Category: Entertainment

  • Ben Affleck and Matt Damon to Receive Award in Honor of ‘Good Will Hunting’ Pal Robin Williams

    Ben Affleck and Matt Damon to Receive Award in Honor of ‘Good Will Hunting’ Pal Robin Williams

    Ben Affleck and Matt Damon have won awards separately and together — most notably an Oscar for writing Good Will Hunting — and they will reunite to pick up another honor next week in honor of Robin Williams.

    The pair starred opposite the late legend in Gus Van Sant’s 1997 film, which also earned Williams an Academy Award for best supporting actor. And they will be making the trek up to San Francisco to receive the 9th Robin Williams Legacy of Laughter Award presented to them by Glenn Close‘s nonprofit, Bring Change to Mind, at the organization’s Revels & Revelations Celebration. The fundraiser is set to take place at the Fort Mason Center for Arts & Culture on April 27.

    Matt Damon and Ben Affleck pose with Robin Williams and their respective Oscars won for ‘Good Will Hunting’ at the 70th Academy Awards at the Shrine Auditorium in Los Angeles on March 23, 1998.

    (Photo credit should read HAL GARB/AFP via Getty Images)

    Setting the stage for a special night, Affleck and Damon will be presented with their Robin Williams Legacy of Laughter Award by Robin’s children, Zak, Zelda and Cody Williams. It’s an honor designed to recognize “their impact and the power of storytelling and connection to spark real change.”

    Affleck and Damon also released a joint statement to The Hollywood Reporter about the news and their friend. “Robin wasn’t just someone we admired. He made our dreams come true. We owe everything to him. He said yes to our movie and we got it made. Receiving the Legacy of Laughter Award, created in honor of Robin Williams, is incredibly meaningful to us. His legacy isn’t just about his talent and how much he made the world laugh — it’s about how deeply he cared. This honor carries his spirit, and that means everything to us,” the duo said.

    The event, a milestone moment for Bring Change to Mind as it celebrates 15 years of impact and a decade steering student programming, will also fete philanthropist Pam Baer with a Champion of Change Award to acknowledge her leadership in advancing mental health awareness. The event, supported by lead sponsor American Eagle Foundation, is also supported by individual, foundation and corporate donations. Per official details, it’s already sold out.

    Founded by Close in 2010, BC2M is a national organization dedicated to ending the stigma and discrimination surrounding mental illness by working with leading scientists to make a difference in the lives of teens and adults. The cause is personal for Close as her sister, Jessie, lives with bipolar disorder and her nephew, Calen, lives with schizoaffective disorder. The Revels & Revelations Celebration was mounted as a “powerful night of storytelling, celebration and impact” by bringing together advocates, partners and community members under a shared mission of making sure that every young person feels “seen, supported and empowered” to talk openly about mental health.

    Williams died by suicide at age 63 on Aug. 11, 2014. His work with the pair on Good Will Hunting left a lasting impact.

    “It was the very first day of shooting and Ben and I went to the set. We weren’t working that day and we just saw them rehearse and we were kind of sitting off to the side of the camera,” Damon previously told E! “By the time they said, ‘Action,’ tears were just falling down my face. I couldn’t believe it. I was just looking at Robin start to speak and say these words that Ben and I had just worked on for five years.”

    He continued: “After the scene ended, [Robin] came over to us and he saw us. He put his hand on our head and just said, you know, ‘It’s not a fluke. You guys really did this. You really did it.’”

    After his passing, they both offered tributes. “Thanks chief — for your friendship and for what you gave the world,” Affleck shared on social media at the time. “Robin brought so much joy into my life and I will carry that joy with me forever,” Damon said in a statement. “He was such a beautiful man. I was lucky to know him and I will never, ever forget him.”

    Prior recipients of the Robin Williams Legacy of Laughter Award include Amy Poehler and Ryan Reynolds. Affleck and Damon most recently teamed on The Rip for Netflix. Damon next toplines Christopher Nolan’s star-packed The Odyssey.

  • Hollywood Film and TV Production in Canada Rebounds

    Hollywood Film and TV Production in Canada Rebounds

    U.S. film and TV production in Canada rebounded in 2025 as the local industry finally put the devastating impact of Hollywood’s year of strikes in 2023 in the rearview mirror.

    The latest annual economic report from the Canadian Media Producers Association, representing local indie producers, points to foreign location and service production in Canada, mostly by American producers, rising 9.5 percent to CAN$5.32 billion (US$3.9 billion, compared to a year-earlier CAN$4.86 billion.

    That production activity includes visual effects work done by Canadian VFX studios for foreign films and TV series. Hollywood production growth was due mainly to TV series production rising 12.1 percent to CAN$3.42 billion (US$2.51 million) and the total volume of other foreign production – including TV movies, specials, pilots and single-episode shoots — increasing by 54.4 percent to CAN$366 million (US$268.2 million).

    The overall increase in Hollywood TV production last year offset a 2.2 percent fall in foreign movie production across Canada. The major American players active north of the U.S. border continues to be led by Netflix, Amazon Prime Video, Disney+ and Apple TV+ as they center around production hubs in Toronto and Vancouver.

    The big U.S. series to shoot in Canada last year included IT: Welcome to Derry, The Last of Us, Doc and Happy Face, while big budget movies to shoot in Canada included FrankensteinTron: Ares and Final Destination: Bloodlines.

    Last year’s foreign production rebound was down, however, from the record CAN$6.62 billion in budgetary spending reached in 2023, just before the impact of the Hollywood actors and writers strike was felt by the Canadian industry as local soundstages went dark and production crews were left idle.

    The Hollywood industry consolidation and the end of the Peak TV era is also working to reduce American production levels. U.S. film and TV production accounted for 398 projects in Canada last year, or 87 percent of overall foreign location shooting north of the U.S. border, with much of that concentrated in Ontario and British Columbia.

    That compares to in all 425 U.S. film and TV series projects shot in Canada in 2024, which represented 86 percent of overall foreign production activity. The rebound in American production last year offset a 2.2 percent fall in local homegrown film and TV series production to $3.62 billion (US$2.65 billion), according to the CMPA report.

    The overall volume of production in Canada rose last year by 4.6 percent to CAN$10.17 billion (US$7.54 billion, but that was 15.8 percent down on the peak of CAN$12.07 billion reached in 2023.

  • Sean Baker Scores Massive Payday for ‘Anora’ Follow-Up at Warner Bros. Label Clockwork: Inside the Deal for “Ti Amo!” (EXCLUSIVE)

    Sean Baker Scores Massive Payday for ‘Anora’ Follow-Up at Warner Bros. Label Clockwork: Inside the Deal for “Ti Amo!” (EXCLUSIVE)

    Oscar winner Sean Baker has found an unexpected way to inspire future generations of independent filmmakers — at the bank. 

    The auteur has secured the first big payday of his career for his follow-up to best picture winner “Anora,” the sex-worker dramedy that made history in 2025 when the Oscars handed Baker four trophies in one night, tying the record set by Walt Disney.

    The project in question is “Ti Amo!” which Baker has described as “an ode to the Italian sex comedies of the ’60s and ’70s.” Warner Bros. announced it had won the film last week at CinemaCon in Las Vegas. It was a major flex for the studio’s new indie-centric label Clockwork, run by Christian Parkes (former marketing chief for Neon). 

    What they didn’t say onstage at Caesars Palace is that Clockwork bought the distribution rights to “Ti Amo!” for an eye-popping $22 million, five sources familiar with the deal tell Variety. Baked into that number is the film’s budget, which is being financed by FilmNation and is expected to be north of $10 million. The final cost of the film won’t be finalized until Baker completes a script.

    However, the surplus will be divided among FilmNation, a few other key production players and Baker, who is poised to earn a multimillion-dollar salary for his work as writer, director, editor and producer of “Ti Amo!” 

    For Baker, the pact means greater financial security after years of roughing it in service of his art. His brand is scrappy, by-the-skin-of-our-teeth filmmaking with shoestring budgets and, in early days, shooting “Tangerine” on an iPhone. With Clockwork, Baker will have one distributor overseeing release, marketing and strategy (except in France) for the first time in his career.

    “Isn’t it great to see a filmmaker like Sean who has earned his way up finally get rewarded so he can keep getting to make movies his way?” said one executive with knowledge of the deal. 

    Baker shopped the project last year to multiple bidders, including Neon and A24 and Disney’s Searchlight Pictures. One offer, for U.S. rights alone, came in at roughly $5 million, two sources say, while others came closer to Clockwork’s deal for global distribution. Baker is not signed to a major talent agency but had Lichter Grossman lawyer James Feldman to negotiate on his behalf. He is managed by Adam Kersh, an indie veteran whose clients include other auteurs like Ira Sachs and Amy Seimetz.

    The project was sold as a pitch, sources add. Cameras are expected to roll in September. Another sign of Baker’s post-Oscar power is that the Clockwork sale was not contingent on cast, nor is he expected to hire an A-lister.

    The “Ti Amo!” deal comes as indie filmmaking stars are finding it difficult to get fairly compensated for their work. Many projects leave festivals like Sundance or Cannes without distribution, and even those filmmakers that get deals have seen their residuals and back-end participation shrink as streaming has upended the economics of Hollywood. That’s led some to experiment with alternative ways of getting their passion projects to the screen.

    “The Brutalist” director Brady Corbet is putting together his next project — an epic tale about the history of the occult in America — without a studio partner. Similarly, Tom Ford has adapted Anne Rice’s novel “Cry to Heaven” as an independently financed feature starring Adele. The hope in both cases is that the movies will get a bigger sale price after screening at a high-profile festival than they would if distribution rights were sold ahead of filming. That’s a bet Baker isn’t taking with “Ti Amo!,” and given the rich deal he secured, why would he?

    As revered as he may be among cinephiles, Baker would normally have to pivot to directing a mid-budget or tentpole film or work for a streamer like Netflix to receive this kind of compensation. The latter is a nonstarter, given that Baker is a passionate defender of cinemas. Baker has long been underpaid in comparison with his reputation and influence in the market.

    Most of his projects take three years to produce, and he tends to put any money he makes back into his next films. During the awards season run for 2017’s “The Florida Project,” Baker lived in a small West Hollywood apartment. On Oscar night 2025, he and partner Sammy Kwan went home to walk their dogs in-between the ceremony and the after-party. It’s doubtful that Christopher Nolan or Martin Scorsese did the same.

  • ‘Reacher’ Producer Chases Down Robbery/Assault Suspect in Harrowing New York City Incident

    ‘Reacher’ Producer Chases Down Robbery/Assault Suspect in Harrowing New York City Incident

    Mick Betancourt, a veteran writer, producer and showrunner with a long list of credits on crime dramas and action series like the newest seasons of the Alan Ritchson-starrer Reacher, witnessed a violent crime happening in real time on New York City’s Lower East Side as if it were ripped straight from one of his scripts.

    Rather than sit idly by to see how it played out from afar, he sprang into action to chase down the suspect who — spoiler alert! — ended up in handcuffs by the time the harrowing incident was over. But not before Betancourt bolted approximately half a mile (or more) as he pursued the suspect over 15 minutes, a scene that had its own ebbs and flows and ended in time for Betancourt to make early dinner reservations with his wife.

    “I grew up in a chaotic and violent area and with some violence in my own house and this felt a time when I could do something about it, though I don’t know if any of the Brown or Harvard guys I’ve worked with are chasing guys down like this,” said the native of Chicago, whose resume includes work as a showrunner, writer, executive producer, director and actor. “I also don’t know what the gods have in store for me now so this might’ve been my last hurrah.”

    It started late afternoon on Friday, April 10, when Betancourt and his wife were standing near their hotel, Nine Orchard, near Canal Street, and he witnessed a man sprinting past them. “I spotted a bottle of alcohol in the sprinter’s left hand, a short, stocky bottle, like Don Julio. I turned to my wife and said, ‘The shit’s about to hit the fan,’” per details Betancourt laid out in a new Substack post published on Sunday titled “To chase or not to chase, that is the question.”

    Moments later, Betancourt, who turned 52 in recent days, spotted a man in his mid-50s, someone he presumed to be the owner of a nearby store where the alleged robbery took place, running after the suspect. He caught up to him and a scuffle ensued, all of which Betancourt witnessed.

    “As they wrestled, I looked around and nobody was helping. Nobody jumped in — including me,” Betancourt writes, adding that he pondered the worst possible outcomes were he to get involved. “In a flash, during the standing wrestling match, the robber got a hold of one of the store owner’s legs, lifted it up, effectively whiplashing the owner from a standing position, to slamming his head into the concrete. That THUMP is an unforgettable sound. The whole block, which had been watching, gasped, said ‘Oh fuck’ or screamed. The shop owner’s body went limp, his eyes rolled into the back of his head and his arms flopped out to his sides like he was crucified.”

    Betancourt assumed the store owner was dead based on body language. He made a split-second decision to take action. “I didn’t want to go back to the scene and see them pulling a sheet over the guy or running caution tape around him and think I could’ve done something in that moment,” he said. So when the suspect took off running, Betancourt “gave chase” by kicking it into high gear.

    He laid out the extensive and tense scene in detail, and he sprinted after the man across several New York City blocks. “God cursed me with little alligator legs, but in a cruel twist of fate and irony, he made those hairy little fuckers fast as lightning,” wrote Betancourt.

    Mick Betancourt

    Courtesy of Subject

    At one point, he caught up to him and screamed, “Get on the ground now!” The serious direction gave the man pause and he did slow down long enough for the men to exchange words. The suspect also seemed sure that the man was fatally injured, as he told Betancourt that his actions were in self-defense. Betancourt, who is sober and in recovery for more than two decades, tried to reason with the man as he believed he might be in the throes of addiction.

    Their exchange was brief as the man wouldn’t give up and he got away again. But Betancourt wouldn’t give up. He sprinted after him again, and when he lost his whereabouts momentarily, he sought the help of two elderly women who weren’t overly helpful in pointing out the right direction. In a twist of fate, Betancourt then ran past Housing Authority police officers who assisted in the effort and eventually called for backup from the New York Police Department.

    Betancourt recalled that four NYPD cars arrived on scene, one carrying the store owner, who was alive, alert and came to identify the alleged thief while pressing a bag of ice on his head. “I couldn’t believe it. I really thought he was dead,” wrote Betancourt, who was able to then give an official statement and eventually reunite with his wife, who was still outside the hotel. “When I got back to the hotel, a woman who worked there, who saw the whole thing begin, called me a hero. No, I thought, I was a coward who decided to do something about it.”

    The Hollywood Reporter verified the incident with the NYPD. A spokesperson in the office of the deputy commissioner for public Information confirmed that 35-year-old Iysa Muhammad was arrested and charged with third-degree robbery and second-degree assault after allegedly stealing two bottles of liquor from a store on Grand Street. The 37-year-old man, who was injured in the alleged assault, was transported to NYC Health and Hospitals/Bellevue in stable condition. The investigation is ongoing.

    As for Betancourt, his legs were gassed and it took a few hours to decompress, but he’s now back home and back at work on the upcoming season five of Reacher as a writer and executive producer. He worked on season four, which is expected to debut sometime in 2026. He also worked on the Amazon Prime Video spin-off series, Neagley, focused on Frances Neagley, played by Maria Sten. Betancourt’s other credits include The Purge, Shots Fired, Wicked City, Chicago P.D., Chicago Fire, Ironside, Necessary Roughness, The Mob Doctor, Detroit 1-8-7 and Law & Order: Special Victims Unit.

    When he’s back on set, he’ll have something to talk to Ritchson about after the in-demand star recently had his own wild real-life encounter near his Tennessee home that also looked like it could’ve been ripped from one of his episodes.

  • ‘Michael’ Director Antoine Fuqua Questions Some Michael Jackson Allegations: ‘Sometimes People Do Nasty Things for Some Money’

    ‘Michael’ Director Antoine Fuqua Questions Some Michael Jackson Allegations: ‘Sometimes People Do Nasty Things for Some Money’

    Michael” director Antoine Fuqua opened up for the first time about the movie’s dramatic reshoots in a new interview with The New Yorker. As Variety reported ahead of the biopic’s theatrical release, “Michael” was forced to spend up to $15 million on additional photography in order to overhaul the film’s structure.

    The original movie started in 1993 with police raiding Michael Jackson‘s Neverland Ranch after he’s accused of sexually abusing 13-year-old Jordan Chandler. The film then flashed back to recount the superstar’s life story and build back up to the allegation and the Chandler family’s lawsuit, which Jackson ultimately settled for $23 million before the investigation was closed when the Chandler family stopped cooperating with prosecutors.

    Nothing involving Jordan Chandler or his family’s allegations remain in the final movie. These scenes had to be removed after attorneys for the Jackson estate realized there was a clause in the settlement that blocked the depiction or mention of Chandler in any movie. Gone was the original opening depicting the police raid on Neverland Ranch, which Fuqua teased to The New Yorker by saying: “I shot [Michael] being stripped naked, treated like an animal, a monster.”

    Per The New Yorker: “Fuqua is not convinced that Jackson did what he is accused of doing, despite the number of accusers (five) and the fact that Jackson publicly talked about sharing his bed with boys.”

    Jackson faced 10 charges in 2005 related to the alleged abuse of another 13-year-old but was later acquitted on all counts. The 2019 documentary “Leaving Neverland” then chronicled new allegations from two more of Jackson’s alleged victims. 

    “When I hear things about us — Black people in particular, especially in a certain position — there’s always pause,” Fuqua said, with The New Yorker noting the filmmaker “was skeptical of some of the accusers’ parents, particularly Chandler’s father, who was recorded threatening to insure that Jackson was ‘humiliated beyond belief.’”

    While Fuqua stressed he didn’t know the truth behind the allegations made against Jackson over the years, he noted that “sometimes people do some nasty things for some money.”

    Fuqua and his “Michael” cast and crew assembled last June to overhaul the movie over 22 days of reshoots, as Variety reported. Sources said the Jackson estate shouldered the bill of up to $15 million because its error necessitated the changes. The new version of “Michael” ends with the icon at the height of his career and centers the family tension between Jackson and his domineering father Joe as the dramatic through line of the story.

    “Michael” opens in theaters April 24 from Lionsgate.

  • Zayn Malik Cancels ‘Tonight Show’ Appearance as He Recovers From Undisclosed Medical Condition

    Zayn Malik Cancels ‘Tonight Show’ Appearance as He Recovers From Undisclosed Medical Condition

    Zayn Malik has canceled his upcoming appearances, including The Tonight Show Starring Jimmy Fallon, as he recovers from an undisclosed medical condition.

    On Friday, the singer posted a photo on Instagram of himself lying in a hospital bed, wearing a hospital gown with tubes attached to his body.

    “To my fans – Thank you to all of you for your love & support now & always- been a long week and am still unexpectedly recovering,” he captioned the photo. “Heartbroken that I can’t see you all this week, I wouldn’t be in the place I am today without you guys and am so thankful for your understanding. Thank you to the incredible hospital staff of Drs, nurses, cardiologist, management, admin and everyone who has helped along the way and continue to. You are all legends! Big big love xx z.”

    On Monday, People reported that Malik had pulled out of upcoming promotional appearances surrounding his new album, Konnakol, as he continues to recover.

    Earlier this month, he was booked as a guest on Tuesday’s edition of The Tonight Show. But updated listings for Tuesday’s episode show that he’s no longer scheduled to appear.

    Tuesday’s guests were originally planned to include Malik as the night’s musical guest, along with Nikki Glaser and Ella Stiller. The updated listing now features Glaser, Stiller, Jesse Tyler Ferguson and comedian Isabel Hagen as the night’s scheduled guests.

    Sources also suggested to People that Malik will be pulling out of other planned promotional appearances, including fan meet-and-greets. 

    It’s still unclear what Malik is being treated for but People cited a source saying the former One Direction singer is seeking medical treatment from the “No. 1 cardiologist in the world.” 

    The Hollywood Reporter has reached out to a rep for Malik for comment.

  • Who Wants to Own a Piece of Wasserman?

    Who Wants to Own a Piece of Wasserman?

    It’s been over two months since Casey Wasserman made the surprise move under pressure to put his namesake company up for auction after facing an artist exodus when his decades-old emails with Ghislaine Maxwell surfaced in the Department of Justice’s Jeffrey Epstein documents.

    Since that time, potential suitors have been gaming out a few questions, namely: Is this a fire sale? Is Wasserman willing to break up his sprawling firm into pieces? Is there an appetite to buy the company whole — or just pick off clients in each division? And is Wasserman serious about a sale or is this the equivalent of a homeowner putting a beloved property on the market at way too high of a listing price in the hopes of chasing off all but the highest bidders?

    On Monday, the first round of bids were submitted to investment bank Moelis & Co, which is handling the auction process. (Ken Moelis, who runs the firm, sits on the Wasserman’s LA28 Olympics Committee board and had advised on the mogul’s major acquisition of Brillstein Entertainment Partners in 2023).

    Among suitors: Big 3 Hollywood talent giant United Talent Agency has submitted a non-binding bid to move along in the auction process. The agency, now run by David Kramer, has been in growth mode since a fund operated by the private equity firm EQT Partners became the largest outside investor in the Beverly Hills-based company in 2022. (One wrinkle with UTA’s bid, it likely couldn’t or wouldn’t acquire Brillstein from Wasserman due to a conflict of interest deal with the Writers Guild regarding agency ownership of production entities.)

    A perhaps dark horse suitor is WME mogul Patrick Whitesell’s upstart firm WTSL, which he founded along with ex-Endeavor exec Jason Lublin last year. That representation company had launched with a football talent agency titled WIN Sports Group. In his bid for Wasserman assets, Whitesell has not yet partnered with an additional financial backer but is in active talks regarding funding if WTSL chooses to proceed with its overture.

    The private equity crowd also seems eager for opportunities to jump in to the space. Goldman Sachs’ major deal in November 2025 for Excel Sports Management kickstarted interest given that the investment bank hadn’t backed a representation business previously.

    Among agencies that did not submit bids: WME Group and Creative Artists Agency, the two other major Hollywood representation giants. A Wasserman rep declined to comment on prospective suitors. The New York Times earlier reported that UTA and WTSL were planning to submit bids.

    In addition to its core sports representation division — which has rolled up countless boutique shingles since the company was founded in 2002 — Wasserman comprises a notable music agency group built from its 2021 acquisition of Paradigm’s music division, a major production-management firm in Brillstein and a marketing services unit.

    One other question may be how easily his businesses may be untangled if the company is sold in pieces. When Wasserman made his blockbuster deal to acquire Brillstein in 2023 he told The Hollywood Reporter that the company wouldn’t continue operating as a standalone silo. “It will still operate in the public domain as Brillstein but we don’t operate our businesses separately,” Wasserman said at the time. “We’re one company and one culture working together on behalf of and for and with our clients.”

    While more than 20 performing artists peeled off from Wasserman during the February scandal — including Laufey, Chappell Roan, Best Coast and John Summit — only U.S. soccer star Abby Wambach from the sports unit publicly posted that she was parting ways with her reps. The company formally rebranded from Wasserman to distance itself from its founder, talking the name The Team in March.

    Wasserman’s sports unit is likely a crown jewel given it’s seen as the second-largest in the industry after market leader CAA. The division generated $266 million in revenue in 2024, 29 percent of the company’s total revenue, an S&P Global report from June of last year detailed. CAA’s sports division generated $578 million that year.

    At the table along with Wasserman to navigate the sale decision is Providence Equity Partners, which took a notable stake in Wasserman in November 2022 to fuel growth at the company. Providence was founded by Jonathan Nelson, who is also on the board of directors of the Chernin Group. The private equity firm took the place of two investors, RedBird Capital and Madrone Capital, which took ownership stakes in pro teams — football club AC Milan and the NFL’s Denver Broncos — and as such couldn’t own a stake in a sports talent representation firm like Wasserman. In February at the height of the artist exodus on social media, a rep for Providence said the firm was “fully committed” to investing and expanding the company’s “capabilities across sports, music, and entertainment.”

    Wasserman issued an apology for his correspondence on Jan. 31, shortly after the latest DoJ Epstein Files tranche was released, saying, “I am terribly sorry for having any association” with Maxwell, who is serving a 20-year sentence for her role in conspiring to sex trafficking minors with Epstein. In the files, Wasserman exchanged a serious of flirtatious messages with Maxwell in 2003. He also took a flight with Epstein, Bill Clinton and others to Africa in 2002.

    The mogul, who is chairman of the Los Angeles 2028 Olympic Committee and has led the city’s bid since 2014, has been backed by the board of directors at LA 28 and has stated that he plans to keep overseeing the organization ahead of the Summer Games. LA 28 said it had enlisted outside law firm O’Melveny & Myers LLP to review Wasserman’s emails with Maxwell in 2003, three years before Epstein was first arrested in Florida on a count of soliciting prostitution. “We found Mr. Wasserman’s relationship with Epstein and Maxwell did not go beyond what has already been publicly documented,” it stated on Feb. 11.

    After a pause on social media and a teardown of its old website skin, The Team is going on about business as usual, publicly anyway, announcing signings, launching new initiatives like a leadership advisory and executive search practice led by former Bloomberg exec Amy Segal and listing open jobs, L.A.-based “Content Creator,” “People Coordinator” and “AI Engineer” roles among them.

  • Josh Hutcherson Says Backlash For Not Being a Taylor Swift Fan Reminded Him “Why I Don’t Want to Be Online”

    Josh Hutcherson is opening up about why he stays off social media, using the backlash he received for not being a Taylor Swift fan as an example.

    During a recent interview with GQ, the actor recalled almost being canceled last year for a comment he made about the global popstar during the press tour for I Love LA, in which he plays Dylan, opposite Rachel Sennott’s Maia.

    At the time, Hutcherson was playing a camera roll roulette game with his I Love LA co-star Jordan Firstman during a video interview with i-D Magazine. When The Hunger Games star pulled a photo of him and his mom in the VIP section at Swift’s Eras Tour show in New Orleans, he said, “My mom made me. … I’m not a Swiftie. Very much not. No shade, all respect, but definitely not.” The Swifties clearly weren’t happy, slamming the actor for accepting VIP tickets when he’s not a fan of the singer.

    “I got some heat because I did a photo shoot with Jordan, and Jordan asked me something about being a [Taylor Swift fan], and I was like, ‘Oh no, I’m definitely not a Swiftie,’” Hutcherson recounted to GQ. “All of a sudden it garnered this, ‘Fuck him! He’s a monster! Destroy him! He’s short! He hates her because he’s short!’ [He’s 5ft, 5in.] It’s just like, whoa! I think she’s great. Her music is not my kind of music. That is why I don’t want to be online.”

    So when Hutcherson isn’t actively promoting one of his projects, he’s more than happy to be offline and focused on being present in real life.

    “I don’t need that energy,” he said, adding that being a social media star is “counterintuitive to my job, because if people know you more, you can’t disappear into characters. They see you as, ‘Oh, that’s Josh.’ You know what I mean? So, if you’re a fucking meme, people know you for the meme.”

    However, he knows he can’t escape social media forever. Whether it be the many memes he’s found himself at the center of throughout his career or being subjected to TikTok dances by his Gen Z co-stars in I Love LA.

    “Being thrust out again in the world and online in such a big way, doing a bunch of press and being on TikTok, all those things made me feel very exposed,” Hutcherson admitted. “I started to get a lot of anxiety about it.”

    It also resurfaced the Five Nights at Freddy’s actor’s own insecurities, but thanks to therapy and a mindset shift, he’s learned “to cope and accept that these are my genetics.” He no longer looks at his insecurities “as negatives or as beauty faults, but part of your whole character, your whole existence.”

    Hutcherson added, “I feel like it has led to me being able to handle it in a much more healthy, sane way, and not spiral out and feel like a piece of shit.”

  • ‘Everyone Is Lying to You for Money’ Review: Ben McKenzie’s Knife-Sharp Documentary Takedown of Cryptocurrency

    ‘Everyone Is Lying to You for Money’ Review: Ben McKenzie’s Knife-Sharp Documentary Takedown of Cryptocurrency

    I’ll read a news story about more or less anything, but I glaze over at the prospect of consuming any article about cryptocurrency. That’s because even when I do read one, I never totally get it — what cryptocurrency is, how it works, why it’s treated as the second coming by some while others roll their eyes. The future of many things, including money, will surely be digital. So is cryptocurrency just an early-adapter version of the digital monetary future? Yet if that’s so, why does it always feel like crypto is the sort of thing that used to be advertised on late-night TV along with K-Tel pop-hit collections? And why does the very concept of crypto leave me so confused?

    If, like me, you suffer from perpetual half-submerged crypto angst, the movie to see is “Everyone Is Lying to You for Money,” a lively, knife-sharp, impeccably researched and reported documentary that answers every conceivable question you’ve ever had about crypto, and does so in a way that’s brisk and funny and illuminating rather than intimidating. Above all, it explains the hidden reason why crypto, after all the media bloviating we’ve been subjected to about it, remains such a weirdly obtuse and intimidating topic.

    The reason? Because it’s all designed to sell an illusion. The nature of cryptocurrency is that it’s meant to seem like a shiny new object, one that’s heady and elusive enough to feel just out of reach. That’s the secret appeal of crypto, and what makes its true believers into something of a cult. (Cults are built around magical thinking.) And it’s what lends crypto a mystique that has allowed its marketers to inflate a viral junk-cash phenomenon into irresistible digital snake oil.

    “Everyone Is Lying to You for Money” is the unlikely brainchild of a Hollywood actor: Ben McKenzie, who wrote, produced, and directed it. (It was made in conjunction with his 2023 book “Easy Money: Cryptocurrency, Casino Capitalism, and the Golden Age of Fraud,” written with Jacob Silverman.) McKenzie is someone who many remember as the heartthrob costar of “The O.C.,” where he played the glam rebel outcast Ryan Atwood. He had a few TV roles after that, costarring on “Southland” and “Gotham,” but in “Everyone Is Lying to You for Money” McKenzie, now 47, makes winning sport of the fact that he’ll never outrun his slightly schlocky youth-TV past — and that’s okay with him. He still works as an actor (occasionally), he’s married to the Brazilian-American actor Morena Baccarin (as we see in the movie, they have two sons and live in a beautifully renovated SoHo townhouse), and he’s a very serious dude with a degree in economics.

    In “Everyone Is Lying to You for Money,” McKenzie cuts through reams of misinformation and conducts unshowy but confrontational interviews with finance players who are famous and powerful (he also talks to a lot of people who are not). He chases the story of cryptocurrency and gets to the bottom of it with such muckraking zeal that by the end of the film, I was convinced he should become a politician. (I’m not kidding: He’s as photogenic but combative as Gavin Newsom, though closer in spirit to Pete Buttegieg.)

    McKenzie starts off by plumbing the mysteries of bitcoin, which was the first decentralized cryptocurrency. Bitcoin marketed itself with a savvy hook: the declaration that there would only ever be 21 million bitcoins issued. The implication: Since the number of bitcoins wasn’t going to multiply, it was the value of an individual bitcoin that would go up. But here’s how bitcoin really become the prototype for all the crypto delusion that followed. The new currency would operate kind of like a stock (people would trade it; the value would fluctuate)…except it wasn’t tethered to a company that made actual goods. It presented itself as a kind of bank…except it wasn’t a bank.

    And here was the insidious part, the very 21st-century part: It made you feel like you were joining a rebel movement. The 2008 financial meltdown and its corrupt aftermath (i.e., the Obama administration’s spineless bailing out of the banks and no one else, with no heads rolling) had set the stage for a world in which ordinary citizens no longer trusted our financial institutions. At the same time, the launch of Napster had heralded an era when we were all going to be rebel disrupters. So while bitcoin offered none of the protections of a traditional bank, that very fact made it seem an insurrectionary currency. It was operating outside the laws of the financial world (which was now seen as the enemy). That made it cool. And that was the neo-1960s snake oil, all built around the idea of flattering the potential marks who wanted to think that they — like bitcoin itself — were going to be joining in some sort of transgressive undermining of The System.

    Ben McKenzie elucidates all this, and he tracks down some of the reigning hucksters who have led the crypto revolution. He goes to El Salvador, the first country to use bitcoin as legal tender, and where the president, Nayib Bukele (who has been in office since 2019), is like a grinning Marcello Hernández character. He has promised to build a place called Bitcoin City, which will be a utopian metropolis of gold. (When McKenzie gets to the location, it’s just a sleepy fishing village whose residents are being squeezed out.)

    McKenzie then stakes out Alex Mashinsky, the Israeli-American co-founder and CEO of Celsius, a now-bankrupt cryptocurrency lending platform. Mashinsky is a vintage hustler, selling the idea that crypto can make you rich, but here’s where the old-fashioned underpinnings of the scam are revealed. Celsius turns out to be a Ponzi scheme. The price of Celsius crypto would go up, but it was being manipulated by those in charge, all as a way to get ordinary citizens to invest. And millions upon millions did, which kept the charade afloat (and funneled the “profits” to the top).

    Celsius ultimately declared bankruptcy, but that’s small potatoes compared to what happened to FTX, the cryptocurrency exchange founded by Sam Bankman-Fried, who was famously convicted of seven counts of fraud and is now serving 25 years in prison. McKenzie got an interview with Bankman-Fried before he imploded, and this sequence alone is worth the price of admission, because of how nakedly it reveals the particular sort of weasel Sam Bankman-Fried is.

    Many have likened him to Bernie Madoff, because of the scale of his operation (the sheer amount of money lost by those who invested with him). But what’s very particular about Bankman-Fried is his youth and his generational vibe. Under his dark mop of saintly tech-geek curls, he’s got that teasingly awkward, fake-tentative passive aggression descended from the style of Steve Jobs in his seminars, which Bankman-Fried mixes with his own mode of “Look at what a sensitively evolved Zoomer bro I am!” When McKenzie asks him how much he’s contributed to the coffers of politicians, his dodging of the question is pure dissembling theater. He’s a truly shameless poster boy for how to rip people off in an “enlightened” way.

    And yet, the most astonishing comments in “Everyone is Lying to You for Money” occur in the interviews McKenzie conducted with a set of ordinary folks who lost their money in crypto. They were left shell-shocked and betrayed. But near the end of the film, McKenzie returns to them to ask if they still believe in crypto. And every one of them says yes. They may have gotten sucked into fraudulent dealings, but their faith in the crypto dream remains undiminished. “Everyone Is Lying to You for Money” captures a brave new world where the snake-oil salesmen believe their own hype, and where no one lies to the victims as much as they lie to themselves.

  • Ron Frierson Named President and CEO of Hollywood Chamber of Commerce

    Ron Frierson Named President and CEO of Hollywood Chamber of Commerce

    The Hollywood Chamber of Commerce has installed new leadership with veteran business and policy executive Ron Frierson signing on as president and CEO.

    The chamber has also tapped Dan Halden to serve as chief operating officer and legislative director for the organization that advocates for the Hollywood area of Los Angeles and administers the world renowned Hollywood Walk of Fame.

    Dan Halden

    “Hollywood is a globally recognized brand synonymous with creativity, influence and cultural impact. It is also a community of families, small businesses, and neighborhoods,” Frierson said. “I’m honored to lead the Chamber and to work alongside Dan, our Board, staff and our incredible members to advance a bold agenda that expands opportunity, strengthens our economy, and delivers lasting value for businesses, the community and visitors alike.”

    Frierson succeeds Steven Nissen, who spent the past three years as CEO of the chamber. Frierson has spent the past few years working for Amazon as director of West Coast economic development. He also worked at Los Angeles City Hall as director of economic policy during Eric Garcetti’s tenure as mayor.

    Halden has spent the past 13 years in various roles working for the city of Los Angeles and for former L.A. City Council members Tom LaBonge and Mitch O’Farrell.

    “I’m thrilled to partner with Ron and the Chamber team to deliver impactful programs, provide exceptional value to our members, and enhance the Hollywood experience for all,” Halden said. “The Hollywood Chamber of Commerce plays a vital role in supporting local businesses, advocating for economic development and maintaining Hollywood’s status as a premier destination for entertainment, tourism, commerce and beyond.”

    Jerry Neuman, chair of the chamber’s board of directors, hailed the appointments of two seasoned civic veterans.

    “I could not be more excited to have Ron as the face of the Chamber and ambassador to the community and industry as he will bring the Hollywood Chamber of Commerce to a level never before seen. Dan represents a powerful combination of vision and operational excellence,” Neuman said. “Together with Dan their leadership will not only build on the work we have accomplished so far but will drive innovation and growth for our members and broader Hollywood community.”