Category: Entertainment

  • Robert F. Kennedy Jr. Workout Videos Ranked From Least to Most Weird

    Robert F. Kennedy Jr. Workout Videos Ranked From Least to Most Weird


    As Secretary of Health and Human Services, Robert F. Kennedy Jr. is known for having the occasional terrific idea (let’s get rid of toxic food additives, let’s make people aware of the dangers of ultra-processed foods) and also having rather terrible ideas (let’s cut funding for vaccine research, let’s recommend vitamin A during a measles outbreak instead of the vax, let’s claim keto diets cure schizophrenia).

    RFK Jr. is also known for his very fit-looking physique. For a 72-year-old, the man looks great. He likes to show off his body during media events and on social media. Yet he seems incapable of doing workout videos without at least some undercurrent of oddness.

    So here are five of RFK Jr.’s workout videos, ranked from least to most weird.

    5. RFK Jr. Posts Work-Out Video Before Biden Debate (June, 2023)

    @robertfkennedyjrofficial

    Getting in shape for my debates with President Biden! As President, I will restore America as the global example of health & well-being. Not through pills or syringes, but through character and self-discipline. And I will continue to walk the walk and lead by example. Americans gained an average of 29 pounds during the Covid lockdowns. I will help turn this around by encouraging our citizens to exercise, eat well, and fortify their immune systems by removing harmful chemicals from our food. Conversely, we must never allow ourselves to succumb to fear. Fear disables both the immune system and the capacity for critical thought which is key to the survival of democracy. We will restore our health as we reunite our communities and rebuild our nation. So start doing your morning calisthenics everybody. Get yourself in shape for a Kennedy Presidency! p.s. And yes, I can do more than 10 pushups. That was my last set. #Kennedy24

    ♬ original sound – Robert F. Kennedy Jr

    Running as a third-party candidate at the time, RFK Jr. posted the above video saying he was getting ready to debate President Joe Biden (he didn’t end up qualifying for the debate stage). It’s not a particularly impressive workout, as it shows the man struggling to complete some push-ups (he says he was on his final set). This is also the video that introduced most Americans to RFK Jr.’s tendency to work out while wearing dad jeans. (A pet theory about why he doesn’t wear shorts in his videos: The man skips leg day.)

    4. The “Pete and Bobby Challenge” (August, 2025)

    RFK Jr. and 45-year-old Defense Secretary Pete Hegseth teamed up for a workout they called the “Pete and Bobby Challenge” — perform 50 pull-ups and 100 push-ups in any order you want within five minutes. Their video, filmed in “the bowels of the Pentagon,” has RFK Jr. once again exercising in jeans and now adding cowboy boots to make his workout look even less practical. Fitness experts chided that encouraging such intense stunts for the average person is “not recommended,” though that seems a bit petulant. But RFK Jr. and Hegseth’s push-up range of motion would be totally called out by any fitness trainer as you’re supposed to start in a high plank. Also, notice this workout doesn’t include any squats.

    3. Pull-ups at Reagan National Airport (December, 2025)

    RFK Jr. announced a $1 billion grant to “incentivize more family friendly resources in airport terminals” — including play spaces for children and mini-gyms (if there’s one thing every traveler wants, it’s to sit next to a person on a flight who just worked out). Still, one could see some good coming from this and, to help promote the initiative, RFK Jr. performed 20 pull-ups at Reagan National Airport.

    Two things can be true at once: Doing 20 pull-ups is impressive for anybody, and especially for a man RFK Jr.’s age, and also for anybody in our political class (34-year-old New York Mayor Zohran Mamdani couldn’t perform a single unassisted bench press of 135 pounds at a photo-op). But also, technically, as with the push-ups, these are not pull-ups — a pull-up is performed from a dead hang and your chin must clear the bar (this is still more than I can do, and probably more than you can, too, but we’re not posting workout videos to inspire a nation to use improper form).

    Exercising in slacks, a button-down shirt and a tie is strange, but is fitting for being in an airport, and still somehow less odd than jeans.

    2. “What I Do to Stay Healthy” (July 2024)

    Now we’re talking: Jumping from a helicopter to swim with a shark. This is the kind of content we want. Otherwise, this is a montage of RFK Jr. lifting weights, skiing, surfing and hiking. You can briefly see his legs during the surfing shot, and here’s a closer look, below. What do you think: Do those calves look neglected compared to his upper body?

    1. Working Out with Kid Rock (February, 2026)

    Filmed at Kid Rock’s highly enviable home gym and wet suite setup, this is a music video of RFK Jr. working out with the singer, taking a sauna and doing a cold plunge (points for going all the way under). Much has been made about the vaguely homoerotic frenetic fever dream quality of this montage, which seems one minute away from the duo snorting coke off toilet seats (Stephen Colbert dubbed the video “senior softcore”). Nothing here is more off-putting, however, than the prospect of drinking milk in a hot tub.

  • ‘Pachinko’ Stars Kim Minha, Noh Sang-hyun Reunite for Netflix Rom-Com ‘Messily Ever After’

    ‘Pachinko’ Stars Kim Minha, Noh Sang-hyun Reunite for Netflix Rom-Com ‘Messily Ever After’

    Netflix has kicked off production on “Messily Ever After” (working title), a new Korean romantic comedy film reuniting “Pachinko” stars Kim Minha and Noh Sang-hyun.

    The film follows Su-hyun and Hyun-tae, a couple whose decade-long relationship swings between deep affection and mutual exasperation. “Leaning into the emotional whiplash of a long-term relationship, ‘Messily Ever After’ explores what it really means to stay together after the honeymoon phase has long ended — capturing the messy mix of loyalty, irritation, desire, and doubt that comes with truly knowing someone. The film is expected to blend sharp, witty storytelling with a grounded look at modern relationships,” according to Netflix.

    Kim, known for her roles in “Pachinko,” “Typhoon Family” and “Way Back Love,” plays Su-hyun, a perfectionist curator who holds everything together professionally but finds herself unraveling when jealousy and love enter the picture. Noh Sang-hyun, also of “Pachinko” and “Love in the Big City,” plays Hyun-tae, a passionate installation artist who is unafraid to stand his ground. The casting reunites the two actors following their on-screen romance in “Pachinko,” this time as college sweethearts now a decade into their relationship.

    The film marks the feature directorial debut of Seo Jung-min. Production is handled by Bombaram Film — the studio behind the young adult romance “Love Untangled,” directed by Namkoong Sun, and the acclaimed drama “Kim Ji-young, Born 1982,” directed by Kim Do-yeong.

    “Messily Ever After” continues Netflix’s push to champion emerging filmmakers in Korean cinema, following titles including “Love Untangled,” “20th Century Girl” and “Lost in Starlight.”

    The title joins Netflix’s extensive Korean slate that was unveiled in January.

  • New ‘Assassin’s Creed’ Leadership Team Set at Ubisoft, Including ‘Black Flag,’ ‘Origins’ Alums

    New ‘Assassin’s Creed’ Leadership Team Set at Ubisoft, Including ‘Black Flag,’ ‘Origins’ Alums

    Ubisoft has set three executives as the new leaders of its iconic “Assassin’s Creed” video game franchise, including alums who oversaw work on beloved title “Assassin’s Creed IV: Black Flag.”

    Vantage Studios, the Ubisoft subsidiary that operates the “Assassin’s Creed,” “Rainbow Six Siege” and “Far Cry” franchises, has named Martin Schelling head of the “Assassin’s Creed” brand. With this new title, Schelling will be responsible for overall strategy and long-term vision of the brand. Most recently, Schelling served as Ubisoft’s chief production officer and oversaw development workflows across the company’s portfolio. Schelling previously had leadership roles on “Assassin’s Creed” titles including “Revelations,” “Black Flag,” “Origins” and “Valhalla.”

    Creative director on both “Assassin’s Creed Origins” and “Assassin’s Creed IV: Black Flag,” Jean Guesdon has been appointed head of content for the franchise. Guesdon will oversee the Ubisoft brand’s creative direction, support individual games and guide the future of “Assassin’s Creed” “while staying true to its core DNA.” A veteran designer at Ubisoft, Guesdon’s credits trace back to the original 2007 “Assassin’s Creed” game.

    François de Billy has been set as the brand’s head of production excellence, a title that Ubisoft’s Vantage Studios says is is meant to “strengthen production practices and execution across the brand.” François was production director on both “Assassin’s Creed: Valhalla” and “Assassin’s Creed: Origins.”

    The new trio will transition from their current roles over to the “Assassin’s Creed” leadership team in the coming weeks to work alongside Andrée-Anne Boisvert, producer for “Assassin’s Creed’s” cross-brand initiatives and head of technological excellence, and Lionel Hiller, vice president of brand and go-to-market strategy.

    These appointments come on the heels of great change across Ubisoft, which is in the process of dividing up all of its teams into five “creative houses,” one of them being Vantage Studios. This new model is being pioneered by Ubisoft CEO Yves Guillemot as part of the company’s latest restructuring of operations amid weak post-pandemic performance.

  • ‘KPop Demon Hunters,’ Guillermo del Toro’s ‘Frankenstein’ Joining Criterion Collection (EXCLUSIVE)

    ‘KPop Demon Hunters,’ Guillermo del Toro’s ‘Frankenstein’ Joining Criterion Collection (EXCLUSIVE)

    Guillermo del Toro’s “Frankenstein” and “KPop Demon Hunters” have been added to the Criterion Collection. The two Netflix releases are among the most acclaimed and most streamed films of 2025 and are in the thick of the Oscar race.

    “Frankenstein” was nominated for nine Academy Awards, including best picture and supporting actor for Jacob Elordi, who plays the creature. Del Toro has labored for decades to bring his sumptuous reimagining of Mary Shelley’s classic tale to the screen, mounting and then being forced to abandon the production at several points in his career. He finally gets his wish with a film that is visually bold, offering soaring sets and lush cinematography. Like so many del Toro films, the monster in this story is less savage and more sympathetic than the human characters. Oscar Isaac, Christoph Waltz and Mia Goth co-star in “Frankenstein.”

    “KPop Demon Hunters” was a viral smash when it was released on Netflix last summer, eventually becoming the most popular film ever on the streaming service. It is directed by Maggie Kang and Chris Appelhans and won the Golden Globe and Critics’ Choice Awards for best animated motion picture and song for “Golden.” The hit number was also the first K-Pop song ever to win a Grammy, and “KPop Demon Hunters” is nominated for best animated feature and original song at the upcoming Academy Awards.

    The Criterion Collection publishes classic and contemporary films from around the world in editions that offer the highest technical quality, as well as supplemental materials including interviews and behind-the-scenes looks. Previous Netflix films that are part of the collection include Alfonso Cuarón’s “Roma,” Martin Scorsese’s “The Irishman”, Jane Campion’s “The Power of the Dog,” Noah Baumbach’s “Marriage Story” and “Guillermo del Toro’s Pinocchio.” Criterion also recently announced that it was adding other awards season favorites from 2025, including Joachim Trier’s “Sentimental Value,” Jafar Panahi’s “It Was Just an Accident” and Kleber Mendonça Filho’s “The Secret Agent,” to its roster.

  • ESPN Signs Andy Roddick as Tennis Analyst

    ESPN Signs Andy Roddick as Tennis Analyst

    Tennis great Andy Roddick will take a new pivot toward the net as an analyst for ESPN‘s match and studio coverage tied to the sport. Roddick, who has worked for Fox Sports and Tennis Channel in the past, will join the Disney sports giant’s roster of tennis commentators just prior to Wimbledon.

    “We’re thrilled to welcome Andy to the team. ESPN has long led the way in delivering in-depth tennis analysis, and with several recent talent additions, we’ve further strengthened our coverage,” said Linda Schulz, ESPN’s vice president of production, in a prepared statement. “Andy brings a distinctive, energetic, and highly relevant voice that will elevate both our studio and match coverage.”

    When it comes to tennis, ESPN has been working on its serve. The sports outlet in January named popular basketball host Malika Andrews to lead tennis coverage at the Australian Open, Wimbledon and the U.S. Open.

    ESPN said it struck a “multi-year deal” with Roddick, who retired from the sport in 2012 after reaching the Wimbledon finals three times and the U.S. Open finals once. Between 2002 and 2010, Roddick landed nine consecutive year-end top 10 finishes in the ATP rankings. He helped lead the United States to the 2007 Davis Cup title. Roddick was inducted into the Tennis Hall of Fame in 2017.  

    Roddick has made appearances in the past on shows including “Sabrina the Teenage Witch,” “The Weakest Link” and “Celebrity Family Feud.”
     
    “Simply, I’m always just a massive fan of tennis,” Roddick said in a statement. “I’m very excited to join the ESPN tennis team and look forward to covering the two biggest tournaments in the world.”

  • BBC Greenlights Three New Dramas, Including Tudor-Set ‘1536,’ ‘Shy & Lola’ With Hayley Squires, Bel Powley

    The BBC has unveiled three new dramas coming to our screens in due course, including Shy & Lola with Hayley Squires and Bel Powley.

    Shy & Lola, a new six-part drama for BBC iPlayer and BBC One, is written by award-winning screenwriter and novelist Amanda Coe (Apple Tree Yard, The Trial of Christine Keeler) and produced by multi-BAFTA and Emmy award-winning Clerkenwell Films (Baby Reindeer, The Death of Bunny Munro, The End of the F***ing World), part of BBC Studios.

    The darkly comic story follows Shy and Lola, two very different women who are forced to become allies when a murder entangles them in the criminal underworld operating in Shy’s small coastal town in the North of England. Squires (The Night ManagerI, Daniel Blake) stars as Shy, a cleaner scraping by and dreaming of a new life in Portugal, with Powley (A Small Light, The Diary of a Teenage Girl) playing Lola, an ex-model-turned-grifter who arrives in town with trouble at her heels.

    Filming on the show, based on the French television drama Cheyenne and Lola, will begin this spring in and around the U.K. cities of Hull and Leeds.

    Also announced on Monday is D-Notice from writers and executive producers Adam Patterson and Declan Lawn. The six-part British political thriller is set in the world of investigative journalism. Patterson and Lawn are said to “have some experience of” the D-notice mechanism, which allows the government to advise journalists about national security. Now, they’ve come up with a drama that looks at how truth and power speak to one another. It is their third project for the BBC, following The Salisbury Poisonings and Blue Lights, and their first commission from production company Hot Sauce Pictures, backed by Sony Pictures Television.

    The BBC has also commissioned 1536, a new drama series for BBC iPlayer and BBC One, based on Ava Pickett’s play of the same name. The eight-part show written by Pickett from Drama Republic (Riot Women, One Day) is set in the heart of Tudor England against the backdrop of Anne Boleyn’s arrest and weaves royal scandal with rural struggle.

    1536 centers around Anna, Mariella, and Jane: three young women gossiping, arguing, and dreaming in an Essex village, desperately waiting for their lives to start. When the news reaches them that King Henry VIII has had his Queen, Anne Boleyn, arrested, the three of them never suspect that this act will change their lives forever.

    Pickett said: “1536 is something I am immensely proud of and I feel so lucky and privileged to have the chance to bring Anna, Jane and Mariella to a wider audience and to build out their lives even more. In a world where every decision made in the corridors of power ricochets through all of our lives, this story feels more relevant than ever. I’m so grateful to Lindsay Salt for being such a champion of it from the start.”

    Lindsay Salt, Director of BBC Drama, added: “From the moment we saw Ava’s play we knew that we had to have the TV version on the BBC. Visceral, funny, provocative, timely and full of courage, this is a piece of work like no other. Ava is an exceptional voice, so we feel very lucky to be working with her and the brilliant team at Drama Republic to bring three iconic female characters to the screen.”

    Executive producers are Jude Liknaitzky, Roanna Benn, Rebecca de Souza, Chloe Beeson and Pickett. The series was commissioned by Salt.

  • BBC Studios Chiefs on Mega-Mergers, Own M&A, Trump Tariffs, U.S. Streaming Growth, and the ‘Bluey’ Movie

    BBC Studios Chiefs on Mega-Mergers, Own M&A, Trump Tariffs, U.S. Streaming Growth, and the ‘Bluey’ Movie

    BBC Studios CEO Tom Fussell and Zai Bennett, CEO and chief creative officer of BBC Studios Productions, discussed tariff talk by U.S. President Donald Trump, mega-consolidation, including the planned Netflix-Warner Bros. Discovery deal, the growth of the company’s U.S. streaming business, and the Bluey movie.

    They spoke to the press on the first day of the 50th annual BBC Studios Showcase in London. BBC Studios, the commercial arm of British broadcaster BBC, is known for such hit franchises as animated powerhouse Bluey, Netflix’s Baby Reindeer, legal drama The Split and its upcoming spin-off The Split Up, and such natural science hits as Walking With Dinosaurs, and it recently unveiled new shows to mark broadcaster and naturalist David Attenborough’s 100th birthday on May 8.

    “We have seen no impact” from Trump tariff talk, Fussell said when asked about any possible fallout, also lauding the continuing popularity of BBC News in the U.S. He didn’t discuss Trump’s lawsuit against BBC News, simply touting the resilience of the BBC brand and saying “we are not seeing any changes.”

    Asked about Netflix-WBD, he said “we are well diversified, and obviously, you can only control what you can control, so you focus on your priorities, and our priority is carrying the transformation and the growth in the areas we’ve got.” He emphasized though that “no doubt, … people have talked about challenging markets and the rest of it, and our view going forward is that the market growth is not going to be anything like what it had been in the [past] five years.”

    Continued Fussell: “And when you start seeing rumors upon rumors about takeovers and consolidation, that normally is testament to the fact there aren’t huge amounts of growth in the market, because everyone’s looking for … synergies. But we know what we’re doing. We know where we want to be investing in our global expansion of our studio.”

    In that context, he also highlighted that BBC Studios was “a growing business that’s transforming,” with revenue up 55.7 percent over the last four years.

    Following TV market challenges, Bennett on Monday suggested that “there are definitely green shoots of recovery,” sharing that “Paramount is back in the market, spending money,” among other things. But he reiterated that things are “definitely not” expected to return to the highs of the past five years but play out in a new normal range.

    Fussell suggested though that he felt the business would be “talking about striving again,” from scripted to unscripted and, vitally, kids programming.

    Mentioning the 2019 BBC Studios deal with what was then Discovery to take full control of UKTV’s entertainment channels, including Dave, Gold, and Drama, as well as a 2024 deal with ITV that gave the company full control of streamer BritBox International, Fussell also signaled that BBC Studios could also strike more acquisitions of its own. He said it would “carry on investing organically and maybe inorganically.”

    Bennett, who started his role in late 2024, similarly noted that BBC Studios Productions is seeing “solid organic growth and investment” and “looking for inorganic growth in some territories,” mentioning the rest of Europe, the Middle East and Africa as one possible region for deals.

    Fussell added that there “are opportunities for inorganic growth in streaming across the genres,” adding: “I think we have a right, as the home of British streaming, to grow that even further.” But he emphasized that “these opportunities take time,” concluding: “We are very judicious with how we spend that investment.”

    Fussell on Monday also touted the success of streaming services BritBox and BBC Select, which focuses on documentaries, in North America. “Last week was the fifth birthday of BBC Select, and BBC Select is now the third-largest factual SVOD in the States, and we’re really proud of that,” he said. He also touted the growth of BritBox and its launch of a premium tier.

    Among content trends, Bennett was asked about the growth of microdramas, saying that “we’re looking at that right now” and signaling the company could talk about this space more in the coming months. He added: “We’re certainly experimenting.”

    Questioned about audience and buyer appetite, he sees for escapist content versus programming dealing with the world’s cultural and political divisions, Bennett said BBC Studios Productions looks at market needs and is “leaning into specificity and Britishness” more than anything else.

    Current and old content favorites also drew reporter questions on Monday. Could motoring show Top Gear return to U.K. screens? Replied Bennett: “Never say never.”

    Of course, the upcoming Bluey: The Movie was also a talking point. Fussell shared that he just visited creator Joe Brumm in his studio in Brisbane, calling the experience “an absolute pleasure,” and saying that the work on the film was going well. But “I can’t say anything” more, he emphasized. And Bennett shared: “We’ve seen bits of it, and it looks amazing.”

  • Ted Sarandos Responds to Trump Telling Netflix to Fire Susan Rice: “It’s Not a Political Deal”

    Ted Sarandos Responds to Trump Telling Netflix to Fire Susan Rice: “It’s Not a Political Deal”

    Netflix boss Ted Sarandos has responded to a social media call from Donald Trump to fire board member Susan Rice.

    “This is a business deal. It’s not a political deal. This deal is run by the Department of Justice in the U.S. and regulators throughout Europe and around the world,” Sarandos told BBC Radio 4’s flagship Today program on Monday.

    His comments came as Netflix and Paramount are battling to acquire Warner Bros. Discovery. Currently serving as a Netflix board member, Rice formerly served as the U.S. National Security Advisor from 2013-2017 and the Domestic Policy Advisor from 2021-2023 during Democratic administrations.

    Sarandos also brushed off a question about Trump intervening directly as the bidding for Warner Bros. plays out by adding: “He likes to do a lot of things on social media.” The Netflix co-CEO, who was in London for the BAFTA Awards on Sunday night, also talked up his bid for WBD ahead of a Monday deadline for rival bidder Paramount to submit a “best and final” offer.

    Sarandos argued a Warner Bros. tie-up with Netflix would amount to more growth in original content investment and Hollywood overall. “This is a vertical merger. We’re buying a movie studio and a distribution entity that we don’t currently have – we’ll be adding to the market, where Paramount has committed that they’re going to cut $6 billion out of the business right away … This industry will be much smaller under that ownership than it would be under the Netflix version,” Sarandos told the UK pubcaster.

    He also reiterated his opposition to James Cameron’s endorsement of Paramount in the bidding process for WBD. “It doesn’t hurt. I would say it was quite confusing,” Sarandos said after insisting he had met with Cameron in Dec. 2025 and committed Netflix to 45-day exclusivity for Warner Bros. movies should his company prevail in its takeover of the Hollywood studio.

    “We spent five minutes of our conversation on that (windowing), and we talked mostly about these glasses that he’s developing for Meta to watch movies at home,” he added. Sarandos’ latest response followed Cameron sending a letter to Sen. Mike Lee (R-Utah) arguing that allowing Netflix to purchase the studio will deal a disastrous blow to movie theaters and weaken an essential cog of the Hollywood machinery in a way that will lead to substantial job losses.

    The director claimed Sarandos planned to pursue a 17-day theatrical window, despite the Netflix boss saying he will keep Warner Bros. movies in theaters for 45 days.

  • Music Industry Moves: Suno Names Former Merlin CEO Jeremy Sirota Chief Commercial Officer

    Music Industry Moves: Suno Names Former Merlin CEO Jeremy Sirota Chief Commercial Officer

    Generative-AI company Suno has named former Merlin CEO Jeremy Sirota as its chief commercial officer, it announced Monday morning. In the role, Sirota will lead Suno’s commercial strategy, music industry relationships, platform partnerships, and enterprise solutions and will report directly to CEO Mikey Shulman.

    During his six years as CEO of Merlin, the digital music licensing partner for independent music labels and distributors, Sirota scaled annual revenue from $900 million to $1.8 billion while rebuilding its technology infrastructure and expanding its data and licensing capabilities. He led licensing agreements with major technology platforms including Apple, Deezer, Meta, Spotify, Twitch and YouTube among others. He also negotiated Merlin’s early AI partnerships.

    Prior to Merlin, Sirota held business development, strategy and operational roles at Meta on the music team, was a senior record executive at Warner Music Group, and served as a technology lawyer at Morrison Foerster, where he did licensing work for entertainment companies and advised on intellectual property matters.

    “Jeremy is a rare leader who has spent his career working to improve every side of the music business – for fans, artists, music rightsholders, and platforms,” said Shulman, co-founder and CEO of Suno. “What truly sets him apart is his ability to build what doesn’t yet exist, finding opportunity where others see obstacles and bringing all sides with him. That mindset will help craft a better future of music for all, and I couldn’t be more excited to have him join Suno.”

    Suno recently announced a partnership with Warner Music Group and last fall, it launched what it claims is the the first generative audio workstation, Suno Studio, which blends pro-grade multi-track editing with AI stem generation.

    + Sony Music Publishing has promoted Greg Prata to chief financial officer, effective March 31. He will continue to be based out of the company’s New York office and will report to SMP chairman & CEO Jon Platt.

    In his new role, Prata will oversee all aspects of Sony Music Publishing’s financial operations globally, including reporting, accounting, budget, administration and IT. He succeeds Tom Kelly, who recently announced his upcoming retirement from his position as CFO, after a 35-year career.

    Platt said, “Greg has been a trusted leader on our team, and I’m pleased to see him step into the CFO role as we advance our next stage of growth. At the same time, we thank Tom for his remarkable tenure. His leadership has helped drive our success and set a high bar for excellence that Greg will continue to build upon.”

    Prata joined Sony in 2012 as senior VP of financial planning & analysis, following his time at EMI. In 2019, he was promoted to executive VP of finance & corporate strategy. Prior to his roles at Sony Music Publishing and EMI, Prata spent over a decade in private equity and investment banking.

    + Patron Saints of Music, the custom music house behind Bravo’s “Below Deck” and others, has named Allie Moskovits head of sync & business development. In this newly created role, Moskovits will lead sync strategy for Patron Saints’ expanding catalog to drive business across TV, film, advertising, gaming, and emerging media. She will also focus on developing new artists and songs to diversify the catalog and expand the company’s footprint beyond unscripted television.

    + Culture Wave, a Los Angeles–based, “rock-forward” artist management company operating in partnership with Red Light Management, has expanded in several areas.

    Artist managers Ryan Cunningham and Mike Bingham of Polarizer Management have joined Culture Wave, bringing their rosters into the company’s management division. Cunningham represents the Armed, Prostitute, Trauma Ray, Patrick Shiroishi, Truck Violence, Jodi, while Bingham joins with Trauma Ray, Spiritual Cramp and Agriculture. Cunningham will remain in his role at Biz 3 Publicity where he’s been a publicist for 12 years.

    The company also announces the promotion of Rachel Hacken to artist manager, transitioning from day-to-day support for Jason Mageau’s roster. Hacken now manages Kittie, Gore., Thousand Below, and Holy Wars; as well as:

    Alana Lopez joins as touring & logistics manager, supporting Jason Mageau’s roster and Culture Wave artists; Madison Stern joins as day-to-day manager for Andrew Jarrin; Ana Garcia joins as digital marketing coordinator; Erin Carignan joins as day-to-day manager for Ryan Cunningham; Joey Mullen joins as co-manager for the band Agriculture with Bingham.

  • BBC Greenlights Three New Dramas, Including Tudor-Set ‘1536,’ ‘Shy & Lola’ With Hayley Squires, Bel Powley

    The BBC has unveiled three new dramas coming to our screens in due course, including Shy & Lola with Hayley Squires and Bel Powley.

    Shy & Lola, a new six-part drama for BBC iPlayer and BBC One, is written by award-winning screenwriter and novelist Amanda Coe (Apple Tree Yard, The Trial of Christine Keeler) and produced by multi-BAFTA and Emmy award-winning Clerkenwell Films (Baby Reindeer, The Death of Bunny Munro, The End of the F***ing World), part of BBC Studios.

    The darkly comic story follows Shy and Lola, two very different women who are forced to become allies when a murder entangles them in the criminal underworld operating in Shy’s small coastal town in the North of England. Squires (The Night ManagerI, Daniel Blake) stars as Shy, a cleaner scraping by and dreaming of a new life in Portugal, with Powley (A Small Light, The Diary of a Teenage Girl) playing Lola, an ex-model-turned-grifter who arrives in town with trouble at her heels.

    Filming on the show, based on the French television drama Cheyenne and Lola, will begin this spring in and around the U.K. cities of Hull and Leeds.

    Also announced on Monday is D-Notice from writers and executive producers Adam Patterson and Declan Lawn. The six-part British political thriller is set in the world of investigative journalism. Patterson and Lawn are said to “have some experience of” the D-notice mechanism, which allows the government to advise journalists about national security. Now, they’ve come up with a drama that looks at how truth and power speak to one another. It is their third project for the BBC, following The Salisbury Poisonings and Blue Lights, and their first commission from production company Hot Sauce Pictures, backed by Sony Pictures Television.

    The BBC has also commissioned 1536, a new drama series for BBC iPlayer and BBC One, based on Ava Pickett’s play of the same name. The eight-part show written by Pickett from Drama Republic (Riot Women, One Day) is set in the heart of Tudor England against the backdrop of Anne Boleyn’s arrest and weaves royal scandal with rural struggle.

    1536 centers around Anna, Mariella, and Jane: three young women gossiping, arguing, and dreaming in an Essex village, desperately waiting for their lives to start. When the news reaches them that King Henry VIII has had his Queen, Anne Boleyn, arrested, the three of them never suspect that this act will change their lives forever.

    Pickett said: “1536 is something I am immensely proud of and I feel so lucky and privileged to have the chance to bring Anna, Jane and Mariella to a wider audience and to build out their lives even more. In a world where every decision made in the corridors of power ricochets through all of our lives, this story feels more relevant than ever. I’m so grateful to Lindsay Salt for being such a champion of it from the start.”

    Lindsay Salt, Director of BBC Drama, added: “From the moment we saw Ava’s play we knew that we had to have the TV version on the BBC. Visceral, funny, provocative, timely and full of courage, this is a piece of work like no other. Ava is an exceptional voice, so we feel very lucky to be working with her and the brilliant team at Drama Republic to bring three iconic female characters to the screen.”

    Executive producers are Jude Liknaitzky, Roanna Benn, Rebecca de Souza, Chloe Beeson and Pickett. The series was commissioned by Salt.