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Tag: television

  • Ron Cephas Jones, ‘This Is Us’ actor who won 2 Emmys, dies at 66

    Ron Cephas Jones, ‘This Is Us’ actor who won 2 Emmys, dies at 66

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    LOS ANGELES — Ron Cephas Jones, a veteran stage actor who won two Emmy Awards for his role as a long-lost father who finds redemption on the NBC television drama series “This Is Us,” has died at age 66, a representative said Saturday.

    Jones’ manager, Dan Spilo, said in an emailed statement the actor died “due to a long-standing pulmonary issue.”

    “Throughout the course of his career, his warmth, beauty, generosity, kindness and heart were felt by anyone who had the good fortune of knowing him,” Spilo said.

    Jones had a double lung transplant in 2020 because of chronic obstructive pulmonary disease and spent nearly two months in a Los Angeles hospital.

    On “This Is Us,” Jones played William “Shakespeare” Hill, a biological father whose life is renewed through his relationship with the family of his son Randall Pearson, played by Sterling K. Brown.

    “One of the most wonderful people the world has ever seen is no longer with us,” Brown said in an Instagram post after Jones’ death. “The world is a little less bright. Brother, you are loved. And you will be missed.”

    Jones played a more central role in the series’ early seasons, but appeared in some form in all six seasons of the show, which included time-jumping narratives offering recurring opportunities for its actors even after their characters’ deaths.

    Jones won Emmys for best guest actor in a drama series in 2018 and 2020 and was nominated for two more.

    “Ron was the best of the best — on screen, on stage, and in real life,” “This Is Us” creator Dan Fogelman said on X, the social media site formerly known as Twitter. “My God: what an actor. I don’t think I ever changed a single take of his in a cut because everything he did was perfect.”

    Jones spent most of his career in the theater before and after “This Is Us,” returning to Broadway even after his transplant forced him to learn to breathe and walk again.

    “My whole life has been the stage,” Jones said in a late 2021 interview with the The New York Times, in which he revealed he had quietly been suffering from respiratory problems since about the time he began on “This Is Us.”

    “The idea of not performing again seemed worse to me than death,” Jones said.

    He was nominated for a Tony Award and won a 2022 Drama Desk Award for the Broadway role as a truck-stop cook in playwright Lynn Nottage’s “Clyde’s.”

    A native of Paterson, New Jersey, Jones graduated from nearby Ramapo College, where he had intended to study jazz but switched to theater during his sophomore year. He spent the late 1970s and early 1980s traveling the country, working as a bus driver in Southern California for several years.

    In the mid 1980s he moved to New York, where his career got a jumpstart when he began hanging out and collaborating at the Nuyorican Poets Café, a vital creative hub for poetry, hip-hop and the performing arts.

    A breakout role came in 1994, when he landed the lead in playwright Cheryl West’s drama, “Holiday Heart.”

    He would spend the ensuing decades constantly in the theater, often in Off Broadway plays in New York, including a title turn as Shakespeare’s “Richard III” at The Public Theater, and in roles with the Steppenwolf Theatre Company in Chicago.

    Jones also had TV guest stints on “Mr. Robot,” “Luke Cage” and “Lisey’s Story.”

    His film appearances included 2006’s “Half Nelson” with Ryan Gosling and 2019’s “Dolemite Is My Name” with Eddie Murphy.

    He is survived by his daughter, Jasmine Cephas Jones.

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  • Paramount decides it won’t sell majority stake in BET Media Group, source tells AP

    Paramount decides it won’t sell majority stake in BET Media Group, source tells AP

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    LOS ANGELES — BET won’t be sold after all: Paramount Global decided against selling the majority stake of the network.

    Paramount notified bidders late Wednesday night about its decision to conclude the BET Media Group sale process, said a person familiar with the decision who was not authorized to speak publicly. The person said the company determined maintaining a heavy stake in BET creates more value for Paramount than any of the proposals after consulting with financial advisers.

    Some popular suitors included actor-director Tyler Perry, music mogul Sean “Diddy” Combs and businessman Byron Allen. At one point, some considered Perry as a leading contender based on the two successful series, “The Oval” and “Sistas,” airing on the network. He also owns a minority stake of the BET+ streaming service.

    Along with BET, the deal would have included the cable channel VH1.

    BET was originally started by Robert and then-wife Sheila Johnson in 1980. Robert Johnson created BET from the basement of his Washington, D.C., home after securing a $500,000 loan from longtime cable executive John Malone and eventually built the brand into the leading TV network for Black Americans.

    Johnson expanded BET by creating smaller digital networks geared to fans of jazz, gospel and hip-hop along with being a publishing house and event production firm. The network was initially led by popular shows like “Bobby Jones Gospel,” “Rap City,” “ComicView,” “Lift Every Voice” and “Teen Summit.”

    In the early 1990s, the network became the first Black-controlled television company to be listed on the New York Stock Exchange.

    BET has seen a decline in subscribers and revenue over the past decade. Subscribers fell to an estimated 66.3 million in 2022 from 89.5 million in 2014, a peak year for cable television, according to S&P Global. S&P said the cable network’s annual profits have fallen from an estimated peak of $319 million in 2013 to $188 million in 2022.

    The jewel of the BET Media Group acquisition could have been BET+, which launched in 2019. BET says the streaming service has more than 3 million subscribers.

    BET beefed up its content after Johnson and his then-wife, Sheila, sold BET to Viacom in 2000 for $3 billion – which made them the nation’s first Black billionaires. He remained the CEO until 2006.

    “106 & Park” became a flagship program for BET creating opportunities for unknown personalities into household names including A.J. Calloway, Marie “Free” Wright, Terrence J and Rocsi Diaz. The weekday show — which started in 2000 and lasted more than a decade — thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards to celebrate the contributions that people of color have made through entertainment and sports realm.

    For years, BET was a platform that highlighted positive images of Black people. But in the mid-2000s, the network’s programming drew heavy criticism from several popular figures — filmmaker Spike Lee to Public Enemy’s Chuck D among them — who accused BET of depicting African Americans in a negative light.

    Many took aim at the now-defunct “BET: Uncut,” a late-night mature program that contained highly sexual content.

    Big Boi of OutKast was openly taken aback by some of the content on “Uncut” calling it “distasteful” and “soft porn.” Other political figures and activists protested showed their displeasure along with then-co-founder Sheila Johnson who said she had become ashamed of the network in a 2010 interview, suggesting that no one watch including her own children.

    “Uncut” was canceled in 2006.

    As a result of the criticism, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as “Reed Between the Lines” and “Let’s Stay Together.” It also brought back “The Game,” which set ratings records for the network, after fans petitioned for the show to return to television following its cancellation on CW.

    Some of its top-rated shows now are “Sistas,” “All the Queen’s Men,” “First Wives Club” and “Tyler Perry’s The Oval.” Other shows on the network include “American Soul,” “Tales” and “Boomerang.”

    The network also airs the BET Awards, BET Hip-Hop Awards and the NAACP Image Awards.

    ___

    AP Business Writer Alexandra Olson contributed to this report.

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  • Top lawyer at Fox Corp. to step down after overseeing $787M settlement in Dominion defamation case

    Top lawyer at Fox Corp. to step down after overseeing $787M settlement in Dominion defamation case

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    The chief legal officer at Fox Corp. who oversaw a $787 million settlement with Dominion Voting Systems over defamation allegations against Fox News is leaving the company

    NEW YORK — Fox Corp. said Friday that its chief legal officer who oversaw a $787 million settlement with Dominion Voting Systems over defamation allegations is leaving the company.

    Viet Dinh, Fox’s chief legal and policy officer, will step down effective Dec. 31, the New York-based company said in a statement. He will remain a “special advisor” to Fox Corp., it added.

    Fox News, a unit of Fox Corp., agreed to settle the case brought by the voting machine producer in mid-April following weeks of pretrial disclosures that revealed the network had aired false claims about the 2020 U.S. presidential election, even though many within the company knew they were not true.

    The company did not say why Dinh was leaving Fox Corp. Brian Nick, a spokesman for Fox, said the company had no comment beyond the statement.

    Records released as part of the lawsuit showed Fox aired the claims in part to win back viewers who were fleeing the network after it correctly called hotly contested Arizona for Democrat Joe Biden on election night. One Fox Corp. vice president called the claims “MIND BLOWINGLY NUTS.”

    During a deposition, Fox Chairman Rupert Murdoch testified that he believed the 2020 election was fair and had not been stolen from former President Donald Trump.

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  • Striking screenwriters will resume negotiations with studios on Friday

    Striking screenwriters will resume negotiations with studios on Friday

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    LOS ANGELES — The guild that represents striking film and television screenwriters says negotiations with major studios and streaming services will resume Friday.

    The Writers Guild of America sent a message to its members Thursday saying they expect the studios will respond to their proposals. The two sides met last week to discuss possibly restarting negotiations, but no negotiation dates were immediately set.

    “Our committee returns to the bargaining table ready to make a fair deal, knowing the unified WGA membership stands behind us and buoyed by the ongoing support of our union allies,” The Writers Guild told its members.

    The screenwriters have now been on strike for 101 days, surpassing a 2007-2008 work stoppage that ground many Hollywood productions to a halt. This time the writers have been joined on picket lines by Hollywood actors, who are also striking to seek better compensation and protections on the use of artificial intelligence in the industry. It is the first time since 1960 that the two unions have been on strike at the same time.

    Both guilds are seeking to address issues brought about by the dominance of streaming services, which have changed all aspects of production from how projects are written to when they’re released.

    For the writers, the services’ use of small staffs, known as “mini rooms,” for shorter time periods has made a living income hard to achieve, the guild has said. It cites the number of writers working at minimum scale — which has jumped from about a third to about a half in the past decade — as proof.

    The Alliance of Motion Picture and Television Producers, which negotiates on behalf of the studios and streaming services, has said the writers’ demands would require that they be kept on staff and paid when there is no work for them.

    The strike has delayed numerous film and television productions, forced late-night talk shows into reruns and delayed the Emmy Awards, which will now air in January.

    There is no indication yet that actors and the studios will return to the negotiating table anytime soon.

    Their union, the Screen Actors Guild-American Federation of Television and Radio Artists, said Thursday it was ready to represent reality show performers in response to “Real Housewives of New York” star Bethenny Frankel’s push for performers to receive residuals and have better working conditions on sets.

    The union urged reality performers to reach out “so that we may work together toward the protection of the reality performers ending the exploitative practices that have developed in this area and to engage in a new path to Union coverage.”

    During the last writers strike, reality television was one way networks filled their schedules.

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  • Striking screenwriters will resume negotiations with studios on Friday

    Striking screenwriters will resume negotiations with studios on Friday

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    LOS ANGELES — The guild that represents striking film and television screenwriters says negotiations with major studios and streaming services will resume Friday.

    The Writers Guild of America sent a message to its members Thursday saying they expect the studios will respond to their proposals. The two sides met last week to discuss possibly restarting negotiations, but no negotiation dates were immediately set.

    “Our committee returns to the bargaining table ready to make a fair deal, knowing the unified WGA membership stands behind us and buoyed by the ongoing support of our union allies,” The Writers Guild told its members.

    The screenwriters have now been on strike for 101 days, surpassing a 2007-2008 work stoppage that ground many Hollywood productions to a halt. This time the writers have been joined on picket lines by Hollywood actors, who are also striking to seek better compensation and protections on the use of artificial intelligence in the industry. It is the first time since 1960 that the two unions have been on strike at the same time.

    Both guilds are seeking to address issues brought about by the dominance of streaming services, which have changed all aspects of production from how projects are written to when they’re released.

    For the writers, the services’ use of small staffs, known as “mini rooms,” for shorter time periods has made a living income hard to achieve, the guild has said. It cites the number of writers working at minimum scale — which has jumped from about a third to about a half in the past decade — as proof.

    The Alliance of Motion Picture and Television Producers, which negotiates on behalf of the studios and streaming services, has said the writers’ demands would require that they be kept on staff and paid when there is no work for them.

    The strike has delayed numerous film and television productions, forced late-night talk shows into reruns and delayed the Emmy Awards, which will now air in January.

    There is no indication yet that actors and the studios will return to the negotiating table anytime soon.

    Their union, the Screen Actors Guild-American Federation of Television and Radio Artists, said Thursday it was ready to represent reality show performers in response to “Real Housewives of New York” star Bethenny Frankel’s push for performers to receive residuals and have better working conditions on sets.

    The union urged reality performers to reach out “so that we may work together toward the protection of the reality performers ending the exploitative practices that have developed in this area and to engage in a new path to Union coverage.”

    During the last writers strike, reality television was one way networks filled their schedules.

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  • What to stream this week: Gal Gadot, ‘Red, White and Royal Blue’ and ‘Only Murders in the Building’

    What to stream this week: Gal Gadot, ‘Red, White and Royal Blue’ and ‘Only Murders in the Building’

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    The return of the mystery-comedy “Only Murders in the Building” and Gal Gadot getting her “Mission: Impossible”-style action film with the international espionage thriller “Heart of Stone” are among the new television, movies, music and games headed to a device near you

    Among the offerings worth your time as selected by The Associated Press’ entertainment journalists are “Superfan,” a new one-hour game show that features music superstars crowning their biggest fan, and a royal rom-com adaptation of Casey McQuiston’s bestseller “Red, White and Royal Blue” lands on Prime Video.

    NEW MOVIES TO STREAM

    — Gal Gadot gets her “Mission: Impossible”-style action film in the international espionage thriller “Heart of Stone.” The film, debuting Friday, Aug. 11, on Netflix, stars the “Wonder Woman” actor as a superspy for a shadowy global peacekeeping agency called the Charter. “Heart of Stone,” directed by Tom Harper, boasts plenty of stunt sequences and international locales, with Gadot starring alongside Jamie Dornan, Alia Bhatt, Keya Dhawan and Sophie Okonedo.

    — Harry and Meghan have competition. In “Red, White and Royal Blue,” the royal rom-com adaptation of Casey McQuiston’s bestseller, Nicolas Galitzine (“Cinderella”) stars as British prince Harry and Taylor Zakhar Perez (“The Kissing Booth”) plays the son of the first female U.S. president (Uma Thurman). They’re initially bitter rivals who cause a media frenzy when they tussle and fall into a cake at a royal wedding. But in the film, directed by playwright Matthew López, a resulting PR campaign brings them closer. “Red, White and Royal Blue” premieres Friday, Aug. 11, on Prime Video.

    — Mario is a-here. Since early August, “The Super Mario Bros. Movie” has been streaming on Peacock, bringing one of the year’s biggest box office hits to the NBCUniversal platform. Back when the film (the second attempt at a big-screen adaptation of the Nintendo videogame) opened in theaters in April, it raced to more than $1.3 billion at the global box office. In my review, I called this “Mario” “okey-dokey,” writing: “As nice as it is to look at ‘The Super Mario Bros. Movie,’ it’s not anywhere near as fun as it would be to play it.”

    — AP Film Writer Jake Coyle

    NEW MUSIC TO STREAM

    — Music fans get to take center stage on Wednesday. CBS has the debut of “Superfan,” a new one-hour game show series that features six music superstars each week as they each crown their biggest fan. Contestants vie in multiple rounds to prove they are their favorite artist’s most devoted supporter, including a lip-synch battle. Season one features Kelsea Ballerini, Gloria Estefan, Little Big Town, LL Cool J, Pitbull and Shania Twain. The show is hosted by co-creator Keltie Knight and Nate Burleson.

    — Neil Young has dug deep into his own record crates to release his 1977 lost album “Chrome Dreams” for the first time on Friday, Aug. 11. The 12-track album, recorded between 1974 and 1977, includes several originals eventually re-worked or overdubbed elsewhere, including “Powderfinger” and “Pocahontas,” later featured on “Rust Never Sleeps; “Sedan Delivery” and “Hold Back the Tears,” later remade with new lyrics; and “Stringman.” Fans might know all the songs but six of the 12 tracks are presented here in its original way.

    — Hip-hop’s 50th anniversary will be celebrated by Netflix with the four-part docuseries “Ladies First: A Story of Women in Hip-Hop.” Each episode will feature a mix of classic MCs including Queen Latifah, Sha Rock, Remy Ma, Yo-Yo, Roxanne Shante, MC Lyte, Da Brat, Monie Love, Bahamadia and Rah Digga mixed with some of the hottest artists of today, such as Latto, Saweetie, Coi Leray, Chika, Rapsody, Kash Doll and Tierra Whack, as well as commentary from journalists, record label executives and stylists. It starts Wednesday.

    — AP Entertainment Writer Mark Kennedy

    NEW SERIES TO STREAM

    — Steve Martin, Martin Short and Selena Gomez have a new case to devote their podcast to when “Only Murders in the Building” returns to Hulu on Tuesday. In the new episodes, Oliver Putnam’s (Martin Short) career comeback is in jeopardy when a murder disrupts his Broadway play, and it seems almost everyone involved is suspicious. “Your show is a death trap! Today alone I almost died three times,” Martin’s Thomas Haden-Savage declares in the trailer. The third season also features new all-star cast members including Meryl Streep, Paul Rudd, Jesse Williams and Ashley Park.

    — A new Netflix limited series details the rise of opioid use in the United States from various perspectives. “Painkiller” features Matthew Broderick as Richard Sackler, the former Purdue Pharma head, who developed OxyContin. Taylor Kitsch plays an honest family man whose life is torn apart by opioid addiction after an accident on the job. Uzo Aduba portrays a prosecutor for the U.S. Attorney’s office investigating the Sackler family. West Duchovny (daughter of actors David and Téa) plays a pharmaceutical sales rep who gets caught up in the allure of pushing the drug on doctors. “Painkiller” All six episodes were directed by Peter Berg and drop Thursday.

    — After sitting out season six, Damian Lewis’ “Billions” character, Bobby Axelrod, returns for the seventh and final season of the Showtime drama. Lewis reunites with Paul Giamatti’s character Chuck Rhoades, who is now Attorney General of New York. “Billions” will first be available on Paramount+ on Friday, Aug. 11 (with the Showtime bundle), and then air on the Showtime cable network on Sunday, Aug. 13.

    — Alicia Rancilio

    NEW VIDEO GAMES TO PLAY

    — It’s been a busy summer for fans of role-playing games, but here’s something completely different: Stray Gods: The Roleplaying Musical. It’s an urban fantasy in which a college dropout gains the power of song when an ancient muse dies in her arms, and the gods aren’t too happy about it. It comes from Summerfall Studios, which was founded by Dragon Age writer David Gaider, and the lead composer is Austin Wintory, best known for his Journey soundtrack. The cast of voiceover all-stars is led by The Last Of Us veterans Laura Bailey, Troy Baker and Ashley Johnson. If you love musicals but wish they were interactive — or if you love games but wish they had more singing — the show must go on Thursday on PlayStation 5/4, Xbox X/S/One, Nintendo Switch and PC.

    — Lou Kesten

    ___

    Catch up on AP’s entertainment coverage here: https://apnews.com/entertainment.

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  • Pee-wee Herman actor Paul Reubens dies from cancer at 70

    Pee-wee Herman actor Paul Reubens dies from cancer at 70

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    LOS ANGELES — Paul Reubens, the actor and comedian whose character Pee-wee Herman became a cultural phenomenon through films and TV shows, has died. He was 70.

    Reubens died Sunday night after a six-year struggle with cancer that he did not make public, his publicist said in a statement.

    “Please accept my apology for not going public with what I’ve been facing the last six years,” Reubens said in a statement released Monday with the announcement of his death. “I have always felt a huge amount of love and respect from my friends, fans and supporters. I have loved you all so much and enjoyed making art for you.”

    The character with his too-tight gray suit, white chunky loafers and red bow tie was best known for the film “Pee-wee’s Big Adventure” and the television series “Pee-wee’s Playhouse.”

    The Pee-wee character would become a cultural constant for much of the 1980s, though an indecent exposure arrest in 1991 would send him into entertainment exile for years.

    Reubens created Pee-wee when he was part of the Los Angeles improv group The Groundlings in the late 1970s. The live “Pee-wee Herman Show” debuted at a Los Angeles theater in 1981 and was a success with both kids during matinees and adults at a midnight show.

    The show closely resembled the format the Saturday morning TV “Pee-wee’s Playhouse” would follow years later, with Herman living in a wild and wacky home with a series of stock-character visitors, including one, Captain Karl, played by the late “Saturday Night Live” star Phil Hartman. In the plot, Pee-wee secretly wishes to fly.

    HBO would air the show as a special.

    “Pee Wee got his wish to fly,” Steve Martin tweeted after his death. “Thanks Paul Reubens for the brilliant off the wall comedy.”

    Reubens took Pee-wee to the big screen in 1985’s “Pee-wee’s Big Adventure.” The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, “The Bicycle Thief.” The film, directed by Tim Burton and co-written by Phil Hartman of “Saturday Night Live,” sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.

    A sequel followed three years later in the less well-received “Big Top Pee-wee,” in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s Pee-wee’s Big Holiday,” for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.

    His television series, “Pee-wee’s Playhouse,” ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.

    Both silly and subversive and championing nonconformity, the Pee-wee universe was a trippy place, populated by things like a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.

    “It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.

    “The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”

    Jimmy Kimmel posted on Instagram that “Paul Reubens was like no one else — a brilliant and original comedian who made kids and their parents laugh at the same time. He never forgot a birthday and shared his genuine delight for silliness with everyone he met.”

    Reubens’ career was derailed when he was arrested for indecent exposure in an adult movie theater in Sarasota, Florida, where he grew up. He was handed a small fine but the damage to the character was incalculable.

    He became the frequent butt of late-night talk show jokes and the perception of Reubens immediately changed.

    “The moment that I realized my name was going to be said in the same sentence as children and sex, that’s really intense,” Reubens told NBC in 2004. “That’s something I knew from that very moment, whatever happens past that point, something’s out there in the air that is really bad.”

    Reubens said he got plenty of offers to work, but told the AP that most of them wanted to take “advantage of the luridness of my situation”,” and he didn’t want to do them.

    “It just changed,” he said. “Everything changed.”

    In 2001, Reubens was arrested and charged with misdemeanor possession of child pornography after police seized images from his computer and photography collection, but the allegation was reduced to an obscenity charge and he was given three years probation.

    Born Paul Rubenfield in Peekskill, New York, Reubens, the eldest of three children, grew up primarily in Sarasota before going to Boston University and the California Institute of the Arts.

    Reubens would also act as non-Pee-wee characters including in Burton’s 1992 movie “Batman Returns,” the “Buffy the Vampire Slayer” film and a guest-star run on the TV series “Murphy Brown.”

    ___

    Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.

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  • What to stream this week: ‘Guardians of the Galaxy Vol. 3,’ Quavo, ‘Reservation Dogs’ and ‘Mixtape’

    What to stream this week: ‘Guardians of the Galaxy Vol. 3,’ Quavo, ‘Reservation Dogs’ and ‘Mixtape’

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    “Guardians of the Galaxy Vol. 3,” “The Lost Flowers of Alice Hunt” with Sigourney Weaver and Quavo’s album “Rocket Power” are among the new television, movies, music and games headed to a device near you

    Among the offerings worth your time as selected by The Associated Press’ entertainment journalists are “Mixtape,” a Paramount+ documentary celebrating hip-hop, and the return of the acclaimed comedy “Reservation Dogs” for its third and final season on FX on Hulu.

    NEW MOVIES TO STREAM

    — James Gunn’s “Guardians of the Galaxy” reaches an appropriately sincere, satirical and cornball finale in “Guardians of the Galaxy Vol. 3.” The film, one of the few non-“Barbie” or “Oppenheimer” summer hits, arrives Wednesday on Disney+ having already grossed $844 million in worldwide ticket sales. Gunn’s underdog superhero trilogy culminates with a tale focused on a backstory for Rocket, Bradley Cooper’s wise-cracking raccoon, and a showdown with a supervillain (Chukwudi Iwuji) hellbent on repopulating Earth with a “perfect” species. In my review, I praised the conviction of Gunn’s soupy sci-fi spectacle, writing: “Whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it.”

    — “Oppenheimer” isn’t the only movie around returning to Los Alamos. Steve James, the acclaimed documentarian of “Hoop Dreams,” in “A Compassionate Spy” details the story of physicist Ted Hall, a brilliant 18-year-old Harvard student when he was recruited to work on the Manhattan Project and went on to pass nuclear information to the Soviets. He confessed in 1998, a year before his death. Hall, one of several scientists to leak information from the atom bomb project, maintained he did it for the good of humanity and to prevent a nuclear monopoly. “A Compassionate Spy” debuts Friday, Aug. 4 on video-on-demand and in theaters.

    — “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” a documentary of the decades-long collaboration between the “Power Broker” author and his revered editor is a stirring and affection portrait of two literary giants. The film, directed by the editor’s daughter, Lizzie Gottlieb, will begin streaming Tuesday on the Criterion Channel, just weeks after the death of Gottlieb, who edited novels by Toni Morrison, John Cheever, Joseph Heller and many others. In my review of the film, I wrote: “Civil wars over semicolons and heated debate over the word ‘looms’ would not, on the face of it, seem like the stuff of a gripping big-screen movie. But make no mistake about it, ‘Turn Every Page’… is as much a rock ’em, sock ’em clash of heavyweights as found in any blockbuster.”

    — AP Film Writer Jake Coyle

    NEW MUSIC TO STREAM

    — Quavo will release “Rocket Power,” his first album since fellow Migos member Takeoff was shot and killed outside a bowling alley in November 2022. Quavo introduced the new LP with a trailer that features a massive CGI rocket preparing to launch into space. In a statement, he shared: “Through the process of healing I’ve learned to turn tragedy into triumph. I had to dig deep into my purpose and find the power to keep striving.” This summer, Quavo and Future shared a new song, “Turn Your Clic Up,” which followed recent singles “Greatness” and “Honey Bun.” Shortly before his death, Quavo and Takeoff had shared their joint LP, “Only Built for Infinity Links.”

    — Rick Springfield, whose hits include “Human Touch,” and, of course, “Jessie’s Girl,” is putting out his 21st album, “Automatic.” Written and produced by Springfield, the collection features 20 new songs. “My goal was solid three-minute tunes with the biggest hooks I could come up with,” he said in a news release. Springfield previewed his sound by releasing the title track and “She Walks With the Angels.” The album is dedicated to Matty Spindel, a friend and soundman of 25 years who died in 2022. Springfield will be hitting the road this summer on the I Want My ’80s Tour.

    — AP Entertainment Writer Mark Kennedy

    NEW SERIES TO STREAM

    — Hip-hop is markings its 50th anniversary and Paramount+ will stream a documentary called “Mixtape” beginning Tuesday. The film explores how before the hip-hop genre had radio play, streaming or social media, its songs were often shared via mixtapes. Lil Wayne, DJ Khaled, Fat Joe, 2 Chainz, Big Boi and KRS-One are just a few of the artists featured in the doc about mixtape culture.

    — The half-hour critically acclaimed comedy “Reservation Dogs” returns for its third and final season on Wednesday on FX on Hulu. The series follows four Indigenous teens who, when we first meet them in season one, are reeling from the death of their friend Daniel. Daniel’s dream was to leave rural Oklahoma for California. The group decides the best way to honor Daniel is by fulfilling his goal and traveling to this magical state he was enamored with. To get there, they’ll steal and scheme but it’s not an easy road. In this new season, they’ve made it to California but don’t have the means to return home. Now that the friends have achieved Daniel’s wish, they also must decide what to do next with their own lives. The Indigenous representation in “Reservation Dogs” also extends behind-the-camera with each of its writers, directors and crew.

    — Netflix’s popular British rom-com drama series “Heartstopper,” starring Joe Locke and Kit Connor returns for its second season on Wednesday. Locke and Connor play Charlie and Nick, two high school schoolmates who fell in love in season one. The series has been praised for its portrayal of LGTBQ+ characters.

    — Sigourney Weaver and Alycia Debnam-Carey co-star in “The Lost Flowers of Alice Hunt” for Prime Video. The story is based on a novel of the same name by Holly Ringland. Debnam-Carey plays Alice, who as a young girl, moved in with her grandmother June – played by Weaver – after a family tragedy. June is a flower farmer and teaches Alice how flowers can be used as a form of self-expression. The story spans two decades and follows Alice into adulthood. The series debuts Friday, Aug. 4 on the streamer.

    — Alicia Rancilio

    NEW VIDEO GAMES TO PLAY

    — Dungeons & Dragons has seen a boom in popularity over the last few years, with a hit movie, live-streamed games and a major supporting role on “Stranger Things.” But it’s been a while since we’ve gotten a true D&D video game. That drought ends with Baldur’s Gate 3. You begin as just some poor sap with an evil parasite stuck in your brain, but once you round up the typical gang of wizards, brawlers, clerics and rogues, the fate of D&D’s sprawling Forgotten Realms is in your hands. Developer Larian Studios, best known for the terrific Divinity: Original Sin, has shown it has the chops to create stirring role-playing adventures, and has promised that this one could take up to 200 hours to fully explore. You can pick up your sword or wand Thursday on PC, or hold out for the PlayStation 5 version in September.

    — Lou Kesten

    ___

    Catch up on AP’s entertainment coverage here: https://apnews.com/entertainment.

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  • Opera for the public: Spain’s Teatro Real opera house offers free broadcast to towns and cities

    Opera for the public: Spain’s Teatro Real opera house offers free broadcast to towns and cities

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    MADRID — On a night in the middle of July, tenors, sopranos and a choir delighted the crowd in Madrid’s luxurious Teatro Real opera house with Giacomo Puccini’s masterpiece, “Turandot.”

    After the curtain came down, the audience filed from their plush seats and left the theater’s state-of-the-art air conditioning for the summer swelter outside — only to be met again by the voices of Calaf and Princess Turandot.

    The performance they had just seen was being replayed on a giant television screen in the big square at the back of the theater.

    Here, the spectators sat on hundreds of plastic chairs. Many wore shorts and sandals. Others, tourists included, sat on the low walls and benches in the square or leaned on the barriers and the nearby subway station’s railings.

    Some chewed on rolls of Spanish jam, others played cards. But most were absorbed with the show on the 9- by 5-meter (30- by 16-foot) screen.

    The night was part of Teatro Real’s “opera week,” which for eight years has been providing a free broadcast of an opera in the theater to towns and cities across Spain.

    More than 100 towns displayed the broadcast of the July 14 “Turandot” performance. All the towns need is a computer, a good Wi-Fi connection and somewhere to project the video.

    During the week, the crowds outside the theater in Madrid also got to see other Teatro Real shows, including a ballet and flamenco act. The week cost the theater 107,000 euros ($118,000).

    The chief aim is to spread interest in opera.

    Opera “is popular music, it was always the total art where literature, music and dance met, (when) there was no television, there was no radio,” said Spanish tenor Jorge de León, who played Calaf.

    “We have to remove that label of elitism that opera has, because they (operas) talk about stories, about very understandable things,” he said, sitting on one of the plastic chairs among the spectators in the square.

    In Mino de San Esteban, a village of 44 inhabitants about 160 kilometers (100 miles) north of Madrid, 94-year-old Nemesia Olmos soaked up the projection of “Turandot” on the wall of the town’s Romanesque church.

    Cultural life in the village has changed greatly. Gone is the crowded ballroom and visits from traveling theater groups. No longer do residents listen to songs from what was the only radio in the village. For the villagers, the Teatro Real’s offering is a delight.

    “We’ve never had it so close. It seemed like we saw it right there, although it is a bit long,” Olmos said, as she left a little before the end.

    ___

    This story has been corrected to say Jorge de León is a tenor, not a soprano.

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  • Opera for the public: Spain’s Teatro Real opera house offers free broadcast to towns and cities

    Opera for the public: Spain’s Teatro Real opera house offers free broadcast to towns and cities

    [ad_1]

    MADRID — On a night in the middle of July, tenors, sopranos and a choir delighted the crowd in Madrid’s luxurious Teatro Real opera house with Giacomo Puccini’s masterpiece, “Turandot.”

    After the curtain came down, the audience filed from their plush seats and left the theater’s state-of-the-art air conditioning for the summer swelter outside — only to be met again by the voices of Calaf and Princess Turandot.

    The performance they had just seen was being replayed on a giant television screen in the big square at the back of the theater.

    Here, the spectators sat on hundreds of plastic chairs. Many wore shorts and sandals. Others, tourists included, sat on the low walls and benches in the square or leaned on the barriers and the nearby subway station’s railings.

    Some chewed on rolls of Spanish jam, others played cards. But most were absorbed with the show on the 9- by 5-meter (30- by 16-foot) screen.

    The night was part of Teatro Real’s “opera week,” which for eight years has been providing a free broadcast of an opera in the theater to towns and cities across Spain.

    More than 100 towns displayed the broadcast of the July 14 “Turandot” performance. All the towns need is a computer, a good Wi-Fi connection and somewhere to project the video.

    During the week, the crowds outside the theater in Madrid also got to see other Teatro Real shows, including a ballet and flamenco act. The week cost the theater 107,000 euros ($118,000).

    The chief aim is to spread interest in opera.

    Opera “is popular music, it was always the total art where literature, music and dance met, (when) there was no television, there was no radio,” said Spanish tenor Jorge de León, who played Calaf.

    “We have to remove that label of elitism that opera has, because they (operas) talk about stories, about very understandable things,” he said, sitting on one of the plastic chairs among the spectators in the square.

    In Mino de San Esteban, a village of 44 inhabitants about 160 kilometers (100 miles) north of Madrid, 94-year-old Nemesia Olmos soaked up the projection of “Turandot” on the wall of the town’s Romanesque church.

    Cultural life in the village has changed greatly. Gone is the crowded ballroom and visits from traveling theater groups. No longer do residents listen to songs from what was the only radio in the village. For the villagers, the Teatro Real’s offering is a delight.

    “We’ve never had it so close. It seemed like we saw it right there, although it is a bit long,” Olmos said, as she left a little before the end.

    ___

    This story has been corrected to say Jorge de León is a tenor, not a soprano.

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  • Katie Spikes, longtime

    Katie Spikes, longtime

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    Katie Spikes, longtime “60 Minutes” producer, dies at 53 – CBS News


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    Katie Spikes, a talented producer for CBS News and “60 Minutes,” has died following a battle with cancer. She was 53.

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  • Bryan Cranston, Jessica Chastain join star-studded Times Square rally of striking actors and writers

    Bryan Cranston, Jessica Chastain join star-studded Times Square rally of striking actors and writers

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    NEW YORK — SAG-AFTRA held its largest and most star-studded rally yet Tuesday in Times Square in a picket sign-waving show of solidarity 12 days into the actors strike.

    A day after a Variety report questioned the lack of A-listers that have hit picket lines thus far, the rally Tuesday boasted more star wattage than perhaps any single strike action yet. Among those joining throngs of demonstrators were Jessica Chastain, Bryan Cranston, Brendan Fraser, Ellen Burstyn, Wendell Pierce, Steve Buscemi, Rachel Zegler, Michael Shannon, Jane Curtin, Christian Slater and Chloe Grace Moretz.

    Taking up a full city block, actors and representatives from the actors union took turns giving fiery speeches on a stage in the heart of Times Square while tourists gawked and passing trucks honked in support. At times, the actors took aim at the corporate lights and billboards around them, including the Walt Disney-owned ESPN and ABC studios that sat alongside the rally.

    “We’ve got a message to Mr. Iger,” said Cranston, directing his comments at Disney CEO Bob Iger. “I know, sir, that you look through things from a different lens. We don’t expect you to understand who we are but we ask you to hear us, and beyond that, to listen to us when we tell you we will not be having our jobs taken away and given to robots. We will not have you take away our right to work and earn a decent living.”

    The rally took place a stone’s throw from Broadway theaters and, given the talent involved, featured a higher degree of show business than your usual labor rally. “Avatar” actor Stephen Lang quoted Frederick Douglass. Wendell Pierce recited Samuel Beckett. Tituss Burgess didn’t speak; he sang Stephen Sondheim.

    Arian Moayed, who played the investor Stewy Hosseini in “Succession,” compared the characters of the HBO series to the studio executives the actors are negotiating with.

    “It’s like these people haven’t seen (expletive) ‘Succession,’” Moayed exclaimed. “It’s about you!”

    Christine Baranski of “The Good Wife” and “The Good Fight” likewise drew from her own credits.

    “We will not live under corporate feudalism. It is time, it is just simply time to make things right. Our contribution will not be undervalued, and we will not be robbed,” said Baranski before concluding: “Let’s fight the good fight!”

    Earlier this month, actors joined striking screenwriters who walked out in May. It’s the first time both unions have been on strike at the same time since 1960. The stoppage has shuttered nearly all film and television production. Actors say the streaming revolution has altered pay in entertainment, stripping them of residuals and remaking working conditions. They are also seeking guardrails against the use of artificial intelligence, along with increases to the union’s health care and pension programs.

    “Our industry has changed exponentially,” said Cranston. “We are not in the same business model that we were in even 10 years ago. And yet, even though they admit that that’s the truth in today’s economy, they are fighting us tooth and nail to stick to the same economic system that is outmoded, outdated. They want us to step back in time.”

    The Alliance of Motion Picture and Television Producers, which is negotiating on behalf of studios, has said it presented actors with a generous deal that included the biggest bump in minimum pay in 35 years among other benefits. Since talks broke off and Screen Actors Guild-American Federation of Television and Radio Artists commenced the strike, the sides have not negotiated and no talks are scheduled.

    “We may be on strike but I said to them on July 12 we are ready to continue talking tomorrow and every day after until we reach a deal,” said Duncan Crabtree-Ireland, chief negotiator for SAG-AFTRA. “And I’ve said that every day since to the media, to them, to anyone who would listen. SAG-AFTRA is ready, willing and able to return to the bargaining table.

    “The only reason we aren’t there now is because those companies said that they didn’t want to deal with people who were uncivilized and because those companies said they wouldn’t be ready to talk for quite some time,” added Crabtree-Ireland.

    Many actors Tuesday cast the strike in personal terms. Slater said the union’s health care helped sustain his father’s life. Slater’s father, the actor Michael Hawkins, died last November. Liza Colón-Zayas, the 51-year-old Bronx-born actor of the Hulu hit series “The Bear,” said her lifetime of hard work isn’t paying off.

    “I have struggled 35 years to get here only to find residuals have dwindled exponentially,” said Colón-Zayas. “If you can announce the highest-viewed this and the highest profits in that, then you can track our residuals. So we need to come to the table but we need to come to the table in good faith that there will be transparency in how we are being paid by streaming. We need you to open the books.”

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • First U.S. Women’s World Cup match draws combined audience of 6.26 million on Fox, Telemundo

    First U.S. Women’s World Cup match draws combined audience of 6.26 million on Fox, Telemundo

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    The United States’ 3-0 victory over Vietnam in the Women’s World Cup drew 6.26 million viewers, making it the most-watched soccer telecast in the U.S. since last year’s men’s World Cup final

    United States’ Lindsey Horan, right, celebrates with Sophia Smith, left, and Megan Rapinoe after scoring during the Women’s World Cup soccer match between the United States and Vietnam at Eden Park in Auckland, New Zealand, Saturday, July 22, 2023. (AP Photo/Abbie Parr)

    The Associated Press

    LOS ANGELES — The United States’ 3-0 victory over Vietnam in the Women’s World Cup drew 6.26 million viewers, making it the most-watched soccer telecast in the U.S. since last year’s men’s World Cup final.

    It is also the largest combined English- and Spanish-language audience for a U.S. women’s group stage match.

    Saturday afternoon’s match in Auckland, New Zealand — which kicked off at 9 p.m. EDT Friday night — averaged 5,261,000 viewers on Fox, making it the second-most watched group stage telecast since Fox started covering it in 2015. Fox and Nielsen said the audience peaked at 6.5 million for the final 15 minutes.

    The largest Women’s World Cup group stage broadcast on Fox remains the 2019 U.S.-Chile match, which averaged 5,337,000.

    Fox and Nielsen said it is a 99% increase over the first U.S. group stage match four years ago in France against Thailand, which started at 2:30 p.m. EDT.

    The Spanish-language audience of 1 million across Telemundo, Peacock, Universo and Telemundo streaming platforms was the most-watched for a group-stage match and was surpassed only by the 2015 and ’19 final. The Spanish audience was also nearly double what it was for the 2019 Thailand match.

    Telemundo is a division of Comcast Corp.’s NBCUniversal.

    The total audience numbers also include 307,831 who watched via streaming on English- and Spanish-language streaming.

    The next U.S. match is Wednesday night against the Netherlands.

    ___

    More AP coverage of the Women’s World Cup: https://apnews.com/hub/fifa-womens-world-cup and https://twitter.com/AP_Sports

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  • First U.S. Women’s World Cup match draws combined audience of 6.26 million on Fox, Telemundo

    First U.S. Women’s World Cup match draws combined audience of 6.26 million on Fox, Telemundo

    [ad_1]

    The United States’ 3-0 victory over Vietnam in the Women’s World Cup drew 6.26 million viewers, making it the most-watched soccer telecast in the U.S. since last year’s men’s World Cup final

    United States’ Lindsey Horan, right, celebrates with Sophia Smith, left, and Megan Rapinoe after scoring during the Women’s World Cup soccer match between the United States and Vietnam at Eden Park in Auckland, New Zealand, Saturday, July 22, 2023. (AP Photo/Abbie Parr)

    The Associated Press

    LOS ANGELES — The United States’ 3-0 victory over Vietnam in the Women’s World Cup drew 6.26 million viewers, making it the most-watched soccer telecast in the U.S. since last year’s men’s World Cup final.

    It is also the largest combined English- and Spanish-language audience for a U.S. women’s group stage match.

    Saturday afternoon’s match in Auckland, New Zealand — which kicked off at 9 p.m. EDT Friday night — averaged 5,261,000 viewers on Fox, making it the second-most watched group stage telecast since Fox started covering it in 2015. Fox and Nielsen said the audience peaked at 6.5 million for the final 15 minutes.

    The largest Women’s World Cup group stage broadcast on Fox remains the 2019 U.S.-Chile match, which averaged 5,337,000.

    Fox and Nielsen said it is a 99% increase over the first U.S. group stage match four years ago in France against Thailand, which started at 2:30 p.m. EDT.

    The Spanish-language audience of 1 million across Telemundo, Peacock, Universo and Telemundo streaming platforms was the most-watched for a group-stage match and was surpassed only by the 2015 and ’19 final. The Spanish audience was also nearly double what it was for the 2019 Thailand match.

    Telemundo is a division of Comcast Corp.’s NBCUniversal.

    The total audience numbers also include 307,831 who watched via streaming on English- and Spanish-language streaming.

    The next U.S. match is Wednesday night against the Netherlands.

    ___

    More AP coverage of the Women’s World Cup: https://apnews.com/hub/fifa-womens-world-cup and https://twitter.com/AP_Sports

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  • First U.S. Women’s World Cup match draws combined audience of 6.26 million on Fox, Telemundo

    First U.S. Women’s World Cup match draws combined audience of 6.26 million on Fox, Telemundo

    [ad_1]

    The United States’ 3-0 victory over Vietnam in the Women’s World Cup drew 6.26 million viewers, making it the most-watched soccer telecast in the U.S. since last year’s men’s World Cup final

    United States’ Lindsey Horan, right, celebrates with Sophia Smith, left, and Megan Rapinoe after scoring during the Women’s World Cup soccer match between the United States and Vietnam at Eden Park in Auckland, New Zealand, Saturday, July 22, 2023. (AP Photo/Abbie Parr)

    The Associated Press

    LOS ANGELES — The United States’ 3-0 victory over Vietnam in the Women’s World Cup drew 6.26 million viewers, making it the most-watched soccer telecast in the U.S. since last year’s men’s World Cup final.

    It is also the largest combined English- and Spanish-language audience for a U.S. women’s group stage match.

    Saturday afternoon’s match in Auckland, New Zealand — which kicked off at 9 p.m. EDT Friday night — averaged 5,261,000 viewers on Fox, making it the second-most watched group stage telecast since Fox started covering it in 2015. Fox and Nielsen said the audience peaked at 6.5 million for the final 15 minutes.

    The largest Women’s World Cup group stage broadcast on Fox remains the 2019 U.S.-Chile match, which averaged 5,337,000.

    Fox and Nielsen said it is a 99% increase over the first U.S. group stage match four years ago in France against Thailand, which started at 2:30 p.m. EDT.

    The Spanish-language audience of 1 million across Telemundo, Peacock, Universo and Telemundo streaming platforms was the most-watched for a group-stage match and was surpassed only by the 2015 and ’19 final. The Spanish audience was also nearly double what it was for the 2019 Thailand match.

    Telemundo is a division of Comcast Corp.’s NBCUniversal.

    The total audience numbers also include 307,831 who watched via streaming on English- and Spanish-language streaming.

    The next U.S. match is Wednesday night against the Netherlands.

    ___

    More AP coverage of the Women’s World Cup: https://apnews.com/hub/fifa-womens-world-cup and https://twitter.com/AP_Sports

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  • Comedians energize the picket lines as Hollywood actors and writers strikes enter second week

    Comedians energize the picket lines as Hollywood actors and writers strikes enter second week

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    LOS ANGELES — The combined strike by Hollywood actors and screenwriters entered its second week with no swift end in sight, and union leaders and star strikers, including a bevy of comedians attempted to boost morale Friday as the novelty of picket lines wears off.

    “The momentum is still building,” said stand-up comic, writer and actor Marc Maron outside Netflix headquarters. “I got some of my comedy buddies — we’re like, let’s go, let’s make sure we’re there and we show up for our union. There’s a lot of people here and look, eventually they have to, they have to negotiate, right?”

    Maron starred on the series “GLOW” for Netflix, whose headquarters in an increasingly hip section of Hollywood has been a bustling hub during the strike, with music blasting and food trucks serving ice cream, shaved ice and churros.

    His fellow comedians and comic actors abounded on the picket line, including “Saturday Night Live” and “Portlandia” alum Fred Armisen, “Hacks” star Hannah Einbinder, “Brooklyn Nine-Nine” actor Chelsea Peretti, “What We Do in the Shadows” vampire Mark Proksch, and longtime comedy team Eric Wareheim and Tim Heidecker, who said they were not optimistic about a quick end to the strike.

    “I think it’s going to be a long struggle, a long fight,” Heidecker said. “We’re going to have to be out here until we get what we need to get.”

    But they were confident about finding sustenance to get them through it.

    “There’s an Arby’s here and Eric hasn’t eaten Arby’s in a year,” Heidecker said.

    “It’s been 364 days since I had a big roast beef and we’re doing it today,” Wareheim said.

    It has been harder for picketers to keep the energy up at more sprawling corporate campuses like Warner Bros. Studios and Walt Disney Studios in Burbank, where a Southern California heat wave hit hard all week.

    But as the strike has begun to stretch on, the regular appearance of star writers and actors has given a jolt to picket lines in both LA and New York, and provided high-profile voices on issues that are key to both writers and actors — better pay and preserving established practices like residual payments, as well as protection from the use of artificial intelligence. Roughly 65,000 actors — the vast majority of whom make less than $27,000 a year from their screen work — along with 11,500 screenwriters, are on strike.

    On Friday, actors in London rallied in solidarity with their Screen Actors Guild-American Federation of Television and Radio Artists brethren. Stars including Brian Cox, Andy Serkis, Hayley Atwell, Simon Pegg and Imelda Staunton gathered with other performers and production crew in Leicester Square for the demonstration organized by British actors’ union Equity.

    They chanted “One struggle, one fight, we support SAG-AFTRA fight” and “The luvvies, united, will never be defeated,” using a British slang term for actors.

    Cox, who played media mogul Logan Roy in “Succession,” said, “I think we are at the thin end of a horrible wedge,” with artificial intelligence shaking the foundations of actors’ work.

    “The wages are one thing, but the worst aspect is the whole idea of AI and what AI can do to us,” he said. “AI is the really, really serious thing. And it’s the thing where we’re most vulnerable.”

    The British actors’ union is not on strike, though many members are also part of the U.S. union.

    Cox said it was important actors showed solidarity with striking screenwriters in the Writers Guild of America.

    “We’re just like pieces of furniture without writers,” he said.

    Serkis, who has become a specialist in playing digitally created characters since he first played Gollum in “The Lord of the Rings” saga two decades ago, said “I’m probably one of the most scanned actors on the planet.”

    “I know that my image can be used, or my library of movements, can be used or my voice,” he said, adding that it “is wrong that that is easily accessed and used without remunerating the artist.”

    In the U.S., Boston, Philadelphia and Chicago were among the the major cities with strike events Wednesday and Thursday, demonstrating that film production doesn’t just happen in New York and Los Angeles.

    There’s no indication when negotiations with studios and streaming companies, which are represented by the Alliance of Motion Picture and Television Producers, will resume. The group has said they’ve offered both writers and actors substantial pay increases and have tried to meet other demands.

    “Please come back to the table, please be realistic, please have a little bit more socialism in your heart and think of the people who make the money for you,” “Mission Impossible” star Pegg urged studios and streaming services.

    Many on the picket lines in the U.S. have seized upon comments by their corporate bosses like Disney CEO Bob Iger, who last week called the unions’ demands “not realistic.”

    During an earnings event Wednesday, Netflix co-CEO Ted Sarandos said grew up in a union household and knew the strike was painful on workers and their families.

    “We’re super committed to getting to an agreement as soon as possible. One that’s equitable and one that enables the unions, the industry and everybody in it to move forward into the future,” he said.

    ___

    Lawless reported from London. Entertainment Writer Andrew Dalton contributed to this report.

    ___

    For more on the writers and actors strike, visit: https://apnews.com/hub/hollywood-strikes/

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  • 4 Lessons I Learned from Filming ‘Buying Beverly Hills’ | Entrepreneur

    4 Lessons I Learned from Filming ‘Buying Beverly Hills’ | Entrepreneur

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    Opinions expressed by Entrepreneur contributors are their own.

    Having had the privilege of filming my own Netflix show, Buying Beverly Hills, I’ve gained leadership insights that wound up extending far beyond the realm of television. Over time, I came to realize that experiences and lessons learned during production have real value for those seeking success in a variety of ventures — even those not depicted on the small screen.

    Read on to see the four lessons I took away from filming season one of Buying Beverly Hills.

    Related: How Real Estate Agents Can Effectively Leverage the Power of Public Relations

    1. Authenticity is key

    One of the most crucial aspects of Buying Beverly Hills was its emphasis on authenticity. In an industry often associated with glamour and pretense, it was important to stay true to our core values and detail real-life obstacles and genuine interactions. My daughter, Alexia Umansky, showed viewers the challenges of being a green agent, for example, as she handled her first big listing (which happened to be our family home). As viewers got to watch mistakes made along the way, they were able to see the true process of being a newer agent and the challenges that come with breaking into the industry.

    Similarly, entrepreneurs should strive to be authentic. Transparency and honesty build trust with customers or clients, fostering long-term relationships and solidifying your reputation. People connect with the truth, and by embracing it in your values and actions, you can differentiate your brand and create a loyal following.

    Related: Why Being Real Is the New Perfect — How “Anti-Instagram” Apps Are Changing Social Media

    2. Regard challenges as opportunities

    As any entrepreneur knows, challenges are inevitable, and during production, we faced numerous ones, from tight timelines to unexpected hurdles. Joey Ben-Zvi, an agent at The Agency and a show cast member, learned firsthand the mishaps that can arise in this industry, particularly as he navigated listing his family’s property. In the end, though, we learned to view such challenges as opportunities for growth and innovation.

    The same principle applies broadly: Rather than becoming discouraged by setbacks, embrace them as chances to learn, adapt and improve. By maintaining a positive mindset that always embraces problem-solving, you’ll reliably turn adversity into a catalyst for success.

    Related: Few Industries Are Better for First-Time Investors Than Real Estate. Here Are 4 Proven Ways to Make a Profit.

    3. Build a strong team

    Behind the scenes of Buying Beverly Hills, I had a dedicated team working tirelessly — from seasoned producers to PR gurus ready to market and launch the series. Collaborating with talented professionals who shared my vision was instrumental, and that lesson has real legs: Leaders should prioritize building a strong team in their own ventures. Surround yourself with those who complement your strengths and share your passion and values. Such a crew can help navigate challenges, provide diverse perspectives and drive innovation. Success is rarely (if ever) achieved alone.

    Related: 10 Simple Steps to Build an Exceptional and Efficient Team

    4. Harness the power of storytelling

    Shooting the series was an indelible lesson in the impact and potential of a compelling narrative. Members of The Umansky Team, as well as other agents featured on the show, made a point of opening up and sharing their personal stories and professional struggles. Part of what I admired about our show — and what I believe sets it apart from similar programs — is that we showed the true process and experience of what it takes to make it in real estate, describing in detail the challenges and obstacles both new and seasoned agents face. In doing so, we created a deeper connection with the audience — genuine emotional engagement.

    Entrepreneurs can leverage this same concept by effectively telling their story and that of their brand. So, share your journey, the values that drive your business and the impact you aim to make. Such a narrative will resonate with a target audience, and you’ll be able to use it to create a memorable and authentic brand. Through storytelling, you can forge stronger connections with both existing and potential clients, and so differentiate yourself from competitors.

    Related: 5 Ways Storytelling Can Make You a More Impactful Leader

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    Mauricio Umansky

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  • Actors and writers on strike rally in Philadelphia and Chicago as union action spreads

    Actors and writers on strike rally in Philadelphia and Chicago as union action spreads

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    Striking screenwriters and actors held rallies in Philadelphia and Chicago on Thursday as the labor dispute that has halted Hollywood spreads to more cities.

    While Los Angeles and New York are the epicenters of strike actions, there are dozens of mid-sized and small locals across the country representing performers and writers.

    “We have the same issues,” said Nikki Izanec, president of the Philadelphia SAG-AFTRA local, on her way to Thursday’s rally. “Lots of people pay attention to L.A. and New York, but our issues are the same as theirs.”

    The Philadelphia rally at Love Park drew actors Sheryl Lee Ralph and Lisa Ann Walter, stars of the hit Philly-set TV show “Abbott Elementary.” Said Ralph: “Enough is enough and we demand more.” Actors David Morse and Brian Anthony Wilson also attended.

    Leaders of the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) voted unanimously last week to start striking, joining the Writers Guild of America, who walked out on May 2.

    “We’re the voices of multi-trillion dollar TV theatrical streaming industry. And we all have a common goal, and that’s to make living wages in an industry that takes advantage of us,” said Izanec.

    In Chicago, hundreds of strikers — many wearing black SAG T-shirts — marched and chanted at Millennium Park. “We’re union/United/Never be divided.” A small brass band accompanied the strikers and at one point played ”This Land Is Your Land.” One sign read: “Corporate Greed Stinks.” Cars honked their horns in support. Many unions were represented, including Teamsters and teachers.

    The unions and the Alliance of Motion Picture and Television Producers — which represents studios, streamers and production companies — seem far apart, with no negotiations happening or planned.

    “I feel like people would be surprised to hear that 87% of our members make under $26,000 a year, and that’s just under the amount that they need to qualify for health care. So that’s a national problem,” said Izanec.

    Film and TV sets dot America. Cities like Chicago with shows like “Chicago Med,” “Chicago PD,” and “The Chi” have stopped filming until the strike is resolved. There were more than 30 major productions in Massachusetts last year. Strikers took to the street in Boston on Wednesday.

    In Chicago, Courtney Rioux, a SAG-AFTRA member since 2010 who has had roles in “Chicago Med,” “Chicago Fire” and “Chicago PD,” took to the podium to rally fellow actors and writers to fight for protections from artificial intelligence and revenue from streaming.

    “The whole business model has changed and our contract has not changed with it,” she said. “It’s billions of dollars in streaming and they’re crying broke.”

    The rallies outside New York and Los Angeles are an important step to showing that many of the issues the actors and writers are fighting for are global ones, she said.

    “We get so upset that people are saying Hollywood actors are on strike,” Rioux said. “We are not Hollywood actors. We are working class actors.”

    “I think they’re saying Hollywood actors, because people have the feeling of like, ‘Oh, Hollywood actors are millionaires and they make so much money and they’re greedy.’ No, 86% of our members can’t qualify for health care.”

    Disney CEO Bob Iger warned last week that it was not a good time for a strike, arguing that the entertainment industry’s recovery from the pandemic is not complete.

    Izanec replied that she resents the fact that the average WGA member makes $69,000 a year and Iger makes $74,000 a day. “Most of us know that we’re performers and we’re middle class people. We’re trying to be middle class workers,” she said.

    Key issues for both unions include residual payments, which have been nearly wiped out by the switch to the streaming system, and the unpaid use of their work and likeness by artificial intelligence avatars.

    The AMPTP said it has offered fair terms on those and other issues.

    In Los Angeles, strikers outside Netflix studios included Sarah Silverman, Aubrey Plaza, Chris Witaske and Kendrick Sampson. Kristen Schaal was seen on a picket line outside Disney studios.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Actors and writers on strike rally in Philadelphia and Chicago as union action spreads

    Actors and writers on strike rally in Philadelphia and Chicago as union action spreads

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    Striking screenwriters and actors held rallies in Philadelphia and Chicago on Thursday as the labor dispute that has halted Hollywood spreads to more cities.

    While Los Angeles and New York are the epicenters of strike actions, there are dozens of mid-sized and small locals across the country representing performers and writers.

    “We have the same issues,” said Nikki Izanec, president of the Philadelphia SAG-AFTRA local, on her way to Thursday’s rally. “Lots of people pay attention to L.A. and New York, but our issues are the same as theirs.”

    The Philadelphia rally at Love Park drew actors Sheryl Lee Ralph and Lisa Ann Walter, stars of the hit Philly-set TV show “Abbott Elementary.” Said Ralph: “Enough is enough and we demand more.” Actors David Morse and Brian Anthony Wilson also attended.

    Leaders of the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) voted unanimously last week to start striking, joining the Writers Guild of America, who walked out on May 2.

    “We’re the voices of multi-trillion dollar TV theatrical streaming industry. And we all have a common goal, and that’s to make living wages in an industry that takes advantage of us,” said Izanec.

    In Chicago, hundreds of strikers — many wearing black SAG T-shirts — marched and chanted at Millennium Park. “We’re union/United/Never be divided.” A small brass band played ”This Land Is Your Land.” One sign read: “Corporate Greed Stinks.” Cars honked their horns in support.

    The unions and the Alliance of Motion Picture and Television Producers — which represents studios, streamers and production companies — seem far apart, with no negotiations happening or planned.

    “I feel like people would be surprised to hear that 87% of our members make under $26,000 a year, and that’s just under the amount that they need to qualify for health care. So that’s a national problem,” said Izanec.

    Film and TV sets dot America. Cities like Chicago with shows like “Chicago Med,” “Chicago PD,” and “The Chi” have stopped filming until the strike is resolved. There were more than 30 major productions in Massachusetts last year. Strikers took to the street in Boston on Wednesday.

    Disney CEO Bob Iger warned last week that it was not a good time for a strike, arguing that the entertainment industry’s recovery from the pandemic is not complete.

    Izanec replied that she resents the fact that the average WGA member makes $69,000 a year and Iger makes $74,000 a day. “Most of us know that we’re performers and we’re middle class people. We’re trying to be middle class workers,” she said.

    Key issues for both unions include residual payments, which have been nearly wiped out by the switch to the streaming system, and the unpaid use of their work and likeness by artificial intelligence avatars.

    The AMPTP said it has offered fair terms on those and other issues.

    In Los Angeles, strikers outside Netflix studios included Sarah Silverman, Aubrey Plaza, Chris Witaske and Kendrick Sampson. Kristen Schaal was seen on a picket line outside Disney studios.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • ‘Am I crossing picket lines if I see a movie?’ and other Hollywood strike questions

    ‘Am I crossing picket lines if I see a movie?’ and other Hollywood strike questions

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    You watch movies and television. And now you’re wondering what role you play as a consumer of entertainment amid the dual Hollywood strikes — a pitched battle with actors and writers on one side, and studios and streaming services on the other.

    We have answers to how they affect you. 

    Movies slated for release this summer will still hit theaters as planned. Many premieres promoting the films, however, have been cancelled, for one because striking writing actors are banned from advertising their work, which includes attending events like screenings.

    No boycotts yet

    But fans can still support the industry by purchasing tickets to highly anticipated summer releases, as the unions have not called for any boycotts of theaters or streaming services. Instead, the guilds have asked supporters who aren’t members to advocate for them on social media and donate to community funds.

    Some guild members have explicitly said that watching their programs on the streaming services where they are available actually helps their case. 

    While late-night shows remain on the air, no new episodes have been produced since the writers strike began. Other series have banks of unaired episodes to tide them over until striking writers and actors reach agreements with the Alliance of Motion Picture and Television Producers (AMPTP).


    Actors, writers enter first full week together on picket lines of Hollywood strike

    05:29

    When will the pipeline dry up?

    It’s unclear how much new content there is left to air. So far, the writers’ strike has most seriously affected TV production. Now, the actors’ strike has halted the bulk of film production. Broadcast shows like “Abbott Elementary” will not return with new episodes by early fall, regardless of whether the strikes are settled by then. The same goes for streaming hits including “Stranger Things.”

    Movies that have wrapped — meaning their scripts were already written and actors already delivered performances — are often released months or even years later, so expect a steady stream of content. 

    On the live theater front, stage actors in plays and musicals are governed by the Actors’ Equity Association, a different union that is not currently on strike. It has, however, expressed solidarity with Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) and some actors are members of both unions. 

    Will I be able to watch the Emmys?

    The Emmys are still set for Monday, Sept. 18. But history shows that award shows that proceed during strikes turn out to be bleak affairs. And Emmy award campaigning will certainly be affected — SAG-AFTRA and WGA members aren’t allowed to take part in “for your consideration” events under their strike notices and they wouldn’t be able to accept awards for projects produced by struck companies.

    Actors and writers can use social media to boost the visibility of their cause. Guild members are actively posting content using strike-related hashtags to amplify their messages, but cannot promote titles like “Barbie” and “Oppenheimer.”

    “Yes! Promote yourself as an artist, a fashion icon, a union activist, a commercial actor, and a proud SAG-AFTRA member. You can also promote brands using our groundbreaking Influencer Agreement or start a podcast,” the SAG-AFTRA strike website advised members wondering if self-promotion is permitted.

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