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SEPTEMBER 11, 2018

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congratulates our clients on their 2018 Emmy® Award nominations Outstanding Lead Actor In A Drama Series

Outstanding Supporting Actor In A Limited Series Or Movie

Outstanding Actress In A Short Form Comedy Or Drama Series

JASON BATEMAN OZARK

RICKY MARTIN THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

AMERICAN KOKO DIARRA KILPATRICK

ED HARRIS WESTWORLD JEFFREY WRIGHT WESTWORLD Outstanding Lead Actress In A Drama Series

ÉDGAR RAMÍREZ THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

EVAN RACHEL WOOD WESTWORLD

FINN WITTROCK THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

Outstanding Lead Actor In A Limited Series Or Movie

Outstanding Supporting Actress In A Limited Series Or Movie

DARREN CRISS THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

PENÉLOPE CRUZ*** THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

Outstanding Lead Actress In A Limited Series Or Movie

Outstanding Drama Series

SARAH PAULSON AMERICAN HORROR STORY: CULT

THE AMERICANS JOSEPH WEISBERG JOEL FIELDS GRAHAM YOST

LAURA DERN THE TALE Outstanding Lead Actress In A Comedy Series RACHEL BROSNAHAN THE MARVELOUS MRS. MAISEL Outstanding Supporting Actor In A Drama Series PETER DINKLAGE GAME OF THRONES Outstanding Supporting Actress In A Drama Series LENA HEADEY* GAME OF THRONES ALEXIS BLEDEL THE HANDMAID’S TALE Outstanding Supporting Actor In A Comedy Series BRIAN TYREE HENRY ATLANTA

THE CROWN STEPHEN DALDRY GAME OF THRONES DAVID BENIOFF D.B. WEISS FRANK DOELGER THE HANDMAID’S TALE MIKE BARKER† YAHLIN CHANG THIS IS US ISAAC APTAKER ELIZABETH BERGER GLENN FICARRA JOHN REQUA CHARLIE GOGOLAK TYLER BENSINGER VERA HERBERT WESTWORLD J.J. ABRAMS EUGENE KELLY FREDERICK E.O. TOYE

Outstanding Actor In A Short Form Comedy Or Drama Series JAMES CORDEN’S NEXT JAMES CORDEN JAMES CORDENŹ Outstanding Television Movie FLINT QUEEN LATIFAH BLACK MIRROR: USS CALLISTER ANNABEL JONES CHARLIE BROOKER Outstanding Short Form Comedy Or Drama Series JAMES CORDEN’S NEXT JAMES CORDEN JAMES CORDENŹ BEN WINSTON ROB CRABBE Outstanding Limited Series THE ALIENIST ERIC ROTH JAKOB VERBRUGGEN SETH FISHER THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY RYAN MURPHY NINA JACOBSON BRAD SIMPSON ALEXIS MARTIN WOODALL TOM ROB SMITH SCOTT ALEXANDER LARRY KARASZEWSKI GENIUS: PICASSO KEN BILLER BRIAN GRAZER RON HOWARD FRANCIE CALFO SAM SOKOLOW WENDY RISS

Outstanding Comedy Series

GODLESS SCOTT FRANK

ALEC BALDWIN SATURDAY NIGHT LIVE

ATLANTA PAUL SIMMS

Outstanding Directing For A Comedy Series

Outstanding Guest Actor In A Drama Series

BLACK-ISH KENYA BARRIS COREY NICKERSON LAURA GUTIN-PETERSON

THE MARVELOUS MRS. MAISEL “Pilot” AMY SHERMAN-PALLADINO

GLOW JENJI TARA HERRMANN

Outstanding Directing For A Variety Series

THE MARVELOUS MRS. MAISEL AMY SHERMAN-PALLADINO DANIEL PALLADINO SHEILA LAWRENCE

FULL FRONTAL WITH SAMANTHA BEE “Episode 2061” ANDRE ALLEN

MATTHEW GOODE** “Matrimonium” THE CROWN Outstanding Guest Actress In A Drama Series VIOLA DAVIS “Allow Me To Reintroduce Myself” SCANDAL *Shared representation with Troika Entertainment **Shared representation with Dalzell & Beresford ***Shared representation with Kuranda

†Shared representation with Independent Talent Group ŹShared representation with United Agents

Outstanding Writing For A Drama Series

Outstanding Reality-Competition Program

THE AMERICANS “Start” JOEL FIELDS JOSEPH WEISBERG

THE AMAZING RACE BERTRAM VAN MUNSTER ELISE DOGANIERI JERRY BRUCKHEIMER JONATHAN LITTMAN

GAME OF THRONES “The Dragon And The Wolf” DAVID BENIOFF D.B. WEISS Outstanding Writing For A Comedy Series

PROJECT RUNWAY SARA REA HEIDI KLUM SUE KINKEAD TIM GUNN

Outstanding Narrator IF YOU’RE NOT IN THE OBIT, EAT BREAKFAST CARL REINER MARCH OF THE PENGUINS 2: THE NEXT STEP MORGAN FREEMAN Outstanding Interactive Program THE DAILY SHOW WITH TREVOR NOAH TREVOR NOAH

THE MARVELOUS MRS. MAISEL “Pilot” AMY SHERMAN-PALLADINO

RUPAUL’S DRAG RACE FENTON BAILEY RANDY BARBATO TOM CAMPBELL RUPAUL CHARLES

THE LATE LATE SHOW WITH JAMES CORDEN JAMES CORDENŹ BEN WINSTON ROB CRABBE

Outstanding Writing For A Variety Series

Outstanding Host For A Reality Or Reality-Competition Program

Outstanding Character Voice-Over Performance

LAST WEEK TONIGHT WITH JOHN OLIVER JULI WEINER

HEIDI KLUM TIM GUNN PROJECT RUNWAY

AMERICAN DAD! “The Talented Mr. Dingleberry” SETH MACFARLANE

LATE NIGHT WITH SETH MEYERS SETH MEYERS MICHAEL SHOEMAKER ALEX BAZE JOHN LUTZ JERMAINE AFFONSO AMBER RUFFIN MIKE SCOLLINS

RUPAUL CHARLES RUPAUL’S DRAG RACE

FAMILY GUY “Send In Stewie, Please” SETH MACFARLANE

THE LATE SHOW WITH STEPHEN COLBERT BARRY JULIEN SATURDAY NIGHT LIVE COLIN JOST KENT SUBLETTE STEVEN CASTILLO ANDREW DISMUKES MEGAN CALLAHAN STEVE HIGGINS ERIK KENWARD LORNE MICHAELS NIMESH PATEL JOSH PATTEN Outstanding Production Design For A Variety Special THE OSCARS DEREK MCLANE Outstanding Animated Program BOB’S BURGERS “V For Valentine-detta” SCOTT JACOBSON RICK AND MORTY “Pickle Rick” DAN HARMON DAN GUTERMAN TOM KAUFFMAN THE SIMPSONS “Gone Boy” ROB LAZEBNIK MICHAEL PRICE

Outstanding Structured Reality Program LIP SYNC BATTLE JAY PETERSON TODD YASUI LEAH CULTON GONZALEZ SHARK TANK PHIL GURIN MAX SWEDLOW WHO DO YOU THINK YOU ARE? LISA KUDROW DAN BUCATINSKY STEPHANIE SCHWAM Outstanding Unstructured Reality Program NAKED AND AFRAID STEPHEN RANKIN RUPAUL’S DRAG RACE: UNTUCKED FENTON BAILEY RANDY BARBATO TOM CAMPBELL RUPAUL CHARLES SAN HENG UNITED SHADES OF AMERICA WITH W. KAMAU BELL JIMMY FOX DONNY JACKSON GREG LIPSTONE LAYLA SMITH Exceptional Merit In Documentary Filmmaking CITY OF GHOSTS MATTHEW HEINEMAN WHAT HAUNTS US FRANK MARSHALL

Outstanding Children’s Program ALEXA & KATIE HEATHER WORDHAM A SERIES OF UNFORTUNATE EVENTS NEIL PATRICK HARRIS STAR WARS REBELS SIMON KINBERG Outstanding Music Supervision THE MARVELOUS MRS. MAISEL “Pilot” AMY SHERMAN-PALLADINO DANIEL PALLADINO THIS IS US “That’ll Be The Day” JENNIFER PYKEN Outstanding Creative Achievement In Interactive Media Within A Scripted Program 13 REASONS WHY “Talk To The Reasons” KEVIN CORNISH MOTH+FLAME WESTWORLD “Chaos Takes Control Interactive Experience” BAD ROBOT Outstanding Creative Achievement In Interactive Media Within An Unscripted Program WATCH WHAT HAPPENS LIVE! WITH ANDY COHEN ANDY COHEN DEIRDRE CONNOLLY

congratulates our clients on their 2018 Emmy® Award nominations Outstanding Directing For A Drama Series THE CROWN “Paterfamilias” STEPHEN DALDRY GAME OF THRONES “The Dragon And The Wolf” JEREMY PODESWA OZARK “The Toll” JASON BATEMAN OZARK “Tonight We Improvise” DANIEL SACKHEIM Outstanding Directing For A Limited Series, Movie Or Dramatic Special THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY “The Man Who Would Be Vogue” RYAN MURPHY GODLESS SCOTT FRANK JESUS CHRIST SUPERSTAR LIVE IN CONCERT DAVID LEVEAUX ALEX RUDZINSKI Outstanding Directing For A Variety Special DAVE CHAPPELLE: EQUANIMITY STAN LATHAN SUPER BOWL LII HALFTIME SHOW STARRING JUSTIN TIMBERLAKE HAMISH HAMILTON Outstanding Directing For A Reality Program THE AMAZING RACE “It’s Just A Million Dollars, No Pressure” BERTRAM VAN MUNSTER Outstanding Variety Talk Series THE DAILY SHOW WITH TREVOR NOAH TREVOR NOAH JENNIFER FLANZ JIMMY KIMMEL LIVE! JILL LEIDERMAN GARY GREENBERG THE LATE LATE SHOW WITH JAMES CORDEN JAMES CORDENŹ BEN WINSTON ROB CRABBE THE LATE SHOW WITH STEPHEN COLBERT BARRY JULIEN

Outstanding Variety Sketch Series

Outstanding Variety Special (Live)

AT HOME WITH AMY SEDARIS CINDY CAPONERA

THE 75TH ANNUAL GOLDEN GLOBE AWARDS SETH MEYERS

I LOVE YOU, AMERICA WITH SARAH SILVERMAN MEAGHAN RADY PESAVENTO PORTLANDIA LORNE MICHAELS ANDREW SINGER ALICE MATHIAS SATURDAY NIGHT LIVE LORNE MICHAELS STEVE HIGGINS ERIK KENWARD Outstanding Short Form Variety Series BETWEEN THE SCENES THE DAILY SHOW TREVOR NOAH JENNIFER FLANZ CARPOOL KARAOKE: THE SERIES JAMES CORDENŹ BEN WINSTON BENJAMIN GREEN CREATING SATURDAY NIGHT LIVE LORNE MICHAELS OZ RODRIGUEZ GAY OF THRONES JONATHAN VAN NESS THE TONIGHT SHOW STARRING JIMMY FALLON - COVER ROOM JIMMY FALLON GERARD BRADFORD 2XWVWDQGLQJ 6KRUW )RUP 1RQĺFWLRQ Or Reality Series THE AMERICANS: THE FINAL SEASON JOSEPH WEISBERG JOEL FIELDS THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY: AMERICA’S OBSESSIONS RYAN MURPHY TANASE POPA

60TH ANNUAL GRAMMY AWARDS KEN EHRLICH BEN WINSTON JAMES CORDENŹ JESUS CHRIST SUPERSTAR LIVE IN CONCERT MARC PLATT ALEX RUDZINSKI NIGHT OF TOO MANY STARS: AMERICA UNITES FOR AUTISM PROGRAMS ROBERT SMIGEL THE OSCARS MICHAEL DE LUCA Outstanding Variety Special (Pre-Recorded) CARPOOL KARAOKE PRIMETIME SPECIAL 2018 JAMES CORDENŹ BEN WINSTON ROB CRABBE DAVE CHAPPELLE: EQUANIMITY STAN LATHAN RIKKI HUGHES STEVE MARTIN & MARTIN SHORT: AN EVENING YOU WILL FORGET FOR THE REST OF YOUR LIFE LORNE MICHAELS Outstanding Informational Series Or Special MY NEXT GUEST NEEDS NO INTRODUCTION WITH DAVID LETTERMAN JON KAMEN DAVE SIRULNICK JUSTIN WILKES VICE BILL MAHER

Outstanding Documentary 2U 1RQĺFWLRQ 6SHFLDO

Outstanding Writing For A Limited Series, Movie Or Dramatic Special

JIM & ANDY: THE GREAT BEYOND FEATURING A VERY SPECIAL, CONTRACTUALLY OBLIGATED MENTION OF TONY CLIFTON SPIKE JONZE CHRIS SMITH

THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY “House By The Lake” TOM ROB SMITH

Outstanding Documentary 2U 1RQĺFWLRQ 6HULHV THE FOURTH ESTATE DAVE SIRULNICK JUSTIN WILKES

GODLESS SCOTT FRANK PATRICK MELROSE DAVID NICHOLLS† BLACK MIRROR: USS CALLISTER CHARLIE BROOKER

Outstanding Original Music And Lyrics

Outstanding News Special

A CHRISTMAS STORY LIVE! “Song Title: In The Market For A Miracle” BENJ PASEK JUSTIN PAUL

ABC NEWS “The Great American Eclipse” ADRIENNE BANKERT

Outstanding Coverage Of A Breaking News Story In A Newscast

NEW DAY “Chris Cuomo Interviews Las Vegas Massacre Survivors” CHRIS CUOMO

CBS NEWS “Las Vegas Massacre” GAYLE KING ADAM VERDUGO JAMIE YUCCAS Outstanding Continuing Coverage Of A News Story In A Newscast CBS NEWS “Inside the Battle for Raqqa” HOLLY WILLIAMS Outstanding Breaking News Coverage ABC NEWS “The Las Vegas Massacre” GEORGE STEPHANOPOULOS CECILIA VEGA CNN “CNN Worldwide Hurricane Coverage” CHRIS CUOMO NICK VALENCIA SARA MURRAY CNN “Manchester Concert Attack” JIM SCIUTTO Outstanding Coverage Of A Breaking News Story In A Newsmagazine 20/20 “City Underwater” GEORGE STEPHANOPOULOS ON ASSIGNMENT WITH RICHARD ENGEL “Fall of Mosul” ANDREA MITCHELL Outstanding Coverage Of A Breaking News Story In Spanish PRIMER IMPACTO “Unidos En El Dolor: Huracan Maria En Puerto Rico (United In Pain: Hurricane Maria In Puerto Rico)” PAMELA SILVA CONDE Outstanding News Discussion & Analysis THIS WEEK WITH GEORGE STEPHANOPOULOS “High Alert: North Korea” JONATHAN GREENBERGER MARTHA RADDATZ GEORGE STEPHANOPOULOS

Outstanding Live Interview

THIS WEEK WITH GEORGE STEPHANOPOULOS “Interview with Sarah Sanders” JONATHAN GREENBERGER MARTHA RADDATZ GEORGE STEPHANOPOULOS

45th Annual Daytime Emmy® Award Winners Outstanding Children’s Or Family Viewing Series FREE REIN CLAIRE POYSER KATE LITTLE Outstanding Morning Program GOOD MORNING AMERICA GEORGE STEPHANOPOULOS AMY ROBACH ADRIENNE BANKERT MARY BRUCE JONATHAN KARL MARTHA RADDATZ CECILIA VEGA

Outstanding Edited Interview

Outstanding Talk Show Informative

60 MINUTES “Prisoner 760” HOLLY WILLIAMS

THE DR. OZ SHOW STACY RADER DR. MEHMET OZ Outstanding Game Show Host

Outstanding New Approaches: Documentary

WAYNE BRADY LET’S MAKE A DEAL

FINDING HOME IAN OREFICE

Outstanding Entertainment Talk Show Host

Outstanding Business, Consumer And Economic Report THE SOURCE: THE HUMAN COST HIDDEN WITHIN A CUP OF COFFEE SHAWN EFRAN Outstanding Politics And Government Documentary ALL GOVERNMENTS LIE: TRUTH, DECEPTION, AND THE SPIRIT OF I.F. STONE OLIVER STONE Outstanding Historical Documentary LET IT FALL: LOS ANGELES: 1982-1992 MORGAN HERTZAN Outstanding Science and Technology Documentary THE MARS GENERATION IAN OREFICE Outstanding Short Documentary MEET THE PRESS FILM FESTIVAL IN COLLABORATION WITH AFI “Edith And Eddie” LAURA CHECKOWAY

TAMERA MOWRY-HOUSLEY THE REAL Outstanding Musical Performance In A Daytime Program BEN PLATT “You Will Be Found” TODAY SHOW and salutes COLIN JOST Host and Writer LORNE MICHAELS IAN STEWART Executive Producers ERIK KENWARD KENT SUBLETTE Producers JOSH PATTEN MEGAN CALLAHAN Writers HAMISH HAMILTON Director 70th Primetime Emmy® Awards Telecast

SEPTEMBER 11, 2018

VARIETY.COM

An ‘Update’ Fit for the Emmys

“Saturday Night Live” anchors Colin Jost and Michael Che write new rules for special assignment.

By BRIAN STEINBERG

P.21

P.60

P.69

The Demise of Leslie Moonves

‘Murphy Brown’ in Digital Age

Emmy Commemorative

CBS is reeling after more sexual assault allegations lead to the firing of its longtime leader.

CBS revives the venerable sitcom, with Candice Bergen and Co. to take on the modern D.C. scene.

Celebration, fashion may take a back seat to topical issues at Primetime festivities.

By CYNTHIA LITTLETON

By MARC MALKIN

COVER AND THIS PAGE: PHOTOGRAPHED BY ART STREIBER; STYLIST: KEMAL HARRIS/THE WALL GROUP; GROOMING: CHRISTINE NELLI/THE WALL GROUP/ORIBE & MARC JACOBS BEAUTY; PROPS: BRIAN CRUMLEY/ROB STRAUSS STUDIO; COVER CLOTHING: JOST’S SUIT: BRUNELLO CUCINELLI; THIS PAGE CLOTHING: JOST’S SUIT: ESQ; WATCH: GIRARD PERREGAUX; SHOES: BRUNO MAGLI; CHE’S SUIT: TOM FORD; SHOES: JOHNSTON & MURPHY; EMMY COURTESY OF THE TELEVISION ACADEMY; EMMY AND THE EMMY STATUETTE ARE THE TRADEMARKED PROPERTY OF THE TELEVISION ACADEMY; MOONVES: CHRIS PIZZELLO/INVISION/AP/SHUTTERSTOCK

P.52

CONTENTS

TOP BILLING 32 Remembered Burt Reynolds’ pal, ESPN sportscaster Lee Corso, reflects on iconic actor’s life 34 In Contention Kristopher Tapley weighs in on Acad’s decision to step back from popular film category

EXPOSURE 41 Parties Toronto Film Festival and Creative Arts Emmys parties; “The Nun” and “Kidding” premieres; Stand Up to Cancer

ALSO INSIDE 10 Field Notes Editors weigh in on hot topics

47 Devour All-day café Gables opens on Wilshire in Santa Monica 49 Dirt Pro basketball player Chris Paul sells his Calabasas mansion for $11.05 million

FOCUS 75 Movistar Plus Telefonica’s pay-TV arm expands well beyond Spain

P.36

Facetime with Bruce Dern

83, 93 Walk of Fame Honors Actors Jack Black and Eric McCormack to receive stars on Hollywood Boulevard

12 Plugged In What’s trending at Variety.com 138 Final Cut Looking back on Sept. 11, 17 years later

97 Part 2 Pictures Indie production company celebrates a decade of making documentaries

SEPTEMBER 11, 2018

VARIETY.COM

ARTISANS

127 Risk Assessment Scouts help productions film in cities’ high-crime areas

P.48

Serena Williams puts Bel Air digs on the block

130 Quick on the Uptake Production designer Judy Rhee puts her own stamp on shows she joins mid-run

REVIEWS 133 Film Outlaw King 136 TV Homecoming

P.133

“Outlaw King” review

Probably about 30 gallons overall, and it’s all sugarbased, so I ate a lot of it.” Boyd Holbrook on how much fake blood he was covered in while filming “The Predator” P.42

DERN: PHOTOGRAPHED BY SHAYAN ASGHARNIA; GROOMING: EMILY DAWN; BOYD: MAARTEN DE BOER

87 San Sebastian Film Fest From industry trends to gender parity: 10 things to look for at the Spanish event

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Shari Redstone might finally be in position to pull the trigger on a deal that could radically alter the media landscape.”

acing a fresh round of sexual harassment allegations, the sordid saga of Leslie Moonves came to an end Sunday. But for the company he’s leaving behind, the questions about the future of CBS Corp. are just beginning. With chief operating officer Joseph Ianniello stepping in as acting CEO, and six new board members in place at CBS, controlling shareholder National Amusements is just getting started in paving the path ahead. And NAI is headed in the right direction: Declaring a two-year moratorium on a longanticipated CBS-Viacom merger is a wise decision. In the frenzied M&A climate that should continue to grip the media sector heading into 2019, NAI president Shari Redstone needs to reexamine the possibilities for her assets. She can do a lot better than merging CBS and Viacom — a mismatch that may achieve greater scale but is by no means a winning combination. With Disney and AT&T making major moves to bulk up this year, NAI’s competitive response needs to be more ambitious than a mere reuniﬁcation of what it already owns. Between the various tech giants that could conceivably be persuaded to make the kind of content acquisition they’ve been loath to execute to date, and the collection of other media companies still on the market waiting for the right partner, Redstone might ﬁnally be in position to pull the trigger on a deal that could radically alter the media landscape. She should exhaust every option before making the obvious merger move. Don’t be surprised if that move is not the type that is easily anticipated. Consider one board addition, Take-Two Interactive CEO Strauss Zelnick. Who’s to say there isn’t a smart play to be had in getting NAI into the video-game publishing business in which Take-Two operates. Viacom has been down this bumpy road before, with its disastrous acquisition of Harmonix 12 years ago, but that doesn’t mean video games are a bad idea in general. The Moonves controversy was a massive distraction to Redstone. Perhaps now that it’s ending, the time is right to assess her options with newfound clarity.

SEPTEMBER 11, 2018

For last week’s cover story, Variety caught up with Viola Davis about her film “Widows” and the positive changes she wants to make in Hollywood. Variety.com readers weighed in. Leslie says: “Viola has such a genuine and grounded spirit. It’s refreshing. Many of her peers have to put on a ‘face’ to be more likable when they interact with the public or are on these press runs. It’s amazing to watch her ascension. Looking forward to ‘Widows.’”

Dispatches Posts from our staff @kristapley on Twitter: “I’m a mess. Between ‘Roma,’ ‘First Man’ and now the most finely tuned version of ‘A Star Is Born’ yet, I need stock in Kleenex this season.” @carolineframke on Twitter: “I’m less mad about CK doing standup again (of course he is!) than the people sprinting to insist we need to give him a chance. We don’t, and neither do you, but we see what your priorities are.” @variety on Instagram: Penélope Cruz has joined Wagner Moura, Gael García Bernal and Edgar Ramirez in spy drama #WaspNetwork. The series portrays the true story of Cuban spies who infiltrated anti-Castro organizations in the United States.”

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Uncovered Photographed Aug. 28, 2018

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“Che and Jost are strong, quiet types, which worked perfectly for our 1940s Emmy anniversary homage,” says photog Art Streiber. “They easily pulled off the boxy suit, suspenders and hats look as they piled into a vintage cab on West 18th Street. Humphrey Bogart and Edward G. Robinson? No, that’s Michael Che and Colin Jost.”

About the Photographer Since 1994, Art Streiber has been an L.A.-based freelance photographer specializing in portrait, reportage, entertainment and advertising photography. Editorial clients include Vanity Fair, GQ, Entertainment Weekly, Wired, Time, ESPN and The New York Times Magazine. In 2005, Streiber was named to American Photo’s list of “The 100 Most Important People in Photography.”

STREIBER: STEVEN SPIELBERG; DAVIS: WILLIAMS + HIRAKAWA; CRUZ: JAMES MCCAULEY

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Variety Poll What Will This Is Us Win Best Drama Series? 23.5% Television’s biggest night of the year is almost upon us. From “Game of Thrones” to “The Handmaid’s Tale,” we asked Variety.com readers who they think will win one of the biggest prizes of the night: best drama series.

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‘Thrones’ Returns After winning best drama in 2015 and 2016, “Game of Thrones” was ineligible last year. Will it return with its third win in the category?

“There are times in your life that are so indelible, they never fade away. They stay alive, even 40 years later. My years with Burt [Reynolds] never leave my mind. He will be in my history and my heart for as long as I live.” Sally Field

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Tributes Pour In for Mac Miller

SEPTEMBER 11, 2018

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FROM SO CIAL MEDIA REMEMBR ANCES to live dedications, the music community continued to pay tribute to rapper Mac Miller, who was found dead on Sept. 7 of an apparent drug overdose. John Mayer posted a moving tribute to Miller on Instagram, writing, “He made a quantum leap in his music. That’s incredibly hard to do, to evolve and get better and more focused while your career is already underway.” Both Childish Gambino (aka Donald Glover) and Elton John remembered Miller during live performances over the weekend. “My heart was broken, and I feel good about being sad because it tells me that he was special, that I had a special moment,” said Glover. “Everybody in this room deserves that.” John, meanwhile, dedicated a performance of “Don’t Let the Sun Go Down on Me” to Miller. “Mac, wherever you are, I hope you’re happy now,” he said.

“It felt scary and then it felt comforting.” Nicole Kidman stopped by Variety’s “Playback” podcast and talked, in part, about bringing the gang back together for Season 2 of “Big Little Lies.” “The idea of abandoning these women and not exploring them further felt like shortchanging them,” she said of the HBO series. Variety.com/NicoleKidman

• For the full story, head to Variety.com.

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91 Laura Dern The Tale A supporting category winner last year, she’s had a five-point bump.

86 Sarah Paulson American Horror Story: Cult Will her 15-point jump augur another award?

77 Regina King Seven Seconds Another past winner — with a fourth consecutive Emmy nomination.

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“The 25th Amendment is there so you can use it. It’s like there’s a sign that says, ‘In case of emergency, break glass,’ but [Trump administration officials] are like, ‘I mean, we could break the glass, but then there’d be glass everywhere.’” Trevor Noah

“I felt like I got to really take something that is familiar [with ‘The Purge’ series] and really present it in a different way.” Director Anthony Hemingway

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Upheaval at CBS demonstrates pervasiveness of abuse throughout the entertainment industry Story by CYNTHIA LITTLETON

LESLIE MO ONVES IS GONE from CBS. But left in his wake are vital questions

about culpability at the media company he ran for many years — and for the industry at large. Moonves, the longtime CBS chairman and CEO, is the latest, as well as the most prominent and powerful, entertainment titan to be brought down by shocking allegations of sexual assault and abusive behavior. He joins a growing list of alpha

VARIETY.COM

Moonves Ouster Proves #MeToo Far From Done

SEPTEMBER 11, 2018

MOONVES: CHELSEA LAUREN/VARIETY/SHUTTERSTOCK; REYNOLDS: PARAMOUNT/KOBAL/SHUTTERSTOCK

TOP BILLING

EXPOSURE

CONTENDERS

FOCUS

ARTISANS

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TOP BILLING | NEWS

Chaos at CBS

males — Harvey Weinstein, Matt Lauer, CBS News’ Charlie Rose, Fox News’ Roger Ailes and Bill O’Reilly among them — who scaled the heights professionally only to see their final legacies undone by accusations from women too numerous to ignore. The detailed accounts of 12 women in investigative reports by Ronan Farrow for The New Yorker paint a damning picture of Moonves that is markedly different from that of the leader who for • For more years commanded respect and on this admiration across the industry. story, go to And the company he ran Variety.com/ has been left reeling. CBS shareLeslie holders have taken a direct hit, Moonves with the stock plunging 7% since the scandal first erupted on July 27 with Farrow’s initial damaging report on Moonves. As the CEO of a public company, his actions — and the culture that enabled him — demand answers on behalf of shareholders from the CBS board of directors tasked with overseeing the company. The incarnation of the CBS board prior to the Sept. 9 shake-up, which just saw six new members appointed, has come under fire for accusations that it failed to act on troubling information about Moonves that began to surface nearly a year ago. Farrow’s reporting now includes allegations from a dozen women — of forced oral sex; forced kissing, including one instance of violently holding actress Illeana Douglas down on a couch; repeated come-ons despite rejections; and efforts to retaliate and exact revenge against those who rebuffed him. Former Lorimar Television executive Phyllis Golden-Gottlieb alleged he threw her against a wall. Moonves has denied some of the claims in Farrow’s story as “untrue allegations from decades ago … that are not consistent with who I am,” although he has not cited specifics. Despite these allegations, Moonves is in line for a severance package of $100 million or more — although payment is contingent on the results of CBS’ investigation into the

The upheaval at the corporation accelerated after more sexual assault allegations were leveled against nowdeparted chairman-CEO Leslie Moonves. Here’s what happened:

claims that began after the ﬁrst Farrow story was published. But the Sept. 10 disclosure that part of CBS’ settlement with Moonves calls for the company to not release the results of its internal investigation into his behavior has raised immediate protests from #MeToo activists and others. Such non-disclosure and non-disparagement clauses in employment contracts have been another tool for keeping a lid on bad behavior. “This is proof that CBS never took the investigation seriously and never meant for it to be a transparent evaluation of both Moonves’ actions and the toxic culture that he created at CBS,” says Shaunna Thomas, co-founder of the anti-sexism advocacy group UltraViolet. “This should be deeply concerning to CBS employees, shareholders and advertisers who now know that they cannot trust CBS to take these issues seriously and keep their employees safe. CBS must do better.” The culture of the entertainment industry has come under ﬁre amid the nearly yearlong reckoning over sexual misconduct. It typically requires outsize personalities and a healthy ego to pursue stardom or to be a leader of a large and dynamic enterprise such as a network or studio, and Moonves has long been known for his drive and hard-charging zeal to win at all costs. There’s a long history in Hollywood of tolerating, and at times even encouraging, objectionable behavior from those who attain the industry’s most precious commodity: success. In too many cases, the bigger the box office, or the ratings, or the earnings delivered, the more egomaniacal and narcissistic behavior is tolerated. For many abusers, the activity is fueled less by sexual desire than by a need to project power over others, harassment experts say. In the case of Moonves, the allegations to date come from women who were subordinate to him in some way, whether assistants or aspiring actors and writers or those over whom he had great sway in terms of continued

Moonves resigned Sept. 9, hours after The New Yorker published a second exposé detailing disturbing accounts of his abusive and violent behavior over the years.

CBS and controlling shareholder National Amusements Inc. settled the lawsuit over control of the company that Moonves championed.

Six new board members were installed Sept. 9, including former Barclays Bank investment banking chief Barbara Byrne. Of the 13 board members, six are now women, including NAI president Shari Redstone, vice chair of CBS and Viacom.

Joe Ianniello, CBS’ chief operating officer, was named acting CEO of CBS Corp.

CBS put $120 million in a trust to cover Moonves’ severance package, pending the outcome of CBS’ investigation into his behavior. If the investigation finds evidence of wrongdoing, Moonves will receive no severance.

The results of the investigation will not be made public, per the nondisparagement clause in the Moonves settlement — a move that is already drawing harsh criticism.

NAI agreed to hold off proposing a merger of CBS and Viacom for at least two years.

NAI will amend a provision in the trust agreement governing Sumner Redstone’s CBS holdings that will make it easier for CBS Corp. to be acquired by a larger entity.

Moonves and CBS will donate $20 million to Time’s Up and other advocacy groups supporting equality for women in the workplace.

MOONVES: MJ PHOTOS/VARIETY/SHUTTERSTOCK; IANNIELLO: CBS; SHARI REDSTONE: AURORA ROSE/VARIETY/SHUTTERSTOCK; SUMNER REDSTONE: ROB LATOUR/SHUTTERSTOCK

SEPTEMBER 11, 2018

VARIETY.COM

Moonves Waning Women’s groups are outraged over the exec’s potential severance, which is contingent on the result of an investigation.

TOP BILLING | NEWS

SEPTEMBER 11, 2018

VARIETY.COM

Golden parachutes have softened the landing of many, but not all, high-profile individuals in the entertainment industry accused of sexual abuse.

Leslie Moonves

Roger Ailes

Bill O’Reilly

John Lasseter

Matt Lauer

Charlie Rose

Roy Price

Harvey Weinstein

CBS

Fox News

Disney

NBC News

CBS News

Amazon

The Weinstein Co.

Company has set aside $120 million severance pending an investigation.

Received $40 million contract payout upon ouster in 2016

Got $25 million — a year’s pay — when fired in 2017

Allowed to take a sabbatical, and then a “consulting” gig that ends Dec. 31 — 13 months after he was accused

No severance after #MeToo firing in November

No severance after ouster from “CBS This Morning” and his nightly PBS show

Quit the e-tailer after a producer alleged sexual abuse; no severance reported

In the midst of arbitration over his firing without severance last October

employment and opportunities. A repeated pattern of abuse of underlings is a common thread among abusers — so much so that corporations need to find ways to recognize warning signs as they evaluate executives for promotion. “There’s a pattern for people that engage in this kind of behavior over decades,” says Angelo Carusone, president of Media Matters for America, a watchdog group that has closely been following the harassment scandals at CBS and CBS News. “This is not a one-off instance of inappropriate conduct. All of the men we’ve seen be brought down had incidents that spanned extended periods of time. These were people who preyed on others who were less powerful.” Carusone echoes the call from UltraViolet and others for CBS to be transparent about the results of its Moonves investigation. He notes that at the time CBS launched its Moonves probe it was still conducting an investigation of the news division following the firing of “CBS This Morning” co-anchor Charlie Rose for allegations of misconduct by numerous women. “This is reflective of a deeper cultural problem at CBS,” Carusone says. “How are they going to project confidence to shareholders and employees that they are going to actually address it at a structural and systemic level,” he says, alluding to the non-disclosure clause. “We’re supposed to believe that this is all going to get wrapped up and they’re not going to be transparent about it?” Nancy Erika Smith, the civil rights attorney who represented Gretchen Carlson in the sexual harassment lawsuit that led to Ailes’ ouster from Fox News in 2016, says the issue of why few women came forward early on in Moonves’ career comes down to the climate of fear that exists for women who are victims of harassment and worse. Women historically have faced extreme skepticism when bringing claims against powerful men. The dread of losing employment, harming future career prospects and being branded a troublemaker has been enough to keep many silent in the

face of even criminal activity. The outpouring sparked in October 2017 by the first wave of revelatory allegations about heinous acts by former film mogul Weinstein has helped embolden victims to speak out, Smith says. But the harsh reality is, the legal landscape for pressing sexual misconduct claims has largely remained unchanged in the past year. “Many women have very few remedies,” says Smith, a partner at Smith Mullin in Montclair, N.J. “There are many states where there are no state laws [on workplace harassment] and the federal law is so weak.” A big problem Smith cites is the restrictive nature of the statute of limitations on harassment-related offenses. At the federal level, victims must file a complaint with the Equal Employment Opportunity Commission within 300 days of the incident. “This is probably the shortest statute of limitations on any cause of action anywhere in the country,” Smith says. “If you trip on the sidewalk, you still have two years to file a claim.” There are hopeful signs on the horizon. New York recently passed legislation making

This is not a one-off instance of inappropriate conduct. All of the men we’ve seen be brought down had incidents that spanned extended periods of time. These were people who preyed on others who were less powerful.” Angelo Carusone, Media Matters for America

it much tougher to use non-disclosure agreements as a matter of course in employment contracts. A similar bill is awaiting Gov. Jerry Brown’s signature in California. Smith sees the shift in public attitudes toward women who stand up for their rights and the public shaming of men called out as abusers as a bellwether of more substantive legal changes to come. “There is a sisterhood in speaking out,” she says. The attorney believes the spike in the number of women running for elected office at the local, state and federal level is connected to the rise of #MeToo — and the fact that President Donald Trump himself has been widely accused of sexual misconduct. “Women are deciding we need to have our voices heard,” Smith says. “If we take back our government from the GOP, we will see movement on these issues in Congress.” Long-term, experts say the focus has to be put on heightening the liability of corporations and the directors who oversee them to root out, and hopefully prevent, abuses of power at all levels of an organization. It’s surely no accident that the overhaul of the CBS board has brought it to near 50-50 gender parity, with women holding six of the 13 director seats. “We’re in a moment of a cultural shift where we’ve gone [away] from a place where the standard response to women who complained was to malign them and smear them,” Carusone says. “We need to get to a place where it’s not seen as an HR function but as central to good business practices to have in place strong mechanisms for reporting and addressing sexual harassment.” In this effort, Carusone suggests there’s a role for some of the recently disgraced ﬁgures to play in helping to set new workplace standards. In other words: It takes a thief to catch a thief. “You shouldn’t give these people power again, but I do think some of them could be part of the solution as part of the road to redemption,” Carusone says. “I think there will be roles for men like [Moonves] in the future.”

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Caroline Framke The Watchword

Time’s Up for Powerful Predators Abusing Their Position and Staff Moonves’ ouster signals it’s time to truly start listening to employees at all levels

SEPTEMBER 11, 2018

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eslie Moonves was brought down by the very people he never thought could do it. Two months after the first accusations against the former CBS CEO broke, another half-dozen women told their stories to The New Yorker’s Ronan Farrow on the record, detailing horrific incidents of sexual coercion and assault spanning decades. Moonves insisted he had “never before heard of such disturbing accusations” — which may well be true. Each woman in the story emphasized her initial fear of speaking out against him to explain why she hadn’t shared her accusations earlier. None of them was ever in a position where she could challenge one of the most powerful people in the entertainment industry without risking everything. That these are the people who may have brought Moonves’ world crashing down around him is the kind of mind-boggling twist that exists more on-screen than in real life. It’s a huge moment for the #MeToo movement — and yet it’s far too early to call it definitive. In a perfect world — or hell, just a marginally better one — this story would make

Eye of the Storm More than a dozen women have come forward about their experiences with the former CEO of CBS.

bosses across the industry realize that they can’t casually abuse their lowerlevel employees without repercussions. But the fact remains that none of the women who eventually spoke out against Moonves felt like she could do so while working in or around CBS. Some of them felt comfortable doing so only decades later. That’s how scared they were of the consequences of revealing their boss’ criminal actions.

The fact remains that none of the women who eventually spoke out against Moonves felt like she could do so while working in or around CBS.”

Serial abuse always starts somewhere, and more often than not, it’s with those people a perpetrator knows are far less likely to say anything about it. This second damning story on Moonves and the toxic CBS culture that let him thrive emphasizes exactly that, highlighting assault victims who worked in the kinds of junior positions that powerful men routinely take for granted. Jessica Pallingston was an assistant trying to break into writing when she says Moonves called her for a meeting and forced her to perform oral sex on him. Deborah Morris was a junior executive when, she says, Moonves made aggressive advances on her despite her protests. Deborah Green was a freelance makeup artist who detailed her shock at Moonves forcibly kissing her after a TV appearance. The spa director of D.C.’s Four Seasons hotel told Farrow that a slew of massage therapists complained about his behavior, insisting they never wanted to be sent to his room again. Every industry ladder — not just entertainment — has lower rungs filled with positions like these. If you pay your dues, the common wisdom goes, you can climb your way up. Working these jobs means supporting the higher-ups at any cost; the better you make your bosses look, the better you make yourself look. While this makes sense in theory, the problem with this hierarchy comes when those bosses abuse their positions simply because they can, having structured the industry in such a way that junior employees can’t push back lest they get pushed out. It would therefore be unsurprising if Moonves and the many influential men who came up under him at CBS pushed the limits of their power in the way these women describe. In no world do abusive people at that level believe that their jobs could be threatened by the assistant sitting outside their office, the intern making coffee runs or the massage therapist kneading their hamstrings. After all, they never had any reason to — until, perhaps, now. Many of the sexual harassment and assault cases that have come to light in the past year feature prominent names (especially Harvey Weinstein’s long and winding list of targets, which include some of the biggest actresses in Hollywood). All of these stories, however, feature victims who worked in these seemingly invisible positions, where abuse can run rampant without ever being taken seriously. Even now, after almost a solid year of shattering revelations, those survivors never get nearly the same attention as their more famous counterparts. Every victim of abuse deserves equal consideration. Every person who speaks up deserves to be heard like the women who came forward about Moonves, whether they’re a famous actor, struggling writer or anonymous intern. Until the less powerful feel like they can speak out without first having to leave their company or the industry entirely, this movement is still operating at surface level, rather than pulling the corruption out by the roots. If that doesn’t change, not much else ever will.

JAE C. HONG/AP/SHUTTERSTOCK

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Burt Reynolds: Superstar’s Charisma Came Naturally 1936-2018 ESPN’s Lee Corso recalls his Florida State teammate and lifelong friend

SEPTEMBER 11, 2018

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MY EARLIEST MEMORY of Burt was at

football practice in 1954. I was a sophomore, and he was a freshman. It was tackling practice. I had to tackle him, and he ran right over my ass. Boom. I said, “Who the hell was that?” and some guy said, “That’s Buddy Reynolds from West Palm Beach.” We all called him Buddy. He was a hell of a runner. I couldn’t handle him. We roomed together on the road, and that’s how we got to know each other. He was so good-looking, I used to set him up as bait. He would go over to the student union and pick up two girls. Our secret was his looks and my car — a 1952 green Chevrolet. He was a great guy to hang around with. He had a great sense of humor. He was always happy, never a grouchy kind of guy. He always had a pleasant personality. He wasn’t a moaner or a groaner. He never complained about anything. Burt was a pretty good football player, but he hurt his knee. So he went home. He started acting and got involved in summer stock in Palm Beach. Then he came back to Tallahassee, and he told me, “I’m going to

Hollywood to be a movie star.” I said, “Yeah, good luck.” He said, “No, I’m serious.” So I told him, “OK, then remember one thing — be yourself, be humble and go for it.” I’ll never forget that. His dream was to be a National Football League player, but that went away with his knee. And he didn’t particularly like going to college. So I told him, “Hell, you might as well go for it.” When his ﬁrst marriage ended, I was a coach at Maryland. He called me and said,“I need to get away. I want to come spend a few days with you and your family.” I said, “Great — come visit.” He came to my house, and he was really down. He spent three or four days with us. He had given his ex-wife everything, even his dog. But he was really happy around my family, playing games in the backyard with my kids — hide-and-goseek, stuff like that. He told me,“I really envy you. You’ve got a wife and a family, and you’re really happy.” That’s one thing he never had. He never did have a close family. But he was really good with my family. It was like he was one of us. Even after he became a superstar, he was like that.

When he became a movie star, it was because he played himself.”

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When he became a movie star, it was because he played himself. I used to kid him about it all the time. I’d say, “You’re doing all these movies where you play yourself.” He had a real good sense of humor, and that came across. He was a real nice guy who played nice guys. I talked with him once a month for years, and we would see each other at Florida State football games. He never forgot his old teammates at Florida State. I talked to him just last week, before he got sick. We talked about Florida State’s team and how their new coach, Willie Taggart, was going to bring them back. We made plans to see each other again. There’s a program at Florida State called Nugent Boys. All the guys that played for coach Tom Nugent go back every year. We were planning on seeing each other and being with all our teammates. He didn’t sound sick. He was upbeat. He passed away Sept. 6. Sixty-four years we were friends. That’s a long time. I’ll miss his presence, his humor. We were very close in the good times and especially in the bad times — and we’ve both had a few. We were especially close when one of us got hurt in some way. I’ll miss that most about him. He was a real man. As told to Daniel Holloway Lee Corso has been an analyst on ESPN’s “College GameDay” for three decades. He is a former college and professional football coach.

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We heard from a lot of members who said, ‘We’re nine months into the awards year. This is creating a lot of confusion. Let’s put a pin in this.’ ”

Kristopher Tapley In Contention

Sacked by Popular Demand: Academy’s ‘Popular Film’ Category But AMPAS chief says plan might yet resurface after this year’s Oscars are over

SEPTEMBER 11, 2018

VARIETY.COM

here was plenty of positive membership feedback to go along with the well-publicized backlash to the Academy of Motion Picture Arts and Sciences’ Aug. 8 announcement of an “achievement in popular film” Oscar category, insists AMPAS CEO Dawn Hudson. Nevertheless, the organization last week stepped back its plans for the new category, conceding a need for “further study.” “We were excited to announce many changes to the Oscars because we wanted to show we are evolving,” Hudson says. “The show is changing and we wanted our members to know and our film fans around the world to know.” But she admits the details and parameters surrounding a popular film prize were still in the process of being determined when the announcement was rushed out. “We heard from a lot of members who said, ‘We’re nine months into the awards year. This is creating a lot of confusion. Let’s put a pin in this,’” Hudson says. Whether the category resurfaces in some fashion after further workshopping — following the upcoming 91st Oscars, of course — or whether it is simply allowed to fade,

Super Prospects “Black Panther,” which has earned more than $1.3 billion at the global box office, may well make the best picture shortlist.

as a conveniently forgotten trial balloon, remains to be seen. But Hudson says the Academy, or at least its leadership, is committed to the new prize in principle, and adds it was misunderstood by its many detractors. Actor Rob Lowe, who was among those opposed to the category, was encouraged by the about-face. “The film industry’s health took a small, but surprising turn for the better today,” he cheekily tweeted. “A lot of people didn’t understand the intention,” Hudson says. “We want to honor excellence in a wider spectrum of filmmaking. That’s not changing.” That position is on brand for the Academy. A number of recent initiatives, such as the move to vastly expand the diversity of its membership, have been conceived with inclusivity in mind. “The goal everyone supports is how do you widen the net,” Hudson says. “We’ve had a lot of different ways of defining it.” Nevertheless, many Academy members feel the handling of the popular film category announcement was another botched PR episode for the organization, and that, at minimum, board members should have voted not on an abstract concept but on a measure that had an actual framework in place.

“The messaging out of the Academy is amateurish and mangled in execution,” says one member. “They should have come in with bullet points about how it worked. Not just ‘Let’s toss it around.’” Furthermore, a commitment to honor “popular” achievements might be baked into a year like 2018, which already features Marvel’s critically acclaimed box office hit “Black Panther.” Also on the way is Warner Bros.’ “A Star Is Born,” Bradley Cooper’s musical remake starring Lady Gaga, which hits theaters next month. The picture has already wowed critics in Venice and Toronto and is poised to become a crossover commercial hit in the vein of previous Warners Oscar players like “Dunkirk” and “Mad Max: Fury Road.” Both “Black Panther” and “A Star Is Born” figure to be in the thick of this year’s best-picture Oscar discussion without need for a special category. “I think people are trying to engage audiences more,” says Michael B. Jordan, one of the stars of “Black Panther.”“We’re in this climate where everybody is looking at viewership, so bringing a category like that in — it’s trying to get more of the audience, people at home, to feel involved in the process. The questions being asked are important ones, and until there are answers, it’s tough to have an educated dialogue on it.” Others point to the fact that a popular film category, whatever its composition, will not address the underlying concern of sagging ratings for the annual Oscars telecast. The myriad reasons for declining viewership, including the ongoing evolution of home-viewing habits, aren’t going to change. And there’s always the risk of alienating the broadcast audience with a move that’s perceived as political. That can happen even via content and emcee choices: The most successful recent telecast was hosted by Ellen DeGeneres, safe and uncontroversial in comparison with the sometimes incendiary Jimmy Kimmel. “You can’t whittle away your audience purposely unless you’re on Netflix,” one Academy voter quips. Along those lines, some have speculated that the Academy should just sell its awards show to the streaming giant, shedding the headache of propping up broadcast ratings altogether — and exacting what would surely be a rich price point. ABC has those rights, and the Academy Awards’ fate, sewn up for another decade. But wouldn’t such a move be a big, bright, flashing sign of the times?

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Dawn Hudson, AMPAS CEO

What are AT&T and Disney getting for $156.7 billion? They’re getting into the tobacco business. After buying at least 360 tobaccocontaminated movies from Warner and Fox—movies proven to recruit millions of kids to smoke—AT&T and Disney must deal with a global tobacco control treaty.

AT&T is a telecom company. So it may not be familiar with the W.H.O. Framework Convention on Tobacco Control (FCTC). This global treaty obligates governments to end the promotion of tobacco in ﬁlm and on video. For example: the hundreds of Warner Bros. movies with smoking that AT&T is now planning to monetize worldwide. Half of these ﬁlms are youth-rated by the MPAA. Already, they’ve delivered more than 70 billion tobacco exposures to domestic theater audiences. Subtract the youth market and what are these movies worth under FCTC Article 13?

Disney’s recent films are 100% smokefree. But not after Disney buys at least 157 recent films with smoking from 21st Century Fox. More than half (56%) of these films are youth-rated. So far, they’ve delivered 33 billion tobacco exposures to domestic theater audiences. Irony? When Disney buys Fox, it’s taking on tobacco content equal to three Miramaxes, the chain-smoking film division Disney sold off in 2010. In February 2018, large shareholders asked Disney how it plans to market Fox’s smoking films responsibly. Disney has yet to provide a substantive answer.

France, India, the U.K., Nigeria, China, Canada and the U.S. are among countries that have adopted or are currently considering adult ratings or other policies to safeguard kids from smoking on screen. These nations alone represent 40 percent of the global film market. In all, 181 governments are party to the FCTC treaty and obligated to end tobacco promotion in entertainment media. Remedies for existing films include: posting tobacco warnings at points-of-sale; running strong anti-tobacco spots before the films, in all media; and requiring producers to come clean about tobacco industry payoffs in a film’s production chain. For a list of 360 tobacco-contaminated films acquired by AT&T and Disney, go to http://bit.ly/costly-films

One little letter

will save a million lives.

Smoking in movies kills in real life. Smokefree Movie policies—the R-rating, anti-tobacco spots, certiﬁcation of no payoffs, and an end to brand display—are endorsed by the World Health Organization, American Medical Association, American Academy of Pediatrics, American Cancer Society, American Heart Association, American Lung Association, Americans for Nonsmokers’ Rights, American Public Health Association, Breathe California, Campaign for Tobacco-Free Kids, Los Angeles County Dept. of Public Health, New York State Dept. of Health, New York State PTA, Truth Initiative and many others. This ad is sponsored by Smokefree Movies, UCSF School of Medicine, San Francisco, CA 94143-1390.

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Bruce Dern ‘My Whole Life Is About Trying to Be Fair’ Bruce Dern is celebrating 60 years as an actor, having made his Broadway debut in the 1958 “Shadow of a Gunman” while studying with Lee Strasberg and Elia Kazan. This year, his ﬁlm work includes playing two real-life characters: Joseph Kennedy in “Chappaquiddick” and Roman Wershe in A24’s “White Boy Rick.” The latter ﬁlm, about a 14-year-old who was arrested in 1980s Detroit, opens Sept. 14. What drew you to “White Boy Rick”? It’s real. I play the grandfather of the young boy, Rick Wershe Jr. He had to take a package across town, and police busted him. He was just released this year after 29 years. He was 14 [when he was imprisoned], so to lighten his sentence, they made him an informer. Wershe was in the wrong place at the wrong time. The movie shows that “It ain’t fair.” My whole life is about trying to be fair. My aunt married Herbert F. Goodrich, a judge on the Third Circuit Court of Appeals. He said to me: “I have the best job in this country. Because every day, I have the chance to be fair.” That really got me.

When I was heading to California, Mr. Kazan put his hand on my shoulder and said: “Just remember. When you get there, you are not a movie star. You are not a

After 60 years, your career seems to be stronger than ever. I’ve enjoyed the ride. I enjoy being where I am now. Now I hear “the legendary Bruce Dern.” I’m not a legend; I’ve just gotten better roles, which makes me luckier than the next guy.

No thoughts of retiring? I wouldn’t know how to retire. I want to continue coming up with parts of me that haven’t come out yet.

Things You Didn’t Know About Bruce Dern AGE: 82 BIRTHPLACE: Chicago GODFATHER: Adlai Stevenson FILMS HE’S ESPECIALLY PROUD OF: “Coming Home,” “Nebraska” ADDICTION: Running ESTIMATED MILES HE’S RUN IN HIS LIFE: More than 100,000 CIGARETTES, COFFEE AND ALCOHOLIC DRINKS CONSUMED IN HIS LIFETIME: Zero AUTOBIOGRAPHY: “Things I Said but Probably

Shouldn’t Have” Interview by TIM GRAY Photograph by SHAYAN ASGHARNIA

GROOMING: EMILY DAWN

SEPTEMBER 11, 2018

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What’s the best acting advice you received?

leading man. But you have an ability. When the switch is on and something hits you, it works. It’s not on the page; it’s your behavior. But when you get out there, nobody will know who you are until you’re 60.” I was 25 at the time. He also said, “Never tell a director what you’re going to do in a shot or a scene.” I said, “How the hell do I get away with that?” He said, “The director has something you’ll never have: He’s got ‘Take two!’”

GAME, SET, SELL

A Anna Wintour, Henry Golding, Ansel Elgort and K Katie Holmes dress up New York Fashion Week p.44

Serena Williams serves lower price for Bel Air mansion p.48

VARIETY.COM John Legend and Chrissy Teigen celebrate the “All of Me” singer becoming an Utes cusdanis id molupta EGOT winner after pickingcum de sapeliquist, core nihilibus quiatem te estia volecus, sit adi consedi up a statuette for quo “Jesus gentibusamus reium Christ Superstar Livefacepe laborpos et adissitae et dercianis excepellupta cuptati blaut aut lantur, teniet in Concert.”

SEPTEMBER 11, 2018

LEGEND/TEIGEN: JOHN SALANGSANG/SHUTTERSTOCK; WINTOUR: ANDY KROPA/SHUTTERSTOCK

TOP BILLING

EXPOSURE

CONTENDERS

FOCUS

ARTISANS

REVIEWS

STYLE FILE S

EXPOSURE | PARTIES

Toronto Int’l Film Festival TORONTO, SEPT. 6-16

Javier Bardem, Asghar Farhadi and Penélope Cruz

Matthew ew McConaughey amila Alves at the and Camila e/HFPA party InStyle/HFPA

Julia Roberts at the “Ben Is Back” premiere

Chris Pine at the Name line rightpremiere here “Outlaw King”

SEPTEMBER 11, 2018

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Melissa McCarthy and Richard E. Grant at the Fox Searchlight party

Bradley Cooper and Lady Gaga at the “A Star Is Born” premiere

Plan B’s Dede Gardner and Regina King at the “If Beale Street Could Talk” premiere party

PINE, MCCONAUGHEY/ALVES: EVAN AGOSTINI/SHUTTERSTOCK; BARDEM/FARHADI/CRUZ, COOPER/GAGA: ANDREW H. WALKER/SHUTTERSTOCK; ROBERTS: IMAGESPACE/SHUTTERSTOCK; ESPACE/SHUTTERSTOCK; MCCARTHY/GRANT: TODD WILLIAMSON/SHUTTERSTOCK; GARDNER/KING: ARTHUR MOLA/SHUTTERSTOCK

Hollywood headed to Canada, with Netflix’s “Outlaw King,” starring Chris Pine and Aaron Taylor-Johnson, jump-starting events on opening night. Lady Gaga hit the “A Star Is Born” gala presentation with director and co-star Bradley Cooper; a party followed with Salma Hayek, Daniel Kaluuya and Denis Villeneuve. “To come to Toronto [with a film], it’s an overall declaration to the world: ‘Come on, let’s do this. Let’s do the red carpet,’” Matthew McConaughey, who stars in “White Boy Rick,” told Variety.

Variety at Toronto Int’l Film Festival TORONTO, SEPT. 7-10

Nicole Kidman, Chris Pine, Amandla Stenberg, Ryan Gosling, Barry Jenkins, Melissa McCarthy, Natalie Portman, Alfonso Cuarón and Penélope Cruz were just some of the stars and filmmakers to stop by the Variety Studio presented by AT&T for interviews and portrait photos. The magazine feted “Widows” director Steve McQueen and his cast — Viola Davis, Liam Neeson, Daniel Kaluuya, Elizabeth Debicki, Brian Tyree Henry, Cynthia Erivo, Robert Duvall and Michelle Rodriguez — at a party at the DirecTV House at Momofuku. The following evening, a dinner co-hosted by Chanel in honor of “Colette” star Keira Knightley and women filmmakers was held at hot spot La Banane, where guests Elizabeth Olsen, Gael García Bernal, Alexander Skarsgård and Nicole Holofcener enjoyed chef Brandon Olsen’s new-French creations.

Salma Hayek

Damien Chazelle, Josh Singer, Ryan Gosling, Olivia Hamilton and Claire Foy

Creative Arts Emmy Awards

Viola Davis and Elizabeth Debicki

W. Kamau Bell and Juno Bell

Samira Wiley

MICROSOFT THEATER, LOS ANGELES, SEPT. 8-9

Jonathan Jona Van Ness Gabriel Villarreal and Hector Pocasangre

James Corden

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CNN’s “Anthony Bourdain: Parts Unknown” and NBC’s “Jesus Christ Superstar Live in Concert and “Saturday Night Live” were the big winners, while RuPaul picked up his third consecutive win for reality competition host for VH1’s “RuPaul’s Drag Race.” Seen at the Governors Balls after the ceremonies were Padma Lakshmi, Samira Wiley, and John Legend and Chrissy Teigen.

SEPTEMBER 11, 2018

VARIETY TORONTO: MICHELLE QUANCE/SHUTTERSTOCK; VILLARREAL/POCASANGRE, BELL: ROB LATOUR/SHUTTERSTOCK; WILEY, CORDEN: CHELSEA LAUREN/SHUTTERSTOCK; SHUTTERSTOCK VAN NESS NESS: SCOTT KIRKLAND/SHUTTERSTOCK

Keira Knightley

EXPOSURE | PARTIES

New York Fashion Week

Anna Wintour, Henry Golding and Cardi B at Tom Ford

SEPT. 6-14 As always, New York Fashion Week is a star-studded affair. Tom Ford’s show kicked things off at the Park Avenue Armory, where, in the front row, Tom Hanks, Rita Wilson and Henry Golding chatted with Vogue editor-in-chief Anna Wintour while Cardi B looked demure in a glamorous yet simple black gown. Katie Holmes co-hosted the Saks IT List Townhouse pop-up, and Cindy Crawford celebrated photographer Russell James’ “Angels” book and exhibition at Stephan Weiss Studio. Fashion Week wraps on Sept. 14, with Rihanna heading to Brooklyn for a presentation of her Savage X Fenty lingerie collection. Ansel Elgort at the Prada Linea Rossa relaunch

Harper’s Bazaar’s Glenda Bailey and Katie Holmes at the Saks IT List Townhouse opening

Lil’ Kim at the VFiles show

Stand Up to Cancer Telecast

Danai Gurira at the Barneys/Thom Browne dinner

Dascha Polanco at the “29 Rooms: Expand d ning Your Reality” opening

Tyler Posey

SEPTEMBER 11, 2018

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BARKER HANGAR, ANGAR, SANTA MONICA, A, SEPT. 7

Produced by Bradley Cooper and including appearances by Matt att Damon, Sofia Vergara, Max Greenfield, d, Mahershala Ali, Karla Souza and Sarah h Hyland, Stand Up to Cancer marked its 10th anniversary with a telethon that raised more than $123 million. SUTC C co-founder Katie Couric’s first husband, d, Jay Monahan, died of colon cancer; her sister, Emily reatic cancer. “I Couric, died of pancreatic couldn’t help my husband and when he was sick, I couldn’t help myy sister, and I desperately wanted to,” Couric told Variety. “At least I can help lp other families and spare them, I hope, e, the pain that my family endured.” Steviee Wonder also performed a tribute to Aretha etha Franklin, who recently died of pancreatic ncreatic cancer.

FX’s Joh John Landgraf

Variety Entertainment and Technology Summit FOUR SEASONS HOTEL, LOS ANGELES, SEPT. 7 Featuring speakers such as FX Networks’ John Landgraf and Otter Media/ Featuri AT&T’s Tony Goncalves, Variety’s Entertainment and Technology Summit delved into the future of the media business and the big bets that industry playe players are making to get there. Entrepreneur Sophia Amoruso explained that seeing her company Nasty Gal go through Chapter 11 bankruptcy inspir inspired her to write the best-selling “#Girlboss,” which led to a Netflix serie series and a company focused on empowering and connecting women.

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Adriana Lima at Russell James’ “Angels” book launch

FEATURED SPEAKER

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(THE HANDMAID’S TALE, SEASON 2; JULIET, NAKED)

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SPRING ASPERS HEAD OF MUSIC SONY MOTION PICTURES GROUP

ALEXANDRA PATSAVAS

PAULA WAGNER

MUSIC SUPERVISOR (GREY’S ANATOMY, HOW TO GET AWAY WITH MURDER, RIVERDALE)

PRODUCER, (PRETTY WOMAN: THE MUSICAL, MISSION IMPOSSIBLE FRANCHISE)

ELVIS MITCHELL

BRIAN NOLAN

HOST, THE TREATMENT KCRW

SVP, SEVENTEENFIFTY CAPITOL MUSIC

KEVIN WEAVER PRESIDENT WEST COAST ATLANTIC RECORDS

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Devour

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Read

‘Fear’

Bob Woodward’s detailed report about the chaotic decision-making inside the Trump White House, culled from hundreds of hours of interviews,, is causing g major j ripples pp across Washington, Washingt ngton on, D D.C. .C. — and infuriating infuriati atinng Trump.

Listen

‘My Way’

After helping start the Great American Songbook revival with his 1978 smash “Stardust,” Willie Nelson is now going full-on Sinatra with an 11-song set that includes a duet with Norah Jones on “What Is This Thing Called Love.”

The Gables’ take on chilaquiles includes avocado mash, feta cheese and a sous vide egg.

Go Eat

Beachy Vibes All Day Long Santa Monica’s new all-day café The Gables has a bright white feel and a greenery-adorned patio fronting Wilshire Boulevard, the perfect spot for people-watching while meeting for coffee, lunch or a Promenade-adjacent evening meal with beer or wine. Superba and Beacon vet Vicki Fan Matsusaka’s menu focus-es on American classics sourced from the nearby farmers market. In the morning, try house-made baked goods, lemon buttermilk pancakes or chilaquiles. Lunch specialties includes the smoked trout niçoise salad, d, a Waldorf sandwich and the griddled burrito. In the evening, more substantial plates include steak frites, grilled brick chicken and a ballpark sundae for dessert. 331 Wilshire Blvd., Santa Monica

‘Hal’

Hal Ashby, the director of movies including “Harold and Maude” and “Coming Home,” gets his due in Amy Scott’s doc, which covers his fruitful ’70s films and mysterious fade. Jeff Bridges and Jane Fonda are among those interviewed.

9.12 LOS ANGELES

9.15 BEVERLY HILLS

9.15 SAN FRANCISCO

John Legend, Common, Leslie Jones, Seth Meyers, Jerry Seinfeld and more take part in An Evening of Comedy + Music at Carnegie Hall. The night benefits Jessica Seinfeld’s Good+ Foundation, which provides support, education and training to fathers and families living in poverty.

hulu.com

womenshistory.org

glaad.org

9.13 LOS ANGELES

9.15 LOS ANGELES

9.17 LOS ANGELES

goodplusfoundation.org

hbo.com

mercyforanimals.org

emmys.com

9.12 NEW YORK

Hulu’s “The First” premieres with Sean Penn at the California Science Center; reception follows under Space Shuttle Endeavour.

HBO celebrates Jane Fonda and the premiere of the documentary “Jane Fonda in Five Acts” at the Hammer Museum.

The Women Making History Awards fete Kathy Bates, Kristen Bell and Gabrielle Union at the Beverly Hilton.

Kelly Osbourne hosts the fourth annual Mercy for Animals Hidden Heroes Gala at Vibiana, honoring Alicia Silverstone.

GLAAD honors Alyssa Milano with the inaugural Ariadne Getty Ally Award at its Bay Area gala at the Hyatt Regency.

Colin Jost and Michael Che of “Saturday Night Live” are first-time hosts of the Primetime Emmys at the Microsoft Theater.

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Must Attend

SEPTEMBER 11, 2018

JONES: EVAN AGOSTINI/INVISION/AP/REX/SHUTTERSTOCK

Edited by PAT SAPERSTEIN | devour@variety.com

Dirt

$10.0m BEL AIR 6,100 SQ. FT. 6 BEDROOMS 7 BATHS

While Serena Williams was trying to pummel and pirouette her way to an astonishing ng 24th Grand ntation with Slam title at the U.S. Open — in the end she lost in the finals after a heated confrontation the chair umpire over series of code violations — she’s equally resolved to sell a gated ated estate in the rustically ritzy Stone Canyon area of L.A.’s Bel Air community. First listed almost a year ago at close to $12 million, the property is now availablee through Greg Piechota and Amit Lalji of Keller Williams Beverly Hills with a substantially lower price tag of just under $10 million. Purchased in early 2006 for a bit more than $6.6 million, the 2.7Mark gly baby blue acre spread hides behind a high hedge. The somewhat disconcertingly David residence, built in the mid-1930s, contains six bedrooms and seven bathrooms in a The mite more than 6,100 square feet. Real White-marble floor tiles flow from the surprisingly narrow entrance nce hall into a Estalker cavernous, semicircular living room. There, a continuous row of French nch doors lead

WILLIAMS:REX/ SHUTTERSTOCK

SEPTEMBER 11, 2018

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Serena Williams’ Slice Approach to Bel Air Estate

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to verdant gardens juxtaposed against an arid, scrubby hillside. There’s also a formal dining room, a sumptuous dark-paneled library/office, an up-to-date kitchen with adjoining breakfast room and — red-carpet walkers take note — a private hair and makeup salon. Several of the guest bedrooms have private balconies; the master suite offers a ﬁtted walk-in closet and an octagonal dressing room plus a marble bathroom with classic claw-footed soaking tub and steam shower. Clichéd as it may sound, the grounds really are parklike, with manicured sweeps of sun-dappled lawns, boxwood-lined pathways and a roomy, poolside loggia with outdoor ﬁreplace. Williams and her internet entrepreneur husband, Alexis Ohanian, co-founder and executive chairman of Reddit, don’t appear ready to pull up all their real estate roots in Los Angeles. The couple last year paid nearly $6.7 million for a brand-new neo-Mediterranean residence of about 6,000 square feet in a guard-gated enclave tucked into the mountains between Beverly Hills and Studio City.

$5.8m BEVERLY HILLS

5 BEDROOMS

4,800 SQ. FT.

6 BATHS

LOVATO: MATT BARON/SHUTTERSTOCK

Digs gs Demii Lovato Selling Home me She OD’ed In Demi Lovato is selling the Hollywood d Hills home in which she overdosed osed two months ago for $9.49 million. Lovato bought the house in 2016 for $8.3 million, and also dealt ealt with now-corrected landslide ide issues. MARK DAVID

CALABASAS, CALIF. 11,000 SQ. FT. 6 BEDROOMS 9 BATHS

vately positioned property above Benedict Canyon that he’s owned since 1984, when he bought it for $1.1 million. Decidedly traditional and Tudor-ish in style, the half-timbered, stone-accented and tan-stuccoed residence, with five bedrooms and 6.5 bathrooms in close to 4,800 square feet, is hidden from view of the street at the end of a long, gated and tree-lined driveway. Well-maintained if decoratively dated interiors bend toward a 1980s version of suburban opulence and include a double-height foyer with banker’s green marble floor, along with ample formal living and dining rooms, the former with a fireplace and the latter with visually vexing floor-to-ceiling mirrored panels on opposing walls. Arranged around a double-wide island with snack bar, the kitchen opens to a brick-floored breakfast area. The family room has a wet bar and a fireplace where Einstein displays his two Emmys, one from 1969 as a writer on “The Smothers Brothers Comedy Hour” and the other from 1976 as a producer for the shortlived variety show “Van Dyke and Company.” A trellis extends off the back of the house over a sprawling brick terrace that steps down to a swimming pool and spa. Beyond the pool, a tree-shaded deck extends over the hillside with a halcyon canyon view.

Chris Paul Gets Fast Break With Calabasas Mansion Professional basketball superstar Chris Paul has sold his Mediterranean mansion in Calabasas, Calif., for $11.05 million, a bit under it’s $11.5 million asking price, after less than four months on the market and at least one canceled escrow. Though it appears he made only a few mostly cosmetic alterations, the six-foot point guard, traded last year from the Los Angeles Clippers to the Houston Rockets, turned a $2 million proﬁt on the lavish manse he picked up less than three years ago for a tetch less than $9 million. About a 45-minute drive northwest of downtown Beverly Hills on close to 1.5 manicured acres in the exclusive Estates at the Oaks enclave, the approximately 11,000-squarefoot, Tuscan-inspired multi-winged Mediterranean contains ﬁve en suite bedrooms and 8.5 bathrooms. A separate guesthouse surrounded by a thick, generously irrigated swathe of lawn between the swimming pool and a lighted outdoor basketball court offers another bedroom, bathroom and kitchenette. The main residence opens to an undeniably grand if unnecessarily voluminous dou-

The Hotel Villagio Adds Luxury in Nap Napa In the heart of Napa Valley wine country, the renovated Hotel Ho rooms Villagio offers luxury room and extensive spa services on property the Estate, a 22-acre prope in quaint, walkable downtown downto Yountville. The hotel share shares the property with the Vintage House inn, and both have access to a pool and upgraded spa. Hotel Ho

Villagio’s rooms include streamlined fireplaces, sunny terraces and hand-knotted rugs over wood-plank floors. The

bathrooms feature freestanding soaking tubs. A redesigned pool complex, private-spa suites with indoor and outdoor fireplaces, Swiss showers and outdoor hydrotherapy soaking baths keep guests relaxed; the Spa at the Estate is the first in North America equipped with an O2Chair, which helps combat jetlag and fatigue with oxygenation. PAT SAPERSTEIN

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Bob Einstein, best known for his decades-long comedic depiction of jinxed stuntman Super Dave Osborne as well as the endlessly competitive Marty Funkhauser on “Curb Your Enthusiasm,” has his longtime home in Beverly Hills available at just under $5.8 million. Einstein stands to more than quintuple his money on the more than half-acre, pri-

$11.1m

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Bob Einstein Stands to Make a Super Proﬁt

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Vincent Gallo Sells Lofts in L.A., Buys in Tucson

$2.9m BEVERLY HILLS POST OFFICE 2,200 SQ. FT. 2 BEDROOMS 2 BATHS

ble-height foyer that steps down to a double-height formal sitting room finished with glossy hardwood floors, a carved-stone fireplace and a curvilinear sunken wet bar next to an impressively proportioned arched window. Other creature comforts include an office/library with coffered ceiling, roundbreasted corner fireplace and floor-to-ceiling built-in bookshelves; a state-of-the-art home theater with stadium seating; a golf-simulation room; and a combination laundry room and hair salon replete with barbering chair and hair-washing station.

James Woods Sells House in Beverly Hills Post Office

SEPTEMBER 11, 2018

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With the $2.9 million sale of a mid-century ranch-style bungalow in Beverly Hills, James Woods has completed the 2017-18 sell-off of his small collection of multimillion-dollar mid-century residential properties in Los Angeles. The two-time Emmy winner and two-time Oscar nominee turned a tidy proﬁt on the property, which he picked up just over three years ago for a pinch more than $2.25 million. Secreted behind a high wall

Digs Hotel, Music Studio Hit Edgy East Hollywood Aiming to be Los Angeles’ answer to New York’s iconic Chelsea Hotel (on a much smaller scale), Gold Diggers will incorporate a recording studio, a boutique hotel and a bar on its Santa Monica Boulevard location in

and a secured entry gate, the 2,200-squarefoot single-level residence has two bedrooms and 2.5 bathrooms and features restored original and era-appropriate architectural details such as vintage tile work, slatted wood room dividers and streamlined custom built-ins. A massive white-brick ﬁreplace anchors a living room that opens to the yard through a long wall of windows. An adjoining dining room links through to an airy, all-white kitchen that features a vintage range and a diner-style dining banquette. Outside the kitchen a concrete and brick dining terrace with a built-in barbecue wraps around to the back of the house, where there’s a swimming pool and spa trimmed in brick and a thick patch of grass under a couple of towering pine trees. The semi-retired actor, who voiced Lex Luthor in the “Justice League Action” animated children’s series, brieﬂy owned the house next door, which he acquired in February 2017 for $2.1 million and sold a little more than a year later for the exact same price. And two months ago he sold a Buff & Hensman-designed post-and-beam residence in the Hollywood Hills for a bit more than $2.3 million after buying it just over four years earlier for $2.2 million.

East Hollywood. The historic spot once served as the soundstage where Ed Wood filmed “Plan 9 From Outer Space,” and now will offer 11 rooms with distinct decor and custom artwork from Parquet Courts singer Andrew Savage. Instead of a mint, guests receive a vinyl record on their pillows. Nine recording studios can be combined into one tracking soundstage. PAT SAPERSTEIN

Vincent Gallo, who hasn’t appeared in a film for several years, and is best known for his sexually explicit 2003 film “The Brown Bunny,” has sold a trio of loft-style condos in downtown Los Angeles while scooping up a striking architectural in the affluent foothills north of Tucson. Several months ago he turned a nice profit on the sale of a not quite 2,000-squarefoot, fourth-floor unit at the Toy Factory Lofts building in the Arts District that he bought in 2011 for $450,000 and sold to a mysterious trust for close to $1.6 million. A few months later he made an even more lucrative, off-market sale of two adjoining units on the seventh floor, which together span more than 2,700 square feet. He acquired the units for $820,000 in two separate transactions, and sold them for $2.8 million to Harper Simon, musician son of Paul Simon. In Arizona, Gallo splashed out $3.25 million for a hulking steel, concrete and glass residence designed by acclaimed architect Rick Joy, tucked high up in the golf-coursesprinkled foothills of the otherwise craggy Santa Catalina Mountains in the exclusive Ventana Canyon golf and resort community. The home has five en suite bedrooms and 5.5 bathrooms in 6,480 square feet. An austere, canyon-like breezeway and broad flight of open-tread steps connects the garage and motor court to the upper level, where the combination living and dining room features a room-wide ribbon of windows that cinematically frame a long southern vista over Tucson.

$3.25m TUCSON

5 BEDROOMS

6,480 SQ. FT.

5 BATHS

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COLIN JOST , w h o ’ v e

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Story by BRIAN STEINBERG Photographs by ART STREIBER

Imagine a world in whic h t he c a b l e n ews n e t wo r k s h a d n o t h i n g t o s a y. I t ’s b e c o m e u n t h i n ka b l e i n 2 018 , w h a t w i t h t h e relentless churn of headlines. But that fantasy is what fuels Michael Che and Colin Jost, the anchors of “Saturday Night Live’s” immensely popular

t hey contem plate taking on yet anot her c hallenge — hosting t he Emmy Awards f o r t h e f i r s t t i m e . T h e t wo m e n , w h o ’ ve m a d e t h e i r m a r k w i t h p o l i t i c a l z i n g ers, are focusing on f inding new sources of material to mine for t heir humor. “ What if A nderson Cooper was like, ‘I got not hing, ’” posits Che over drink s at Bar SixtyFive at Manhat tan ’s f abled Rainbow Room. “Sorr y,” says Jost, mimic king t he CNN anc hor. “ What else? What else? No?” Of course, having no CNN , no “Face the Nation,” no Fox News Channel, would likel y put t he duo out of work . It might also make t heir hos t ing gig a hell of a lot easier, gi ven t hat polit ical news is mor e likel y t o rile up audiences t han make t hem laugh. The pair r emain t ight-lipped about t he exact concep ts t h ey

(PREVIOUS SPREADS) STYLIST: KEMAL HARRIS/THE WALL GROUP; GROOMING: CHRISTINE NELLI/THE WALL GROUP/ORIBE & MARC JACOBS BEAUTY; PROPS: BRIAN CRUMLEY/ROB STRAUSS STUDIO; CHE’S JACKET: TOM FORD; WATCH: GIRARD PERREGAUX; SHOES: JOHNSTON & MURPHY; JOST’S SUIT: BRUNELLO CUCINELLI; WATCH: MOVADO; SHOES: TO BOOT; EMMY COURTESY OF THE TELEVISION ACADEMY; EMMY AND THE EMMY STATUETTE ARE THE TRADEMARKED PROPERTY OF THE TELEVISION ACADEMY; (THIS SPREAD) JOST’S SUIT: ESQ; WATCH: GIRARD PERREGAUX; CHE’S SUIT: TOM FORD

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That’s all credit to the man behind the entire Emmy production: “SNL” executive producer Lorne Michaels, who’s taking the show’s reins for the ﬁrst time since 1988. Getting him on board meant getting access to a rich Rolodex of current and past “SNL” stars as well as top comedy writers, says Bob Greenblatt, chairman of NBC Entertainment. “I’m just trying to co-opt his whole organization to the beneﬁt of the Emmys,” he adds.

are considering for Emmy night but admit they’re willing to get into politics if there’s something going on in the country that warrants it. “It’s kind of hard to avoid it. It’s in the front of everybody’s brains,” says Che. But he insists the material that works best is “always what’s funny to us and what’s the most fun to do that we think we can score with. That’s a priority.” It’s the approach they bring to “SNL,” and they aim to replicate that for their gig at the Microsoft Theater on Sept. 17. “If we have a political joke that we think works and that makes sense at the time, we will absolutely do it,” he says. “If there’s something purely silly, we will absolutely do that as well.” The plan calls for Jost, 36, and Che, 35, to serve as the central hosts, with various “SNL” associates lending a hand both onstage and behind the scenes, and not just because the show itself is up for 21 nominations. A sketch involving Maya Rudolph and Fred Armisen is believed to be in the works. And a bevy of “friends” of SNL — including Jimmy Fallon, Seth Meyers, John Mulaney, Andy Samberg, Neal Brennan and Mitch Glazer — have been recruited to offer ideas about what might be done.

H E T E A M W I L L C E R TA I N LY H AV E I T S

work cut out for it. Awards shows still capture big crowds, to be sure, but significantly fewer people have tuned in with each passing year. Last year’s Emmys, hosted by Stephen Colbert on CBS, featured a landmark moment in which former White House press secretary Sean Spicer came out onstage after he had been ousted from 1600 Pennsylvania Ave. Social media exploded — yet the ratings barely budged from 2016’s totals, which represented a new low. The same fate has befallen all other kudofests: Viewership for this year’s Grammys plunged more than 20%. The audience for 2018’s Oscars was the smallest in the glitzy event’s recent history. The reasons for the ratings plunges aren’t hard to ﬁgure out, particularly for the Emmys, which take place in an era where viewers are hopelessly splintered across broadcast, cable and streaming. “It used to be when there were just three networks, or even in the early HBO days, that there were very few shows that we could declare to be the best of the best,” says Mark Lashey, professor of communication at Philadelphia’s LaSalle University. “And now all of these things are up to a personal standard, not a national one.” And then, of course, there’s the ideological divide that seems to be growing ever wider, with increasing backlash from viewers when celebrities seize the awards spotlight to make political or social statements. But Jost and Che are conﬁdent that “Saturday Night Live” carries with it a broad enough reputation that people from coast to coast (and yes, in between) will want to check out their awards telecast, though they’re making no predictions. “To try to engineer, to get to a number is impossible, or just not that interesting,” says Jost. Whatever material the team chooses “will be of the moment,” vows Michaels, who echoes the emphasis of entertainment over politics. There is also work being done to tamp down the long running times that are so typical of awards programs, he says. “Most of the decisions we have been making have been about how to move faster.” Still, let’s not kid ourselves: Che and Jost made a name for themselves with their razorsharp barbs, which are often aimed in the general direction of the White House, which is sure to factor into their Emmy routine. “There

could be a huge Mueller investigation playing two days before,” says Jost. “We might have to tell a joke about President Pence,” says Che. “Who knows?” A read-through of any recent “Weekend Update” dispatch tells the tale. “Experts say that Trump’s new tariffs will directly hurt U.S. manufacturers. But why would Donald Trump care about what ‘experts’ say?” Che cracked in April. “Experts also said that he couldn’t win the presidency and that eating four bags of McDonald’s a day will kill you. But somehow there he is. Healthy as a fat horse.” Acknowledges Michaels of their brand of comedy, “Often, there’s a sharper edge.” Those aren’t the sorts of jokes one might have heard 30 years ago; the last time Michaels supervised the Emmys, John Forsythe was the host. Along with “SNL” writers such as A. Whitney Brown, Al Franken, Herb Sargent and Robert Smigel, Michaels tapped “SNL” alumni Nora Dunn and Jan Hooks, who delivered a performance as the Sweeney Sisters, a sibling lounge act that was a signature “SNL” segment at the time. Greenblatt, who was a young Fox executive when the 1988 show aired, thinks a broadcast festooned with “SNL” antics could offer kudo-casts a boost. “We take the awards shows very seriously,” he says. “They are really hard to pull off and make fresh in today’s world. We have all seen so many of them.” Greenblatt suggests NBC has a decent track record for managing awards programs. The network is the current home of the Golden Globes telecast, which saw overall viewers dip just 5% this year — signiﬁcantly less than the decline felt by the Oscars or the Grammys. For past Globes telecasts, NBC has tapped the team of Tina Fey and Amy Poehler to good critical reception, along with

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T RU M PE D U P

The “Weekend Update” team — here with Alex Moffat and Mikey Day (playing Eric Trump and Donald Trump Jr.) — have made skewering the White House part of their routine.

Meyers and Fallon. Bringing “SNL” into the mix creates something “fresh and different,” says Greenblatt. He thinks the tone of the Emmy show should be largely celebratory but recognizes that a few nods to the news cycle are inevitable. “There will be things mentioned that are about politics and that sort of thing,” he says. “But I think the emphasis will be on television and pop culture.” NBC executives are fully aware that they need to create an outsize event, even though many of the series being nominated may not have millions upon millions of viewers. But that’s a benefit, says Michaels, who believes an awards show flourishes when it celebrates nominees or even makes viewers aware of something they hadn’t heard of before. “When it loses that,” he says, “it becomes something else.”

O S T A N D C H E H AV E W O R K E D D I L I -

gently at “Update” under a social-media microscope that didn’t exist for many of their predecessors. No one was able to run to Twitter in the 1970s, for instance, to wring their hands over Dan Aykroyd — in character — saying, “Jane, you ignorant slut,” to Jane Curtin during the “Point/Counterpoint” parodies of that era. When Jost and Che ﬁrst came together on-screen in the fall of 2014, Jost had only co-hosted “Update” with Cecily Strong for part of the previous season, and Che, once a

“If we have a

ab s o lut ely we will

POLITICAL JOKE

d o i t . A n d i f t h e r e ’s s o m e t h i n g t h a t ’s

ab s o lut ely

writer on the show, had returned to it from a stint at Comedy Central. Some critics found their early repartee rocky. Both acknowledge they at first felt daunted by their “Update” duties, which in the past have been held by such comedy luminaries as Chevy Chase, Dennis Miller and Norm Macdonald as well as the teams of Fey and Fallon and Poehler and Meyers. Meyers’ run at “Update” was so successful that it helped him land his own program, and he incorporates some of his “Update” stylings in the opening to NBC’s “Late Night With Seth Meyers.” For Jost, who had been writing at “SNL” since 2005, nothing prepared him for being in front of the camera. “Getting the confidence for your new thing takes time,” he says. “It was kind of scary and weird, and, you know, I had seen how it was already. I had to figure it out in a different way, closer to what I do for stand-up. You don’t always have the confidence to do that here initially.” Che also felt he had to work to hone his voice. “Initially, you’re always just doing what your heroes have done, or some variation on it,” he says. “And after a few reps, you start to get the confidence to say, ‘Now, what are the jokes I want to tell?’” Over the months, the two added their own twist to the segment. Rather than following the old formula of each anchor reading separate jokes, Che and Jost developed more interplay, passing funny remarks on the same topic from one to the other. They followed advice from Bill Murray, who suggested they start reading “Update” scripts out loud to each other, and worked with Dennis McNicholas, a former “SNL” head writer who was a colleague of Fey’s. Suddenly, things started to click, with Che and Jost salting quick humor from their reactions on top of the jokes. The two even

CHE: WILL HEATH/NBC

that we think works, we will

P U R E LY S I L LY ,

do that as well.” — Michael Che

R E A DY F O R PRIMETIME P L AY E R S

“We are used to doing something for network television,” says Jost. “It’s not so different, but it’s a way different scale.”

brought a version of “Weekend Update” to MSNBC that followed coverage of the Republican and Democratic national conventions, along with a well-received stand-alone “Weekend Update” series that ran during the summer. Even though Sept. 17 will mark their first step on the bigger stage of an awards program, Che and Jost say they have helped previous hosts craft jokes. And they are bolstered by having so many savvy comedy hands pitching ideas to them. “When you are on TV, a lot of friends and family come up to you and say, ‘Oh, man, you know what you guys should do?’ And it seems like such a terrible idea,” says Che. “But when it’s someone like John Mulaney or Seth Meyers, it becomes a lot more pleasant. And that’s kind of the case we are in.” They say they aren’t trying to get tips by watching tapes of, for instance, Fey and Poehler hosting the Golden Globes. “I don’t think that’s as helpful,” says Che. “I feel like when you watch other people do their thing, you start to kind of set rules and parameters for what the job is as opposed to just doing what you would want to see and what you think is funny.” Because the two aren’t afraid to pick at thorny cultural issues, their live “Update” audience sometimes seems shocked by their one-liners. But the mistake viewers make, they say, is thinking that comics believe everything they utter. “People think you hate things you joke about or you love the things you joke about,” says Jost. But “you can make a joke that’s completely independent of what your deep thoughts on something are.” Che echoes the sentiment, arguing that most comedians have no intent to wreak emotional havoc on their audience. “Not every joke is a statement. Some jokes are just jokes,” he says, recalling the perception of past comedians who told dirty jokes: “The joke was dirty; you didn’t say the comedian was dirty.” The two are mindful that what they say reverberates across social media, but they also see a need to keep things in perspective. Posting on Twitter is “almost like chucking pennies off a skyscraper,” says Che, who has sometimes sparked controversy with his online remarks. (He recently spurred debate with an Instagram post, for example, suggesting Louis C.K. had a right to earn a living with gigs at comedy clubs.) “You don’t mean to cause an accident, but that stuff can really cause some damage when it lands.” And so when Jost and Che take the stage at the Emmys, they are keenly aware they’ll have to navigate a landscape ﬁlled with land mines. As satirists, they’re expected to make fun of people and issues, but they don’t want to send internet trolls off on a pearl-clutching tangent. For any comedian working today, that’s a pretty tall order. “We don’t necessarily know all the rules yet, I’m sure,” says Jost. But they’ll certainly learn them all on Emmy night.

ROBERT TRACTENBERG/CBS BROADCASTING, INC.; MOVIESTORE/SHUTTERSTOCK

M RPHYâ&#x20AC;&#x2122;S

LW THE ORIGINAL WENT OFF THE AIR 2 0 Y E A R S A G O, B U T THE SHOW STILL HAS P L E N T Y T O S AY STORY BY CY N T H I A L I T T L E TO N

ON A FRID DAY AY E V E N I N G in AY in la llate atee A August, ugus ug ugus ustt,, B Bererr erovation from gen ge en iss basking basski king ng iin n a st sstanding tan anding diing n o va v ati t on fro ro om an n enthusiastic en nth hu ussia iassttic t c crowd cro owd wd at at Kaufman Ka auffma an Astoria Asto As tori to r a StuStu St tudios Queens, di d ioss iin n Astoria, Asto As tori riia, a Q ueens, ue s,, ass CBS’ C S’ CB S highly hig ighl hly y anticianti an tiici c“Murphy Brown” pated revival pa reeviiva al of hit hit comedy com om med e y “M Mur u ph p y Br B ow own” wn” n third episode 11th is about abo bout u to o fil film m th thee th thir ird d ep epis isod odee of iits ts 1 1th 1t h season. It’s been 20 years since Bergen took regular bows in front of a sitcom studio audience. The star, who won five Emmys during the show’s 10-season original have h i i l run, might i h h donned a more glamorous outfit for her pretaping introduction. But Bergen is immersed in her TV alter ego, the hard-charging, fast-talking broadcast journalist with a love for Aretha Franklin and a knack for nailing big stories. On this day, bringing Murphy Brown back to life means greeting the audience in a gray T-shirt, loud print stretchy pants that look a little overstretched and a mop of messy hair tucked into a disheveled ponytail. The first scene calls for Murphy to sleepily make her way down the staircase in her familiar Washington, D.C., townhouse set at 4 a.m. in order to get ready to co-anchor “Murphy in the Morning.” As the warm-up comic introduces the veteran cast members — Faith Ford (Corky Sherwood), Grant Shaud (Miles Silverberg), Joe Regalbuto (Frank Fontana) — the applause is strong, but the crowd hops to its feet when Bergen hits the stage in all of Murphy’s frumpy glory. Ford gives the actress’ shoulders a warm squeeze, and Bergen for a split second rests her cheek on Ford’s hand. With “Murphy Brown” creator-showrunner Diane English standing just off to the side, it is clear to all that these people are a family. “It’s very emotional for me,” Bergen tells Variety in an interview days before the Aug. 24 taping. “In all of these first few weeks that we’ve been rehearsing and shooting, I’ve been trying to contain my emotions — but it’s just … floods,” she says, indicating tears streaming down her face. English was also floored by the sight of the re-created sets and some original props, such as the barstools at Phil’s, the watering hole favored by Murphy and Co. “It was just like stepping out of a time machine,” English says. “That show changed our lives, and it had been 20 years.”

VA R I E T Y. C O M

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and Bergen face in reviving “Murphy Brown” for Warner Bros. Television is to make the show’s pugnacious wit relevant in a vastly different era. The sitcom famously tackled political humor and public ﬁgures during its original 1988-1998 run. Vice President Dan Quayle gave the show the kind of publicity that money can’t buy in 1992 when he criticized its decision to have Murphy become a single mother. That baby, now a strapping 25-year-old, has become a key character in the revival, which debuts on CBS on Sept. 27. Avery Brown (played by Jake McDorman) works for The Wolf network — English freely admits to exercising no subtlety in skewering Fox News — and holds down a morning time slot opposite his mother’s program. Over the years, English has often been asked if she missed being able to comment on current events through the “Murphy Brown” lens. The answer was always no, until Nov. 9, 2016. The election of Donald Trump as president changed everything. After the inauguration, when the depth of the resistance to Trump’s agenda became clear, English was ﬁnally receptive to one of the semiregular overtures from Warner Bros. THE CHALLENGE ENGLISH

about revisiting the show that won the Emmy Award for best comedy in 1990 and 1992. As ever, the goal is not to promote a political agenda but to release the hot air and skewer sacred cows on both sides of the spectrum. English confesses that she initially battled her own doubts about whether she could pull off a show that adhered to the high standard of the original. Another hurdle is the need to introduce the series to those who haven’t had much opportunity to see the original in recent years. “Murphy Brown” has had limited circulation in syndication, in part because it was a modest performer in reruns, and because the music rights make it an expensive proposition. “I was afraid that I wasn’t going to be able to write the show at all,” English says. “When I finally did force myself to sit down and do it — because the script was due — it just came out of me.” Bergen has every confidence that English and the writing team she’s assembled has the right stuff. “You would not believe how she went for it” on politically charged humor, Bergen enthuses. “This show is fearless. She’s sticking her head in the mouth of the lion and flossing. It’s just totally fearless.”

JOJO WHILDEN/CBS; MOVIESTORE/SHUTTERSTOCK

CANDICE BERGEN WEARS MURPHY BROWN’S PAJAMAS WELL.

Mother’s Daze Jake McDorman (right) joined the “Murphy Brown” ensemble as Murphy’s son, Avery, who inherited his mother’s politics but works for the competition.

to Queens from the Warner Bros. lot in Burbank because its star now lives on the East Coast. Another criteria for Bergen and English was a much shorter episode order — 13 for Season 11, compared with 26 or 27 at the show’s mid-’90s peak. Bergen calls it “doable” and visibly shudders when English reminds her how many episodes they did back in the day. “In the writers room at the beginning of every season we’d take a group picture on the first day of work,” English recalls. “And we’d take the same picture on the final day. It was like watching presidents age during their first term. It was pretty dramatic.”

a pioneering series in more ways than one in its heyday. English was the rare woman showrunner of a network TV series when “Murphy Brown” dawned on Nov. 14, 1988. Throughout the original run, English sought to strike a gender balance among the writers in her room. This time around, she has taken care to make sure the room also includes younger writers and people of color, alongside six returning scribes who worked on the original. The significance of her creation as a role model for women of a certain generation is not lost on English. She marvels that former Yahoo leader Marissa Mayer told Bergen’s daughter, Chloe Malle, in an interview for Vogue that watching “Murphy Brown” as a kid “made her feel she could run a company.” Episode 3 involves a character, played by the versatile David Costabile, who represents a far-right blend of Alex Jones and Steve Bannon. Murphy winds up giving him a verbal lashing in a way that only she can — and in the process she is made aware of the ubiquity of cellphone video capabilities. During the Aug. 24 taping, Costabile’s character provoked boos from the studio audience. Episode director Don Scardino took a quick detour over to the bleacher seats an a nd ad a dvi v se se d d:: ““Don’t Don’ Do n t bo b o. V o e! ot e” and advised: boo. Vote!” Englliissh En sh st sstood too o dn ne eext xt tto o th he English next the v vi id deeo vi v ill llag age mo m o oni niito n orrss a nd n d video village monitors and wa w attcche he d B Be erg rgeen na nd n dC osstta o awatched Bergen and Costabi b illee’ss fface-off accee-- off a off u nfo nf ollld d on on tthe hee b h arar bile’s unfold barstools att Ph Phil’s. Murphy’s sst too oollss a P hiill’s ’s. M Mu urp rph hy y’ss rrapap ap id-fire takedown laughs iid d-fi firree tta ake kedo dow wn n sp ssparked pa arrk keed laug lla aug u gh hss and applause, and was packed an a nd ap a pp pllau ause, ssee, a an nd it it w ass p a acck a keed with wi w ith th of-the-moment off-th thee--m mo om meen ntt rreferences. eeffeerreen ncceess.. English En E ng gllis ish is is bracing bra racciin ng g for fo orr — and and nd probably p pr ro ob ba ab bly ly eagerly ea ag g ger erlly er y awaiting aw wa aiittin ait tin in g — the response th rreesp spon onssee ffrom rom th ro tthe he avid avid av id T V the TV vi v ieew weerr iin n the tth he Oval Ov O va all Office Offic ffi e once on o n nce ce ce viewer Am A mer erric ica ge ic g ettss a ggood oo o od lo llook ook ok a he America gets att tth the n ne eeww--m w mo ode del “M ““Murphy Mu urrph rp ph hy Br B row own n..” .” new-model Brown.” president “I ffully “I ulllly u y eexpect xp x pect ect th ec tthe he p pr res esiid deen nt to bee tw att us us,” English to b ttweeting weeeeting ting ti ng a u s,” ,” E ng n gli lish sh says. ssa ay ays yss.

“ M U R P H Y B R OW N ” WAS

Murphy’s job change to a morning news program from anchoring the “60 Minutes”esque primetime newsmagazine “FYI” is but one of myriad tweaks made for the new incarnation. She’ll be grappling with a whole new world of social media, partisan TV news coverage, a younger generation of TV executives with little reverence for journalism and the nation’s ever-increasing cultural and political divisions. “There’s so much technology that has come and changed our lives,” English says. “To take these characters and plunk them into this world is very rich.” New elements for the revival include the staff of “Murphy in the Morning” — twentysomething social-media director Pat Patel, played by Nik Dodani, with Merle Dandridge (the breakout star of OWN’s “Greenleaf”) as the arrogant network boss Diana Macomber. Seasoned TV pro Tyne Daly has been recruited as the new barkeep of Phil’s; she plays Phyllis, sister of the character played by the late actor Pat Corley. Judging by the response at Kaufman Astoria Studios, Daly is a worthy successor with a slightly bawdy delivery of one-liners and bons mots. Production of “Murphy Brown” has moved

VA V A R I E T Y. Y. C O M

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WATCH LI The First Hulu became the first streaming network to win outstanding drama at the Emmys when “The Handmaid’s Tale” won in 2017. Since then, Hulu has amped up its slate by ordering even more expansive projects to show off the breadth of what it can do. After launching its summer programming with the Stephen King compendium “Castle Rock,” the network is kicking off fall with “The First,” a drama from “House of Cards” creator Beau Willimon that’s set in the 2030s and imagines the first human mission to Mars. In a recurring theme on this list, “The First” stars an actor whose entire career has been in movies before being lured to TV — in this case, Sean Penn. With a straightto-series order and a reported budget of more than $50 million, “The First” is a big bet for Hulu. Will this launch be a successful mission?

FACEBOOK WATCH SEPT. 18

Sorry for Your Loss Facebook Watch has quietly been experimenting with what it might look like to be a network all its own, rolling out shows in the veins of YA (“Sacred Lies,” “Five Points”) and dramedy (“Strangers”). But its upcoming slate makes clear just how determined it is to make a name for itself by attracting bigger star power (see: the recently announced pageant drama “Queen America,” featuring Judith Light and Catherine Zeta-Jones).

VA R I E T Y. C O M

ABC SEPT. 26

AMAZON OCT. 12

THE ROMANOFFS

F O R H I S F I R ST S E R I E S P O ST- “ M A D M E N ,” Matthew Weiner turned to Amazon, a powerful streaming network that’s nonetheless undergone several identity crises in the past few years. “The Romanoffs” has been in the works through at least a couple of those stages, but the finished product looks to be in line with Amazon’s current plays for larger-scale projects with as many stars as it can get. (Seriously: The first “Romanoffs” trailer was just a series of names — including Isabelle Huppert, Diane Lane, Aaron Eckhart and an assortment of “Mad Men” alums — that ran more than a minute long.) ¶ Dig past the blinding star power, however, and “The Romanoffs” becomes even more interesting. The eight-episode anthology series was filmed on three continents to tell globe-spanning stories of the many people who claim to be descendants of a once powerful family of Russian royals. The show’s sprawling nature and stacked cast make Amazon’s hopes for this series — which in recent memory more likely would have gone to FX or HBO — abundantly clear.

A Million Little Things In the wake of “This Is Us,” network TV seems to be chasing its particular feel-good-by-feeling-bad formula — a nourishing mystery bolstered by characters the audience can root for — as a tonic to the glut of grisly procedurals. Along with CBS’ “God Friended Me” (Sept. 30), a series that transplants familiar on-screen depictions of the divine to the digital age, comes “A Million Little Things,” a show about the power of friendship even in the face of death. “A Million Little Things” aims to do for the posse what “This Is Us” did for the nuclear family, showing us individuals mourning the best person they knew and working through the lead-up to his death. Here, the departed is Jon Dixon (Ron Livingston), the center of his group of pals, who dies by suicide. We learn that the day was otherwise normal for Jon — all of the friends who are shocked at his death are at high points of tension in their own lives, and all come together to share both memories and coping strategies. This show could cement network TV’s trend toward open emotionality in the midst of an irony-fueled age.

SEPTEMBER 11, 2018

Paris Match Aaron Eckhart and Marthe Keller star in the first episode of “The Romanoffs.”

THE FIRST: PAUL SCHRIMALDI/HULU; A MILLION LITTLE THINGS: JACK ROWAND/ABC

HULU SEPT. 14

Another An A notther her cca he case as iin point: ase FFaacebo cceeb boook ok ’ss nnext eexxt sseries is Facebook’s “Sorry a half“S Soorrryy for for or Your Yoouur Loss,” Lo Lo hhoour u drama draamaa ffrom room p hour playwright K t Steinkellner Ki Sttei S eiink nkel nk e llnner er aabout b Kit two sisters tteerss — pplayed laayed d by b Elizabeth O Ol dK ll Marie M Olsen and Kelly Tran of “Star Wars” — navigating grief, addiction and the joys and fissures within their family. Not for nothing, “Sorry for Your Loss” also marks the first time both Tran and Olsen (also an executive producer) are starring in a television show. Time will tell whether the gamble works in their favor, but for now, Facebook Watch clearly wants to be a contender.

THESE 10 AMBITIOUS SERIES AIM TO SHAKE UP THE TELEVISION LANDSCAPE B Y D A N I E L D ’A D D A R I O A N D C A R O L I N E F R A M K E

Crazy in Love In “Maniac,” Jonah Hill and Emma Stone play strangers whose paths keep crossing.

NETFLIX, SEPT. 21

ESCAPE: CHRISTOPHER SAUNDERS/SHOWTIME; FEEL BAD: EVANS VESTAL WARD/NBC; MANIAC: MICHELE K. SHORT/NETFLIX

MANIAC

N E T F L I X’S F I R ST T WO H I G H - P R O F I L E S E R I E S,

SHOWTIME NOV. 18

NBC OCT. 4

Escape at Dannemora

I Feel Bad

The true-crime limited series is no longer just the territory of FX’s “American Crime Story.” Showtime’s “Dannemora,” directed by Ben Stiller, rounds up an impressive cast — including Patricia Arquette, Benicio del Toro and Paul Dano — in service of a story that’s unbelievable to all who don’t remember it. In 2015, a prison employee aided the escape of two inmates; she later confessed to having had a sexual relationship with them. The series also reflects Showtime’s commitment to brand expansion, given prestige co-productions like “Patrick Melrose,” newsmaking series like “Who Is America?” and this stranger-than-fiction effort.

The 1990s may be over, but NBC has recommitted to a strong slate of comedies on Thursdays, anchored by “Will & Grace” at 9 p.m. and this new series produced by another NBC mainstay — Amy Poehler. Fans have come to trust her taste and her sunny, uncynical understanding of what viewers want in challenging times. And the casting of Sarayu Blue, a tremendously gifted woman of color, in the lead role as a mother struggling to balance marriage, family and career helps make NBC’s marquee evening appear a lot more inclusive than the ones that aired 20 years ago. The network’s past glories may be hard to reclaim, but for many viewers, this night looks like a must-see.

“House of Cards” and

“Orange Is the New Black,” established two divergent paths for getting attention. The first sold itself on pedigree, with an Oscar-winning star and a major directing talent, while the second put together an ensemble of performers who’d been waiting for their spotlight and behind-the-scenes talent that was classically gifted but hadn’t yet achieved household-name status. It’s that second path — which generated shows like “Stranger Things,”“GLOW,” and “American Vandal” — that has given Netflix its most celebrated creative successes. ¶ “Maniac” is the first major Netflix series in months that follows the “House of Cards” model, bringing together superstars and a directing mega-talent; its story, though, promises to be knottier and more rewarding of close viewership. Emma Stone and Jonah Hill play strangers undergoing a drug trial, one that, given director Cary Fukunaga’s pedigree, promises to bring them on a twisted journey to the center of the human mind. This is Fukunaga’s first TV project as director since “True Detective” established him as a rising talent, and it represents a splashy step out for a streaming service whose zeitgeist hits often come unheralded by real star power. If it clicks, expect more top-of-theirgame stars like Stone to migrate to streaming. SEPTEMBER 11, 2018

VA R I E T Y. C O M

AMAZON NOV. 2

HOMECOMING

T H E PA I R I N G O F TO P behind-the-scenes and on-camera talent — in the form of creator Sam Esmail (“Mr. Robot”) and Julia Roberts — is not itself novel. But the source material is: “Homecoming” is adapted from the popular podcast of the same name, a fictional story of a therapist attending to a military veteran under the auspices of a government program. Roberts steps into a role originated by Catherine Keener; the star-packed cast also includes Bobby Cannavale, Stephan James and Dermot Mulroney. ¶ That Roberts — a particularly auteurfriendly actress who won an Oscar for the first of her several collaborations with Steven Soderbergh — opted to work with Esmail reveals something about the TV creator’s bright post“Robot” future. And that the actress, in her first series-regular role ever, was drawn to a program rooted in the relatively new traditions of audio broadcasting indicates the medium’s burgeoning power. The series’ creators, Eli Horowitz and Micah Bloomberg, serve as executive producers of “Homecoming” alongside Esmail; that’s enough to make audio producers from Brooklyn to Silver Lake starry-eyed at the potential of their own podcasts.

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NETFLIX OCT. 26

The Conners

The Chilling Adventures of Sabrina

For better and for worse, “The Conners” is one of the most purely fascinating shows on the fall schedule. After the “Roseanne” reboot crashed and burned due to Roseanne Barr finally crossing a line even ABC couldn’t ignore, the network regrouped with the rest of the cast and crew to find a way the series (and its millions of viewers) could come back. “The Conners” is an intriguing choice on a few levels. For one, how will it say goodbye to Roseanne on-screen, given how contentious the show was off-screen? (The leading theory is an opioid overdose.) For another, can the program itself work without orbiting Roseanne? (On a purely technical level, the answer should be yes.) Most of all, however, ABC’s Hail Mary to save the show reveals just how badly it wants to keep its audience.

From the minds that brought you “Riverdale” comes “The Chilling Adventures of Sabrina,” a similarly dark twist on a beloved comic classic written by creator Roberto AguirreSacasa and featuring “Mad Men” alum Kiernan Shipka in her first starring role on TV. The series was originally in consideration at The CW, but in the end it went to Netflix, where it may be freer to be twistier than it could be on a broadcast network. Yet Aguirre-Sacasa has teased that a “Riverdale” and “Sabrina” crossover could happen someday, which isn’t altogether surprising given how entwined the two networks have become. That the two are working ever more closely, and perhaps even in tandem, speaks to some intriguing possibilities for others to follow.

CONNERS: ABC/ADAM ROSE

Amazon Grace Julia Roberts makes her TV series debut in the streamer’s podcast adaptation “Homecoming.”

ABC OCT. 16

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TNT’s limited series “The Alienist” depicted turn-of-thecentury New York.

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Emmy night: The Emmys will get political. How can they not? Just take a look at the past year in awards shows. If presenters, winners and hosts weren’t talking about Time’s Up and #MeToo, there was plenty of time dedicated to protesting President Trump and his policies regarding race, LGBTQ rights and immigration issues. “I think everybody is at a heightened awareness,” SAG-AFTRA president Gabrielle Carteris says.“We are at a very interesting time in history, and I think politically within in our government and not just in our country but in our world, what’s going on in our industry, I think people are going to be much more front and center.” At the Golden Globes, most celebs wore black to protest sexual harassment and assault and donned Time’s Up pins, with several actors, including Michelle Williams, bringing social activists such as #MeToo founder Tarana Burke to talk about the issues while being interviewed on the red carpet. Oprah Winfrey gave a speech when she received the Cecil B. DeMille award that many politicos and fans believed, or at least hoped, was her unofficial

Emmy presenters may follow Ashley Judd, Annabella Sciorra and Salma Hayek's Oscars lead. They used the platform to talk about Time's Up.

Embracing Politics on Emmy Night Television celebration and fashion may take a backseat to topical issues at the 70th annual Primetime ceremony STORY BY MARC MALKI N

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Celebrating Emmy

WEDNESDAY, SEPT. 12

SUNDAY, SEPT. 16

Directors Nominee Reception DGA, 7 p.m.

ICM’s Primetime Emmy Brunch Home of Chris Silbermann and Julia Franz, 11:30 a.m.

Variety & WGA’s Sublime Primetime 2018 Writers Guild Theater, 7:30 p.m. Nominated writers Travon Free, Bruce Miller, Lizzie Molyneux, Wendy Molyneux, Brett Morgen, Stefani Robinson, Liz Sarnoff and Tom Rob Smith take part in a panel moderated by “Westworld” co-creator Lisa Joy with an introduction by Variety co-editor-in-chief Andrew Wallenstein. THURSDAY, SEPT. 13

Writers Nominee Reception Television Academy Wolf Theatre, 7 p.m. FRIDAY, SEPT. 14

Robert De Niro loudly and memorably proclaimed “Fuck Trump” from the stage at the 2018 Tony Awards.

launch for a 2020 bid for the White House. At the Grammys, Kelly Clarkson and Halsey showed support for Time’s Up by adding small white roses to their red carpet ensembles. And then at the Oscars, a special Time’s Up segment was introduced by Ashley Judd, Annabella Sciorra and Salma Hayek, all three of whom have accused Harvey Weinstein of sexual misconduct and assault. Robert De Niro became the president’s most blunt critic during an awards show when he dropped f-bombs while introducing Bruce Springsteen’s performance at the Tonys in June. “First, I wanna say, fuck Trump,” De Niro said. “It’s no longer, ‘Down with Trump’—it’s ‘fuck Trump.’” Last year’s Emmys didn’t touch on Time’s Up or #MeToo because the New York Times and New Yorker exposes on Harvey Weinstein that started the wave didn’t come out until a month after the ceremony. So this will be the ﬁrst chance that platform can be used to further such movements. But those might not be the only hot-button issues discussed on the Emmy red carpet or during the broadcast.

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“We are at a point right now where there are a lot of very important platforms,” says “American Horror Story” and “Pose” executive producer Alexis Martin Woodall. “If people get up there and they want to use that moment to use their voice then, that’s their win — they won an award, they have a microphone, say what you want to say. … I just hope that it’s always well said.” “Saturday Night Live’s”“Weekend Update” anchors Colin Jost and Michael Che make their living taking shots at the Donald Trumps and Harvey Weinsteins of the world, so expect the political and social issue-centered jokes to start as soon as the cameras start rolling on their hosting debut. “We are in highly charged political times, so I’m sure people will have thoughtful responses going into this and, possibly, messages that they want to share,” says “This Is Us” co-showrunner Elizabeth Berger. “I think it’s hard not to with the backdrop that we’re in. So, yes, I’m anticipating an interesting show.” CHRISTI CARRAS AND SCOTT HUVER CONTRIBUTED

SEPTEMBER 11, 2018

Sunset Tower Hotel, 8:30 p.m. Presented by L’Oréal Paris and sponsored by Fiji Water, DJ Michelle Pesce returns to provide the music.

Producers Nominee Reception Montage Beverly Hills, 7 p.m. Audi Celebrates the 70th Emmys La Peer Hotel, 7 p.m. WME Waldorf Astoria's Rooftop by JG, 8 p.m. SATURDAY, SEPT. 15

BAFTA Los Angeles + BBC America TV Party Beverly Hilton, 2 p.m. Thandie Newton, Allison Janney, Betty Gilpin, Daniel Bruhl, Tatiana Maslany, Sandra Oh and Evan Rachel Wood are set to attend. Performer Nominee Reception Wallis Annenberg Center for the Performing Arts, 6:30 p.m. UTA pre-Emmy Party Home of Jay Sures, 7:30 p.m. Variety and Women in Film’s Television Nominees Party Cecconi’s, 8 p.m. Alison Brie, Ricky Martin, Chrissy Metz, Kumail Nanjiani, Ilene Chaiken, Issa Rae, Sarah Paulson and Jeffrey Wright are just some expected at the bash, sponsored by Cadillac and Heineken; Troye Sivan performs. Entertainment Weekly’s Pre-Emmy Party

NBC Universal Television Tower Bar, 6:30 p.m. MPTF's Annual ‘Evening Before’ Century Plaza Showtime’s Emmy Eve Celebration Chateau Marmont, 6:30 p.m. William H. Macy, Benedict Cumberbatch, Mandy Patinkin and F. Murray Abraham will mix and mingle in the garden of the famed hotel. Comedy Central Nominee Soiree The Highlight Room, 9:30 p.m. Guests from “The Daily Show With Trevor Noah,” “South Park” and “Drunk History” will head up to the rooftop of the Dream Hotel. MONDAY, SEPT. 17

70th Annual Emmy Awards Microsoft Theatre, 8 p.m. ET / 5 p.m. PT. The Lorne Michaels-produced telecast airs live on NBC. Governors Ball LA Live Event Deck, immediately following the Emmys ceremony Fox Broadcasting, FX, 20th Century Fox TV, Nat Geo Vibiana, 8 p.m. HBO The Plaza at the Pacific Design Center, 8:15 p.m. Win or lose, HBO is always the hottest ticket of the night. Hulu The Nomad Hotel, 8 p.m. The cast and crews of “The Handmaid’s Tale,” “The Looming Tower” and “I Love You, America With Sarah Silverman” will gather at the historic Giannini Building. TNT & TBS Dama, 8 p.m. AMAZON Cecconi’s, 8:30 p.m. It’s all about "The Marvelous Mrs. Maisel" at the streamer's soiree.

ANDREW H. WALKER/SHUTTERSTOCK

TUESDAY, SEPT. 11

Diversity Emmy Celebration Television Academy Wolf Theatre, 7 p.m.

Critical Case Breaking down what will — and what should — win big at this year’s kudosfest THE HANDMAID'S TALE: GEORGE KRAYCHYK/HULU

BY DAN I EL D’AD DARI O AN D CARO LIN E FR AM KE

draw ever closer, the temptation to read the tea leaves and divine what will win gets ever stronger … so we gave in. Variety’s TV critics came together to debate what will take home the night’s top prizes, what should and whether or not there may be some happy overlap between the two.

A S T H E 7 0 T H A N N UA L E M M Y AWA R D S

Last year's drama series winner “The Handmaid’s Tale,” top, faces off against heavyweight “Game of Thrones,” back after sitting out last year's awards.

DA N I E L D ’A D DA R I O The Emmys this year feel a bit more competitive than they usually do — both in terms of who will win the awards and who has this critic’s affections. Take drama series, in which the past two champions are competing against each other for the first time. I predict “The Handmaid’s Tale” will defeat “Game of Thrones”; even though many critics feel “Handmaid’s” has grown unwieldy and gratuitous, it remains closer to the heart of the zeitgeist at this precise moment than “Thrones,” whose last episode will have aired more than a year before the Emmys. I have a different matchup in mind when it comes to who should win: “Westworld,” to my mind the show most potently addressing what it means to live through seismic change, gets narrowly edged by “The Americans.” I don’t usually love valedictory wins, but “The Americans,” pulling off a satisfying, painful final season, one that somehow outdid what came before, deserves recognition. CA R O L I N E F R A M K E I am absolutely Team “Americans” for exactly that reason. It put on a true masterclass in how to end a series with intricacy and guts, which is always tricky, but especially for a show as complex as “The Americans.” It unfortunately has a smaller chance of winning this year, but I do think the controversial ending of “The Handmaid’s Tale’s” second season — which left many wondering if the show’s lost the plot — will hurt it. (And to be frank: it should.) As for comedy, we have a really interesting race, especially with “Veep” ineligible and “Modern Family” squeezed out for the first time. There are returning standbys (“Silicon Valley,” “Unbreakable Kimmy Schmidt,” “Black-ish,” “Curb Your Enthusiasm”), brand newbies (“GLOW,” “Barry,” “The Marvelous Mrs. Maisel”), and as ever in a league of its own, “Atlanta.” No matter which show comes out on top, there will be a new winner. While I loved “Barry” and think “GLOW” is a solid contender, my instinct is that this race comes down to “Maisel” and “Atlanta,” with “Maisel” ultimately prevailing. I wouldn’t be mad about that; the show’s so charming, and it would be great to see Amy Sherman-Palladino get such recognition. But it would also be a shame if “Atlanta” gets shut out when its “Robbin’ Season” made for some of the year’s most fantastically strange and smart TV. D ’A D DA R I O I completely agree with you about the way this race will turn. “Maisel” seems easy to reward, and — unlike “Atlanta,” which took home two top prizes last year — refreshingly new. It helps that it comes with a charismatic and eagerto-campaign lead, Rachel Brosnahan. I have no problem with “Maisel’s” ascendance and am generally an “Atlanta” booster, too, but surprise myself in wanting to see “Barry” recognized here. “Atlanta,” my runner-up for the prize, shifts tones wild-

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‘MY KINGDOM FOR AWARDS SHOWS ... TO REALIZE THAT NOT EVERY HALF-HOUR SHOW IS A COMEDY.’ — Caroline Framke

ly episode-to-episode in a manner that spotlights incredible achievements of acting and directing; “Barry,” by contrast, is a single unified piece of art, whose highs are not so high but whose story moves methodically and with perfect pacing towards an indelible conclusion. The only question I have is whether it’s really a comedy — but it’s certainly the most consistent, and consistently great, half-hour. F R A M K E My kingdom for awards shows (and everyone else) to realize that not every half-hour show is a comedy! D ’A D DA R I O Truly! “Maisel” rides the line of genre, too, and I think we agree that Brosnahan’s mastery of both tones — her lowest moments and her best laugh lines, often occurring near-simultaneously — will get her a trophy. Her performance is such a star-is-born moment (increasingly rare in an industry driven more and more by established celebrities headlining projects) that it feels undeniable. On the male side of the comedy field, I’m torn between Bill Hader and Donald Glover, the former of whom gave such a sustained and tense performance and the latter of whom, on top of fine work anchoring the series, hit

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such a resounding high note in a second role as a shut-in in the stand-alone “Teddy Perkins” episode. As I’ve given “Barry” my imaginary trophy for comedy series, I think this would be a worthy place to reward all Glover does for his show, including creating such a monstrous, human performance. F R A M K E I can’t argue with any of that. I have no doubt that Brosnahan will win, and she’ll deserve it, even in this tough category (though in a perfect world, Pamela Adlon and Issa Rae would also have a ﬁghting chance). As for the men, I’ll stump for Ted Danson, whose alternately earnest and maniacal turn on “The Good Place” is one of my very favorite things on television right now, period. Over on the drama side, it won’t surprise you to hear that I’m once again rooting for my beloved Soviet spies of “The Americans.” While I’d be ﬁne with a Jeffrey Wright or Sterling K. Brown win (and in fact believe Brown will repeat his groundbreaking win this year), Matthew Rhys’ restrained work was consistently astonishing. But I’ll admit that my preference for Rhys is somewhat, as you put it, valedicto-

SEPTEMBER 11, 2018

Matthew Rhys, left, is nominated for the last time for "The Americans," while last year's winner Sterling K. Brown is back on the ballot for "This Is Us."

ry for his overall work on “The Americans” — because that final season belonged to Keri Russell. She’s fighting a tough battle in the drama actress category — not least because “The Crown’s” great Claire Foy is up for her last turn as Queen Elizabeth II — but to my mind, Russell just turned in the kind of blazing, unforgettable performance that TV legends are made of. I hope she gets recognized for it sooner rather than later. D ’A D DA R I O It’d be fun to end on a more dissonant note, but I have to agree with you: Rhys and, especially, Russell deserve acting trophies. (I guess I’d push back a little on the idea that for Rhys, this is a lifetime-achievement award for the sixyear-long performance: He had moments this season, especially in the alternately manipulative and painfully heartfelt showdown with FBI agent Stan in the series finale, that were as good as anything he’d previously done.) Unfortunately, neither seems likely to win. Brown is a strong competitor for a show the Emmys are clearly still loving, but I’d bet on a Jason Bateman win. His presence in the best director field (as one of two representatives from “Ozark,” which was one of nomination morning’s bigger surprises) seems to indicate that the TV community is more impressed by his work on “Ozark” than I am — and though he was nominated twice for “Arrested Development,” he hasn’t yet won. With season two launching just before the ceremony, he’ll be on voters’ minds, and seems like a likely winner. Drama actress is less up in the air: Elisabeth Moss seems almost certain to pick up Emmy number two even despite the strong competition. Even viewers sceptical of “Handmaid’s” acknowledge that her performance works; criticism of the over-the-top cruelty the show inflicts upon its characters ends up, in a funny way, reinforcing the idea that Moss is doing great work. (Her suffering, after all, is so real that we suffer with her.) And, crucially, she’s a repeat winner: For all that speculating about fresh blood at the Emmys is a fun parlor game, the safest bet is often the one that’s won before.

THE AMERICANS: PATRICK HARBRON/FX; THIS IS US: RON BATZDORFF/NBC

EMMY C O M M E M O R AT I V E

CONGRATULATIONS to our 2018 Emmy® nominees

HARRY OTTO

Outstanding Production Design for Narrative Program

GLOW

DONALD A. CHRISTIAN MORGAN, ASC SPRENGER

PATRICK CADY, ASC

Outstanding Cinematography for Outstanding Cinematography for a Outstanding Cinematography for a a Multi-Camera Series Single Camera Series (Half Hour) Single Camera Series (Half Hour)

THE RANCH

COLIN WATKINSON

Outstanding Cinematography for a Single Camera Series (One Hour)

THE HANDMAID’S TALE

ATLANTA & GLOW

INSECURE

JOHN GRILLO

KRA MER MORGENTHAU, ASC

Outstanding Cinematography for a Single Camera Series (One Hour)

Outstanding Cinematography for a Limited Series or Movie

WESTWORLD

STEVEN SHAPIRO

FAHRENHEIT 451

The adventure begins A Movistar original series In collaboration with Zeppelin and Grupo Planeta

COMING SOON

EXCLUSIVELY ON MOVISTAR

REVIEWS ARTISANS FOCUS EXPOSURE TOP BILLING

Spain’s Telefonica’s pay-TV unit expands throughout Europe and Latin America Story by JOHN HOPEWELL

maybe cinematographic values, the weightiest world premiere at this year’s San Sebastian Festival, the biggest movie event in the Spanish-speaking world, will be a TV drama: Movistar Plus’ “Gigantes,” a brutal Madrid crime family saga. Another Movistar Plus original series, Paco Leon’s “Arde Madrid,” a comedy shot in black-and-white about the antics and tribulations of Ava Gardner’s domestic staff in 1961 Madrid, has potential as a crowd pleaser. The premium pay-TV operator is seeking to create content that will set it apart

Living Large Movistar Plus’ “Gigantes” is the company’s flagship scripted show as it expands its reach.

from rivals, and “Gigantes” and “Arde Madrid,” its ninth and 10th original series, form part of the most muscular drive into premium TV production by any of Europe’s big telecoms. Movistar Plus parent Telefonica, Europe’s second biggest telecom, whose 2017 revenues totaled €50 billion ($60 billion). The content drive is now showing its ﬁrst results, not only in Spain but also

abroad, where Movistar Plus cut its ﬁrst banner deals. In the U.S., Starz has acquired “La Zona,” a murder mystery set against a nuclear plant meltdown, in one of the earliest deals by a U.S. premium cable operator on a Spanish series; Beta Film is selling the series for Movistar Plus. “La Zona” has also sold to France’s Canal Plus, and German public broadcaster ZDF. The U.K.’s upscale BBC4 began broadcasting “The Plague” in Saturday night primetime on Sept. 1. Directed by Alberto Rodriguez (“Marshland”) and set in a dazzling 1580 Seville, the historical serial killer

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A ‘Gigantic’ Worldwide Reach

I N BU D G ET, and even

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thriller — Movistar Plus’ biggest-budgeted series to date, costing a first-season $11.7 million — has also been acquired by Sky Deutschland. Viasat World has licensed rights across the U.S., Europe and Africa on “The Plague.” Meanwhile, public broadcaster RAI has picked up Italy rights on fashion house melodrama “Velvet Collection,” Movistar Plus’ first series, released last September; Netflix has acquired rights to most of the rest of the world. In Latin America, Movistar Plus is taking a different route of direct distribution, launching a channel, Movistar Series, available free-of-charge starting Feb. 15 as part of the basic package of Movistar TV’s pay-TV offer and OTT service Movistar Play. Mixing Movistar Plus original series and third-party content mostly produced in Latin America and Spain, its “quality Spanish-language TV series and movies are closer to the culture and feelings of Latin American audiences,” says Michael Duncan, CEO of Telefonica’s Global Consumer Unit. By late August, Movistar Series was available in Chile, Colombia, Peru, Ecuador, Costa Rica, El Salvador, Panama, Nicaragua and Guatemala. It will launch in Argentina, Uruguay and Mexico “in the next few weeks,” Duncan said at that time. “Movistar Plus is creating series fundamentally to offer our platform’s clients in Spain unique, distinctive content,” says Domingo Corral, Movistar Plus director of original fiction. But international reach matters, he adds. One reason is revenues: First season international sales alone don’t cover the costs of a series. But on hits, they can contribute significantly to their bottom lines, Corral says. Above all, however, the battle for premium TV is becoming ever more a battle for premium talent — witness Netflix signing

up Shonda Rhimes and Ryan Murphy. Telefonica needs to show worldclass Spanish-language talent that it, too, has what Corral calls “international repercussion.” “When Telefonica decides on something, they just go and implement it, with enormous resources,” says Francois Godard at Enders Analysis. By the end of San Sebastián, Movistar Plus will have launched 10 series as well as the sophomore season of “Velvet Collection” in 13 months, and achieved a high-profile major market presence. Sensual thriller “The Pier,” from “Money Heist” creators Alex Pina and Esther Martínez Lobato, is one of the most-awaited series at this October’s Mipcom, where it will receive a gala world premiere screening. In Latin America, Movistar Series is already placed among the top five channels in most countries where it airs, according to a Telefonica source. Latin American pay-TV clients climbed 4% in the first six months of 2018 to 4.801 million on June 30. And Movistar Plus has cut some stellar deals. “If somebody had told me a year ago that one of our series would be airing in primetime on the BBC, I wouldn’t

By the Numbers

12 12 4.8m 110m Countries where Telefonica operates

Series to be released a year

Latin America pay-TV clients, as of June 30

Cell phone clients (excluding Brazil)

have believed them,” Corral says. “We’ve only been going for a year, not a decade. We’re just beginning. From that point of view, our early international results are positive.” But it is the potential of Movistar Plus, especially in Latin America, that may give it a competitive advantage. Netﬂix had 124.4 million paying subscribers worldwide by June 30. Total Movistar TV, mobile and broadband customers amount to 200 million in Latin America, says Duncan. IHS Markit expects “at least” 1.5 million new traditional pay-TV subscribers for Telefonica in Latin America by 2022, with most of the growth coming from Peru and Brazil. But many more new subscribers will come for the online services that have already launched and that Telefonica Movistar is planning to bow this year, says María Rua Aguete at IHS Markit. Just how fast Movistar Plus builds in Latin America may depend in part on its drive into local production. It’s no coincidence that Telefonica-Movistar’s biggest success story in Latin America is Peru, where it set a record in the second quarter for gross pay-TV additions, offering the most original content of any operation in Latin America via a six-channel bouquet. Movistar Plus is teaming with Fox Networks Group Latin America and Pablo and Juan de Dios Larrain’s Fabula in Chile to develop “Santa Clara” (a working title), “a series with Spanish and Latin American elements,” according to Corral. Movistar Plus is “in active conversations with talent in the region and possible partners, though yet to close deals,” he adds. “There’s a market opportunity in Latin America where there are signs of a demand for a slightly more sophisticated series,” Corral says. Telefonica-Movistar Plus is well placed to reap this harvest.

A VERY GOOD YEAR FOR SCRIPTED PRODUCTIONS

Original series pay off in Spain with strong financial results and an evolving style By JOHN HOPEWELL

tarting with the launch of high-fashion melodrama “Velvet Collection” on Sept. 22 last year, followed by seven more scripted productions to date, the launch of original series from Spain’s Movistar Plus has helped stem the company’s loss of pay-TV subscribers. In 2016, pay-TV clients dropped 0.4% year on year. But in 2017, pay-TV accesses were up 5%, or 92,100 customers, to 3.848 million by yearend. It remains to be seen, after Movistar Plus renewed Champions League and La Liga Spanish league soccer rights, how much subs may grow this September. Most to the point, however, average revenue per subscriber of Movistar Plus’ bundled broadband-TV-mobile customers rose strongly over the past 12 months from €84.8 ($99.5), second quarter 2017, to €89.5 ($105), May-June. “We all had the intuition at Telefonica that our

Waiting on the World Mariano Barroso’s “What the Future Holds” is set during the waning years of the Franco dictatorship in Spain.

customers would want to have content made here in Spain, talking about our reality and made by our talent. That has been proved right,” says Domingo Corral, director of Movistar Plus original fiction. One year of operations has also confirmed some key Movistar Plus production tenets. One is the importance of talent. “First who, then what; that’s been our slogan,” Corral says, referring to not just directors but also creators, producers and key crew. “We’ve given them resources, freedom and responsibility, and here we’ll up the ante.” Another: the onus on originality. “Taking risks is the only way of staying relevant,” says Corral. Above all, “we’ve always attempted character-driven series,” he adds, citing Mariano Barroso’s “What the Future Holds.” “It’s not a high-concept series that is easy to communicate, but it does have a fascinating central character,” he says of Justo Gil, an ingénue on the make in a rapidly modernizing Barcelona, in the final years of Francisco Franco’s dictatorship.

By JOHN HOPEWELL and EMILIANO GRANADA

“S

tay in the van. I’ll handle this,” grizzled family patriarch Abraham Guerrero instructs his two young sons at the beginning of “Gigantes,” Movistar Plus’ latest original series. His eldest son, Daniel, hands him a wooden club. Across the street, under torrential rain, a man gets out of the car. Abraham hits him on the shins and back, and passes the club to Daniel, who lays into the man, now sprawled on the tarmac, as Tomás and Clemente watch on. “Gigantes,” directed and co-written by Enrique Urbizu, was produced by Movistar Plus and Gonzalo Salazar-Simpson’s Lazona Producciones (“Spanish Affair”) and one of the banner titles that sales agent About Premium Content will launch at October’s Mipcom. It is a brutal crime-clan saga about

the Guerreros, who control Spain’s cocaine trade. But “Gigantes” is no straight mob melodrama; it focuses, as Abraham’s brutal lesson in punishment suggests, on family, how values are passed on from one generation to the next, and how emotional wounds roil for decades — themes that resonate in contemporary Spain. As of late August, very little of “Gigantes” had been seen: Just 14 minutes comprising five scenes from episode one, including Abraham’s instructive drubbing, showcased at April’s MipDrama Buyers’ Summit in Cannes. Movistar also dropped a 30-second trailer in late May. Together, however, they’re enough to confirm that “Gigantes,” which world premieres on Sept. 28 at Spain’s San Sebastian Festival, is one of Movistar Plus’ flagship new premium

The public’s increasingly sophisticated. You can’t make series like you did even four years ago.” Domingo Corral

High Drama Enrique Urbizu’s new series, “Gigantes,” bring cinema-style production values to the Spanish small screen.

shows Movistar Plus “learning to take riskier formal decisions,” says Domingo Corral, director of original ﬁction. “The public’s increasingly sophisticated. You can’t make series like you did even four years ago.” Gancedo wrote the original scripts and they were “highly suggestive, very attractive,” but “required a new episode one, which wasn’t written, turning on the regime of devastation that Abraham installs in his sons,” Urbizu says. Episode one of the series now works like an origin story set over three time periods, featuring Daniel’s attempted murder of Tomás’ wife, Sol, and detention by the police. The real serial kicks off 10 years later with episode two. Here, Daniel comes out of jail, and encounters a dazzling modern Madrid. But he and Tomás still seethe for revenge. Times change, “Gigantes’” temporal transitions appear to be saying. But people change more slowly.

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Enrique Urbizu’s original series delivers a brutal reflection on family values

run-of-the-mill TV series, capturing the sense of characters whose values, as in autumnal Westerns, belong to a bygone age. Rather than using a multi-camera TV set-up and shaping the series in the editing suite, shot lengths were calculated “millimetrically” before lensing, Urbizu says. “Gigantes,” as with other Movistar Plus series, is grounded in Spain. Few settings are as colorful as that of “Gigantes,’” however, taking in Madrid’s Rastro ﬂea market, its rambunctious Lavapies multi-ethnic melting pot, and upscale Serrano art-gallery district. Co-directed with Jorge Dorado, “Gigantes” underscores Movistar’s drive for production value, setting it apart from other series made in Spain. According to Urbizu, “Gigantes” used more locations in its ﬁrst episode than the whole of “No Rest for the Wicked.” A four-minute dinner scene showcased at MipDrama Screenings features 62 shots — to drive home Abraham’s bloody-minded tyranny and his three sons’ brewing dissidence. Above all, as the number of high-end dramas rises exponentially in international markets, “Gigantes”

SEPTEMBER 11, 2018

‘GIGANTES’ LOOKS TO UP THE ANTE FOR ORIGINALS

series. Its ninth show to date also demonstrates just how far Telefonica’s pay-TV unit has come as an original series producer. Movistar Plus has turned to movie directors for most of its series. Few, however, bear such clear cinematographic ambitions and origins as “Gigantes.” Urbizu, who co-wrote “Gigantes’” and directed its ﬁrst three episodes, won six Goya awards, including best picture, for his latest movie, 2011’s “No Rest for the Wicked.” His co-writer on that movie, Michel Gaztambide, is also a writer on the series, along with Miguel Barros and actor Manuel Gancedo. “Gigantes” is shot in 2:35 aspect ratio and with anamorphic lenses — an immediate widescreen declaration that this is no

We proudly congratulate our friend

on receiving his star on THE HOLLYWOOD WALK OF FAME

WALK OF FAME HONOR

Jack Black has been stealing scenes while also battling fear for most of his career By AMY NICHOLSON

TAYLOR JEWELL/INVISION/AP/SHUTTERSTOCK

he ﬁrst time movie audiences saw Jack Black, who receives his Walk of Fame star on Sept. 18, he made an impression before he even opened his mouth. Black was 23 and making his ﬁlm debut in the 1992 political satire “Bob Roberts,” playing a nervous fanboy of Tim Robbins’ right-wing presidential candidate. While his wealthy mom does most of the talking, Black silently commands our focus, star-

ing, swaying, smiling too big, laughing too fast, and glowering at anyone competing for his idol’s attention. He’s unpredictable, electric, and the type of funny that feels like a dare. It’s every character Black would go on to play in one scene: a clown on the knifeedge of danger. Finally, Black gets an opening to speak: “We got a band!” Even that was prophetic. Black was brand new to the movies, but he’d already

known Tim Robbins for a decade. He was raised in Hermosa Beach, Calif., by two satellite engineers — his mother worked on the Hubble Space Telescope — which inspired him to come up with a scientiﬁc explanation for why their only child was born to entertain. “They’ll probably be able to ﬁnd it in the DNA someday, ‘Oh, this is the need-for-attention gene!’” Black has joked. When he was 9, his par-

ents took him over to family friend’s house for dinner, and afterward, Black played his ﬁrst improv game. He got hooked on performing.

Tipsheet

What: Jack Black receives a star on the Walk of Fame When: Sept. 18, 11:30 a.m. Where: 6441 Hollywood Blvd. Web: walkoffame.com

SEPTEMBER 11, 2018

Hooked on That Performing Feeling

When an adult tried to teach him to play chess, Black concentrated on making solemn nods and squints that would persuade people he was a genius, even though he lost the game. He’d go to school wearing wires sticking out of his shirt sleeves to convince the other kids he was bionic, and for a talent show, he sang a parody of “My Sharona” called “Ayatollah” in sunglasses and a headscarf. He rigged his bedroom with strings tied to books and props in case he could convince his classmates to come by for a séance. “I wanted them to believe in magic, and I also wanted them to believe in me.” In middle school, he persuaded his parents to let him phase out Hebrew school as he auditioned for commercials. “I just thought that I would be happy if the kids could just see me on TV once,” Black says. “There was probably some kind of insecurity driving that.” At 13, he made a deal with the casting gods: Let him get one part and he’d never act again. He got his dream gig, the ad for the Atari game Pitfall! in which he wore a safari hat, and then immediately broke his promise by scoring a SmurfBerry Crunch cereal spot, too. He also joined Robbins’ theater company, the Actors’ Gang. Robbins immediately gave the charismatic kid a part in a play he’d written and directed, but Black quit halfway through the run. He was terriﬁed he’d screw up the show. Not that dropping out made him feel better. Now, in addition to battling his self-destructive anxiety, he was scared that Robbins, the ﬁrst adult who truly believed he could act, would never forgive him. “Fear is good — it keeps us alive,” Black once said. “There’s a tremendous amount of terror before every performance, which is strange because it’s the

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Crazy Charisma Jack Black learned how to rock a crowd while performing with Tenacious D, gaining bigger parts in the process.

SEPTEMBER 11, 2018

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WALK OF FAME HONOR

path I’ve chosen.” For a while, he tried to fight it. After he quit Robbins’ play, Black tried to become a burnout. By the eighth grade, he was sniffing glue and doing LSD and coke, sometimes more than one at once. He’d lie back in bed and watch chess pieces float around in his head. “My life was quickly swirling around the toilet bowl about to be flushed.” Freshman year, his parents put him in a school for teens in trouble where Black would sit in the back of his theater classes with his arms crossed. Slowly, that drama coach, Debbie Devine, broke through his defenses and gave Black the confidence to care again. And Robbins gave him a second chance, too. When Black graduated, he rejoined the Actors’ Gang, which invited him to tour Scotland with the troupe. Another member, a musician named Kyle Gass, agreed to teach Black guitar. Black paid him in cheeseburgers. Eventually, Robbins realized that the scared teen had learned to channel his tension into becoming disciplined and focused. Robbins recommended Black to his agent, and gave him that perfect showcase in “Bob Roberts”— Robbins’ own high-stakes directorial debut, and a major show of trust. “Jack really has a fervor in his eyes that I find so compelling and frightening,” Robbins says. “The psychopathic eyes of the truly devoted.” After “Bob Roberts,” it took him another decade to find his footing in Hollywood, accepting inessential bits in giant would-be blockbusters including “Demolition Man” and “Waterworld.” Instead, he was focused on the band he and Gass had officially formed in 1994: Tenacious D. The “D” stood for “defense” — a line they stole from NBA commentator Marv Albert — but the band also became Black’s defense against feeling he had zero control in his own career. Onstage with Gass, he was proud to be doing something great. They were a joke band, sure, but Black

could rock a crowd. None of this sounds like the biography of a great goofball comic. But it’s exactly why a Black performance is so compelling and frightening. It’s a self-doubting actor putting everything he wants to be — and everything he’s afraid he might be — onscreen. A performer who purges his paranoias by playing loud, brash, cocky morons who don’t care, or even notice, when they look like fools. A faux rock star who swaggers that he’s the best in the world, as though mocking himself for believing he’s a good singer (which he is). Tenacious D earned Black splashy parts in comedies that he didn’t respect. “Shallow Hal,” he groaned, was “my big break, and my cross to bear.” Black now had the blessing and curse of approachable celebrity, the kind where strangers

felt comfortable interrupting him in his quiet, meditative moments and expecting him to be funny. He was told he was the next John Belushi or Chris Farley — compliments with a sting. “There’s other fat guys nobody compares me to,” he sighed. “Nobody says Orson Welles.” He told GQ he dreamed of a fame button he could turn on and off. There is a Jack Black type, yet he’s annoyed when ﬁlmmakers lazily ask him to “do your Jack Black thing.” He loves challenges and contradictions, not what he’s dismissed as “Gimme that beer!” roles. And it’s why some of the best work he’s done has been playing real life, lovable frauds such as Texas murderer Bernie Tiede in “Bernie!” and Jan Dewan in “The Polka King.” These fascinating characters are so over-the-top, that audiences

Lovable Rock Star Black stars in the upcoming “The House With a Clock in Its Walls,” top, and received a Golden Globe nomination for “Bernie,” above.

might think they can’t possibly be real. Black grounds them in his own truth. Bernie earned him a Golden Globe nomination, yet when he talked about getting Tiede’s blessing, Black joked, “He wasn’t prejudiced against my work because he hadn’t seen any of it. He’s been in prison the entire time I’ve been famous.” But there have been many movies that knew exactly what to do with Black’s crazy charisma, starting with “High Fidelity” — even though when director Stephen Frears offered Black the part of a snotty record store clerk, at ﬁrst, he panicked and said no. “You didn’t make me

audition!” Black explained. “Auditioning gives me confidence.” Onscreen, he looked plenty confident, entering the shop wailing on an air guitar before cranking up “Walking on Sunshine” and swirling his pelvis so fast he could have whirled into orbit. Richard Linklater’s “School of Rock” was the first hit to maximize all of Black’s strengths — the obsession, the aggression, the ego — and let him reveal a skill that would shape the next stage of his career: He was great with kids. Kids love him, too: see his turns as horror author R.L. Stine in the hit “Goosebumps!” or check out his upcoming role in the adaptation of the popular Edward Gorey book “The House With a Clock in Its Walls,” hitting theaters Sept. 21. Black’s megahits including “Jumanji” and the “Kung Fu Panda” franchise have given him the freedom to try darker, more emotionally twisted indie roles, such as the under-appreciated agonies of 2015’s “The D Train.” His describes his approach to acting using food. If he likes his work, he “brought the mustard.” If he doesn’t, he “only brought some mild cheddar sauce.” As for the way he withholds his energy until the minute the director calls action, that metaphor is even more elaborate: “You have to heat up the performance right before the cameras roll,” he says. “You want to serve it nice and hot. You want that bubbling and that crispness that you get in the broiler.” To those analogies, let’s add another. Black is the pineapple jalapeño pizza of Hollywood, a talent deliciously at odds with himself. Congrats to Black on his Walk of Fame star. As for Hollywood’s second major honor, he’s quipped, “Maybe someday the Oscars will have a category for comedy and I’ll have a shot. But if I had to choose between a shiny statue or putting on a great show that everyone agrees is an incredible thrill ride, I’m going to put on a show.” Encore, encore.

SONY PICTURES ENTERTAINMENT WARMLY CONGRATULATES

Spanish Candidate for Best Foreign Language Film Academy Awards 2019

SAN SEBASTIAN FILM FESTIVAL

2018 San Sebastian Official Selection

By JOHN HOPEWELL

ith its 66th edition running Sept. 21-29, San Sebastian is the highest-proﬁle festival in the Spanish-speaking world. In preparation, here are 10 things to watch for at this year’s installment.

PURSUING PARITY Could the tide be turning? Following Cannes, Locarno, Sarajevo and Venice, of European events, San Sebastian will sign a gender-parity charter at this year’s event. More eye-catching, San Sebastian joins a growing bevy of events — Venice Days and Mexico’s Morelia, for example — in having at least one major section with more titles directed by

women than men. In San Sebastian’s case, it is the 2018 Europe-Latin America Co-Production Forum. That makes sense: Screening finished films, festivals depend on women’s movies getting made, and highlighting projects can further that goal. “We support ways for more women’s films to get made,” says San Sebastian director José Luis Rebordinos.

STARS Danny DeVito, Judi Dench and Hirokazu Kore-eda, whose “Shoplifters” won this year’s Cannes Palme d’Or, will pick up career achievement prizes at the San Sebastian Donostia Awards.

STREAMERS Netﬂix has “Roma” in its Perlas best-of-the-fests section. Kim Jee-woon’s “Ilang: The Wolf Brigade” has been acquired by Netﬂix. Amazon Studios co-produces Felix Van Groeningen’s “Beautiful

Boy.” One more OTT platform deal at least on a San Sebastian title may well be announced before its inauguration. As Netflix produces movies by some of Spain’s highest-profile filmmakers — its third original feature, Isabel Coixet’s “Elisa & Marcela,” went into production in May — that OTT presence will almost certainly grow at San Sebastian, Rebordinos says. “Netflix is producing movies in Spain. Who knows if next year it, or Movistar Plus, might have Spanish productions in competition?”

OUT OF COMPETITION “Gigantes” Enrique Urbizu, Jorge Dorado, Spain SPECIAL SCREENINGS “Dantza,” Telmo Esnal, Spain “Tiempo Después,” José Luis Cuerda, Spain

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From gender parity to Netflix premieres and buzzy titles, the fest offers plenty

Five films by women screen in competition, and in all, 34% of San Sebastian’ biggest section titles — competition, New Directors, Horizontes Latinos, the Forum and Films in Progress — are directed by women. Significantly, San Sebastian has also zeroed in on movies by genuinely exciting female talent from territories where young women directors are moving stage center, making films which position women in a very different places from the aspirational inter-class romance of yore: Catalonia’s Celia Rico (“Journey to a Mother’s Room”), Meritxell Colell (“Duo”) and Clara Roquet (“Libertad”); Mexico’s Lila Avilés (“The Chambermaid”), and Chile’s Pepa San Martin (“Happiness”).

Step Into ‘The Realm’ Rodrigo Sorogoyen’s political corruption thriller is one of a bevy of genre titles headed to the Spanish festival.

GENRE If there’s one trend among San Sebastian’s highest-proﬁle titles, this year it’s the ever-deeper plunge into genre, whether Claire Denis’ deep-space set “High Life,” Kim Jee-woon’s futuristic actioner “Ilang,” Peter Strickland’s cursed dress

Tipsheet

What: 2018 San Sebastian Intl. Film Festival When: Sept. 21-29 Where: San Sebastian, Spain Web: sansebastianfestival. com

SEPTEMBER 11, 2018

What to Watch for at Spanish Pix Parade

EXCITING YOUNG FEMALE TALENT

COMPETITION “Alpha, the Right to Kill,” Brillante Mendoza, Philippines “Angelo,” Markus Schleinzer, Austria, Luxembourg “Baby,” Liu Jie, China “Beautiful Boy,” Felix Van Groeningen, U.S. “Between Two Waters,” Isaki Lacuesta, Spain “The Black Book,” Valeria Sarmiento, France, Portugal “Blind Spot,” Tuva Novotny, Norway “High Life,” Claire Denis, France, Germany, U.K., Poland, U.S. “Illang: The Wolf Brigade,” Kim Jee-woon, South Korea “In Fabric” Peter Strickland, U.K. “A Faithful Man,” Louis Garrel, France “The Innocent,” Simon Jaquemet, Switzerland, Germany “Quien te cantara,” Carlos Vermut, Spain, France “The Realm,” Rodrigo Sorogoyen, Spain, France “Rojo,” Benjamín Naishtat, Argentina, France, Germany, Netherlands, Brazil “An Unexpected Love,” Juan Vera, Argentina “Vision,” Naomi Kawase, Japan, France “Yuli,” Iciar Bollain, Spain, Cuba, U.K., Germany

SAN SEBASTIAN FILM FESTIVAL

chiller “In Fabric,” Rodrigo Sorogoyen’s propulsive political corruption thriller “The Realm” or Benjamin Nashtat’s period noir tale of covert violence, “Rojo.” As production volumes hold but theatrical arthouse audiences contract, even august name auteurs need to step up in scale to stand out in a crowd; thrillers in Spain allow Spanish ﬁlmmakers to maintain the anti-establishment ethos of Spain’s arthouse tradition while reaching out to broader audiences.

NEW TALENT Nearly half the directors in competition — Markus Schleinzer, Tuva Novotny, Louis Garrel, Simon Jacquemet, Benjamin Naishtat, Sorogoyen, Carlos Vermut and Juan Vera — made their solo fiction feature debut this decade. This year San Sebastian will possibly stand or fall on how many of their films confirm them as international name auteurs.

THE NETFLIX EFFECT?

SEPTEMBER 11, 2018

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Mixing big names — Kim Jee-woon, Claire Denis, Naomi Kawase — newer talent and the best of this year’s cinema, San Sebastian should pack a punch this year in part because Cannes was “spectacular” and Venice’s competition had “powerful titles,” Rebordinos says. Netﬂix has forced traditional TV series production to react. Could it now be galvanizing foreign-language movie production as well, forcing it to raise the bar or perish?

INDUSTRY Venice’s Production Bridge hit 2,200-plus execs this year. Accredited industry participants at San Sebastian may not be far short, tracking as of late August to come in above last year’s 1,621 accredited industry participants. Deals still go down before or at San Sebastian, whether they’re on

sales agent pick-ups or festival breakouts. But business is now energized by two newer factors: the festival’s evolution as a co-ﬁnancing event, galvanized by the 2012 launch of its Europe Latin America Co-production Forum; and TV, with Movistar Plus original series “Gigantes” and “Arde Madrid” world-premiering at this year’s event. One of San Sebastian’s biggest industry panels may well unspool Sept. 22, as directors and execs discuss the creation and markets on new drama series, where much of the smart money is these days in Spain.

WORLD AND INTERNATIONAL PREMIERES Argentina’s Juan Vera opens San Sebastian with “An Unexpected Love,” an ambitious, literate and questioningly romantic separation dramedy starring Ricardo Darín, in competition. Brillante Mendoza’s political thriller “Alpha: The Right to Kill,” Isaki Lacuesta’s brothers drama “Between Two Waters” and Iciar Bollain’s “Yuli,” Cuban ballet dancer Carlos Acosta origins story, all bow at San Sebastian.

BUZZ TITLES Beyond the clutch of already-noted women-directed titles, Schleinzer’s “Angelo,” Jacquemet’s “The Innocent,” Natalia Meschaninova’s “The Core of the World,” Inés María Barrionuevo’s “Julia and the Fox,” and hard-boiled penitentiary thriller “The Prince” were all generating good buzz by late August. Garrel’s Truffaut-ish “A Faithful Man” sparked a bidding war among Spanish distributors; “A TwelveYear Night” a massive ovation at Venice. Koldo Almandoz’s “The Deer” looks like one of the most notable titles from a building Basque cinema.

BATTING CLEAN-UP FOR TORONTO FILM FESTIVAL

Spanish fest is emerging as an attractive second destination on the fall circuit By JOHN HOPEWELL and JAMIE LANG

nterprising sales agents are increasingly using the San Sebastian festival as the second part of a trans-continental double whammy: A world premiere at Toronto, followed by a European premiere a week or so later in San Sebastian. Thirteen of San Sebastian’s 18 main competition titles this year will choose this route. Reasons abound. The arthouse theatrical market is ever tougher, distributors ever more cautious. “Films need ever longer festival runs, but better and quicker promotion. One festival is just not enough,” says San Sebastian Festival director José Luis Rebordinos. Antonio Saura, head of Latido Films, whose “The Realm” segues from Toronto to San Sebastian

Calling for Backup “Matar a Jesús” is one of many titles that will follow up its Toronto premiere with a run at San Sebastian.

For a Spanish-language film, premiering at San Sebastian in competition is very important. We’re talking about the most important of Spanish festivals.” Vicente Canales

competition, agrees. Given the number of movies produced every year, and competition for distributors, “more and more, it’s necessary for a sales agency to be present in different events. Only attending the main four [Berlin, Cannes, Venice, Toronto] is no longer enough to explain a movie’s potential to all distributors.” Toronto bows 138 world premieres this year. Films can be lost in that crush.

San Sebastian delivers a second, near simultaneous window. “The Toronto-San Sebastian combination is a great way to start the [fall] season, the best way to maximize awareness for a film with distributors, critics, journalists and, ultimately, the audience,” says Iván Díaz, head of international at Filmax, which represents competition contender “Between Two Waters.” “For a Spanish-language film, premiering at San Sebastian in competition is very important. We’re talking about the most important of Spanish festivals,” adds Film Factory Ent. founder Vicente Canales, whose “Quien te cantará” also vies for San Sebastian’s Golden Shell. A good reception at San Sebastian boosts Spanish box office, which ultimately benefits foreign sales, Díaz points out. Some titles do break out at San Sebastian. Canales cites “Marshland,” Díaz “Truman” and Saura “Killing Jesus,” all rolling off a Toronto-San Sebastian one-two. “San Sebastian may have a small market, but it’s a boutique market with good clients attending,” Saura says. That includes multiple companies from France, which has seven films in competition to Spain’s four.

DO YOU KNOW THE CINEMA DO BRASIL INCENTIVES FOR DISTRIBUTION AND SALES OF BRAZILIAN FILMS ABROAD? SUPPORT TO SALES AGENTS who have a Brazilian ﬁlm in the official selection of the Berlin, Cannes, Locarno, Venice and San Sebastian Film Festivals. SUPPORT TO DISTRIBUTORS who release Brazilian ﬁlms within their own national territories. Currently edition running until Oct 31st. CINEMA DO BRASIL SUPPORTS THE BRAZILIAN FILM INDUSTRY ABROAD! More information at www.cinemadobrasil.org.br | info@cinemadobrasil.org.br Promoted by

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EL GOUNA FILM FESTIVAL

Young Radicals Talal Derki’s documentary “Of Fathers and Sons” centers on the daily life of a radical Islamic family living in Syria.

Red Sea Fest Dives Into Second Edition

Coastal Egyptian gathering has doubled prizes, offering a plentiful pot for winners By NICK VIVARELLI

SEPTEMBER 11, 2018

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mid the Arab world’s volatile festival landscape, Egypt’s ambitious El Gouna Film Festival, heading into its second edition, is aiming to raise its profile a few notches. The fest has secured the cream of this year’s global cinematic crop and more than doubled the cash prizes for Arabic projects at its co-production market. Following the unexpected shuttering last December of the Dubai fest and market after 14 editions, El Gouna is certainly better positioned to play a prominent role as an Arab film industry driver and bridgehead into the Middle East for quality international films. “The only selection criteria we have is that all films should be fresh Middle East premieres,” says Intishal Al Timimi, artistic director of the Sept. 20-28 event held in the El Gouna Red Sea resort

and backed by Egyptian telecom billionaire Naguib Sawiris. While world premieres are understandably scarce, this year El Gouna has managed to lure standouts from Berlin, Sundance, and Cannes, including Polish director Malgorzata Szumowska’s Silver Bear-winner “Mug,” Syrian ﬁlmmaker Talal Derki’s “Of Fathers and Sons” and Hirokazu Kore-eda’s Palme d’Or-winning “Shoplifters,” plus a slew of fresh titles screening at Venice and Toronto fests, both of which end just

Tipsheet

What: Second El Gouna Film Festival When: Sept. 20-28 Where: El Gouna Red Sea resort, Egypt Web: elgounafilmfestival. com

a couple of weeks before El Gouna kicks off. “We got 96% of what we wanted” says Al Timimi, who adds that most titles are coming with talent in tow. The other Arabic films competing for the fest’s $220,000 in prizes — touted as the world’s biggest festival pot — besides Al Qaeda-themed “Of Fathers and Sons” — include Egyptian director A.B. Shawky’s debut “Yomeddine,” which made a splash in Cannes; “Dear Son,” by Tunisia’s Mohamed Ben Attia, in which a Tunisian middle-class young man leaves home to join ISIS; Soudade Kaadan’s Syrian conflict drama “The Day I Lost My Shadow”; and veteran Algerian auteur’s Merzak Allouache’s “Divine Wind,” which interweaves religious radicalization and romance in a tale about two strangers sent to launch an armed terrorist attack against an oil refinery. Mira Nair will preside over the jury, a nice get and one that strengthens El Gouna’s ties with both the Indian and Anglo-Saxon film communities. Al Timimi downplays analogies with the now-defunct Dubai fest, saying that it “was more Arab-centric.” He also notes that Dubai

had dedicated Arabic cinema sections, whereas at El Gouna Arabic films compete alongside the rest. There is, however, a specific prize for best Arab film within the competition. He also points out that while the prize pot is big, “we don’t want people to just come for the money, but also for the exposure.” Al Timini admits that his CineGouna market component was in friendly competition with that fest’s Dubai Film Connection co-production platform. To try and step into the Dubai void he’s managed to raise the pot of CineGouna prizes from last year’s $60,000 to $160,000 for this edition thanks to sponsors. The fest director wisely works to diversify his funding sources rather than have the Sawiris family shoulder all costs.

The only selection criteria we have is that all films should be fresh Middle East premieres.” Intishal Al Timimi

Al Timimi has also forged a pact with the Cairo Film Festival, now being rebooted by prominent Egyptian producer Mohamed Hefzy, who has reinstated its Cairo Film Connection. Under this agreement, some CineGouna projects will be able to automatically segue to Cairo’s co-production platform. The El Gouna topper has reason to boast that “this year we have the highest level of projects in the Arab world.” The 12 features in development include Tunisian director Kaouther Ben Hania’s “The Man Who Sold His Skin,” which follows her widely released police rape drama “Beauty and the Dogs.” “Skin” is about a Syrian refugee who makes a Faustian deal with a tattoo artist and becomes her “human work of art” in the hopes of gaining entry into the European Union. Lebanese helmer Oualid Mouaness’ love-in-wartime “1982,” starring actress-turned-director Nadine Labaki, whose “Capernaum” recently won a prize in Cannes, is among the works in post-production. What remains to be seen is whether some of previous editions’ organizational snags, such as drivers getting lost en route from the airport and journalists being left to their own devices, will be solved. More significantly, the question remains how big the international industry presence at El Gouna will be this year. The fact that the Berlinale’s newly appointed artistic director Carlo Chatrian will be attending is a positive indicator. A delegation from Saudi Arabia, which recently lifted its ban on cinemas, has also been invited. What’s clear is that the Arab film industry, as it gains global traction, needs an international hub. Time will tell whether El Gouna can fulfill that function.

CONGRATULATIONS to our friend and client

Eric McCormack on your star on the

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WALK of FAME Beverly Hills

New York

WALK OF FAME HONOR

SETTING MCCORMACK’S STAGE IN HOLLYWOOD

‘Will & Grace’ launched the actor to mainstream success but it was his theater training that truly put him on the path to longevity and stardom as a thespian By DANIELLE TURCHIANO

Tipsheet

What: Eric McCormack gets a star on the Hollywood Walk of Fame. When: 11:30 a.m. Sept. 13 Where: 6201 Hollywood Blvd. Web: walkoffame.com

Sitcom Star Eric McCormack rose to fame as the titular Will Truman on NBC’s “Will & Grace” in the late 1990s.

his big television break. “I was the least-likely cop show lead, I think, because I was still sort of getting the theater out of me — the tights and the dovelets. It was hard to be as macho as Carl,” he recalls with a laugh. Subsequently, he landed roles in the made-for-TV Christmas classic “Borrowed Hearts,” as well as comedy and drama series alike, including “The Commish,” “Lonesome Dove,” “Dead Like Me,” “Trust Me,” “The New Adventures of Old Christine” and “Perception.” It was “Will & Grace” that proved to be McCormack’s

biggest break — one that came about in 1998, after he had already been a professional actor for more than a decade. The role of lawyer Will Truman garnered him four Emmy nominations (he won once), as well as eight consecutive seasons of employment on a top rated broadcast series. Now he’s seeing similar success in a revival that launched last fall and will be continuing for at least two more seasons. McCormack never could have imagined he’d revisit the role two decades after it ﬁrst launched him into sitcom stardom — nor that he would do so at a time when he was also juggling a drama. But being able to play different sides to his craft is what he considers “the biggest luxury of all.” “I’m doing two series

right now, and they couldn’t be more different, and a lot of people ask how I go back and forth, but that’s what I always used to do: I used to do a comedy in the afternoon and a tragedy at night, and that was the fun of it,” he says. “Turning on a dime like that was the point. It was taking off one costume and putting on another.” VARIETY.COM

YouTube to social-media outreach. “That’s where you can really hone your skills,” he says. “When I did ‘King Lear’ in 1985 I had no lines, but the guy who was playing King Lear was the biggest, most robust English actor of all time. I’m not going to carry on his style, but I got to watch him for 100 performances and take from that what I could and learn from that about how things were done. So, learn from great actors and learn from awful actors, and learn from great directors who will inspire you and from ones who don’t know what they’re doing. All of that is important.” McCormack learned from a number of talents he saw and heard on-screen, as well. The ﬁrst he recalls is Mel Blanc, who voiced all of the Looney Tunes and taught a 7-year-old McCormack that “there’s something to this” playing characters as an art form and a business. A few years later, he would also be inspired by Don Adams in “Get Smart,” as well as Woody Allen, both performers from whom he admits to borrowing a lot when it comes to comedic style. McCormack booked his ﬁrst television roles in the late-1980s but considers “Street Justice,” the 1992 cop series in which he starred opposite Carl Weathers as

I was the least likely cop show lead, I think, because I was still sort of getting the theater out of me.” Eric McCormack

SEPTEMBER 11, 2018

ANDREW ECCLES/NBC

anadian kid Eric McCormack kept his youthful acting dreams local because he was too ignorant and afraid to figure out how to get to Los Angeles or New York, where he could go for bigger roles. The theater-trained thespian began his career with Canada’s Stratford Festival and traveled to Nova Scotia and New Brunswick, paying his dues after the festival closed at the end of each year. It wasn’t until the early 1990s that he moved further west, to Vancouver, to begin his television career in earnest. It all paid off, and McCormack now stars in two series — the “Will & Grace” revival on NBC and “Travelers” on Netflix — and will receive his star Sept. 13 on the Hollywood Walk of Fame. “I was doing plays in first grade, so for me, it was always that or nothing. I had no fallback position,” McCormack admits. It was McCormack’s earliest experiences on stage that he feels best prepared him for longevity as an actor. He appeared in high school theater productions such as “Godspell” and “Pippin” and attended Ryerson U. School of Theatre in Toronto to further study his craft. “Somebody can hate what I do on a series, but they can’t take away from me that I didn’t get there from some lottery,” he says. “Those 10 years in the theater meant something, and I got there because I earned it.” That’s why McCormack still advises young actors to do theater today, despite so many new ways of getting into the business, from

ERIC, BUSINESS MANAGERS DON’T WRITE CLEVER PLATITUDES. SUCH IS LIFE. BUT AT THE RISK OF BEING REDUNDANT; IT HAS BEEN THE GREATEST OF PLEASURES WORKING WITH YOU AND JANET THESE LAST TWENTY YEARS. YOU’RE A MAN OF TALENT, INTEGRITY AND GRACE… OK, AND WILL. AND GOD HOW YOU MAKE US ALL LAUGH! IT’S BEEN MY WONDERFUL FORTUNE AND PRIVILEGE TO CALL YOU MY CLIENT AND MY FRIEND.

CONGRATULATIONS TO A REAL GENTLEMAN FOR RECEIVING THIS WONDERFUL HONOR. WITH LOVE, MICHAEL STERN AND YOUR TEAM AT WG&S

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OVER 150 PRESS & INDUSTRY SCREENINGS ACCESS TO THE DELEGATE DIGITAL VIEWING LIBRARY INDUSTRY EVENTS AND NETWORKING EXCLUSIVE ACCESS TO DELEGATE FESTIVAL HUBS This year’s line-up of Festival speakers includes

SIMON AMSTELL LEE CHANG-DONG ALFONSO CUARÓN DAVID HARE KEIRA KNIGHTLEY

Eric, a fitting honor for our

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you are the bright light and fixed point that guides us all.

J i m m y,

We L o v e Yo u , Da v i d , M a x , De b r a , Se a n

Megan

Stories through a human lens. Thanks to our community of talent, creators and broacast partners who have worked together to shape a decade of captivating, impactful and award-winning Ă&#x201E; STZ HUK [LSL]PZPVU Dramatic stories. Surprising stories. And most of all, human stories.

part2 pictures

Embracing big stories and high production values helped Part2 Pictures make its mark By ROB OWEN

s indie production outlet Part2 Pictures celebrates its ﬁrst 10 years, the company’s approach to documentary storytelling — premium content with high production values — has moved more into the mainstream. “We have been doing what people now call ‘premium’ from the beginning,” says Amy Bucher, Part2 senior vice president of programming and content. “It’s as natural to us as air and

water. We just think that’s the way you should tell stories.” Lisa Ling has worked with Part2 for the better part of a decade, ﬁrst with ﬁve seasons of “Our America With Lisa Ling” that aired on OWN, and now with “This Is Life With Lisa Ling” for CNN. She believes the audience for such premium content in which Part2 specializes has always been there, but the current real estate between tradi-

Hands-On Prexy David Shadrack Smith parlayed years of experience as a journalist, director and producer into Part2 Pictures.

include MSNBC’s “Breaking Hate” and “Story of Cool”; Investigation Discovery’s “Scene of the Crime With Tony Harris”; the aforementioned “This Is Life With Lisa Ling,” which is about to premiere season ﬁve but in production on the sixth

As much as you can, let people be the voice behind their own story.” David Shadrack Smith

season; and the upcoming “Chasing Life” with Dr. Sanjay Gupta. There are also plans to expand into the podcast space. Part2 president David Shadrack Smith founded the full-service production company in his native Brooklyn following a globetrotting career that included seven years as a journalist in China and a stint as a director-producer at National Geographic Channel during its startup phase. What he learned in his years conducting interviews, Smith brought to the ethos of Part2. “As much as you can, let people be the voice behind their own story,” he says, noting the Internet has made the world smaller but his approach to bringing the world to viewers remains constant. “The core thing I was

SEPTEMBER 11, 2018

Decade of Docs for Premier Prodco

tional networks and streamers have helped provide a larger platform. “Netflix and its documentary vertical has opened up the market for more substantive storytelling, and when CNN departed from what it did and explored this whole series route and the success it had has helped to open the market, too,” she says. Over the past decade, Part2 has been responsible for OWN’s “Belief With Oprah Winfrey,” PBS’ “Nova” production of “Engineering Ground Zero,” National Geographic Channel’s “Hard Time,” Showtime’s “Dark Net” and Discovery’s “Dixie Mafia” as well as co-producers on the feature films “An Honest Liar,” “Bronx Obama” and the narrative feature “I’ll See You in my Dreams.” Current Part2 programs

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drawn to was exploring our curiosity for one another. … From being out in the field, I knew it was about, ‘How can we explore the human experience in all its richness and diversity and universality?’ Bringing that into Part2 was the animating force behind all the stories we choose to tell and became our tagline, ‘stories through a human lens.’” This year also marks the 10th anniversary of Part2 working with Ling, which began on the fiveseason OWN series “Our America” before segueing to the current CNN show “This Is Life,” returning for its fifth season Sept. 23 (season six has already been ordered). Episodes this season are devoted to MS-13, the scourge of methamphetamines and what it’s like for fathers to lose custody battles. Ling first got to know

Stories From the Road Part2 Pictures has produced Americana documentary series “This Is Life With Lisa Ling” for CNN since 2014.

Smith in 2002 when he was at Nat Geo and was assigned to help accustom her to the company after her stint on “The View.” They bonded over an order of Chinese food and Ling’s

fortune cookie with an apt fortune that read, “Now is the time to explore.” “I’ve worked in this industry for more than 25 years and I’ve worked with some great producers but

it’s always about the sell: ‘How are we going to sell this project?’ ” Ling says. “But with David, it’s always, what’s the story we want to tell? What is the meaning behind this? What does this

R PRODUCING 2 PICTURES FO T R PA U YO K N ME THAT THA LEVISION WITH TE F O S R U O H I COULD NOT CLOSE TO 100 INK AND FEEL. TH LE P EO P E D ETHER. HAVE MA AVE DONE TOG H E W AT H W F BE PROUDER O

RE... MANY MANY MO MAY THERE BE H ME! ESPECIALLY WIT

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mean for us? What does this mean for the audience? It goes beyond just the idea of the sale.” Bucher, who is also an executive producer on “This Is Life,” says Part2 brings a similar sensibility to all of the company’s projects — put people front and center. “Whether it’s a show about prison or a mystery about a reform school in the South or a crime series, we are really helping people be vulnerable and open and share their story maybe in a deeper way than they might have before providing the platform for them that is a safe place to share their experiences, their emotions, their points of view,” she says.

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1 ADRIENNE PABST, IHEARTMEDIA 2 JOHN LANDGRAF, FX NETWORKS / FX PRODUCTIONS 3 SOPHIA AMORUSO, GIRLBOSS 4 ALICIA HATCH, DELOITTE DIGITAL & MATTHEW BAKAL, ATOM TICKETS 5 KRISTIN DOLAN, 6IX0ERO5IVE & WALKER JACOBS, FANDOM 6 JOE BRAIDWOOD & DANIEL STRICKLAND, COFOUNDERS, SCENER 7 GREG RIKER, METROLOGICAL 8 TOM GORKE, VIACOM 9 JIM BENNETTE, APPLICASTER; MARINN JACKSON, OATH;JESSE SISGOLD, SKYDANCE; JEN WONG, REDDIT; BRIAN SULLIVAN, FOX NETWORKS GROUP & JEFFREY HIRSCH, STARZ 10 TONY GONCALVES, OTTER MEDIA 11 JON PENN, NRG 12 ANWAR JIBAWI, DIGITAL INFLUENCER & ASHLEY YUKI, INSTAGRAM 13 WARED SEGER, PARROT ANALYTICS MEDIA PARTNERS

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2018

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FALL

R E A L E STAT E G U I D E

CHRIS CORTAZZO, COLDWELL BANKER 651 SIENA WAY Impeccable Bel Air estate originally built by renowned architect Paul R. Williams & designed by Sandy Gallin & architect Scott Mitchell. The gated home includes wood beamed ceilings, bay window seats & hardwood floors throughout. Beautifully landscaped with 110’ pool with trellis sitting area

Luxury Living in Unexpected Places Discover beautiful and one-of-a-kind homes in this new edition of Variety’s Fall Real Estate Guide, which highlights properties in destinations as varied as Hawaii, San Diego, Martha’s Vineyard and Manhattan. William & Williams features a sprawling estate on 23 acres in Colts Neck, New Jersey. Sotheby’s Los Angeles has a Montecito mansion with panoramic views and manicured grounds.

In New York City is One Manhattan Square, a vertical village with all the amenities. Explore Kohanaiki, a private club community on the Kona Coast of Hawaii’s rugged and lovely Big Island. The renovated apartments at 1221 Ocean Avenue in Santa Monica offer luxury living in a perfect locale. All that and more awaits in our guide to top homes from around the country.

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Malibu Dream Homes COLDWELL BANKER GLOBAL LUXURY www.chriscortazzo.com

$49.5m 6 BEDROOMS 8 BATHS

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Broad Beach Road

23634 Malibu Colony Road

Newly-constructed, never lived in, gated and private blufftop, retreat designed by renowned architect Doug Burdge AIA w/panoramic ocean views, 6bd/7.5ba 2-story Cape Cod home and separate 1bd/1ba GH has deeded beach rights to secluded cove below.

Build your dream oceanfront estate on one of the most sought-after locations in Malibu. This development opportunity offers two adjacent parcels with approximately 142’ of ocean frontage on over one acre with breathtaking ocean, white water, and coastline views.

As if plucked from the Isle of Capri, this residence, located in one of the most exclusive guard/gated communities in Malibu, combines architectural simplicity with classical detailing in a fusion of Italian romanticism and American functionality, comfort, and practicality.

10 BEDROOMS 12 BATHS

SEPT. 11, 2018

DOUBLE BEACHFRONT LOT

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$37.5m

$16.75m 4 BEDROOMS 4 BATHS

$14.995m 3 BEDROOMS 5 BATHS

27465 Winding Way

23556 Malibu Colony

28724 Grayfox Street

One of Malibu’s finest estates positioned perfectly on a private 4.8 acres knoll top with head on unobstructed ocean view of Catalina. Offering the finest in architecture, construction and amenities, reminiscent of one of the great villas on the Amalfi Coast.

Elegant 3-story French Country Villa-style beach home, located in one of the most exclusive guard/gated communities in Malibu. The Crestron™ system home features an open great room w/fireplace, gourmet kitchen, dining room, and an oceanfront deck w/fireplace with direct beach access

Enjoy casual elegance and tranquility in this gorgeous, newly designed ocean view gated home that fuses the best of indoor/outdoor living with private path and deeded beach rights to Little Dume. Set at the end of a prestigious cul-de-sac in Malibu on approx. 1.4 acres.

A Stunning Combination of Seclusion, Sensuality & Security on 4 Acre Bluff Compound 6962 WILDLIFE, MALIBU $65,200,000

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ÂŠ2018 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC. Broker does not guarantee the accuracy of square footage, lot size or other information concerning the condition or features of property provided by seller or obtained from public records or other sources, and the buyer is advised to independently verify the accuracy of that information through personal inspection and with appropriate professionals.

RANKED NUMBER 1

COLDWELL BANKER® IN SOUTHERN CALIFORNIA COLDWELL BANKER GLOBALLY NRT SALES ASSOCIATE GLOBALLY

Coldwell Banker International Society of Excellence & for the outstanding achievement of being the #1 Coldwell Banker Independent Sales Associate Nationally & Internationally for the last 11 of 12 years, out of 91,000+ associates worldwide.

9/6/18 9:12 PM

31038 BROAD BEACH ROAD

26524 LATIGO SHORE DRIVE

29046 CLIFFSIDE DRIVE

25302 MALIBU ROAD

$15,495,000 | 5 BR | 5 BA

$14,750,000 | 4 BD | 5 BA

$12,450,000 | 4 BR | 3 BA

$11,995,000 | 4 BD | 5 BA

Beachfront Home

Oceanfront Home

Bluff top Ocean View Home

Oceanfront Home

26820 MALIBU COVE COLONY DR 27140 MALIBU COVE COLONY DR 3640 NORANDA LANE

31636 SEA LEVEL DRIVE

$11,450,000 | 5 BD | 6 BA

$10,500,000 | 5 BD | 7 BA

$10,000,000

$8,995,000 | 4 BD | 4 BA

Oceanfront Home

Appx 24 Acres with ocean views

Oceanfront Home

31506 VICTORIA POINT ROAD

30385 MORNING VIEW DRIVE

32453 PACIFIC COAST HIGHWAY

34305 PACIFIC COAST HIGHWAY

$8,995,000 | 5 BR | 5 BA

$8,950,000

$8,850,000 | 7 BD | 12 BA

$7,450,000

Oceanfront Home

Approved Estate on apx. 4.07 acres

Ocean View Home

Appx. 20 acres with panoramic ocean views

6172 BONSALL DRIVE

6749 WILDLIFE ROAD

1445 EL BOSQUE CT

6368 SEA STAR DRIVE

$6,450,000 | 2 BR | 3 BA

$5,975,000 | 3 BR | 3 BA

$5,900,000

$5,850,000 | 6 BR | 6 BA

Gated 1.5 acre property

Coveted Beach Key Home

One-of-a-kind Appx. 21/3 acre lot

Ocean View Home

©2018 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC.

malibu lifestyle

o: 310.457.3995 | c: 310.579.5887 | e: chris@chriscortazzo.com | www.chriscortazzo.com | CalBRE# 01190363

6415 MEADOWS COURT

18908 PACIFIC COAST HIGHWAY

$5,795,000 | 6 BR | 6 BA

2710 COUNTRY RIDGE ROAD, CALABASAS

$5,450,000 | 6 BD | 7 BA

$5,450,000 | 3 BR | 4 BA

Ocean View Home

$5,750,000 | 6 BR | 9 BA

Ocean View Home

Oceanfront Home

6701 PORTSHEAD ROAD

3030 ENCINAL CANYON ROAD

6205 BUSCH DRIVE

Nearly 12 acre Equestrian Estate

20816 PACIFIC COAST HIGHWAY $4,995,000 | 2 BD | 2 BA

6328 RAMIREZ MESA DRIVE $4,995,000 | 5 BR | 5 BA

$4,750,000

Oceanfront Home

180-degree Ocean View Home

Approved Dream Home on apx. 2.64 acres Ocean View Home

20942 PACIFIC COAST HIGHWAY

21569 PASEO SERRA

2451 NALIN DRIVE

4830 LOS FELIZ, LOS ANGELES

$4,500,000 | 3 BD | 2 BA

$3,995,000 | 4 BD | 3 BA

$3,799,000

$3,495,000 5 BR | 6 BA

Beachfront Home

Ocean View Home

Flat Bel Air canyon view lot

Completely Remodeled Estate

31546 VICTORIA POINT ROAD

11770 PACIFIC COAST HIGHWAY #U 0 ENCINAL CANYON

4600 VIA VIENTA STREET

$3,495,000

$2,695,000 3 BR | 4 BA

$1,495,000

$850,000

Ocean View Land

Beach Key Access to 2 Sandy Beaches

Appx. 42 acre Ocean View Land

Appx. 2 Acre Ocean View Land

Â©2018 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC.

$4,500,000 | 4 BD | 4 BA

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A Vertical Village in New York’s Lower East Side

SEPT. 11, 2018

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ONE MANHATTAN SQUARE, 252 SOUTH STREET, NEW YORK, NY 10002

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Time to make the Big City feel a little bit smaller with your own personal village on the Lower East Side: One Manhattan Square. While a bustling city of museums, theater and eclectic cuisine awaits you right outside your doorstep, you will never feel a need to leave your vertical village. That’s the beauty of One Manhattan Square—it offers you every luxury you could ever dream of. The striking glass

tower features over 100,000 square feet of indoor and outdoor amenities. To top it off, you will wake up every morning to the most stunning views of the New York City skyline, to remind you that you live in the best city in the world. One Manhattan Square was designed by the best in the business. The architect of record on the project was the worldrenowned firm Adamson Associates, with

interiors by Meyer Davis Studio, the firm behind Oscar de la Renta’s worldwide boutiques. The 815 residences were intelligently planned to enhance light and breathtaking views. One Manhattan Square will offer a variety of one- to three-bedroom homes with open layouts, five-inch-wide stained oak flooring, imported stone and custom finishes. There is no denying that New York City

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the very best of New York is located right at your fingertips. Uniquely located at the nexus of the Lower East Side, South Street Seaport and Chinatown, One Manhattan Square joins a thriving area of Downtown Manhattan along the East River Esplanade, with an abundance of trendy restaurants, bars and nightlife. Ownership in One Manhattan Square starts at $1.2 million with low carrying costs and an anticipated 20-year tax abatement. Occupancy is slated for late 2018. For more information, please visit www.OneManhattanSquare.com or call 212-252-1560. SALES AND DESIGN GALLERY 220 South Street New York, NY 10002 o: 212.252.1560 e: info@OneManhattanSquare.com

ONE MANHATTAN SQUARE PROPERTY FACTS Featuring over 100,000 sq ft of amenities, catering to your every need. Indoor amenities: a spa, infrared sauna and hamam, indoor swimming pool, fitness center, bowling alley, basketball court, golf stimulator, squash court, yoga studio, screening room, children’s playroom and more. 45,000 square feet of an outdoor oasis: lush gardens, fire pits, adult treehouse, tea pavilion, stargazing observation deck, social courtyards and a covered dog run. Joining a vibrant part of Manhattan along the East River Waterfront Esplanade. Bustling restaurants, nightlife and cultural attractions just outside your doorstep. Located at the nexus of the Lower East Side, South Street Seaport and Chinatown, One Manhattan Square is a short commute to Financial District and Dumbo Heights.

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basketball court, golf simulator, squash court and yoga studio. Grab the popcorn and gear up for movie night at the screening room. Entertain the kids with a fun evening in the children’s playroom and teen arcade. The culinary lounge, wine room, cigar room, cellar bar and demonstration kitchen ensure that you will never be bored when inside your vertical village. During the warm months, take advantage of One Manhattan Square’s outdoor oasis, offering over 45,000 square feet of landscaped areas. Private lush gardens with intimate garden rooms await you, along with a tea pavilion, numerous social courtyards and lounges, an outdoor kitchen and dining area, fire pits, an adult treehouse, birch garden, ping pong tables, putting green, covered dog run and stargazing observation deck. When you do leave your vertical village,

SEPT. 11, 2018

is one of the real estate capitals of the world. With a wide array of fancy buildings to choose from, you may wonder what exactly differentiates One Manhattan Square. That’s easy: no other building in the city lives up to One Manhattan Square’s amenity package. Spread across four floors, these added luxuries were designed to provide the utmost recreational, social and fitness experiences. New York winters won’t even phase you at One Manhattan Square. Do you want a relaxing spa day? Pamper yourself in the multi-level health and wellness center, featuring a spa with private treatment rooms, infrared sauna and hamam, centered on a tranquil relaxation garden. Trying to stay in shape? Check out the state-of-the-art fitness center, and after your workout, dive into the indoor swimming pool. Other fun indoor facilities include a bowling alley, full-court

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Endless Views Countless Amenities Attainable Prices One Manhattan Square is an 800-foot tall modern glass tower located on the edge of the New York Harbor. With epic river and skyline views, these beautiful homes are wrapped by lush private gardens and over 100,000 square feet of indoor and outdoor amenities.

1 to 3 Bedroom Waterfront Condominium Residences From $1.2M

20 Year Tax Abatement Anticipated Monthly carrying costs for a one bedroom residence start at $750 per month

To schedule a private appointment, please call or visit: +1 212.252.1560 OneManhattanSquare.com | Info@OneManhattanSquare.com Follow us on instagram @OneManhattan Square

The complete offering terms are in an offering plan available from Sponsor. File No. CD15-0185. Sponsor: CPS Fee Company, LLC. 805 Third Avenue, Seventh Floor, New York, NY 10022. Sponsor reserves the right to make changes in accordance with the terms of the Offering Plan. Equal Housing Opportunity.

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A Star is Reborn at Santa Monica’s Iconic 1221 Ocean Avenue 1221 OCEAN AVENUE, SANTA MONICA, CA 90401

THE HEIGHT OF COASTAL LUXURY Santa Monica Living, Reimagined Amenities • Rooftop Patio • Rooftop Pool • The Ocean Club

Residence Features • 1- to 3-Bedrooms • 1082 - 1809 sq. ft. • Sweeping Ocean Views

Services

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• Concierge • Valet Parking • Delivery Services

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For nearly 50 years, it’s been a beacon of luxury living. A private haven with some of the best views on the West Coast. Now, 1221 Ocean Avenue in Santa Monica is reborn with a multimillion-dollar renovation and a rich history. Principally designed by Cesar Pelli and built by Lawrence Welk in 1969, 1221 Ocean Avenue has always set the bar for luxury living in LA. Pairing a prestigious address with panoramic ocean views, luxurious amenities and exceptional service, it continues to attract residents from around the globe. With just 120 residences, 1221 Ocean Avenue remains exclusive, appealing to those seeking the utmost in amenities, personalized service, privacy and security. The recent renovation brings a renewed elegance to each apartment, with stylish finishes and new kitchens and bathrooms. Most of its one- , two-, and three- bedroom residences and penthouse apartments feature 180-degree ocean views and dramatic city views. New amenity spaces include a fitness center; media lounge; lobby with 24-hour front desk and concierge; valet; rooftop pool and spa; Ocean Club rooftop clubhouse; and elevators with privacy access features. The staff — among the most highlytrained and attentive in the industry — is available 24 hours a day. 1221 Ocean Avenue also offers its residents the best of LA at their doorsteps, including world-renowned shopping, dining, entertainment and the beach. From Hollywood insiders to C-suite executives to global citizens, those seeking the ultimate in luxury apartment living in West LA will find the pictureperfect setting at 1221 Ocean Avenue.

BRETT THOMAS o: 844.292.5275 e: BThomas@irvinecompany.com www.1221Ocean.com

Irvine Management Company, a licensed real estate broker DRE LIC. #02041810

N OW L E AS I N G

LUXURY APARTMENT RESIDENCES SANTA MONICA, CA | 1221OCEAN.COM

BY APPOINTMENT ONLY

(844) 292-5275

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A Singular Hawaiian Dream Home 73-2055 ALA KOHANAIKI, KAILUA-KONA, HI 96740

EMBRACE THE ISLAND LIFESTYLE

SEPT. 11, 2018

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INVITATION-ONLY PRIVATE CLUB COMMUNITY Kohanaiki features its own community farm which produces many of the organic fruits and vegetables used in the Club’s restaurants and catering services.

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Kohanaiki, a 450-acre, private club community located on the Kona Coast of the Big Island of Hawai`i, offers a singular luxury real estate ownership opportunity. Anchored by a 67,000-square-foot clubhouse, Kohanaiki’s amenities include a Rees Jones-designed golf course, a luxurious beach club, an adventure team of guides for ocean and land activities, and dining facilities ranging from casual poolside fare to exquisite five-star dining. At the heart of the property is the Clubhouse, designed by renowned architect Shay Zak. The 67,000 squarefoot hideaway is replete with worldclass amenities and unexpected extras including a James Bond-style cigar lounge with a poker table and scotch bar hidden behind a secret door; a museumworthy collection of more than 200 artworks and artifacts; Konane, a 120-seat chophouse restaurant and sushi bar; a private brewery; a four-lane bowling alley; and a holistic spa designed by the leader in modern spa design, Tracy Lee. Kohanaiki’s family-oriented membership base influenced the design of the property, which offers a relaxed environment for all ages to enjoy. The 21-seat movie theater and four-lane

bowling alley were crafted with the latest technology and design in mind, and are complemented by a well-stocked theater concession booth and a full bar in the game room for adults. Kids of all ages will enjoy the video and arcade games, shuffleboard, pool tables and the K-Kids Children’s Center. Their parents can host events in one of two private dining rooms, sip from the rare wine collection in the tasting room, or enjoy a game of poker in the cigar lounge. Brew master Garratt Fitts has worked with Kohanaiki to create signature beers in a new state-of-the-art on-site brewery, where new concoctions are dreamed up daily and members can taste seasonal flavors unique to Kohanaiki. For members who prefer wine, the Clubhouse has reserved space for everyone’s prized bottles, with wine storage lockers lining the hallways of the lower level. The Kohanaiki team has also assembled a 50-year collection of Chateau Mouton Rothschild in the clubhouse wine room, where members can host private tastings. To further delight the senses, Tracy Lee, owner of TLee Spas and designer of many of Auberge Resorts’ signature spas,

created a spa inspired by two words: “Aloha Aina,” or “the love of the land.” Reflecting the unique philosophy and teachings of native Hawaiian healers, the menu features locally sourced botanical ingredients and reflects ancient healing traditions of the island. The Spa features four freestanding treatment rooms, all of which feature tropical gardens, outdoor showers and soaking tubs. A salon for nails, makeup and hair pampers members, while the 25-meter pool, yoga lawn, advanced training equipment, studios and the crossfit program keep them active. When it comes to residential options, Kohanaiki has an endless array of choices. You can build your custom Hawaiian dream home on an estate lot or choose from one of many styles of turn-key completed residences. For more information on Kohanaiki, please visit www.kohanaiki.com or call 808.329.5599 KOHANAIKI REALTY o: 808.329.5599 e: realty@kohanaiki.com www.kohanaiki.com

P R I VAT E C LU B C O M M U N I T Y T H E BIG I S L A N D OF H AWA I`I

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Pardee Homes Launches Website For Skyline In Santa Clarita INTEREST LIST GROWING FOR SKYLINE IN SANTA CLARITA

SKYLINE.. DID YOU KNOW? SKYLINE A hilltop community with 1600 acres of dedicated open space.

SEPT. 11, 2018

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CHECK OUT THE LOOKOUT Skyline’s amenity-packed fun center.

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Skyline, Pardee Homes’ highly anticipated new community in Santa Clarita, is slated for a fall grand opening. Pardee invites interested new home shoppers to learn more now by visiting Skyline’s website, and registering on the Interest List. Sign-up is easy at www. LifeAtSkyline.com. “When you’re part of the Interest List, you automatically get the latest information on new home designs and ownership opportunities, community festivities and more,” said Lyndsay Fuller, director of sales and marketing for Pardee Homes LA Ventura. “We’re anticipating high demand for Skyline’s upcoming new homes. Having instant access to the website and our Interest List is the best way to stay current with this exceptional new community!” The grand opening will feature professionally decorated model homes for Skyline’s four debut neighborhoods, built by Pardee and TRI Pointe Homes. Created in concert with award-winning architectural firms, these distinctive collections will offer an array of choices in striking Spanish, Ranch and Farmhouse styles.

Fresh, flexible and spacious new home designs respond to Skyline’s breathtaking hilltop site, and are geared for diverse preferences and households. Wellresearched, progressive smart home measures that help boost new home performance, comfort and convenience are also included in the designs. Sola by Pardee Homes will provide designs of approximately 1,882 to 2,225 square feet of living space in two-story floorplans with 3 to 4 bedrooms. Anticipated pricing is from the mid $500,000s. Lyra by Pardee Homes will offer twostory designs of approximately 2,861 to 3,504 square feet of living space, with 4 to 7 bedrooms. Anticipated pricing is from the high $600,000s. Celestia by TRI Pointe Homes will offer two-story designs with approximately 2,001 to 2,596 square feet of living space, with 3 to 5 bedrooms and 2.5 to 4.5 baths. Anticipated pricing is from the high $500,000s. Mystral by TRI Pointe Homes rounds out the new home choices at Skyline. Two-story designs provide about 2,600 to 3,132 square feet of living space, with 3 to 6 bedrooms. Anticipated pricing is from the mid $600,000s.

The Community Plan: Skyline occupies approximately 2,173 hilltop acres. About 80% of this is dedicated open space, and walkability highlights Skyline’s scenic attractions and amenities. Residents will be within walking distance of a new elementary school, as well as parks, trails and internal recreational amenities. Skyline is well connected to Santa Clarita’s work centers, retail, dining options and leisure choices. Residents will also be close to freeways and Metrolink. Award-winning Pardee Homes provides quality homes in desirable locations throughout the Los Angeles/Ventura area. A member of the TRI Pointe Group of regional homebuilders, Pardee is noted for green building leadership and safe building practices and for community partnerships and civic outreach. More information is at www.pardeehomes.com. SOLA & LYRA Elayne Jaye c: 661.491.7397

CELESTIA & MYSTRAL Shawn Black & Wanda Ball c: 949.478.8607

Welcome to life wide open. Named for its unending views and scenic hilltop location, Skyline invites you to believe that each new day brings new possibilities on the horizon. Here you’re free to write your own story. Come revel in the warm rays of the Santa Clarita sun and discover that the rich, full life you’ve dreamed of for you and your family is now within reach.

FOUR NEW NEIGHBORHOODS FROM THE MID $500S OPEN FALL 2018 To take a closer look, visit LifeAtSkyline.com.

The prices of our homes, included features, plans, speciﬁcations, promotions/incentives, neighborhood build-out and available locations are subject to change without notice. Photographs or renderings of people do not depict or indicate any preference regarding race, religion, gender, sexual orientation, disability, familial status, or national origin. Our name and the logos contained herein are registered trademarks of TRI Pointe Group, Inc. and/or its subsidiaries. CA Contractor’s License No. 251810. CA DRE License No. 02027320. :copyright: 2018 Pardee Homes, a member of the TRI Pointe Group. All rights reserved.

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274 Years in the Making SOTHEBY’S INTERNATIONAL REALTY sothebyshomes.com A team of world-class agents, a global clientele of luxury buyers. A legacy, still standing after 274 years.

$47m

$11.5m

6 BEDROOMS 8 FULL BATHS 3 HALF BATHS

Montecito, CA OakviewMontecito.com

6 BEDROOMS 6.5 BATHS

Located in California’s treasured community of Montecito, this sweeping American-style manor feels as if it has always been here, amid towering oaks on 3.4± pastoral acres. Architect Don Nulty, landscape architect Mark Rios and feng shui master David Cho combined their considerable talents to create the peaceful estate.

WEB: 0114372 SUZANNE PERKINS (805) 895.2138 MONTECITO COAST VILLAGE ROAD BROKERAGE

VARIETY.COM/REAL-ESTATE SEPT. 11, 2018

182 East 75th Street

$2.69m

Camarillo, CA

This privately gated, single-story Tuscan Estate is located in the Spanish Hills Country Club enclave. Every detail was meticulously chosen, exuding luxury. Nestled on a private acre, boasting 9,250± sq. ft. of extraordinary living space, 1860ViaAracenaEstate.com and a spectacular outdoor entertainment area, stunning pool and spa. An entertainer’s dream.

WEB 0423856 MICHELLE OUELLETTE (805) 427.1333 WESTLAKE VILLAGE BROKERAGE

This lovely 18-foot-wide home is in the heart of Lenox Hill, perfectly situated on a beautiful carriage house block on 75th Street between Lexington and Third Avenue. The 5,850-square-foot townhouse was originally built in 1920 and underwent a complete renovation last year.

WEB 00112450 MARIA BAZO (212) 606.7647 EAST SIDE MANHATTAN BROKERAGE

$3.98m 6 BEDROOMS 6.5 BATHS

116

New York, NY

5 BEDROOMS 5.5 BATHS

969CortelaCienega.com

Welcome to Villa de la Palmas. It boasts 7,000 ± square feet of luxury living at its finest, including a state-of-theart German kitchen, theatre room and a solid black walnut library with coffered ceilings. Set on a lush flat acre beside the country club, the estate grounds feature a Grecian pool and spa with Italia hand painted tiles, a built-in outdoor marble kitchen, and an outdoor fire pit with bench seating.

WEB 0424189 MICHELLE OUELLETTE (805) 427.1333 WESTLAKE VILLAGE BROKERAGE

Art of Living sothebyshomes.com

Malibu, CA | $30,000,000

Bel-Air, CA | $18,999,000

Paciﬁc Palisades, CA | $9,499,000

24300 MALIBU ROAD

15216ANTELO.COM

1344MONACO.COM

Gregory Bega 213.453.2020, Lindsay Galbraith 310.916.8622

Heidi Lake, Barry Sloane, Marc Silver 310.430.1316

Barbara Boyle 310.255.5403

Malibu, CA | $8,750,000

Lake Sherwood, CA | $4,795,000

Santa Fe, NM | $3,400,000

MALIBUCHICVILLA.COM

2102TRENTHAMRD.COM

51 JACK RABBIT LANE

Enzo Ricciardelli 310.255.5467

Tony DeFranco 805.208.1904

Darlene Streit 505.920.8001

Santa Fe, NM | $2,100,000

Santa Fe, NM | $1,950,000

Santa Fe, NM | $1,900,000

22 VUELTA CHAMISA

13 PASEO DEL PAJARO

12 OLD COACH ROAD

Darlene Streit 505.920.8001

Santa Fe, NM | $1,600,000

Pasadena, CA | $998,000

Malibu, CA | $13,990 per month

55 CAMINO DE MILAGRO

1580 NORTH ROOSEVELT AVENUE

EXTRAORDINARYSUNSETMESALEASE.COM

Darlene Streit 505.920.8001

Kathleen Hemming 626.233.5150

Sylvia Dunbar 310.766.6000

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Quintessential Montecito Villa 2733 SYCAMORE CANYON RD., MONTECITO, CA

UNPARALLELED PRIVACY MAIN RESIDENCE

SEPT. 11, 2018

VARIETY.COM/REAL-ESTATE

• Five bedrooms and eight bathrooms • +/- 9,430 square feet • His and her bathrooms and closets • 6 fireplaces

118

GUEST HOUSE • Fireplace and kitchenette • Covered patio

POOL PAVILION • Two stories • Two fireplaces • Rooftop Patio • Dine and entertain al-fresco • One full bathroom

This majestic Montecito estate offers unparalleled privacy and is only moments from the shops and restaurants of the upper and lower villages. Grand entry gates and a meandering palm-lined drive lead to a gracious motor court that boasts monumental mountain views from nearly three manicured acres. Stunning old-world influences combine with world-class amenities in the home. This Mediterranean masterpiece presents a breathtaking façade and incorporates Moroccan-style arches and southern Spanish architectural inspiration. The grand two-story foyer welcomes you with a sweeping staircase and limestone floors. The downstairs living space includes a formal dining room, a wood-paneled library and an elegant living room with hardwood floors, intricate woodwork and a magnificent fireplace. The chef’s kitchen comes

complete with state-of-the-art appliances and a large center island, and opens to a cozy family room with a fireplace and French doors to the gardens. Nearby is the breakfast room, surrounded with grand windows and a private guest suite that touts a walk-in closet, spacious bathroom and an outdoor patio. The upper gallery opens to a sweeping master suite with his and hers bathrooms and closets. Enormous in scale and bathed in natural light, the master bedroom and its Venetian baroque plaster design evoke an ethereal beauty. Abundant windows frame the striking vistas. There are two additional bedroom suites off the gallery, each with their own bathroom and private terrace. Perfect for outdoor entertaining, the magnificent upper terrace with a large stone fireplace offers a dramatic panorama of the lush landscaping, the

pool area, and the serene view of the mountains and garden. The lower terrace is an extraordinary covered dining space, also with a fireplace and cooking area. It’s the perfect shady place to lounge just steps from the expansive swimmer’s pool. The charming one-bedroom guesthouse offers an airy retreat. This newer constructed luxury estate is spacious and comfortable, grand and tasteful —perfect for relaxed living and large-scale entertaining.

PETER ZIMBLE SOTHEBY’S INTERNATIONAL REALTY - BEVERLY HILLS o: 310.786.1805 | c: 310.266.7600 e: peter@zimble.com www.2733SycamoreCanyon.com $11,999,999

2733

Montecito, CA 93108 | 2733SycamoreCanyon.com 5BD/8BA | 9,430± SQ. FT. | $11,999,999

Sycamore Canyon Road

PETER ZIMBLE

peter.zimble@sothebyshomes.com 310.266.7600 | peterzimble.com

D U STY BA K E R

dusty.baker@sothebyshomes.com 805.570.0102 | dustybakerrealestate.com

DA N B E D E R

dan.beder@sothebyshomes.com 310.213.7835

BEVERLY HILLS BROKERAGE | MONTECITO BROKERAGE | sothebyshomes.com/socal Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. SIR DRE # 899496. Featured Agent DRE: Peter Zimble 02048379, Dusty Baker 01908615, Dan Beder 0644137.

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San Diego’s Luxury Specialist 851 S COAST HWY 101 ENCINITAS, CA 92024

709/711 1ST ST - CORONADO 110 15TH ST - DEL MAR

HIGHLY-REGARDED AND AWARDWINNING LUXURY REAL ESTATE EXPERT

SEPT. 11, 2018

VARIETY.COM/REAL-ESTATE

110 15TH ST - DEL MAR PRICE: $19,900,000

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Nestled atop a private lot, located just steps from the sand and center of town, this modern masterpiece offers unobstructed ocean views up and down the coastline. Built within a Del Mar historical building, this gated estate offers unparalleled architecture, design & craftsmanship. Entertain on the enormous ocean-facing terrace w/ vanishing edge pool, BBQ, grassy lawns that lead to a rose garden & plenty of patio space. Live the California dream & watch the sunset & surfers in total privacy!

709/711 1ST ST - CORONADO PRICE: $12,900,000 Zee Huis (Dutch for Sea House) is a one of a kind, three building compound which overlooks the San Diego harbor and offers one of the best views of the city’s skyline. During the day it boasts a panoramic view of sailboats and other harbor activity. At night, lights from the San Diego skyline waft across the rippling water to create a multicolored dance of lights. This magnificent estate is being offered fully furnished.

Eric Iantorno is a highly regarded and award-winning real estate expert specializing in luxury homes throughout the most thriving locations in San Diego County. Eric currently lives in Encinitas with his beautiful wife Heather and two sons Ryder and Rocket. He is a scratch golfer and continues to enjoy golf as a business and networking tool. His passion for golf landed him at the University of Arizona as a student athlete, where he was a member of the #1 ranked Men’s Gold Team. Licensed since 1998, Eric is consistently a Top Producer for Pacific Sotheby’s International Realty. From coastal waterfront homes to exquisite estate properties, Eric is the top choice among discerning buyers and sellers alike. He specializes in being on the forefront of setting new pricing records on highest price sold and price per square foot. Eric

recently closed the first transaction over $20,000,000 in San Diego County in over 11 years. Eric’s eye for advertising, along with his ability to land specialized placements in local and global advertising, sets him apart from his competition. Once in front of potential buyers, Eric excels at selling San Diego’s most unique and expensive real estate. Eric prides himself in his “whatever it takes” attitude towards advertising properties and is not shy about spending the money necessary to maximize property exposure. Eric’s areas of expertise ranges throughout San Diego County. His coastal communities include La Jolla, Del Mar, Solana Beach, Cardiff, Encinitas, Carlsbad, Point Loma, and Coronado. He also excels through inland communities such as the equestrian villages of Rancho Santa

Fe, Mission Hills, Poway and downtown San Diego. Most importantly, treating clients with the utmost care, courtesy and confidentiality is what puts Eric on the forefront of this highly competitive industry. You can trust Eric to maneuver with confidence in any situation through his decades of experience of being able to close countless complicated transactions and building relationships with each and every one of his clients. Eric’s far-reaching access to the San Diego County real estate market is unparalleled. PACIFIC SOTHEBY'S INTERNATIONAL REALTY o: 858.334.3577 | c: 858.692.5505 e: eric@ericiantorno.com www.ericiantorno.com

SELLING THE

EXTRAORDINARY

CORONADO $25,000,000

CORONADO $14,495,000

CORONADO $12,900,000

LA JOLLA â&#x20AC;ŤŮ&#x2020;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x2018;×?Ú&#x; Ůł ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×?Ú&#x;â&#x20AC;Ź

Crown Manor - Legendary Tudor-style estate

Exquisite waterfront estate with captivating views

Extraordinary compound with incredible views

One of a kind estate with world class views

LA JOLLA $9,900,000

RANCHO PACIFICA â&#x20AC;ŤŮ&#x2020; ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×&#x201C;×&#x2014;Ů&#x2039;×&#x2013;Ú&#x; Ůł ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×&#x201C;×?Ů&#x2039;×&#x2013;Ú&#x;â&#x20AC;Ź

DEL MAR $8,500,000

LA JOLLA â&#x20AC;ŤŮ&#x2020;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×&#x2014;Ů&#x2039;×&#x2013;Ú&#x; Ůł ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×&#x2014;Ů&#x2039;×&#x2022;Ú&#x;â&#x20AC;Ź

Luxury penthouse with unparalleled ocean views

Contemporary estate with panoramic views

Enchanting English Tudor with ocean views

Brand new contemporary by Roman James

POINT LOMA â&#x20AC;ŤŮ&#x2020;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×&#x17D;×&#x2013;Ů&#x2039;×&#x2022;Ú&#x; Ůł ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x17D;×&#x17D;×&#x2013;Ů&#x2039;×&#x201D;Ú&#x;â&#x20AC;Ź

RANCHO PACIFICA $6,995,000

RANCHO SANTA FE $6,995,000

ENCINITAS â&#x20AC;ŤŮ&#x2020;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×&#x2014;Ů&#x2039;×&#x201D;Ú&#x; Ůł ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×&#x2019;Ů&#x2039;×&#x201D;Ú&#x;â&#x20AC;Ź

Panoramic bayfront views and a private dock

0DJQLĂ&#x20AC;FHQW SULYDWH JDWHG HVWDWH ZLWK YLHZV

360-degree mountain and ocean views

Oceanfront new construction masterpiece

RANCHO SANTA FE $4,450,000

RANCHO SANTA FE â&#x20AC;Ť×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×&#x2014;Ů&#x2039;×&#x2018;Ú&#x;â&#x20AC;Ź

RANCHO SANTA FE â&#x20AC;ŤŮ&#x2020;×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×?Ů&#x2039;×&#x2018;Ú&#x; Ůł ×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x201C;×&#x2014;×&#x201D;Ů&#x2039;×?Ú&#x;â&#x20AC;Ź

CARDIFF â&#x20AC;Ť×&#x17D;×&#x17D;×&#x17D;Ů&#x2039;×&#x2014;×&#x2014;×&#x17D;Ů&#x2039;×&#x2018;Ú&#x;â&#x20AC;Ź

Charming with exceptional views & amenities

Exquisite Italian Villa with extraordinary views

Exceptional estate with stellar amenities

Modern contemporary with ocean views

ERIC IANTORNO & ASSOCIATES 858.334.3577 | eric@ericiantorno.com | DRE 01256501

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Extraordinary Real Estate, Minus the Attitude 100 STRATFORD DEL MAR CA 92014 / SAN DIEGO

What is Southern California’s best-kept real estate secret? If you answered San Diego, you’d be correct! Our prices for luxury homes, compared to other luxury communities like Malibu, Laguna Beach, Bel Air and Beverly Hills, are unmatched. Consider this: The most expensive home sold this year on the soft sands of Del Mar was only $21.5 million for 6,229 square feet. The same home in Malibu would easily fetch more than $50 million. I’ve been telling my high-profile celebrity clients to take a look at San Diego for an affordable private getaway, far from the prying eyes of fans or paparazzi. Imagine leaving your home and getting to the beach in less than 20 minutes from almost anywhere in San Diego. Near-perfect weather in every season, excellent dining, a beachtown vibe, light traffic and proximity to Los Angeles for business — it all makes San Diego one of the best places to live in America.

PACIFIC SOTHEBY'S INTERNATIONAL REALTY TODD ARMSTONG c: 858-229-8752 e: todd.armstong@sir.com SOLD BY ERIC IANTORNO, $21,500,000

3433 3 433 J JACKDAW ACKD DAW STREET STRE EET

SEPT. 11, 2018

VARIETY.COM/REAL-ESTATE

SAN DIEGO

122

4 BEDROOMS 4.5 BATHS 3472 SQUARE FEET

$2,149,000 This custom built home is the epitome of luxury living. Featuring 4 full bedrooms, each w/ a private, spa-like bathroom, over 3400 square feet, tons of natural light, and disappearing walls seamlessly blending the indoor and outdoors. High-end, custom finishes abound in this property & is readily apparent the minute you walk up to the massive, pivoting front door. There is an elevator to alleviate some stairs. The centerpiece of the room is a custom, 8 foot long gas fireplace and an amazing floating staircase leading the upper level. It’s an amazing blend of classic modern and new modern design. Soaring ceiling & large open rooms create a massive feeling of space. The kitchen is a chef’s dream come true featuring a large island with granite countertops, hidden cabinets/pantry and high-end appliances. It also features a state-the-art elevator so no need to worry about stairs to climb. This is a truly magnificent home that can’t be beat in today’s market. Nothing else compares to this quality in Mission Hills.

TODD ARMSTRONG

EXECUTIVE DIRECTOR, SPORTS & ENTERTAINMENT DIVISION

Paciﬁc Sotheby’s International Realty

c 858.229.8752 | todd.armstrong@sir.com www.ArmstrongEstates.com

CAL DRE # 01256537

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Stonewall Pond, Waterfront Marthaâ&#x20AC;&#x2122;s Vineyard TEA LANE ASSOCIATES CHILMARK, MA

Explore this spectacular three-home waterfront Chilmark estate on 5.8 acres, with a private dock on Stonewall Pond. It features one-of-a-kind views across Stonewall Pond out to the Atlantic from all three homes, as well as stunning vistas of Quitsa Pond. There are two main houses and a pond-side boathouse converted into a small cottage. The first home (3 bedroom, 2 bath) has been expanded and upgraded but retains its cottage charm. Enjoy

al fresco dining on the water-facing decks, and walk down a gentle grassy slope to your own private dock, which accommodates small powerboats, kayaks or sailboats. Swim from the dock or boat to the ocean beach beyond. The second home (3 bedroom, 3 bath) was upgraded most recently in 2017. An open floor plan maximizes the views and a beautiful stone fireplace anchors the great room, making this home warm and inviting year round.

The master suite with ensuite bath has a private deck where one can sit and observe great white herons on the pond. A rooftop deck offers 360 degree views of ponds and ocean. Nestled between the two main houses, on the waterâ&#x20AC;&#x2122;s edge, is a small 1-bedroom, 1-bath lofted cottage. Perched over Stonewall Pond in a location where you could not build today, it offers a unique experience close to nature with unforgettable views.

Each of these homes, with its unique vistas and water views, is privately situated. This is a rare opportunity. Offered together for the first time in over 50 years, they create a 7 bedroom compound that affords privacy with ample space for entertaining. Just a short walk, boat or drive to nearby private association ocean beach. Boat from Stonewall Pond out to Quitsa and Menemsha ponds and the Vineyard Sound. Exclusively offered as a 3 home estate for $11,000,000 or the first home may be purchased separately for $5,500,000. More information at tealaneassociates.com/ stonewallpond.

TEA LANE ASSOCIATES

Tea Lane Associates Luxury Sales and Rentals

508.696.9999 West Tisbury

tealaneassociates.com

508.645.2628 Chilmark

SEPT. 11, 2018

Three Home Waterfront Estate

VARIETY.COM/REAL-ESTATE

o: 508.696.9999 e: office@tealaneassociates.com www.tealaneassociates.com

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Luxe Living Away from Home THE PHILLIPS CLUB NEW YORK, NY

More than an ideal hotel for business or visiting family in New York City, The Phillips Club is your cosmopolitan home away from home. Here you’ll find short- and long-term residences in the heart of Lincoln Square on Manhattan’s Upper West Side, only steps from Central Park. The Phillips Club is perfectly located across the street from Alice Tully Hall at Lincoln Center, where art meets commerce and Midtown meets Uptown. This vibrant neighborhood blends culture, entertainment and shopping seamlessly, making it one of the most desirable and exciting areas of the city. At The Phillips Club, there is a broad selection of elegantly furnished residences. These luxury apartments range in size from Superior Suites of approximately 625 square feet to Two-Bedrooms that are about 1,250 square feet. Each elegantly furnished residence offers the look and feel of your very own stylish Manhattan

apartment, along with complimentary access to The Equinox Sports Club New York. The feeling of home means pets are always welcome at The Phillips Club. All apartments at The Phillips Club feature a fully equipped kitchen and handpicked details such as Herman Miller chairs, Bose entertainment system and LED HD televisions. Bedrooms are well appointed with crisp European linens, a down duvet and a pillow-top mattress for a sense of deep comfort. Every apartment features beautiful black-and-white imagery by the world-famous German photographer Karl Blossfeldt. The attentive and friendly Club staff is available during your stay to assist with everything from unpacking upon arrival to arranging delivery or dinner reservations from one of the many excellent neighborhood restaurants. The Club staff can assist with transportation arrangements and steer you toward local favorites such as

Caffe Storico in the New York Historical Society. With so much to do and see at your doorstep, you’ll feel right at home and just like a local from the moment you arrive at The Phillips Club.

For your consideration

SEPT. 11, 2018

VARIETY.COM/REAL-ESTATE

Only in New York (at The Phillips Club).

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In New York and need a place to rest your Emmy? The Phillips Club is perfectly located in the heart of the city. Stay for a week, a month or longer. Spacious suites with fully equipped kitchens. Enjoy many services and amenities from 24-hour concierge to complimentary access to Equinox Sports Club NY.

155 WEST 66TH STREET, NEW YORK, NY 10023 CALL 212.453.7124 OR VISIT PHILLIPSCLUB.COM

DAYNA J NICLES o: 212.835.8822 e: daynanicles@phillipsclub.com www.phillipsclub.com

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Abbey Farm, Colts Neck New Jersey LUXURY GROUP AUCTIONS

Abbey Farm, one of the great estates of New Jersey and a location setting for the Housewives of New Jersey, is selling at auction at 2 p.m. Eastern on Friday, Oct. 12. Located at 86 Montrose Road in Colts Neck, the estate’s 23 acres include an 18,000-squarefoot, European-style chateau. The owner thoughtfully curated the finest materials, craftsmanship and interiors to create a home that is as warm and welcoming as it is splashy and impressive.

Please call 918.362.6565 for more information or to schedule a private showing. Photos and more information can be found at luxurygroupauctions.com/coltsneck

LUXURY GROUP AUCTIONS o: 918.362.6565 | c: 800.801.8003 e: Danae.Hill@williamsauction.com www.luxurygroupauctions.com Undisclosed Reserve

Luxury Group Auctions A Division of Williams & Williams Worldwide Real Estate Auction

23+/- Acre Luxury Estate 86 Montrose Rd, Colts Neck, NJ Available Exclusively at Auction

2pm EDT Fri Oct 12

• Created for living and entertaining on a grand scale, yet it is welcoming, warm and comfortable for everyday living • Palatial grand room can easily accommodate over 150 guests • Call 918.362.6565 for appointment to view on September 21 & 22 • Pre-auction offers will be entertained

800.801.8003 • luxurygroupauctions.com/ColtsNeck NJ PETER COSTANZO AUCTIONEERS, INC. PETER COSTANZO, BROKER (732) 776-7222. 3% BUYER’S PREMIUM.

SEPT. 11, 2018

• Famously known site used for numerous charity events and Hollywood film productions

VARIETY.COM/REAL-ESTATE

• Abbey Farm features 18,000+/- square-feet styled like a European Chateau

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Scouts help productions add realism by ﬁlming in at-risk areas — and including locals in the mix Story by ZOE HEWITT | Illustration by BRIAN STAUFFER

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Location Tales From the Hood

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THERE ARE NO yellow production signs leading me to the location of director David Ayer’s new film “The Tax Collector.” Driving into the heart of gang territory in a part of South Central L.A., I feel a surge of adrenaline and know only to expect the unexpected. Upon parking, I text my contact, Michael Haro. He’s the industry’s go-to supervising location manager when productions want to shoot in the city’s most at-risk areas, and this neighborhood definitely qualifies, with more than 200 violent crimes reported in the first six months of 2018. Haro works alongside Cle “Bone” Sloan, an actor who’s also credited on productions as a technical adviser with expertise in such matters as gang wardrobe and locations. The pair met on Antoine Fuqua’s 2001 release “Training Day” when the director described the type of cul-desac he wanted to find. Sloan knew just the place but warned the crew “it might be a little too real for this production.” The street was in Baldwin Village, an area notorious for gang violence and often referred to as “the Jungle.” However, Fuqua and “Training Day” screenwriter Ayer both loved it. Sloan remembers: “Everybody said it couldn’t be done. LAPD said, ‘You guys are crazy; they’re going to run you out of there.’ But I was from there.” Sloan acted as a go-between with the gang in the neighborhood, easing the way for the production to come in and shoot for approximately 40 nights. Though the production was secure inside its perimeter, outside it things were dicier. Sloan recalls how the vehicle driven by Denzel Washington’s Alonzo character was stolen when a driver left it outside the secure area with the keys inside. Though that’s typical protocol for the transportation department, it took only a moment for the car to disappear. But Sloan doesn’t blame gang members. “It’s usually [other] citizens being unruly,” he says. Haro and Sloan say they’ve learned a lot over the years while building relationships in L.A.’s toughest neighborhoods. Developing these lines of communication is an art that has garnered them a reputation across the city for bringing opportunity, respect and money to low-income areas. “We don’t occupy the neighborhood,” says Sloan. “We’re guests, and they graciously let us film [there].” They talk of making the neighborhood

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part of the production. “We empower the community,” says Sloan. “We empower the gang members to be part of a process that a lot of them have never participated in before. You give them an opportunity, and they’ll go hard for you.” The process begins when a production decides on a specific location. Haro and Sloan reach out to a community leader, who is hired as neighborhood liaison. That person is tasked with helping to select the people who will ultimately be hired as background cast. Haro and Sloan have a motto: “Let the streets play themselves.” The process benefits productions in another way as well: “You don’t want to bring someone in who’s not friendly with the local gang,” says Haro. But, equally important is that “we want to be able to give jobs to the people of the neighborhood and show them another way of life — show local kids the magic of moviemaking.” Arriving at the second location of the

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Meeting of the Minds Cle “Bone” Sloan greets veteran actor Bobby Soto on the set of “The Tax Collector.”

Incentives Portugal Portugal boasts picturesque coastlines, rustic countrysides, historic architecture and a capital city, Lisbon, throbbing with excitement. In early 2017 the Iberian nation — through the Portuguese Film and Audiovisual Institute, the film agency that provides support for the development of the film and audiovisual industry — set up a production incentive that offers one of the most attractive schemes in Europe.

day for “The Tax Collector,” everyone is chatting away as they set up for the next scene. People from the neighborhood stand alongside the crew. One preteen turns to me, saying she wants to become a doctor or go into film, so she is happy to see the process. Sloan brings one resident over for an introduction. A former influential member of the Pueblo Bishop Bloods, he enjoys having the production in the area since it provides an opportunity for people to experience filmmaking. “It’s always a good thing to see somebody rise from what’s considered [normal] around this area,” he says. The crew anticipates a midnight wrap and makes a final move to the street where I had parked. Residents sit on picnic blankets under the floodlights to watch the scenes being shot, and children play on the grass nearby. Directors’ chairs and snacks are arranged ed in front of a monitor so a group of young ng boys can watch the

Recent Projectss The Man Who Killed Don Quixote (2018) 303 (2018) The Forest of the Lostt Souls (2017) 7) That Good Night (2017) Mata Hari (TV series, 2016-) The Promise (2016) Zoom (2015) Night Train to Lisbon (2013)

progress as everyone works. Chris Long, CEO and co-founder with Ayer of production company Cedar Park Entertainment, credits Ayer’s work on “Training Day” and “End of Watch” as being instrumental to the success of this latest project. “He’s been able to do two very authentic movies that represent [people] in a way that they really appreciate and respect,” says Long. “Whether it’s the police department or the gangs, they all look to him as someone who brings their vision of what they are to life.” The process wouldn’t work without Haro and Sloan’s expertise. At lunchtime, no one tries to explain to the extras lining up for catering that there’s a more scaled-down meal for background actors. Balancing the needs of community members with those of the production is key for Haro and Sloan, who speak with gang members throughout the process to make sure everything is copacetic; they understand things at the location don’t run on autopilot. Any production striving for a similar level of safety and cooperation must be willing to make the same community commitment. Haro went to Colombia for “Narcs” and says the process was the same: The location manager must first find a key person and build a relationship. “If a production doesn’t want to [do that], then they shouldn’t shoot there,” he maintains. Indeed, risk is part of the job. Sloan, who was struck by a truck driven by Suge Knight in a 2015 incident that stemmed from an on-set argument, recalls an incident during the filming of “Straight Outta Compton” that involved some neighborhood teens who were outside the film’s perimeter. Suddenly, Sloan says, “we heard gunshots — the whole crew heard them. Real life is just on the edges.” Local 600 stills set photographer Justin Lubin (“Get Out”) has worked on films all over the world, and describes the location dynamic on “The Tax Collector” as festive at times. “It’s been very interesting,” he says. “The people are great. They love being on set. It’s like a block party.” Long compares the environment to “a family barbecue.” Adds Local 399 driver Eric Chaney, “Everyone is supportive.” All these descriptions are apt — and ones I would h have chalked up to good PR spin if I hadn’t been on location myself.

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Judy Rhee manages to put a distinctive stamp on projects — even when she boards them in midstream By CHRISTINE CHAMPAGNE @itsthechampagne YOU DON’T GET to establish the over-

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all look when you’re hired to work on a TV show that’s a season or more into its run, but the gig can still be creatively rewarding, says production designer Judy Rhee, who scored back-to-back jobs on two high-profile series in progress: “Marvel’s Jessica Jones” in its second season and “Better Call Saul” as it embarked on its fourth. “To keep the visual continuity or the visual thread of the show intact while also introducing a different signature, or different take on the world, is always an interesting challenge,” says Rhee. In the case of “Jessica Jones,” one of the tasks that intrigued Rhee most was creating a new living space for Jones’ ally Jeri Hogarth, a lawyer, played by Carrie-Ann Moss. “That, for me, was a big factor in taking the job,” she says. “I knew that was going to be a lot of fun.” The producers of the show, which airs on Netflix and is set in New York City, envisioned the high-powered attorney living in a loft. That said, “it was pretty open for interpretation,” Rhee says. “I went for a more traditional Tudor City look, which feels more established and slightly more masculine with the dark woods and the darker jewel tones. I was trying to avoid what people think when they hear ‘loft’ — everyone thinks more modern; everyone thinks SoHo or TriBeCa. I just didn’t see her living like that.” Rhee joined the AMC series “Better Call Saul,” set in Albuquerque and surrounding areas, further into its run, knowing that Season 4 was going to open with the tragic aftermath of Chuck’s house fire. “I have done fire damage before, but not to this degree,”

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pied by a hair salon. “It was fun to create a history you could see in the present-day space,” she says,” showing how it was once a thriving, bigger business in its heyday and showing evidence of its history and decline through the architecture and decor.” As for what will appear next on her IMDb page, Rhee, whose credits include the Amazon Studios series “Patriot” and ﬁlms such as “2 Days in New York,” says no matter what the genre or medium, it all comes down to whether the script sparks her imagination. “If I connect to the writing,” she says, “it makes it exciting for me to start to think, ‘How can I interpret what’s on the page? What does this world look like?’ ”

Dark Design Judy Rhee conceived the Season 2 living space of Carrie-Anne Moss’ Jeri Hogarth on “Marvel’s Jessica Jones.” Better Call Saul (2018) Network: AMC Marvel’s Jessica Jones (2018) Network: Netflix Patriot (2015-17) Network: Amazon Art House (2016) Director: Don Freeman Alpha House (2013-14) Network: Amazon 2 Days in New York (2012) Director: Julie Delpy The Greatest (2009) Director: Shana Feste The Stoning of Soraya M. (2008) Director: Cyrus Nowrasteh The Hours (2002) Director: Stephen Daldry (Art director, U.S.)

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L.A.'s Finest Drama Spectrum Original Content

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Brandon Margolis, Brandon Sonnier (showrunners); Anton Cropper (director)

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Jason Momoa, Alfre Woodard

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aika Hannah Gross, Maika Monroe, Dylan O'Brien Brien

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Voltage Pictures, Freckle Films

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Jessica Chastain

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says Rhee, who consulted with firefighters to learn how a house would burn overnight after a lantern had been kicked over. The production designer says she achieved most of the burned effects through scenic means at the site of the home in Albuquerque that stands in as Chuck’s residence, noting that the visual-effects team removed the upper level of the two-story house in post-production. Rhee also created different work environments for the show’s Jimmy McGill as he finds his way to becoming Saul Goodman. One of her favorite workplace concepts: the offices of Neff Copiers. Rhee constructed the shop, which needed to look like it had been around since the 1950s, inside an empty space once occu-

PROMOTION

AUGUST 2018 VENICE FILM FESTIVAL On August 28 Variety returned to the Venice Film Festival to host its annual party at the Hotel Danieli. Among the illustrious guests were jurors Naomi Watts and Christoph Waltz. Variety and Unifrance partnered on September 1 to celebrate French cinema. Variety would like to thank La Biennale di Venezia and all our Venice partners.

NAOMI WATTS & ALBERTO BARBERA AT DANIELI HOTEL

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1 ALEXANDRE DESPLAT & ISABELLE GIORDANO 2 JACQUES AUDIARD & JOHN C. REILLY 3 CHRISTOPH WALTZ 4 MARKOS TZAMALIS (General Manager of JW Marriott), ANTONELLO DÃ&#x2C6; MEDICI (General Manager Hotel Danieli) & ALBERTO BARBERA (Venice Film Festival Artistic Director) 5 PAOLO GENOVESE

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TV version vers of ‘Homecoming’ podcast adds distinctive visual ﬂair ﬂ to tale of past and future intrigue p.136

New York’s Tribute in Light honors 9/11 heroes p.138

Outlaw King

Director: David Mackenzie Starring: Chris Pine, Aaron Taylor-Johnson, Florence Pugh

omeone at Netﬂix must love movies, because they keep on making them: massive, large-canvas sagas that beg to be witnessed on the big screen — like Alfonso Cuarón’s “Roma” (shot on 65mm) and Martin Scorsese’s upcoming “The Irishman” (whose budget has reportedly swollen past $140 million) — even if virtually everyone who does see them winds up doing so on the plasma TV, or laptop, or iWatch, or whatever. Picking up where “Braveheart” left off, “Outlaw King” tells the story of Robert the Bruce, the Scottish leader who invoked the memory of fallen rebel William Wallace, “Remember the Alamo!” style, on his way to reclaiming Scotland’s independence. The project is David Lean grand and deserves —

Illustration by RICCARDO VECCHIO

nay, demands — to be viewed in theaters, so vast is the spectacle of this bloody, mud-covered bonanza, featuring crowds of grubby early-14th-century Scots rising up against their English occupiers. Netflix touts that possibility when it releases the film Nov. 9, two months after its premiere on opening night of the Toronto Film Festival. Only there, beamed onto walls as tall as castles, can audiences take in the staggering look of this ultra-high-definition, ultrawidescreen production (shot with anamorphic lenses on the Panavision Millennium DXL in 8K), and only in that format will they look past its more obvious shortcomings as a piece of entertainment. Because whatever its value as rabble-rousing historical reenactment, “Outlaw King” never quite compares with the many films it’s so keen to imitate, and in some cases outright quote. Certainly, it proves the scale of Netflix’s ambition — for audiences, for Oscars, for legitimacy — shared and shouldered by Scottish director David Mackenzie, who reunites with “Hell or High Water” star Chris Pine, his blue eyes blazing from behind wind-blasted cheeks and a stiff gray beard, for this epic undertaking. Never one to make the same movie twice, Mackenzie trades the spare, terse lyricism of that best picture nominee for a sprawling ensemble pageant in which roughly a quarter of the shots seem to have been captured by helicopter

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from half a mile away (à la “Lord of the Rings”), another half are plunged right into the thick of the turmoil (clearly inspired by the brutal Arikara attack that kicks off “The Revenant”), with whatever change remains given over to dreary dealings between English king Edward I (Stephen Dillane) and his various subjects — among whom Robert counts himself, if only for a brief time. “Outlaw King” opens in a military tent where Edward has assembled Robert and other nobles to accept a truce and pledge their loyalty to English rule. A helpful bit of on-screen text explains that Scotland had been recognized as its own country until its last king died, leaving the way clear for Edward to sweep in and seize control. There was resistance, of course (see “Braveheart” for details), but by the scene in question, the so-called Hammer of the Scots had every reason to believe he had vanquished the rebels. And so we get a roughly eight-minute “oner” — a single-shot power play that Mackenzie caps with an awesome show of might: Edward demonstrates his latest weapon, a giant catapult (the 14th-century equivalent of a nuclear bomb) he uses to blast the nearest castle ... but it is never to be seen or deployed again. Edward isn’t the only one showing off here. So, too, is Mackenzie, who wants his audience to know that he’s swinging a bigger sword than all those stodgy historical dramas that have come before — movies like “A Man for All Seasons” and “Becket” that are sometimes shown in film class but seldom viewed for pleasure. The appeal of “Outlaw King,” by

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Opposition Leader Chris Pine stars in “Outlaw King.”

contrast, is that it’s thoroughly R rated (or will be, once the MPAA gets a look at it), full of sword-to-sword, spear-tothe-skull combat for war-movie mavens, and something like 15 seconds of fullfrontal Chris Pine scenery for his fans. The carnage should sell itself, but will Netflix users sit through nearly two and a half hours for a flash of celebrity flesh? Cynically speaking, not only are the content company’s algorithms telling it yes, but it’s counting on thousands of new members signing up just for the privilege. Frankly, if it weren’t for the chemistry between Robert and his second wife, Elizabeth de Burgh (Florence Pugh, following up “Lady Macbeth” with another formidable role with more than just pretty costumes on offer), “Outlaw King” would be a dreary chore to sit through. As it is, there’s far too much testosterone swirling about, easily half of it contained in Aaron TaylorJohnson’s maniacal performance as Robert’s ally James Douglas. The “KickAss” star is barely recognizable in his grimy disguise as a John the Baptistlike wild man, though Mackenzie has a talent for eliciting career-best performances from his cast (Ewan McGregor in “Young Adam,” Jack O’Connell in “Starred Up”), and Pine and these two co-stars stand out from an ensemble that can otherwise be hard to keep straight. That’s because the director, together with co-writers Bash Doran and James MacInnes, plus “additional writing” by Mark Bomback and David Harrower, hasn’t succeeded nearly as well in

conceiving this project as he has in mounting it — which is to say that on one hand, “Outlaw King” feels terribly oversimplified, while on the other, it still fails to connect on a basic character level. Unlike Mel Gibson’s broader but far more engaging portrait of Wallace, this movie never quite musters the same underdog appeal. The Robert the Bruce portrayed here is an inconsistent character, surrendering one moment, stabbing his rival in the face the next; marrying for political advantage rather than romance, then making sensitive love to his bride an indeterminate time later; running from conflict when he is outnumbered, only to orchestrate an improbable confrontation in which roughly 500 Scots face off against more than 3,000 English troops. That latter skirmish, the Battle of Loudon Hill, provides the climactic showdown Mackenzie needs, even if it hardly marked the end of Robert’s fight for independence. This is the Scotland-proud director’s version of the “Saving Private Ryan” Normandy Beach invasion — with DP Barry Ackroyd’s hi-def camera embedded deep amid the carnage — but the effect isn’t nearly as impressive. Though undeniably bloodier, this standoff comes closer to the inelegant mayhem of Antoine Fuqua’s “King Arthur” (compromised by its PG-13 rating) or Ridley Scott’s “Kingdom of Heaven” (cut beyond all comprehension), with men in muddy chain-mail tunics impaling one another while dozens of horses fall, in wincing close-up, into trenches lined with pikes. By this point, Edward has died of natural causes and his malcontent, bowl-cut son (Billy Howle) has taken charge, desperate to prove himself in a campaign that will take decades more to play out. It’s fascinating to compare not only the speeches that Robert and the king’s heir give before heading into combat, but also Robert’s words with those Gibson’s Wallace delivers in “Braveheart.” So much has changed in nearly a quarter century’s time that Mackenzie’s idea of blockbuster heroism robs his “Outlaw King” of the bombastic pep talk that would have been de rigueur for a studio movie. Heck, so much has happened in the last 24 hours (the film premiered within a day of a New York Times op-ed suggesting an outlaw insurgency rising within the Trump administration) that one wonders how audiences two months from now will perceive this rebel rallying cry.

CREDITS: A Netflix release of a Sigma Film production, in association with Netflix, Anonymous Content. Producer: Gillian Berrie. Director: David Mackenzie. Screenplay: Bash Doran, Mackenzie, James MacInnes; additional writing: Mark Bomback, David Harrower. Camera (color, widescreen): Barry Ackroyd. Editor: Jake Roberts. Music: Jim Sutherland. Reviewed at Toronto Film Festival (opener, Gala Presentations), Sept. 6, 2018). Running time: 146 MIN. CAST: Chris Pine, Aaron Taylor-Johnson, Florence Pugh, Billy Howle, Tony Curran, Stephen Dillane, Sam Spruell, Callan Mulvey, James Cosmo, Paul Blair, Chris Fulton, Steven Cree, Stephen McMillan, Lorne Macfadyen, Jack Greenlees, Josie O’Brien, Jamie Sives, Alastair Mackenzie, Gilly Gilchrist

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Double Take Julia Roberts and Stephan James star in “Homecoming.”

Homecoming Drama: Amazon (10 episodes; four reviewed); Nov. 2 Starring: Julia Roberts, Bobby Cannavale, Stephan James

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t ﬁrst glance, “Homecoming” seems to be a cocktail of buzzwords. Take one part transmedia origin story (“based on the popular Gimlet Media podcast…”), add one part movie star trying her hand at television (Julia Roberts), mix well with established TV auteur (“Mr. Robot” creator Sam Esmail) and serve. In practice, however, those ostensibly disparate elements come together to make sharp slices of truly eerie drama. Even when “Homecoming” gets a little too mesmerized by its own stylistic trickery, it’s hard not to get sucked in by its haunting mission creep. The new Amazon series from podcast creators Micah Bloomberg and Eli Horowitz follows the shady practices of a mysterious organization that advertises itself as a resource for helping combat veterans assimilate to civilian life. Counselor Heidi Bergman (Roberts) appears to have a genuine interest in assisting her patients, especially amiable newcomer Walter Cruz (Stephan James). But much to her frustration and growing alarm, she constantly has to justify treating them like actual people instead of lab rats to her impatient boss Colin (Bobby Cannavale, cannily weaponizing his signature smirk), who’s convinced he can mine valuable data from the depths of their trauma. Structurally, “Homecoming” follows the audio drama’s lead. Most of the

CREDITS: Executive producers: Sam Esmail, Micah Blumberg, Eli Horowitz, Julia Roberts, Alex Blumberg, Chris Giliberti, Matt Lieber, Lisa Gillan, Marisa Yeres Gill. Running time: 30 MIN. CAST: Julia Roberts, Bobby Cannavale, Stephan James, Sissy Spacek, Shea Wigham, Dermot Mulroney, Jeremy Allen White, Alex Karpovsky, Marianne Jean-Baptiste

action takes place in or around the Homecoming center, while a parallel mystery unfolds in a future timeline where the program hasn’t just collapsed but looks to have disappeared altogether. As a suspicious Department of Defense employee (Shea Whigham) digs into its history, he confronts Heidi, who’s now working as a waitress at a diner and insisting she knows nothing. Intrigue ensues. The podcast relied on Heidi’s session recordings and phone calls to keep the story together, but bringing it to television necessitated giving it a distinct visual language. Esmail and his team, many of whom are alums of “Mr. Robot,” tackle the challenge with clear enthusiasm and meticulous design. Esmail, who directs every episode, uses his signature long takes and off-center framing shots to disquieting effect, adding Hitchcockian angles and close-ups to emphasize the story’s inching horror. As with “Mr. Robot,” Esmail’s inclination to pull every directing trick out of his hat can become overwhelming. But with each episode limited to a half hour — a welcome subversion of streaming series’ increasingly bloated run times — there’s simply less room for

superfluous indulgence. It helps, too, that the cast is solid enough to keep the show feeling grounded in reality. James is excellent, especially when Walter’s steadfast determination to go with the flow gets complicated by his old friend Schrier (Jeremy Allen White) insisting that something about Homecoming is seriously off. Dermot Mulroney and Sissy Spacek, as Heidi’s clingy boyfriend and skeptical mother, don’t get quite as much material, but each makes a meal out of every morsel they get. Roberts, for her part, turns in a much more understated performance than one might expect of her first big TV role. Yet her intrinsic warmth nonetheless imbues Heidi with a palpable protective streak that keeps the character from feeling as obscured by all the forces surrounding her as she easily could. With a detailed road map in its source material, a deep bench of talent in its cast and a director making specific choices to heighten the sinister vibe, “Homecoming” has far more going for it than not. The question becomes whether it can tie together its multiplying mysteries by season’s end without getting too enamored of its own daring.

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After 9/11 Attacks, a Beacon of Light to Honor Heroes

The annual Tribute in Light will again illuminate the New York sky to acknowledge the 9/11 attacks on the city and on Washington, D.C., and the events that followed. The installation consists of 88 searchlights invoking the Twin Towers, but it goes beyond that. The idea of the searchlights working in tandem is a tribute to first responders, including firefighters, police and volunteers who pulled together despite an atmosphere in which everyone was “shell-shocked,” as the Sept. 17, 2001, Variety headline declared. Variety’s package of stories talked about people around the world trying to heal from the shock and move forward. Things were difficult, but it was also a time of heroism, when U.S. citizens seemed to be working toward a shared goal. It was also a moment when America received an outpouring of support from its international allies, with expressions of sympathy coming from around the world. The Tribute in Light is a reminder of the best and worst of times. • Visit VarietyUltimate.com for every issue of Variety since 1906.

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