie moment that adds to the overall atmosphere.

“Witness for the Prosecution” performs October 16, 17, 23, 24, 30, and 1 at 7:30 p.m. at CLOTA Center Stage (1425 N. Inyo St.). Doors open at 7 p.m. Tickets are $18 for general admission, $15 for students and military with valid ID, and $12 for active CLOTA members. Tickets are available now at Red Rock Books and online at clota.org.

Agency is the necessary word that always comes up with “Lucia di Lammermoor”, which opened the new season of the Los Angeles Opera at the Dorothy Chandler Pavilion on Saturday evening. This time in a surprising new production updated for the current, now disenfranchised Rust Belt America.

There has never been any doubt as to whose side we are in the nearly two centuries since Donizetti’s most popular opera, written in 1835, has been consistently on the opera stage. Forced into a loveless political marriage, Lucia simply kills her unwanted fiancé on their nuptial bed and goes insane.

It is of course not simple at all. Should madness be the agency’s excuse? Do we pity Lucia because, well, she’s a dreamy, vulnerable woman and she has one of the most deliciously transporting crazy scenes in an art form that has made a crazy scene production industry for women ? Does the agency simply sing like a bird, with mind-blowing coloratura?

Obviously not. The greatest Lucia ever recorded is Maria Callas, who was not a freak of nature but a force of nature. The most persuasive and brilliantly sung performance of “Lucia” I’ve ever seen is from Beverly Sills. The great American soprano made it clear that she was sane, a pawn in an ailing patriarchal society. His crazy scene turned out to be 15 minutes of transcendent lucidity, an illumination of the world as it should be.

In Stone’s new production – a co-production between LA Opera and the Metropolitan Opera, which premiered in May – oxycodone addict Lucia shares a home with her older brother, Enrico. She is saved from an attempted rape by a guy who works at the local convenience store and is the enemy of her brother, Edgardo. They instantly fall in love.

It’s an ugly, decaying little town full of angry people. They don’t look exactly like the Jan 6 Rioters, but they get angry easily enough for you to understand. Cars and vans are old (when was the last time you saw a Pinto?). The pawn shop is open 24/7.

Although Netflix describes ‘The Dig’, the feature film Stone directed last year for the site, as ‘simple’, the Australian director who lives in Vienna is anything but that in opera. It exposes the toxic undersides of modern society, whether it’s Wagner’s “Tristan und Isolde” or Kaija Saariaho’s exceptional last opera, “Innocence,” regarding a school shooting.

Lucia update does not always work. The parallels between the mores of the nineteenth century and those of our era are hardly exact. The last half-century of feminism has sparked considerable thought and reflection on the interpretations and implications of “Lucia”. Many productions over the past three decades have been directed by women, including a particularly effective one by Katie Mitchell at the Royal Opera which is now on view. video.

Two previous LA Opera productions were by German actress Marthe Keller and most recently, in 2014, by Elkhanah Pulitzer, the director of John Adams’ new opera “Antony and Cleopatra” in San Francisco. Martin Bernheimer dubbed the company’s first “Lucia” in 1993, led by Andrei Serban on a vacant lot of concrete slabs, “Our Lady of the Petrified Dunghill.”

We have come a long way. But not all the way. The quirky, depressing Scottish setting of the opera, where Lucia is forced to marry for financial and political reasons, seems almost good compared to what Stone offers. In the 19th century, Lucia had no options for agency. In this new production, we wonder why she lets her brother force her hand. Why don’t she and Edgardo jump in his pickup and take off? Why? Because she is on oxycodone, he leaves to join the army and Enrico shows him doctored photos on social networks of an unfaithful Edgardo.

It then becomes a “Lucia” destined not for pity but for indignation. Rather than lamenting the mores of the British Empire centuries ago, Stone shows a troubled picture of America just as the UK looks momentarily admirable, collective in its mourning for the death of Queen Elizabeth II. .

Yet it is a gripping production, the most theatrical that the Los Angeles Opera has mounted in some time, and also with the most excellent cast, the excellence being in both singing and acting. actor.

The action takes place on a rotating set, continually changing perspective. A video screen above Lizzie Clachan’s realistic set reveals live shots of the singers, sometimes close-ups on stage, sometimes in rooms or locations not seen on stage.

Stone is easily satisfied with his visual imagination. A decrepit drive-in theater screens a dark 1947 parody, “My Favorite Brunette,” for seemingly no other reason, perhaps, than Bob Hope and Dorothy Lamour are locked up in a sanatorium. At worst, the disconnect between the old libretto and the update (the translations on the projected titles are also updated to better conform to the production) had audiences laughing in all the wrong places.

The singers need a strong presence throughout the piece to take on their own agency when it comes to the audience’s divided attentions. All but one of the actors are LA Opera veterans and/or alumni of its Domingo-Colburn-Stein Young Artists program. All but one of the singers are American. What’s new is that Saturday marked the first performance of Lina González-Granados in her new role as LA Opera’s resident conductor, and the first performance of the LA Opera Chorus under its new director. , Jeremy Frank.

Amanda Woodbury is a hardened Lucia with a soft, full and radiant voice. She does very little to show Donizetti’s coloratura, but rather everything flows from her as if effortlessly. She sings her crazy scene, filled with the otherworldly glass harmonica rather than the more usual flute, in what seems like a narcotic haze rather than madness. It offers a striking cadence, but more studied than instinctive.

The scene’s impact, however, is further mitigated by showing what’s going on in her mind on pre-recorded video. As Lucia walks around in her blood-soaked white wedding dress like someone out of a horror movie, we see her happy with Edgardo, dutifully illustrating what every note she reveals of her imagination.

Mexican tenor Arturo Chacón-Cruz is an ardent Edgardo, intense on stage and vibrant on vocals. The first major album is by Alexander Birch Elliott, who is Enrico as the drunk thug from your nightmares. The commanding presence and demanding vocals of Eric Owens, Chaplain Raimondo trying to vindicate the community, is a luxury cast. Anthony León, Madeleine Lyon and Anthony Ciaramitaro, in the small roles of troublemaker Normanno, Lucia’s friend Alisa and ill-fated husband Arturo, all make sure their small roles count.

González-Granados seems to have conquered the orchestra, which played with suave beauty. But his relationship to the stage was, at this first performance, uneven. Slow tempos and a general sense of caution resulted in a dramatic lack of propulsion.

For its part, the chorus rang on the nerves, but acted disconcertingly on the money, as if well practiced to trigger fears of national unrest in a country where a sense of lack of agency could reach the point of crisis.

“Blade Runner” is getting its own limited series on Prime Video. Amazon confirmed to TechCrunch that the streaming service today announced that it has turned on “Blade Runner 2099,” the first time the sci-fi franchise has received a live-action television broadcast. Last year, Adult Swim made an animated series called “Blade Runner: Black Lotus.”

The Hollywood Reporter originally leaked the news in February. Amazon made the news official today.

Nothing else has been shared about the series, including the plot or its premiere date. However, based on the title, “Blade Runner 2099” will likely take place 50 years after the “Blade Runner 2049” sequel.

Directed by Ridley Scott, known for the 1979 horror “Alien,” the sci-fi film “Blade Runner” premiered in 1982 and later became a cult classic. The cyberpunk film stars Harrison Ford as a Los Angeles cop in a dystopian future. Ford’s character, Rick Deckard, is a blade runner who hunts down bio-engineered humanoids called “replicants”.

Thirty-five years later, the franchise was revived, and the sequel “Blade Runner 2049” hit theaters in 2017, starring Ryan Gosling as the replicant blade runner.

Alcon Entertainment, the production company that secured the production rights to the prequels and sequels to “Blade Runner” in 2011, said in a statement, “We are excited to continue our working relationship with our friends at Amazon. And we are more than happy to continue to expand the ‘Blade Runner’ canon into a new realm…we hope we can live up to that standard and delight audiences with the next generation of ‘Blade Runner’,” co-CEOs and co-founders of Alcon Entertainment, Andrew Kosove and Broderick Johnson, said.

News of a green-lit “Blade Runner” series comes on the heels of the streamer airing a “Lord of the Rings” series earlier this month. “The Lord of the Rings: The Rings of Power” has done extremely well for the streaming service, taking advantage of the beloved fantasy adventure film trilogy. Amazon claims that 25 million viewers worldwide streamed “The Rings of Power” within the first 24 hours of its debut, noting it was the biggest premiere in Prime Video history.

It’s likely that Amazon Prime Video and other streaming services will continue to revive popular franchises in an effort to gain more subscribers.

Disney+ is considered the king of franchises, releasing series after series based on the “Star Wars” universe. Paramount+ has a bunch of “Star Trek” series on its platform.

CAPE (Coalition of Asian Pacifics in Entertainment) has selected its class of 2022 executives for the sixth annual CAPE Leaders Fellowship, a program that equips aspiring creative executives with the skills and professional network to advance to the ranks of Vice President and beyond.

The Fellowship is co-chaired by ACEP Board Members Albert Cheng (COO, Amazon Studios), Naia Cucukov (EVP, Development and Production, Walden Media), and Peter McHugh (Partner and Manager, The Gotham Group).

“With the continued notoriety and popularity of the CAPE Leaders Fellowship, we were honored to consider and meet so many impressive candidates,” said Peter McHugh, Fellowship Co-Chair and Board Member. CAPE leaders. “We congratulate this outstanding class of executives and welcome them to this fellowship for leaders of today and tomorrow. We look forward to their continued rise in the industry and hope that the conversations and connections over the past few weeks are just beginning and will continue to benefit Fellows throughout their careers.

Names of CAPE Leaders Fellowship Participants:

• Eric Hsiao: creative manager at Perfect Storm Entertainment
• Grace Tran: Head of Scripted Programming at Universal International Studios
• Grant Torre: director, film development and production at Stampede Ventures
• Jason Pan: Manager, Original Series of Shows and Events at Netflix
• Michelle Wilens: Creative Lead, Film at The SpringHill Company
• Moera Ainai: head of television at 21 Laps Entertainment
• Sid Mehra: Head of TV Development and Production at Endeavor Content
• Tom Fields: creative executive, animation and family at Amazon Studios

“As the first organization to recognize the importance of creative executives in changing the stories told by Hollywood, CAPE is extremely proud of this scholarship,” said Michelle K. Sugihara, Executive Director of CAPE. “It is essential to have creative executives from different backgrounds who understand the dynamic diversity of stories and experiences within our communities.”

Nearly two dozen alumni have been promoted to the upper ranks, including Nikitha Menon (VP, Destin Daniel Cretton’s Family Owned Entertainment), Mohan Mandali (VP, Development and Production, Fabel Entertainment), Rebecca Cho (SVP, Development and film production, Ryan Coogler’s Proximity Media), Jon Wu (producer and head of filmed content, The Green Room), Kenny Tsai (SVP, Current Programming, UCP), Janice Park (VP, Scripted, Onyx Collective), and more .

The CAPE Leaders Fellowship is one of three CAPE development programs along with the CAPE New Writers Fellowship, which will enter its eleventh year in 2023, and the CAPE Animation Directors Accelerator. For more information, visit capeusa.org.

Comcast Technology Solutions, a division of Comcast Cable that provides media and entertainment technologies to content providers, carriers and advertisers, today announced that its cloud video platform is being rolled out as a new platform backbone unified by WRC Promoter GmbH to support FIA World Rally Championship (WRC), FIA European Rally Championship (ERC), FIA World Rallycross Championship (World RX) and FIA European Rallycross Championship (Euro RX). In addition, Comcast Technology Solutions will power the upcoming 24/7 Rally TV Channel, which will feature all syndicated championships across global TV networks and OTT platforms, slated to launch next year.

WRC Promoter is jointly owned by Red Bull Media House and KW25 Beteiligungs GmbH. He is responsible for all commercial aspects of the FIA ​​World Rally Championship, FIA World Rallycross Championship and FIA European Rally Championship, including television production, marketing and rights. worldwide sponsorship. Together, these championships represent the world’s premier multi-day rally competitions, governed by the FIA, with competition contested on surfaces ranging from gravel and asphalt to snow and ice, in exciting destinations. worldwide.

“As our sport grows, we remain committed to delivering the most comprehensive and engaging rally and rallycross experience for fans around the world,” said Jona Siebel, Managing Director of WRC Promoter. “We selected Comcast Technology Solutions for its global expertise and market-proven scalability. Its centralized cloud video platform will help us deliver a unified experience across all devices and markets for WRC, ERC, World RX and Euro RX fans around the world. We look forward to working together today and on future innovations such as our 24/7 channel to syndicate the FIA ​​Championships across TV networks and OTT platforms.

“WRC Promoter is a world-class organisation, offering the highest level of global rally competition,” said Bart Spriester, Vice President and General Manager of Content and Streaming Provider Suite for Comcast Technology Solutions. “We are delighted to provide a centralized back-end system across WRC properties and 24/7 support for the future TV channel, so that fans around the world can enjoy all the content from the WRC. rally they want, via a smooth and exciting viewing experience, anywhere, anytime.”

Specifically, WRC Promoter will use Comcast Technology Solutions’ cloud-based video platform to provide a comprehensive video management platform for centralized ingest, transcoding and processing of live and on-demand video; metadata management; content recommendations; content protection and rights enforcement; commerce and subscription management; content delivery; and streaming to connected devices and apps.

Lea Michele is taking a hiatus from ‘Funny Girl’ after being hit with the ‘first signs’ of COVID-19.

The 36-year-old actress starred as Fanny Brice on Broadway, but Lea confirmed via Instagram that she was stepping back from the production after feeling ill.

She wrote on the photo-sharing platform: “I am devastated to say that due to the early signs and symptoms of COVID and an inconclusive test result – due to production safety protocols, I am not am not allowed to perform on today’s shows.”

Léa plans to take another test and hopes to find out soon if she can return on Sunday (09.11.22).

The actress added, “Julie [Benko] going to smash it today as Fanny – as are all of our incredible one-liners who have stepped up so incredibly this week as we battle a very intense covid outbreak in our theater (sic)”

A source close to the production told PEOPLE: “[There is] an outbreak among the crew and cast, so they obviously put safety first.”

Earlier this month, Lea revealed she broke down in tears after being cast in ‘Funny Girl’.

The former ‘Glee’ star was having brunch with her two-year-old son, Ever, when she learned she had been cast in the Broadway production.

She said: “Funny story, I got the call from my agents that I got the part. I had no idea.

“I was literally sitting at Bubby’s with my kid, giving her buttery pasta and broccoli. And I got a call from my agents, and they said, ‘You’re going to be Fanny Brice on ‘Funny Girl.’ And as I watched standing up, I start crying hysterically and I’m like, oh my God.”

Constellation’s first performance literally ignites the audience.

Repeat then dive. That’s what Constellation Stage and Screen did as they prepared for the first (and immersive) performance of the new company. “The Grown-Ups” will be outside under real constellations.

A small audience will gather around a campfire, from September 14 to October 1, and immerse themselves in the talent of the cast. That’s because the actors, playing the camp counselors, will be sitting right there among the ticket buyers.

Although there is no stage, “this is NOT a show with audience interaction,” said Chad Rabinovitz, artistic director of new works for the company.

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The play, by Skylar Fox and Simon Henriques, is set in a summer camp. The campers sleep in their tents while the monitors relax by the light of the fire. As they observe what seems to them an increasingly dark world, they discuss how best to mold the future sleeping rulers. Henriques stars as Lukas and Fox directs.

As a child, Henriques attended an overnight camp much like that of “The Grown-Ups”.

“I was 10. It wasn’t for me. I cried a lot, got sick, didn’t make any friends and got lost in the woods briefly at night,” a- he declared. “I spent my next summers doing theater, which was much more my speed.”

Fictional turbulence occurs outside the playcamp (you’ll have to be there to find out), and the monitors check their phones for the first time since breakfast. We begin to learn what is going on there beyond the tent pegs and the glassy lake.

“You sit around the campfire with (counselors) as if you were another counselor. So (immersion) is about the closeness you have with the actors, the action and the environment of the play,” explained Henriques.

“The Grown-ups,” which also happens to be Constellation’s first page-to-stage-to-screen project, premiered a year ago in Brooklyn, New York, in Henriques’ backyard.

“It extended its sold-out tour three times,” he said, “and Time Out New York gave it four stars and called it ‘the coolest new piece you probably can’t. see”. They also included it on their list of the top 10 shows of 2021.”

The writers realized that to create a play where people sit and talk, they had to create compelling dialogue. “Aside from the unique theatrics and immersion,” Henriques said, “I think it’s just a good story. And it’s funny!

As for the immersion, the senses of the public will provide the scenography, as they will soak up the atmosphere, of a real old summer camp. They will feel the heat of the fire as they smell the roasted marshmallows, hear the cicadas and katydids, and gaze at the constellations.

The inescapable feeling of coming of age against one’s will is largely the subject of the play. “Perhaps the immersive aspect of the show is even more appropriate than we thought.”

And since the audience will be seated with the actors, they may notice tiny sideways glances and high-pitched breaths that they normally wouldn’t.

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“That summer camp feeling won’t just start when the audience sits down – in a way, the whole journey to the venue will be part of the experience.”

The team devised ways to incorporate some of the camp’s existing features into the staging of the play. The open spaces of the Hundredth Hill site help.

“The Grown-Ups” allows us to discover the importance of how people talk about their days or how activities are assigned in reinforced ways by generations of campers and counselors. for you, while adapting to change?

“The Grown-Ups” looks at tradition and change and what drives people to want to change, especially when nothing has prepared them for it. The playwrights are hoping for a bit of a scare, after all they imagine the play as one big scary story told around a campfire. “That said, no one is going to jump in and surprise you.”

If you are going to

WHAT: Constellation Stage & Screen’s first production, “The Grown-Ups: An Immersive Outdoor Experience”

WHEN: September 14 to October 1. Check the website for more details: https://seeconstellation.org

WHERE: The Hundredth Hill Artist Retreat and Residence8275 N. Fish Road

TICKETS: Availability is extremely limited and there is a waiting list. Tickets may be available on the Constellation website and at the box office, 812-336-9300. Bring your own refreshments; camping chairs are provided. Masking is optional.

One of the most pronounced effects of Marvel’s “Black Panther” was that it empowered a race of people who have long been underserved by Hollywood to consider an alternate history not rooted in victimhood.

In Wakanda, black audiences were able to imagine an African nation that had triumphed over colonialism. And through the Dora Milaje – the elite team of female warriors who defended the fictional kingdom – moviegoers encountered an army of powerful women who defended themselves against the men.

In fact, the Dora Milaje were modeled after the Agojie female warriors (also known as Dahomey Amazons), who defended the West African kingdom of Dahomey (now Benin) in the 1800s and were the force society’s dominant military. Now the Agojie are the subject of a new film, “The Woman King,” directed by Gina Prince-Bythewood from a story by actress Maria Bello and screenwriter Dana Stevens.

In 1823, the kingdom of Dahomey was under the control of the Oyo empire, richer and influenced by the West. He was forced to pay tribute in the form of virgins, guns and captives to be sold into slavery to European colonizers.

“You had this kind of David and Goliath situation where the slightly smaller nation decided to push that back,” said Cathy Schulman, the film’s producer. “And of course it was the Agojie who led the fight.”

The idea of ​​making a film about the Agojie was born during a trip to Benin in 2016 where Bello discovered the warriors for the first time during a visit to the Palais des Rois d’Abomey, the royal palaces of the kingdom of Dahomey in the city of Abomey.

“She said, ‘Can you imagine if one day we made a movie about this incredible group of female soldiers who caused such an act of resistance that slavery stopped for a while? “, recalled Schulman, who was then an executive at STX Entertainment.

Schulman pitched it to the top brass at STX who agreed it sounded like a good idea, but were unwilling to offer more than $5 million to fund it, doubting it would have much box office reach. .

Nonetheless, they came up with an initial concept and crafted a pitch that “went through many different stages in many different places”, before they were finally able to sell it to Sony Tristar. “It was a constant push and fight to convince people that we deserved a big budget, that we deserved to tell a story like this,” Bythewood said.

In many ways, the movie can only exist now thanks to the massive success of the Marvel movie. “‘Black Panther’ was absolutely a game-changer,” Bythewood said. “It changed the culture and proved something that I think we all knew but the industry didn’t understand, which is our power as an audience.”

Thuso Mbedu in “The Woman King”.

(Sony pictures)

“For me, ‘Black Panther’ was all this exploration of, ‘Can you imagine an African nation with an agency to become prodigious?'” Schulman said. “And I thought, ‘But wait, there’s an African nation that had its own agency that became prodigious. We don’t have to pretend.

Female representation among those involved in Japanese cinema is still low, as the industry has neglected to address the issue of the gender gap.

According to the Japanese Film Project (JFP), an organization that strives to solve problems in the film industry, of the 16 live-action films last year that exceeded box office revenue by 1 billion yen (about 7.2 million dollars), none of them had female directors. The percentage of female directors of these films was also nil in 2020.

Moreover, of the 42 films slated for production and distribution this year by Japan’s four major film companies Toho Co., Shochiku Co., Toei Co. and Kadokawa Corp., only four are directed by women. This highlights the fact that there are few opportunities for female directors to supervise works with high production costs. The JFP pointed out that no change is being made even though the issue has been acknowledged.

Why isn’t the situation improving?

The first reason is that the world of cinema has long been dominated by men. The JFP survey found that in May 2022, less than 10% of the leaders of the big four film companies were women. Poor working conditions seem to be another factor that hinders women’s representation. Many self-employed staff are forced to work long hours for low pay. An enabling environment for women to continue working has not been established.

While the term “glass ceiling” is used to describe the invisible barriers that prevent the advancement of women in the workplace, the film industry calls it the “celluloid ceiling”, referring to the material used to make the film. .

Initiatives to improve gender inequalities have emerged abroad. In 2017, the #MeToo movement spread to Hollywood after female victims of sexual abuse filed a lawsuit against a former film producer. This led to an increased awareness that structural reform was necessary for an industry whose key positions were dominated by men.

From 2024, the Oscars will have new criteria for Best Picture nominees, requiring them to have a cast and staff that includes a certain percentage of women, those from non-white underrepresented races, sexual minorities and others. groups of people.

Progress is also apparently underway in South Korea, where women working in the film industry have taken the initiative to raise their voices since around 2016. Four of the 11 Korean films with the highest box office earnings in 2019 were directed by women.

Japanese director Hirokazu Kore-eda expressed alarm at the reality of Japanese cinema, saying that “if things stay as they are now, it will be too late”. He proposed the establishment of an aid system similar to that of France, which reserves part of the box office receipts and other receipts for aid for production and the improvement of conditions of work.

As entertainment options have multiplied and global competition has intensified, diversity is key to the survival of Japanese films. The first step to achieving this is to work to close the gender gap.

From eclectic magicians to country music superstars to a Charles Dickens classic, the 2022-23 season of the Rose-Hulman Performing Arts Series and student band shows provide entertainment for the whole family. Here’s a look at what’s coming to the Hatfield Hall Theater stage this school year:

Carbonaro: Lies on Stage
September 30, 2022, 7:30 p.m.

The performing arts series kicks off with the new inaugural show and theatrical tour by magician Michael Carbonaro. From his hit TV series “The Carbonaro Effect” on truTV, Carbonaro conjures up an evening of incredible magic, offbeat hysterical shenanigans and wonder for audiences of all ages.

Postmodern Jukebox: Life in the Past
October 11, 2022, 7:30 p.m.

Postmodern Jukebox is a rotating musical collective founded by arranger and pianist Scott Bradlee in 2011. The group is known for reworking popular modern music into various vintage genres, particularly early 20th century forms such as swing and jazz. . Postmodern Jukebox shows offer an unforgettable journey through time.

Rose Drama Club Fall Drama: “Clue”
October 21 and 22, 7:30 p.m.
October 23, 1:30 p.m.

Was it Miss Scarlett in the ballroom with the gun? Or Mr. Green in the kitchen with the knife? Based on the iconic 1985 Paramount film inspired by the classic Hasbro board game, “Clue” is a hilarious prank and murder mystery.

modern gentlemen
November 4, 2022, 7:30 p.m.

For over a decade, The Modern Gentlemen wowed audiences around the world while touring with iconic band The Four Seasons. This debut quartet of singers is a perfect blend of silky harmonies blended with retro nostalgia and modern flair.

Autumn Concert of the Rose-Hulman Music Ensembles
November 9, 2022, 7:30 p.m.

Rose-Hulman Music Ensembles Celebrate the 20th^e anniversary of their home at Hatfield Hall. This performance features a variety of musical genres and styles. It is free and open to the public (no tickets required; first come, first served).

The Swingles: together for the holidays
December 7, 2022, 7:30 p.m.

With a natural flair as entertainers, the Swingles have taken their stylish shows to venues and festival stages around the world. Their signature vocal dexterity allowed the Swingles to leap from genre to genre, reinventing jazz, classical, folk, pop and world music from their ever-growing repertoire of arrangements alongside a rich vein of new original materials.

Rose-Hulman Music Ensembles Holiday Pop Concert
December 11, 2022, 1:30 p.m.

It’s the most wonderful time of the year with the Rose Holiday Pops concert. The concert band, choir, symphony orchestra and jazz ensemble will perform holiday classics to kick off the season. This event is free and open to the public (no tickets required; first come, first served).

Rose Drama Club Winter Show: “A Christmas Carol”
December 16 and 17, 2022, 7:30 p.m.
December 18, 1:30 p.m.

Charles Dickens’ holiday classic tells the story of Ebenezer Scrooge, an old miser who is visited by the ghost of his former business partner Jacob Marley and the spirits of Christmas past, present and future. The Rose Drama Club production will bring a modern twist to this popular production.

The Mavericks
January 26, 2023, 7:30 p.m.

Eclectic rock and country band The Mavericks are known for crossing musical boundaries with abandon. The band takes the stage on the heels of their No. 1 Billboard debut of their all-Spanish debut album, “En Español.” While all 12 tracks are in Spanish, as the title suggests, the collection represents a diversity of musical styles and cultural traditions, from tender boleros to brassy mariachi to reimagined Afro-Cuban classics.

The world of musicals
February 5, 2023, 7:30 p.m.

This concert graced stages around the world and features a world-class ensemble of multi-talented artists who exquisitely perform classic hits, fused with soulful ballads, big-screen anthems and iconic show tunes. . From the best of ‘The Phantom of the Opera’ and ‘Les Miserables’ to ‘We Will Rock You’, ‘Sister Act’ and many more, the World of Musicals offers a moving musical concert experience that will leave audiences breath.

Engineers in concert
February 10, 2023, 7:30 p.m.

The entire Rose-Hulman community comes together to celebrate art, music and dance in this showcase of campus talent. Help celebrate the grand return of this campus-wide celebration of the arts. This event is free and open to the public (no tickets required; first come, first served).

Irish Dancing Dublin — Wings: A Celebration of Celtic Dancing
March 22, 2023, 7:30 p.m.

‘Wings’ is a new Irish dance production created in Ireland by a critically acclaimed artistic team. Like no other show in its genre, the show features exquisite Irish dancers and world champions along with Ireland’s finest musical and vocal virtuosos. Accompanied by original music and choreography, this groundbreaking production will delight audiences with its transformative emotional energy and imaginative design.

Rose Drama Club Spring Musical: “Frankenstein: A New Musical”
April 21 and 22, 7:30 p.m.
April 23, 1:30 p.m.

In his quest to uncover the secret of life, brilliant young scientist Victor Frankenstein creates a human of his own design who turns out to be a horrifying beast instead. He is not a “Hollywood monster”, but a man of flesh and blood who, while terrifying in appearance, becomes eloquent, cunning and thirsty for revenge against the creator who abandoned him.

Michael Cleveland and the Guardian of Flames
April 28, 2023, 7:30 p.m.

Michael Cleveland’s musical momentum began when he learned to play the violin at the age of four. When he was nine years old, Cleveland was invited to sit with the legendary Bill Monroe at the Bean Blossom Bluegrass Festival. Soon after, he brought his virtuoso style to the Grand Ole Opry as a guest of Alison Kraus and was selected for the International Bluegrass Music Association’s Bluegrass Youth Allstars.

Rose Concert Band Spring Concert
May 7, 2022, 1:30 p.m.

Join the Rose-Hulman Concert Band for their spring concert with heart-pounding marches and upbeat tunes. This event is free and open to the public (no tickets required; first come, first served).

Spring Symphony of Roses Concert
May 14, 2022, 1:30 p.m.

Composed of students, teachers and members of the Rose-Hulman community, this talented group of musicians presents its annual spring concert. This event is free and open to the public (no tickets required; first come, first served).

Spring Concert of the Pink Jazz Ensemble and Choir
May 14, 2022, 5:30 p.m.

Join the Rose Jazz Ensemble and Choir as they perform rousing hits from various styles of jazz music and popular songs from music past and present. This event is free and open to the public (no tickets required; first come, first served).

Learn more about the upcoming season here.

Prices vary for each performance and concert in the Performing Arts Series and Drama Club. Tickets can be purchased at Hatfieldhall.comby calling 812-877-8544 or visiting the Hatfield Hall box office Tuesday through Friday 9 a.m. to 2 p.m. If still available, tickets can also be purchased at the box office one hour before each show.

Olivia Wilde is determined to “protect” her romance with Harry Styles.

The 38-year-old actress and Harry, 28, started dating last year – but the celebrity couple are keen to keep their relationship out of the spotlight.

Olivia – who has Otis, eight, and Daisy, five, with her former fiancé Jason Sudeikis – explained: “I’m not going to say anything about it because I’ve never seen a relationship benefit from being dragged into the public arena.

“We both strive to protect our relationship; I think it’s out of experience, but also out of deep love.”

Olivia directed Harry in his new psychological thriller, ‘Don’t Worry Darling,’ and the pop star relished the experience of working with her.

Harry shared: “As a director, Olivia is incredibly focused. She communicated what she was looking for from the cast with clarity and respect.

“I think the transition from acting to directing has made her a director who knows how to bring out the best in everyone.”

Harry stars in the film alongside Florence Pugh and Chris Pine.

Olivia insists she relished the experience of working with Florence, despite rumors of tension between the two.

She told Variety, “We’ve all been so close to the production bubble.

“She was really a huge supporter of [Harry] like someone who was new to a film set. And he was such a huge supporter of her, like someone who understood it was her movie.”

Olivia’s personal life has been in the spotlight since she split from Jason and started dating Harry. And the actress admits it hasn’t been easy coping with the extra attention.

She said: “Over the past two years, my family has been going through this kind of restructuring and a revolution that should be a totally personal experience. And it’s not. The most painful part has been that women m ‘have been shamed for making a decision that was for my health and happiness.”

Fantastic race Star Leo Temory left his businesses to compete in The challenge: United States. One episode featured a heated phone call with his girlfriend, who wanted to come home because business was not going well. After the episode, she clarified the call and accused the production of editing things.

Leo Temory’s girlfriend called him about his business during episode 7 of “The Challenge: USA”

On the August 18 episode of The Challenge: United States, Leo Temory had a heated phone call with his girlfriend. Apparently, she was minding her own business while he competed, but problems were causing them to lose money every day, totaling over $40,000 at the time.

His girlfriend was upset as she felt he should be home handling day-to-day operations and apparently wanted him to quit to come back and take care of things. Therefore, Leo packed his bags and prepared to leave until his teammate Alyssa Lopez convinced him to stay as his exit might affect his place in the game.

RELATED: ‘The Challenge USA’: Xavier Prather experienced 2 family deaths before the show: ‘I was struggling mentally’

Following the episode, his girlfriend, Alia, posted a screenshot from a message written in his Notes app to his Instagram story. She claimed viewers didn’t know what happened “behind the scenes”, noting that “uncommon issues” with the companies were happening at the time.

Moreover, she accused the production of preventing Leo from having “professional calls that they already agreed on”. His girlfriend admitted, “we were both overwhelmed” because she also had a full-time job. Alia claimed the show cut and edited the scenes, pointing out that their phone call and her attempt to leave happened on different days. “He wasn’t even wearing the same outfit,” she noted.

Leo earned two eliminations during ‘The Challenge: USA’

The 36-year-old Los Angeles native entered The Challenge: United States alongside only three other representatives Fantastic race franchise, including runner-up Cayla Lee and winner James Wallington.

They were immediate targets, but Leo stayed safe. He used to not want to team up with him due to his lack of focus, and Sarah Lacina was no different.

However, the two had to work together during Episode 5 when they were blindsided by elimination as winning couple Tyson Apostol and Cashay Proudfoot wanted to try their luck. Survivor champion. They emerged victorious, eliminating Azah Awasum and Cinco Holland Jr.

He stayed safe until a few episodes later when he and Alyssa finished bottom, earning a spot in the elimination round. The team sent Kyland Young and Kyra Green home and stole the money from their bank account, bringing Leo to $9,000, the fourth most remaining contender.

Leo first appeared in ‘The Amazing Race’

In 2013, Leo and his cousin Jamal Zadran, the “Afghanimals”, competed on The Incredible Race 23where they immediately made their mark with their loud personalities.

The team turned around twice but survived, the first team to do so, eventually placing fourth. They returned for the following season, all starswhere they focused more on their social game.

Although it worked out as they avoided turning around, the duo again placed fourth. The Cousins ​​returned for a third and likely last time in 2019 to The Amazing Race 31where they implemented their initial strategy.

Even though they struggled throughout the season, the duo finished with their ranking in third. Leo’s appearance on the CBS reality show is his first since his time on Fantastic race.

RELATED: ‘The Challenge USA’: Derek Xiao Addresses Cookout Backlash; Said it was never about “revenge”

“There are two people who didn’t do what they were supposed to do,” he added. “I’m not sitting here saying I want them, you know, to go to jail, or I want their life to be hell. I don’t want that, but I want everyone to know that these are the two people who are responsible for what happened.”

According to an administrative complaint filed this month by the New Mexico Department of the Environment’s Office of Occupational Health and Safety against the production company, Gutierrez Reed told Halls to alert him to the Baldwin’s arrival, so she can perform a security check on his firearm. The complaint goes on to say that the armourer left the church ‘expecting Mr. Halls to inform him of Mr. Baldwin’s arrival’. Instead, according to the complaint, Halls gave the revolver directly to Baldwin.

“Why didn’t he [Gutierrez Reed] check this ball? Why didn’t Halls obey him?” Baldwin continued. “Why did he give me the gun? Why didn’t he check? Why did he tell the crew [it was a cold gun]?”

Baldwin also wondered aloud if Seth Kenney, the film’s props supplier, had accidentally supplied live ammunition to the “Rust” set. An FBI report released last week said dozens of cartridges compatible with live ammunition were found on the set.

In January, Gutierrez Reed sued the film’s weapons and ammunition supplier, accusing PDQ Arm and Prop, LLC. and its founder Seth Kenney of violating trade practices, false and misleading product labels, and false and material statements. In the lawsuit, Gutierrez Reed alleges that Kenney sold him a cache of fake ammunition with live ammunition mixed in.

Kenney’s attorneys filed a response last month, denying any allegations and asking the court to dismiss the case.

“We agree with Mr. Baldwin and believe that Seth Kenney, as the primary ammunition supplier, mixed live rounds with blank rounds in the ammunition supplied to Rust,” said Jason Bowles, attorney for Gutierrez. Reed in a statement to CNN. “We again requested that the Santa Fe County Sheriff’s Office and the FBI test the live bullets for fingerprints and DNA to confirm where the live bullets came from. did not on this vital question, which must be answered to uncover the full truth of what happened.”

CNN has reached out to the Santa Fe County Sheriff’s Office for comment.

“We disagree with Mr. Baldwin’s attempts to shift blame to others. It’s not up to him to decide or assign blame,” Bowles added.

In a statement, Halls’ attorney said Baldwin was trying to pin the blame on himself.

“Baldwin points fingers at others because the evidence points to him,” Lisa Torraco said. “Halls is not responsible. Everyone needs to stop. People just point the finger at Halls because they don’t want to take responsibility for being wrong. Halls is a scapegoat. People need to examine the evidence.”

Luke Nikas, an attorney for the actor, told CNN on Sunday that the FBI report “was misinterpreted.”

“When Alec Baldwin showed up on that tragic day for filming, he had no reason in the world to think there was a live bullet in that gun, in that church, or even on that property,” Nikas said. to CNN in a later article. interview Thursday. “It would be a huge miscarriage of justice [to charge Baldwin].”

“I don’t want to see anyone suffer”

Over the past 10 months, Baldwin says he has re-enacted the events leading up to the fatal shooting. While waiting for Santa Fe County prosecutors to announce the results of their investigation, Baldwin says he’s taken matters into his own hands.

“I hired a private detective,” he said.

Based on what his private investigator told him, Baldwin said he did not believe he would face criminal charges.

Baldwin said he believed Gutierrez Reed and Halls would also not face criminal charges.

“I’m pretty confident that neither of them should ever work on a film set again,” he said. “I sincerely believe… [investigators are] say it was an accident. It’s tragic.”

Baldwin added that he didn’t want to “condemn” Gutierrez Reed.

“I mean, maybe it’s the Catholic in me,” Baldwin said. “I feel like saying, I don’t want to see anyone suffer. I don’t want to sit here and say you know, go get her and condemn her.”

“That she is dead is the worst thing”

“People are talking about finishing the movie to honor Halyna and I totally agree, that’s great. But more importantly, we wanted to put the money in the kid’s pocket,” Baldwin told CNN, referring to Hutchins’ son.

Baldwin says he’s lost five jobs since filming “Rust” and would have quit acting if it hadn’t been for the support of his wife, Hilaria Baldwin, who is expecting their seventh child this fall.

“I was fired from another job yesterday,” he said. “There I was ready to go to the movies, jump on a plane… I’ve been talking to these guys for months and they told me yesterday that we didn’t want to do the movie with you because of that .”

Baldwin says it’s this kind of stress that “took years off my life.”

“There’s just this torrent of people attacking me who don’t know the facts,” he said, crediting his family’s support for keeping him there.

“If I hadn’t had my wife, I don’t know where I would be right now… If I hadn’t had her, I probably would have quit, retired, disappeared, you know sold everything I owned, I got a house in the middle of nowhere and you just know you found something else to do, selling real estate.”

If and when he returns to film or television, Baldwin says he won’t work with real guns again. Filmmakers these days can use digital effects to create realistic weapons on screen, he says.

Baldwin also says that not a day goes by that he doesn’t think about Hutchins and what happened that day.

“Everyone adored him as a person,” Baldwin said, praising Hutchins’ talent and character.

“That she died is the worst thing. Someone died, and it was preventable. It was so unnecessary,” he said. “Every day of my life I think about this.”

Correction: This story has been corrected to accurately reflect Seth Kenney’s response to the allegations in the Hannah Gutierrez Reed lawsuit.

As a mayoral candidate, real estate developer Rick Caruso spoke about the need to keep entertainment productions in the city of Los Angeles.

But as a businessman, Caruso is embroiled in a fight over plans to modernize and expand LA’s famed CBS. tv city studios, located next to The Grove, the flagship retail complex that Caruso developed two decades ago.

In a letter to neighbors sent earlier this month, the Grove and adjacent Original Farmers Market expressed “deep concern” about the plan to overhaul Television City, calling it “a large-scale speculative development which, if it were endorsed, would overwhelm, disrupt and forever transform the community.” Both entities urged recipients to visit a website and social media accounts for the Beverly Fairfax Community Alliancea group that opposes the studio project – and counts the Grove among its members.

The development battle could complicate Caruso’s message as a businessman focused on bolstering the region’s economy. And it raises questions about how Caruso, if elected, would react to companies whose activities are potentially at odds with his company’s interests.

A campaign spokesperson declined to answer questions about whether Caruso’s namesake company had formed the Beverly Fairfax Community Alliance, referring questions to that organization. But Ilysha Buss, marketing director of AF Gilmore Co., owner of the Original Farmers Market, said her company and Caruso’s created the alliance and are funding it.

Buss, speaking on behalf of the alliance, said the group opposes the development plan in its current form because it would designate the Television City site as a “regional center”, which she called ” very out of scale and inappropriate for this area”. .”

An executive at Hackman Capital Partners, which bought the Television City site from CBS Corp. in 2018 and is looking to redevelop it, told The Times that his company had met several times with representatives of Caruso’s company to discuss the project. During these meetings, Caruso executives focused on the effect the project would have on Grove Drive, which serves as the entrance to the mall’s parking structure. and valet parking, according to Zach Sokoloff, senior vice president at Hackman Capital Partners.

Sokoloff said representatives of Caruso’s company had threatened to stoke community opposition to the proposal if Hackman Capital “did not capitulate to the demands they had for our proposed use of Grove Drive.”

“More recently,” he added, “their legal counsel made this threat directly to our legal counsel, suggesting that if we did not significantly limit our proposed use of Grove Drive, they would launch an aggressive public community campaign, activating hundreds of community members and sowing opposition to our studio modernization proposal.

Television City’s proposal, known as the TVC Specific Plan 2050, would see a major expansion of the site’s sound stages and production offices.

The site, located at Beverly Boulevard and Fairfax Avenue, would be licensed to have nearly 1.9 million square feet of studio, office and retail space, about 2½ times what currently exists, according to a draft report from ‘environmental impact. job by the city last month. The increase would allow the property to accommodate an additional 5,700 jobs, according to the report.

Sokoloff said the latest round of meetings between Hackman and the Caruso team began in April and included Caruso’s director of development, Corinne Verdery, who is expected to become her company’s chief executive on September 1. Caruso previously said Verdery would take over as CEO if elected mayor of Los Angeles; the new plan was relayed in an internal announcement on Friday, according to Jessica Wong, Caruso’s senior vice president for public relations and marketing.

Wong, in an email, denied allegations that Caruso’s team threatened to conduct a community campaign against Television City’s proposal. But she confirmed that the company is concerned about the project’s impacts – and has entered into “confidential settlement talks” with Hackman.

“We have not resolved the traffic, parking and construction impact issues, and to our knowledge, no other party issues have been resolved,” she said. “Part of the problem is that we really don’t know what the real project is because the [environmental impact report] does not have a detailed description of the project.

Last month, another Caruso executive appeared before a Mid City West Neighborhood Council panel and said the Television City project would create “complex” issues for the neighborhood, including traffic, parking and construction.

The Beverly Fairfax Community Alliance was more outspoken, warning that the expanded site would be twice the height of the Beverly Center and clog Fairfax, Beverly, La Brea Avenue and 3rd Street with traffic.

“Even those used to living with LA traffic and parking nightmares will be shocked at how much worse it can get,” the band said on its website.

The Beverly Fairfax alliance released last week a job offer on ZipRecruiter saying he hired organizers for “community outreach efforts,” with pay starting at $25 an hour. In a statement, the group said it was formed to “publicly raise and address significant concerns” about the impacts of Television City’s proposal.

When complete, the studio expansion is expected to generate an additional 787 vehicle trips during the morning rush hour and an additional 855 during the afternoon rush hour, according to project environmental documents. The property would offer up to 5,300 parking spaces.

Diana Plotkin, president of the Beverly Wilshire Homes Assn., said she fears traffic could increase significantly, harming local businesses and residents, if the project proceeds as proposed. Plotkin said his group joined the alliance but did not contribute financially.

The Southern California film industry has faced a shortage of studio space in the face of growing demand. The shortage, among other factors, prompted some growers to look out of town, The Times reported.

Caruso was outspoken during his mayoral campaign about wanting to keep productions in Los Angeles.

“Instead of shipping the biggest industry we have in this town out of this town, I want to bring it back to this town,” Caruso said last week. in a podcast interview with Hollywood business newsletter The Ankler.

Asked about the Television City project, Caruso campaign spokesman Peter Ragone said the candidate supports building more studios in Los Angeles.

“However, we all need to be good neighbours. Both can happen,” Ragone said. “Rick believes that local businesses, including the production facilities, should address community concerns regarding the creation of additional traffic, pollution and other harmful impacts.

If elected mayor, Caruso would have the power to hire and fire the City Planning Department’s top executive. He would also have the power to replace the nine members of the city’s planning commission, a volunteer panel that reviews large-scale development projects.

Television City’s proposal may not go to the commission until next year, after the new mayor takes office.

Rep. Karen Bass, Caruso’s opponent in the Nov. 8 election, declined to take a position on the Television City project, saying through a spokeswoman that she was reviewing environmental documents. Bass spokeswoman Sarah Leonard Sheahan criticized Caruso for his past political donations to city officials.

“He made billions by influencing city hall decisions about his business. Now he’s trying to put himself in charge of those decisions as mayor,” Leonard said in a statement.

Caruso has made ending city hall corruption a key part of his civic platform. Asked how Caruso would avoid conflicts of interest as mayor, Ragone referred The Times to the candidate’s earlier comments about placing his business in a blind trust.

Times writer Seema Mehta contributed to this report.

“Rent,” the Pulitzer Prize-winning rock musical that changed the face of Broadway when it premiered more than a quarter century ago, will be part of the 2023 Stratford Festival season, the Star has learned.

The new production of Jonathan Larson’s magnum opus, set to play at the 1,800-seat Festival Theatre, will arguably be one of the biggest since the musical closed on Broadway in 2008 after a 12-year run.

“Spamalot” is set to be the second musical of the 2023 season. The musical adaptation of the 1975 film “Monty Python and the Holy Grail” is a holdover from the Festival’s 2020 season, which was canceled due to the pandemic.

“We plan to produce “Rent” and “Spamalot”. However, we are still in negotiations with the rights holders and the creative teams,” confirmed Ann Swerdfager, the festival’s publicity director, in a statement to the Star.

“Rent,” loosely based on Giacomo Puccini’s 1896 opera “La Bohème,” follows a group of young bohemians as they navigate New York’s East Village during the AIDS crisis.

The musical’s 1996 off-Broadway premiere was overshadowed by Larson’s sudden death at the age of 35. audiences and paving the way for daring works like “Next to Normal” and “Hamilton” by Lin-Manuel Miranda.

The Stratford Festival production will be directed by Broadway veteran Thom Allison, a source close to the production told The Star. The 2023 production is something of a homecoming for Allison, who was a member of the original Canadian company of “Rent” which started in Toronto in 1997, before touring Ottawa and Vancouver. He also performed in a regional production of the musical in 2010 in Winnipeg.

“I’m thrilled to hear that Stratford will produce ‘Rent’ in 2023,” said Jeffrey Seller, the Broadway musical’s original producer. (The seller is not involved in this production.)

“When I was a drama teacher at Camp Tamarack in Michigan in the early 80’s, I took my campers to Stratford every summer to see their ingenious productions of Gilbert & Sullivan’s operettas – ‘The Gondoliers’, ‘The Mikado ‘and’ HMS Pinafore.’ I remember each of them very well.

‘Spamalot’, which tells the story of King Arthur’s journey to find the Holy Grail, premiered on Broadway in 2005 and won the Tony Award for Best Musical.

Award-winning director, writer, lyricist and actor Lezlie Wade was due to direct the 2020 Stratford Festival production at the Avon Theatre.

“Spamalot” is the second musical of the canceled pandemic season that has since been picked up in a later season. “Chicago,” also announced for 2020, is currently running at the festival. The third musical, “Here’s What It Takes”, with music by former Barenaked Ladies frontman Steven Page, has yet to be produced.

Donna Feore, the festival’s star director and choreographer of musicals, who has overseen a string of hits including ‘Guys and Dolls’, ‘The Rocky Horror Show’ and ‘Chicago’ this season, will not be returning to the Festival next year for pursuing big projects in the United States, as the Star reports. Next year will mark the first season since 2011 – not counting the pandemic – Feore has not led a show at the festival.

The festival is expected to officially announce the full lineup of productions for its 71st season in the coming weeks. The current season runs until October.

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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