Eleven current and former Fox News employees have filed a racial discrimination lawsuit against Fox News. The class-action suit adds to the mounting troubles at the 21st Century Fox-owned cable news network.

The suit, filed in State Supreme Court in the Bronx, accuses Fox News of “abhorrent, intolerable, unlawful and hostile racial discrimination.” It expands on a complaint filed in March by Tichaona Brown and Tabrese Wright, two black women who previously worked in Fox News’ payroll department. The women claim that longtime company comptroller Judith Slater engaged in racist behavior that was routinely overlooked by Fox News executives.



Monica Douglas, a third Fox News employee, joined Brown and Wright’s lawsuit last month. She was fired by the cable channel in February.


Fox News Sends Sensitivity-Training Memo to Freelancers, Contributors


Adasa Blanco, another Fox News employee, filed a separate lawsuit Tuesday against the network, Slater, and Fox News lawyer Dianne Brandi in federal court in the Southern District of New York.

The lawsuits come as Fox News faces increased scrutiny of its work environment after the network parted ways last week with its top talent, Bill O’Reilly, whom the network cut ties with in the face of multiple allegations that O’Reilly had sexually harassed women at the cable channel. Last year, longtime Fox News chief Roger Ailes was fired from the network over similar allegations of harassment.

The class-action suit accuses Fox News’ actions toward minority employees as being “more akin to Plantation-style management than a modern-day work environment.” It says that Brandi and other executives actively covered for racially discriminatory behavior by O’Reilly, Slater, Ailes, current Fox News co-president Bill Shine, and others.

Included in that behavior, the suit alleges that O’Reilly suggested that one plaintiff, anchor Kelly Wright, call up Ailes and Shine and “offer to sing the National Anthem at Fox News Town Halls” after Wright asked to appear on “The O’Reilly Factor” to discuss racial strife in Ferguson, Mo. It also accuses Slater of mocking the accent of another plaintiff, Bangladeshi Musfiq Rahman, so severely that he was at one point reduced to tears.

Regarding Slater, the class-action suit claims that black employees who complained to human resources about her alleged behavior were told that “nothing could be done,” because Slater “knew too much” about top executives, including Ailes.

A representative for Fox News did not immediately respond to a request for comment.

O’Reilly was dismissed from his post as host of “The O’Reilly Factor” last week as advertisers fled the show in boycott. His exit package from the network was worth a reported $25 million. Ailes received $40 million package to leave the company last July.

Source: http://wstale.com/tv-movies/fox-news-hit-new-racial-discrimination-lawsuit
Studio preps Han Solo movie, 'Episode IX,' along with live-action 'Lion King,' new 'Indiana Jones'Disney announced its release schedule for the next few years, including two new 'Star Wars' films, 'Frozen 2' and the live-action 'Lion King.'

Disney and Lucasfilm will release Star Wars: Episode IX May 24th, 2019, Variety reports. Disney announced the premiere date along with a slew of other upcoming films including the Han Solo standalone film, Frozen 2 and a live-action remake of The Lion King.

In the Star Wars universe, the still-untitled Han Solo anthology film will arrive May 25th, 2018. The movie stars Alden Ehrenreich as the young space smuggler, Donald Glover as Lando Calrissian and Game of Thrones' Emilia Clarke, Woody Harrelson and Michael Kenneth Williams. Phil Lord and Chris Miller will direct. 

Episode IX, meanwhile, will complete the revival trilogy that began with J.J. Abrams' The Force Awakens and continues this spring with Rian Johnson's The Last Jedi, out May 26th. Colin Trevorrow will direct Episode IX

Along with wrapping up the new Star Wars trilogy in 2019, Disney will release the highly anticipated Frozen 2 November 27th, 2019. Frozen opened in 2013 and quickly became a massive hit, winning Oscars for Best Animated Feature and Best Original song for "Let It Go." A sequel was announced in 2015 with original directors Jennifer Lee and Chris Buck set to return along with stars Kristen Bell and Idina Menzel. Frozen is also being turned into a stage musical scheduled to open this summer and make its Broadway debut in 2018.

Among Disney's other big upcoming releases is a live-action reboot of The Lion King, which will arrive July 19th, 2019. The film will star Donald Glover as Simba while James Earl Jones will reprise his role as Mufasa from the 1994 original. The Lion King will follow Disney's very successful live-action reboot of Beauty and the Beast, as well as its upcoming Mulan remake, which is scheduled to open November 2nd, 2018.

Disney also pushed back release dates for several films including an untitled fifth Indiana Jones movie (July 10th, 2020), Wreck-It Ralph 2 (November 21st, 2018) and Ava DuVernay's adaptation of A Wrinkle in Time (March 9th, 2018). 

Source: http://wstale.com/tv-movies/disney-schedules-star-wars-films-frozen-2-release-dates

NBC entertainment chairman Bob Greenblatt credits the digital virality of “Saturday Night Live” in part for the show’s current upswing.

“‘SNL’ is unique this year with the election — we know what happened there,” Greenblatt said Tuesday at the NAB Show in Las Vegas. “This show is as relevant as it’s ever been, talking about the political world that we live in. That stuff goes viral and goes crazy every single week [on digital]. And I really think one enhances the other. The ratings have never been stronger and the digital has never been bigger.”

Greenblatt appeared at NAB in a keynote conversation with Chris Hardwick, host of NBC’s “The Wall” and upcoming “The Awesome Show.” The 45-minute conversation focused on NBC’s efforts in digital and social media, touching on key programs such as “SNL,” “This Is Us,” and “The Voice.”



Asserting that NBC has leaned hard into digital and social media as promotional tools, Greenblatt said that shows such as “SNL” and “The Tonight Show Starring Jimmy Fallon” have benefited from a strategy that sees clips move online shortly after they air.

“People just seek out programming and content,” Greenblatt said. “When they attribute it back to ‘SNL’ or the NBC network, that’s great. We brand it. We promote it as much as we can for that branding. But it doesn’t matter, so long as they seek out those clips.”

Greenblatt also spoke about the decision to air the final three episodes of the current season of “SNL” live in all time zones.

“We thought, why should people on the West Coast wait three hours to hear what people on the East Coast are already going crazy about?” Greenblatt said.

In addition to touting the mobile app for “The Voice,” Greenblatt spoke about “This Is Us,” the top-rated new drama of the season. Buzz began building prior to the season’s start when the network put a trailer for the series online — a trailer that drew more than 100 million views, a level Greenblatt compared to a “Star Wars” trailer.

“It’s almost like people went into a trance,” Greenblatt said. He added, “We just realized that there is a really rabid social community out there. A sharing community of people who go on and post their experiences of being an adopted family. People just really connected with the show.”

Source: http://wstale.com/tv-movies/bob-greenblatt-talks-snl-us-chris-hardwick

The remaining episodes of the DC spin-off led by Vanessa Hudgens have been pulled from rotation and replaced by another sitcom.

It seems that NBC has decided to cancel one of its freshmen "Powerless". The show has been removed from its Thursday night lineup. The remaining episodes are replaced by extra episodes of "Superstore". The series also disappears from the Peacock website. No official word is made by NBC, but producer Patrick Schumacker confirms on Twitter that the show has been pulled from schedule, "#Powerless will not air this week or next. This, I know for sure. I can guess some other things but they're not good. Thanks for watching." The comedy series about ordinary people living within the world of the DC Universe has been struggling since its February 2 debut. It's led by Vanessa Hudgens as a research director at Bruce Wayne's security company that protects average citizens from the superhero battles.

Source: http://wstale.com/tv-movies/dc-comedy-powerless-canceled-nbc

In the aftermath of former “Happy Days” star Erin Moran’s shocking death this past weekend, rumors have begun to circulate regarding the nature of the actress’ untimely passing. Her co-star Scott Baio added fuel to the fire by saying that he was less than shocked about the news during an interview on “The Bernie and Sid Show” on Monday morning.

And while Baio initially insinuated that Moran’s death might have been rooted in some kind of longstanding substance abuse issue, an official report later confirmed that, in fact, it was the culmination of a relentless — but quiet — battle with Stage 4 cancer.




Scott Baio on ‘Happy Days’ Co-Star Erin Moran’s Death: ‘For Me, You Do Drugs or Drink, You’re Gonna Die’


In an effort to thwart the ongoing media frenzy, Baio has penned a series of Facebook posts retracting his drug and alcohol allegations. Amid these defenses, Baio also posted a detailed letter on Tuesday morning written by Moran’s widower, Steven Fleischmann, which chronicled her decline.

“It got so bad so fast,” Fleischmann’s letter reads. “By the middle of February, Erin could no longer speak or eat or drink.”

Related Content Scott Baio Clarifies Erin Moran Comments, Says ‘Drug’ Quote Was Misreported

Read the full letter below.

Erin and I met 4/22/1992 and parted ways 4/22/2017. We were planning to go to
Thunder Over Louisville to celebrate.
She was feeling fine on our anniversary
11-23-2016. Maybe four or five days after we got back Erin woke up and had about a dime size blood stain on her pillowcase. She said
I think i bit my tongue. A couple days go by and
there’s a bigger spot of blood. We get like 4 days into December, there’s more blood. I get a flashlight and say let me look.
It was not her tongue it was her tonsil on the left side. I thought it was tonsillitis.
So we went to an ENT who said they wanted to biopsy it. It came back squamous cell carcinoma. She started radiation and chemo. Five days a week radiation and chemo only on Thursdays. We did that the whole time. It got so bad so fast. By the
middle of February, Erin could no longer speak
or eat or drink. She had a feeding tube implant and i feed her 6 to 8 times a day. She was still happy, she was active, she texted people on her phone all day. On the 21st she was having trouble
breathing. She woke up on the 22nd, she was not 100%.
She needed Kleenex, so i went to the store and came
back. She was there watching T.V in bed. I
laid down next to her held her right hand in my
left. I feel asleep woke up about a hour later
still holding her hand and she was gone, she was
just gone.. Norton Cancer Institute never said how bad it was.. The coroner told me it was really really bad. It had spread to her spleen, she had alot of fluid in her lungs and part of her brain was
infected. The coroner said even if she was in the hospital being pumped full of antibiotics she still would not of made it. He said it was the best that she was with me and went in her sleep.
So that’s it.
PLEASE feel free to send the above to Any and ALL
news outlets The press has been relentless. they knock on the door constantly. Thank you Harrison County Sheriff’s I Called last night and they came out ran them off got up this morning
they were all back sheriffs ran them all off again. the last time two cop cars ran off the last ones right before it got dark. we will see what tomorrow brings….
PEACE my friends.

But, despite the severity of her illness, Moran made sure to keep the news of her cancer largely under wraps. Only a carefully selected group of Moran’s family members and close friends were privy to her condition — and, since she was unable to speak, Moran primarily communicated with her loved ones through text messages.

“She kept very quiet,” former “Happy Days” co-star and longtime friend Anson Williams told People on Wednesday evening. “We all kept quiet, too, out of respect for Erin.”

But even those with whom Moran kept in contact with were blindsided by the abruptness of her death.

“It’s hard to wrap your arms around it,” Moran continued. “She was having treatment for throat cancer, so I was contacting her husband and her and she seemed to be fighting it, really doing well. I was just shocked when I got the call she had passed. I had no idea it was that bad.”

Source: http://wstale.com/tv-movies/happy-days-star-erin-morans-husband-pens-letter-cancer-battle

Greg Berlanti is working on the new superhero series for a DC-branded digital service that will be launched in 2018.

DC Universe continues to grow. Greg Berlanti, the mastermind behind numerous DC shows like "Arrow", "The Flash", "DC's Legends of Tomorrow" and "Supergirl", confirms that he is working on a live-action adaptation of "Titans". Details of the project are still scarce, but Berlanti teases that Beast Boy is among the lineup. "Yes!! Very happy to be writing the Titans again and working with this crew! Extremely excited. Will be something very different... #BeastBoy," he wrote on Twitter. "Titans" is a group of young soon-to-be heroes in the DC world. The comic series follows Dick Grayson a.k.a. Robin as he leads a band of fearless new heroes, including Starfire and Raven. At one point, Beast Boy joins the team. He has ability to transform into any animal. The "Titans" series along with an animated series "Young Justice: Outsiders" will be released a part of a DC-branded digital service which will be launched in 2018. DC Entertainment teams up with Warner Brothers TV to branch out into the digital world.

Source: http://wstale.com/tv-movies/dc-bring-beast-boy-life-live-action-series-titans

Blending the intimate volatility of John Cassavetes with the elegant lyricism of Hou Hsiao-hsien, Russell Harbaugh crafts an alternately ugly and lovely — and altogether authentic — snapshot of the tumultuous process of grieving a lost loved one. Bolstered by superb lead turns from Chris O’Dowd and Andie MacDowell, as well as a formal structure that enhances the roiling emotions propelling its characters into a downward spiral, “Love After Love” is an assured debut feature that announces its writer-director as a formidable new American indie voice. In the wake of its Tribeca Film Festival premiere, it seems primed to attract enthusiastic theatrical — and award season — attention.



The narrative starts before the film’s calamity, with Suzanne (MacDowell) and son Nicholas (O’Dowd) pondering the nature of true happiness, and how long it might last. The answer to the latter question is not very long at all, given that Suzanne’s husband, greeting his family at an outdoor dinner with a raspy voice that suggests consuming cancer, is on death’s doorstep. His demise is swift and yet not nearly fast enough to spare his family immense pain as they care for him during his final days, then shuffle through the weeks and months that follow, their sorrow piling up strain on their current — and newly developing — relationships.

For Nicholas, that entails splitting with his co-worker girlfriend Rebecca (Juliet Rylance of “The Knick”) and getting engaged to the younger Emilie (Dree Hemingway); while for Suzanne, it means falling into the arms of first a colleague, and then a man named Michael (Matt Salinger) whose presence doesn’t sit well with Nicholas. Through these ups and downs, Suzanne and Nicholas’ own bond becomes increasingly fraught with tensions of a twisted sort, with Suzanne disapproving of Nicholas’ new partner, and Nicholas growing increasingly angry at his mom’s desire (and ability) to move on with a new beau — a dynamic that’s laced with hints of romantic jealousy and quasi-incestuous bitterness.

As Nicholas free-falls into one romantically imprudent entanglement after another, his younger brother, Chris (James Adomian), copes with his dad’s passing by drowning himself in booze and self-loathing, helping to form the lonely, miserable familial triangle at the film’s center. Harbaugh dramatizes their descent into rage and despair via a narrative assembled as a series of snapshots, making it feel like we’re intermittently dropping in on the characters. That approach mirrors Suzanne, Nicholas and Chris’ disassociation from themselves and each other, and it proves an evocative means of locating them at key moments along their path toward some sort of resolution. Beautifully edited by Matthew C. Hart and John Magary (whose 2014 feature “The Mend” was co-conceived by Harbaugh), the film has an impressionistic spirit that’s married to a keen eye for important details.

“Love After Love” finds truth in small gestures, from dad’s momentary (but weighty) glance down at his cigarette, to Chris drunkenly relieving himself on in the coatroom during a party, to the look of powder-keg fury and misery barely kept at bay by a wan smile on Nicholas’ face during a dinner with Suzanne and Michael. Comprised of jangly jazz, mournful piano and ramshackle rock tracks, David Shire’s electric score is in tune with these confused souls’ inner unrest. Meanwhile, Harbaugh and cinematographer Chris Teague’s visuals marry intense closeups with medium shots that frame solitary figures in doorways — the film’s signature composition, which piercingly speaks to their feelings of claustrophobia, isolation and anguish, and which feels indebted to the style of Taiwanese master Hou.

The film captures the disarray that loss often engenders in those left to soldier on, and ultimate credit for its success goes to the cast. In a role that develops from heartache to a stew of possessiveness and resentment to hopeful catharsis, MacDowell is transfixing, her turn all the more moving for being laced with a degree of unpleasantness. That’s even truer of O’Dowd, whose Nicholas is for the most part an unrepentant prick, and yet made empathetic by the actor’s refusal to reduce him to merely the sum of his actions; creeping around the edges of his eyes, you can sense the relatable cause of his each successive misstep. One need not dig too deeply to unearth the source of Chris’ pain, however, as Adomian lays his sad-sack soul bare in a centerpiece standup routine during which — through awkward jokes about Jesus and God — he combats his darkness with amusingly raw, confessional comedy.

Source: http://wstale.com/tv-movies/love-love-review-elegant-indie-drama-grief

“Star Wars: Episode IX” is set to fly into theaters on May 24, 2019, Disney announced on Tuesday.

Colin Trevorrow is on board to direct.


Everything We Know About ‘Star Wars: The Last Jedi’


Disney had staked out December for “Star Wars: The Force Awakens” and the upcoming “Star Wars: The Last Jedi,” but now returns to the summer, where every other previous installment had bowed.

Adam Driver, Daisy Ridley, John Boyega, and Oscar Isaac are all expected to return. Disney recently revealed that Carrie Fisher, who died late last year, will not appear in the film.

Earlier this month, Disney released the first trailer for “The Last Jedi,” which bows this December, at Disney’s “Star Wars Celebration” event.



“The Force Awakens” and the recently released “Rogue One: A Star Wars Story” crushed box office records, with both films surpassing $1 billion at the worldwide box office. Disney also has another “Star Wars” spinoff, this time focusing on a young Han Solo (played by Alden Ehrenreich), hitting theaters on May 25, 2018.

The untitled “Doctor Dolittle” pic starring Robert Downey Jr. is the only other film dated for that slot. Also on Tuesday, Disney revealed the release dates of several other highly anticipated films, including the live-action reboot of “The Lion King,” the next “Indiana Jones” film, and the sequel to “Frozen.”

Source: http://wstale.com/tv-movies/star-wars-episode-ix-release-date-may-2019

When it comes to activism, there’s almost nothing more powerful than an unforgettable image, which has the capacity to inspire, to destroy and to transform. “A River Below” focuses on two conservationists in the Amazon who aim to bring about change by using the national media, only to discover the consequences of their actions are unexpectedly messy. Functioning as a spiritual companion piece to Louie Psihoyos’ 2009 “The Cove,” director Mark Grieco’s documentary incisively examines the complications of engaging in a crusade via public TV — here, primarily on behalf of the endangered pink river dolphin. Boosted by its refusal to proffer easy solutions to knotty situations, the doc should net serious interest following its Tribeca Film Festival debut.



In both Brazil and Colombia, the dolphin (“boto”) is under siege by local fisherman scattered along the Amazon River who illegally kill it in order to use its carcass as bait to catch scavenger fish like the piracatinga (known as the moto in Colombia). Given the dolphin’s sacred stature in South American culture, this is a horrifying scenario, and one that’s of particular concern to two men determined to save the species from extinction: Colombian marine biologist Fernando Trujillo, the world’s leading expert on the pink river dolphin; and Richard Rasmussen, the well-known host of a popular National Geographic Channel wildlife show.

Akin to a Brazilian version of the late Steve Irwin, Rasmussen is a larger-than-life personality who uses in-the-wild confrontations with deadly creatures to call attention to conservation efforts. Trujillo, meanwhile, takes a more conventional approach, working as a field scientist and writing policy papers about the dangers of the moto, which contains lethal levels of toxicity. The two men have similar goals but different tactics, and that disparity in approach is highlighted by a controversy that soon engulfs Rasmussen regarding a video he shot of local fishermen slaughtering a pregnant pink river dolphin, then using it to catch piracatinga. The video is shown at the outset of “A River Below” and revisited in longer stretches later on.

Broadcast on a popular Sunday night TV program, where it immediately led to a temporary ban on national piracatinga fishing, Rasmussen’s video is an extreme, and to many (including Trujillo) dubious, means of upending the status quo. The question of the stunt’s moral acceptability hovers over “A River Below.” Muddying matters further is the fact that the fishermen who committed the crime blame Rasmussen for putting them up to it and then sabotaging their livelihood, ruining their reputations, and placing their lives in jeopardy by publicizing it. They use iPhones to record Grieco’s production crew as an act of protection/intimidation, and threaten Rasmussen’s life.

As Rasmussen contends with the fallout from his recording (which he considers unexpected, given his belief in the righteousness of his actions), Trujillo suffers consequences from a TV appearance aimed at exposing the level of poison in the moto. The industry whose revenue he jeopardizes issues ominous warnings, forcing the biologist to wear a bulletproof vest and hire a bodyguard. In the stories of both men, Grieco’s film highlights the double-edged nature of eye-opening visuals, which are just as apt to enrage others and endanger the messenger as they are to achieve noble ends.

Helkin René Diaz’s cinematography is often striking, with aerial shots of the winding Amazon River capturing a larger sense of the complex nature of the environment and the issues plaguing it. As the fishermen and Rasmussen argue over the truth of their original agreement — a meeting concluding with a propagandistic photo op — and the Colombian government counters Trujillo’s analysis with a pro-moto cooking show (!), “A River Below” details the good and bad of modern media activism, with answers about the best way forward as scarce as the disappearing pink river dolphin itself.

Source: http://wstale.com/tv-movies/river-review-incisive-doc-media-activism

“Pretty Little Liars” will be going off the air for good after nine more episodes, but seven seasons ago, the Liars were just auditioning for the show that became a pop culture phenomenon and changed social media forever.

Last week, “PLL” creator Marlene King chatted with Variety’s TV podcast, Remote Controlled, about the final season and her decision to end the series. She also recalled auditioning the stars, sharing memories of the first time she met Lucy Hale, Ashley Benson, Shay Mitchell, Troian Bellisario, and Sasha Pieterse, who was just 12 years old.

Some fun facts: Benson came into her audition crying, Hale didn’t have to audition, and Mitchell was not the first choice for her character Emily.




Remote Controlled: ‘Pretty Little Liars’ EP Marlene King Teases Final Episodes and Emison’s Future


Ashley Benson

I remember her coming in for her audition and she was in tears because she was on a show called “Eastwick” and she had just found out it was canceled, and so she came over to this audition. We knew we wanted a blonde for this role because it was one of the last roles to cast and other than Alison, we did not have a blonde in the show. We couldn’t find the right person and she came in … there’s just something magical that happens with her and the way the camera captures her and those eyes. We all knew in the room that we found our Hanna.

Shay Mitchell

We had a hard time finding Emily. … We searched and searched and searched and we hadn’t found our Emily, and Shay self-taped from Vancouver and we loved her tape. Emily is nothing like Shay — she is the most girly person you’ve ever met. There were two girls who came down and our preference was this other girl, but in the room full of a lot of people … Shay just nailed it in the room. I had never done this before, so the girls left, and I said, “Am I allowed to change my mind?” And they said yes, and that’s how Shay got that job.

Lucy Hale

Lucy didn’t audition. She was coming off of “Privileged” and everybody wanted to do a TV show with her. I grabbed a coffee with her … and she had read the script and she loved it, and she wanted to play Hanna and I didn’t think she was a Hanna; I thought she was an Aria, so I said, “Go home and read it again.” She read it again and she chem read for both roles with a couple of guys, and once she started doing her scenes, she’s like, “You’re right. I’m Aria.”

Troian Bellisario

Troian came in to read and she did a great job, but we were like, “It’s ‘Pretty Little Liars’ — you’ve got to put on a little lipstick or some makeup.” She loves to tell this story — we’re like, “Come back. Go turn into a Pretty Little Liar and come back.” And she came back and she just owned it. It was a scene where she was supposed to be smoking a cigarette in the pilot with Wren, and we didn’t end up doing that, but she took off this Armani jacket and she had this low-cut back and she lit the cigarette in the room. She was just so bold and so courageous, and then she got that in the room.

Sasha Pieterse

Sasha is a great story because we had read Sasha for Hanna and we were going to test her at the studio or network … and then we found out she was only 12 years old — not that she couldn’t play a teenager, but I knew what Hanna was going to do and I was like, “Do we really want a 12-year-old doing those things?” But also, they can only work a certain amount of hours under the age of 16. So that’s when we just said she’s Alison. She read with a few of the girls as Alison, she was several years younger than all of them, but she scared he hell out of everyone in a good way.

Source: http://wstale.com/tv-movies/pretty-little-liars-audition-stories-lucy-hale-ashley-benson

“Spotlight” writer-director Tom McCarthy is in talks to direct an adaptation of the children’s book “Timmy Failure” for Disney.

McCarthy would also co-write the pic with the book’s author, Stephan Pastis.

The popular book series centers on an 11-year-old boy who believes he is the best detective in town and runs the agency Total Failure Inc. with his partner, a 1,200-pound, imaginary polar bear, and his sidekick Rollo Tookus.

Jim Whitaker, who has a strong track record with the studio producing such tentpoles as “Pete’s Dragon” and “A Wrinkle in Time,” will produce.

Though better known for his adult fare like “Win Win” and “Spotlight,” McCarthy has always been drawn to family friendly stories, going back to when he penned the baseball movie “Million Dollar Arm.” He recently did a rewrite on “Christopher Robin,” a live-action take on the “Winnie the Pooh” tale, and was also a writer on Pixar’s “Up.”



McCarthy recently helmed a handful of episodes on Netflix’s popular new series “13 Reasons Why,” which was the most tweeted-about show in Netflix’s history. He is repped by Gersh.

Source: http://wstale.com/tv-movies/tom-mccarthy-direct-timmy-failure-disney

The Nantucket Film Festival has announced the complete list of films it will screen at this year’s event, including opener “The Big Sick” and closer “An Inconvenent Sequel: Truth to Power.”

Screenwriters Kumail Nanjiani and Emily V. Gordon’s “Big Sick,” the romantic comedy directed by Michael Showalter, centers around the writers’ real-life courtship and stars Nanjiani as a character based on himself, with Zoe Kazan as Emily. The couple struggles with cultural differences and the unexpected impact of a mysterious illness in the Lionsgate/Amazon Studios release, which also stars Holly Hunter and Ray Romano.




Sundance Film Review: ‘The Big Sick’


Paramount Studios and Participant Media’s documentary “An Inconvenient Sequel: Truth the Power,” directed by Bonni Cohen and John Shenk, will close the festival, continuing where “An Inconvenient Truth” left off by charting Vice President Al Gore’s mission to solve our climate crisis before it’s too late.

Current Tribeca Film Festival offering “Whitney: Can I Be Me” will be the festival’s centerpiece film. Nick Broomfield and Rudi Dolezal’s documentary about the late R&B singer offers a candid look at her life, career, and untimely death. NFF will also screen Disney Pixar’s “Cars 3” as its opening-day family film.

Other films that will be screened during the festival include Spotlight Films’ “Coup D’Etat” starring Michael Caine and “Fun Mom Dinner” starring Toni Colette and Molly Shannon, as well as “Landline” starring Jenny Slate, Jay Duplass, Edie Falco, and John Turturro, and “Marjorie Prime” with Jon Hamm and Geena Davis.

Tom McCarthy, the Oscar winning writer/director will receive the 2017 Screenwriters Tribute at a June 23 event, where acclaimed documentary filmmaker Nick Broomfield and television creators and Emmy-nominated writing team David Crane and Jeffrey Klarik will also be honored.

The festival runs June 21-26. Passes and ticket packages are available at the festival’s website.


Source: http://wstale.com/tv-movies/nantucket-film-festival-announces-2017-lineup

Just one week after the departure of top host Bill O’Reilly amid controversy over alleged sexual harassment, Fox News has asked contributors and freelancers to complete the company’s sensitivity-training program.

The memo, sent Tuesday by the cable channel’s new head of human resources, Kevin Lord, states that it is necessary for all “employees, contributors, and freelancers” to complete the one-hour program. “It is critical that everyone attends to ensure that we maintain a professional workplace,” Lord wrote.

The sensitivity-training program was initiated following the departure last year of former network chief Roger Ailes, who, like O’Reilly, faced allegations of sexual harassment put forward by multiple women. The memo sent Tuesday went to freelancers and contributors only. According to a Fox News spokesperson, 96% of the network’s employees have already completed the training program.



Lord was hired to lead HR for the channel in December, five months after Ailes’ departure.

Fox News last week announced that O’Reilly would not return as host of “The O’Reilly Factor,” cable’s most watched news program, as sexual-harassment allegations against him mounted. An advertiser boycott of “The O’Reilly Factor” had put pressure on the network to address the claims, even as ratings for the show remained high.

Read Lord’s memo below:

Hi all,

All Fox News Channel employees, contributors, and freelancers are required to go through a one-time, one-hour sensitivity training session. It is critical that everyone attends to ensure that we maintain a professional workplace.

All trainings will be held in the 1211 Avenue of the Americas 3rd floor Training Room. You will sign in and out in person. We will add more availability for mid to late May, but please attempt to attend your training as soon as possible.

Please use this link below to sign up for your session.

If you have any questions, please reach out to Jordan Knesek at [email redacted].

Thank you,
Kevin Lord


Source: http://wstale.com/tv-movies/fox-news-sends-sensitivity-training-memo-freelancers-contributors

Seth Rogen and Billy Eichner have been tapped to voice Timon and Pumbaa in Disney’s live-action adaptation of “The Lion King,” sources confirmed to Variety.

Donald Glover is on board to voice Simba, while James Earl Jones will reprise his role of Mufasa that he voiced in the original. Beyonce is still circling the role of Nala.


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In the original, Timon and Pumbaa were the lovable meerkat and warthog who look after Simba after he flees his kingdom.

Jon Favreau is directing with Jeff Nathanson writing. The film is being fast-tracked, with the studio recently dating it for July 19, 2019.

“Lion King” was originally released in 1994 and is one of the highest-grossing animated films of all time, ultimately hauling $968.5 million worldwide.



The studio’s emphasis on live-action adaptations follows the successes of “Alice in Wonderland” (2010), “Maleficent” (2014), “Cinderella” (2015), and, most recently, “Beauty and the Beast,” which has made more than $1 billion worldwide. The studio is also ramping up production on “Dumbo,” directed by Tim Burton, as well as a “Mulan” pic.

Rogen is no stranger to voice acting, having done such as animated hits like “Kung Fu Panda,” “Monsters vs. Aliens,” and last year’s “Sausage Party,” which he also co-wrote and produced. He is repped by UTA, Principal Entertainment, and Felker Toczek.

Eichner is best known as the host of “Billy on the Street” and also stars in the Hulu series “Difficult People.” He is repped by UTA and 3 Arts.

TheWrap first reported the news.

Source: http://wstale.com/tv-movies/seth-rogen-billy-eicher-voice-timon-pumbaa-lion-king

Andie MacDowell waited until age 59 to do her first nude scene. As a grieving matriarch trying to get over her husband’s death and re-entering the dating scene in “Love After Love,” MacDowell has several sexual encounters in the indie drama that leave her emotionally and physically baring all.

“I kept making a joke to everybody that I waited until I fell apart before I took my clothes off,” the actress told Variety during an interview at the Tribeca Film Festival where “Love After Love” is debuting. The experience left her advising her actress daughters, Sarah Margaret Qualley and Rainey Qualley, not to wait as long before shedding their clothes on screen.



“I keep telling my girls, ‘you’re so beautiful, you should just do it,'” she says with a laugh. “‘Go. Do it. Don’t wait.'”

Ultimately, getting naked on screen didn’t feel as vulnerable as portraying a widow in the throes of deep depression. “I was more embarrassed by seeing myself that sad, because I’ve never seen myself look like that,” MacDowell says as she nurses a cup of tea in a Manhattan hotel room. “I’ve seen myself naked plenty. I see myself in the mirror all the time naked. “


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“Love After Love” gives the actress her meatiest part in years, allowing her to chart a wide range of emotions with minimal dialogue and long, penetrating closeups. It’s the kind of latter-career part that European actresses such as Charlotte Rampling (“45 Years”) and Isabelle Huppert (“Elle”) have torn into recently, but the type of star turn that Hollywood studios don’t tend to dole out to actresses on a certain side of 40.

“It’s the concept that older women are not interesting,” said MacDowell. “They don’t want to do programming about mature women because they think people go to the movies to watch men. They’ll fill the male role before they fill the female role, even if the female role is the predominant role.”

MacDowell, with her cascading, raven hair, wide smile, and high cheekbones, has long transfixed moviegoers with her beauty and her lilting Southern accent. For a period of time in the early 1990s, she was the beau ideal of rom-coms, melting the hearts of Hugh Grant and Bill Murray in “Four Weddings and a Funeral” and “Groundhog Day,” respectively. But she admits that some in Hollywood need a refresher on her talent, and she’s hoping that “Love After Love” will provide a jolt to her career.

“People forget easily,” said MacDowell. “I told [director Russ Harbaugh] it was like someone gave me another chance. I haven’t had an opportunity like this to do something where I could show what I’m capable of doing. I want to do these kinds of roles, but I don’t see them and they don’t come to me. Finally one came to me, and I’m really happy. I keep telling them thank you.”

Despite the hardships and the career ups and downs, MacDowell said she was happy her daughters followed her into acting. She regrets not allowing them to enter the business earlier.

“I had this notion that I wanted to raise my kids and give them a normal childhood and it didn’t pan out that way at all,” she said. “People don’t let me be normal, so it doesn’t matter. I wish I’d allowed them to do some acting when they were kids, but I was hooked on this idea that I wanted them to make that choice themselves.”

In the meantime, MacDowell thinks that “Love After Love,” which follows a fraying family unit as they engage in failed relationships, bad behavior, and job travails, has an important message about grief and loss.

“Humans are messy and broken and that’s okay,” said MacDowell. “We’re allowed to make mistakes. Part of the process of healing is being a mess.”

Source: http://wstale.com/tv-movies/andie-macdowell-shooting-first-nude-scene-59