May 9, 2018 MOONVES HAS A BOSS Why the revered mogul will never win full control of CBS TV UPFRONTS PREVIEW • ‘Comedy is heading to a dangerous place’ • The battle for $9B in network ad sales • Producer of the Year David E. Kelley ROSE RENEWED Six months after helping topple Harvey and ignite a movement, McGowan goes on the road with THR and reveals her life as an actress-activist fleeing the ‘Hollywood bubble,’ confronting the critics and a polarized public opinion: ‘I do torch things’ PLUS Jeffrey Tambor: ‘Lines Got Blurred’ Oscar’s Polanski Purge The only true First Class. Flagship® Lounge Flagship® First Dining Fully Lie-Flat Seats Enjoy chef-inspired food options, specialty drinks and a relaxing atmosphere before your flight. Flagship® First Dining features regionally inspired dishes so good, it’s an experience worth coming early for. Stretch out on our fully lie-flat seats with direct aisle access. See the end-to-end experience at aa.com/ﬂagship American Airlines, Flagship and the Flight Symbol logo are marks of American Airlines, Inc. oneworld is a mark of the oneworld Alliance, LLC. © 2018 American Airlines, Inc. All rights reserved. Issue No. 16, May 9, 2018 FEATURES 50 ‘I Do Torch Things’ Six months after igniting the #MeToo movement, Rose McGowan opens up about how she helped torpedo her story on NBC News, why she’s decided to leave Hollywood and her budding new romance. 56 12 Ways to Lead a Writers Room Top TV showrunners unload on pitch meetings, political storylines and the future of funny. 64 ‘Lines Got Blurred’ Jeffrey Tambor opens up in his ﬁrst interview since getting ﬁred from Transparent, one of the murkiest cases of the #MeToo era. 50 “If I was Reese Witherspoon, would I be treated like I am? The answer is no,” says McGowan, photographed May 2 at Industria in Brooklyn. To watch her discuss her fight to push against the Hollywood “power structure,” go to THR.com/video. On the cover: Versace jacket, Sunspel T-shirt, Levi’s jeans, Ellery earring. This page: Levi’s jacket. Photographed here and for the cover by Wesley Mann T H E HOL LY WO OD R EP ORT ER 4 M AY 9, 2018 NO BRAINER. AT&T AUDIENCE® NETWORK AND SONAR ENTERTAINMENT PROUDLY CONGRATULATE DAVID E. KELLEY ON BEING NAMED THE HOLLYWOOD REPORTER’S TV PRODUCER OF THE YEAR. Issue No. 16, May 9, 2018 48 River and city views from 1 Brooklyn Bridge Hotel, with eco-luxury amenities and a private screening room. THE REPORT STYLE 13 Oscar’s Code of Conduct Dilemma 42 Hollywood’s Egalitarian Ofices (Sort Of) ABOUT TOWN 23 Person of Interest: Ali Wong The Netﬂix star’s new special delivers a subversive take on parenthood. THE BUSINESS 32 Creative Space: Alex Gibney The Oscar-winning documentary ﬁlmmaker who skewered Enron, WikiLeaks and Scientology will tackle two fraught new subjects: Fox News founder Roger Ailes and the FBI. Taking visual cues from tech, two redesigns reﬂect a “creative environment that stimulates conversation,” says Ron Howard. 23 Don’t label Wong a “mom comic.” “We’re just talking about our lives,” says the stand-up, photographed April 24 at Hayden in L.A. 46 Where to Eat & Meet at NY’s TV Week 46 Amid the upfronts uproar, sample the new restaurant row and the city’s power tables of the moment. A Metropolitan with Ford’s Gin, Italicus Rosolio di Bergamotto, cranberry, lemon and marmalade from NYC’s Legacy Records, $17. REVIEWS 77 Summer Book Bonanza Must-reads include Bill Clinton’s debut novel, a dishy Sumner Redstone bio, an unusual David Lynch memoir and a pageturner about sex and murder at a boarding school. 32 34 Leslie Moonves Has Power and Influence — and a Boss Michael Wolff on the CBSViacom tug-of-war and why Shari Redstone will come out on top. “I got a lot of nasty ‘You’re going to hell’ letters,” says Gibney, photographed May 1 at his NYC ofice, of his hot-button docs. THIS WEEK ON THR VIDEO Watch the creative forces of TV reveal how their writers might describe them. Wong Photographed by Shayan Asgharnia T H E HOL LY WO OD R EP ORT ER 6 M AY 9, 2018 GIBNEY: DUSTIN COHEN. BROOKLYN: COURTESY OF SUBJECT. DRINK: ROBIN LEHR. After booting Bill Cosby and Roman Polanski from the ﬁlm Academy, the board is grappling with whether to further purge its ranks for past behavior. Matthew Belloni EDITORIAL DIRECTOR Alison Brower Shanti Marlar Tom Seeley Sudie Redmond DEPUTY EDITORIAL DIRECTOR CREATIVE DIRECTOR DEPUTY EDITORIAL DIRECTOR, DIGITAL MEDIA EXECUTIVE MANAGING EDITOR Stephen Galloway Jennifer Laski Jeanie Pyun Erik Hayden Lacey Rose David Katz EXECUTIVE EDITOR, FEATURES PHOTO & VIDEO DIRECTOR DEPUTY EDITOR NEWS DIRECTOR EXECUTIVE EDITOR, TELEVISION EXECUTIVE EDITOR, ARTICLES EDITOR-AT-LARGE Kim Masters FILM FILM EDITOR Gregg Kilday • SENIOR FILM WRITERS Borys Kit, Pamela McClintock, Tatiana Siegel • TECH EDITOR Carolyn Giardina STAFF WRITER, FILM Mia Galuppo • INTERNATIONAL FILM EDITOR Deborah Young TELEVISION TELEVISION EDITOR, EAST COAST Marisa Guthrie • TELEVISION EDITOR, WEST COAST Lesley Goldberg • SENIOR WRITER, TELEVISION Michael O’Connell TELEVISION WRITER Bryn Elise Sandberg • MEDIA & POLITICS WRITER Jeremy Barr REVIEWS REVIEWS EDITOR Jon Frosch • CHIEF FILM CRITIC Todd McCarthy • CHIEF TELEVISION CRITIC Tim Goodman • CHIEF THEATER CRITIC David Rooney • TELEVISION CRITIC Daniel J. Fienberg SENIOR EDITOR Benjamin Svetkey • SENIOR EDITOR, COPY Mike Barnes • FASHION & BEAUTY DIRECTOR Carol McColgin • AWARDS EDITOR Rebecca Ford REAL ESTATE & CITY EDITOR Peter Kiefer • SENIOR WRITERS Seth Abramovitch, Gary Baum, Scott Johnson • SENIOR AWARDS ANALYST Scott Feinberg SENIOR EDITOR, EVENTS Ramona Saviss • SENIOR REPORTER Rebecca Sun • INTERNATIONAL BUSINESS EDITOR Georg Szalai • WEST COAST BUSINESS EDITOR Paul Bond SENIOR EDITOR, NEW YORK Eriq Gardner • BOOKS EDITOR Andy Lewis • SENIOR STAFF WRITER Chris Gardner • DIGITAL MEDIA EDITOR Natalie Jarvey STAFF REPORTER Ashley Cullins • ASSOCIATE EDITOR Lindsay Flans • EDITORIAL ASSISTANT Kendal McAlpin • ASSISTANT TO THE EDITORIAL DIRECTOR Beno Akram COPY MANAGING EDITOR Jennifer H. Levin • ASSISTANT MANAGING EDITOR Darah Head • SENIOR COPY EDITOR Lisa de los Reyes • COPY EDITOR/FILM CRITIC Sheri Linden ART DESIGN DIRECTOR Peter B. Cury • SENIOR MANAGING ART DIRECTOR Kelsey Stefanson • ASSOCIATE ART DIRECTORS Nicholas Brawley, Christopher Hawkins, Fah Sakharet • SENIOR DESIGNER Jen Cienfuegos SENIOR ART PRODUCTION MANAGER Michelle Mondragon • ASSISTANT ART PRODUCTION MANAGER Amanda Tannen • PRODUCTION ARTIST BJ Samuels • JUNIOR PRODUCTION ARTIST Ashley Bradley PHOTO & VIDEO DEPUTY PHOTO DIRECTOR Carrie Smith • SENIOR PHOTO PRODUCER Kate Pappa • SENIOR PHOTO EDITOR Michelle Stark • PHOTO EDITORS Chelsea Archer, Tristan Cassel, Lisa Dragani ASSOCIATE PHOTO EDITORS Megan Downie, Jared Rosenthal • PHOTO & VIDEO ASSISTANT Kayla Landrum • PHOTO EDITOR-AT-LARGE Jenny Sargent DIRECTOR OF PRODUCTION, VIDEO Stephanie Fischette • SENIOR VIDEO PRODUCERS Marya Gullo, Victoria McKillop, Laela Zadeh • VIDEO PRODUCER Natalie Heltzel • ASSOCIATE VIDEO PRODUCER Brian Porreca LIVE PRODUCER/STUDIO MANAGER Michael Palmesino • YOUTUBE CHANNEL MANAGER Jason Al-Samarrie • WEB VIDEO CONTENT MANAGER Ciara McVey • RIGHTS & CLEARANCES MANAGER Travis Gollaher LEAD VIDEO EDITOR Victor Klaus • VIDEO EDITOR/MOTION GRAPHICS ARTIST Darin Eaton • JUNIOR VIDEO EDITOR Nebiyu Dingetu • VIDEO PRODUCTION ASSISTANT Dustin Hattier THR.COM MANAGING EDITOR, DIGITAL Kimberly Nordyke • ASSIGNMENT EDITOR Jennifer Konerman • STYLE & FASHION NEWS DIRECTOR Booth Moore • EAST COAST DIGITAL LEAD EDITOR Jackie Strause DEPUTY EDITOR, EAST COAST Hilary Lewis • SENIOR REPORTER Ryan Parker • SENIOR EDITOR, HEAT VISION Aaron Couch • INTERNATIONAL EDITOR Abid Rahman STAFF EDITOR, NEWSLETTERS Ray Rahman • ASSOCIATE EDITORS Lauren Huff, Katie Kilkenny, Evan Real, Patrick Shanley • ASSISTANT EDITOR Lexy Perez COPY CHIEF Pete Keeley • SENIOR PHOTO EDITOR, DIGITAL Christina Pompa-Kwok • PHOTO EDITORS Mike Jianu, Ben Park • DIGITAL CONTENT EDITOR, VIDEO Annie Howard SENIOR MANAGER, SOCIAL MEDIA Jennifer Liles • MANAGER, SOCIAL MEDIA Shannon O’Connor • SOCIAL MEDIA EDITOR Sarah Gidick • SOCIAL MEDIA COORDINATOR Natalya Jaime INTERNATIONAL INTERNATIONAL NEWS EDITOR Kevin Cassidy • EUROPE BUREAU CHIEF Scott Roxborough • ASIA BUREAU CHIEF Patrick Brzeski • CANADA BUREAU CHIEF Etan Vlessing CORRESPONDENTS Agustin Mango ARGENTINA • Pip Bulbeck AUSTRALIA • Rhonda Richford FRANCE • Karen Chu HONG KONG • Ariston Anderson ITALY • Nyay Bhushan INDIA Gavin J. Blair JAPAN • Lee Hyo-won KOREA • John Hecht MEXICO • Nick Holdsworth, Vladimir Koslov RUSSIA • Pamela Rolfe SPAIN • Alex Ritman U.K. CONTRIBUTING EDITORS Kareem Abdul-Jabbar • Marc Bernardin • Jonathan Handel • Austin Hargrave • Bill Higgins Wesley Mann • Miller Mobley • Gavin Polone • Joe Pugliese • Ramona Rosales • Andrew Weitz • Michael Wolff Lynne Segall EXECUTIVE VICE PRESIDENT/GROUP PUBLISHER Elisabeth Deutschman Victoria Gold Dana Droppo Mike Van, Randi Windt Alison Smith-Pleiser Alexandra von Bargen SENIOR VICE PRESIDENT, TELEVISION & MEDIA SENIOR VICE PRESIDENT, ENTERTAINMENT VICE PRESIDENT, BRAND EXPERIENCES VICE PRESIDENTS, BRAND PARTNERSHIPS MANAGING DIRECTOR, INTERNATIONAL SALES MANAGING DIRECTOR, LUXURY ADVERTISING EXECUTIVE DIRECTOR, INDEPENDENT FILM & TALENT Debra Fink • EXECUTIVE DIRECTOR, FILM & TELEVISION Carolyn Bernstein • EXECUTIVE DIRECTOR, TELEVISION Scott Perry • EXECUTIVE DIRECTOR, LUXURY Sandra Mauriello EXECUTIVE DIRECTOR, LUXURY REAL ESTATE & REGIONAL SHELTER Sue Chrispell • EXECUTIVE DIRECTOR, EDUCATION, ASSOCIATIONS & FILM COMMISSIONS Lori Copeland • EXECUTIVE DIRECTORS, BRAND PARTNERSHIPS Hillary Gilmore, Alex Kim, Jon Rutner • DIRECTOR, SPONSORSHIP & WEST COAST CONSUMER SALES Karbis Dokuzyan • DIRECTORS, BRAND PARTNERSHIPS Marinelle Carino, Jackie Horn, Gabrielle Koenig, Amy Jo Lagermeier, Justine Matthews • MANAGING DIRECTOR, MUSIC Aki Kaneko • DIRECTOR, EAST COAST SALES Joe Maimone • MANAGER, BRAND PARTNERSHIPS Jamie Davidson DIRECTOR OF BUSINESS DEVELOPMENT Cathy Field • BUSINESS DEVELOPMENT COORDINATOR Dominique Angell • EXECUTIVE ASSISTANT Ashley Lyle • SALES COORDINATORS Mitchell Brown, Andrea Rico, Kendall Stempel ACCOUNT DIRECTOR, ASIA Ivy Lam • INTERNATIONAL ACCOUNT DIRECTOR Tommaso Campione • ACCOUNT DIRECTOR, NEW ZEALAND & AUSTRALIA Lisa Cruse DIGITAL MEDIA GENERAL MANAGER, VIDEO Michael Palmer • VICE PRESIDENT, DIGITAL REVENUE OPERATIONS Gina Perino • SENIOR DIRECTOR, PRODUCT Reed Hallstrom • INTERACTIVE ART DIRECTOR Rett Alcott SENIOR DESIGNER Andrew Elder • DESIGNER Ady Chng • EXECUTIVE DIRECTOR, MUSIC STRATEGY & BRANDED CONTENT Alyssa Convertini • SENIOR DIRECTOR, AD PRODUCT Daniel Eberle DIRECTOR OF PARTNERSHIPS Shira Brown • MANAGER, BRANDED CONTENT Ryan Katon • AD OPERATIONS ASSOCIATE DIRECTOR Cheryl Kampanis • SENIOR AD OPERATIONS MANAGER Maureen Vanterpool AD OPERATIONS MANAGER Samantha Turpen • AD OPERATIONS ASSOCIATE Shannon Drury • DIRECTOR, ACCOUNT MANAGEMENT Shameka Frank • SENIOR MANAGER, ACCOUNT MANAGEMENT Galina Druzhinina, Renee Giardina, Sarah Seo • SENIOR ACCOUNT MANAGER, FILM & ENTERTAINMENT Greg Johnson • DIGITAL ACCOUNT MANAGERS Tracy Cayaban, Alex Felser, Madeline Goode, Casey Shulman ASSOCIATE ACCOUNT MANAGERS Allie Hedlund, Chelsea Sageer, Tal Zaiet • ASSOCIATE DIRECTOR, ANALYTICS Katherine Shaoul • SALES ANALYTICS SPECIALIST Lauren Kim • VIDEO ANALYTICS SPECIALIST Stephanie Kurse EDITORIAL ANALYST Kelsey Weekman • SEO SPECIALIST Matt Albrecht • ASSOCIATE DIRECTOR, SOCIAL MEDIA Stephanie Apessos • SOCIAL MARKETING MANAGER Dervla O’Brien • QA ENGINEER Robert MacCracken MARKETING EXECUTIVE DIRECTOR, STRATEGY Anjali Raja • EXECUTIVE DIRECTOR, MARKETING & PARTNERSHIPS Laura Lorenz • DIRECTOR, BRAND MARKETING & PARTNERSHIPS Erika Cespedes DIRECTOR, TELEVISION DEVELOPMENT Joanna Zwickel • DIRECTOR, INTEGRATED MARKETING Lyndsay Meabon • MANAGER, INTEGRATED MARKETING Steven Huizar • SENIOR MANAGER, MARKETING STRATEGY Ezra Ellenberg MANAGERS, STRATEGY Ross Figlerski, Jonathan Holguin • STRATEGY EXECUTION MANAGERS Briana Berg, Kwasi Boadi • MARKETING DESIGN MANAGER Kim Grasing MARKETING COORDINATORS Sarah Lombard, Claire McMahon • BRAND MARKETING COORDINATOR Erica Daul • EXECUTIVE ASSISTANT/MARKETING COORDINATOR Matthew Baum EXECUTIVE DIRECTOR, CONFERENCES & EVENTS Curtis Thompson • ASSOCIATE MANAGER, EVENT MARKETING Anush Yemenidjian LICENSING VICE PRESIDENT, BUSINESS DEVELOPMENT & LICENSING Andrew Min • ASSOCIATE DIRECTOR, INTERNATIONAL BUSINESS & LICENSING Anuja Maheshka • DIRECTOR, LICENSING & MARKETING Amy Steinfeldt Ulmann MAGAZINE REPRINTS Wright’s Media (877) 652-5295, email PGM@wrightsmedia.com • ARTICLE OPTION INQUIRIES Joanna Zwickel (212) 493-4163, email firstname.lastname@example.org OPERATIONS GROUP FINANCE DIRECTOR David Aimone • EXECUTIVE DIRECTOR, FINANCE & OPERATIONS Jerry Ruiz • HUMAN RESOURCES DIRECTOR Alexandra Aguilar • EXECUTIVE DIRECTOR, GROUP PRODUCTION Kelly Jones DEPUTY PRODUCTION DIRECTOR Mary Bradley • PRODUCTION MANAGER Maya Eslami • SENIOR DESIGNER Suzanne Rush • EXECUTIVE DIRECTOR, AUDIENCE DEVELOPMENT & CIRCULATION Katie Fillingame SENIOR MANAGER, EMAIL MARKETING & CIRCULATION Meredith Kahn • PROCUREMENT MANAGER Linda Lum • IMAGING MANAGER Brian Gaughen • IMAGING SPECIALIST Michael Sullivan HEADQUARTERS 5700 Wilshire Blvd., Suite 500 • Los Angeles, CA 90036 • PHONE (323) 525-2000 • EDITORIAL EMAIL THRnews@thr.com • ADVERTISING (323) 525-2013 New York 340 Madison Ave., 6th ﬂoor, New York, N.Y. 10173 • PHONE (212) 493-4200 • FAX (646) 654-5637 • NEW YORK SALES OFFICE (212) 493-4193 SUBSCRIPTIONS U.S. (866) 525-2150 • OUTSIDE U.S. (845) 267-4192 • hollywoodreporter.com/subscribe John Amato CHIEF EXECUTIVE OFFICER Severin Andrieu-Delille Gary Bannett Dana Miller Michele Singer CHIEF TECHNOLOGY OFFICER CHIEF FINANCIAL OFFICER CHIEF MARKETING OFFICER GENERAL COUNSEL Jim Thompson CHIEF AUDIENCE OFFICER Robert Alessi Barbara Grieninger Julian Holguin Angela Vitacco CONTROLLER VICE PRESIDENT, FINANCE EXECUTIVE VICE PRESIDENT, HEAD OF BRAND PARTNERSHIPS VICE PRESIDENT, HUMAN RESOURCES CON GRAT ULA TIONS DAVID E. KELLEY ON BEING NAMED THE HOLLYWOOD REPORTER’S TELEVISION PRODUCER OF THE YEAR FROM ALL YOUR FRIENDS AT ©2018 Home Box Ofice, Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Ofice, Inc. F O R Y O U R E M M Y ® C O N S I D E R A T I O N OUTSTANDING COMEDY SERIES LEAD ACTRESS IN A COMEDY SERIES ALISON BRIE SUPPORTING ACTOR IN A COMEDY SERIES MARC MARON Watch On the Waterfront ’54 Watch Bonnie and Clyde ’67 Watch Rebel Without A Cause ’55 Watch Multiple Maniacs ’70 Watch Cat People ’42 Watch Reservoir Dogs ’92 FROM THE CRITERION COLLECTION TO TCM SELECT, FILMSTRUCK HAS ALL THE GREATS START YOUR FREE 14-DAY TRIAL. VISIT FILMSTRUCK.COM TM & © 2018 TCM Interactive Group Inc. All Rights Reserved. ↑ Business Spotify Effect More music giants are plotting IPOs. p. 14 The Re ort Games Behind the Headlines Leveling Up A hit league aims to bring players to (huge) arenas. p. 16 Heat Index Kim Yutani The Sundance veteran scores the festival’s director of programming job, making her one of the most important gatekeepers in the independent film world. HUDSON: DAVID M. BENETT/GETTY IMAGES. EK: GARY GERSHOFF/GETTY IMAGES FOR SPOTIFY. YUTANI: SONIA RECCHIA/GETTY IMAGES. SPIEGEL: NICHOLAS HUNT/GETTY IMAGES FOR BERGGRUEN INSTITUTE. GLOVER: NEILSON BARNARD/GETTY IMAGES. SCHNEIDERMAN: NICHOLAS HUNT/GETTY IMAGES FOR JAZZ AT LINCOLN CENTER. Evan Spiegel The Snap CEO’s messaging app misses revenue and growth expectations as the company swaps out its current CFO with Amazon finance veteran Tim Stone. Donald Glover The Atlanta auteur’s SNL host gig spikes ratings as his alter ego Childish Gambino’s incendiary new video “This Is America” racks up 37 million YouTube views in 72 hours. Next: Solo in theaters May 25. Eric Schneiderman The New York attorney general, a #MeToo advocate and foe of The Weinstein Co., resigns three hours after The New Yorker publishes abuse claims by four women. Showbiz Stocks $12.37 (+11%) E.W. SCRIPPS CO. (SSP) The operator of TV stations says quarterly revenue grew 28 percent on strong results from digital oferings like Newsy and Bounce TV. $47.44 (-4%) SONY (SNE) Analysts at UBS argue the stock is fully valued after shares of the parent of Sony Pictures and PlayStation advances 38 percent in a year. Oscar’s Criminal Purge: ‘What Is Personal and What Is Business?’ Booting Cosby and Polanski raises the possibility of more expulsions at the Academy (Spacey? Ratner?) even as members worry about becoming ‘moral police’ BY SCOTT FEINBERG O n May 3, the Academy of Motion Picture Arts and Sciences revealed that its board of governors had voted to oust Bill Cosby and Roman Polanski from its membership ranks “in accordance with the organization’s Standards of Conduct.” But the timing of the expulsions — seven days after Cosby was found guilty by a Pennsylvania jury of sexual assault and 41 years after Polanski pled guilty to sex with a 13-yearold girl in 1977 — has confused many Academy members who’ve been privately whispering about what comes next. If such expulsions for past behavior become the new normal, these members ask, would they become a regular event? Will the Academy get more attention for the members it expels than those it invites to join? And if so, how many more complaints could the Academy currently be considering? Academy insiders stress that such extreme disciplinary measures are not expected to become regular occurrences and that, while even the organization’s ofﬁcials don’t know what complaints may be awaiting review — since the process is designed to be highly conﬁdential, any complaints brought to the Academy are treated as such — there is not a backlog of complaints awaiting adjudication. Academy ofﬁcials denied interview requests. Academy chief executive Dawn Hudson and Bailey. Illustration by Ryan Inzana April 30-May 7 T H E HOL LY WO OD R EP ORT ER 13 M AY 9, 2018 Highlighting the thorny issues raised by the new process, on May 8, Polanski’s attorney Harland Braun sent a letter to Academy president John Bailey threatening to sue the organization for depriving the director of a “fair hearing” before the expulsion. (Polanski was awarded the best director Oscar for The Pianist in 2003, decades after his guilty plea.) Many members THR spoke with are happy that Polanski, 84, and Cosby, 80, are out. “If there is no conviction, then you’re expelling based on an opinion, and I don’t think that’s fair,” says Rod Lurie, a member of the directors branch. “But both of these guys were convicted, and I think that having a conviction raises the credibility of an expulsion.” Other members question the wisdom of the Academy wading into matters unrelated to ﬁlmmaking. “I feel like taking away [Polanski’s] Academy membership The Report its existing membership and administration committee, which is currently headed by casting director David Rubin, to review complaints lodged against members and evaluate any appeals. The is wrong,” says Rutanya Alda, a committee forwards its ﬁndings member of the actors branch on to the board of governors for a who worked with the director on ﬁnal decision. Thus far, the only Rosemary’s Baby. “He was a member of the Academy because he was claim known to have come before Rubin’s subcommittee, which an outstanding ﬁlmmaker.” Stu operates in top secrecy, was one Zakim, a public relations branch against Bailey. The subcommitmember, agrees with the sentiment. “This was absolutely not tee decided it was unfounded the right way to handle it,” he says. — but only after it was leaked to “I’m not standing up for what the press — and the board disCosby did in any way, shape or missed it in March. form — I think he’s a piece of shit. The question now is whether But what is personal and what the Academy, having banished is business?” Until Oct. 14 of last three members, will have to rule year — when Harvey on other members who have been accused Weinstein was expelled of various degrees of following an emergency sexual misconduct. In meeting of the board Members ejected resigning as a member of governors after the in the Academy’s 90-year history of the board of govermogul’s history of nors in April, producer alleged sexual assault and and former studio chief Bill harassment was reported — only one person had ever been Mechanic lodged a litany of critiexpelled from the Academy in its cism, including his belief that 90-year history. That was actor the Academy’s board had “decided to play Moral Police.” Carmine Caridi, who was tossed While there is no evidence that out in 2004 for the “crime” of any speciﬁc complaints about loaning screeners. these men have been brought to Then, in January, the Academy the Academy, Oscar winner adopted a new code of conduct and created a subcommittee of Kevin Spacey has been accused Behind the Headlines 4 of, and denies, multiple allegations of sexual assault; producer Brett Ratner has been accused of, and denies, multiple allegations of harassment and misconduct; Oscar winner Casey Affleck was accused of sexual harassment by two women but settled with them in civil suits; and actor Stephen Collins acknowledged on tape that he had touched minors but was never charged. Meanwhile, industry veterans Robert Blake, who in 2005 was found liable in a California civil court for the wrongful death of his wife, and James Toback, who currently is facing hundreds of allegations of sexual misconduct — cannot be expelled, if only because neither is an active member. Both have failed to pay dues — since 2003 and 2008, respectively — and so have lost their membership status. As for Woody Allen, one of the highest-proﬁle ﬁlmmakers to be accused of — and deny — sexual misconduct, the Academy is off the hook: Allen has always declined invitations to become a member. The Academy’s current position is that it has not one but two “avenues” through which it can sanction members: The ﬁrst is through Rubin’s subcommittee, which will review a member’s Harrison Ford presented Polanski with the Oscar for The Pianist in 2003 in France. conduct if a claim is formally registered; the second is through the board itself, which can initiate expulsion procedures for cause even if a claim has not been registered. An appeals process is provided only for cases examined by Rubin’s committee; if the board takes the initiative to vote for an expulsion on its own — and an expulsion requires a two-thirds vote of the 54-member board — there is no appeals process. As the Academy attempts to navigate the new terrain in which it, and its members, are being held to a higher standard, one thing remains true: Once awarded, Oscars are inviolate, the Academy conﬁrms. In other words, neither Weinstein nor Polanski will be asked to return his Academy Award. A Post-Spotify Boom for Music IPOs? now the time for the next wave of music IPOs? IhavesSpotify’s April 3 debut on the market may whetted the appetite of investors for music company stocks in a sector that mostly features privately held firms or businesses hidden inside bigger conglomerates, like Sony or Apple. China’s largest music streamer, Tencent Music, which is majority-owned by Chinese social media giant Tencent and has a 7.5 percent stake in Spotify (which in turn owns 9 percent of Tencent Music), is reportedly planning an IPO by the end of the year, targeting a U.S. stock exchange as its home and eyeing a valuation of $25 billion. The company has 700 million-plus monthly users, including an estimated 15 million paying subscribers. And French conglomerate Vivendi is exploring an IPO of Universal Music Group, led by CEO Lucian Grainge. The company says that a May 17 board meeting will include a discussion of “diferent hypotheses” for how “capital might evolve.” Universal Music Group, with 2017 reported earnings before interest, taxes and amortization of $912 million, “could be a decently sized” small- or midcap stock, meaning one with a market value of up to $10 billion, says RBC Capital Markets analyst Steven Cahall. Music Giants’ Market Values $30B Tencent Music’s valuation could be $25 billion, close to the $28 billionplus market value of Spotify. $25B $20B $15B $10B $5B SiriusXM Spotify T H E HOL LY WO OD R EP ORT ER Live Nation 14 Pandora Entercom M AY 9, 2018 On Wall Street, it has been a mixed bag for music-centric stocks, with streaming giant Pandora Media and radio network Entercom Communications down 35 percent and 5 percent, respectively, in the past 12 months, while satellite broadcaster Sirius XM Grainge Holdings and events promoter Live Nation have climbed 40 percent and 43 percent, respectively. Spotify is up 5 percent since it went public April 3. “We believe recent music headlines would make now a good opportunity to IPO the music business,” Liberum Capital analyst Ian Whittaker said in a report. He estimated that an IPO of a 25 percent stake in UMG could raise at least $6.2 billion. “It remains early days in the global adoption of streaming,” a group of Morgan Stanley analysts argued in an April 30 report. “The near-term investment outlook is bullish.” GRAINGE: CINDY ORD/WIREIMAGE. POLANSKI: TONY BARSON/WIREIMAGE. Universal Music Group and China’s Tencent Music are testing the waters for public offerings as analysts forecast a ‘bullish’ outlook for the sector BY GEORG SZALAI F O R Y O U R E M M Y ® C O N S I D E R A T OUTSTANDING DRAMA SERIES I O N The Report Behind the Headlines Pro Video Gaming Muscles Into the Mainstream Overwatch League, streaming on Twitch in a $90 million deal, has global reach, big-name backers and its sights set on arena-size events BY PATRICK SHANLEY T his summer, two teams will battle it out inside Barclays Center for their shot at a league title and a piece of a $1.4 million prize pool. It’s not the NBA or NHL taking over the 19,000-seat arena, home to the Brooklyn Nets and New York Islanders, but — for the ﬁrst time — the year-old e-sports organization Overwatch League. After its inaugural season, with viewership topping 10 million in the opening week and averaging 408,000 viewers per minute during matches, the league is betting on a breakout moment when its ﬁnals take place July 27 to 28 at the New York venue, which has hosted the Rock & Roll Hall of Fame induction ceremony and WWE’s SummerSlam. “Barclays Center is in the big event business, and we consider hosting the ﬁrst-ever Overwatch League championship as no different,” Keith Sheldon, senior vp programming for the stadium’s operator, Brooklyn Sports & Entertainment, tells THR. Overwatch, the game, is a ﬁrst-person shooter with a cast of colorful characters developed by Activision Blizzard-owned Blizzard Entertainment and released in 2016. Brooklyn’s Barclays Center will host the e-sport finals in July. Where ABC’s Big Swings Landed 6 W American Idol’s reception, to be sure, has not been a story of runaway success. The pricey show has delivered on its promised ratings to advertisers, averaging a 2.1 rating among the adults 18-to49 demographic and lifting ABC’s long-suffering Sunday primetime block, but its numbers don’t make much of a case for judge Katy Perry’s $25 million salary. Roseanne has fared better at a much cheaper cost. Nielsen’s T H E HOL LY WO OD R EP ORT ER 4 Rating Roseanne American Idol March 27 Roseanne set a four-year high for TV comedies 5 As the season winds down, the Disney network is getting a momentum boost from two risky revivals BY MICHAEL O’CONNELL hat shape would ABC be in right now without Roseanne and American Idol? That’s a question the network probably won’t ask publicly at its May 15 upfront in New York — where the narrative is expected to focus on the pair of recently renewed revivals, one of them a juggernaut that’s only gradually lost steam and another that has managed to hover right around expectations. The title already has generated more than $1 billion in sales revenue and boasts 35 million players worldwide. Overwatch, the league (OWL), launched in January with ﬁnancial backers who include New England Patriots owner Robert Kraft and Sacramento Kings coowner Andy Miller, Hollywood veterans like former Paramount vice chairman Rob Moore (who manages OWL’s L.A. Gladiators) and such sponsors as HP, Intel, Toyota and T-Mobile. Regular season matches are held at the 450seat Blizzard Arena, which sits on a soundstage at Burbank Studios that once housed Johnny Carson’s Tonight Show and now features a towering LED display. “Activision Blizzard has built a better mousetrap. They recognized and addressed a fundamental opportunity within Nanzer the market to level up,” says Peter Levin, president of interactive ventures and games at Lionsgate and a board member of OWL’s L.A. Valiant team. League matches — aimed at young men who are abandoning traditional TV offerings — are streamed on Amazon’s Twitch platform as part of a two-year deal valued at a reported $90 million. Blizzard Arena is OWL’s only stadium, but plans are in place to expand into cities across the U.S., Europe and Asia where the league’s 12 teams are based. Says Overwatch League commissioner Nate Nanzer, “That’s really the next big phase for us — giving millions of fans around the world the opportunity to engage with this content live.” 3 April 29 Kicking of live shows brought a two-month high for Idol 2 1 March 11 18 24 April 27 1 3 8 10 May 15 22 22 29 1 6 Source: Nielsen live-plus-7 and live-plus-same-day; adults 18-49. live-plus-7 returns give the red state-skewing sitcom an average 6.8 rating in the key demo and 23.3 million viewers. That makes it broadcast’s No. 1 show — but, for last-place ABC, it regrettably occupies only four and a half hours of programming. 16 M AY 9, 2018 Post-premiere fatigue also has many skeptical about its longevity. “It’s more commentary on what’s going on in the world than what’s going on in TV,” says Horizon Media director of national TV David Campanelli, “but a hit is still a hit.” OVERWATCH: ROBERT PAUL/BLIZZARD ENTERTAINMENT. NANZER: JAY P. MORGAN/BLIZZARD ENTERTAINMENT. BARCLAYS: STEPHEN LOVEKIN/GETTY IMAGES. PERRY: ABC/ERIC MCCANDLESS. ROSEANNE: ABC/ADAM ROSE. Overwatch League boasts a young online audience: The average age of its viewers is just 20. First rule of thumb in practicing law: always, always promise the client millions and millions of dollars. It’s good business. – Denny Crane Congratulations to our friend and client David E. Kelley on being named THR’s Television Producer of the Year (and for helping us keep Denny’s promise) GENDLER & KELLY The Report Behind the Headlines Box Office Broadcast TV Cable TV Domestic International Gross Cume % Chg Gross Cume 18-49 Live+3 Viewership Live+3 Avengers: Infinity War DISNEY 114.8 453.1(2) -56 162.6*54 714.6 1.17B 1. The Big Bang Theory CBS 3.2 15.2M 1. Fear the Walking Dead AMC 3.9M Overboard PANTELION 14.7 14.7(1) N/A 2. Young Sheldon CBS 13.9M 2.6 2. The Good Witch HALL 3.0M 3. Grey’s Anatomy ABC 2.5 9.2M 3. Westworld HBO 2.6M 4. American Idol (Sun.) ABC 9.9M 2.3 4. Suits USA 2.1M 2. N/A 14.7 The MGM-Pantelion Films remake, starring popular Mexican actor Eugenio Derbez and Anna Faris, scored the highest opening to date for Pantelion, a label targeting Hispanic auds. 5. Empire FOX 2.2 6.8M With a year-over-year drop of 36 percent, recently renewed Empire now narrowly trails Ryan Murphy’s 9-1-1 as the network’s highest-rated scripted series. 3. A Quiet Place PARAMOUNT 7.8 160.1(5) -30 4.1*57 95.4 255.5 4. I Feel Pretty STX 5 37.9(3) -38 3.2*11 9.1 Tully FOCUS/UNIVERSAL - 200K*1 200K 3.3 3.3(1) 6. 3.5 The dramedy marks the second box-ofice disappointment in a row for Charlize Theron, behind Gringo, an Amazon Studios-STX release that bowed to $2.7 million in March. The Last O.G. TBS 2.0M 8. 8. The Voice (Tues.) NBC 10.3M 1.8 Into the Badlands AMC 1.8M 9. 9. Mom CBS 1.8 The Terror AMC 1.6M 10. Silicon 1.7 10.3M 8. Truth or Dare UNIVERSAL 1.89 38.2(4) -42 5.1*46 11. 20.4 58.6 12. American Idol (Mon.) ABC 1.6 8.8M Super Troopers 2 FOX 1.87 25.5(3) -50 90K* 835K 26.3 13. S.W.A.T. CBS 1.5 1.8 14. Life in Pieces CBS 1.5 7.6M 81.1 15. Star FOX 1.5 Blockers UNIVERSAL 1.75 56.2(5) -41 1.6*35 12. 24.9 1.5M Fire NBC 8.8M Chicago Med NBC 9.1M 1.6 N/A Suits USA 2.0M 7. 11. Samaritan ELECTRIC 1.76 1.76(1) N/A 6. The Voice (Mon.) NBC 1.9 9.7M Black Panther DISNEY 3.2 693.2(12) -31 390K*32 645.6 1.3B 10. Bad Homeland SHO 2.1M 7. 7. 9. 5. Survivor CBS 2.0 10. Chicago Valley HBO One to Watch 8.0M Killing Eve BBCA BBC America credits good word of mouth for the dramatic rise of its assassin dramedy, with viewership up 33 percent from episode one to four. 4.8M Ready Player One WARNER BROS. 1.3 133.1(6) -48 6.1*56 433.4 566.1 Isle of Dogs FOX SEARCHLIGHT 807K 28.5(7) -44 2*27 21.9 13. Traffik LIONSGATE 794K 8.3(3) -52 50.4 14. 15. RBG MAGNOLIA 578K 578K (1) N/A 38K 8.7 Closer Look Disney Leads ’18 Top Grossers The studio has two billion-dollar global titles so far 1. Black Panther DISNEY - N/A N/A 2. Avengers: Infinity War DISNEY 578K 3. Operation Red Sea MULTI The doc about U.S. Supreme Court Justice Ruth Bader Ginsburg earned more in its first weekend than any doc has during an entire run in 2018, besides Warner Bros.’ Pandas ($964K). 4. Ready Player One WARNER BROS. 5. Detective Chinatown 2 MULTI 6. Rampage WARNER BROS. 7. Fifty Shades Freed UNIVERSAL Black Panther rules the 2018 global box ofice to date. Indie distributors are unveiling a growing list of releases centered on women pushing societal boundaries s #MeToo and Time’s Up nab A headlines, a wave of films depicting married female characters 6. 9.4M Female Leads Break Free in New Films BY KATIE KILKENNY 47 Rampage WARNER BROS. 4.6 84.8(4) -36 14.1*63 294 378.8 5. Meghan Markle (back seen here) got a wedding warm-up with her April 25 Suits swan song, an episode that also said goodbye to co-star Patrick J. Adams and hit a season high. ↑ From left: Disobedience, Tully and On Chesil Beach. 8. Monster Hunt 2 MULTI 9. Peter Rabbit SONY 10. Pacific Rim Uprising UNIVERSAL $1.34B $1.17B $579.2M $566.5M $544.1M $378.8M $368.3M $361.7M $327.3M $288.4M Source: Box Ofice Mojo unhappy with domestic roles are arriving in theaters. Within a four-week span, audiences are getting Disobedience (April 27), starring Rachel McAdams and Rachel Weisz in an extramarital afair; Tully (May 4), with Charlize Theron as a mom at her wits’ end; The Escape (May 11), featuring Gemma Arterton as a mother fleeing her husband; and On Chesil Beach (May 18), with Saoirse Ronan’s character pursuing an annulment. “Distributors and financiers see that Karlsen there’s a rapt audience out there,” says On Chesil Beach producer Elizabeth Karlsen, who also is bringing Keira Knightley’s Colette — about the French novelist whose husband took credit for her work — to theaters Sept. 21. For Disobedience producer Frida Torresblanco, this moment in film is about finding “voices that have been silenced for so long.” Escape writer-director Dominic Savage adds, “Women are feeling diferently about what they can feel and do and be.” Karlsen, who produced 2015’s Carol, which raked in $40 million worldwide, credits it and 2017’s Lady Bird, which grossed $75 million, for paving the way for these characters. Unlike studio tentpoles, “more intimate dramas can very quickly and concisely capture a societal moment in time,” notes comScore analyst Paul Dergarabedian. “You can ride the crest of that wave.” Box-ofice source: comScore; estimates in $ millions; ( )Weekends in release; *Territories. Broadcast source: Nielsen, live-plus-3, week of April 23. Cable TV source: Nielsen, live-plus-3 scripted series, week of April 23. T H E HOL LY WO OD R EP ORT ER 18 M AY 9, 2018 DISOBEDIENCE: COURTESY OF BLEECKER STREET. TULLY: KIMBERLY FRENCH/FOCUS FEATURES (2). CHESIL: ROBERT VIGLASKY PHOTOGRAPHY/BLEECKER STREET. EMPIRE: CHUCK HODES/FOX. SUITS: IAN WATSON/USA NETWORK. EVE: NICK BRIGGS/BBC AMERICA. KARLSEN: JOE MAHER/GETTY IMAGES FOR NESPRESSO. FILM, SYMBOL: ISTOCK. OVERBOARD: DIYAH PERA/MGM. RBG: COURTESY OF SUNDANCE. BLACK: COURTESY OF MARVEL STUDIOS. 1. Total Audience Live+3 Let's be Upfront. Your TV plan needs to work harder. Add Entercom. Consumers are 35% more aware of your TV ad when they hear your brand's message on Radio. Maximize your media plan with Entercom, the #1 creator of original, live and local audio content in the country. www.entercom.com Source: Nielsen Audio, Radio (Re)discovered: A Brand Managers Guide To Radio, 2017 The Report 7 Days of DEALS Who’s inking on the dotted line this week AFTER CR EATOR SCANDALS, YOU TU BE R ETU R NS TO TR ADITIONAL A-LISTERS James Chopra Smith With concerns about brand safety on YouTube at an all-time high, the company is putting more emphasis than ever on big names that advertisers trust. The Google-owned platform’s new slate of adsupported original series, announced May 3 during its annual Brandcast pitch to advertisers, includes projects from Will Smith, Priyanka Chopra and LeBron James. Kevin Hart ’s What the Fit? workout series has been renewed for a second season, and Demi Lovato also is returning to the platform with a new series following the release of her documentary Simply Complicated in 2017. This isn’t the ﬁrst time YouTube has courted traditional stars — it gave more than $100 million in 2012 to such names as Amy Poehler and Ashton Kutcher through its short-lived original channel initiative — but the renewed focus comes after a rocky year for the relationship between YouTube and its homegrown stars. In early 2017, the company cut ties with top creator PewDiePie (62 million subscribers) after he posted a series of videos featuring anti-Semitic jokes. YouTube’s subsequent changes to its advertising tools, an effort to assure brands that their spots would not appear alongside such unsavory videos, caused a number of creators to see a dip in ad earnings, a period dubbed the “ad-pocalypse.” The platform came under ﬁre again earlier this year after creators took issue with how it doled out punishment to Logan Paul (17 million subs) after he posted a video of a suicide victim. A YouTube spokeswoman says that more than two-thirds of its subscription and ad-supported shows feature creators in front of and behind the camera, adding, “We’ll continue to invest in featuring YouTube creators in our originals.” But while top YouTubers Tyler Oakley and Anna Akana took the Brandcast stage, new series from talent endemic to YouTube were largely absent from the event. (The only creator project touted was The Super Slow Show, which has been renewed for a second season.) “Some creators are frustrated,” says one rep. “But in the same way that creators are diversifying their businesses and leaning in to other mediums, we can’t blame YouTube for doing the same.” — NATALIE JARVEY Philipps “With openness comes challenges,” YouTube CEO Susan Wojcicki admitted at Brandcast. ITV America Thinks Vertical Realignment ITV America wants to give buyers two things they’re Big anxious for: crime shows Deal and clarity. Under new CEO David George, the stateside arm of the U.K. TV giant is moving away from being a format broker and toward better defining its many labels as buckets for specific genres, including the launch of Good Caper Content, a shingle dedicated to crime programming. “I’ve got all these diferent production companies, and the marketplace needs to know what each is best-in-class at,” says George, who took the reins in January. “We need to define what ITV means in the U.S.” Good Caper will cater to an aggressively growing segment of the market, one that prompted Oxygen to rebrand as a crime-exclusive network in 2017. Veteran unscripted producer Kathryn Vaughan (Oxygen’s Cold Justice) will serve as president, running point on all of the company’s crime and investigation programming, starting with A&E series Marcia Clark Investigates the First 48 and Discovery’s Killing Fields, two series originally developed by other ITV-owned labels. Those labels will now exclusively serve their own verticals, with Leftfield Pictures (History’s Pawn Stars) a resource for male-skewing eforts, ITV Entertainment (Netflix’s Queer Eye) focusing on formats with broad appeal, Sirens Media (Bravo’s The Real Housewives of New Jersey) targeting women, and George High Noon (HGTV’s Fixer Upper) operating in the lifestyles and home space. George, who also just named former Mark Burnett executive Alex Dundas exec vp ITV Entertainment, is still plotting on how to better define other ITV labels — which include Thinkfactory Media (WE’s Mama June) and Outpost Entertainment (History’s Forged in Fire). — MICHAEL O’CONNELL Rights Available! Hot new books with Hollywood appeal FILM Scott Eastwood (UTA, LBI, Stone Genow), Caleb Landry Jones (ICM, Untitled, Bloom Hergott) and Orlando Bloom (ICM, the U.K.’s Independent, Lighthouse, Felker Toczek) will star in Millennium Media’s Afghan war film The Outpost, based on Jake Tapper’s 2012 book. Mandeville Films/TV has signed a first-look deal with Universal Pictures after 20-plus years at Disney. Transformers: The Last Knight star Isabela Moner (CAA, Peikoff Mahan) will play a teenage Dora the Explorer for Paramount’s live-action adaptation. Paul Giamatti (UTA, Kipperman, Sloane Offer) has joined Dwayne Johnson in Disney’s Jungle Cruise. BY ANDY LEWIS “The Spy Who Came Home” (THE NEW YORKER, MAY 7) The Lifters (KNOPF BOOKS FOR YOUNG READERS, APRIL 24) BY Dave Eggers AGENCY Gotham Group BY Ben Taub AGENCY UTA The McSweeney’s founder, who has had multiple novels optioned and adapted Where the Wild Things Are, pens a supernatural children’s story, illustrated by Aaron Renier, about two young friends trying to solve the mystery of why their town is sinking. Fueled by a belief that protecting Americans starts at home, Patrick Skinner in his mid-40s quit his CIA counterterrorism post abroad to become a cop in his Savannah, Georgia, hometown, applying his training to improve policing and community relations. T H E HOL LY WO OD R EP ORT ER 20 M AY 9, 2018 JAMES: JASON MILLER/GETTY IMAGES. CHOPRA: SHAREIF ZIYADAT/GETTY IMAGES. SMITH: TONY BARSON/FILMMAGIC. PHILLIPS: WOJCICKI NOAM GALAI/GETTY IMAGE. GEORGE: COURTESY OF ITV. RAE: AXELLE/BAUER-GRIFFIN/FILMMAGIC. MAJORS: GARY GERSHOFF/WIREIMAGE. T.I.: JASON KOERNER/ONE VOICE: SOMOS LIVE!/GETTY IMAGES. HOUSE: COURTESY OF SOTHEBY’S. Deal of the Week DIGITAL Catherine Zeta-Jones (WME, the U.K.’s Independent, Management 360, Ziffren Brittenham) will star in the Facebook dark comedy Queen America. Rae Swift bought the property for $3.55 million in April 2011. Gidden Media is developing Donald Trump movie The Apprentice with journalist Gabriel Sherman. Jessica Chastain (CAA, Mosaic, Hansen Jacobson), Fan Bingbing (CAA) and Lupita Nyong’o (CAA, Del Shaw) will star in spy thriller 355, along with Marion Cotillard and Penelope Cruz. John Cena (ICM) will star in Universal action-thriller The Janson Directive from executive producer Johnson. Issa Rae (UTA, 3 Arts, Hansen Jacobson) is joining Black-ish actress Marsai Martin in the Universal comedy Little. Sarah Hyland (WME, RKM, Gang Tyre) will star in Lakeshore rom-com The Wedding Year from Legally Blonde director Robert Luketic. Helen Mirren (CAA) and Danny DeVito (CAA, Behr Abramson) will voice characters for Disney’s The One and Only Ivan. Miramax has secured a $300 million credit facility led by Bank of America, Merrill Lynch and MUFG Union Bank. John Lithgow (UTA, Anonymous, Hansen Jacobson) has joined Paramount’s Pet Sematary remake. TELEVISION Carrie Coon (UTA, Foundation, Peikoff Mahan) will star in season two of USA’s The Sinner. HBO and Liz Garbus are producing a Golden State Killer docuseries based on Michelle McNamara’s I’ll Be Gone in the Dark. Busy Philipps (ICM, Rise) will host late-night talker Busy Tonight for E! Documentarian Glen Zipper (CAA, Gotham Group) has signed an overall deal with Bad Robot. ABC has renewed American Idol. … Fox has renewed The Resident and Empire. … NBC has ordered medical drama New Amsterdam to series. … FX has ordered Jemaine Clement and Taika Waititi’s What We Do in the Shadows to series. … HBO has renewed Westworld for season three. $ 400M Amount Warner Music Group received after selling 75 percent of Big Number its Spotify holdings; Sony earlier sold half its stake for $761 million. Amazon and Jay-Z’s Roc Nation are partnering on a docuseries about incarcerated rapper Meek Mill. Jason Watkins (the U.K.’s United) will play Prime Minister Harold Wilson in Netflix’s The Crown. Michelle Monaghan (ICM, Circle of Confusion, Ziffren Brittenham) will star in Netflix’s Messiah. Apple has ordered Octavia Spencer drama Are You Sleeping to series. … CBS All Access has renewed The Good Fight for a third season. … Hulu has ordered Mindy Kaling’s Four Weddings and a Funeral and Jerrod Carmichael’s Ramy to series. REAL ESTATE Taylor Swift has sold a Beverly Hills house in an ofmarket $4 million deal. Rep Sheet T.I., a Tony nominee for SpongeBob SquarePants: The Musical, has signed with APA . Next Big Thing Jonathan Majors REPS CAA, Grandview, Jackoway Tyerman WHY HE MATTERS Love, Simon’s Jorge Lendeborg Jr., who will star opposite Hailee Steinfeld in Transformers spinoff Bumblebee, has signed with CAA . YouTube star Grace Helbig has left WME for UTA . Power stylist Micaela Erlanger has signed with PR ﬁrm ID, as has Bruna Papandrea’s Made Up Stories. Majors, 28, will star in the new drama from Moonlight’s A24 and Plan B, The Last Black Man in San Francisco. The up-and-comer’s biggest feature to date is Hostiles, but he is set for roles in Matthew McConaughey’s White Boy Rick, Amblin and Focus Features’ Captive State and HBO’s Lovecraft Country from J.J. Abrams and Jordan Peele. Our Pronto Buffet Lunch is a hit, now showing daily at Culina. $ 35 per person 11:30 am to 2:00 pm | Monday to Saturday Call 310.860.4000 for reservations PROMOTION T H E H O L LY W O O D R E P O R T E R TA K E S T H E The Hollywood Reporter is on the ground at the Cannes International Film Festival covering the screenings, premieres and events in print, online and on social. FESTIVAL DAILIES | May 8-13 5,000 Print Dailies distributed each day throughout the festival THR.COM/CANNES Digital Dailies, Extended Photo Galleries & Original Video Series FESTIVAL NEWSLETTERS & BREAKING NEWS ALERTS Get Cannes news in your inbox. Sign up for THR’s International and FestivalNewsletters at THR.com/newsletters. FOR ADVERTISING & SPONSORSHIP OPPORTUNITIES, PLEASE CONTACT: LOS ANGELES 323.525.2245 / NEW YORK 212.493.4211 / LONDON +44.7788.591.781 About Town People, Places, Preoccupations PERSON OF INTER EST Don’t Call Ali Wong a Damn ‘Mom Comic’ The Netflix star’s new special delivers a subversive take on parenthood By Bryn Elise Sandberg • Photographed by Shayan Asgharnia t’s very rare and unusual to see a female comic perform pregnant,” Ali Wong says in Baby Cobra, her 2016 Netﬂix special. The San Francisco native was seven months along — and 10 years into her standup career, still putting her shows on Groupon to ﬁll seats — when she delivered the raunch-ﬁlled set, rifﬁng on STDs and even her own miscarriage. Fast-forward two years, and Wong, 36, is selling out venues, has a book deal with Random House, will voice a character alongside Tiffany Haddish in the Netﬂix animated comedy Tuca & Bertie and will star opposite Randall Park in a rom-com she co-wrote for the streamer. The former Fresh Off the Boat writer — who’s pregnant again in her second stand-up special, Hard Knock Wife (out May 13, Mother’s Day) — bristles against the “mom comic” label: “Every male comedian of note who is over the age of 45 has a kid, and they talk about it and don’t get grouped as ‘dad comics,’ ” she says, rattling off names like Chris Rock and Dave Chappelle. “We’re just talking about our lives.” Still, she’s leaning in to the role for her next tour, headlining shows over summer vacation and bringing her two daughters (with tech exec husband Justin Hakuta) on the road with her. “I’m going to be that person waiting for the double stroller after the ﬂight,” she says, “and it’s going to be ridiculous.” I HAIR BY MARCUS FRANCIS. MAKEUP BY COLLEEN CAMPBELL. “Casting an Asian-American into a bad role where they’re shoehorned into these stereotypes is worse than not having cast them at all,” says Wong, photographed April 24 at Hayden in Los Angeles. T H E HOL LY WO OD R EP ORT ER 23 M AY 9, 2018 About Town People, Places, Preoccupations One of my managers — manager at the time, I should say — said to me when he ﬁrst saw me after I gave birth, “I don’t know about this breastfeeding material, it’s not very relatable, and it’s not as hip and hardcore as your dating and sex stories.” And I was like, “Well, I’m not dating, and I’m not having a lot of sex, and I think childbirth is pretty hardcore …” From left: Probst, Penn, Watson, Kim, Cormac Wibberley, Appelbaum, Marianne Wibberley and Rosenberg. The Scribes Have Spoken Writers battle for major stakes (think $8,000 dinners) in Survivor pools with execs, former contestants and even Jeff Probst By Patrick Shanley takes are high for the May 24 season 36 finale of CBS’ Survivor: Ghost Island, and not just for the contestants. Screenwriter superfans including husband-and-wife team Cormac and Marianne Wibberley, Leverage and Sleepy Hollow writer Albert Kim, Ready Player One wordsmith Zak Penn, The Bold Type’s Sarah Watson, and Midnight Radio partners Jeff Pinkner, Andre Nemec, Scott Rosenberg and Josh Appelbaum have been watching and betting on the reality stalwart for years. “Our pool was born out of the Alias writers room in the early 2000s,” says Appelbaum. “There’s a $200 buy-in,” says Rosenberg of the pool, which also includes actress Lindy Booth. “The winner gets all the cash. Second place picks a restaurant. The loser, the first who gets knocked out, has to pay for the dinner,” and the tab has run as high as $8,000. “Our pool is all done online on a chat board plus trash talking on Twitter,” explain the Wibberleys via email, adding, “which we can’t do this year since we are losing so badly.” Penn invites up to 25 S “It’s disgusting when people just touch a pregnant woman’s belly without asking,” says Wong. “It’s like, why don’t you just finger me?” What can’t you joke about? Nothing is off-limits. There’s just some things I cannot crack. Politics I can’t do. When I start to talk about it, I just get really angry and super sincere. I have never found a way to craft all of that absurdity into funny. I just give money to the ACLU, and that’s my contribution. (Laughs.) As a woman in stand-up comedy — You want to know if anyone’s cornered me and started jacking off? Have you seen any changes since #MeToo and Time’s Up? No, and I’m shocked that treating women like garbage still persists. But they think, “Oh, well, I didn’t rape you, so I’m one of the good guys.” I’m actually doing all [material] about #MeToo right now. Men have been confessing to me their true feelings about it and this whole idea of how it’s such a scary time to be a man, which is the most absurd thing I have ever heard. So there’s a lot to cover. guests to his house to watch — from Flight writer John Gatins to The Bye Bye Man scribe Jonathan Penner, also a three-time contestant on the show. Contestants Tyler Fredrickson and Max Dawson also have joined. But only Rosenberg’s group boasts the host. “On March 14, 2011 — I know it was then because I keep a journal — I discovered my friend Todd Garner was friends with Probst,” he recalls. At the next dinner, “in walks Jef Probst, and everybody just shit their pants.” Probst, who has remained a member of the group, says “these dinners are a blast but not for the faint of heart.” Probst also belongs to a viewing group that includes writers Scott Neustadter, Tim Dowling and Ali Adler, plus execs Hannah Minghella and Amanda Palley. And he says he’s fielded pitches for the show from the likes of Jimmy Fallon and Tyler Perry; the latter’s idea for “filthier” swimwear made it onto the screen. “Next season we aren’t giving them swimming suits at all, just a sewing kit,” jokes Probst. “Another one of his ideas.” THE PERFECT ENDING FOR A CEMETERY MOVIE It’s not summer in L.A. without a trip to the cemetery. “It sounds weird at ﬁrst,” says John Wyatt, founder of Cinespia’s Hollywood Forever screening series, kicking off May 12 with The NeverEnding Story, “but anybody’s who’s been understands.” He and creative director Alia Penner work with studios to secure ﬁlms and talent — Drew Barrymore to intro E.T. in 2016, Paul Reubens for PeeWee’s Big Adventure in 2008 (“He hadn’t done anything in public in a long time — everyone went wild.”) The Beckhams, Kendall Jenner, Emma Stone and Brie Larson were among the thousands who took in a Saturday night ﬂick in 2017. This year’s July 4 ﬁlm, the series’ buzziest (with ﬁreworks), will be Thelma & Louise, a pick that’s tailored — despite its lead duo’s morbid end — to the Time’s Up moment. No word on Susan Sarandon or Geena Davis, but Penner’s looking forward to celebrating “rebellious freedom with 4,000 people.” — MIA GALUPPO Under the Stars T H E HOL LY WO OD R EP ORT ER 24 M AY 9, 2018 Hollywood Forever Cemetery hosts about 25 screenings each summer. SURVIVOR, PROBST: ROBERT VOETS/CBS. PENN, KIM, WIBBERLEY, APPELBAUM: COURTESY OF SUBJECT (5). WATSON: SANTIAGO FELIPE/GETTY IMAGES. ROSENBERG: CHRISTOPHER POLK/GETTY IMAGES. KNOCK: KEN WORONER/NETFLIX. THELMA: MGM/PHOTOFEST. CINESPIA: RICH FURY/GETTY IMAGES FOR CINESPIA. You joke about childbirth and breastfeeding, not typical stand-up material. Do you get any pushback? 290 WEST STREET, 3B | $6.5M | 3-BR, 3.5-BA | WEB ID 3289900 160 CENTRAL PARK SOUTH, 3301 | $8.5M | 2-BR, 2.5-BA | WEB ID 3170944 45 EAST 22ND STREET | STARTING AT $2.5M | 1-BR TO 5-BR | WEB ID 2973224 1 WEST END AVENUE | STARTING AT $5M | 3-BR TO 4-BR | WEB ID 2191419 250 WEST 10TH STREET TOWNHOUSE | $10.599M | 4-BR, 5-BA | WEB ID 2974261 2211 BROADWAY, 4FR | $7.5M | 3-BR, 4-BA | WEB ID 3291395 35 EAST 76TH STREET, 26FL | $14.995M | 4-BR, 4.5-BA | WEB ID 2989522 40 BLEECKER STREET | STARTING AT $1.7M | 1-BR TO 4-BR | WEB ID 3073174 B E A M ONG T H E B E ST Brokers to the stars. FREDRIK EKLUND JOHN GOMES Lic. Assoc. R. E. Broker Lic. Assoc. R. E. Broker O : 212.727.6158 email@example.com O : 212.891.7676 firstname.lastname@example.org elliman.com 575 MADISON AVENUE, NY, NY 10022. 212.891.7000 © 2018 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY. 45 EAST 22ND STREET - THE COMPLETE OFFERING TERMS ARE IN AN OFFERING PLAN AVAILABLE FROM THE SPONSOR. FILE NO. CD14-0005. 1 WEST END AVENUE - THE COMPLETE TERMS ARE IN AN OFFERING PLAN AVAILABLE FROM THE SPONSOR (FILE NO: CD14-0259). 40 BLEECKER STREET - THE COMPLETE OFFERING TERMS ARE IN AN OFFERING PLAN AVAILABLE FROM SPONSOR. FILE NO. CD16–0394. ALL PHOTOGRAPHY IS CREDITED TO EVAN JOSEPH PHOTOGRAPHY. 1 WEST END AVENUE RENDERING CREDITED TO DBOX. 40 BLEECKER STREET RENDERING CREDITED TO WILLIAMS NEW YORK. About Town Yes, I Did Say That! Quotes A look at who’s saying what in entertainment Compiled by Seth Abramovitch STORMY DANIELS The adult film actress, to Alec Baldwin’s President Trump, in a surprise cameo in a Saturday Night Live cold open. “A half-hour show will give me the time to do a higher percentage of the comedy.” “It’s critical that we’re on the right side of history.” SUSAN WOJCICKI YouTube’s CEO, addressing the proliferation of inflammatory and extremist videos on the platform at the company’s Brandcast event in New York. “I think it’s a time in our culture where people love to pretend they’re offended.” “It just occurred to me that the plot of Willy Wonka is really messed up.” CONAN O’BRIEN ELON MUSK MATT GROENING The late-night host, in a statement arguing why TBS’ decision to reduce his show from 60 to 30 minutes is a good thing. The Tesla and SpaceX mogul, in a series of tweets announcing a new candy-making venture. The Simpsons creator, telling USA Today his reaction to the wave of criticism against the character Apu for being an ugly stereotype. “I felt like a gymnast who did a very solid routine and broke her ankle on the landing.” “You’re seriously missing out, man. Take it from someone who has pride and thoroughly enjoys pleasuring women.” TINA FEY The comedian, sharing regrets on David Letterman’s Netflix show about SNL’s “sheet-caking” sketch, which was interpreted as advocating apathy after the clashes in Charlottesville, Virginia. RUDY’S ROUGH MEDIA RIDE EVAN RACHEL WOOD The bisexual Westworld star, responding on Twitter to DJ Khaled’s comment that he does not perform oral sex on his wife (although he expects it from her). Giuliani’s media blitz as Trump’s lawyer didn’t win over the Hollywood jury. Andy Richter called him a “skull-headed monster,” while Alan Cumming went with “total dickhead.” Josh Gad, meanwhile, recommended Trump “hire another lawyer to defend him against claims by his current lawyer.” T H E HOL LY WO OD R EP ORT ER 26 M AY 9, 2018 “The truth dipped in chocolate brilliance.” LENA WAITHE The screenwriter and actress, tweeting her reaction to Childish Gambino’s bracing new music video, “This Is America,” which racked up 22 million YouTube views in 48 hours. DANIELS: ALBERT L. ORTEGA/FILMMAGIC. MUSK: BRIAN DOWLING/GETTY IMAGES. FEY: MONICA SCHIPPER/GETTY IMAGES FOR LUCILLE LORTEL AWARDS. WAITHE: VERA ANDERSON/WIREIMAGE. GIULIANI: EUGENE GOLOGURSKY/GETTY IMAGES FOR HAMPTONS INTERNATIONAL FILM FESTIVAL. “I know you don’t believe in climate change, but a storm’s a-comin’!” THE GLOBAL DIRECTORY is a new one-stop resource for your production needs around the globe, proudly powered by the Association of Film Commissioners International (AFCI) and The Hollywood Reporter. SOUND STAGES VISUAL EFFECTS HOUSES POST PRODUCTION PRODUCTION COMPANIES INFRASTRUCTURE KEY CREW EQUIPMENT ...AND MUCH MORE Want to get your business listed? Visit thr.com/directory About Town The Red Carpet Met Gala New York, May 7 2 Zendaya 3 From left: Donatella Versace, Rihanna and Katy Perry 1 Amal and George Clooney 10 Laura Dern 8 6 From left: Gucci creative director Alessandro Michele, Lana Del Rey and Jared Leto 7 Anna Wintour Darren Criss and Emilia Clarke Lupus LA Orange Ball 12 Beverly Hills, May 3 Fox Networks’ Peter Rice 11 Storm Reid and Niles Fitch T H E HOL LY WO OD R EP ORT ER 28 M AY 9, 2018 GLAAD Media Awards New York, May 5 Party Crawler 5 4 Chadwick Boseman Sarah Jessica Parker and Andy Cohen 9 From left: Anne Hathaway, Valentino creative director Pierpaolo Piccioli and Frances McDormand CLOONEY, BOSEMAN, HATHAWAY: JAMIE MCCARTHY/GETTY IMAGES. ZENDAYA: SEAN ZANNI/PATRICK MCMULLAN VIA GETTY IMAGES. PERRY: KEVIN MAZUR/GETTY IMAGES. PARKER, LETO: DIA DIPASUPIL/WIREIMAGE. WINTOUR: DIMITRIOS KAMBOURIS/GETTY IMAGES. CRISS: MATT WINKELMEYER/GETTY IMAGES. DERN: REID, RICE, GIANOPULOS: TIFFANY ROSE/GETTY IMAGES. MATTHEWS, ROBERTS, WILEYCINDY ORD/GETTY IMAGES. LAMBERT: MONICA SCHIPPER/GETTY IMAGES. COX, BLEDEL: JASON MERRITT/GETTY IMAGES Holy Night 14 The fashion world found religion at the 2018 Met gala celebrating the exhibit “Heavenly Bodies: Fashion and the Catholic Imagination.” Faithful to the “Sunday Best” dress code, Rihanna (3) arrived as a pope, alongside her gala co-chairs Amal Clooney (1) and Donatella Versace (3). Host of the annual Metropolitan Museum of Art Costume Institute fundraiser Anna Wintour (6) called herself “Cardinal Chanel” and donned an all-diamond rosary. Stars among the pious included Gary Oldman, Bradley Cooper, Scarlett Johansson, Lena Waithe and the allfemale Ocean’s 8 ensemble. 15 Ross Mathews and Ava DuVernay Gloria Carter (left) and Robin Roberts — RAMONA SAVISS Utley Honored 16 Adam Lambert and Melissa Etheridge 18 Alexis Bledel “As I’ve lived with this diagnosis for 27 years, it took some time to grow from fear and despair to acceptance and optimism,” Fox Searchlight Pictures’ Nancy Utley (13) told 500 guests at the Lupus LA Orange Ball, where she was honored by Laura Dern (10). When approached about receiving the award, Utley said that she was at first reticent, but then “I became intrigued about lending my voice to the voice of those who have had it far harder than me.” Rheumatologist and researcher Marc Chevrier also was feted at the Beverly Wilshire event. — SCOTT HUVER A Call for Inclusion 17 Laverne Cox 19 13 Samira Wiley (left) and wife Lauren Morelli From left: Jim Gianopulos, Nancy Utley and Lupus LA chairman Adam Selkowitz “It’s important to have us involved in every aspect of the production,” Orange Is the New Black’s Laverne Cox (17) told THR at the 29th annual GLAAD event. “You want LGBTQ+ people in the writers room, you want LGBTQ+ producers,” she added, citing Ryan Murphy’s upcoming FX dance drama, Pose. The Hilton Midtown soiree celebrated Ava DuVernay (14) and Samira Wiley (19), among others, with Jay-Z’s mother, Gloria Carter (15), on hand to accept the award for his song “Smile.” — EVAN REAL T H E HOL LY WO OD R EP ORT ER 29 M AY 9, 2018 About Town Heard Around Hollywood Jake Tapper: ‘The Clintons Owe Monica an Apology’ Emanuel is pleasing client Wahlberg with his advocacy of Gibson for roles. Rambling Reporter By Chris Gardner Ari’s About-Face on Mel: Hire Him! Ari Emanuel took a hard-line stance against and ﬁred his then-WME client Mel Gibson after the actor’s 2006 arrest following an alcohol-fueled, anti-Semitic and sexist tirade. Now, more than a decade later, sources tell THR that the Endeavor CEO has been advocating for Gibson in recent deals. First, Gibson personally apologized to Emanuel some months back, says an insider. More importantly, Emanuel’s prized client Mark Wahlberg bonded with Gibson during the making of Paramount’s holiday comedy Daddy’s Home 2, in which he starred as Wahlberg’s father. With Wahlberg beneath Gibson’s wings, Emanuel encouraged Warner Bros. to give Gibson a part in Six Billion Dollar Man and championed him as the director for upcoming World War II naval movie Destroyer. None of this directly beneﬁts WME: Gibson was signed by rival agency CAA in January 2017, after the actor mounted his comeback with Hacksaw Ridge. But THR is told that Emanuel is not so forgiving as to want Gibson back as a client. — KIM MASTERS Kobe’s Oscar Party, Nearly Two Months After the Show In 2016, Kobe Bryant’s ﬁnal year playing for the L.A. Lakers, friends warned the athlete that retirement would bring misery and depression. Bryant, who won an Academy Award this year for exec producing the animated short Dear Basketball, had other ideas. “I’m like, dude, I got a call From left: Keane, Rim and Carter with Bryant. with [animator] Glen Keane and [composer] John Williams at 1 o’clock, I’m good,” he recalled at an intimate party that he and Keane hosted April 25 at West Hollywood’s Jeremy Hotel to thank the team behind — and supporters of — the ﬁlm that was adapted from a retirement poem by Bryant. Both men brought their Oscars. Attending were Ivana Kirkbride, GM of Oath OTT Entertainment (whose go90 on Verizon distributed the short); Rogers & Cowan’s Nicole Wool, who oversaw the awards campaign; Gennie Rim, Keane’s producing partner; and Kobe, Inc. CMO Molly Carter. In a warm speech, Bryant said of the ﬁlm: “It’s more than the Oscar. What I’ve been getting a lot is parents, coaches, brothers and sisters coming up to me and saying that it’s a tool of inspiration.” He added, “This is just the beginning.” — SCOTT FEINBERG While promoting his ﬁrst novel, The Hellﬁre Club, about secret societies and political corruption in 1950s D.C., CNN host Jake Tapper reﬂected on the Monica LewinskyBill Clinton scandal that helped launch his career in 1998. Tapper was about to make the leap from congressional press secretary (“I was awful at it”) to journalist when news of the affair hit. He blurted out to David Carr, then at Washington’s City Paper: “I went out with her three weeks ago.” The resulting piece, “I Dated Monica Lewinsky,” thrust him into the spotlight. Tapper revealed he’s still in touch with Lewinsky (“I talked to her a few weeks ago”) and says the “zeitgeist has come around to my view: The Clintons owe her an apology. They treated her poorly. It is amazing to me how much the man is able to dust himself off and move on, and the woman is stuck like a mosquito.” — ANDY LEWIS Carol Burnett’s Surprising BFF Carol Burnett is having quite a month: Her series, A Little Help, premiered May 4 on Netﬂix, and in May, she received the ﬁrst career achievement Peabody Award. But the comedy legend, who just turned 85, reveals she has one more dream role to achieve: a guest spot on Better Call Saul. Burnett 30 How to Direct the Pope (When You Aren’t God) Pope Francis makes his feature acting debut in the May 15 faithbased indie Beyond the Sun, from writer-director Graciela Rodriguez Gilio, a psychiatrist who worked with victims of abuse in Francis’ native Argentina. “It was easy for me to ask because I knew him from before he was the pope,” Rodriguez Gilio tells THR of securing the papal cameo. The scene, which sees the pope sharing the teachings of Jesus with a group of children, was improvised and shot in a half-hour at the Vatican. “He would advise [the crew] and be like, ‘The light is better this way,’ ” recalls Rodriguez Gilio, who has since screened the ﬁlm for Francis at the Vatican, where he gave his holy approval. “He smiled and laughed, and that was really nice for me.” Of the pressures of directing the pope, Rodriguez Gilio says with a laugh: “I didn’t direct him. He was the one directing me.” — MIA GALUPPO Meghan Trainor’s Detailed Plan to Conquer Hollywood Meghan Trainor ’s song “Me Too” is featured in Amy Schumer ’s I Feel Pretty, but the pop star tells THR she has bigger showbiz aspirations. Yes, the “All About That Bass” singer wants to act and “do movies like this,” Trainor says, referring to the Schumer comedy. “But I just want to do some cameos ﬁrst. That’s how you start. You get a little second here and then a few seconds there and then you get to be the lead.” — MARC MALKIN Got tips? Email email@example.com T H E HOL LY WO OD R EP ORT ER And after Burnett waxed on about bingeing Breaking Bad to her studio driver — whom she shares with Saul creator Vince Gilligan — the driver offered to introduce them. Gilligan ended up going to the taping of the 50th anniversary Carol Burnett Show special in December, and since then, the pair have had dinner — and are planning a double date with their partners, Brian Miller (Burnett’s) and Holly Rice (Gilligan’s). Burnett says she’d do Better Call Saul “in a heartbeat.” Note to Gilligan: Saul’s mother remains uncast. — A.L. M AY 9, 2018 Hitched, Hatched, Hired Power Dining Inside the industry’s celebrations and news Franco Siebert Gersh’s Leslie Siebert shared the room at The Palm with Ron Howard, Brian Grazer, CAA’s Mike Rosenfeld and Michael Katcher and 20th Century Fox TV’s Jonnie Davis. … James Franco stopped by Croft Alley Melrose Place. Charlize Theron also was in. … Conan O’Brien checked out Lucques. … Jonah Hill held court at Mr Chow. … Gabrielle Union and Dwyane Wade had date night at Beauty & Essex. … Henry Winkler had breakfast at Republique. ... Jennifer Lopez and Chris Tucker shared a booth at Polo Lounge. … Funny or Die’s Mike Farah and Joe Farrell sat with American Vandal creators Tony Yacenda and Dan Perrault at Viale Dei Romani. 2 1 Weddings Kyle Warren, TV HO T NEW EMANUEL: JASON LAVERIS/FILMMAGIC. WAHLBERG: BARRY KING/GETTY IMAGES. DEVIL, THUMB: ISTOCK. GIBSON ANGEL: PHILLIP MASSEY/GETTY IMAGES. GIBSON DEVIL: GREGG DEGUIRE/WIREIMAGE. BRYANT: COURTESY OF SCOTT FEINBERG. BURNETT: AMANDA EDWARDS/WIREIMAGE. FRANCO: VINCENT SANDOVAL/GETTY IMAGES. PETIT, NORSKOG: COURTESY OF SUBJECT. WARREN: JASMINE FITZWILLIAM/WWW.JASFITZ.COM. CLOKEY: COURTESY OF CATHIE LOU PARKER. MOODY: COURTESY OF FREEFORM. ROY: COURTESY OF DICK CLARK PRODUCTIONS. SIEBERT: NEILSON BARNARD/GETTY IMAGES FOR THR. AU REST RANT writer-producer on Lethal Weapon, married doctoral candidate Anne Blackstock-Bernstein on April 7 at the Cree Estate in Cathedral City, California. Playwright Tony Kushner, for whom Warren worked until 2014, ofﬁciated. Petit Trois Le Valley Births The Quick Pitch The impossibly tiny Highland Avenue location of Ludo Lefebvre’s loving homage to both the fare and fanfare of traditional French bistros has been a magnet for the likes of Jimmy Kimmel and Jeffrey Katzenberg since it opened in 2014. Now the chef has opened a far larger edition a baguette’s toss from his Sherman Oaks home. It boasts a comparatively expansive menu, including a killer trout almondine. The Inside Dish If all goes well, the space next door may become a Petit Trois bakery and market. 13705 Ventura Blvd. Danielle Pelland, Candice McDonough — GARY BAUM will return to 1 BlackstockBernstein and Warren 2 Ryder Jaxon with big sister Violet, 6 3 Clokey owner of Brilliant Consulting, and her partner, marketing consultant Jeff Norskog, welcomed son Ryder Jaxon on March 15 in L.A. Warner Bros. as senior vp theatrical communications. Fox Searchlight Pictures International promoted Roya Vakili to senior vp marketing May 4. Red Arrow Studios International tapped Carlo Dusi as executive vp commercial strategy, scripted, May 1. Katz Media Group elevated Scott Porretti to executive vp digital May 1. 3 WNET appointed Lesley Norman executive producer of national programming April 30. March 2 in Santa Barbara after an episode of cardiac arrest. He was 56. Roger Vorce, cofounder and chairman emeritus of APA, died April 30 at his home in Beverly Hills. He was 88. Roy John “Jabo” Starks, Ben Roy was upped to vp programming and development at Dick Clark Productions on May 2. Rachel Spiegelman was named head of brand studio Hello Sunshine on May 2. the drummer who helped give some of James Brown’s most indelible hits their signature snap, died May 1 at his home in Mobile, Alabama, after battling leukemia. He was 79. Dave Michener, a vet- Congrats Deaths Warner Bros. Pictures spokesman Jack Horner is segueing to a corporate communications job at Warner Bros. Entertainment, and Joe Clokey, a Moody Erin Moody was named vp communications at Freeform on May 2. To submit, send email to firstname.lastname@example.org T H E HOL LY WO OD R EP ORT ER 31 M AY 9, 2018 producer and the caretaker of the Gumby empire that began in the ’50s with the creation of the pliable clay ﬁgure by his father, the late Art Clokey, died eran animator who worked on such ﬁlms as Mary Poppins and Sleeping Beauty during his three decades at Walt Disney Studios, died Feb. 15 at his home in L.A. due to complications of a virus. He was 85. The Business Creative Space A lex Gibney couldn’t give away his ﬁrst documentary feature. The Trials of Henry Kissinger, a brutal indictment of the former secretary of state culled from Christopher Hitchens’ controversial tome, had no distributor in the U.S. But after a buzzy run at the Human Rights Watch Film Festival in 2002 (“People were hawking tickets,” recalls Gibney), a small distributor took it. “It played at [New York’s] Film Forum four or ﬁve months. It made me realize, wow, if you can make something entertaining enough, then it can be seen by a lot of people.” Gibney’s ﬁlms are as entertaining as their subjects are consequential: sex abuse in the Catholic Church (Mea Maxima Culpa); CIA black sites (2006’s Oscar-winning Taxi to the Dark Side); corporate chicanery (Enron: The Smartest Guys in the Room) and corruption (Dirty Money; Netﬂix is close to ordering more); cyberwarfare (Zero Days). He’s built a mini-empire in lower Manhattan, Jigsaw Productions, with about a dozen permanent employees and up to 100 more there on any given day. He’s developing a doc about Roger Ailes, the late founder of Fox News, for A+E’s ﬁlm division, and one on the FBI inspired by Tim Weiner’s book Enemies for Showtime. It was his sale of a 50 percent stake in Jigsaw to U.K.-based Content Media (now Q Media) in 2012 that allowed Gibney to establish a veritable doc factory. Before that deal, “it was just me, an assistant and a part-time bookkeeper,” he says. “Then I had to make a decision: Do I keep doing that or do I build a company?” Gibney, 64, got his start in the editing department at the Samuel Goldwyn Co.; he directed a few TV documentaries and dabbled in journalism. His “nadir” came in his late 20s when he wrote a piece about an all-night pet ER for a publication sponsored by a dog food Gibney was given this doctored photo of him (left) with Tom Cruise after Going Clear. “I’d like to say it was a gift from Tom,” he cracks. Alex Gibney The Oscar-winning documentary filmmaker who skewered Enron, WikiLeaks and Scientology will tackle two fraught new subjects: Fox News founder Roger Ailes and the FBI By Marisa Guthrie ↑ “The idea wasn’t to build it in a hierarchical, top-down manner where all the films reflect my personal vision,” says Gibney, photographed May 1 in his New York ofice, of his company. company. “The idea that one would actually do that for money seems almost absurd now,” he says. Lately, the married dad of three grown children has segued to scripted. He’s in discussions with Hulu for a second season of The Looming Tower; “It was designed as a limited series, but we’re pondering.” And he’s securing ﬁnancing for his ﬁrst narrative feature: The Action, about anti-war activists who exposed J. Edgar Hoover’s campaign of spying and blackmail. “When you’re working in scripted, you’re dealing with a huge machine,” he says. “It’s like the difference between being part of a small guerilla force that’s meant to go into Abbottabad in the middle of the night and shock and awe.” The streaming services don’t distribute metrics. Is it difficult not to have that yardstick? It is challenging. But you know what? They have ways of letting Photographed by Dustin Cohen T H E HOL LY WO OD R EP ORT ER 32 M AY 9, 2018 A photo of the late journalist Hunter S. Thompson, subject of Gibney’s 2008 doc Gonzo, signed by illustrator Ralph Steadman. Gibney’s father, Frank (far right), covered the Korean War for Time Life. “I hugely admired him, and I hugely admire journalists.” you know when something you’ve made has been successful. They call you up and they say, “I can’t tell you how, but I can tell you it’s been really successful.” So apparently Dirty Money was hugely successful, not only domestically but internationally and in ways I think that Netﬂix didn’t expect, which was that people binged it. Has the Ailes story shifted or expanded in the wake of Weinstein and the #MeToo avalanche? What’s interesting about that story is that that becomes part of the DNA of the place he created. So vitriol and abuse suddenly become part of a kind of weird recombinant DNA embodied in this guy who invented Fox News. GROOMING BY NICOLE BLAIS FOR EXCLUSIVE ARTISTS USING SKYN ICELAND There’s been a lot of dissection of Trump’s role as a catalyst for the #MeToo reckoning because his apparent misogyny did not keep him from getting elected. Is there a definitive Trump documentary? What might it look like? I don’t know about the deﬁnitive Trump documentary. He is such a shape-shifter. This thing we’re doing for Showtime, it’s that tension between the president and the person who works for him, the FBI director. And you can see that throughout history. Dirty Money was very speciﬁcally and intentionally [focused on Trump’s businesses]. The weird trap with Trump is, sometimes you can cover him too much because he is sort of demanding that you do. And sometimes the best antidote is to avert your eyes. (Laughs.) Or not to avert your eyes but to really focus on what’s happening. … [He is] going to just destroy government, and all that’s going to be left is an army and big business. Everything else will be gone. the doc, allowed a lot of people to come forward that had left the church but remained silent. Then it reverberated inside the church, and more people left. So it had a pretty big impact. But if you have a church that has billions of dollars and enormous real estate holdings, which are tax exempt, and you have fewer and fewer adherents to cater to, it turns out to be a pretty good business. So as a business I suspect it will survive. And the IRS has been notably cowardly about going after them. What do you most need to make a successful documentary? Access? No, I don’t think so. I’ve had that argument with people. [WikiLeaks documentary] We Steal Secrets, which may not have been as watched [when it premiered] because so many people were so invested in seeing Julian Assange as a hero — there are not so many people invested in that anymore — was about Julian, but we couldn’t get access to him. We found ways around it and then we discovered in the process Chelsea Manning [who became a focal point of the ﬁlm]. So the access thing can be good, but it can also be a trap. Because there have been great access ﬁlms and terrible access ﬁlms where you’ve got access, but mostly it’s following people getting in and out of limousines. And it feels like access, but it’s fake access. Newsrooms have endured painful cuts. Do you think documentaries have expanded to fill that void? It seems like they have. I hope we solve this Facebook-Google problem, and then maybe print What do you think has been the fallout for Scientology of your 2015 documentary Going Clear? Gibney, who believes Trump “is taking a wrecking ball to the … government,” picked up this Vladimir Putin nesting doll on a trip to Russia. CURRENT TITLE President and founder, Jigsaw Productions Scientology is shrinking massively, daily. And weirdly, that may result in it being a better business, but it’s not at all an inﬂuential religion anymore. A number of heroic journalists had taken on Scientology over the years, but the combined one-two punch of Going Clear, the book [by Lawrence Wright], and then Going Clear, T H E HOL LY WO OD R EP ORT ER RÉSUMÉ 33 PREVIOUS JOB Early on, he worked in the editing department at the Samuel Goldwyn Co. BIG HIT His 2005 Enron doc earned him an Oscar nom and scored $4.9 million at the worldwide box ofice. M AY 9, 2018 gets its ﬁnancial legs back. But docs are not so much like news. They’re like the long magazine articles and/or nonﬁction books where you can feel the voice of the author. And they have taken an important place in the public sphere, which is great. Every once in a while, they take off and they enter the national conversation in an unexpected way. It doesn’t always happen. With a few of my docs it’s happened; Enron was deﬁnitely one. I call them taxi driver docs. If the taxi drivers are talking about them, or Uber drivers now that taxis are disappearing, then you know it’s kind of a hit. Gibney, whose father wrote several books about Japan, bought this lithograph of Akira Kurosawa’s 1957 epic Throne of Blood in Tokyo. You’ve done a lot of films that have been very unflattering to powerful people and institutions. Have you ever felt personally unsafe? Not really. It can be uncomfortable. I remember being trolled after the WikiLeaks [ﬁlm] by the left, which I didn’t really expect. And it took a while to process that. It actually helped me prepare for Scientology. Julian’s followers and the Scientologists were weirdly similar in that way and also in the way that they would rapaciously lie. So I was ready. But sometimes it gets a little bit disquieting. I got a lot of nasty “you’re going to hell” letters in the wake of Mea Maxima Culpa. But if you’re going to go there, you’ve got to be ready for the territory. And I think the wisest advice I got was from a former Scientologist who said, “They’re going to try to get into your head. Know that they’re doing it and don’t let them get there.” It’s not easy to do but if you externalize it, you realize it’s coming, it’s part of the job. It’s like if you’re going to be in an emergency room, you’re going to expect some blood. The Business MOGULS | MICHAEL WOLFF Les Moonves Has Power and Inﬂuence — and a Boss Let’s not forget: Shari Redstone controls both Viacom and CBS, and, like Murdoch before her, she — not TV’s most respected executive — ultimately will determine the outcome of a corporate tug-of-war over the future of a merged showbiz empire I n the end, perhaps you always work for somebody else. Martin Sorrell, the creator and longtime absolute ruler of the global advertising conglomerate WPP, found that out in April. His board, citing undisclosed ﬁnancial “irregularities,” forced him out after more than 30 years. The true nature or outer limits of power is the existential quest of moguldom. Mark Zuckerberg, taking a page from Rupert MICHAEL WOLFF, a Hollywood Reporter contributor, recently wrote Fire and Fury, which is being adapted for television. Murdoch’s and Sumner Redstone’s mogul biographies, designed a voting-control structure for Facebook that gives him virtually unchallengeable control of the company. Barry Diller, said to be working on a book about his mogul life, ran Paramount in the days when it was an asset in Charles Bluhdorn’s Gulf and Western empire. Then Diller traded up to running 20th Century Fox under Murdoch. Diller deserved much of the credit for both reviving the movie studio and launching the Fox broadcast network — businesses Murdoch himself had little experience in — but when he asked Murdoch Illustration by Matt Collins T H E HOL LY WO OD R EP ORT ER 34 M AY 9, 2018 for an ownership stake, he was shown the door. Diller spent the next decade morphing and reﬁning corporate entities into total control for himself as CEO of IAC, a holding company for digital assets like Match.com and Vimeo. Leslie Moonves, chairman and CEO of CBS Corp., passed through a series of difﬁcult overlords — including Michael H. Jordan, of the Westinghouse Co., which acquired CBS in 1995; Inﬁnity Broadcasting’s Mel Karmazin, who ousted Jordan in a corporate coup; and Redstone, who bought the company in 2000. By dint of talent and verve, and the incapacity of his ultimate shareholder, Moonves achieved his own seemingly unassailable mogul perch. He was protected not only by top-of-the-industry results Bakish but by a through-the-lookingglass example of corporate existence without someone like him. In 2005, Redstone divided his empire between a ﬂailing Dauman CBS run by former actor, ace talent-picker and ultimate television survivor Moonves, and a more robust and futurefacing cable television company, Viacom, run by corporate apparatchik Philippe Dauman. CBS went spectacularly up and Viacom disastrously down. Viacom, after a generation of lackluster management, remains the sick man of the ﬁlm and television industry. Even so, Dauman, with his own mogul illusions — and believing he was the true Redstone heir — waged a long battle with Shari Redstone, the estranged daughter but actual heir, for ultimate control. He lost. Redstone then tried to merge Viacom back into CBS, under Moonves’ management. Moonves, disdainful of Viacom’s assets and aware that such a move would concentrate the Redstone family interest on the combined companies and his leadership of them, said no. The point being, he was powerful enough — protected enough by his success — to say no. After more turmoil at Viacom, Redstone handpicked what many consider her own corporate apparatchik to lead the company, Bob Bakish. Again, Moonves could only reasonably be seen as the clear contrast gainer. Who would you want to manage your show business assets? Former international distribution executive Bakish or golden-gut Moonves? But the deeper point was that owners, rather than mere managers, don’t have to be wholly rational. Redstone, beyond the good of her shareholders or even her fortune, can do what she wants. And at this point, it might seem that she simply most wants Moonves BAKISH: JOHN LAMPARSKI/GETTY IMAGES. DAUMAN: BENNETT RAGLIN/GETTY IMAGES. Analysis The Business Analysis not to stand in her way. Among the issues in Redstone’s renewed efforts to join the companies has been her insistence that 54-year-old Bakish be named either heir to 68-year-old Moonves or a member of the combined company’s board. No doubt correctly seeing his almost inevitable defenestration, Moonves has said no way and has offered some more or less thumbin-the-eye conciliation positions for Bakish. Moonvess position seems, at the moment, to be a moral one: He is negotiating the best deal for CBS shareholders (a primary point of would have, Diller-like, pursued the corporate machinations that might have now protected him from a control-vote shareholder. Perhaps it is not too late. Moonves could assume a war footing and, with a case to be made to Wall Street and the press reliably favorable toward him, the goodwill of the industry behind him and with the endless legal complications arising from the Redstone family saga, he might mount a case that Shari is self-dealing. With signiﬁcantly less goodwill and fewer accomplishments to his credit, that’s what Dauman tried to do. Arguably, he got close enough to undermining the peculiarities that deal: his control). Redstone’s position is a factual one: She has every right to turn her technical control into actual control. Circumstances, if not logic, have made it her company. In fact, Moonves has had, by virtue of talent and circumstances, a number of years of almost absolute authority — the owner out of it, his heirs estranged. Perhaps Moonves should simply feel lucky for that. Or maybe, if he hadn’t been so secure and cosseted, he Diller (left), with Murdoch in 1995; Moonves (above) of the Redstone claims on the company that Moonves, with more standing, might succeed. Or, a legendary negotiator, he can simply hold on and bargain with his owner, as so far he seems to be doing. According to recent accounts, Redstone has given up her insistence on a penultimate role for Bakish, with merger plans taking a signiﬁcant step forward. Moonves’ stature will surely allow him to reach at least a temporary truce. But even if Moonves is the last man on Earth capable of succeeding in the television business, CBS still isn’t his. Stock Shares and Family Control: Who’s Got the Power Founders not only own far more stock than a typical CEO but also can wield more control via a special class of voting shares. When it comes to new media, founders and CEOs are often one and the same By Paul Bond TOTAL COMPANY VALUE $800B 750 700 650 600 550 500 450 400 350 300 250 200 150 100 $1B SHARE OF STOCK * FOUNDER • CEO $767B $729B Google founders Page and Brin each maintain more than 25% of the voting power at the parent company Murdoch, through his ownership of 38.9% of the class B shares at Fox, controls 40% of the voting power. 33% Brian Roberts, son of co-founder Ralph, controls the company with one-third of its voting rights. $511B Zuckerberg keeps 59% voting control over the social network Ownership stakes for CEOs like Iger and Bewkes change rapidly as stock options vest. $152B $147B $139B $125B $73B $79.5B $44B $3B Each $107M CBS and Viacom, run by Leslie Moonves and Bob Bakish, respectively, are controlled by National Amusements, with most of the shots called by Sumner and Shari Redstone. NA owns nearly 80% of the class A shares of each subsidiary, which gives it most of the voting power. $1.4B $53M *•Jef Bezos Amazon *•Larry Page *Sergey Brin Alphabet *•Mark Zuckerberg Facebook *•Reed Hastings Netflix •Bob Iger Disney • Brian Roberts Comcast •Jef Bewkes Time Warner 16.3% 6% 15.6% 2.2% Less than 1% Less than 1% Less than 1% $11.7B $69B $2B $20B $1.4B $12B *Rupert Murdoch 21st Century Fox *Sumner, Shari Redstone CBS *Sumner, Shari Redstone Viacom 17% 10% 11.7% Company and Investor Ownership Source: SEC Filings, THR Research, Yahoo Finance. Market caps as of May 4. T H E HOL LY WO OD R EP ORT ER 36 M AY 9, 2018 DILLER: LENNOX MCLENDON/AP PHOTO. MOONVES: FRAZER HARRISON/GETTY IMAGES. BEZOS: LEIGH VOGEL/GETTYIMAGES. HASTINGS: DOMINIQUE CHARRIAU/GETTY IMAGES. SUMNER: FREDERICK M. BROWN/GETTY IMAGES (2). BRIN, PAGE: C FLANIGAN/FILMMAGIC. ZUCKERBERG: KIMBERLY WHITE/GETTY IMAGES. SHARI: KEVIN WINTER/GETTY IMAGES FOR THE HOLLYWOOD REPORTER (2). IGER: WALTER MCBRIDE/GETTY IMAGES. ROBERTS: ALBERTO E. RODRIGUEZ/GETTY IMAGES. MURDOCH: DIA DIPASUPIL/GETTY IMAGES. Moonves has had a number of years of almost absolute authority — the owner out of it, his heirs estranged. The Business Analysis TELEV ISION | MARISA GUTHRIE The Broadcast Empires Strike Back As the digital rebellion chips away at profits, the big networks are coming out swinging at this year’s TV upfronts, pitching fewer ads and better measurement — and swiping at recent Silicon Valley scandals — to secure $9 billion in ad sales and some companies can’t even get that right.”) And she certainly will hammer that point again. “It’s really about the lack of discipline — from a gigantic large-cap company — and the loss of trust,” she says. “It’s going to take a long time to regain that trust.” WE CAN STRIKE SURGICALLY The key for broadcast networks is to shift the market to a metric that effectively counts viewers wherever they watch content. Nielsen — upon whose data most ad guarantees are still written — has products that claim to track viewers across all platforms; last year it rolled out its Total Content Ratings. But many in the industry are dissatisﬁed that TCR truly captures every view on every platform, and instead of holding their breath for major innovations from one of their favorite upfront whipping boys, all the major media companies have introduced proprietary tools that purport to give advertisers a more complete picture of how many people watch their spots and on which platforms. Ahead of the 2017 upfront presentations, Turner, Fox and Viacom announced that they would join forces on an audience targeting tool called Open AP, Illustration by Tim Peacock T H E HOL LY WO OD R EP ORT ER 38 M AY 9, 2018 which uses data from Nielsen, comScore and others to allow advertisers to target consumers beyond standard categories of age and gender. The tool facilitates so-called “audience buying” deals, which allows advertisers to target consumers based on more precise attributes such as ﬁrst-time car buyers, new mothers or eco-conscious consumers. The venture is unusual because it has competitors joining forces; and in April, NBCUniversal announced that it would also join the consortium. Meanwhile on April 5, NBCUniversal unveiled CFlight, which measures all live, ondemand and time-shifted commercial views within full episodes of NBCUni shows, wherever the consumer is watching them, be it linear, NBC’s VOD platform, an SVOD service like Hulu or an OTT platform such as Roku. “The really important thing to know is that with CFlight, it includes completed viewing for your spot,” says Yaccarino. “So if your spot ran 14 seconds and not 15, or 29 seconds and not 30, those [views] don’t count. Completed views only count, so it further separates television versus what goes on in digital with a 1.7-second view or something like that.” YACCARINO: JOHN LAMPARSKI/GETTY IMAGES. LEVY: ISAAC BREKKEN/GETTY IMAGES FOR VULTURE. T he $70 billion television WE’RE SAFE, THEY’RE SCARY advertising market is at a Legacy media executives have crossroads — buffeted by made the slipshod brand safety peripatetic consumers and deepstandards of digital companies pocketed Silicon Valley players a running theme in their premany years into an incursion on sentations for at least the past content and distribution. But legtwo years. Weeks before 2017’s acy media companies are ﬁghting upfront, several large companies back and are gearing up to present pulled ads from YouTube after it their battle plans. was revealed that spots were runDuring the upfront presentaning with offensive content. Yet tions in New York — beginning holes in content ﬁlters remain; on May 14 — the broadcasters (ABC, April 23, YouTube announced that CBS, Fox, NBC, The CW and it had removed more than 8 milSpanish-language net Univision) lion objectionable videos during as well as ESPN and the Turner the last quarter of 2017 — a probnetworks will present a dizzying lem CEO Susan Wojcicki addressed array of charts and graphs to in her NewFront pitch to demonstrate their scale and advertisers: “We apoloefﬁcacy in an effort to get gize for letting some of you media buyers to commit an down. We will do better.” estimated $9 billion to the This year, Silicon Valley Yaccarino 2018-19 season. has handed broadcastThese players go into the ers another giant club in annual sales bazaar amid a the form of the massive roaring economy and high Cambridge Analytica data consumer conﬁdence that breach at Facebook that Levy network ad sales chiefs insist forced Mark Zuckerberg to are harbingers of a strong upfront. take the congressional hot seat. But the narrative for linear televi“Cambridge Analytica has sion — declining live viewing and changed everything,” says Daniel ad skipping — is a stubborn one. Ives, chief strategy ofﬁcer at data Total consumption may be at an marketing ﬁrm GBH Insights. all-time high, but live ratings are “So far the damage has been connear a nadir. tainable. Over the coming three With the recent and very pubto six months, we’ll have a better lic debacles at YouTube, Twitter barometer. We’re talking about a and especially Facebook, this fundamental shift in the landyear presents a unique opportuscape. The second half of 2018 is nity. By touting TV’s safety and going to be a treacherous landan embrace of new tools, legacy scape for these digital players.” brands will try to shift the narraLinda Yaccarino, NBCUniversal tive and grab more cash than ad sales chairman, has been a perever. Here’s what they’ll be touting. sistent critic of Silicon Valley. Last year, from the stage of Radio City Music Hall, she skewered her MARISA GUTHRIE is The digital competitors (“Let’s be Hollywood Reporter’s East Coast honest: Brand safety is a low bar, television editor. The Business FEWER COMMERCIALS! There has been a growing acknowledgement across the industry that stufﬁng seemingly interminable commercial blocks into programming is a losing battle when consumers can avail themselves of ad-skipping technology and ad-free platforms. “Consumers hate advertising,” NBC chairman Bob Greenblatt NBC Rules the Ratings … for Now Control of TV’s adults 18-to-49 demo is uncontested thanks in part to the Super Bowl and the Olympics, but its lead among total viewers may not last. Perennially most watched CBS is quickly closing the gap Total Viewers Buyers have responded to the technology. John Swift, CEO, investment & integrated services North America, Omnicom Media Group, characterizes CFlight as “an important step toward better measurement in a cross-platform video environment.” And in 2017, Yaccarino’s portfolio, which includes NBC and a slew of cable networks (E!, Bravo, Syfy, MSNBC) and their respective digital platforms, brought in an eye-popping $6.5 billion in upfront commitments. She says advertisers “are getting a total audience metric that is unfortunately unavailable by Nielsen now. But I’m optimistic. I believe it will inspire quicker change by Nielsen.” admitted at a media forum in November. “People are running away from advertising in droves.” Viacom began cutting back on in-show ads in 2015. And two years ago, Turner announced it would reduce primetime commercials by 50 percent on truTV, a youngerskewing network. “The angst was, can we cover these costs?” says Turner president David Levy. “Are the advertisers going to be willing to pay a premium for this environment?” The network’s ratings actually increased — a rare feat in an industry almost universally down in live viewing. Fox also has experimented with limited commercials, and this year ad sales chief Joe Marchese pledged to trim primetime ad totals to just two minutes each hour by 2020. (Last year, Fox averaged approximately 13 minutes of ad time per hour.) Beginning in the fourth quarter, NBCUniversal will also decrease ads during original primetime programming by 20 percent and will trim overall primetime commercial time across its network by 10 percent. “Fully loaded commercials are not a great consumer experience,” Adults 18-49 Analysis NBC CBS ABC ↑9% ↓7% ↓3% 9.2 million 9.0 million 6.1 million ↑5% ↓11% 2.2 rating 1.6 rating FOX CW ↓13% ↓4% 5.0 million 1.7 million ↓6% ↓21% ↓14% 1.5 rating 1.5 rating 0.6 rating Source: Nielsen Media “most current” season averages through April 29. says Levy. “This all boils down to that.” So far, ad buyers seem willing to pay a premium for a less cluttered environment. As one puts it: “The six-minute ad load is death. Nobody is sitting through that.” FOOTBALL STILL SCORES Despite single-digit declines during the regular NFL season for two consecutive years, league games still accounted for 37 of the 50 most watched telecasts of the season, while ESPN’s Monday Night Football was the most watched cable program in 2017. NBC’s Sunday Night Football, the top-rated, most watched program for six years running, averaged more than 18 million viewers a week. And getting consumers to watch live is of increasing value. Turner’s Levy, whose networks do not carry the NFL but have deals with the NBA and NCAA men’s basketball, scoffs at the notion that the NFL is ﬂagging. “There have been other factors — a political campaign, the kneeling, the concussions,” he says. “But sports has a built-in, passionate fan base.” (That includes the NBA, which just wrapped its most watched regular season in four years.) That said, the NFL’s media partners privately acknowledge that they don’t want a repeat of the 2017 season, when political issues generated negative headlines and many popular teams endured disappointing seasons. Advertisers are squeamish when it comes to anything even mildly controversial. But as one media buyer says: “I think the ratings had more to do with the quality of the games than anything else. And that’s not something you can plan for.” At the NewFronts: Television Is Dead. Long Live Television! adison Avenue executives who convened on the morning of April 30 for The New York Times’ annual pitch to advertisers didn’t just hear about the newspaper’s devoted subscriber base and fast-growing podcasting division. They also were treated to lengthy opining about the future of the paper’s brand on TV, including a Showtime docuseries following Times journalists during the first year of Trump’s presidency, a show based on the New York Times Magazine’s Diagnosis column that is coming to Netflix in 2019 and maybe one day a game show based on the crossword puzzle. “The interesting story in digital video is that the real winners to date are not all these new video social brands, it’s the broadcast players,” says Sebastian Tomich, global head of advertising and marketing at the Times. “No matter where video is, [the major platforms] still do it best. So that’s where we need go.” M Refinery29 COO Personette talked up the new website at its May 2 NewFront. The presentation, which kicked of more than a dozen Digital Content NewFronts pitches from the likes of Twitter, Conde Nast Entertainment, Refinery29 and Vice Media, set the stage for a week in which TV took center stage. YouTube, which has long lambasted the TV industry for lacking the young viewers that flock to its platform, announced at its May 3 presentation that it will begin selling inventory from its live T H E HOL LY WO OD R EP ORT ER television bundle, YouTube TV, as part of its premium ad tier and soon will let brands target viewers who watch YouTube in their living room (as opposed to on their phones). Refinery29 unveiled its over-the-top video app, Channel29. ESPN and Viacom, home to Nickelodeon, Comedy Central, BET and MTV, even crashed the party with their first-ever NewFronts. It was an about-face for the 9-year-old event that was created as digital’s answer to the TV upfronts. What has changed? The rise of video viewing on set-top boxes like Apple TV, Roku and Chromecast has blurred the lines between digital and linear programming, notes eMarketer analyst Paul Verna. “The last couple of years here at the NewFronts, companies like Time Inc. and Hearst were pushing that they basically were like a TV network on their own,” he notes. “Now, shows are being developed by these publishing brands, but they’re going to TV or non-ad-supported digital 40 M AY 9, 2018 services [like Netflix].” The result is an expected 25 percent jump to $3.64 billion in upfront digital video ad spending this year. According to eMarketer, that growth is coming from two places: traditional TV networks getting into the digital game and premium content by native digitals such as YouTube. Given the past year has seen heightened concerns from ad buyers about the brand safety of Facebook, YouTube and Twitter, it’s no coincidence that digital companies focused their pitches on more controlled environments like TV or their own sites. At the Refinery29 presentation, the female-focused digital publisher talked up its Channel29 app and newly redesigned website, where it is more prominently featuring its video oferings. Chief operating oficer Sarah Personette, who joined the company from Facebook, notes, “We are owning our own destination and our own destiny.” — NATALIE JARVEY JAMIE MCCARTHY/GETTY IMAGES FOR REFINERY29 Digital’s answer to the upfronts once pitched itself as an evolution of video, but this year all anyone seemed to want to talk about was traditional TV AUGUST 18 & 19 | NORTHWELL HEALTH AT JONES BEACH THEATER | LONG ISLAND, NY THE » BAD ROYALE » BEXEY » BHAD BHABIE ANDREW MCMAHON INWILDERNESS CHEAT CODES » DAYA » FRANK WALKER » FRENCH MONTANA » GNASH JACQUEES » J.I.D » JUSTINE SKYE » KEHLANI » KIM PETRAS » THE KNOCKS KREWELLA » LIIV » LIL XAN » LOGAN HENDERSON » LONDON RICHARDS LOOTE » LOVELYTHEBAND » MACHINE GUN KELLY » MATOMA MATT MEDVED » MATY NOYES » NGHTMRE » NOTHING, NOWHERE. OLIVIA O’BRIEN » PHANTOMS » RICH THE KID » ROZES SABRINA CARPENTER » SHEPPARD » SHORELINE MAFIA TAYLOR BENNETT » THEY. » TWO FRIENDS » VÉRITÉ » YVNG SVNT ON SALE NOW! HOT100FEST.COM #HOT100FEST Style Design Hollywood’s New Egalitarian Offices (Sort Of) Taking visual cues from tech, two redesigns reflect ‘a creative environment that stimulates conversation,’ says Solo director Ron Howard By Degen Pener wo new headquarters for a pair of top entertainment companies are setting the standard for Hollywood ofﬁce design circa 2018. The big news is that large private ofﬁces are a bit passe, at least below the chairman and CEO level. At Ron Howard and Brian Grazer ’s Imagine Entertainment, which moved into new 28,000-square-foot ofﬁces in Beverly Hills just south of Wilshire Boulevard in 2017, the average ofﬁce size “shrank a little bit from where they were before,” says Aimee Less, interior T design director of Rios Clementi Hale Studios (RCHS), the architects behind the project. The space is highlighted by a wall decorated with script pages from projects over the years, including A Beautiful Mind, Apollo 13 and Empire. Taking a cue from the tech world, some entertainment companies are paring back on personal workspaces to give more room to shared areas as a way of sparking connection among employees. At Imagine — which occupies two airy ﬂoors in a newly renovated building once occupied by William Morris Agency on South El Camino Drive — that means not only a formal conference room but also casual spaces with sofas and chairs, a coffee bar with tall stools and a tiered bleacher-style presentation area where a yoga class is held occasionally on Fridays. “This deﬁnitely reﬂects our desire to create a very creative environment that stimulates conversation and that has a little more space for people to come and hang out with us,” says company executive chairman Howard, whose Solo: A Star Photographed by Spencer Lowell T H E HOL LY WO OD R EP ORT ER 42 M AY 9, 2018 Wars Story will premiere at Cannes May 15 and open wide May 25. “I love that we have more places to get out of your ofﬁce and go talk to one another.” Howard admits their old ofﬁce, just one block away and decorated in typical industry fashion with movie and TV show posters, was starting to have “a little more ’90s feel. It was elegant and I liked it, but it was more about individual spaces.” Adds his cofounder Grazer, who took the lead on the redesign, “It couldn’t be more the opposite of what GROOMING BY HELEN ROBERTSON FOR LIVING PROOF AT CELESTINE AGENCY. 1 2 3 4 5 T H E HOL LY WO OD R EP ORT ER we had.” And while Grazer’s and Howard’s ofﬁces are as roomy as any corner ofﬁce in Hollywood, they have areas that lend themselves to inclusive meetings. In Grazer’s, it’s a sectional couch that can ﬁt 10; in Howard’s, there’s a large work table in lieu of a desk. “It’s really built to be a place to roll up our sleeves and lay problems out on the table and crack them,” says Howard. The same thinking goes into the new ofﬁces of entertainment law ﬁrm Del Shaw Moonves Tanaka Finkelstein & Lezcano, on the 17th 43 M AY 9, 2018 1 Howard (right) and Grazer were photographed on the second floor of their new Beverly Hills ofices March 15, with OFS’ Rif ping-pong table. Artwork (left) by Ekta Aggarwal. “It’s a way of showcasing young artists,” says Grazer of the CalArts partnership. 2 In Grazer’s ofice, artwork includes one of the producer’s own paintings (foreground) and a 2016 piece (on back wall) by Hermes Barrio titled La Texana. The blue chair is by Arflex. The producer had worked with Rios Clementi Hale Studios as the architects for his home in Santa Monica. “One thing that’s really key for the ofices is that they have moments of surprise,” says RCHS founding partner Mark Rios. 3 Script pages from Imagine projects (aged by dipping them in cofee and tea) hang on the company-logo wall. “I love that it honors the writers who have had such an impact on what we’ve done over the years,” says Howard. 4 A bookcase in Grazer’s ofice includes Emmys for 24 and From the Earth to the Moon (Imagine has 42 Emmys and 10 Oscars to its credit) and a plaster head from Blackman Cruz. 5 “It’s homey and warm,” says Grazer of Howard’s ofice. ﬂoor of a tower in Century City, which mixes warm wood tones with pops of color throughout its 13,300-square-foot layout. The old ofﬁces were more hierarchical. “It was traditional: Partners in law ﬁrms have always had big ofﬁces; associates have small ofﬁces,” says Jeff Finkelstein, a partner at the ﬁrm, which represents Hulu content chief Joel Stillerman, Tiffany Haddish, Lena Waithe, Lupita Nyong’o, Ava DuVernay, John Legend and Chrissy Teigen. Now — in Del Shaw’s new space, designed by Tim Gajewski of NxT Style 1 Neither company, though, wanted to go too cool or hip. “They didn’t want it to feel like a startup,” says RCHS’ Less of Imagine’s new home. “Because of their history, Brian [Grazer] wanted it to feel rooted and mature but still have a youthfulness to it.” Overall, the hues at each company’s ofﬁces are fairly restrained. Modern notes come from the exposed ceilings, concrete ﬂoors and, says Less, “injections of color to add excitement, especially in communal sitting areas.” Adds Gajewski of his work at Del Shaw, “They didn’t want it to be trendy or something that would go out of fashion.” Other design elements in the Del Shaw space include adjustable sit/stand desks for all employees, while each ofﬁce has visitor seating with armchairs and upholstered window banquettes that offer views of the city. In the age of laptops and mobile devices, no one needs to be tethered to a desk. Says Gajewski of his Del Shaw clients, “They tend to move around the entire ofﬁce.” Both companies prioritized as design objectives displaying art (Del Shaw has a corporate collection, while Imagine has worked with CalArts School of Art in an innovative partnership to show students’ work) and bringing in natural light. At Del Shaw, brightening the space was accomplished by using frosted glass for the private-ofﬁce walls that front hallways. Gajewski also designed a conference room with a retractable glass wall. When the room isn’t in use — 90 percent of the time — the walls go away. “It enlarges our reception area and takes advantage of the views [with] eight windows,” says Finkelstein. At Imagine, RCHS opened sight lines along public spaces on the building perimeter to amplify natural light. One big change that employees at both companies had to adjust to was a uniﬁed look for all the private ofﬁces. Previously, Del Shaw attorneys and the Imagine execs chose their own furniture. “People had a real hodgepodge. We tried to have a more curated collection across the ofﬁce,” says RCHS’ Less. Both Gajewski at Del Shaw and RCHS at Imagine created a limited selection of couch, chair and fabric choices for employees. “Because people had had total ownership of their ofﬁce, we worked with each person,” adds Less. “They participated in the process and felt they were choosing their space.” Photographed by Claudia Lucia T H E HOL LY WO OD R EP ORT ER 44 M AY 9, 2018 Design 2 Hollywood being Hollywood, redesigns aren’t just about improving corporate culture. They are also about branding. Imagine was founded in 1986, Del Shaw in 1989. With their new ofﬁces, the companies, each in business for more than a quarter-century, have sought to smartly update and reset their image. “We feel like this is a rebirth, a 2.0 of the law ﬁrm, so we wanted to make sure we are forward-thinking in the design and that it will take us through the next 28 years,” says Del Shaw’s Bobb. At Imagine, the aim was to have ofﬁces that reﬂect the company’s more diversiﬁed direction; in recent years, it has expanded into documentaries, events and branded content. The new ofﬁce not only “encourages more interfacing between the company categories,” says Howard, but also shows “we’re a very different company. We have much more of a dealmaking attitude in who our potential partners can be and we’re much more actively involved in more facets of the medium.” Simply put: Cool new headquarters are a great way to attract fresh talent and collaborators. Waithe, a client of Del Shaw cofounder Nina Shaw since 2013, visited the ofﬁces for the ﬁrst time April 19. “I think it represents these guys. It’s a cool, hip, welcoming, warm environment,” Waithe says. “Everything is just really ﬂy and sleek.” 3 4 SHAW MAKEUP BY CARLA MONTEVALDO AT BLUSHINGTON. BOBB GROOMING BY AL ROWLANDS. Studio — associates’ ofﬁces are the same size as the partners, while the number of meeting spaces has increased and includes four conference rooms, for a total staff of 35 people. “As a boutique law ﬁrm, we’re very collaborative, and this new space promotes that,” says Finkelstein. “It makes it welcoming for associates to come into partners’ ofﬁces.” Adds partner Gordon Bobb: “Here, everyone sits and has lunch together and uses the same meeting areas. It really speaks to the culture of the ﬁrm.” Bobb adds that the move to Century City — the old ofﬁces were in Santa Monica — also had to do with the fact that the center of gravity in the business is shifting eastward, with, for example, Netﬂix and Viacom moving to Hollywood. Says Bobb: “For us, being out in Santa Monica became burdensome. We were not really in close proximity to our clients. We felt a little out on an island.” 5 1 Retractable frosted-glass walls forming a conference room at Del Shaw allow light into the reception area. 2 A proof of Ronald Davis’ Invert Span (1979) hangs in a hallway. 3 Waithe (center) was photographed April 19 with Bobb and Shaw, whom she refers to as her “guardian angels,” in the waiting area in front of James Rosenquist’s The Stowaway Peers Out at the Speed of Light. “This is a place where you can breathe and feel comfortable,” says Shaw, whose ofice displays Barbie-esque dolls of such clients as DuVernay and Misty Copeland. 4 The boardroom in the southwest corner of the ofice includes a powder-coated steel pipe Palindrome Chandelier by Rich Brilliant Willing, a custom table by NxT Studio with a quartz-stone top and 14 microphones for teleconferencing, and chairs from Krug C5 Management in golden brown leather. 5 A glass and marble pyramid by George Geyer sits in reception. “This sculpture was acquired after the 1994 earthquake toppled a similar, smaller piece by the same artist,” says Finkelstein. T H E HOL LY WO OD R EP ORT ER 45 M AY 9, 2018 Style Power Tables Right Now Hangouts 1 3 1 Seared scallops at the new Scarpetta. 2 Legacy Records, a Jessica Seinfeld fave, on West 38th Street. 3 Rose Hill on East 32nd Street has hosted Alec Baldwin and Tina Fey till 4 a.m. 2 Where to Eat & Meet at NY’s TV Week AVRA MADISON ESTIATORIO WHO David Gefen, Jefrey Katzenberg, Leo DiCaprio WHERE Booth 72. “It has a view of everything,” says partner Nick Tsoulos. 14 E. 60th St. Legasea Seafood Brasserie Amid the upfronts uproar, sample the new restaurant row and the city’s power tables of the moment f you can, steal away from the TV upfronts (May 14-17) and check out New York’s latest food hot zone: a corridor between 28th and 39th streets, from Park Avenue to the Hudson River, and overlapping with Hudson Yards, the 28-acre mini-city that will house HBO, Warner Bros. and Turner Broadcasting. New restaurants abound, including upcoming outposts from Thomas Keller and David Chang. Says Cindy Tenner, HBO vp special events, “The West 20s and 30s are deﬁnitely experiencing a restaurant renaissance.” — BETH LANDMAN I Not to be confused with nearby Legacy Records (which has hosted NBC’s Rise and Starz’s Sweetbitter cast parties), this hopping spot in the Moxy Hotel has set the backdrop for Serena and Venus Williams and Molly Shannon. The lobster bake and seafood towers are showstoppers. Says Danny Abeckaser, who’ll appear in Martin Scorsese’s Netﬂix ﬁlm The Irishman: “Legasea has some of the most unique dishes in the city, like the spicy crab beignets.” 485 Seventh Ave. Henry LE BERNADIN WHO Martha Stewart, Yoko Ono, Helen Mirren WHERE Table 1 in the first row. Diners “fight for it, that’s where you’re seen,” says chef Eric Ripert. For privacy, try No. 36. 155 W. 51st St. Scarpetta Chloe Grace Moretz is among those who have enjoyed dishes at this well-received venture. “Your eye moves around nonstop; it’s full of mirrors, nostalgic photos and innovative light ﬁxtures,” says David Korins, the Hamilton and Dear Evan Hansen set designer who won a 2017 Emmy for Grease: Live. “There is a bonus speakeasy downstairs,” adds Tenner. 19 W. 31st St. Ichiran Simmered pork belly and matcha pudding are standouts at the 46-seat ramen bar — with counter seating featuring Matt Damon, Ridley Scott and Kristen Stewart dined at the Meatpacking Elite Eats District’s Scarpetta, and now hotelier Allen Gross hopes to draw more A-listers with this outpost at his James New York-NoMad. “We sought out dynamic restaurateurs to partner with us and the limos followed,” says Gross. Justin Timberlake broke the place in by dancing all night at its lounge, Seville, while Hugh Jackman and Scott Eastwood feasted. Says talent manager Jason Weinberg: “Scarpetta is so good, I’ve added it to my shortlist.” 88 Madison Ave. ▲ “Love grabbing food at Empanada Mama at 3 a.m.” Trevor Noah “Three favorites: Studio 8H, Corner Bistro, Bar Centrale.” Seth Meyers “Best recent meal: salt-encrusted shrimp at Mary’s Fish Camp.” Don Lemon MICHAEL’S WHO Elton John, Ronan Farrow WHERE Table 6, or “a catbird seat at Table 24 or 27, against the wall,” says GM Steve Millington. 24 W. 55th St. Short on Time? Shop While You Eat Fifteen years ago, New York designers Robin Standefer and Stephen Alesch transitioned from set design (Addicted to Lover, Zoolander) to homes (Ben Stiller, Gwyneth Paltrow), hotels (The Standard, Ace) and restaurants (Le Coucou, Facebook’s Menlo Park cafeteria). In December, they launched a SoHo outpost, Roman and Williams Guild, which also houses La Mercerie, a cafe with fans including Meg Ryan and Blake Lively. Visitors can road-test wares (from a $12 zinc glass to a $15,000 dining table) while feasting at the cafe run by Marie-Aude Rose (wife of Le Coucou chef Daniel Rose). “Isn’t that a better way to shop?” says Standefer. “It’s the guild of the senses — touch it, feel it, sense it and sit on it.” Lively, who has been “obsessed” with the designers, says: “A menu of the items that you’re interacting with, other than just the food, is pretty cool.” Paltrow notes the pair “took my English-cottage concept and translated it into 1,300 square feet of shoppable whimsy” for her Goop Lab in Santa Monica. The duo has worked on more than 20 films and, after Duplex, which starred Stiller, “Ben said, ‘The set looks better than my house.’ We built Ben a Hollywood Hills compound, and the rest is history,” Standefer says. Additional homes are in the works for Jimmy Fallon and Paltrow. — SHARON SWART ← SoHo’s La Mercerie lets customers interact with housewares for sale while they dine. T H E HOL LY WO OD R EP ORT ER 46 M AY 9, 2018 PER SE WHO Oprah Winfrey, Ava DuVernay WHERE Nos. 2 and 3, by the fireplace, or if you’re a shyer VIP, Nos. 25 and 26, out of sight lines, says GM Sam Calderbank. 10 Columbus Circle — LAURIE BROOKINS SCARPETTA, BERNADIN, PER: COURTESY OF SUBJECT. LEGACY: DOUGLAS FRIEDMAN. GUILD: ADRIAN GAUT. AVRA: WARREN JAGGER. MICHAEL’S: BRIAN TISZA. ROSE: EMMANUEL FAURE. NOAH: TAYLOR HILL/FILMMAGIC. U pfro nt s E d it io n ! privacy-promoting partitions — that opened in April. “I love the atmosphere because I can enjoy my ramen in peace,” says Pat Flicker Addiss, producer of the new musical Desperate Measures. 132 W. 31st St. J U N E 10 - 13 , 2 018 GLOBAL BUYERS, MEDIA LEADERS, BREAKTHROUGH CREATORS ROBERT GREENBLATT KEVIN MACLELLAN Chairman NBC Entertainment Chairman, Global Distribution and International NANCY ABRAHAM LISA HELLER LARRY TANZ EVP, Documentary & Family Programming HBO EVP, Documentary & Family Programming HBO VP Content Acquisition 2IXƥM\ DUSTIN DAVIS MOIRA WALLEYBECKETT NBCUniversal DEIRDRE BRENNAN CATHERINE REITMAN ALASTAIR MCKINNON General Manager Universal Kids Creator, Executive Producer, Writer, Director Wolf + Rabbit Entertainment Head of Content, Investment & Planning Australian Broadcasting Corporation Head of Comedy Development & Current Programming YouTube Originals Creator, Executive Producer & Showrunner Anne 2 0 1 8 C O M PA N Y O F D I S T I N C T I O N DON’T MISS YOUR SHOT, REGISTER NOW! ba nffmedia fe s tiva l.com Style Hangouts 1 3 1 With a communal space and outdoor hot tub, Western B&B Urban Cowboy (from $300, 111 Power St.) is a favorite of Incredibles 2 actress Sophia Bush: “It’s nothing like a corporate or standard ‘hip’ hotel.” 2 Riverhouse suite at 1 Hotel Brooklyn Bridge, where Beyonce hosted Jay-Z’s 48th birthday bash on the rooftop Brooklyn Heights Social Club. 3 The Garden residence at The William Vale. 2 No Sleep Till Brooklyn! 4 Happening Hotels Cancel the ‘standard hip hotel’ and check out the so-called outer borough’s offerings, where Beyonce feted Jay-Z, and The Marvelous Mrs. Maisel, The Post and Gotham have housed execs and thrown fab wrap parties By Sara Bliss N YC Beauty Tr e n d 28 suites, including the $5,000/night Riverhouse, and a 50-seat screening room, it’s a long-stay Rattray choice for industry vets like Post production designer Rick Carter. 60 Furman St. Gyllenhaal: “We’ve re-created the South and Chicago because there are so many different neighborhoods.” The hotels attracting industry insiders right now: 1 Hotel Brooklyn Bridge A year after opening, the luxe waterfront has become a hangout for stars, with Jake Gyllenhaal, Jay-Z and Chris Hemsworth spotted. Eco warriors love the hemp-blend mattresses, holistic spa and chauffeured Tesla. With The Williamsburg Hotel A mecca for music lovers, this hotspot hosted NBC’s Jesus Christ Superstar Live! cast and crew. Rooms boast double-height Cryotherapy: The New Mani-Pedi hey’re proliferating in the city like T nail salons: spas with infrared saunas, which raise the body temperature to fight energy-sapping bacteria, and cryotherapy (a Justin Timberlake and Jessica Biel fave), which lowers temps to speed metabolism and boost energy. “Within the past year, so many new places have popped up,” says Erin Hamilton of NKD NYC, which opened in February on West 57th Street and ofers cryo and infrared beds. “People want a quick fix; when you go into such a cold temperature with a sprained ankle, you see the swelling and bruising visibly reduce.” Kathy Butters, owner of CryoVigor, which opens on West 46th Street in May, will do cryo facials. “When you step into the cryo, it’s minus 200 to 256 degrees, which sends blood to your core to flush toxins,” she says. Higher Dose has infrared saunas and targeted Biel cryo at four sites. Even Equinox, near Columbus Circle, added cryotherapy. “We wanted to ofer an additional regeneration tool,” says vp David Harris.“We stand behind the scientific findings that cryotherapy can lessen pain and enhance performance.” Which to do, hot or cold? “Cryotherapy gives a huge endorphin rush, and infrared is more relaxing,” says Hamilton. “It depends on whether you are a sun worshipper or a snow bunny.” — BETH LANDMAN ↑ Top: an infrared bed at NKD NYC. Bottom: a cryotherapy pod at CryoVigor. T H E HOL LY WO OD R EP ORT ER 48 M AY 9, 2018 ceilings and ample light. Maisel production coordinator Timothy Mendonca: “With exposed brick and pipes, the decor ﬁts Brooklyn to a T. I’ve thrown wrap parties for our cast and crew because of its warm, cozy, hip vibes.” 96 Wythe Ave. The William Vale This futuristic space, with rooftop bar Westlight offering 360-degree views of the city, has been featured on The Good Fight and Master of None. All rooms boast ﬂoor-to-ceiling windows and private balconies, including the $12,000/night two-story penthouse with 1,600-square foot patio and hot tub. 111 N. 12th St. Wythe Hotel The 70-room industrial chic space in a 117-year-old factory features lofts starting at $795 with ﬂoor-to-ceiling windows and clawfoot tubs. Gotham executive producer John Stephens says the hotel is one of two in Brooklyn that the show books for execs and guest actors. Reynard restaurant is a fave of Toni Collette; the garden is where SNL’s Aidy Bryant recently wed Conner O’Malley with Kate McKinnon and Michael Che cheering them on. 80 Wythe Ave. URBAN: BEN FITCHETT. VALE: JODY KIVORT. BROOKLYN: JAMES BAIGRIE. NKD: SAM LAHOZ. CRYOVIGOR: COURTESY OF SUBJECT. BIEL: JON KOPALOFF/FILMMAGIC. RATTRAY: JIM SPELLMAN/WIREIMAGE. hanks to Brooklyn’s renaissance as New York’s center of cool, taking meetings in Manhattan seems almost passe. The borough offers a thriving food scene (including nine restaurants with a total of 11 Michelin stars) and innovative hotels serving an increasing number of productions, including at least 37 TV series such as Billions and The Marvelous Mrs. Maisel. Says Celine Rattray, copresident of Maven Films, which made feature The Kindergarten Teacher with local Maggie T 2 0 1 8 COUNTRY POWER PLAYERS Billboard ’s fourth annual Country Power Players issue will profile the people who are creating excitement and making their mark in the industry. This special feature will also include a photo portfolio featuring the top artists, songwriters, musicians, executives and coverage on the most talked-about topics in country music. Advertise in Billboard ’s Country Power Players issue to congratulate this year’s honorees while reaching key decision-makers who are driving the music industry. ON SALE 6/2 AD CLOSE 5/24 | MATE RIALS DU E 5/25 BONUS DISTRIBUTION Billboard Country Power Players Reception 6/5, E3 Expo 6/2-6/14, CMT Awards 6/ 7-6/10, Songwriters Hall of Fame 6/14 CONTACT Lee Ann Photoglo 615.376.7931 | email@example.com Cynthia Mellow 615.352.0265 | firstname.lastname@example.org Aki Kaneko 323.525.2299 | email@example.com Joe Maimone 212.493.4427 | firstname.lastname@example.org Editorial content subject to change SPECIAL ISSUE ON SALE JUNE 2, 2018 ‘I Do TOrch Things’ Six months since going public with Weinstein rape claims and helping to ignite the #MeToo movement, Rose McGowan has been portrayed as both a fearless hero and a flame-throwing narcissist. Still dealing with a cocaine charge (she says it was a setup), the actress-activist opens up about her life now, why she helped torpedo her story on NBC (‘I’d heard about Lauer’) and her decision to leave Hollywood: ‘I’ve been a lot happier in this last month than I have been in a long time’ BY CHRIS GARDNER R ose McGowan is camped out at Brother Jimmy’s BBQ, a divey New York institution across the street from Penn Station, waiting for her train to Washington, D.C. The 44-year-old actress turned activist is accompanied by attorney Jennifer Robinson and a publicist from E!, the home of McGowan’s docuseries, Citizen Rose, which returns May 17. Their ultimate destination: Leesburg, Virginia, a 45-minute • PHOTOGRAPHED BY WESLEY MANN drive from D.C., where tomorrow, on May 3, McGowan must appear before a judge at the Loudoun County courthouse on a felony cocaine charge she’s facing. The train is delayed; it was supposed to be 15 minutes, but now the holdup has been extended long enough that the table is littered with glasses of white wine, baskets of hush puppies, fried pickles, pulled chicken sliders, a half-emptied ramekin of ranch T H E HOL LY WO OD R EP ORT ER 50 → “When the wreckage of the past gets cleared away, you can see your future a lot more clearly,” says McGowan, photographed May 2 at Industria in Brooklyn. Styling by Mark Hsu Alexander Vauthier blazer, Sunspel T-shirt, Levi’s jeans. M AY 9, 2018 dressing and, for McGowan, a bowl of mashed potatoes with gravy. The waitress arrives to clear and brings a bit of good news — the drinks (McGowan stuck to iced tea) along with half of the food will be comped. Turns out the manager, a bearded guy with big biceps, is a huge fan of McGowan’s ﬁlms. A moment later, a server from another table arrives. “You’re such an inspiration for speaking out,” she tells McGowan. W While it’s hard to believe, it’s been just over six months since McGowan came forward with allegations of rape by Harvey Weinstein — a man she’ll now refer to only as “the Monster” — helping to expose his decades-long pattern of alleged sexual misconduct and igniting a movement that has fundamentally changed the worlds of entertainment, media and politics. The fallout has swept up everyone from Kevin Spacey to Charlie Rose to, days after this trip, New York Attorney General Eric Schneiderman. To some, McGowan remains an actress recognizable from movies like Scream, Jawbreaker and Grindhouse and TV shows including Charmed and Once Upon a Time. To many others, she is now something much more — the most visible and at times most polarizing voice of #MeToo. In that role, she has also become a de facto therapist. Other women seek her out to share their stories of sexual assault. “A lot of the time, I’m the ﬁrst person they are telling,” she says, “and it can be hard being a receptacle for that.” But she always listens, she says, “to honor their journey and their pain.” Finally, after waiting more than three hours, McGowan and crew board the Acela. In the course of the threehour journey, she will speak openly and expansively about how the past six months have reshaped her life — on the repercussions of being among the ﬁrst to speak out in a series of articles last October, on her critics and the public undoing that led to her canceling her book tour, on her new plan to leave L.A. for good. In fact, there’s only one subject she has asked to keep off the record: the identity of her new romantic “partner” of about a month, who’s also on the train. “I’m with an activist and a very awake individual,” says McGowan, choosing her words — and pronouns — carefully. “When the wreckage of the past gets cleared away, you can see your future a lot more clearly. There are things I didn’t really know about myself. I’ve been a lot happier in this last month than I have been in a long time,” she says, adding with a laugh, “It takes a very complex and adventurous human to want to be with me.” McGowan has a complicated relationship with the press. Being accompanied by a journalist today was her idea, yet she feels generally unhappy with the way she is portrayed. “If I was Reese Witherspoon, would I be treated like I am? The answer is no. But [the press] feels I’m fair game. I think it’s because [Weinstein] paid off the media for 20 years to savage me.” She prefers to tell her own story, whether that’s on Twitter, where she has 915,000 followers (the #RoseArmy), in her memoir-meets-manifesto Brave, which came out in January, or via her docuseries. Reality vet Jonathan Murray (Keeping Up With the Kardashians) says producing T H E HOL LY WO OD R EP ORT ER 52 Above: McGowan was flanked by lawyers Robinson (left) and Jessica Carmichael outside the Loudoun County courthouse May 3 in Virginia. The judge ruled that enough probable cause exists in the drug possession case, and he forwarded it to the grand jury with a June 11 hearing date. Inset, from left: Naomi Campbell, McGowan and former President Barack Obama in December in New Delhi at the Hindustan Times Leadership Summit. Says McGowan of Obama: “I was disappointed he didn’t acknowledge a global fight, let alone mine.” M AY 9, 2018 McGowan’s show reminds him of friends who were members of the AIDS activist group Act Up. “Every movement has that person who lights the fuse and speaks truth to power,” he explains. “There are other parts of the movement that are gentler, but most need a spark plug. That’s Rose.” Occasionally, though, the sparks lead to self-immolation. Throughout her January press blitz promoting Brave, McGowan was asked over and over again to recount in detail her alleged assault, which she says was traumatic and caused her to become unhinged. During a much-maligned Jan. 31 appearance on The Late Show With Stephen Colbert, wearing an orange hoodie, McGowan veered from the host’s questions and blasted men who wear khakis. The taping was just a few hours after a disastrous stop at a New York Barnes & Noble, where a trans woman berated McGowan for comments she made on RuPaul’s podcast (McGowan had said that just “because [a trans person] felt like a woman on the inside, that’s not developing as a woman”). The interaction escalated and within seconds was a full-on shouting match. McGowan, who maintains that the heckler was a paid plant (though she won’t say by whom), was criticized for her role and for blasting back confusing rebuttals like, “I’m not from your planet!” She was “on the ropes,” as she PREVIOUS SPREAD: MAKEUP BY HIROTO YAMAUCHI FOR YVES SAINT LAURENT BEAUTÉ. THIS SPREAD, WEINSTEIN: KEVIN WINTER/GETTY IMAGES. COURTHOUSE: AP PHOTO/MATTHEW BARAKAT. OBAMA: @LIBERATUM/INSTAGRAM. puts it. She abruptly canceled all press engagements, ﬁred her publicist and retreated from the public eye. “At ﬁrst, I was staying at a farm with miniature ponies, but they had a wedding. So I had to leave and went to a retirement community in Florida called The Villages, which had golf carts with Trump stickers. It was like paradise for old people.” She found a mother-son therapist team nearby and did a ﬁve-day “intensive trauma” session. Her recent public interactions have been more measured. For example, after Bill Cosby was convicted of three counts of sexual assault in a Pennsylvania courtroom April 26, McGowan's subsequent tweet was noticeably restrained: “His victims can now exhale. Thank you judge and jury. Thank you society for waking up.” While she still loves the extra punch profanity provides on Twitter, she admits she put a lot of thought into the Cosby tweet because, as a survivor, she had to wade through her own emotions while watching the news from London. “It felt like we’d won the Super Bowl of all Super Bowls,” she says of the verdict. Even simply recalling the experience brings tears, which she doesn’t hold back. “When I saw those brave women crying and breaking down afterwards, I felt a sense of shame because I was both thrilled for them, but I was also jealous.” Does she think she will ever be able to face down Weinstein in the same way? “I hope I’m wrong when I say that I don’t think he will go to prison,” she says “People do have to gather evidence, and that takes time. But if two women pointed somebody out that stole our purses, he’d be arrested. So how many women does it take to say he stole us? He stole our careers, stole our lives, stole our reputations. He stole how my family treats me, how men treat me, he stole all that.” s ometimes you’re just earmarked for weirdness from birth,” McGowan writes in Brave, referring to her own delivery — in Certaldo, Italy — at a Children of God commune by a blind midwife. Her parents were faithful followers of the cult’s founder, David Berg, and McGowan’s father, Daniel, eventually became a leader of the group’s Italian chapter. “I would watch him, he would turn on his light and his energy and just take people on a journey,” she explains. “I know I can do that too, and I know where I get it from, but I don’t have that male Achilles’ heel of needing to be worshipped.” Her family ﬂed the group before she hit double digits because Children of God began advocating sex with children as a way of achieving spiritual enlightenment. Given her background, one wonders what McGowan makes of the current headlines surrounding Nxivm, a cult whose leader Keith Raniere and disciple and former Smallville actress Allison Mack are accused of sex trafﬁcking and branding female members. “My take on [Nxivm] is that it’s doing a very intense version of what a lot of people in Hollywood already do,” says McGowan of the group’s objectiﬁcation of women. “It’s just a more intensiﬁed version, so we can point at it and be like, ‘That’s so wild.’ I’m like, ‘Yes, but what do you do?’ ” After leaving Italy, McGowan’s family settled in Portland, Oregon, where she had a hard time adjusting. On the night of her ﬁrst (and only) school dance, she tried LSD, which landed her in rehab at 13. She escaped, living on the streets for close to a year before returning to live with her strict father, who by then had settled in Seattle. When she was 14, he forced her to get a job to pay her share of the rent, which is what led McGowan to respond to a ﬂyer advertising $35 a day to be a movie extra. In 1992, she landed her ﬁrst speaking role in the comedy Encino Man, starring Brendan Fraser. Soon after, “a mean agent lady” suggested that since she now was making money, she should emancipate from her parents; at 15, she did. In 1995, her performance as a troubled teen in Gregg Araki’s The Doom Generation landed her a Spirit Award nomination and helped her score a scene-stealing role in 1996’s Scream, produced by Dimension Films, Miramax’s genre division run by Harvey's brother, Bob. The following year, she headed to the Sundance Film Festival with three ﬁlms. Harvey attended the premiere of one, Going All the Way, in which she has a topless scene. After it came onscreen, McGowan with Harvey Weinstein at the premiere of Grindhouse in 2007. “I didn’t call my lawyer, I called Rose,” says Argento of weighing the decision to reveal her own allegations against Weinstein. “By sharing with me the same pain, she gave me the same strength.” McGowan claims, she saw her thenmanager Jill Messick turn and nod to the mogul. It was Messick who set up the meeting the next morning between Weinstein and McGowan at the Stein Eriksen Lodge that McGowan says ended with her being sexually assaulted in a hot tub. McGowan struck a $100,000 settlement over the incident, an agreement Messick was involved with. McGowan later would suggest that the manager, who took a job at Miramax less than a year later, was part of Weinstein’s complicity machine. Messick, who suffered from bipolar disorder, died by suicide in February. After her death, her family gave THR a scathing statement: “Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her. It broke Jill, who was just starting to get her life back on track.” While the statement didn’t mention McGowan by name, the implication was clear. On Messick’s suicide, McGowan will say only that her death was a tragedy. “We need to look at the real person who’s behind this. That person has blood on his hands, and we all know, once again, who I’m talking about.” (The Messick family declines to comment further on McGowan.) For years, McGowan says, she turned down multiple reporters chasing the Weinstein story (including some from THR) because “society wasn’t ready.” It wasn’t until she went searching for her settlement agreement with Weinstein to pass to New York Times reporters Jodi Kantor and Megan Twohey — who would end up breaking the ﬁrst allegations against him on Oct. 5 — that McGowan says she realized it didn’t contain a conﬁdentiality clause, allowing her to speak out. During the same period, Ronan Farrow was working on his own story about Weinstein, initially for NBC News. Network executives have said the story did not meet its standards to go to air at that point; Farrow has suggested otherwise. He eventually took his material to The New Yorker. “NBC took a lot of heat for killing the story. But I actually served Ronan with a cease and desist — two of them,” says McGowan, who sat for an on-camera interview with Farrow in January 2017; a source who has seen the interview says she did not name Weinstein. Her attorneys then revoked consent. “I did not want my rape spoken about over breakfast cereal on the Today show,” adds McGowan. “I’d heard about Matt Lauer. You can’t tell me the people at the top of NBC aren’t aware. Come on.” (NBC and Farrow declined comment, though sources close to the story tell THR that McGowan did not express concern at the time about Lauer, who was ﬁred amid sexual harassment allegations in November.) “I was never going to let my story be on NBC, but I wanted to ensure that the Times would do it, and everybody before had folded. So I pitted [Farrow] against The New York Times. I understand how men work and how Hollywood works and how power works. People are going to be much more interested in going down the line with something if they know they’re competing with somebody else.” Though she spoke with The New York Times and provided the paper with her account and settlement agreement, she didn’t go on the record in the ﬁrst round of Weinstein stories, in contrast to Ashley Judd, Gwyneth Paltrow and Angelina Jolie. “I am the ﬁrst one that spoke [about Weinstein],” she says of her reasons. “I spoke for a long time. I spoke obliquely about it. But in the articles, I let the documents [do the work]. I wanted other people to have a chance to speak because I knew I had a book coming out. I knew I would override other women’s voices, and I didn’t want that to happen.” Notes fellow Weinstein accuser Asia Argento, “There are people who say she’s doing this for her own gloriﬁcation. She’s doing this to help other women.” Argento credits McGowan with her own decision to come forward: “When I spoke to Ronan, I heard that Rose had the same experience I did. I reached out to her from Paris on Sept. 28, and we spoke all night. Without her, I wouldn’t have gone on the record. Rose is a hero to me.” McGowan’s memoir Brave was published in January by Harper One and became a best-seller. ‘MY HATRED HAS DEEPENED’ ANNA GRAHAM HUNTER, WHO WROTE A STORY FOR THR ABOUT BEING HARASSED BY DUSTIN HOFFMAN, TALKS TO OTHER ACCUSERS ABOUT LIFE AFTER GOING PUBLIC he other night I was on a Tinder date at a bar in L.A. I liked the guy — and he, I think, liked me — but there was something I needed to tell him about myself if there was going to be a second date. He needed to know that I was one of the women who accused Dustin Hoffman of sexual harassment. I hate this part of dating. My role in the #MeToo movement — I wrote an essay for THR in November detailing Hoffman’s lewd comments and groping when I was a 17-year-old intern on the 1985 TV adaptation of Death of a Salesman — is something I want potential boyfriends to know about me, but without me having to tell them. But it’s also something I’d rather not share with everyone, which is why I set up a fake Facebook account to link to Tinder, so that I can decide for myself who gets to know and who doesn’t. Life has definitely become more complicated since I came forward, and dating issues are the least of it. Six months later, I’m feeling kind of shitty about the whole thing — in some ways I feel worse now than I did before I went public — and it’s been hard to figure out why. Why have I been so angry? Why do I suddenly burst into tears for no obvious reason? Shouldn’t I be feeling better now that my story is out there? I wondered if I was the only one who felt this way or if other women who accused powerful men have had similar experiences. I decided to find out by talking to as many of them as I could. “There’s no rule book for this,” says Holly Gunderson, a former employee at Osteria Mozza who accused one of the restaurant’s owners, Mario Batali, of grabbing her crotch at an event. “Every one of my emotions has surprised me, and my hatred has broadened and deepened.” Playwright Cori Thomas, who revealed her own Hoffman harassment story to THR, had a similar experience. “I don’t want to call it a depression,” she told me, “but the whole thing spun me into a very quiet place.” One reason people don’t come forward is the fear that they will forever be linked to the person who hurt them. T “I don’t want to go down in history as a victim of one of these dickheads,” says writer Zoe Brock, who in October accused Harvey Weinstein of harassing her in 1998. Event planner Starr Rinaldi, who went public with her story of how, back in 2002, she was harassed by director James Toback, is having similar issues. “You google me, and I’m next to this Jabba the Hutt dude — I’m forever attached to him,” she says. For Rinaldi, it’s not just the emotional toll but also a monetary one. She says she’s lost $15,000 in income since coming forward. “I’m ‘tainted,’ ” she says. “I got told I’m out of the circle of trust. I didn’t work all the time, but I’m not working at all now.” One of the hardest things has been watching how some accused men are bouncing back. Starting last month, redemption and second-act stories began appearing in the press. A New York Times piece on Batali made Gunderson livid. “He gets to choose: Will he go back into business? Or does he just want to retire in Italy? Those are his choices,” she told me through gritted teeth. “That’s what he gets to ponder Hunter while he’s on extended paid vacation, thank you very much.” When Brock talks about rehabilitation stories, her voice shakes with anger. “Most of us never got a first chance to have the careers we dreamed of. So to start having conversations about comebacks for these predators causes a lot of pain. If Charlie Rose is lonely playing tennis at his mansion, I would suggest that he be grateful that he has a mansion. All of them should start being a little more grateful that they’re not in jail right now.” The good news is that, despite the lingering pain, most of the women I spoke to were eager to talk about their experiences and the impact they hope to have by coming forward. “What [these men are] all afraid of is exactly what we’re doing right now,” says Brittny McCarthy, who accused Toback or sexually assaulting her. “Which is talking to each other.” T H E HOL LY WO OD R EP ORT ER 54 M AY 9, 2018 To other prominent members of the #MeToo and Time’s Up movements, however, Rose can be a thorn in the side. McGowan criticized peers who wore black to the Golden Globes in a show of solidarity, tweeting to Argento: “And not one of those fancy people wearing black to honor our rapes would have lifted a ﬁnger. … I have no time for Hollywood fakery.” She also blasted Meryl Streep for what she believed was her complicity in covering for Weinstein. Streep responded in an open letter, saying, “It hurt to be attacked by Rose McGowan in banner headlines this weekend, but I want to let her know I did not know about Weinstein’s crimes.” McGowan doesn’t buy it. “It still makes me mad,” she says. “If I was living next door to someone and I heard them beating up their kid every night, I wouldn’t turn my TV up louder. I would be in there, doing every single thing I could to help that kid and get them out and get them a new life. But that’s me, and I have to come to peace with the fact that not everybody’s like that.” McGowan eventually did go on the record for Farrow, working with him on several investigations, including an explosive 5,300-word New Yorker piece, published in November, about how Weinstein hired two intelligence companies, Kroll and Black Cube, to help silence accusers and the journalists investigating their claims. McGowan says she was a target — that 125 pages of her book were stolen ahead of its release and that she was befriended by former Israeli spies working for Black Cube who attempted to glean information about her plans to come forward. Her legal team is using these claims to explain the two baggies ﬁlled with cocaine found in McGowan’s leftbehind Chanel wallet in the ﬁrst-class cabin on a United Airlines ﬂight from Los Angeles after it landed at Dulles International Airport on Jan. 21, 2017. She claims there were no drugs in her wallet when it was last in her possession. Upon learning that a warrant was issued for her arrest, she tweeted: “Are they trying to silence me?” I t’s a bit of a scene outside the Loudoun County courthouse. Reporters and camera crews from NBC, Fox and The Washington Post gather on the grass underneath a tree to block the midday sun, all waiting for McGowan. Just before 1 p.m., she arrives, ﬂanked by attorneys Robinson and Jessica Carmichael, who will BOOK: COURTESY OF HARPERCOLLINS. HUNTER: AP PHOTO. represent her during the hearing. The three hold hands and don’t let go until they’ve entered the building. Today’s hearing is to determine whether there is enough evidence to present the case to the grand jury. Carmichael asks the court for the charges to be dismissed on insufﬁcient evidence. In response, the prosecution calls witnesses — cleaning crew, ﬁreﬁghters, police ofﬁcers — who testify about ﬁnding the wallet, discovering baggies of white powder and connecting it with McGowan. Argento remains skeptical of the charges. “Who nowadays would travel with cocaine in their wallet?” she asks. “I’ve met many drug addicts in my life. Even the most tweakedout crazy meth addict wouldn’t do that. They’d stick it in their bum. Rose is a smart woman. If she was so addicted, she would’ve found a way to ﬁnd drugs. My hope is that they will leave it as something completely planted.” Throughout the proceedings McGowan is stoic, maintaining eye contact with the witness or the presiding judge, Dean Worcester. After about two hours, he rules that enough probable cause exists to go to a grand jury and sets a hearing for June 11. McGowan has lost this round. If indicted and convicted, she could face a maximum of 10 years in prison. The irony that she may serve time while her accused rapist gets none is not lost on her. “I’m the only one who’s had handcuffs on me so far in this situation,” she says. “That’s not right.” Crueler still may be the fact that she can’t escape Weinstein, who has become part of the daily news cycle — most recently when Lantern Capital won the bid to buy The Weinstein Co. in bankruptcy. “I wish it would just all stop and die a quiet, swift death,” says McGowan. “For anybody to proﬁt off it is really egregious and sick.” To get a little breathing room, she’s leaving L.A. — she hopes for good. In March, she ﬁnalized the sale of her Hollywood Hills home for $2 million and hawked most of her stuff in an estate sale. She had the opportunity to watch all of it on a live feed but couldn’t “I wonder what it feels like to be safe,” says McGowan. Sunspel T-shirt, Ellery corset, Levi’s jeans, Ellery earring. bring herself to do it. Her art went into storage, and everything else — including a beloved RKO sign that she’d purchased at Off the Wall Antiques on La Cienega — to new owners. “My house was my cord to Los Angeles,” she says. “It doesn’t mean that I don’t love it as a city, but it was a very unsafe place for me. I mean, people have come up to me on the street and said, ‘Oh, did you get any good Weinstein scripts lately?’ Just to see my reaction. It’s really fucked up.” She no longer has a permanent home. “I’ll just roam,” she says, though she’d like to settle in London or New York in the short term. Eventually, she wants to live in India. She visited New Delhi in December to speak at the Hindustan Times Leadership Summit, where she met former President Barack Obama. “I was disappointed he didn’t acknowledge a global ﬁght, let alone mine,” she admits. “It was after everything had come out,” but he didn’t mention her Weinstein battles. This was especially hard for her because his daughter Malia had interned at TWC. “I was sitting right in front of him, and he would not meet my eyes, and then at the last minute, he asked for Naomi Campbell to be put in a photo with us,” recalls McGowan. She says she was hoping she’d hear, “I’m sorry” or “Keep going, Rose.” “All he said was: ‘You ladies sure know how to pose.’ I wanted him to be better.” For now, she’ll live off the money from the sale of her house “for like a year” before getting serious about ﬁguring things out ﬁnancially. “Of course I’m scared,” she says. SAG health insurance and a retirement plan temper the fear, and there are her other investments — blowout salon Dry Bar and a medical marijuana company — that also provide a cushion. Eventually the goal is to balance activism with writing, directing and making music (to promote her upcoming debut album, Planet 9, she’ll play the Le Guess Who? festival in the Netherlands in November). No longer an actress, McGowan mostly sees herself as an artist and a survivor, one who, for the ﬁrst time in her life, has found her voice through her rage. “I do torch things,” she says. But now she’s in renewal phase. “If you go into a forest right after a ﬁre, within days, there’s green grass growing underneath the ashes,” she says. “That’s what I’m doing right now. I’m like the grass, growing.” Watch Rose McGowan open up about her gratitude for the #MeToo movement and its founder Tarana Burke at THR.COM/VIDEO. T H E HOL LY WO OD R EP ORT ER 55 M AY 9, 2018 1 Amy Sherman-Palladino THE MARVELOUS MRS. MAISEL, AMAZON 2 Peter Morgan THE CROWN, NETFLIX 3 Lena Waithe THE CHI, SHOWTIME 4 Bruce Miller THE HANDMAID’S TALE, HULU 5 Pamela Adlon BETTER THINGS, FX 6 Michael Schur THE GOOD PLACE, NBC 1 6 7 Justin Simien DEAR WHITE PEOPLE, NETFLIX 8 Whitney Cummings ROSEANNE, ABC 9 David Shore THE GOOD DOCTOR, ABC 10 Dan Futterman THE LOOMING TOWER, HULU 11 Courtney Kemp POWER, STARZ 12 Alec Berg BARRY AND SILICON VALLEY, HBO 2 7 8 10 11 4 3 5 12 Ways a d a e L o t Writers Room SHOW 9 12 RU N N ER MIT SU M 0 2 18 the TV upfronts, top showrunners Heading into Emmy season and s (“ ‘I already have a black show.’ ng eti me ch pit ork tw ne on d loa un cal storylines and the impact liti po , e”) fac my to ht rig t tha d He sai y and the future of funny: rit pa y pa s, ne sce sex on — oo of #MeT ge it’s sending out, there is no ‘If we’re thinking about the messa ’ By Lacey Rose comedy. Comedy is over, it’s dead OGR APH ED BY COMEDY SHOW RUNN ERS PHOT Austin Hargrave APH ED BY DRA MA SHOW RUNN ERS PHOTOGR Koury Angelo “Our job is not to take care of people’s feelings,” says Whitney Cummings, the 35-year-old stand-up and selfidentiﬁed “lib-tard” who was brought in to co-run ABC’s revival of Roseanne. “Our job,” she continues, with Pamela Adlon, 51, creator-star of FX’s Better Things, nodding beside her, “is to make people think and make them laugh and make them talk.” Those were the motivations for Cummings and her writing staff to wrap themselves, narratively speaking, in such charged topics as guns, drugs, parenting and the SHO W SU MR U N N E R MIT 201 8 election of President Trump for the controversial working-class comedy reboot. And her staff is not alone. Dear White People creator Justin Simien, 35, parlayed his Sundance indie into a Netﬂix dramedy, through which they unspool unﬂinching racial commentary in half-hour pops. “Our job,” Simien adds, “is to make you uncomfortable.” This spring, with another Emmy season underway, THR gathered 12 top showrunners for two separate conversations (April 16 and April 28) that also touched on such hot-button Hollywood issues as pay parity, inclusion and building trust in the writers room. Joining the pair of discussions: Alec Berg, 49 (HBO’s Barry and Silicon Valley); Dan Futterman, 50 (Hulu’s The Looming Tower); Courtney Kemp, 41 (Starz’s Power); Peter Morgan, 55 (Netﬂix’s The Crown); Bruce Miller, 53 (Hulu’s The Handmaid’s Tale); Michael Schur, 42 (NBC’s The Good Place); Amy ShermanPalladino, 52 (Amazon’s The Marvelous Mrs. Maisel); David Shore, 58 (ABC’s The Good Doctor); and Lena Waithe, 33 (Showtime’s The Chi). Their conversations, condensed and edited together here, offer a close look at the challenges of staying creative and relevant in TV’s crowded and rocky landscape. Debating Storylines LENA WAITHE A big debate we had was: Do black people call the cops? DAN FUTTERMAN Didn’t they trust you to answer that question? WAITHE I don’t have a black exec on the studio or network side, and so SET DESIGN BY DANNY DIAMOND & LISA BAZADONA. MEN’S GROOMING BY SU HAN AND TAYLOR TOMPKINS AT DEW BEAUTY AGENCY. CUMMINGS HAIR BY DRITAN AT FORWARD ARTISTS, MAKEUP BY KATHLEEN KARRIDENE. ADLON HAIR BY RICHARD DE ALBA, MAKEUP BY TAMAH KRINSKY AT THE WALL GROUP. ON-SET STYLING BY TAYLOR HATCH. there is a level of trust that they have to have for me. This came up in the room, which is predominantly African-American, and sometimes things can be generational. There was a writer in our room who basically said, “Well, if I’m in trouble, I call the cops.” But for a lot of us, we’re like, “We wouldn’t do that, we’d want to ﬁgure it out on our own.” So, there’s a crime committed in the pilot, a character’s younger brother is shot and killed, and he’s dating someone from the right side of the tracks who says, “Maybe you should call the cops.” Ultimately, we gave him the line, “I’m not about to call the cops, the cops are not about to do nothin’.” BRUCE MILLER So, you took the debate from the writers room and put it in the story. That’s one of the most interesting things about diversity. When I started my career, there was often one woman in the room. My room now is basically all women and me. And the thing that you get is the disagreement. Because if you have one black person in the room, that black person speaks for all black people in the universe. COURTNEY KEMP Blackipedia or Blacktionary. Been both of those on many shows. (Laughter.) MILLER Instead, we have discussions. We had a very long one about what it actually feels like to get your period and how can you tell or not when you start to bleed and all that. And the entire room, all they did was disagree with each other. WAITHE Because everybody has a very different experience. MILLER Right. And it’s funny because you think, “Oh, there’s a universal answer to this.” And I just need a line. FUTTERMAN We have a similar thing on our show [which follows the FBI and CIA in the years leading up to 9/11]. There’s a lot about the Koran, and there’s a lot of Arabic dialogue. And we were leading up to a big interrogation in the 10th episode with Ali Soufan and a terrorist named Abu Jandal, and it’s in Arabic. A lot of the way he gets [Jandal] to speak is he shames him about his lack of knowledge about the Koran. And when we handed in the episode, we got a call from Hulu. They said, “You realize that this is 12 pages in Arabic and it doesn’t cut to anything else, right?” And we said, “Yeah, we do realize that. (Laughter.) That was intentional, and we’ve been leading up to this.” But in terms of the opinions, you ask two Jews about the Torah, you get three opinions; it’s the exact same thing about the Koran. We had a couple of guys of Muslim descent, and then we had the actors, and we had about 14 opinions about where this conversation should lead. DAVID SHORE My challenge is I FROM LEFT: COMEDY SHOWRUNNERS BERG, CUMMINGS, SCHUR, SHERMAN-PALLADINO, SIMIEN AND ADLON WERE PHOTOGRAPHED APRIL 16 AT LINE 204 STUDIO IN L.A. have a character at the center of the show who has autism. So how do I make him fully dimensionalized while being true to people with this condition and on this spectrum? It’s important that I don’t turn him into the magic person with autism where he’s got a condition, but he’s ﬁne, he’ll solve all the problems. Killing Off Characters KEMP On my show [about a drug dealer and his family], characters die every season. I’ve had actors who I loved personally and I was crying as I typed their demise. MILLER But they die so well. KEMP They do die so well. (Laughter.) But in the case [of Raina], I felt like there was no choice. My show is governed by the principle of surprising and inevitable, so the dominos have to fall a certain way. The character’s twin brother had committed a series of acts for which, in their world, you get “got.” So then his sister, being a white hat in our show, tries to save her brother from his fate and, as a result of him making these choices, she is the one who gets hurt. That is surprising because it’s not him, but it’s inevitable because he made some terrible choices. I did hide [her death] from the network for a little while. I always talk to the actor about a week before the production draft goes out. And in this case, you have to talk to the actor and their mom. “ I’ll probably make a phone call to Sony to say, ‘Hey, you’re doing it right, right?’ Because I literally don’t know what my people are being paid and I’m counting on them to be responsible.” SHORE, ON PAY PARITY FOR HIS SERIES’ STARS T H E HOL LY WO OD R EP ORT ER 59 M AY 9, 2018 THR So, what is that conversation? KEMP This person will no longer be on the show after episode nine, and it’s not personal and it’s not about your performance, it’s just about where the story takes you, no different than anyone else. This was not the ﬁrst character I’d killed off, by the way, this is like deep into season four of a lot of people getting “got” on the show. It was more for the child actor, she was frightened and confused. And then you bring the parent in to say, “Hey, it’s not the end of the world, there will be other jobs,” that kind of thing. But that was a hard one. Not the hardest. THR What was the hardest? KEMP I had one actor who told me that I was ruining the show and that if he wasn’t on it that a certain segment of the population would never watch it again. And I was like, “OK, dude.” (Laughs.) SHORE You just made it easier. KEMP Yeah, in a way. But it’s hard because you’re ﬁring someone. And especially for a series regular, that’s a big check you’re telling them they’re not getting. So, it’s tough, but it’s also part of our show. And by the end of the season, there’s a joke among the actors, “Do you have to go talk to Courtney?” MILLER You’re the hammer. KEMP I’m the grim reaper sometimes. And some people have to be real troopers because their dead bodies have to stay in one position for a couple hours. WAITHE They’re thinking, “Did I put enough in my savings account? I shouldn’t have bought that Tesla.” (Laughter.) Actor Pay Parity PETER MORGAN I’ve been listening to everyone talking, particularly about ﬁring people and stuff, and I wouldn’t do that. No, no, no. Each one of us is doing six full-time jobs. So, you have to think, “Well, where am I prepared to let other people just take over completely?” And there are some areas where some of us write less, some of us write more. I have absolutely nothing to do with business affairs, nothing at all. So, when that story broke [about star Claire MORGAN (CENTER), WITH SMITH AND FOY, SAYS HE WASN’T AWARE OF THEIR PAY DISCREPANCY ON THE CROWN. SHORE I’ll probably make a phone call to Sony [the studio behind his show] to say, “Hey, you’re doing it right, right?” Because I literally don’t know what my people are being paid and I’m counting on them to be responsible. Shooting Sex Scenes WAITHE I’ve been very involved in Time’s Up and that movement, thing, and I left set as well. There were as few people as possible. SHORE I don’t do [sex scenes] as often, obviously, but, yeah, I chose to leave the set. And then the next day, the actress came to me and asked how she was in that scene, and I go, “Uhhh …” Jesus, I don’t know how to behave. (Laughter.) MILLER We do a lot of very odd sex scenes. I have to say, our crew, they are so respectful to the point where every single monitor there has a whole box of black around it so nobody sees anything, and we have guys who stand on set with their backs to Lizzie. So, the boom operator is doing his job and the guy who is pulling his cable is not looking. KEMP But the other piece of that is, how many women do you have on set who are operating cameras? show came “My of age when Weinstein and all that started happening. Suddenly people said, ‘Oh, it takes on new relevance.’ I’m like, ‘Really? Because women have been gettin’ a finger up their twat for years.” SHERMAN-PALLADINO, ON COMEDY IN THE #METOO ERA and for season two, we’re making sure that women feel safe on the set and we’re hyper-aware of what that means because there are sex scenes there. We want to make sure we’re talking to these actresses and also talking to our male actors and making sure they’re aware. Because I don’t play. I’m like, “Look, it’s the city of Chicago, people die every day. So if you wanna play that game and be disrespectful or misbehave on set with an actress or anyone, I will happily call Showtime and say, ‘This person has to go,’ and you will get shot up and it’ll be a wonderful ﬁnale.” KEMP On sex scene days, I actually have thrown people off set. “It’s a closed set, so, like, why are you here? What is your function? If you’re not holding the boom or operating a camera and you’re not holding the robe. … Like, there are 10 jobs that are necessary for a sex scene. Other than that, get off set.” And I will go around and boot people. In a way, there is something about having a woman showrunner, which means that I have asked you to take your clothes off and go through this sex scene and I’ve promised you you’re going to be safe on my set and you believed me because I was also female, so now I have to … WAITHE It’s your responsibility. KEMP I have to take the responsibility on. FUTTERMAN Yeah, we did the same T H E HOL LY WO OD R EP ORT ER Life Imitating Art WHITNEY CUMMINGS A big part of my involvement [on Roseanne], because it stars a character and person who voted for Trump, is that I was the progressive libtard in the room, and I really wanted to dig into the hypocrisies and all the hot-button issues that we’re all talking about. So, [the Conners] have a gun in the house, and the story was about how they can’t ﬁnd it, and I really wanted the 5-year-old kid to ﬁnd it. She was gonna come out and be holding it, and it made everyone very uncomfortable, which is why I wanted to do it. I thought for a multicam, this could be incendiary and interesting and start a conversation and show the dangers inside the home of these kinds of choices. And the network — well, everyone was pretty freaked out about it. And I fought really hard, and it was a hill that I died on. We didn’t end up shooting that, and then Parkland happened and I was like, I … JUSTIN SIMIEN Should’ve done it. CUMMINGS Should have done it? You think I should have done it? AMY SHERMAN-PALLADINO Oh, I think you should’ve done it. CUMMINGS I was like, “I’m sure they would’ve made us cut it later, anyway.” SIMIEN They would’ve. PAMELA ADLON Absolutely. SHERMAN-PALLADINO Or they 60 M AY 9, 2018 would’ve done what they do, which I think is always a pussy move, which is delay it. Because if you believed in it in the moment, then you believed in it. And even if it takes on a different tone. … My show came of age, for the eight episodes that I’ve done so far, when Weinstein and all that started happening and suddenly people were like, “Oh, it takes on new relevance.” I’m like, “Really? Because women have been gettin’ a ﬁnger up their twat for years.” ALEC BERG When we started shooting Barry, this was before the #MeToo thing, and there are a couple of things in the show that reviewers have pointed to and said, “Oh, they took on the #MeToo movement there.” There is a scene SET DESIGN BY LISA BAZADONA. MORGAN AND SHORE GROOMING BY SU HAN AT DEW BEAUTY AGENCY. FUTTERMAN GROOMING BY JUANITA LYON AT CELESTINE AGENCY. MILLER GROOMING BY BLONDIE FOR ALBA1913 AT EXCLUSIVE ARTISTS. WAITHE HAIR BY FELICIA LEATHERWOOD, MAKEUP BY REBEKAH ALADDIN. ON-SET STYLING BY JORDAN GROSSMAN. FOY: ALEX BAILEY/NETFLIX. Foy earning less than Matt Smith], I was as horriﬁed as the next person. THR Are you guys going to be more involved or at least be knowledgeable going forward? MORGAN No, you can’t be. THR You can’t be? MORGAN If you want to stay healthy and alive — and I would suggest that all of us are on the verge of bad health and insanity — you have to delegate. I was asking Bruce, and he goes on set a lot, and I would love go to on set more. I probably, to micromanage the culture of the show that you’re on, I’d love to know more about what decisions are we making with pay, who are we paying and what are we doing, but I simply have to let my colleagues and co-producers do that, and I have to say, “Well, if I only have so many hours or so much energy, this is the bit that I think I’m best suited to.” THR Given what a hot button this has become and how much a conversation like this can usurp a show, do the rest of you feel a responsibility going forward to be more involved? SHO W SU MR U N N E R MIT 201 8 where a character is talking to an agent who may or may not sign her, and he basically says he’s deciding whether to fuck her or sign her, which is something I had heard an agent say. And it was like, whoa, that one went in the memory bank. Now, oddly, we get credit for “Oh, they saw the movement.” The #MeToo Impact on Comedy ADLON It’s very dangerous to make your content go into a safer direction. Before the #MeToo thing happened, I would get the obligatory letter from my network, “Dear showrunners, please hire women.” And I would be like, “What the fuuuuck?” (Laughter.) “Please hire all diversities and whatever.” I’m FROM LEFT: DRAMA SHOWRUNNERS MORGAN, KEMP, FUTTERMAN, SHORE (ON FLOOR), MILLER AND WAITHE WERE PHOTOGRAPHED APRIL 28 AT LINE 204 STUDIO IN L.A. like, “Is this not …?” (Motions to herself.) So, now I have this [#MeToo] to tackle and people are like, “You can address this all directly in your show. This is your voice and your show.” And it’s like, everybody just relax. Let me try to maintain the climate of my show. When you were talking about the [agent] in Barry, did it date you because you had that and nobody would dare do that [now]? BERG No, but it was interesting that it changed the context of how people received it. CUMMINGS Yeah, the joke wasn’t funny anymore. ADLON That’s right. There is a stank on everything and it can’t just be dirty or funny. And when do we ever go back to that? We want to be able to tell whatever story we wanna tell. My network never says no to anything, never mandates anything, but when it came to the storyline at the beginning of the season about my 16-year-old daughter dating a 35-year-old, they were like, “Eeehhh.” I was like, “I don’t know that she slept with him. I honestly don’t. He is procuring her. I want to tell this story.” SHERMAN-PALLADINO Comedy is heading into a very dangerous place right now and I am very worried about it. THR How so? SHERMAN-PALLADINO If we start not being able to do stories because viewed through the lens of #MeToo or this or that … that you can’t suddenly have anyone have an apolitical position or thinking about the message that it’s sending out, there is no comedy. Comedy is over, it’s dead. BERG It feels like there is this thing that’s like outrage as a recreational activity now. CUMMINGS I need to hate something. Watch the drama and video showrunners reveal how their writers would best describe them at THR.COM/VIDEO T H E HOL LY WO OD R EP ORT ER 61 M AY 9, 2018 Top scribes reveal the hideouts, habits, coffee dosages and companions (three dogs, two cats) that help get the stories flowing By Bryn Elise Sandberg of cofee. Mostly I write whenever, wherever, however I can because with two little kids, I just don’t have that much free time.” LAETA KALOGRIDIS Altered Carbon “My writing rituals involve making endless cups of tea and covering myself with pets and blankets. I’m not sure writing while literally having three dogs and two cats on you really counts — although I’ve been known to write animals into my shows when on location so that I can borrow them from the wrangler to sit with me while I’m writing.” SALIM AKIL Black Lightning GLEN MAZZARA LIZ TIGELAAR The Dark Tower Little Fires Everywhere “There’s a tree house in the yard. It’s maybe 75 square feet, big enough for a built-in desk and a tiny bathroom. It’s got a rustic cabin feel. The tree house does lend itself to certain rituals. I have to literally sweep away the cobwebs, wipe up detritus and create ‘a clean, welllighted’ space. It’s a Gothic process that mirrors going into my imagination and finding the story with its particular scenes and rhythm.” “I hole up, don’t shower for four days and relish shutting out the world. Whether it’s making nachos, going into a wormhole of a) Carly and Bo from Days of Our Lives circa 1990-91; b) anything involving the 1996 Women’s Gymnastics Team; or c) drinking wine and shopping on Zara Kids for clothes for my 3-year-old, I will do anything not to break a story. Even exercise.” SARAH TREEM GLORIA CALDERON KELLETT The Affair One Day at a Time “The things I always need when I’m writing are thick, woolly socks, some place to rest my feet and plenty “Before I work I usually put together a playlist. Songs that inspire the mood of whatever I’m writing. Then I choose a scent of candle. Usually a diferent scent for a diferent show. Writing for me is about all the senses. And cofee. Lots of cofee. … Cuban coffee, of course!” “I take long drives late, late at night because it is meditative. And I only sleep on the couch the entire time I’m writing. I don’t like to get comfortable.” ALINE BROSH MCKENNA is it has to be elaborate and full of procedures and tactile elements — and the longer it takes, the better. Fava beans, bone broth, blanched almonds — anything you have to take out of a shell that is really, really tedious. And then I go back and forth between the kitchen and my writing space.” TANYA SARACHO Vida “I clean my writing space with Florida water — it’s a witchy thing; it’s not water from Florida. Then I light incense; I have this little bell that I ring three times and then this palo santo spray. I light a ton of candles: There’s one for creativity, one for my saint and then one for my archangel Jophiel, who is the archangel for writers and artists. And then I do a little, ‘Please illuminate!’ and look to the sky, and then I start — and the incense doesn’t stop. If it does, I put another one on.” Crazy Ex-Girlfriend JOE WEISBERG AND JOEL FIELDS “In the bath at night, I sift through everything I thought of or anything that was pitched during the day and let my thoughts bubble up — see what I did there? — and that’s when I make some decisions about where I think we need to go. The bathtub, for me, is an ideal workspace — relaxing, quiet, private and no fuss about what to wear.” The Americans ILENE CHAIKEN Empire “I have to cook or bake something to mark the beginning of my writing process. I usually cook something new that I never made before. The thing that’s important about it “When we’re struggling to break a story or wrestling with a challenging character turn, we often say, ‘Let’s walk on it.’ Sometimes we walk for 20 minutes, sometimes hours. If we have enough good ideas that we start to get nervous we’ll forget them, we talk into a voice recorder, then email the file to our ofice, so when we get back, a typed version is waiting for us to work from. Other times, we’ll be putting our coats on to head out for our walk, and we’ll solve our story problem before we get to the door. Then we have to decide if we’re still going to take the walk. Usually we do.” Illustrations by Travis Millard T H E HOL LY WO OD R EP ORT ER 62 M AY 9, 2018 BERG Right. Where it’s just like, what are you gonna do? Well, I might go to the gym or I’m just going to rage on the internet for an hour. SIMIEN People literally stopped at the word “White” in my title and like, “He’s causing a genocide for white people.” (Laughs.) SHERMAN-PALLADINO And unfortunately, comedy, because comedy at its core is a tool that is aimed at oppression and sadness and the worst in human nature, not the best, you don’t get comedy off of great, fun, happy, delightful people. I’m sure Mandela’s lovely, but he ain’t funny. You don’t go to that well for great comedy. You go to the worst of people or the shallowness or the pain and the outcasts, and that’s what makes shit funny. And suddenly it feels like we’re entering this world where it’s like you’ve just got to show wonderful, terriﬁc, delightful things — SIMIEN Which is so boring. SHERMAN-PALLADINO It’s so boring! BERG Also, it disarms satire completely. CUMMINGS There was a big issue on our show about whether Dan Conner [can call] undocumented workers who are now taking his jobs illegals. There was all this hullabaloo on set about “Can you say ‘illegals’? That’s an offensive word and we’re not supposed to say that, that’s not the PC term.” But this man would not know what the right word is. So if we have him saying “undocumented workers,” it just feels false and you’re not telling the story. ADLON Oh God, no. SIMIEN Everyone assumed our show was a response to Trump taking ofﬁce. But no, we just told the truth. Like, racism didn’t begin when Trump took ofﬁce. If you tell the truth, no matter what’s happening in the world, it will work and resonate. CUMMINGS For us, there was all this feedback of like, “This show is part of the problem.” And I’m just like, “[Trump] got elected before this show came back.” Like, [Roseanne Barr’s] Twitter feed is her Twitter feed. But everyone just needs something to blame right now. MYLES ARONOWITZ/STARZ ENTERTAINMENT. How TV Writers Find the Muse: ‘I Have to Cook or Bake Something’ Predicting How Storylines Will Land CUMMINGS There are times [in the writers room] where I’m like, “This is offensive, but this is what these characters would say when no one is watching and when they don’t have a bunch of lib-tard people controlling what they say.” So, I found a lot of times my job was just to go, “If you feel that that’s what this person would say behind closed doors, then let’s go with it.” SIMIEN Everyone needs to see themselves and what’s happening. And see others. CUMMINGS There are a lot of things where if this person was related to me, over Thanksgiving I’d yell at them about their beliefs, but there are certain people who talk like this, and to not represent them scares me because then they want to feel represented and seen and heard and they go do it by voting stupid. BERG And representing someone is not the same thing as endorsing them, right? MICHAEL SCHUR We had the same thing happen. The ﬁnale of [The Good Place] aired the night before Trump was inaugurated. And we had a ﬂashback to Kristen Bell’s character, she’s walking through a grocery store and it was the ﬁnal moments of her life and the idea was to present a person who was the most selﬁsh person in the world. She went through and she bonked into someone, didn’t care. She dropped a bunch of stuff, didn’t care. She read a magazine and then tossed it back at the thing where she took it from and it fell down, she didn’t care. And the song that was playing in the grocery store was “My Way” by Frank Sinatra because it’s the ultimate tribute to selﬁshness. It’s like, “I don’t care what you think, I’m gonna do this my way.” And the next night, Trump was inaugurated and his ﬁrst dance was to “My Way” by Frank Sinatra. CUMMINGS No! SCHUR Yes. ADLON Oh my God. SHERMAN-PALLADINO But also we have to accept that there are going to be very offensive jokes, jokes that cross the line. There’s going to be Kathy Grifﬁn holding up Donald Trump’s head. And I’ve got WAITHE Not at all. KEMP I feel like you can go in two “ I can go in and for the ﬁrst 10 minutes talk about how much I love The Crown. Walls go down. Now when I pitch you the show about the drug dealer, it doesn’t matter, I’m the girl who likes The Crown.” KEMP, WHO CREATED POWER WITH 50 CENT (BELOW LEFT, WITH OMARI HARDWICK ON THE SHOW) to tell you, I was very disappointed in the Hollywood community for not coming to her defense. They hung that girl out to dry. I didn’t think it was funny, I wouldn’t have personally thought, “Hey this is gonna be my [thing],” but who the fuck cares? Comedians are supposed to push the boundaries so that the rest of us know where the fuck they are. CUMMINGS I texted her. SHERMAN-PALLADINO Well, good. Pitching While Black WAITHE Usually it’s predomi- nantly white execs or there’s often the poor token black exec they bring to the room, whoever they can ﬁnd in the ofﬁce just to say, “Come on, we got a black person coming in here, we wanna look good.” (Laughter.) And that black exec can either be friend or foe. If they are a black person who grew up in Connecticut or went to a private school, and I’m in there pitching The Chi, they’re gonna go, “Well, that wasn’t my experience. I’ve seen that experience of black people before, I don’t want to greenlight a show that’s going to tell that story again.” The truth is, going in to pitch is hard, period, but what people don’t realize is that when you’re someone who is “othered” — and it’s not just for black people, it’s if you’re a trans person, if you’re someone who maybe has a disability and you want to come in and tell a story about that — if you’re sitting with people for whom that’s not their experience, yeah, if you have something that’s phenomenal and they can just kind of relate and get it, they’ll do it, but oftentimes there is a level of not understanding and not being able to relate. Also, the top execs, the people with greenlight power, they live in Brentwood, their kids go to private school. It’s Big Little Lies. So, if you’re not pitching Big Little Lies, sometimes they’re like, “Huh, I don’t get it.” Or they say yes and then try to make it more relatable to them. THR Are those rooms changing with the success of projects like Power, Empire and Black Panther? KEMP The people at the top who are saying yes haven’t changed. different ways, and this is what I tell younger writers. You can go in and pitch the universal part ﬁrst. So, I go in and pitch Power and I say it’s about the path not taken, it’s about my ﬁrst love, the one that got away, it’s about does my past dictate my future. Anybody can relate to that. You tell that story ﬁrst, the speciﬁcs don’t matter. That’s one way of doing it. And if you can’t ﬁnd the universal in your pitch, it’s not the right show. Because it’s not gonna work. A show that’s just about you and living on your block is not going to be interesting enough. But you also have to research the people in the room before you go in because if you are just looking at them as a monolithic group of upper-middle-class white people, well, you screwed up, too, because somebody in there is speciﬁcally from 10 miles from where you grew up and then you can connect on that level. MILLER Or have greenlit 20 really cool, interesting shows all over the map. KEMP Right. What appeals to them? Because if you go in and you see that this person has greenlit this, that or the other, they might actually vibe with one speciﬁc thing in your pitch. What are your references? What are the things that you like? I can go in and for the ﬁrst 10 minutes talk about how much I love The Crown. Walls go down. Now when I pitch you the show about the drug dealer, it doesn’t matter, I’m the girl who likes The Crown. I think sometimes we make the whole argument about, “I’m different, so they’re not gonna buy it.” Nope. Go in with a good pitch and if the reason they don’t buy it is because you’re different, that’s their loss. When I was pitching Power, I had an executive say, “Well, I already have a black show.” He said that right to my face. SHORE Wow. KEMP We did all right without him. SHOW RU N N ER MIT SU M 0 2 18 T H E HOL LY WO OD R EP ORT ER 63 M AY 9, 2018 Jeffrey Tambor: ‘Lines Got Blurred’ Sitting for his first interview since being fired from Transparent, the veteran actor admits, ‘I was mean, I was difficult,’ but takes aim at claims of harassment in one of the murkiest episodes of the #MeToo era BY SETH ABRAMOVITCH PHOTOGRAPHED BY ERIC OGDEN T H E HOL LY WO OD R EP ORT ER 64 M AY 9, 2018 “Everything is just clearer to me,” says Tambor, photographed April 16 at Muscoot Tavern in Katonah, New York. The 10:15 to Katonah arrives from Grand Central Terminal precisely on schedule at 12:03 p.m. Standing across from the train platform on a chilly Monday in April is Jeffrey Tambor, the 73-year-old veteran actor best known for a trio of roles on groundbreaking series: The Larry Sanders Show, Arrested Development and, most recently, the critically adored and zeitgeisty family dramedy Transparent. It’s in this picturesque suburban hamlet just 47 miles north of the chaos of midtown Manhattan that Tambor and his wife, Kasia, 49, raise their four children, who range in age from 8 to 13. And since being fired three months ago from Transparent, it’s here where Tambor has been exiled in what will surely go down as the darkest chapter of his four-decade career. M Tambor (left), as Maura Pfeferman, and Transparent creator Jill Soloway (right). is a dizzying tale entangled in Rashomon-like perspectives and political trip wires. And at the center of it all stand three ﬁgures: Tambor and his two accusers, Van Barnes, Tambor’s former assistant, and Trace Lysette, an actress on the series. That Barnes and Lysette are both transgender women is not insigniﬁcant. After all, Transparent — led by Tambor’s twice-Emmy-winning performance as Maura Pfefferman — was only recently being held up as a beacon of social progressivism, lauded by activist groups like GLAAD for igniting a global transgender movement. In the T H E HOL LY WO OD R EP ORT ER blink of an eye, however, all that has changed, as Tambor — who admits to having lifelong anger issues but denies sexually harassing his accusers — watched his image go from that of LGBTQ folk hero to fugitive. TAMBOR LEARNED that he’d been ﬁred in a text message from Jill Soloway on Feb. 15. That was the day Amazon — still reeling from the exit four months earlier of its top content executive, Roy Price, over sexual harassment 66 M AY 9, 2018 claims — announced it would not be renewing Tambor’s option after an internal investigation. Soloway, the show’s 52-year-old creator and showrunner — whose father’s transition inspired the story — followed up that text with a phone call a few minutes later. Tambor was at his local gym at the time, sweating on a recumbent stationary bicycle. “I don’t remember the whole conversation,” he says. “But I do remember her last words were: ‘Do you need help with a statement?’ ” He went into HAIR AND MAKEUP BY MEL PALDINO FOR KEVYN AUCOIN AT ENNIS INC. SOLOWAY: MERIE WALLACE/AMAZON STUDIOS. Moments later, he is in a coffee shop on the town’s main street. “I love diners,” says Tambor, freshly shaven and neatly dressed in a pinstriped shirt and a zippered navy pullover. “I used to live on 100th and Second Avenue, on the Upper East Side. And I practically lived at a diner.” The conversation continues like this for a few minutes, a stiff exchange of pleasantries, during which Tambor twists a plastic straw, shredding its paper sleeve. He pauses. “I have to tell you something,” he says, his ﬁngers trembling. It’s obvious before he says it: He’s nervous. “This is the ﬁrst time I’ve talked about this, ever,” he says. “And possibly the last time. I used to teach acting, you know, and I’d always say, ‘Announce where you are.’ So this is me doing that.” Where Tambor is right now is uncharted territory. He is about to become the ﬁrst high-proﬁle subject of the sweeping #MeToo movement to sit for an in-depth interview about his alleged sexual harassment scandal. His Tambor with his wife, Kasia Ostlun. “This is a death. This is grief. Maura Pfeferman is no longer,” Tambor says. shock: “If you can picture a man outside a gym for forever, in his workout shorts and everything, just staring.” Tambor had been preparing himself for “a slap on the wrist” for what he says were his temperamental outbursts on the set. Never did he think his biggest career triumph would end in such unceremonious disgrace. The path to the ﬁring began four months earlier, when, inspired by the #MeToo declarations she was seeing on social media, Barnes — a gregarious, 43-year-old blonde who relocated from rural Missouri to Los Angeles for the opportunity of working for Tambor — typed her own #MeToo account on her personal Facebook page. “Oh hell yeah! ME TOO!” Barnes wrote on Oct. 16. “[I was] even told [by Tambor] that ‘for that kind’a money and after all that time of working for him that I should be sleeping with him if I want a Hollywood-industry-appropriate pay grade.’ ” The post, which never mentions Tambor by name, referred T H E HOL LY WO OD R EP ORT ER to an employer who gave her “butt pats,” made “ ‘why aren’t I taking care of him sexually’ comments” and subjected her to “listening to his porno.” Wrote Barnes: “I was depressed and thought about suicide when I left that job.” The post rapidly circulated among the transgender community and beyond. On Nov. 8, Amazon Studios conﬁrmed that an investigation into Barnes’ claims was in its “early stages.” Tambor released a statement that day dismissing Barnes 67 M AY 9, 2018 as a “former disgruntled assistant … I am appalled and distressed at this baseless allegation.” One person who read Barnes’ post with interest was Lysette. A striking brunette with fair skin and aquamarine eyes, Lysette, who prefers not to disclose her age, grew up in Dayton, Ohio — she was the only male on her high school cheerleading team — then moved to New York City, where she began transitioning to female. She later found work at a Manhattan strip club, where she and it would land on my lips,” she recalls. It wasn’t until the ﬁlming of the third episode of season two, “New World Coming,” that Lysette felt Tambor had crossed a clear line. While shooting a breakfast scene in skimpy pajamas, Lysette says she was told by Tambor, “My God, Trace, I want to attack you sexually.” (Billings, who was also in the scene, conﬁrms her account to THR). Recalls Lysette, “We were like, ‘What? Who says that?’ ” A few minutes later, she says, Tambor “waddled over to me in his pajamas and put his feet on top of mine, and started these little, like, thrusts on my hip. They were discreet and insidious and creepy. I felt his genitals on me. And I pushed him off.” On Nov. 16, Lysette detailed that incident in a statement to THR. “Given the circumstances of my life,” she wrote, “I was used to being treated as a sexual object by men — this one just happened to be famous.” She went on to express her hope that Amazon would “ﬁnd good in this, and use this as an opportunity to re-center the other trans characters in this show. Don’t let the trans community suffer for the actions of one cis male actor. Remove the problem and let the show go on.” That Tambor is cisgender, or identiﬁes as his birth sex, was a sticking point for many in the trans community from the start. At a season one screening at the Directors Guild of America, an From left: Gaby Hofmann, Tambor, Duplass, Judith Light, Jill Soloway, Amy Landecker, Rob Huebel, Lysette and Billings at the Paley Center in New York in September for Transparent: An Evening With the Pfefermans. audience member said Tambor’s performance was “like watching blackface” and that he should be replaced by a trans actress. The suggestion mortiﬁed Tambor, literally. “I just made like a possum and played dead,” he recalls. “I remember turning to my right, and Jill was in tears.” As the show grew in popularity and acclaim, so did the “elephant in the room,” as Tambor puts it. “Because the revolution got bigger. So the very thing we were doing, the awakening to this movement, made the disparity [of my non-transness] more apparent.” After Lysette’s claims went public, Tambor convened an emergency meeting with his wife, Poland-born actress Kasia Ostlun, and his reps, including Gersh’s Leslie Siebert, his agent of 30 5 Key Players in the Case Against Tambor JILL SOLOWAY The Transparent creator, who identiﬁes as “gender nonbinary,” says that Tambor “made enemies, and I don’t think he realized he was making enemies.” FAITH SOLOWAY According to Tambor, Jill’s older sister, a producer on the show, sent him an email describing the allegations against him as a “coup” on the set. VAN BARNES Tambor’s former personal assistant says the actor subjected her to sexual propositions and attacks on her self-esteem: “It became some type of Stockholm syndrome.” TRACE LYSETTE The actress alleges Tambor had a tendency of kissing her on the lips and humped her against a wall. “As trans women, we are survivors,” she says. “You endure what you have to.” T H E HOL LY WO OD R EP ORT ER 68 ZACKARY DRUCKER Tambor and the two accusers brieﬂy lived together in a home owned by the parents of this producer on the show, a longtime friend of Barnes’. M AY 9, 2018 years. “My advice to him was be truthful,” recalls Siebert. “Tell people your understanding and your truth. That’s all you can do.” They crafted a second statement, this one taking on a measure of culpability. “I ﬁnd myself accused of behavior that any civilized person would condemn unreservedly,” it read. “I know I haven’t always been the easiest person to work with. I can be volatile and ill-tempered, and too often I express my opinions harshly and without tact. But I have never been a predator — ever.” The following day, Tambor received an email from Faith Soloway, 54, Jill’s older sister and a writing producer on Transparent. “I can quote it verbatim because I’ve looked at it for ﬁve months,” insists Tambor. He would not show the email to THR, but a source conﬁrms its content. “It said, ‘We are in a coup. You are fucking fantastic. You have changed the world. We have changed the world. We will get through this. Love, love, love, Faith.” Faith Soloway conﬁrms having sent the email. “Things were happening so quickly, with people being accused and held accountable by the #MeToo movement,” she says. “In the moment, I felt that Jill and Jeffrey were under attack. I knew that some people disapproved of Jeffrey, a cisgender actor, playing Maura, and I was upset that Jill, as the show’s creator, hadn’t had the DUPLAS: JOHN LAMPARSKI/WIREIMAGE. J. SOLOWAY: BRANDON WILLIAMS/FILMMAGIC. F. SOLOWAY: TODD WILLIAMSON/GETTY IMAGES FOR AMAZON STUDIOS. BARNES: TYLER ESSARY/NBC. LYSETTE: JASON LAVERIS/FILMMAGIC. DRUCKER: TODD WILLIAMSON/GETTY IMAGES. BTS: JENNIFER CLASEN/AMAZON STUDIOS. never let on to the clientele that she was transgender. After a bad breakup led to a suicide attempt — she slit her wrists on a side street walking home from the strip club one night — Lysette was admitted to Bellevue Hospital’s psychiatric ward. After her release, inspired by the success of the transgender actress Laverne Cox on Orange Is the New Black, she decided to pursue her acting dreams. By 2013, she was ﬂying to Los Angeles to audition for the role of Davina on Transparent, a trans woman who takes Maura under her wing. “We met with many, many trans actresses and writers in our outreach,” says Soloway of that early hiring sweep. (Since creating Transparent, Soloway has started self-identifying as “gender nonbinary”; the pronoun “they” is preferred instead of “she.”) The part ended up going to another actress, Alexandra Billings, but Lysette impressed Soloway enough to have her own character written into the show — a yoga teacher and stripper named Shea. According to Lysette, then a Hollywood neophyte, the unsolicited advances from Tambor started early on. “They began as ﬂirtation — kisses on the forehead, which was awkward,” she tells THR. “But part of me was like, ‘OK, maybe he just thinks of me as a daughter ﬁgure or something.’ ” Lysette says the unwanted affection spilled onto red carpets. “I would kiss him on the cheek, opportunity to address the issue privately [before it went public]. As the story broke, I also sent messages of support to Trace and Van, and after the allegations were presented, I never disbelieved them. I still hope everyone can learn and heal from this.” The message sent a “shock wave” through him because it led him to believe that “something was up, over and above me. Some dots were not connecting.” Suspecting he was being set up to be ousted because he is cisgender, Tambor released a third, more pointed statement Nov. 19. “What has become clear over the past weeks,” he wrote, “is that this is no longer the job I signed up for four years ago. … Given the politicized atmosphere that seems to have afﬂicted our set, I don’t see how I can return to Transparent.” Despite having been widely interpreted as such, the statement was never meant to be a deﬁnitive resignation letter, Tambor maintains, adding he “chose those words exactly to be a little abstract.” That evening, he says, he received an email from Jill Soloway (which Soloway conﬁrms she sent). “She wrote these words: ‘They have been after Maura from the beginning.’ ” Soloway responds: “While much of the trans community immediately embraced the show, some vocally opposed the casting of a cis man, Jeffrey, in the lead role. This sentiment has persisted in parts of the community — coming up again on social media in the wake of these allegations. It was a text I wrote in frustration after pouring my heart into this show for years. I wanted to tell a story that brought power and visibility to trans people and to my own family’s journey into understanding, acceptance and pride.” Over the phone, they discussed how to proceed, which for Tambor would be “one of the top-ﬁve difﬁcult phone calls of my life.” In it, Soloway — frantic and highly emotional over the beloved series’ implosion — asked Tambor if he would be “open to a third way.” Soloway suggested that, going forward, Tambor appear in the series only in ﬂashback, as Mort Pfefferman, Maura’s pretransition self. It was a not-ideal Transparent. I told people inside Transparent.” One of those people was her roommate, Zackary Drucker, a 35-year-old producer on the show who also is a trans woman. Drucker did not pass on the information. “Trace and I shared many, many conversations during our time as roommates,” says Drucker. “Since I don’t have a clear memory of this conversation, it didn’t register to me as something I was meant to, or needed to, report in the context of our professional relationship.” Barnes, meanwhile, had been laying low from the press; she’d signed a nondisclosure agreement with Tambor as part of her employment. But, on Feb. 26, a few weeks after Tambor was ﬁred, Barnes’ lawyer told her the but potentially workable concession to those who felt Tambor’s performance was an offensive example of “transface,” as some critics referred to it. Of course, the plan did nothing to address the Pandora’s box of sexual misconduct allegations that had just spilled into headlines. For the sake of the show, Tambor tentatively agreed to play the pre-trans character, just as soon as he was cleared by Amazon of the more ominous charges. But that would not happen. Tambor was interviewed for nearly 10 hours during the inquiry, in two marathon sessions. “My lawyer was present,” he says, obviously reluctant to get into the details. “They asked me questions, and I responded to said it happened, bizarrely, when Barnes, Lysette and Tambor were living together under the same roof in Drucker’s parents’ home in Highland Park, northeast of downtown L.A., where Barnes was house-sitting over the summer. Lysette, still based in New York at the time, was occupying one of the bedrooms. Before production on the second season began, there was a two-week window until Tambor’s Paciﬁc Palisades rental home would be ready. “He said, ‘You’re house-sitting, aren’t you? Do you mind if I stay with you?’ ” recalls Barnes. “I thought it was really weird. Here’s a guy of means, but he can’t afford a hotel for two weeks?” Tambor conﬁrms sharing living quarters with Barnes and Left: Tambor (center) on the set with Lysette (left) and Billings. Right: Tambor and Soloway. the questions. And that’s pretty much what I want to say about that.” Others were interviewed, as well. Staffers were asked whether Tambor had ever kissed them on the lips — which was something he often felt comfortable enough to do in their cozy work environment. “It’s a really loose set,” says one high-ranking producer who asked not to be identiﬁed. “Everybody behaves in a sensual manner because it’s a show about sex. Everyone says things like, ‘You’re so hot, oh my God. I had a dream about you last night.’ ” As Jay Duplass, who plays Maura’s music producer son, Josh, on the show, once put it, “Your job as an actor is to be emotionally present … or in the case of Transparent, have a ton of sex.” Lysette never wavered on her story, telling investigators that she reported the thrusting incident promptly and that no action was taken. “I told plenty of people,” she says. “I told people outside of T H E HOL LY WO OD R EP ORT ER NDA was no longer in effect, and she gave an interview to THR. “I was barely at minimum wage, which was a clear abuse,” Barnes said, claiming she had to endure Tambor’s severe mood swings and round-the-clock demands. Despite Barnes’ reputation for having a raunchy sense of humor — “she’s the dirtiest fucking talker in the world,” is how one staffer puts it — Tambor’s alleged offensive talk and occasional “butt pats” made Barnes increasingly uncomfortable. “Towards the end, he had proposed to me that I be his mistress,” she said. “His actions have jeopardized many people’s jobs, especially many transgender people struggling to ﬁnd work in Hollywood. … He has done this to himself.” Barnes continued speaking out on March 7, when she appeared on Megyn Kelly Today to add a startling new detail to her accusation: that Tambor had once watched her sleeping naked. She 69 M AY 9, 2018 Lysette — “My arrangements hadn’t come together. In retrospect, I should not have stayed there and just waited for my house to become ready” — but insists Barnes’ claims that he observed her sleeping naked are completely fabricated. Asked to address other speciﬁc allegations, including the propositioning and physical touching, he grows reticent. “I don’t want to characterize them,” he says. “What I said was that she was a disgruntled assistant. I think that was generous of me. I dispute her account. I did raise my voice at times, I was moody at times, there were times when I was tactless. But as for the other stuff, absolutely not.” Siebert admits to having been aware of her client’s mercurial reputation. “He’s guilty of being an asshole at times and being, you know, temperamental and moody,” she says. “And he feels awful about it and apologizes, and he’s working on himself. But in the 30 years I’ve worked with him, I’ve never been told about any behavior like what these women are accusing him of.” Tambor acknowledges the occasional outburst on previous shows — he references one “blowup” with actress Jessica Walter on Arrested Development for which he later “profusely apologized” (a rep for Walter says, “Jessica does not wish to talk about Jeffrey Tambor”) — but that something about Maura, his obsessive determination to make her as authentic as possible, brought out the worst in him. “I drove myself and my castmates crazy,” he says. “Lines got blurred. I was difﬁcult. I was mean. I yelled at Jill — she told me recently she was afraid of me. I yelled at the wonderful [executive producer] Bridget Bedard in front of everybody. I made her cry. And I apologized and everything, but still, I yelled at her. The assistant directors. I was rude to my assistant. I was moody. Sometimes I didn’t talk at all. And this is where the reader says, ‘So what?’ You know? ‘You’re coming in from the Palisades, you drive in, you get a good paycheck, you get to play one of the best roles in the world. So. What.’ ” He stares down at his barely touched lunch, a grilled ham and cheese sandwich propping up a pile of french fries. “But I was scared because I was a cisgender male playing Maura Pfefferman. And my whole thing was, ‘Am I doing it right? Am I doing it right? Am I doing it right?’ To the point that I worried myself to death.” Soloway and Tambor have not spoken since Feb. 15. That’s the day Soloway issued a statement expressing “great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on Transparent is an example of the leadership this moment in our culture requires.” Tambor issued his own rebuttal, saying he was “profoundly disappointed” in the “deeply ﬂawed and biased” investigation’s outcome and “even more disappointed in Jill Soloway’s unfair characterization of me as someone who would ever cause harm to my fellow castmates.” 70 “ I c a n q u o t e [t h e e m a i l] v e r b a t i m . IT SAID, ‘WE ARE IN A COUP. You are f uck ing fantastic. You have changed the world. WE WILL G ET TH ROUG H TH I S .’ ” Tambor still is wounded by what he characterizes as his abandonment by Soloway. “I said to her, ‘Since you know the truth, would you make a public statement on my behalf?’ It’s my biggest disappointment that she hasn’t.” To that, Soloway responds: “I never told him I was going to accuse Van or Trace of being liars. He knew that nobody could do that. And I was really working with him to help him understand that a simple apology would go a really long way. I was hoping to get him there.” Soloway’s own thinking on Tambor has evolved since the controversy broke. “I was hoping, in those early days, before Trace’s initial statement came out, that it all could have been a big misinterpretation — that one person’s harassment is another person’s dirty joke.” Eventually, Soloway realized the #MeToo movement was a “global tsunami — there’s nothing I could have done to stop it.” As for the allegations, Soloway contends that “it’s not a simple case of did he do it or didn’t he do it. Nobody said he was a predator — they said he sexually harassed people. He made enemies, and I don’t think he realized he was making enemies. You have to be very, very careful if you’re a person in power and treat people very appropriately.” As for the future of Transparent, Soloway has begun to feel “a tiny bit like we are going to be OK.” The writing staff has begun discussions on how to tackle the show’s ﬁfth — and, Soloway reveals, ﬁnal — season. “Hopefully it sets the Pfeffermans up with some sort of beautiful reclaiming,” Soloway says. “I think we’re going to get there with some time.” Since going public, Lysette and Barnes have taken different paths: Lysette still is pursuing acting in L.A. and has become politically active, speaking at events like the Las Vegas Women’s March and attending Time’s Up meetings. Barnes has returned to Missouri and enrolled in cosmetology school. “I have turned a new leaf!” Barnes wrote in an April 26 Facebook post. “This did not come with any assistance from my previous employer Transparent, nor Amazon or the fake feminist Jill Soloway, who found reason to ﬁre our perpetrator, & instead of offering me ﬁnancial reparations to upright myself again, offered me a Go Fund Me.” As for Tambor, he has only just begun to emerge from what he calls a “fugue state.” When speaking about Maura, he almost exclusively uses the terminology of death and grieving. He’s currently reading two books on the subject, The Five Invitations: Discovering What Death Can Teach Us About Living Fully and The Bright Hour: A Memoir of Living and Dying. He breaks down in tears ﬁve separate times over the course of this interview, making note of it each time he does. “She was like a friend,” he says of Maura. “That may trigger eye rolls, but she was very real to me. And I think in many ways much more awake than I.” He says he still has regular conversations out loud with Maura and is deeply disappointed that she won’t ever get “to ﬁnd her signiﬁcant other.” Despite his troubles, he still has a job on Arrested Development, the Netﬂix comedy in which Tambor plays the patriarch of another dysfunctional California clan, the Bluths. Its ﬁfth season premieres T H E HOL LY WO OD R EP ORT ER 71 M AY 9, 2018 on the streaming service May 29 in order to qualify it for the Emmy voting window. The scandal provided an unwelcome distraction during the ﬁnal months of production, which began in August and wrapped in December. Nevertheless, Netﬂix chief content ofﬁcer Ted Sarandos tells THR that it was a smooth shoot and Tambor will be in attendance at upcoming media appearances, including a May 17 premiere event in Hollywood. “In making and promoting seasons four and ﬁve of Arrested Development,” Sarandos says, “Jeffrey has always been totally professional.” So far, Tambor has earned support from fellow castmember David Cross (“a number of us stand behind him … and I am one of them,” Cross told amNew York in an interview), while another, Alia Shawkat, who also appeared on Transparent, told IndieWire she was “surprised” by the allegations but “supports the voice of the victims.” Later that afternoon, after mixing with the locals at a nearby bookstore cafe — he offers one young man, an aspiring actor, some advice about an upcoming audition — Tambor turns back to the matter at hand, pledging the lessons he needed to learn have been learned. “People change,” he insists. “It’s already changed my behavior on set. Just walking in here today, into this cafe, I hadn’t seen the owner in a long time. I mean, do you hug? Do you not hug? When you see fans …” He trails off. “You know what I do feel? More present. Everything’s just clearer to me.” Tambor spends as much time as he can with his children, whom he’s attempted to shield from his ordeal. His favorite activity is reading bedtime stories to his 8-year-old twins, Hugo and Eli. “I know Goodnight Moon pretty well,” he says. “And there’s this other book about a bear hunt. I’ve read it to every generation of child. They go on a bear hunt and they say, ‘Uh-oh, there’s mud! You can’t go over it, you can’t go under it. Got to go through it.’ And I can’t think of anything more typical in my life right now.” //David E. Kelley has created Emmy-winning, zeitgeist-defining series for three decades — navigating TV’s seismically shifting landscape (with a few bumps along the way: see Amazon’s Goliath). Now back in L.A., he talks Big Little Lies season two and the one reboot he’d endorse// ‘Intoxication Comes With the Idea’ By LACEY ROSE // Photographed by AUSTIN HARGRAVE TV Producer of the Year “I really want to make a documentary about salmon for National Geographic,” says Kelley, photographed April 24 at his Santa Monica ofice, about what’s left on his creative bucket list. David E. Kelley had every intention of making a living as a lawyer — rather than writing ﬁctional versions of them for television. In fact, after four years at Princeton, Kelley got his law degree from Boston University, then landed a job in the litigation department at nearby Fine & Ambrogne. But like all good Hollywood tales, Kelley’s had a twist: In his spare time, the Waterville, Maine, native had written a script for a legal thriller that scored him both a ﬁlm deal and an agent. And in 1986, when Steven Bochco was seeking writers with a legal background for his new NBC series, L.A. Law, that rep passed Kelley’s screenplay along. Bochco liked what he saw, and a two-week assignment turned into a full-time position. Kelley was soon elevated to showrunner and, in 1989, at age 33, won his ﬁrst of nine best series Emmy Awards; not a decade after that, he had three series of his own on the air. And by the turn of the century, Kelley was not only widely considered one of the medium’s most successful writer-producers but also had become the ﬁrst to win the best drama Emmy (The Practice) and the best comedy Emmy (Ally McBeal) on the same night. Two decades later, THR’s TV Producer of the Year found himself back on the Emmy stage, collecting a pile of hardware for his latest work, HBO’s Big Little Lies, now back in production on a second season. With his two children out of the house and his résumé as packed as ever (Audience Network’s Mr. Mercedes, Amazon’s Goliath and a second Nicole Kidman collaboration at HBO), Kelley, 62, and his wife of 25 years, Michelle Pfeiffer, have returned to L.A. after some 15 years in Northern California. “We wanted to get out of Dodge when our kids went to middle school,” he says, “but our work is here and we got tired of shuttling back and forth, and our world up there was quiet with the kids gone.” (The couple reportedly listed their Woodside home for $29.5 million.) On a late April afternoon, Kelley sits surrounded by stacks of legal pads in his Santa Monica ofﬁce to reﬂect on his proliﬁc career, why he had to be talked into doing more Lies and the show on his résumé that could justify a reboot. D got to look for a kid who’s believable as a doctor.” And then the irony was we found in Neil a kid who was believable as a doctor. The question was, “Is he going to be relatable as a kid?” You took a leave from your law gig to write for L.A. Law. When did you know you’d never return? Almost immediately. That very ﬁrst story meeting I felt completely at home. And at the end of the two weeks, which is all I had taken off from work, Steven had invited me to join the staff. So, I went back to my law ﬁrm and said, “Well, I said it was going to be two weeks, but now they’ve offered me a staff job. It’s not a show that’s on the air, and it could come and go like many do.” After about two years, one of the administrative partners called, because they were still paying my insurance, and said, “You’re not coming back, are you?” You’d later wage plenty of network wars of your own. How’d you fare? What did you learn from Bochco about fighting for what you believe in, be it in the writing or in casting an unknown like Neil Patrick Harris on your first co-creation, Doogie Howser, M.D.? There’s some expression: When the elephants ﬁght, the smaller monkeys just stay up in the trees. Well, I was up in the tree for that one [on Doogie Howser]. ABC resisted that casting, and I let Steven wage that war. We both loved Neil for it. Going into casting, we thought, “OK, we’ve You’re going to get notes forever, but the key, I learned, is to discern the good ones from the bad ones — don’t take them just because they come from above but don’t reject them just because the idea wasn’t yours. On those occasions where you knew you had the right person, they were tough battles, but I didn’t ﬁnd myself wavering internally. On Picket Fences, CBS had some concerns about Kathy Baker, when to me she was it. There were some concerns about Mandy Patinkin, too. And when I talked about James Spader becoming the lead of [Boston Legal], I heard just huge protest from ABC that the American public would never welcome him into their living room. He was a ﬁne actor, but he was not viewer-friendly to a mainstream audience. James isn’t just a ﬁne actor; he’s an incredible actor. I just said, “No, he’s it.” 73 TV Producer of the Year Once people are cast, how much interaction do you like to have with your stars? I’d say I’m most comfortable alone in the room doing the work. That could be either the joke on me or criticism on me — it’s certainly the book on me. My door is open if actors want it, but not many have taken it. James was one who really wanted to discuss every episode, and every episode was probably an hour phone call, but it was always about making the show better, and he usually had pretty good ideas about how to do it. Whereas I almost never spoke with Calista [Flockhart on Ally McBeal]. Whether she liked the script or hated the script, I never found out. All I know is that when she came to set, she was always prepared. Then there were some in between. //I might be doing this five years from now. I might not.// What would that look like? I was doing Picket Fences and Chicago Hope at the same time, and Mandy Patinkin would come in maybe once or twice a month and berate me for never coming to the set, but he did it with love. I’d usually still be writing while he was berating me, and I would look up and say, “Mandy, I’m like the little drummer boy here; the best way I know how to give is just to keep writing,” and he would get that and say, “OK, OK.” But the funniest one is Pete MacNicol from Chicago Hope [and later Ally McBeal]. I remember one day he comes in and he had a look on his face, and I could tell he wasn’t coming under happy circumstances. His face was almost contorting a bit — he wanted to not combust but to make his point. Finally, he said, “I am fraught with rancor.” And I remember saying, “Well, Peter, if you are fraught with rancor, I want to keep you this way because your work is off-the-charts good.” Which it was. He didn’t answer. He paused. He stood up. And he walked out of the room. That was it. How often do you get approached about reboots? Any shows you’d consider revisiting? I don’t really have an interest in going backward, myself. In fact, I’ve not even seen the shows after I’ve made them. I do think because of the gender politics that were so part and parcel of Ally McBeal, it’s become very relevant and ripe. So, I’d be open to the idea of Ally McBeal being done again, but I don’t think it should be done by me. If it were going to be done, it really should be done by a woman. If it’s going to be new, it should be new and different. And I did it: 100 hours. From the outside, your career seems like it could be split into three distinct periods … There was the ﬁrst part, which was very successful. Then the middle part, where I had to work a little harder with a little less success, and then this part. I accept it all as cyclical. I’ve consistently written what is meaningful to me. That said, the landscape has changed. The burden now is on the storyteller. You can no longer rely on cultivating an audience, you gotta get ’em quick or you’re over. The danger in that, or the downside, is that it puts a burden on storytellers to think conceptually and sometimes gimmicky. If anything, now you’re seeing a lot of shows that burn out after a year because they have fantastic concepts, but then what? What would ﬁt into that middle period of my career is Boston Legal, however. And if you had to pick a show to live in a time capsule and get replayed the most 50 years from now, I’d pick that one. I love that show because it had drama and comedy and it was about issues that [meant] something but it was also about friendship. That’s the show I miss most of all, the one I feel myself reaching for the pen to pick up and write an episode. With Mr. Mercedes and Big Little Lies, you’re relying on source material, which is new for you. I’m at a point in my advanced years where I got to tell all the stories that were in my well. I’ve done many half pilots or three-quarter pilots because, for me, the discovering of the show is in the writing. I’ll start writing and try to discover whether the characters are fertile to me. And then I do another test when I’m halfway or three-quarters through, which is: Have I done a version of this before? And if I have, I’ll put it down. Now I feel like the best way to avoid sameness is to use as my starting point someone else’s baby. It’s not something that I ever thought would appeal to me because the intoxication comes with the idea — that’s the fuel T H E HOL LY WO OD R EP ORT ER 74 M AY 9, 2018 that drives you as a writer. If you’re not hatching the idea, I always felt it was going to be like hard labor without the drugs. But it hasn’t been? No. It’s all about ﬁnding the right material — material that moves you and speaks to you or inspires you like Big Little Lies did. I’ve really enjoyed it. I think there’s something I can still bring to the equation, be it years of experience or a good ear for dialogue and structure. Your last brush with broadcast was in 2013 on CBS’ The Crazy Ones. What happened? It was terrible. Robin Williams was great, but the show itself was not very good. I went to CBS and I said, “The show is not very good. Do you care?” And the answer was no. They talked to me a little bit like you talk to your grandfather. “I know this isn’t the way it was done in your day, Pop, but the way it is now, people watch TV, they’ve got their computers open, they’re on Facebook, they’re answering emails, they’re texting. The idea is to have something on that screen that’s compatible with everything going on in the room but that isn’t going to challenge them to pay attention to plot or offend them enough to make them change the channel.” I was horriﬁed. So you went off to the brave new world of streaming with Goliath at Amazon, which you later described as “a bit of a Gong Show.” I should say most of the people I dealt with at Amazon were great. The gentlemen with the keys to the car, however, should not have had their license. We all knew, we all looked at each other and said, “This is a well-run company and as soon as Seattle ﬁgures out what’s going on here, they’ll ﬁx it.” And they Left: Big Little Lies creators and cast at the 2017 Emmys. Right: Kelley and Pfeifer, who have a daughter (a Ph.D. candidate at Columbia) and son (a computer engineer) together. did. [Roy Price and his lieutenant, Joe Lewis, exited in October.] Would I go back to Amazon with an idea now? Sure. By the way, I was a fan of The Gong Show. I just never aspired to be a contestant. (Laughs.) Billy Bob Thornton has run through a few showrunners on Goliath: First you, then Clyde Phillips. He couldn’t have been your first difficult star? No, he wasn’t the ﬁrst. It was many things, but I would say the combination of the star and the one running the network was particularly problematic. It didn’t work for me. And it didn’t work for them, either. PREVIOUS SPREAD, GROOMING BY CHECHEL JOSON AT DEW BEAUTY AGENCY. THIS SPREAD, EMMYS: LESTER COHEN/WIREIMAGE. PFEIFFER: MICHAEL KOVAC/GETTY IMAGES FOR MOET & CHANDON. DOOGIE, PRACTICE, BOSTON: ABC/PHOTOFEST. PICKET: CBS/PHOTOFEST. MCBEAL: FOX/PHOTOFEST. LIES: HILARY BRONWYN GAYLE/HBO. STATUE: COURTESY OF EMMYS. You’re prepping a second season of Big Little Lies. Did you have any apprehension? Yes. I didn’t think it was a very good idea. We wrote it as a one-off and we ended it in a way that was very lyrical. But we ended on a lie. I get so protective of characters and series, too, that I don’t want to damage them in any way, and I so loved how we ended year one and I thought, “Let’s just leave it at that.” because she sets a high bar and you have to measure up, but liberating in that now the show’s not going to be compared to last year. There was freedom in that. Ryan Murphy and Shonda Rhimes have recently signed nine-figure deals at Netflix. Do you look at those deals and say, “Where’s mine?” No, because it just feels like a lot to do. You currently have at least three shows … But I don’t have to. If I want to do a show, I can do it, but I don’t have to feed a beast or fulﬁll a contract. For me, I like the free-agent world. That works better for me. I honestly don’t know how those [Netﬂix] deals math out. But look, if you’re going to bet on two people, who better? I’m just at a different stage. I might be doing this ﬁve years from now. I might not. What would you do instead? Who or what convinced you? A multitude of forces, but mainly it came down to a creative analysis. Liane [Moriarty, author of the novel Big Little Lies] wrote a novella of [new] stories, and most of them we’re using. But the genius one was introducing this character who’s being played by Meryl Streep. It’s a delicious character and I felt bringing her in was both liberating and daunting. Daunting I have an aquaculture business [supplying salmon and trout], and it takes up a lot of time. It started about four or ﬁve years ago, and I’m not running it hands-on, but it’s busy enough. So, ﬁve years from now, I could see just doing that. I don’t see myself as feeling the need to do a show just to have something to do, though. If it speaks to me, I’ll do it. And if it doesn’t, I’ll feed the ﬁsh. //THREE DECADES OF KELLEY HITS// 1989-1993 Doogie Howser, M.D. 1992-1996 Picket Fences After NBC's L.A. Law, Kelley teamed with his mentor, the late Bochco, on a medical dramedy starring Harris for ABC. In 1992, he launched his eponymous company, signed a CBS deal and delivered Fences, his first solo creation. 1997-2002 Ally McBeal 2004-2008 Boston Legal He wrote five 22-episode seasons of McBeal largely on his own. The Fox dramedy instantly became a cultural lightning rod. During a drier period professionally (see NBC’s scrapped Wonder Woman pilot), he debuted his Practice spinof on ABC. 1997-2004 The Practice With Chicago Hope in its fourth season on CBS, he added The Practice. Though slower to take hold, it won back-toback Emmys in 1998 and 1999. 2017Present Big Little Lies Kelley was given the book by CAA, and realized a faithful vision of it for what was to be a limited series on HBO. 20 shows executive produced by Kelley — 16 as creator, three as co-creator 9 series Emmy Awards total across five of his shows (L.A. Law, Ally McBeal, The Practice, Picket Fences and Big Little Lies) PROMOTION THR NEWSLETTERS Today in Entertainment Q Live Feed Q Breaking News Q Box Office Q TV News & Ratings Q Awards in Focus Q Awards News Q Awards Chatter Q Film Festival News Q International News Q Behind the Screen Q Watch List Q This Week in Reviews Q Feinberg Forecast Q SIGN UP AT THR.COM/NEWSLETTERS Reviews Books Summer Book Bonanza Must-reads include Bill Clinton’s debut novel, a dishy Sumner Redstone bio, an unusual David Lynch memoir and a page-turner about sex and murder at a boarding school By Andy Lewis THE PERFECT MOTHER By Aimee Molloy (Harper, May 1, $28) LOGLINE Mothers from a Brooklyn CLOSE: COURTESY OF ST. MARTIN’S PRESS. CONFESSIONS: COURTESY OF ONE WORLD . KING: COURTESY OF HARPER BUSINESS. PRESIDENT: COURTESY OF LITTLE, BROWN AND COMPANY. VINTAGE: COURTESY OF HARPERCOLLINS. SKY, SAND, WOMAN, BAG: ISTOCK. baby playgroup get together for drinks, but single mom Winnie’s son is stolen from his crib — and the hunt for the kidnapper reveals secrets that destroy friendships. BUZZ This thriller — think Big Little Baby Lies — taps into every parent’s worst fears and already is in development with Kerry Washington attached. BARRACOON: THE STORY OF THE LAST BLACK CARGO By Zora Neale Hurston (Amistad, May 8, $25) LOGLINE The life of Cudjo Lewis, the last survivor of the Atlantic slave trade, as told by the author of Their Eyes Were Watching God. BUZZ Ninety years after Hurston met Cudjo, the book, intended as her ﬁrst but rejected by publishers, is earning rave early reviews. SO CLOSE TO BEING THE SH*T, Y’ALL DON’T EVEN KNOW By Retta (St. Martin’s Press, May 29, $29) LOGLINE In a series of essays, the Parks and Rec star recounts growing up the child of Liberian immigrants, attending Duke and making it in Hollywood. BUZZ Retta’s willingness to dish (ﬂirting with Michael Fassbender, stalking Hamilton’s cast) and tackle serious issues (racism) suggests this could join the pantheon of funny-lady memoirs by Tina Fey and Mindy Kaling. ANDY’S PICK! THE PRESIDENT IS MISSING By Bill Clinton and James Patterson (Little, Brown, June 4, $30) LOGLINE A thriller set over three days as the U.S. is threatened by cyberterrorism, there are whispers of a traitor in the cabinet and POTUS goes missing. BUZZ The combo of a best-selling author’s storytelling skills and a former president’s insider insights make this the musthave beach read of the summer. ROOM TO DREAM By David Lynch and Kristine McKenna (Random House, June 19, $32) LOGLINE Mixing memoir mate- rial written by Lynch with biographical sections (based on 300 interviews), this book offers T H E HOL LY WO OD R EP ORT ER a close look at the man behind Twin Peaks, Blue Velvet and other beloved nightmare inducers. BUZZ Lynch’s experimental take on the memoir genre is sure to be polarizing, thought-provoking and catnip for ﬁlm buffs. THE LOST VINTAGE By Ann Mah (Morrow, June 19, $27) LOGLINE A woman returns to her family’s French vineyard to pass the notoriously difﬁcult Master of Wine exam but discovers family secrets buried since World War II. BUZZ Pitched as Sweetbitter meets The Nightingale, it’s poised to become this season’s essential female-centered adventure. CONFESSIONS OF THE FOX By Jordy Rosenberg (One World, June 26, $27) LOGLINE A trans professor tries to ﬁgure out if the just-discovered gender-bending memoir of 18th century British thief Jack Sheppard is real. BUZZ Rosenberg himself is a trans professor at U. Mass-Amherst, and the novel is being touted as the summer’s splashiest debut. 77 M AY 9, 2018 THE KING OF CONTENT By Keach Hagey (HarperBusiness, July 3, $30) LOGLINE A look at Sumner Redstone, the 94-year-old magnate who turned a chain of drive-in theaters into a global media empire now threatened by bigger players (Disney, Amazon) — and his misconduct. BUZZ The rare bio that has all the thrills of a beach read, including new revelations about the ﬁre that severely injured Redstone. THE LAST TIME I LIED By Riley Sager (Dutton, July 3, $26) LOGLINE A woman returns to her childhood summer camp to solve the mystery of three bunkmates who disappeared one night. BUZZ Sager’s ﬁrst novel, the similarly themed best-seller Final Girls, won praise from none other than Stephen King. SHE WAS THE QUIET ONE By Michele Campbell (St. Martin’s Press, July 31, $27) LOGLINE Twin sisters become rivals at a New England boarding school, but a murder raises the question of whether one was having an affair with a teacher. BUZZ The former federal prosecutor got attention for her debut, Its Always the Husband, but this thriller set in a world of privilege promises to be her breakout. Reviews Television ← Morgan (left) and Martin are London Motherland This British series from Sharon Horgan (Catastrophe) tries to mine modern mommy culture for laughs, but you’ve heard these jokes before By Tim Goodman There have been a lot of television series about families; raising kids; pregnancy; single parents; juggling work and parenting; dealing with other parents and their stupid, dirty kids; competition between uber moms and clueless dads; and more. It’s fertile ground (ha) but well-trampled. Motherland (premiering on Sundance Now after bowing in the U.K. on the BBC), from the talented, funny and proliﬁc Sharon Horgan (Catastrophe, Divorce), offers further evidence of the obstacles plaguing the subgenre; a lot of the issues afﬂicting other small-screen parenting comedies have crept into this one, too. But its biggest ﬂaw is one that hurts plenty of comedies regardless of their premise: It’s just too forced. Set in London, Motherland portrays everything about parenting as heightened, frantic and awful as it pits ﬂustered working mom Julia (Anna Maxwell Martin) against nonworking, everythingis-perfect Queen Bee mom Amanda (Lucy Punch). Motherland is essentially a high school comedy but with adults, including Kevin (Paul Ready), the eager-toplease single dad, and Liz (Diane Morgan), the jaded, whateverworks mom, both relegated to a less “cool” table in the cafe where the parents gather every day. There are a lot of reasons to root for Motherland, starting with Horgan (sharing a writing credit here with Graham Linehan, Helen Linehan and Holly Walsh), whose AIRDATE Thursday, May 10 (Sundance Now) CAST Anna Maxwell Martin, Lucy Punch, Paul Ready, Diane Morgan WRITERS Sharon Horgan, Graham Linehan, Helen Linehan, Holly Walsh T H E HOL LY WO OD R EP ORT ER Catastrophe on Amazon is one of the best comedies on TV — a show that brilliantly and hilariously mines the challenges of marriage and parenthood without resorting to overly obvious situations. Another promising element of Motherland is Punch (A Series of Unfortunate Events, Into the Woods, Ben and Kate), whose withering comic timing makes her worth watching in everything. But Punch and the other winning performers can’t overcome the strain of ever-escalating scenarios that are meant to be both wince-inducing and funny but are often just the former. There’s nary a character to like on this show. And while likability is not always a prerequisite for success, especially in comedy, one only needs to look at Catastrophe as an illustration of why it can matter: Horgan and co-creator, cowriter and co-star Rob Delaney play a harried married couple frenetically trying to navigate life with their kids and ﬁnding themselves in some pretty awful predicaments that bring out the worst in them — but they’re 78 M AY 9, 2018 both so appealing and relatable that you let them get away with it. The comedy is pushed to interesting extremes in part because you’re willing to stick with the characters. In Motherland, it’s Martin who is saddled with the toughest task: The audience is supposed to sympathize with her never-ending stress and frustration as a working mom, but there’s never any reason to feel for her. Julia is frankly annoying, a mom who hates to mother, and is never shown (in the four episodes I watched, at least) taking an interest in her kids. That’s a hard sell. Being irritated about having kids and trying to foist them on others while not understanding how birthday parties, social events, school and daycare work might have looked amusing on paper. But it ends up playing as implausible at best, and grating at worst. Meanwhile, the Julia versus Amanda battle is too easy, with frumpy Martin contrasted against comparatively glam Punch. Needy Kevin is funny at times, the lone single dad trying to sit at the big table and earn the respect of the moms, but it’s basically a one-note role. Disaffected (and sometimes drunk) Liz is also one-note, though she gets some funny moments, like when she nearly slices her ﬁnger off cutting up frozen cheese and bleeds all over the taxi but is forced to tend to perennial hot mess Julia. And there are other solid but simple running jokes: Julia’s husband is always out doing something fun with his male friends and therefore never available to help; Amanda’s husband is eternally grumpy, barely acknowledging his or anyone else’s kids as he talks business on the phone. Overall, though, Motherland has to overcome too much baggage — from parenting cliches and a strenuous setup to predictable gags. Parent or not, your time would be better spent catching up on Catastrophe. MOTHERLAND: COLIN HUTTON/SUNDANCENOW/MERMAN/DELIGHTFUL/LIONSGATE/BBC. WOLF: ALBERTO E. RODRIGUEZ/GETTY IMAGES. JOHNSON: MATT WINKELMEYER/GETTY IMAGES. SPROUSE: MONICA SCHIPPER/WIREIMAGE. FALLON: WALTER MCBRIDE/WIREIMAGE. moms under siege. FROM PRODUCER, WRITER, DIRECTOR, ACTRESS AMINA WARSUMA THR’S SOCIAL CLIMBERS A ranking of the week’s top actors, comedians and personalities based on social media engagement across Instagram, Twitter, Facebook and more This Week 1 2 ↑ I ↓ I Last Week 2 1 I I Will Smith ↑ I 15 I 1 ↑ I Last Week - Comedians I Cole Sprouse Sprouse’s tweet about Post Malone’s new song “Zack and Codeine” (a play on Sprouse’s former Disney Channel show The Suite Life of Zack and Cody) — “Finally, the reboot we’ve all been waiting for” — was the week’s most liked by an actor (808,000 favorites). 4 ↑ I 10 I Priyanka Chopra 5 ↑ I 25 I Kevin Hart 6 ↑ I 11 I Lin-Manuel Miranda 7 ↑ I 22 I Hugh Jackman 8 ↓ I 5 I Zendaya 9 ↑ I - I Eugenio Derbez 10 ↑ I - I Chris Hemsworth 11 ↓ I 8 I Ryan Reynolds 12 ↓ I 4 I Tommy Chong 13 ↑ I - I Millie Bobby Brown 14 ↑ I - I Kumail Nanjiani 15 ↓ I 3 I Robert Downey Jr. 16 ↓ I 13 I Roseanne Barr 17 ↓ I 6 I Mark Hamill 18 ↑ I - I Jordan Peele 19 ↓ I 14 I Ricky Gervais 20 ↓ I 19 I Chris Pratt 21 ↑ I - I Gal Gadot 22 ↑ I - I Jared Leto 23 ↑ I - I Tom Holland 24 ↑ I - I Rob Reiner 25 ↑ I - I Billy Eichner Michelle Wolf The host of the 2018 White House Correspondents’ Dinner came under fire from multiple sides after she roasted Sarah Huckabee Sanders. “Why are you guys making this about Sarah’s looks?” she asked afterward in a tweet that was shared 50,000 times. Dwayne Johnson Not a week after The Rock announced the birth of his latest child, Tiana, Kevin Hart posted a doctored photo that imposed Hart’s face on the baby’s. It was the week’s most favorited Facebook post by an actor (578,000) and racked up 38,000 comments. 3 This Week Actors 2 ↑ I 7 I Kevin Hart 3 ↓ I 1 I D.L. Hughley 4 ↑ I - I Kathy Grifin 5 ↑ I 10 I Kumail Nanjiani 6 ↓ I 2 I Tommy Chong 7 ↑ I - I Dennis Miller 8 ↓ I 3 I Roseanne Barr 9 ↑ I - I Chris D’Elia 10 ↑ I - I Patton Oswalt “The story is captivating and exciting. With lots of plot movement and action.” –BABYBOOKS REVIEW Think of, Cleopatra Jones teaming up with In Like Flint. This Week Last Week TV Personalities 1 ← → I 1 I Mike Huckabee 2 ↑ I 10 I Jimmy Fallon Fallon scored the top post by a TV personality in the tracking week: a video on Facebook showing the cast of Avengers: Infinity War singing a parody of The Brady Bunch theme song, “The Marvel Bunch.” It earned 101,000 favorites and 138,000 shares. 3 ↑ I 8 I Steve Harvey 4 ↓ I 3 I Jimmy Kimmel 5 ↓ I 4 I Jake Tapper 6 ↑ I 9 I James Corden 7 ↑ I - I Lawrence O’Donnell 8 ↓ I 5 I Chris Hayes 9 ↑ I - I Stephen Colbert 10 ↓ I 7 I Bill Maher Data Compiled By Source: The week’s most active and talked-about entertainers on leading social networking sites Facebook, Google Plus, Instagram, Twitter and YouTube for the week ending May 1. Rankings are based on a formula blending weekly additions of fans as well as cumulative weekly reactions and conversations, as tracked by MVP Index. 79 Together their mission is to find and prevent a biologist and her female terrorist cult the Daughters of Al-Lat from attacking society with chemical weapons. This is a book, a big budget, commercial franchise. I have the screenplay adaptation. I’m interested in a major studio deal and inancing. For inquiries email email@example.com 89 Years of THR Memorable moments from a storied history 19 9 76 1 97 7 199788 1 979 199 80 199 8 1 199 82 199 833 1 9 84 4 1985 1986 19 987 1988 8 199 8 9 1990 1999 1 1 9 922 1 9 933 1999 4 19 9 955 199 96 In 1986, Dangerﬁeld and Downey Hit the Books The scholastic comedy vein that Melissa McCarthy mines in Warner Bros.’ May 11 release Life of the Party — empty nest parent goes to college, shows undergrads how to drunkenly frolic the old-school way — was ﬁrst tapped by Rodney Dangerﬁeld, then 64, in 1986’s Back to School. The bug-eyed stand-up, famous for his “I don’t get no respect” catchphrase, had made his ﬁrst major ﬁlm appearance in 1980’s Caddyshack, where he shared the screen with a dancing gopher. In School, he had self-effacing zingers like, “With the shape I’m in, you could donate my body to science ﬁction” — which in the hot tub scene seemed believable. The ﬁlm also offers an appearance by thenSaturday Night Live regular Robert Downey Jr. as the quirky best friend of Dangerﬁeld’s son. (“You look like the poster boy for birth control,” the comic tells him.) The Hollywood Reporter called the Orion Pictures release “unabashedly light and lowbrow” and a “loony, carefully conceived comedy.” A month before the scheduled start of ﬁlming, Dangerﬁeld and the producers decided that the script needed a complete overhaul. “We were lucky because it was a comedy; if it had been a drama like Schindler’s List, having only a month would have been a disaster,” says Steve Kampmann, one of the movie’s four credited writers (Harold Ramis was another). “But nothing kills comedy faster than overdevelopment. One of the biggest changes was making Rodney’s character a likable rich guy. He didn’t want to play a schlub like he did in Caddyshack.” The ﬁlm was a big success. The $11 million production ($25 million today) had a worldwide gross of $109 million ($248 million.) “There’s an old saying, ‘Funny is money,’ ” says Mike Medavoy, then Orion’s head of production. School was such a hit, it ended up grossing much more domestically — $91 million compared with $51 million — than the studio’s 1984 best picture Oscar winner, Amadeus. — BILL HIGGINS The Hollywood Reporter, Vol. CDXXIV, No. 16 (ISSN 0018-3660; USPS 247-580) is published weekly; 39 issues — two issues in April, July, October and December; three issues in January and June; four issues in February, March, May, August and September; and five issues in November — with 15 special issues: Jan. (1), Feb. (2), June (4), Aug. (4), Nov. (3) and Dec. (3) by Prometheus Global Media LLC, 5700 Wilshire Blvd., 5th floor, Los Angeles CA 90036. Subscription rates: Weekly print only, $199; weekly print and online, including daily edition PDF only, $249; online only, $199; digital replica of weekly print, $199. Single copies, $7.99. Periodical Postage paid at Los Angeles, CA and additional mailing ofices. POSTMASTER: Send all UAA to CFS. Non-Postal and Military Facilities send address changes to The Hollywood Reporter, P.O. Box 125, Congers, NY 10920-0125. Under Canadian Publication Mail Agreement No. 41450540 return undeliverable Canadian addresses to MSI, PO BOX 2600, Mississauga, On L4T OA8. Direct all other correspondence to The Hollywood Reporter, 5700 Wilshire Blvd., 5th Floor, Los Angeles, CA 90036. Prometheus Global Media, LLC: Vice President, Human Resources: Angela Vitacco. Advertising/Editorial Reprints: Reprints of editorial or ads can be used as efective marketing tools. For details, please contact Wright’s Media: (877) 652-5295 or e-mail at firstname.lastname@example.org. Permission: Looking for a one-time use of our content, as a full article, excerpt or chart? Please contact Wright’s Media, (877) 652-5295; email@example.com. Subscription inquiries: U.S. call toll-free (866) 525-2150. Outside the U.S., call (845) 267-4192, or e-mail firstname.lastname@example.org. Copyright ©2015 Prometheus Global Media, LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted, in any form or by any means — electronic, mechanical, photocopying, recording or otherwise — without the prior written permission of the publisher. THR.com PRINTED IN THE U.S.A. T H E HOL LY WO OD R EP ORT ER 80 M AY 9, 2018 ORION PICTURES/GETTY IMAGES ↑ From left: Dangerfield (who died in 2004), Downey and Keith Gordon, who played Dangerfield’s son, in Back to School.