Tag: Entertainment-Variety

  • ‘Cats: The Jellicle Ball’ Broadway Review: Andrew Lloyd Webber’s Musical Gets Fresh and Fierce Update as an Ode to Queer Ballroom Culture

    ‘Cats: The Jellicle Ball’ Broadway Review: Andrew Lloyd Webber’s Musical Gets Fresh and Fierce Update as an Ode to Queer Ballroom Culture

    Broadway is burning — and that’s something to celebrate.

    Cats: The Jellicle Ball,” a refreshed version of the downtown 2024 hit, blazes anew, having made the trek uptown with its extravagance, pride and sense of joy intact.

    Andrew Lloyd Webber’s now-and-forever musical adaptation of T.S. Eliot’s “Old Possum’s Book of Practical Cats” has been transposed to the world of Harlem’s Black and Latino queer ballroom culture — the same scene as the 1990 documentary “Paris Is Burning” and television’s “Pose.” But here, “Jellicle Ball” has a different human breed of cool cats across the binary spectrum. They are part of the underground community of drag houses whose members compete for trophies in runway categories such as realness, fashion and opulence.

    What resonates in this production is not just a vibrant twist on a legendary musical but the power of transformation. As the kitty-littered junkyard of the long-running 1982 original is re-set into a new world of wonder, so too reimagined are the music, choreography, design and characters. Even the audience seems to be fresh and fierce, with a diverse mix of theatergoers continually engaged in the strutting on stage as they flutter their oversized fans to signal their gleeful approval.

    But there’s a subtext to the spectacle. The queer predecessors of the characters on stage lived through a devastating epidemic, amid racism, poverty, and violence and discrimination in their gay and trans community. But these defiant drag houses offered safety, acceptance and glamour which were celebrated in these urban spaces. Outside, the world may be raging but inside, it’s raving.

    The show begins with DJ Jen Ard thumbing through a box of old LPs and taking out the original cast album of the musical with its classic cat-eyes logo. Bringing it to his deejay deck in one of the theater’s box seats, he places the disc reverently on the turntable. The first iconic notes from the score — now played live — sweep over the theater. Though the tune is familiar, the sound is something else.

    Over the years Lloyd Webber has embraced new generations of artists reinventing his works in dramatic and dark ways, such as “The Phantom of the Opera,” “Sunset Boulevard” and “Evita.” However with “Cats,” the immersive reimagining is bright with its score rearranged to reflect the percussive and synthesized heart of house music. (The dynamic orchestrations are by Lloyd Webber and David Wilson under the music supervision and direction of William Waldrop.)

    Because the show’s text is largely limited to Eliot’s 1939 volume of light verse, it remains essentially a long revue overlaid with thin narratives. This new queer concept could easily wear out its initial welcome — as its previous concept did for many in 1984. But here it’s rooted in a real — rather than feline — community and its humanness is essential.

    In Rachel Hauck’s magnificent design of an industrial space repurposed as a makeshift ballroom, a catwalk extends from center stage into the orchestra (and shortened from its previous run to accommodate Broadway balcony sight lines.) But the vibrancy and hearts of these characters whose new identities and senses of self are on the line is just as thrilling.

    Co-directors Zhailon Levingston and Bill Rauch keep things in a constant state of fabulousness, presenting entertaining design diversions, creating a bit of drama from the outside world, and introducing a few glittering special effects, too. (A giant swirling disco ball descends mid-show from the rafters above the audience, bringing to mind the grand chandelier effect from another Lloyd-Webber show.)

    Another fun sideshow: At this performance, comic Billy Eichner and comedian, actress, and jazz singer Lea DeLaria were the “guest judges.” But their roles were playfully incidental with the focus on the zhuzhing more than judging — and the dazzling sights, moves and performances. Choreographers Arturo Lyons and Omari Wiles have these confident contestants shine with struts, sashays, splits, dips, duckwalks, vogueing and death-drops, each trying to outdo the other, urged on by a rapturous crowd.

    In a show where style becomes substance, Qween Jean’s costume designs offer one splendiferous fashion after another, topped by stunning hair and wig designs by Nikiya Mathis.

    Unencumbered with cat makeup, the cast of very human characters — all excellent — is in a constant state of motion — and emotion, too.

    Dudney Joseph Jr. as Munkustrap, presides assuredly as the show’s regal emcee. There’s also the charismatic and studly Sydney James Harcourt as Rum Tum Tugger; Emma Sofia as Skimbleshanks the railway cat is wittily presented as an MTA conductor and is as electrifying as the third rail; Robert Silk Mason as Magical Mystical Mistoffelees and Baby Byrne as Victoria are both visions of breathtaking style, grace and limberness; Teddy Wilson is endearing as Grizabella’s fanboy Sillabub, who represents a generational connection, as the show honors a continuing drag lineage.

    Following a touching second act slide show tribute to the founders of the drag houses of that earlier era, Junior LaBeija arrives as Gus, the elder theater cat nostalgically recalling his great stage moments. Giving the scene even more poignancy is that the gender-nonconforming LaBeija, dressed in full fur and long bejeweled fingernails that could double as cat claws, is a ballroom icon who was featured in the documentary “Paris Is Burning.”

    Another elder presence with his own renown theatrical history is the 80-year-old André De Shields as Old Deuteronomy, the evening’s grand patriarch. De Shields is, as always, a commanding presence, owning any room he is in with dignified stillness and innate magnificence, and yet barely able to contain his youthful spirit, which finally emerges in full in “The Ad-Dressing of Cats.”

    The epitome of ancestral drag and gender rebirth is transgender actress and ballroom mother “Tempress” Chasity Moore. Her Grizabella is presented here as a former ballroom winner who is now a disheveled-but-still-proud street person who finds transcendental radiance with a soulful “Memories.” In this moment the show all at once connects to its past, present and future — and once again rises to Heaviside heights.

    Prospects are also promising down the line for something the road hasn’t seen in a long time: “Cats: The Jellicle Ball” just might become the next much-needed, must-see touring show from the House of Broadway.

  • The Actor Awards Set Dates for 2027 and 2028 Ceremonies on Netflix

    The Actor Awards Set Dates for 2027 and 2028 Ceremonies on Netflix

    SAG-AFTRA has sent out its “save-the-dates” for the next two awards ceremonies on Netflix.

    The Actor Awards (formerly known as the SAG Awards) announced that the 33rd annual ceremony, presented by the acting guild, will stream live on Netflix on Sunday, Feb. 28, 2027, at 8 p.m. ET. In addition, the organization also revealed the 34th ceremony will take place on Sunday, Feb. 20, 2028.

    A key bellwether for the Oscar race, all four acting winners at this year’s Actor Awards — Michael B. Jordan (“Sinners”), Jessie Buckley (“Hamnet”), Sean Penn (“One Battle After Another”) and Amy Madigan (“Weapons”) — went on to win Academy Awards. The top ensemble prize went to “Sinners,” while the Oscars awarded best picture to “One Battle After Another.”

    The news comes after the Academy of Motion Picture Arts and Sciences scheduled its upcoming 99th and 100th Oscars ceremonies on Sunday, March 14, 2027, and Sunday, March 5, 2028.

    The Actor Awards, presented by SAG-AFTRA, are the only televised awards ceremony dedicated exclusively to honoring actors in television and film. Nominees and winners are chosen by eligible performers from SAG-AFTRA’s membership of more than 160,000, the largest voting body in the awards landscape.

    The show recognizes outstanding performances across 15 categories, including individual and ensemble work in motion pictures, drama and comedy television series. Known for its simplicity and focus on performers, the ceremony presents its signature statuette, “The Actor,” and has remained one of the industry’s most respected honors since its debut in 1995. The Actor Awards air exclusively on Netflix.

    Key dates for submissions and deadlines will be released in the coming weeks.

  • PGA Awards Announces 2027 and 2028 Ceremony Dates, Reveals Key Timeline

    PGA Awards Announces 2027 and 2028 Ceremony Dates, Reveals Key Timeline

    It’s now the Producers Guild of America‘s turn to set its dates for its next two awards ceremonies.

    The guild will hold the 38th and 39th annual Producers Guild Awards on Saturday, Feb. 27, 2027, and Saturday, Feb. 19, 2028, respectively — the former will take place in the midst of final Oscar voting to determine winners, and the day before The Actor Awards ceremony.

    At the most recent ceremony in 2026, held at the Fairmont Century Plaza in Los Angeles, the top prize — the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures — went to Warner Bros.’ politically charged epic “One Battle After Another,” directed by Paul Thomas Anderson, who was awarded alongside his fellow producers Sara Murphy and posthumously for Adam Somner. The film went on to win the Academy Award for best picture. An important stop on the awards circuit, every PGA top film winner this decade, beginning in 2020, has gone on to claim the Oscar for best picture. On the television side, top honors went to last year’s top Emmys series darlings — HBO Max’s drama “The Pitt,” Apple TV’s comedy “The Studio” and Netflix’s miniseries “Adolescence.”

    The announcement follows the Academy of Motion Picture Arts and Sciences setting dates for its next two Oscars ceremonies: Sunday, March 14, 2027, for the 99th Academy Awards, and Sunday, March 5, 2028, for the 100th ceremony, along with SAG-AFTRA’s news that The Actor Awards will take place Feb. 28, 2027, and Feb. 20, 2028.

    The Producers Guild of America represents more than 8,400 members across film, television and emerging media. The organization advocates for producers’ interests, including expanded health care benefits, fair compensation structures and increased access to opportunities for underrepresented communities. The PGA Awards recognize excellence across 14 competitive film and TV categories, along with special honors such as the PGA Innovation Award and career achievement prizes.

    In addition, the PGA announced its key timeline for the upcoming awards season, which is listed below. Key dates for the 2028 Producers Guild Awards will be announced at a later time.

    Eligibility periods: Innovation Award: Oct. 2, 2025, through Oct. 1, 2026; All other categories (theatrical motion pictures, animated motion pictures, documentary motion pictures, television series/specials, televised or streamed motion pictures, sports, children’s and short-form): Jan. 1, 2026, through Dec. 31, 2026

    Notice of producing credits form deadlines: Documentary motion pictures: Aug. 28, 2026; Television programs: Sept. 25, 2026; Innovation Award: Oct. 1, 2026; Theatrical and animated motion pictures: Oct. 9, 2026

    Screener submission deadline: Documentary motion pictures: Aug. 28, 2026

    Nomination voting: Sports, children’s and short-form polls open: Nov. 24, 2026; close: Dec. 9, 2026; Television series/specials and televised or streamed motion pictures polls open: Dec. 17, 2026; Theatrical and animated motion pictures polls open: Dec. 21, 2026; All remaining nomination polls close: Jan. 7, 2027

    Nominations announcement: Innovation Award and documentary motion pictures: Dec. 8, 2026; Sports, children’s and short-form: Dec. 11, 2026; Theatrical motion pictures, animated motion pictures, television series/specials and televised or streamed motion pictures: Jan. 8, 2027

    Final voting: Sports, children’s and short-form polls open: Jan. 18, 2027; close: Feb. 8, 2027; All other categories polls open: Jan. 22, 2027; close: Feb. 19, 2027

    Ceremonies: 2027 Producers Guild Awards: Feb. 27, 2027; 2028 Producers Guild Awards: Feb. 19, 2028

  • Comcast Names Vicki Williams Human Resources Chief, Leading HR Across NBCUniversal and Cable Businesses

    Comcast Names Vicki Williams Human Resources Chief, Leading HR Across NBCUniversal and Cable Businesses

    Comcast promoted Vicki Williams to the newly created role of chief human resources officer, in addition to her current position as head of HR at NBCUniversal — meaning she’ll lead the human resources teams and strategy across the company’s entire media and cable portfolio.

    Also Tuesday, Comcast said Bill Strahan, executive VP of human resources for Connectivity & Platforms business who has played a key role in developing Comcast’s HR strategy for the past 20 years, will retire later in 2026. With Strahan’s retirement, Melanie Penna will be promoted to chief human resources officer of Comcast’s Connectivity & Platforms business.

    Williams has served as NBCU’s head of HR for the past eight years, after joining the company in 2011 as senior VP of compensation, benefits and HR information systems. Prior to NBCU, she was a partner at Pay Governance and a principal at Towers Perrin where she served as an HR consultant across several industries. Williams holds a bachelor’s degree in education and an MBA from the University of Georgia.

    “Vicki is a highly respected leader and trusted advisor, with a strong track record of aligning talent, culture, and organizational strategy with business priorities,” Mike Cavanagh, Comcast co-CEO, said in a statement. “Her strategic mindset, thoughtful leadership style, strong judgment, and people-first approach make her an excellent fit for this new role. I’m excited about the positive impact she will continue to have across the company.”

    Penna, a nearly 32-year veteran of Comcast, most recently served as executive VP of people and integration for Comcast’s Technology, Product and Xperience group. She holds a bachelor’s degree in political science from Saint Mary’s College (in Notre Dame, Indiana) and a master’s degree in public administration from the University of Pittsburgh.

    Steve Croney, CEO of Comcast Connectivity & Platforms, said about Strahan: “Bill has been an incredible leader at Comcast and a true partner to so many across the organization, and we are extremely grateful for the lasting impact he’s had on our company and its HR strategy.”

    About Penna’s promotion, Croney commented: “Mel brings a unique combination of operational experience and deep knowledge of our organization. As we continue to transform the business, she will be instrumental in driving alignment, simplifying how we operate, and ensuring we have the right talent and capabilities in place to execute with speed and deliver results.”

  • Oscar Winner ‘Mr. Nobody Against Putin’ Among Peabody Award Nominations in Documentary, News, Radio/Podcast and Public Service

    Oscar Winner ‘Mr. Nobody Against Putin’ Among Peabody Award Nominations in Documentary, News, Radio/Podcast and Public Service

    The Peabody Awards has revealed its 2026 nominees in the documentary, news, public service and radio/podcast categories. Selected were nine news broadcasts, six radio/podcast episodes, four pieces of public service and 22 documentaries.

    The nominees were chosen by a unanimous vote of 28 jurors from over 1,000 entries from television,
    podcasts/radio and the web. Nominees in arts, children’s/youth, entertainment and interactive & immersive will be announced on Thursday.

    The 86th Annual Peabody Awards winners will be announced on April 23 and honored on Sunday, May 31, at the Beverly Wilshire Hotel in Beverly Hills.

    As previously announced, Amy Poehler will be honored with the Peabody career achievement award, Sterlin Harjo will be given the Peabody trailblazer award, James L. Brooks will be honored with the Peabody industry icon award and PBS Kids will be recognized with the Peabody institutional award.

    “Whether it’s America’s culture of gun violence, the generational effects of social media and big tech, inequities in governmental systems, or exploring mortality through an incurable ovarian cancer diagnosis, these nominees cut straight to the heart of the moment—fearless, unflinching reporting and storytelling that exposes injustice, amplifies unheard voices, and reflects exactly why the Peabody Awards exist: to honor work that informs, challenges, and drives meaningful change.” said Peabody executive director Jeffrey Jones.

    Here are the Peabody nominees for documentary, news, public service and radio/podcast:
    NEWS

    NEWS

    “Blood Parliament” (BBC iPlayer)
    Logline: “‘Blood Parliament’ is a groundbreaking journalism piece that combines traditional reporting with innovative digital investigation techniques to expose the extrajudicial killings of innocent protesters by Kenya’s security forces. Using more than 5,000 photos and videos, the film reconstructs the events surrounding the protests, leading to widespread viewership and significant social impact, particularly among marginalized Gen Z Kenyans, igniting discussions and calls for accountability while inspiring a new generation of digital detectives in the country.” (BBC World Service)

    “Fault Lines: ‘Kids Under Fire’ and ‘The Disappearance of Dr. Abu Safiya’” (Al Jazeera English)
    Logline: “’Fault Lines’ tackles the Gaza conflict in two excellent packages. ‘Kids Under Fire’ follows Dr. Mimi Syed as she advocates for more attention to the humanitarian crisis in Gaza, where she treated at least 18 children with gunshots to the head or chest. ‘The Disappearance of Dr. Abu Safiya’ tells the story of another doctor, one who continued to treat patients at a northern Gaza hospital even as the Israeli military forcibly cleared the region and attacked the hospital until he was taken into indefinite custody. He continues to be detained 16 months later amid reports that he’s been subjected to ‘severe torture,’ according to the United Nations.” (Al Jazeera English)

    “Filmed in Gaza” (NBC News)
    Logline: “This documentary chronicles the lives of two NBC News journalists who, for 22 months, became the network’s sole on-the-ground presence as the conflict unfolded in the Gaza Strip. Through their eyes, the viewer is offered a rare look at what it was like to document everyday life in Gaza during the Israel- Hamas war.” (NBC News)

    “Immigration Crackdown” (PBS News Hour)
    Logline: “‘PBS News Hour’ presented comprehensive and sustained coverage of the Trump administration’s radical changes in U.S. immigration policy, including birthright citizenship, refugee resettlement, asylum procedures, mass deportations, military deployments to U.S. cities, and institutional realignments inside immigration enforcement agencies. The program’s reporting included breaking news coverage as well as deeper historical context, policy analysis, institutional accountability, and real-world impact.” (PBS News Hour)

    “Los Angeles Burning” (ABC News and KABC, Los Angeles)
    Logline: “Reporters from both the local and national ABC News organizations mobilized across Los Angeles for thorough, on-the-scene coverage of the catastrophic fires of January 2025, even as two dozen of the local reporters were evacuated from their own homes and two had homes that burned to the ground. The coverage was crucial to residents trying to decide when to leave and when to return, while continuing coverage highlighted preparedness, environmental justice, infrastructure, and lasting effects.” (ABC News and KABC-TV, Los Angeles)

    “Restrained” (ABC / KMBC 9)
    Logline: “A KMBC 9 investigation revealed that at least 102 individuals across 29 states died or were injured due to the misuse of restraint chairs by law enforcement, often involving excessive force such as beating or tasing restrained inmates, highlighting significant gaps in training and policy. Following the investigation, more than 50 sheriffs in Missouri and Kansas updated their restraint policies, and the National Institute for Jail Operations recommended the content for national training, signaling a push for reform in how restraint systems are managed in correctional facilities.” (KMBC 9)

    “The Rise and Fall of Terrorgram” (PBS)
    Logline: “‘The Rise and Fall of Terrorgram’ investigates how young people are radicalized by online extremist communities to commit acts of terror, highlighting the dangerous influence of unregulated internet spaces that foster hate and violence. Through compelling interviews and meticulous research, the documentary exposes the methods used by extremists and traces the expansion of the Terrorgram network, revealing the vulnerabilities of youth to online fearmongering rooted in racism, antisemitism, and homophobia.” (Frontline/PBS, ProPublica)

    “Syria’s Detainee Files” (PBS)
    Logline: “This chronicle of systematic enforced disappearances and torture under the Assad regime focuses on testimonies from former regime insiders and a survivor, Shadi Haroun, who spent nearly a decade in detention. Through extensive reporting over two years, the film reveals the complexities of the people involved in the oppressive system while providing a comprehensive account of the mechanisms of abuse, ultimately serving as critical documentation of the regime’s crimes as it faced its downfall in December 2024.” (Frontline/PBS, BBC)

    “Trafficked with Mariana van Zeller” (National Geographic)
    Logline: “Journalist Mariana van Zeller investigates the world’s most dangerous black markets, exploring various underworlds such as fentanyl trafficking, illegal street racing, and bride smuggling, to uncover the complexities of the multitrillion-dollar shadow economy. In her episodes, she highlights critical issues, including anti-LGBTQ+ violence and human trafficking, revealing how organized crime and exploitation operate globally.” (Muck Media)

    PODCAST AND RADIO

    “Aftermath: Hunt for the Anthrax Killer”
    Logline: “The podcast series ‘Aftermath’ delves into the 2001 anthrax attacks that struck terror across America, exploring one of the largest FBI investigations in history and uncovering the emotional and societal fallout from the events. Through interviews with key figures, archival media, and in-depth analysis, the series reveals startling truths (including the identity of the perpetrator) while examining the broader implications for public safety and the psychological impact on the nation.” (Wolf Entertainment, USG Audio, Dig Studios, Spoke Media and CBC)

    “Divine Intervention”
    Logline: “‘Divine Intervention’ is a ten-part audio documentary that uncovers the radical Catholic left’s resistance during the Vietnam War, highlighting the bold actions of nuns and priests who challenged the FBI and staged the first political sanctuary in centuries. Through the personal stories of activists and intense courtroom battles, host Brendan Patrick Hughes explores themes of faith, rebellion, and the complexities of confronting injustice, ultimately offering a compelling blueprint for modern activism.” (Wonder Media Network and iHeart Media)

    “The Hand that Rocks the Gavel”
    Logline: “This episode of ‘This American Life’ opens in a New York federal immigration court, revealing how immigrants attending mandatory hearings were unexpectedly detained by ICE, raising concerns about the role of judges in the face of such raids. Through interviews with laid-off judges and insights from immigration policy officials, the episode uncovers the systemic undermining of due process and the changing role of immigration judges under the Trump administration, highlighting an ongoing crisis faced by asylum seekers and potential long-term implications for the rule of law in the United States.” (This American Life)

    “Scam Inc”
    Logline: “‘Scam Inc’ is an eight-part narrative podcast from ‘The Economist’ that uncovers the vast and organized world of online fraud, estimated to generate more than $500 billion annually, rivaling the illegal drug trade. Through meticulous reporting, the series reveals the complex operations behind modern scams, featuring stories of victims and scammers, while prompting global conversations among leaders in technology and policy to address this escalating crisis.” (The Economist)

    “A Tiny Plot”
    Logline: “This five-part public radio documentary from KQED’s Snap Studios follows a group of unhoused individuals in Oakland who band together to resist eviction and create their own community in Union Point Park, challenging traditional perceptions of homelessness. Through intimate storytelling and immersive reporting, journalist Shaina Shealy highlights the residents’ resilience and resourcefulness, revealing their daily struggles and the systemic challenges they face, ultimately urging listeners to view unhoused individuals with dignity and complexity.” (Snap Judgment, KQED, PRX)

    “When We All Get to Heaven”
    Logline: “‘When We All Get to Heaven’ is a ten-part audio documentary that uncovers the powerful stories preserved in 1,200 cassette tapes from a queer church in San Francisco during the AIDS crisis, highlighting the resilience and creativity of LGBTQ Christians amid loss and isolation. Through a blend of archival recordings and contemporary interviews, the series illustrates how the church became a sanctuary for its community, honoring both their faith and queerness while fostering joy and connection during a time of profound grief.” (Eureka Street Productions)

    PUBLIC SERVICE

    “Critical Condition: Health in Black America” (PBS)
    Logline: “In the documentary ‘Critical Condition: Health in Black America,’ filmmaker Stanley Nelson explores the historical and environmental factors contributing to significant health disparities faced by Black Americans, who suffer from higher rates of conditions such as diabetes and heart disease. The film critiques persistent myths in medical science and highlights the effects of systemic racism on health outcomes, while also promoting discourse and solutions through a robust outreach campaign aimed at educating communities and healthcare institutions about these pressing issues.” (A Nova Production by Firelight Films for GBH)

    “Left To Their Own Devices”
    Logline: “‘Left To Their Own Devices’ is a ten-part investigative podcast hosted by Ava Smithing that examines the devastating effects of technology and social media on Gen Z, particularly highlighting issues such as mental health crises and exploitation of minors. Through personal narratives, expert interviews, and compelling evidence, the series reveals how the profit-driven designs of social media platforms exacerbate harm, and it empowers youth to advocate for change and accountability from Big Tech.” (Toronto Star, Paradigms)

    “Neither Male Nor Female: Intersex” (Noticias Telemundo Ahora)
    Logline: “This Noticias Telemundo special examines the implications of an executive order by President Trump defining sex strictly as male or female, effectively erasing intersex individuals from federal recognition and complicating their access to healthcare and official documentation. Through the personal stories of two intersex Latinos, Leslie Oquendo and Morgan Mayfaire, the documentary sheds light on the complexities of intersex identities and the intertwined struggles of intersex and transgender communities, emphasizing the need for evidence-based policies that honor bodily autonomy and gender identity.” (Noticias Telemundo)

    “Trump’s Power & the Rule of Law” (PBS)
    Logline: “‘Trump’s Power & the Rule of Law’ is a 90-minute ‘Frontline’ documentary that investigates the significant actions taken by President Trump during his second term, which critics argue represent an unprecedented assault on democracy and the rule of law. Through interviews with Trump’s allies, legal experts, and journalists, the film explores the historical context of executive power, revealing the ongoing battle over presidential authority and prompting viewers to consider how far a president can go before facing institutional pushback.” (Frontline/PBS)

    DOCUMENTARIES

    “2000 Meters to Andriivka” (PBS)
    Logline: “This feature documentary by Mstyslav Chernov focuses on the intense battle for the strategic Ukrainian village of Andriivka during the summer of 2023, exploring the broader implications of warfare and the emotional toll on soldiers. By intertwining his own footage with that from drones and helmet cameras, Chernov immerses viewers in the realities of modern combat, prompting reflections on the costs of reclaiming territory and the meaning of liberation amidst destruction.” (Frontline/PBS and The Associated Press)

    “The Alabama Solution” (HBO Max)
    Logline: “In 2019, filmmakers gained rare access to document a revival meeting inside an Alabama prison, leading to a six-year investigation into the state’s deadly prison system, characterized by corruption, violence, and neglect. By communicating with incarcerated activists Robert Earl Council and Melvin Ray, the film exposes systemic issues, including brutal conditions and high mortality rates, while advocating for transparency and justice in a system that often operates in secrecy.” (HBO Documentary Films; Hit The Ground Running)

    “Art Spiegelman: Disaster Is My Muse” (PBS American Masters)
    Logline: “This documentary explores the life and work of Art Spiegelman, best known for his Pulitzer prizewinning graphic novel ‘Maus,’ as he emerges as a leading advocate for free speech in response to book bans and rising authoritarianism. The film highlights Spiegelman’s impactful contributions to the world of comics and art, showcasing how he uses his medium to address personal and collective histories while championing the importance of subversive storytelling in contemporary culture.” (Zipatone Films, LLC, American Masters, Pollyanna)

    “Barbara Walters: Tell Me Everything” (Hulu)
    Logline: “This film showcases the groundbreaking career of Barbara Walters, the first woman to anchor a network news broadcast, highlighting her transformation of journalism through powerful interviews and her ability to confront authority with empathy. Directed by Jackie Jesko, the film combines archival footage and insights from notable figures to reveal Walters’ personal struggles and triumphs, ultimately illustrating the complexities of her pioneering role in a male-dominated field and the ongoing challenges women face in media today.” (ABC News Studios)

    “Can’t Look Away: The Case Against Social Media” (JOLT.film)
    Logline: “‘Can’t Look Away’ addresses the urgent public health crisis posed by social media’s unchecked power, focusing on the heartbreaking stories of families affected by its harmful impact on young people. By embedding with grieving families and legal advocates, the film combines personal narratives with investigative reporting to spark critical conversations about social media reform and encourage viewers to reflect on their own digital relationships. (Bloomberg Originals / DCTV)

    “Come See Me in the Good Light” (Apple TV)
    Logline: “Poet-activist Andrea Gibson and their partner Megan Falley confront Andrea’s incurable ovarian cancer diagnosis as cameras follow them, exploring how this journey deepens their love and appreciation for life. The documentary encourages open conversations about mortality while showcasing the couple’s resilience, humor, and art, ultimately serving as a powerful reminder of the importance of connection and joy.” (Apple / Tripod Media / Amplify Pictures / Treat Media / Something Fierce Productions)

    “Critical Incident: Death at the Border” (HBO Max)
    Logline: “‘Critical Incident’ investigates the U.S. Border Patrol, beginning with the in-custody death of Anastasio Hernandez Rojas, and ultimately revealing a culture of violence and impunity within the agency. Through shocking eyewitness footage and leaked internal documents, the film uncovers the existence of off-the books teams designed to protect agents from accountability, prompting multiple Congressional investigations and highlighting the urgent need for oversight and reform in a powerful law enforcement organization.” (HBO Documentary Films presents in association with Midnight Films, crazyrose, Film 45)

    “Hurricane Katrina: Race Against Time” (National Geographic)
    Logline: “Centering the experiences of New Orleans’ predominantly Black communities during and after Hurricane Katrina, this documentary series emphasizes personal accounts from those directly affected rather than sensationalized media narratives. The series highlights systemic inequities and the government’s failures, revealing how the storm exacerbated existing social injustices while providing a platform for local voices to reclaim their story and share resilience, grief, and wisdom for future generations.” (Lightbox and Proximity Media)

    “Love+War” (National Geographic)
    Logline: “‘Love+War’ profiles Pulitzer Prize-winning photojournalist Lynsey Addario, exploring her experiences in war zones while balancing the complexities of her home life. The film illustrates how her powerful images not only document the human cost of conflict but also drive social change, emphasizing the ethical responsibilities of journalism and highlighting the universal struggle between ambition and familial obligations.” (Little Monster Films)

    “Mr. Nobody Against Putin” (BBC Four)
    Logline: “Following Pavel ‘Pasha’ Talankin, a beloved Russian teacher who is reluctantly pulled into the state propaganda machine amid the invasion of Ukraine, this film documents the troubling transformation of his school and community. As he captures intimate footage of the regime’s militarization of youth and faces increasing danger, Pasha becomes an international whistleblower, ultimately planning a perilous escape from Russia.” (Made in Copenhagen in co-production with Pink)

    “Mr. Scorsese” (Apple TV)
    Logline: “‘Mr. Scorsese’ delves into the life and artistic journey of filmmaker Martin Scorsese, exploring the profound connections between his personal experiences and the themes in his films. Through extensive conversations, archival footage, and insights from collaborators, the series captures Scorsese’s evolution as an artist shaped by his upbringing, spirituality, and the complexities of human nature, ultimately portraying him as an empathetic figure who transforms personal struggles into powerful storytelling.” (Apple / Expanded Media / Round Films / LBI Entertainment Production / Moxie Pictures)

    “No Other Land”
    Logline: “Basel Adra, a young Palestinian activist from the Masafer Yatta region, documents the destruction of his community by Israeli forces while he and Israeli journalist Yuval Abraham fight against their starkly unequal realities. Their film, created by a Palestinian-Israeli collective during oppressive times, aims to challenge the ongoing expulsion and propose a vision of equality.” (Antipode Films)

    “Pee-wee as Himself” (HBO Max)
    Logline: ‘Pee-wee as Himself’ explores the complex life of Paul Reubens, known as Pee-wee Herman, highlighting his artistic influences and the backlash he faced, particularly after his 1991 arrest. The film captures the emotional struggle between Reubens and the filmmaker over narrative control, ultimately paying tribute to his legacy as a groundbreaking artist while addressing issues of identity, sexuality, and the impact of public perception on personal lives.” (HBO Documentary Films presents an Elara & First Love Films Production)

    “The Perfect Neighbor” (Netflix)
    Logline: “This documentary explores the tragic killing of Ajike ‘AJ’ Owens, a Black mother shot by her white neighbor under Florida’s Stand Your Ground law, highlighting systemic biases that often protect aggressors. Through extensive police footage and community testimonies, the film aims to reclaim narratives around racial violence, provoke reflection on justice and accountability, and challenge laws that endanger Black lives, while ensuring transparency and support for Ajike’s family throughout the filmmaking process.” (A Netflix Documentary / A Message Pictures production in association with SO’B Productions and Park Pictures)

    “Predators” (Paramount+)
    Logline: “Critically examining the true crime genre, particularly through the lens of the television show ‘To Catch a Predator,’ this documentary highlights the complicity of filmmakers, journalists, and audiences in perpetuating cycles of harm for entertainment. It employs a blend of archival material, verité journalism, and interviews, confronting the blurred lines between journalism and entertainment in a post-truth society, ultimately inviting viewers to reflect on their moral and emotional engagement with such narratives.” (Sweet Relief, MTV Documentary Films, Rosewater Pictures)

    “Put Your Soul on Your Hand and Walk”
    Logline: “‘Put Your Soul on Your Hand and Walk’ provides an intimate view of life in Gaza through video calls between director Sepideh Farsi and Palestinian photojournalist Fatma Hassona, who captures the struggles and resilience of her generation amid ongoing conflict. Tragically, Fatma and her family were killed by an Israeli airstrike shortly after the film’s selection for the Cannes Film Festival, making it a heartfelt memorial to her life and artistry. (Rêves d’Eau Productions)

    “Southpaw—The Life and Legacy of Jim Abbott” (ESPN)
    Logline: “Jim Abbott, born without a right hand, defied the odds to become a celebrated baseball pitcher, achieving fame in the Major Leagues and notably pitching a no-hitter for the New York Yankees in 1993. His journey, marked by struggles with being a reluctant role model, continues to inspire and resonate with disabled and limb-different individuals worldwide, making “Southpaw” a powerful narrative about ingenuity and identity.” (ESPN)

    “The Strike” (PBS)
    Logline: “‘The Strike’ chronicles the 2013 hunger strike by 30,000 prisoners at Pelican Bay, a supermax prison notorious for its use of solitary confinement, highlighting the personal stories of the hunger strikers and the broader implications of their resistance. Through a blend of firsthand testimonies, archival footage, and insights from prison officials, the film explores the impact of solitary confinement and emphasizes the power of collective action and solidarity among marginalized communities, resonating deeply with audiences both inside and outside of prison walls.” (LPB, ITVS)

    “Sunday Best: The Untold Story of Ed Sullivan” (Netflix)
    Logline: “This documentary celebrates the pivotal role of Black artistry in American culture, showcasing legendary performers such as The Supremes, James Brown, and Harry Belafonte, whose contributions transcended entertainment to drive social and cultural change. By highlighting Ed Sullivan’s inclusive vision as a television host, the film illustrates how his commitment to showcasing talent, regardless of race, reshaped national identity and expanded representation during a time of segregation, while maintaining a focus on honoring Black creative voices through its storytelling.” (Delirio Films, MPS Legacy Productions, SOFA Entertainment, Mass Appeal, Diamond Docs, MRC)

    “Thoughts & Prayers” (HBO Max)
    Logline: “‘Thoughts & Prayers’ explores the normalization of gun violence in America by highlighting the culture and industry that has emerged around survival, including lockdown drills and bulletproof backpacks. The film shifts the focus from traditional narratives of policy and victimhood to the everyday experiences of individuals adapting to a life of constant threat, raising critical questions about whether these safety rituals signify true preparedness or a surrender to violence.” (HBO Documentary Films presents a Tony Tina Production)

    “Vietnam: The War That Changed America” (Apple TV)
    Logline: “This documentary series on the Vietnam War aims to present the conflict through a deeply personal and emotional lens, focusing on the experiences of individuals on the ground, including marginalized voices such as Vietnamese civilians, women, and Black veterans. By combining extensive archival footage with intimate storytelling, the series explores the complexities of war, highlighting moments of both darkness and love, ultimately revealing the profound impact of the conflict on those who lived it.” (Apple / 72 Films)

    “The White House Effect” (Netflix)
    Logline: “‘The White House Effect’ explores the pivotal moment in 1988 when climate change emerged as a serious political issue, highlighting the bipartisan potential for action led by then-Vice President George H.W. Bush and his administration. Utilizing exclusively archival materials, the film reveals how the initial momentum for addressing global warming was lost to political divisiveness and corporate interests, ultimately urging audiences to reflect on the choices that have shaped our climate crisis and the importance of collective action for the future.” (Actual Films, The Department of Motion Pictures)

  • Jamaica-Set Horror Drama ‘Duppy,’ From ‘Seventeen’ Director Ajuán Isaac-George, Set for Cannes Frontières Platform (EXCLUSIVE)

    Jamaica-Set Horror Drama ‘Duppy,’ From ‘Seventeen’ Director Ajuán Isaac-George, Set for Cannes Frontières Platform (EXCLUSIVE)

    London-based writer-director Ajuán Isaac-George is headed to the Croisette with his film project “Duppy,” which will be part of the Proof of Concept section of the Frontières Platform, Cannes’ biggest genre showcase. 

    The film is a co-production between the U.K. and Jamaica and takes place in Jamaica in 1998, the most violent year in the island’s history.  It tells the story of 12-year-old Rainbow, who’s left in the care of her grandparents in the Jamaican countryside.  Feeling lonely and abandoned, she summons a hostile spirit in order to get back at her strict religious grandmother, unknowingly forming an unbreakable pact with a shapeshifting demon.

    “‘Duppy’ is a culturally specific horror that transforms Jamaican folklore into a universal story about grief, loneliness, and the destructive power of childhood emotion. Despite Jamaica’s profound worldwide cultural influence, its folklore is rarely explored through a cinematic horror lens. It’s a cinematic, visceral, character-driven horror where a child’s need for control unleashes something far more terrifying,’’ Isaac-George told Variety.

    “I don’t think we’ve ever had a Jamaican project that explores its folklore, myths and legends that we know about,” added Annick Mahnert, Frontières Platform executive director.

    The film will be Isaac-George’s first feature-length project.  His short film, “Snowfalls in the Summer,” premiered at the 2023 BFI London Film Festival and played at the Oscar-qualifying Hollyshorts. His short documentary, “Seventeen,” followed a group of roller skaters over the final summer of their adolescence and premiered at the 2025 BFI London Film Festival.

    The Duppy team, from left to right: producer Dorottya Székely, writer-director Ajuán Isaac-George, and producer Aleksandra Bilić

    “Duppy” was presented to an industry audience at Film London’s Production Finance Market in 2025, which showcases projects from emerging filmmakers. It is produced by My Accomplice, with U.K. producers Aleksandra Bilić and Dorottya Székely, and Jamie Clark executive-producing, in co-production with Mental Telepathy, Jamaica’s Robert A. Maylor co-producing.

    Organized by the Fantasia International Film Festival, in partnership with the Marché du Film, the Frontières is the world’s leading international genre co-production market and networking platform between Europe and North America.  The Frontières Platform takes place at the Palais des Festivals over May 16-17.

    John Hopewell contributed to this article.

  • ‘Super Mario Galaxy Movie’ Powers to No. 1 at U.K., Ireland Box Office

    ‘Super Mario Galaxy Movie’ Powers to No. 1 at U.K., Ireland Box Office

    Universal’s “The Super Mario Galaxy Movie” blasted to the top of the U.K. and Ireland box office with a £14.9 million ($19.8 million) opening weekend, according to Comscore.

    Project Hail Mary,” distributed by Sony, moved to second place in its third weekend, adding $4.5 million to reach $29.1 million in total. Entertainment Film Distributors’ “The Drama,” starring Zendaya and Robert Pattinson, debuted in third place with $2.9 million.

    Also new in the upper tier, Entertainment Film Distributors’ “The Magic Faraway Tree” held strong in fourth place in its second weekend, grossing $2.8 million and pushing its cumulative total to $10.1 million.

    Further down the chart, Disney’s “Hoppers” placed fifth with $723,000, bringing its total to $16.6 million. Studiocanal’s “Fuze” was the highest new mid-chart entry in sixth place with $402,000.

    Moviegoers Entertainment’s “Dhurandhar: The Revenge” followed in seventh with $374,000, reaching $5.3 million overall, while Berkshire Dreamhouse’s “Vaazha II: Biopic of a Billion Bros” debuted in eighth place with $332,000.

    Universal’s “Reminders of Him” continued its run in ninth with $271,000, lifting its cumulative total to $5.4 million. Rounding out the top 10, Disney’s “Ready or Not 2: Here I Come” added $217,000 for a $2.5 million total.

    Looking ahead, the mid-April frame is led by a mix of star-driven releases and event cinema, with Universal’s “You, Me & Tuscany” emerging as the primary wide commercial play. Directed by Kat Coiro and starring Halle Bailey and Regé-Jean Page, the romantic comedy rolls out across 300-plus locations.

    Also opening wide is Vertigo Releasing’s horror “Undertone,” which arrives across 300 sites, while Jim Jarmusch’s ensemble feature “Father Mother Sister Brother,” starring Cate Blanchett, Adam Driver and Tom Waits and distributed by Mubi, adds prestige weight to the lineup. Additional new entries include Francois Ozon’s Camus adaptation “The Stranger” from Curzon and Studiocanal’s music-based “California Schemin’,” the directorial debut of James McAvoy.

    Park Circus marks the 40th anniversary of “Stand by Me” with a 4K restoration across 100 locations, while CinemaLive presents stage production “Musik (Theatre).” Trafalgar-style event programming also extends into music with “BTS World Tour ‘Arirang’ in Goyang: Live Viewing” over the weekend, followed by MusicScreen’s classical presentation “Cosi Fan Tutte – Mozart” at the start of the next week.

    Indian titles remain a consistent presence, with Bakrania Media’s “Bhoot Bangla” and Dreamz Entertainment “Dacoit: A Love Story” entering the market.

  • Netflix Price Hikes Ruled Illegal by Italian Court That Says Consumers Should Get Refunds; Streamer Will Appeal

    Netflix Price Hikes Ruled Illegal by Italian Court That Says Consumers Should Get Refunds; Streamer Will Appeal

    A Rome court has ruled that Netflix price hikes in Italy are illegal. The decision sides with a consumer advocacy group which claims the streaming giant broke local rules by raising prices to its service between 2017 and 2024 and said customers are entitled to a refund.

    The Rome ruling comes days after Netflix announced on March 26 that it was raising prices for its three plans in the U.S. for the second time in a little over a year.

    In a statement, Netflix said it will appeal the April 1 Rome court decision that does not have any immediate effect.

    Italy’s Movimento Consumatori consumer advocacy group said in a statement the Rome court had ruled in its favor because it considered Netflix’s price increases in Italy between 2017 and 2024 as a breach to the country’s national consumer code. That code states that price changes cannot be made unilaterally without stating a valid reason in advance. Italy’s consumer protection laws place a limit on the discretionary power companies have to raise prices to ensure it is fair.

    The Rome ruling also said Netflix Italia subscribers are entitled to a reduction in ​their current subscription price and should be refunded for unduly paid past subscription costs.

    It ordered the ​ruling to be published ⁠on Netflix Italia’s website and in the country’s top newspapers to inform consumers that their current contractual clauses were void and that they were entitled to a refund.

    “For the Premium Plan, the unlawful increases applied in 2017, 2019, 2021 and 2024 amount to €8 ($9.22) a month, while for the Standard Plan the total is €4 a month,” said lawyers Paolo Fiorio and Riccardo Pinna, who represented consumers in the case. “A ​Premium subscriber who has ​paid for Netflix continuously ⁠from 2017 to the present day is entitled to a refund of about €500 ($577), while a standard subscriber is due a refund of ​about €250 ($288).”

    The Rome court said Netflix now has 90 days to comply with the ruling, after which a penalty of €700 ($800) will be imposed for each day of delay.

    However, the streamer’s appeal is likely to either delay or stop that process.

    The Rome ruling could become a landmark case in Europe where similar legal action against the streamer’s price hikes has been taken in Germany, the Netherlands and Poland, to little or no consequences so far.

    In May 2025, a single Netflix customer in Germany won a case against Netflix price increases in a Cologne regional court that ruled he should be refunded. But that case has so far not had wider implications.

    “At Netflix, our members come first. We take consumer rights very seriously, and we believe our terms have always been in line with Italian law and practices,” Netflix said in a statement.

    According to latest numbers from Italy’s media watchdog, Netflix had just over 8 million unique users in Italy in 2024, while subscribers ‌stood ⁠at 5.4 million in 2025.

  • ‘Charlie’s Angels’ Stars Recall Bikini Battles, Cast Changes, Health Scares and Making TV History: ‘It Gave Women Permission to Be Independent’

    ‘Charlie’s Angels’ Stars Recall Bikini Battles, Cast Changes, Health Scares and Making TV History: ‘It Gave Women Permission to Be Independent’

    Cheryl Ladd chuckled as she remembered being called a “troublemaker” by “Charlie’s Angels” producer Aaron Spelling. Ladd said Spelling liked her being in a bikini on the hit 1970s series — but she was having to wear one on screen so often “that it was starting to piss me off.”

    Speaking on stage Monday at the Paley Center’s PaleyFest L.A. panel celebrating the 50th anniversary of “Charlie’s Angels,” Ladd recounted how she sent the show’s producers a message: “I went out and bought the tiniest little bikini ever seen on television!” Something that wouldn’t pass muster with ABC censors.

    “We filmed, and Aaron was not happy,” she said. “So he said to someone, ‘tell the little troublemaker that she’s never going to do that again!’ And I didn’t, but I did make my point. And after that, I was wearing swimsuits I felt comfortable in.”

    Added co-star Jaclyn Smith: “And our ratings went up!”

    Ladd, Smith and Kate Jackson — who was instrumental in first getting “Charlie’s Angels” up and running — shared stories about the show’s origins, their favorite moments and other memories to a packed PaleyFest crowd at the Dolby Theatre in Hollywood.

    “I knew the show was different, special and unique,” Smith said. “Three women chasing danger instead of being rescued from danger… our show was the first of its kind. It gave women permission to be independent and break out of the mold and not be defined by men.”

    The panel also turned serious as Ladd revealed publicly for the first time that she had been recovering from breast cancer — a diagnosis that Jackson and Smith have also faced.

    “It’s always a shock, and mine was an aggressive form,” Ladd said of her cancer. “It’s a humbling experience, and yet I had wonderful doctors and a wonderful husband who helped me fight all through it.”

    Ladd said she struggled with going bald due to chemotherapy, but as sprouts of hair returned, she rallied. “It was a long, hard road,” she said.

    Smith said she credited “the power of girlfriends” and her family for supporting her during her own breast cancer treatment, and passed that message along to Ladd: “When Cheryl called me, the first thing I did was send her my wigs. She was so brave.”

    Smith recounted also being at Jackson’s bedside when she underwent treatment for breast cancer.

    “It’s really important to understand and embrace not being afraid of getting a mammogram,” Jackson told the audience. “Early detection is key. Find it early enough and you’ll probably be all right.”

    Added Ladd: “If you find something, don’t ignore it.”

    The “Charlie’s Angels” panel opened with a highlight reel from “Charlie’s Angels,” showcasing clips from episodes like Season 1’s “Angels in Chains” (including the iconic strip search scene); Season 2’s “Angel Flight” (when Kelly lands a jet plane); and Season 3’s “Angel Come Home” (marking the guest return of Farrah Fawcett).

    Jackson then recounted the story of how “Charlie’s Angels” came to be: She was starring on “The Rookies,” from Aaron Spelling and Leonard Goldberg, and as that show was winding down, Spelling/Goldberg Prods. had a right of first refusal on Jackson’s next project. Goldberg brought her a project titled “Alley Cats,” about three women who were private investigators but also wore whips and chains.

    “Len said, ‘It’s available because all three networks have already passed it over,’” Jackson recalled. “That sounds like a real winner! He tells me the story of ‘Alley Cats,’ and I’m thinking that’s the worst idea I ever heard in my life.”

    Spelling also wasn’t keen on the show, but asked Jackson if she had any ideas — and that’s when she pitched the concept that would turn into “Charlie’s Angels.” An oil painting on angels on Spelling’s wall inspired the show title, and the speaker box on Spelling’s desk morphed into the idea of Charlie’s speaker.

    Jackson was originally planning to play Kelly Garrett, but she eventually swapped roles to play Sabrina Duncan instead. In hiring Smith, at first the producers were looking for a redhead to play Kelly. At the time, Smith was in the show “Switch” with Robert Wagner, when she auditioned for Spelling.

    Smith remembered ABC being less than enthused about the prospects for “Charlie’s Angels” at first. “They thought it was a fluke, that it didn’t have endurance,” she said. “They thought these women in men’s roles, it wasn’t going to work. Once we remained in the top 10, they believed.”

    Farah Fawcett (who died in 2009) played Jill Munroe that first season and became a superstar — but when she left after the first year, that caused a legal fight. Jackson admitted she was disappointed to see Fawcett leave; as did Smith: “I was sad, confused, yeah, and I knew there were a lot of people in her ear,” she said. “But she’s in our collective memory, she’s here.”

    Among their favorite Fawcett moments, the stars remembered shooting “Angels in Chains,” which was filmed in Taos. Jackson and Smith said Fawcett was displeased with how cold it was at their location, and later found her hiding in the prop master’s closet with a gas stove on, drinking vodka to stay warm. “It was all so funny,” Jackson said.

    With Fawcett gone by the following year, Ladd joined the show to replace her as Kris Munroe. “She stepped right in and didn’t miss a beat,” Jackson said. At first, Ladd wasn’t interested in trying to fill Fawcett’s shoes, and turned down the offer several times. But then Spelling sold Ladd on the idea that she’d be playing the younger sister of Fawcett’s character. “He said, ‘if you’re Farrah’s little sister, you’re part of the family,’ and I said, ‘I’m in!’” Ladd famously wore a “”Farrah Fawcett-Minor” t-shirt on her first day of filming (in reference to Fawcett’s then-last name “Fawcett-Majors”) in a bid to win over the crew.

    At the height of the show’s popularity, “Charlie’s Angels” also became a marketing bonanza. But Jackson said she has seen virtually no money from that over the last 50 years. “In 2000, I got a check from Sony for 80something dollars. For merchandising from inception of ‘Charlie’s Angels’ to present day. Thank you, Sony Pictures.”

    The stars also recalled the projects that had to pass on because they were committed to “Charlie’s Angels.” For Jackson, it meant having to drop out of “Kramer vs. Kramer” when production on that film kept shifting, and she had to return to the “Charlie’s Angels” set. Smith, meanwhile, had the chance to be a “Bond girl” in a James Bond movie, but also had a contract that prevented her from doing it.

    “Things happen for a reason,” Smith said.

    Among other “could’ve beens” for the stars, but unrelated to “Charlie’s Angels,” Ladd noted she was up for “The Burning Bed,” a role that coincidentally eventually went to Fawcett. And Smith said she was considered for the film “Beetlejuice,” but “I just didn’t understand it. My husband regrets that! But sometimes you read a script, and it doesn’t always ring true to you.”

    As for what’s next, Smith plans to release a new memoir in September, “I Once Knew a Guy Named Charlie,” about her time on the show, and also about her family. Ladd is frequently seen in Christmas movies these days (“I got a thing for Jesus, I’m just saying!” she said).

    And then there’s Jackson, who hasn’t done much acting in the last two decades, opting to focus on raising her family. “I was directing, I came home, and my son was very little,” she said. “I realized I couldn’t be a good director and good mom at the same time. So I walked away and became a full-time mom. I’m glad I did it.” But now, the news: “I’m ready to go back!” she exclaimed.

    KABC-TV entertainment reporter George Pennacchio moderated the conversation, which publicity exec Jay Schwartz helped organize with PaleyFest. Jackson, Smith and Ladd will also be recognized at the Paley Honors Spring Gala in New York on May 14.

  • Kanye West Offers to Meet U.K. Jewish Community as Wireless Festival Backlash Grows

    Kanye West Offers to Meet U.K. Jewish Community as Wireless Festival Backlash Grows

    Kanye West has offered to meet members of the Jewish community in the U.K. following the furore over his headline booking at this year’s Wireless Festival, as sponsors continued to flee and politicians maintained their pressure on the government to bar his entry.

    In a statement obtained by Variety, the rapper – who also goes by Ye – said he had been “following the conversation around Wireless and want to address it directly.” He said his “only goal is to come to London and present a show of change, bringing unity, peace, and love through my music,” and offered to meet community members in person “to listen,” adding: “I know words aren’t enough – I’ll have to show change through my actions. If you’re open, I’m here.”

    The U.K. government is reviewing whether West should be permitted to enter the country at all. The offer of dialogue came as the commercial fallout from his July 10–12 booking at Finsbury Park showed no sign of slowing. Presenting partner Pepsi – which had co-branded the event as “Pepsi MAX Presents Wireless” for over a decade – confirmed its withdrawal, followed by Diageo, Rockstar Energy and PayPal, which will no longer allow its branding in the festival’s promotional materials.

    West published a full-page apology in the Wall Street Journal in January, attributing his behavior to manic episodes caused by bipolar disorder. But the gesture has not satisfied critics. Phil Rosenberg, president of the Board of Deputies of British Jews, said that a statement from Wireless managing director Melvin Benn defending the booking “will not reassure many within the Jewish or other communities.” Benn, who issued his defense to Variety, described himself as a “deeply committed anti-fascist” and urged the public to offer West “forgiveness and hope” – a stance the Campaign Against Antisemitism rejected, accusing the promoter of “profiteering from racism.”

    Actor David Schwimmer also weighed in, thanking Pepsi, PayPal and Diageo on Instagram for withdrawing and urging remaining sponsors to follow. “I believe in forgiveness, but it takes much more than this,” he told Variety in a follow-up email.

    Separately, Jonah Hill told “The Zane Lowe Show” it was “bizarre” when West posted in 2023 that watching Hill’s performance in “21 Jump Street” had made him “like Jewish people again” – while also calling West “the greatest artist to ever live.”