Disney surprised “Star Wars” fans this week by debuting its highly anticipated “Obi-Wan Kenobi” series ahead of schedule, but the first two episodes were also accompanied by another surprise. The “Details” section on Disney+ features a warning about how violent scenes in the episodes could be seen as triggering in light of this week’s mass shooting at Robb Elementary School in Uvalde, Texas.
“Although this fictional series is a continuation of the story from ‘Star Wars’ movies filmed many years ago, some scenes may be upsetting to viewers in light of the recent tragic events,” the disclaimer reads. “Warning: Contains violence involving children.”
Disney’s decision follows Netflix’s announcement that Season 4, Episode 1 of “Stranger Things” would be preceded by a similar warning, which also emphasized that the series was filmed long ago but featured potentially insensitive content regarding violence against minors.
The “Star Wars” franchise is no stranger to such violence involving children.
“Although this fictional series is a continuation of the story from ‘Star Wars’ movies filmed many years ago, some scenes may be upsetting to viewers in light of the recent tragic events,” the disclaimer reads. “Warning: Contains violence involving children.”
Disney’s decision follows Netflix’s announcement that Season 4, Episode 1 of “Stranger Things” would be preceded by a similar warning, which also emphasized that the series was filmed long ago but featured potentially insensitive content regarding violence against minors.
The “Star Wars” franchise is no stranger to such violence involving children.
- 5/28/2022
- by Christian Zilko
- Indiewire
Surprise, surprise! Ever since the Marvel/Netflix collaboration on "Daredevil" was brought to an abrupt end (along with all the rest of the planned "Defenders" franchise), fans have been champing at the bit for any and all news on whether the Man Without Fear would be brought back and officially integrated into the Marvel Cinematic Universe proper -- not just left to wallow in the small screen leftovers where references and connections mostly only worked on a one-way street. The surprise return of Charlie Cox in the role of lawyer Matt Murdock in that one scene in "Spider-Man: No Way Home" brought the roof down among...
The post A New Daredevil Series is in the Works at Disney+ appeared first on /Film.
The post A New Daredevil Series is in the Works at Disney+ appeared first on /Film.
- 5/19/2022
- by Jeremy Mathai
- Slash Film
In the wake of its legal entanglement with the state of Florida, the Walt Disney Corporation has said streaming service Disney+ will not accept political advertisement when it launches an ad-supported tier later this year.
The family-friendly platform will be offering a cheaper subscription model with commercials, but Disney+ will turn away alcohol companies or political groups looking to buy streaming airtime placement — at the AVOD tier’s launch time, at least. Disney executives signaled to agencies Tuesday that the less expensive Disney+ iteration will “not accept alcohol or political advertising at launch,” and additionally will not air ads from rival outlets or entertainment studios like Netflix, Amazon, or Apple. Disney previously announced that Netflix ads would be banned from ABC, Freeform, and FX networks on air.
“Since its launch, advertisers have been clamoring for the opportunity to be part of Disney+ and not just because there’s a growing demand for more streaming inventory,...
The family-friendly platform will be offering a cheaper subscription model with commercials, but Disney+ will turn away alcohol companies or political groups looking to buy streaming airtime placement — at the AVOD tier’s launch time, at least. Disney executives signaled to agencies Tuesday that the less expensive Disney+ iteration will “not accept alcohol or political advertising at launch,” and additionally will not air ads from rival outlets or entertainment studios like Netflix, Amazon, or Apple. Disney previously announced that Netflix ads would be banned from ABC, Freeform, and FX networks on air.
“Since its launch, advertisers have been clamoring for the opportunity to be part of Disney+ and not just because there’s a growing demand for more streaming inventory,...
- 5/17/2022
- by Samantha Bergeson
- Indiewire
I’ve always had such a weird relationship with Hulu. Due to Disney’s majority ownership of the streaming service (courtesy of its acquisition of Fox a few years back), it’s always felt like the superfluous “adult” arm of the Disney streaming empire… something that has become more and more vestigial now that Disney+ offers Mature Content filters and decidedly non-child friendly options like the formerly Netflix-housed Defenders series. Even so, Disney Is slow to diversify their main brand’s streaming options, and Hulu has long been the exclusive streaming home of such
Five Must-Stream Movies to Watch on Hulu in March 2022...
Five Must-Stream Movies to Watch on Hulu in March 2022...
- 3/20/2022
- by Brian Hadsell
- TVovermind.com
Sydney Sweeney has us caught in her web. The Euphoria star will be joining Dakota Johnson in Marvel's upcoming film Madame Web, E! News confirmed. The new Sony Pictures superhero installment will center on the comic book character Madame Web, an elderly woman with psychic sensory abilities who thrives off a spiderweb that operates as her life support. Dakota will play the titular hero, but it is still unknown what role Sydney will take on. Dakota will be the first female superhero in Sony's Marvel Universe. The film, co-written by Matt Sazama and Burk Sharpless, will be directed by S.J. Clarkson, who helmed Marvel's Defenders and Jessica...
- 3/16/2022
- E! Online
Recent Sales Success
I had the recent fortune of some puzzle pieces all falling into place at the same time. It only resulted in me selling one comic but I think the turn of events involved was worth documenting. It all started the morning after the Superbowl. I had the day off as it was my birthday and I awoke to see the words Doctor Strange, Illuminati and Professor Xavier all trending online! Of course, the first thing I did was to watch the new trailer and like a lot of people I was blown away. I am really looking forward to this movie. It’s amazing to think how they are still trying and succeeding at keeping things fresh and exciting after Endgame. I slept on Spider-Man No Way Home and just never got around to seeing it. I enjoyed the first Doctor Strange movie and am looking forward...
I had the recent fortune of some puzzle pieces all falling into place at the same time. It only resulted in me selling one comic but I think the turn of events involved was worth documenting. It all started the morning after the Superbowl. I had the day off as it was my birthday and I awoke to see the words Doctor Strange, Illuminati and Professor Xavier all trending online! Of course, the first thing I did was to watch the new trailer and like a lot of people I was blown away. I am really looking forward to this movie. It’s amazing to think how they are still trying and succeeding at keeping things fresh and exciting after Endgame. I slept on Spider-Man No Way Home and just never got around to seeing it. I enjoyed the first Doctor Strange movie and am looking forward...
- 3/9/2022
- by Ian Wells
- Nerdly
One of the highlights of Disney’s nostalgic blockbuster “Spider-Man: No Way Home” is a cameo from Charlie Cox as Daredevil, marking his character’s official entry into the Marvel Cinematic Universe after previously playing the superhero in Netflix’s hit series. While it was Cox’s first time joining forces with characters from the MCU, it is unlikely to be his last.
These days, Cox’s Daredevil is more entangled in the world of Disney than ever before. Following his “Spider-Man” cameo, the actor teased that he has had some early discussions with Marvel about potentially reprising his role in some other capacity, although he admits that he does not know much about the studio’s plans. And all of Netflix’s “Defenders” shows were recently pulled from the streaming service and moved to Disney+, where they will stream alongside MCU originals like “WandaVision” and “Moon Knight.”
Many fans...
These days, Cox’s Daredevil is more entangled in the world of Disney than ever before. Following his “Spider-Man” cameo, the actor teased that he has had some early discussions with Marvel about potentially reprising his role in some other capacity, although he admits that he does not know much about the studio’s plans. And all of Netflix’s “Defenders” shows were recently pulled from the streaming service and moved to Disney+, where they will stream alongside MCU originals like “WandaVision” and “Moon Knight.”
Many fans...
- 3/6/2022
- by Christian Zilko
- Indiewire
Though it doesn’t make Agents of S.H.I.E.L.D. a part of MCU canon by any means (not that anything short of an act of Odin will), it’s still a pretty cool thing that the seven-season Marvel series is moving to Disney+ with (step-)sister series Daredevil, Luke Cage et al.
“Oh, I love it!” said former S.H.I.E.L.D. agent Elizabeth Henstridge, when TVLine asked her about calling Disney+ home alongside Marvel’s street-level heroes starting March 16.
More from TVLineMuppets Spinoff Centered on Dr. Teeth and the Electric Mayhem Gets Disney...
“Oh, I love it!” said former S.H.I.E.L.D. agent Elizabeth Henstridge, when TVLine asked her about calling Disney+ home alongside Marvel’s street-level heroes starting March 16.
More from TVLineMuppets Spinoff Centered on Dr. Teeth and the Electric Mayhem Gets Disney...
- 3/6/2022
- by Matt Webb Mitovich
- TVLine.com
Hulu is now the streaming home of all past and future seasons of Ryan Murphy’s big FX franchises, American Crime Story, American Horror Story and Pose. All three shows left Netflix at the end of February.
While previous seasons of AHS had been available on Hulu, the streaming platform for FX programming within the Disney universe, American Crime Story and Pose had been exclusive to Netflix, which shared AHS with Hulu and Prime Video for the last couple of years. American Crime Story and Pose will join Hulu’s lineup March 7.
Speculation grew over the last couple of weeks that the series may be headed to Hulu after Netflix put up notices that they would be leaving the streamer. The Ryan Murphy shows are part of a major wave of Disney-owned series that are relocating from Netflix to Disney streamers this month; the Defenders Marvel series and Agents Of S.H.I.E.L.D....
While previous seasons of AHS had been available on Hulu, the streaming platform for FX programming within the Disney universe, American Crime Story and Pose had been exclusive to Netflix, which shared AHS with Hulu and Prime Video for the last couple of years. American Crime Story and Pose will join Hulu’s lineup March 7.
Speculation grew over the last couple of weeks that the series may be headed to Hulu after Netflix put up notices that they would be leaving the streamer. The Ryan Murphy shows are part of a major wave of Disney-owned series that are relocating from Netflix to Disney streamers this month; the Defenders Marvel series and Agents Of S.H.I.E.L.D....
- 3/3/2022
- by Nellie Andreeva
- Deadline Film + TV
The same day Netflix’s roster of Marvel television series – including “Daredevil,” “Luke Cage,” “Iron Fist,” and “Jessica Jones” – departed the streaming service, Disney announced plans to add those shows to Disney+ alongside recent Marvel TV blockbusters like “Loki,” “WandaVision,” and “The Falcon and the Winter Soldier.”
On Tuesday, Marvel announced that all of its Netflix shows – including the superhero team-up “The Defenders” – along with ABC series “Agents of S.H.I.E.L.D.” will start streaming on Disney+ beginning March 16 in the United States, Canada, United Kingdom, Ireland, Australia, and New Zealand.
“Disney+ has served as the home for some of the most beloved brands in the industry, and the addition of these live-action shows brings more from the Marvel brand together, all in one place,” Michael Paull, President of Disney Streaming, said in a statement. “We have experienced great success with an expanded content offering on Disney+ across our global markets and...
On Tuesday, Marvel announced that all of its Netflix shows – including the superhero team-up “The Defenders” – along with ABC series “Agents of S.H.I.E.L.D.” will start streaming on Disney+ beginning March 16 in the United States, Canada, United Kingdom, Ireland, Australia, and New Zealand.
“Disney+ has served as the home for some of the most beloved brands in the industry, and the addition of these live-action shows brings more from the Marvel brand together, all in one place,” Michael Paull, President of Disney Streaming, said in a statement. “We have experienced great success with an expanded content offering on Disney+ across our global markets and...
- 3/1/2022
- by Caillou Pettis
- Gold Derby
After leaving Netflix, Marvel Defenders series “Jessica Jones,” “Daredevil,” “Luke Cage,” “The Defenders,” “The Punisher,” and “The Iron Fist,” plus ABC’s “Marvel’s Agents of S.H.I.E.L.D.” will move to Disney+ streamer on March 16.
Disney has been shrinking the MCU across streamers, making Disney+ the ultimate hub for all things Marvel. Since the Marvel Defenders series left Netflix at the end of February, Disney+ will now be rolling out the respective shows instead.
“Disney+ has served as the home for some of the most beloved brands in the industry, and the addition of these live-action shows brings more from the Marvel brand together, all in one place,” Michael Paull, President of Disney Streaming, said. “We have experienced great success with an expanded content offering on Disney+ across our global markets and are excited to continue that here in the U.S. as well by offering our consumers not only great content with the new Marvel additions,...
Disney has been shrinking the MCU across streamers, making Disney+ the ultimate hub for all things Marvel. Since the Marvel Defenders series left Netflix at the end of February, Disney+ will now be rolling out the respective shows instead.
“Disney+ has served as the home for some of the most beloved brands in the industry, and the addition of these live-action shows brings more from the Marvel brand together, all in one place,” Michael Paull, President of Disney Streaming, said. “We have experienced great success with an expanded content offering on Disney+ across our global markets and are excited to continue that here in the U.S. as well by offering our consumers not only great content with the new Marvel additions,...
- 3/1/2022
- by Samantha Bergeson
- Indiewire
Disney+ has in one fell swoop “super”-charged its lineup with the addition Marvel’s Daredevil and the other “street-level hero” series that previously called Netflix home.
All seven seasons of Marvel’s Agents of S.H.I.E.L.D. are also making the move to Disney+, all starting March 16.
More from TVLineProud Family EP Addresses [Spoiler]'s Abrupt Exit From the Disney+ RevivalMarvel's Moon Knight: Disney+ Drops New Trailer During Super BowlBoba Fett: I Had a Bad Feeling About That 'Rumored' Star Wars Cameo
Given the grittier nature of Daredevil and The Punisher (which on Netflix were rated TV-ma) and the other Defenders series,...
All seven seasons of Marvel’s Agents of S.H.I.E.L.D. are also making the move to Disney+, all starting March 16.
More from TVLineProud Family EP Addresses [Spoiler]'s Abrupt Exit From the Disney+ RevivalMarvel's Moon Knight: Disney+ Drops New Trailer During Super BowlBoba Fett: I Had a Bad Feeling About That 'Rumored' Star Wars Cameo
Given the grittier nature of Daredevil and The Punisher (which on Netflix were rated TV-ma) and the other Defenders series,...
- 3/1/2022
- by Matt Webb Mitovich
- TVLine.com
All six of Marvel’s original seres for Netflix, Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Punisher, and The Defenders limited series as well as Marvel’s Agents of S.H.I.E.L.D., which had been streaming exclusively on Netflix, will be moving to Disney+ starting March 16. They will be available across all other Disney+ markets later this year.
The arrival of the Defenders franchise, whose series are all rated TV-ma, is ushering in a new era for Disney+ in the U.S., which launched as a family friendly destination with all of its programming fitting into the TV-y, Tvy-7, TV-g, TV-pg and TV-14 ratings categories.
To accomodate the introduction of TV-ma programming (equivalent to an R-rating in features), Disney+ will be updating its existing Parental Controls in the U.S. This already has been implemented internationally, including in Emea, where Star, which features adult programming from Hulu, FX and other Disney entities,...
The arrival of the Defenders franchise, whose series are all rated TV-ma, is ushering in a new era for Disney+ in the U.S., which launched as a family friendly destination with all of its programming fitting into the TV-y, Tvy-7, TV-g, TV-pg and TV-14 ratings categories.
To accomodate the introduction of TV-ma programming (equivalent to an R-rating in features), Disney+ will be updating its existing Parental Controls in the U.S. This already has been implemented internationally, including in Emea, where Star, which features adult programming from Hulu, FX and other Disney entities,...
- 3/1/2022
- by Nellie Andreeva
- Deadline Film + TV
Disney is wasting no time in getting some fan-favorite characters back on screen. Following their removal from Netflix, “Daredevil,” “Jessica Jones,” “The Defenders,” and more will officially hit Disney+ in March.
On March 16, a total of seven Marvel shows will be added to Disney+. Rounding out the septet are ABC’s “Marvel’s Agents of S.H.I.E.L.D.” and the rest of the Marvel’s live-action Netflix originals, “Luke Cage”, “Iron Fist,” “The Punisher.”
The series’ move from Netflix to Disney+ isn’t all that surprising, as the rights to the characters reverted back to Disney in February. The series expired on Netflix on Feb. 28.
But with the arrival of these TV-ma shows comes new parental control features that will roll out across Disney+ on March 16 as well, allowing parents to restrict access to the more mature content of shows like “Daredevil” and “The Punisher.”
“Disney+ has served as the home for some...
On March 16, a total of seven Marvel shows will be added to Disney+. Rounding out the septet are ABC’s “Marvel’s Agents of S.H.I.E.L.D.” and the rest of the Marvel’s live-action Netflix originals, “Luke Cage”, “Iron Fist,” “The Punisher.”
The series’ move from Netflix to Disney+ isn’t all that surprising, as the rights to the characters reverted back to Disney in February. The series expired on Netflix on Feb. 28.
But with the arrival of these TV-ma shows comes new parental control features that will roll out across Disney+ on March 16 as well, allowing parents to restrict access to the more mature content of shows like “Daredevil” and “The Punisher.”
“Disney+ has served as the home for some...
- 3/1/2022
- by Andi Ortiz
- The Wrap
“Spider-Man: No Way Home” almost singlehandedly brought back the communal movie theater experience, as superhero fans rushed to the multiplexes last year, often cheering when fan-favorite actors unexpectedly reprised their iconic superhero roles. One of the most popular Easter eggs has been a surprise appearance by Charlie Cox as Daredevil. Cox became famous for playing the blind superhero in Marvel’s “Defenders” universe, which recently left Netflix, but his appearance in “Spider-Man: No Way Home” marked his official entrance into the main Marvel Cinematic Universe. There have been so many stories about fans rejoicing when Cox appears onscreen that the actor felt compelled to experience it for himself. In a recent interview with RadioTimes.com, Cox said he snuck into a crowded theater to experience fans watching his cameo, but did not get the reaction he was expecting
“It’s funny, I got so many text messages and so many...
“It’s funny, I got so many text messages and so many...
- 2/26/2022
- by Christian Zilko
- Indiewire
Netflix’s Marvel series are coming home. Social media has been abuzz this morning about a notification added to the six Defenders universe shows, that they would only be available on Netflix until March 1.
Sources confirm to Deadline that Netflix’s license for Marvel’s Daredevil, Jessica Jones, Luke Cage, The Punisher, Iron Fist and The Defenders team-up limited series is ending and the rights to the shows is reverting to Disney. The company is keeping mum about its distribution plans for the suite of series; they are expected to be announced the shows’ new streaming home soon.
Made by Disney for Netflix in a different era of the streaming age under a different regime at the now-defunct Marvel Television, the series are not a slam-dunk for flagship Disney+ because of mature content, especially in Jessica Jones and Luke Cage. Still, Disney+ feels like the best fit, being the designated Marvel streaming home,...
Sources confirm to Deadline that Netflix’s license for Marvel’s Daredevil, Jessica Jones, Luke Cage, The Punisher, Iron Fist and The Defenders team-up limited series is ending and the rights to the shows is reverting to Disney. The company is keeping mum about its distribution plans for the suite of series; they are expected to be announced the shows’ new streaming home soon.
Made by Disney for Netflix in a different era of the streaming age under a different regime at the now-defunct Marvel Television, the series are not a slam-dunk for flagship Disney+ because of mature content, especially in Jessica Jones and Luke Cage. Still, Disney+ feels like the best fit, being the designated Marvel streaming home,...
- 2/11/2022
- by Nellie Andreeva
- Deadline Film + TV
Lower the flags in Hell’s Kitchen to half-mast. It’s the end of an era.
Ever since Disney+ canceled its suite of Defenders shows on Netflix, fans have feared the day when Daredevil, Jessica Jones, Luke Cage, Iron Fist, and their teamup effort The Defenders would be removed from the massive streaming service. Well, thanks to some eagle-eyed Netflix viewers, we now know that day is unfortunately nigh.
Per the “Renew Daredevil” Twitter account, streams of any of the Defenders series comes along with the watermarked message that “This show is available isn’t March 1st.”...
Ever since Disney+ canceled its suite of Defenders shows on Netflix, fans have feared the day when Daredevil, Jessica Jones, Luke Cage, Iron Fist, and their teamup effort The Defenders would be removed from the massive streaming service. Well, thanks to some eagle-eyed Netflix viewers, we now know that day is unfortunately nigh.
Per the “Renew Daredevil” Twitter account, streams of any of the Defenders series comes along with the watermarked message that “This show is available isn’t March 1st.”...
- 2/11/2022
- by Alec Bojalad
- Den of Geek
Jon Bernthal made his debut as Frank Castle, aka the Punisher, in the second season of the Netflix series "Daredevil (which should absolutely be canon in the Marvel Cinematic Universe.) He was then given his own Netflix series that ran for two seasons. As Disney prepared to launch its own streaming service as a competitor to Netflix, Marvel's partnership with Netflix dissipated and all the TV shows in the "Defenders" side-franchise -- "The Punisher" included -- got canceled and dropped off the radar.
Now that we're hearing rumors about a certain hero in red potentially returning in the MCU...
The post Jon Bernthal Is Open To Returning As The Punisher, But Only If He Can 'Do It Right' appeared first on /Film.
Now that we're hearing rumors about a certain hero in red potentially returning in the MCU...
The post Jon Bernthal Is Open To Returning As The Punisher, But Only If He Can 'Do It Right' appeared first on /Film.
- 12/4/2021
- by Jenna Busch
- Slash Film
Well, I can’t exactly say that it was wrong. But I can’t say that it was right, either.
The “it” in this case is The Defenders Vol. 5 #6, a story which, despite it’s cover billing as “Kingpins of New York” Part 1, was actually a continuation of events that started in The Defenders Vol 5 #1. In order that we can discuss “Kingpins of New York” part 1, I need to catch you up on what happened before part 1.
Starting in issue #1 of The Defenders Vol 5, the Defenders – Daredevil, Jessica Jones, Luke Cage, and Iron Fist – had been waging good guy-bad guy war against Willis Stryker.. Finally, in issue #4, the Defenders apprehended Stryker.
I said “apprehended” as if it were easy. It wasn’t. Stryker was distributing a new drug called Diamond, a derivative of Inhuman Growth Hormone which bestowed temporary super powers on whoever took it. And Stryker wasn’t just...
The “it” in this case is The Defenders Vol. 5 #6, a story which, despite it’s cover billing as “Kingpins of New York” Part 1, was actually a continuation of events that started in The Defenders Vol 5 #1. In order that we can discuss “Kingpins of New York” part 1, I need to catch you up on what happened before part 1.
Starting in issue #1 of The Defenders Vol 5, the Defenders – Daredevil, Jessica Jones, Luke Cage, and Iron Fist – had been waging good guy-bad guy war against Willis Stryker.. Finally, in issue #4, the Defenders apprehended Stryker.
I said “apprehended” as if it were easy. It wasn’t. Stryker was distributing a new drug called Diamond, a derivative of Inhuman Growth Hormone which bestowed temporary super powers on whoever took it. And Stryker wasn’t just...
- 10/12/2021
- by Bob Ingersoll
- Comicmix.com
“The Witcher” creator and showrunner Lauren Schmidt Hissrich has signed a multiyear overall deal with Netflix, the streamer announced Thursday.
The news was announced by Netflix TV boss Bela Bajaria during the streamer’s Television Critics Association press tour presentation Thursday. Under the agreement, Schmidt Hissrich will write and produce new scripted series content and other creative projects for Netflix.
She will remain on board as executive producer and showrunner on “The Witcher,” which is scheduled to premiere its second season in December. The series, based on the beloved Polish fantasy series from author Andrzej Sapkowski, stars Henry Cavill, Freya Allan and Anya Chalotra.
Schmidt Hissrich will also continue to serve as executive producer on the prequel series “The Witcher: Blood Origin” and the anime spinoff “The Witcher: Nightmare of the Wolf.” Her previous credits include the Marvel series “Defenders” and “Daredevil” at Netflix and Starz’s “Power.”
“I am...
The news was announced by Netflix TV boss Bela Bajaria during the streamer’s Television Critics Association press tour presentation Thursday. Under the agreement, Schmidt Hissrich will write and produce new scripted series content and other creative projects for Netflix.
She will remain on board as executive producer and showrunner on “The Witcher,” which is scheduled to premiere its second season in December. The series, based on the beloved Polish fantasy series from author Andrzej Sapkowski, stars Henry Cavill, Freya Allan and Anya Chalotra.
Schmidt Hissrich will also continue to serve as executive producer on the prequel series “The Witcher: Blood Origin” and the anime spinoff “The Witcher: Nightmare of the Wolf.” Her previous credits include the Marvel series “Defenders” and “Daredevil” at Netflix and Starz’s “Power.”
“I am...
- 8/19/2021
- by Reid Nakamura
- The Wrap
Welcome Dan, aka Comic Concierge, back to Nerdly with his new YouTube channel dedicated to all things comics. From weekly new releases to graphic novels. Comics are for everyone but the key is finding the right one. Comic Concierge is here to help with that journey, with a range of videos discussing everything from weekly pick-ups, dollar-bin dives, comic book theory, analysis and more!
Starting Points: Comics out August 11th 2021
Another new week of comics to get excited about! Once again DC has plenty of Batman-related content and this week’s Starting Point of the Week is even a surprise to me. Get prepared for this week’s New Comic Book Day by checking out this week’s Starting Points.
Time Stamps:
New Series
00:00 – Opening
00:31 – Batman ’89 #1
02:57 – I Am Batman #0
04:00 – Pennyworth #1
05:30 – Defenders #1
07:34 – The Unbelievable Unteens #1
09:32 – Campisi: The Dragon Incident #1
10:45 – Kiss: Phantom Obsession #1
New...
Starting Points: Comics out August 11th 2021
Another new week of comics to get excited about! Once again DC has plenty of Batman-related content and this week’s Starting Point of the Week is even a surprise to me. Get prepared for this week’s New Comic Book Day by checking out this week’s Starting Points.
Time Stamps:
New Series
00:00 – Opening
00:31 – Batman ’89 #1
02:57 – I Am Batman #0
04:00 – Pennyworth #1
05:30 – Defenders #1
07:34 – The Unbelievable Unteens #1
09:32 – Campisi: The Dragon Incident #1
10:45 – Kiss: Phantom Obsession #1
New...
- 8/10/2021
- by Dan Clark
- Nerdly
One of the few Marvel characters who didn’t get the proper treatment in the Marvel Cinematic Universe, it’s Danny Rand, aka Iron Fist. Oh, but you knew that already if you’ve watched the Marvel Netflix shows. The guy said it plenty of times, at it got old very fast. It’s kind of a shame, because that show can be considered Marvel’s first real flop. And what came after that was the Inhumans show and the entertaining, but ultimately underwhelming Defenders show. That show unfortunately got low ratings and my theory is because it came out after the Iron Fist show
Will Iron Fist Be Rebooted In The Shang-Chi Movie?...
Will Iron Fist Be Rebooted In The Shang-Chi Movie?...
- 7/27/2021
- by David Martinez
- TVovermind.com
As streamers continue to carve out their niches for specialized content, Netflix has established a firm foothold in original anime production of both established and original IP. On Tuesday morning, the platform outlined a group of exciting upcoming titles, headlined by the hugely anticipated “The Witcher: Nightmare of the Wolf” animated spinoff, in a pre-recorded Studio Focus panel, streamed as part of the Annecy Film Festival.
In “The Witcher,” one of Netflix’s most popular original series to date, Henry Cavill plays Geralt of Rivera, the outcast monster hunter who is loathed by most he comes across and willing to do dangerous and unsavory work for pay, earning himself a guarded admiration from some he’s helped. But, before Geralt came Vesemir, a headstrong young witcher who relishes his job and the earthly benefits he reaps in doing what others can’t or won’t. Seemingly unshakable, Vesemir will face...
In “The Witcher,” one of Netflix’s most popular original series to date, Henry Cavill plays Geralt of Rivera, the outcast monster hunter who is loathed by most he comes across and willing to do dangerous and unsavory work for pay, earning himself a guarded admiration from some he’s helped. But, before Geralt came Vesemir, a headstrong young witcher who relishes his job and the earthly benefits he reaps in doing what others can’t or won’t. Seemingly unshakable, Vesemir will face...
- 6/15/2021
- by Jamie Lang
- Variety Film + TV
In today’s Global Bulletin, Rtl Group buys out Disney’s share in Super Rtl, Japanese streaming service Meecha prepares to launch later this month and Cph:dox announces its 2021 Forum titles.
Buyout
Pan-European media giant Rtl Group’s largest business unit, Mediengruppe Rtl Deutschland, has closed an agreement with The Walt Disney Company’s Bvi Television Investments for complete ownership of German kids and family network Super Rtl, buying out the House of Mouse’s 50% share and raising Rtl’s shareholding to 100%. The transaction is now waiting for approval from the German and Austrian competition authorities.
According to Rtl, the acquisition is part of the company’s larger growth plan for its Rtl streaming platform TV Now and its strategy to consolidate its existing broadcast footprint in Europe. The deal is a further step down a path which has seen the company’s French broadcasting business M6 acquire kid’s...
Buyout
Pan-European media giant Rtl Group’s largest business unit, Mediengruppe Rtl Deutschland, has closed an agreement with The Walt Disney Company’s Bvi Television Investments for complete ownership of German kids and family network Super Rtl, buying out the House of Mouse’s 50% share and raising Rtl’s shareholding to 100%. The transaction is now waiting for approval from the German and Austrian competition authorities.
According to Rtl, the acquisition is part of the company’s larger growth plan for its Rtl streaming platform TV Now and its strategy to consolidate its existing broadcast footprint in Europe. The deal is a further step down a path which has seen the company’s French broadcasting business M6 acquire kid’s...
- 3/3/2021
- by Jamie Lang
- Variety Film + TV
During a TCA Winter panel, Marvel’s Kevin Feige answered questions regarding MCU movies and the future of the Disney+ series. The Marvel President President of Marvel Studios and Chief Creative Officer, and producer revealed quite a bit about the future, and whether past series like the Defenders and Agents of Shield will be brought into the fold. Here's a summary of what he revealed Wednesday.
- 2/24/2021
- by luperhaas@cinemovie.tv (Lupe R Haas)
- CineMovie
Remember when Netflix cancelled Daredevil and we found out that Marvel Studios couldn’t make use of the Hornhead again until two years had elapsed? Well, this weekend the time has finally come for Matt Murdock to return home.
Sunday, November 29th marks two years to the day since the streaming giant announced that the series wouldn’t be receiving a fourth season. And as per the rules of the agreement between the parties, Marvel will officially get the rights back to the vigilante later this week and can use him however they see fit once again. If they haven’t gotten them back already, that is, as there’ve been whispers that they might’ve regained them ahead of schedule.
In any case, over the past few years, there’s been much speculation about where Charlie Cox’s Man Without Fear will reappear. It was widely discussed that he...
Sunday, November 29th marks two years to the day since the streaming giant announced that the series wouldn’t be receiving a fourth season. And as per the rules of the agreement between the parties, Marvel will officially get the rights back to the vigilante later this week and can use him however they see fit once again. If they haven’t gotten them back already, that is, as there’ve been whispers that they might’ve regained them ahead of schedule.
In any case, over the past few years, there’s been much speculation about where Charlie Cox’s Man Without Fear will reappear. It was widely discussed that he...
- 11/26/2020
- by Christian Bone
- We Got This Covered
Monday marks the two-year anniversary of Daredevil being canceled by Netflix, meaning that the rights are widely expected to revert back to Marvel Studios as per the licensing agreement that was initially struck for the streaming service to develop a slate of projects based on the Defenders. And given that he’s the biggest name of the bunch in terms of popularity, the Man Without Fear has been the subject of constant speculation that he could become an integral part of Kevin Feige’s shared universe.
Daredevil was arguably the best of Netflix’s superhero shows, and was definitely positioned as the marquee title in the lineup, with fans launching several campaigns in an attempt to have it brought back for a fourth season. Of course, petitions rarely if ever succeed in their goals, but even the stars themselves were of the opinion that the Devil of Hell’s Kitchen...
Daredevil was arguably the best of Netflix’s superhero shows, and was definitely positioned as the marquee title in the lineup, with fans launching several campaigns in an attempt to have it brought back for a fourth season. Of course, petitions rarely if ever succeed in their goals, but even the stars themselves were of the opinion that the Devil of Hell’s Kitchen...
- 11/26/2020
- by Scott Campbell
- We Got This Covered
Gazillion Entertainment’s free-to-play PC action-rpg, Marvel Heroes is headed to both Xbox One and PlayStation this spring, the developer has announced. Sporting the new name of Marvel Heroes Omega, Gazillion’s community manager David Lee describes the title over on Sony’s PlayStation Blog as one that doesn’t belong to any typical genre categories, instead mixing together various elements from action-RPGs and MMOs to produce a “unique blend of non-stop action.”
Currently, it’s not entirely clear whether the console iterations will have any unique features not available in the PC version besides the new name, but Lee promises that there’s typically a very high chance that those who opt to give the game a go will be able to play as their favorite heroes come launch day. The various members that make up The Avengers, X-Men, The Defenders and Guardians of the Galaxy will all be playable,...
Currently, it’s not entirely clear whether the console iterations will have any unique features not available in the PC version besides the new name, but Lee promises that there’s typically a very high chance that those who opt to give the game a go will be able to play as their favorite heroes come launch day. The various members that make up The Avengers, X-Men, The Defenders and Guardians of the Galaxy will all be playable,...
- 4/5/2017
- by Joe Pring
- We Got This Covered
Pop culture comes to life in St. Louis this weeekend! It’s the Wizard World Comic Con April 1st, 2nd, and 3rd at America’s Center downtown (701 Convention Plaza – St. Louis, Mo 63101), and boy oh boy, do they have an amazing line-up of guests!
Wizard World Comic Con events bring together thousands of fans of all ages to celebrate the best in pop-fi, pop culture, movies, graphic novels, cosplay, comics, television, sci-fi, toys, video gaming, gaming, original art, collectibles, contests and more. St. Louis show hours are Friday, April 1st, 3-8 p.m.; Saturday, April 2nd, 10 a.m.-7 p.m., Sunday, April 3rd, 11 a.m.-5 p.m.
Wizard World Comic Con St. Louis is also the place for cosplay, with fans young and old showing off their best costumes throughout the event. Fans dressed as every imaginable character – and some never before dreamed – will roam the convention floor...
Wizard World Comic Con events bring together thousands of fans of all ages to celebrate the best in pop-fi, pop culture, movies, graphic novels, cosplay, comics, television, sci-fi, toys, video gaming, gaming, original art, collectibles, contests and more. St. Louis show hours are Friday, April 1st, 3-8 p.m.; Saturday, April 2nd, 10 a.m.-7 p.m., Sunday, April 3rd, 11 a.m.-5 p.m.
Wizard World Comic Con St. Louis is also the place for cosplay, with fans young and old showing off their best costumes throughout the event. Fans dressed as every imaginable character – and some never before dreamed – will roam the convention floor...
- 4/1/2016
- by Tom Stockman
- WeAreMovieGeeks.com
Jim Belushi, who can currently be seen on HBO’s Show Me a Hero miniseries, already has his next TV project lined up — in the pilot for Fox’s adaptation of the 1980 John Travolta film Urban Cowboy.
RelatedFox’s Urban Cowboy Pilot Casts Sense8 Actor as Male Lead
Written and exec-produced by Craig Brewer (Hustle & Flow), Fox’s “modern reimagining” of the original film will, per the official logline, follow on-the-run rodeo-circuit rider Kyle (played by Sense8‘s Alfonso Herrera) and Gaby, “two star-crossed young lovers, as they pursue their dreams and passions through the sweat of line-dancing in honky-tonks,...
RelatedFox’s Urban Cowboy Pilot Casts Sense8 Actor as Male Lead
Written and exec-produced by Craig Brewer (Hustle & Flow), Fox’s “modern reimagining” of the original film will, per the official logline, follow on-the-run rodeo-circuit rider Kyle (played by Sense8‘s Alfonso Herrera) and Gaby, “two star-crossed young lovers, as they pursue their dreams and passions through the sweat of line-dancing in honky-tonks,...
- 8/26/2015
- TVLine.com
Despite the numerous opportunities out there, most aspiring filmmakers looking for support and mentorship know that the Sundance Institute’s January Screenwriters Lab and June Directing Lab have been two of the most important talent development initiatives in the independent film world for over 30 years. The great quality of the projects that have been workshopped and propelled through these programs have given us some of the most iconic films and filmmakers in recent memory.
But the institute’s commitment to provide opportunities for new voices that represent an eclectic array of background and experiences goes even further with other, lesser known, initiatives that have the potential to become turning points in the artists' careers. Of these, one of the most exciting programs is the Screenwriters Intensive, which is part the Sundance Institute's Diversity Initiative. This is of course a resource that is not only valuable, but crucial as we try to become a more inclusive society that is appreciative and welcoming of stories that exist beyond the mainstream, homogenous noise.
The Screenwriters Intensive is a 1 1/2 day workshop for writers whose work has been encountered by the institute as part of their outreach for the Labs and which they find especially promising. The writers of 10 projects take part in a program whose elements include a hands-on writing workshop led by creative advisor Joan Tewkesbury (“Nashville”), a screening of a recent Sundance film followed by a candid conversation with the filmmaker, a reception with Sundance staff and the extended Sundance community, and one-on-one meetings with two creative advisors to get feedback on their script. With the Intensive, the Sundance Institute aims to present participants with creative tools that they can take back to their own work, provide a space for dialogue and information sharing about the creative process of making a film (and all of the joys and challenges therein), and foster community among storytellers and an ongoing connection with Sundance.
This year the film screened was Rick Famuyiwa’s “Dope,” which premiered earlier this year in Park City and won a Special Jury Prize for Editing. Following the screening Famuyiwa shared anecdotes about the film’s production and the perseverance needed to stand by the core values of his project in spite of outside opposition. Later that evening, during a casual and highly interactive reception, the fellows had the chance to discuss their latest breakthroughs and newly found questions regarding their personal projects with the institute’s staff and other members of the independent film community. Chatting with them, and having witnessed some of the poignant exercises Ms. Tewkesbury uses in the past, there is not doubt in my mind that this was a groundbreaking experience for the entire group.
The following morning the fellows returned to the institute’s L.A offices to have on-on-one conversations with two advisors from a group of talented and achieved professionals that included Kyle Patrick Alvarez (“The Stanford Prison Expriemnt”), Patricia Cardoso (“Real Women Have Curves“),the aforementioned director Rick Famuyiwa (“Dope”), Deena Goldstone (“Identity Theft”), Tanya Hamilton (“Night Catches Us”), Felicia Henderson (“Gossip Girl”), Elgin James (“Little Birds”), Craig Johnson (“The Skeleton Twins”), Kyle Killen (“The Beaver”), Adam Bhala Lough (“Bomb the System”), Joan Tewkesbury herself, and Ligiah Villalobos (“Under the Same Moon”).
The Screenwriters Intensive fellows come from uniquely different backgrounds, and their projects bring original stories that are sure to showcase new and inventive perspectives on the world. Get to know them and their stories as they are on their way to giving us a great batch of new independent films.
To learn more about the Sundance Institute's programs visit Here
Tara Anaise
Project: "Bombay Stories"
Tara Anaïse is an award-winning writer/director whose first feature, "Dark Mountain," was released by Gravitas Ventures in August of 2014. Other recent work includes the upcoming thriller "Housekeeping," on which she’s a producer, and which is set to be released by Lions Gate in late March of 2015. Her short films have screened at festivals worldwide. Tara is currently developing several new projects, including a post-apocalyptic road movie with a female lead who drives a muscle car and kicks a**, and a romantic drama set in Mumbai in both 1968 and the present day that’s loosely based on her own family’s history. She holds an Mfa in film production from the University of Southern California’s School of Cinematic Arts and a BA in English from the University of Pennsylvania. She can make a mean pumpkin mezcal cocktail and according to an Amazonian curandero, her spirit animal is the black jaguar. She lives and works in Los Angeles
Describe your project briefly and at what stage in the creative process it is.
"Bombay Stories" is a drama centered around an Indian man returning to the city of his birth after decades of living abroad. When tragedy strikes, he recalls the summer of 1968—at that time, he was twenty-one and having a heartbreaking affair with a married woman right before leaving Bombay, and his entire family, behind for his new home in New York. It’s a story about the complexities of familial relationships and the question of whether or not it’s possible to return home.
It’s very loosely inspired by my own family’s history—my father’s side fled Sindh during the Partition of India in 1947 and rebuilt their lives in Mumbai (which at the time was called Bombay). Then my father left Mumbai (of his own volition) for the U.S. And then I fled the east coast for Los Angeles. I like to say I come from a long line of fleers.
The project is in the development stage. Currently working on a rewrite of the script and I’m planning on directing.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Don’t take the easy way out. There are certain things I know about my characters and I can write them easily and I can write them well. But the most interesting aspects of a character come from the places we know the least. Don’t be afraid to go down the path that’s half in shadow, this is the kind of exploration that leads to the heart of the thing. I’ll definitely be using Joan’s writing exercises to further develop all of my characters. I’ve never done anything like what we did during her seminar. She had us make lists of things drawn from our own personal experiences – three times in your life you’ve known something was wrong but did it anyway, three places to which you never want to return, three times you’ve felt lost, and so on—and then take one item from each list, put the items on our protagonist, and quickly write a short story about the whole thing. It’s a concrete way to use instances from one’s own life to get to the root of the character.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Going into day two was exciting but nerve-wracking. I woke up at 5am wondering how my advisors were going to react to my script (I tend to expect the worst.) Luckily, no one ripped my script up into tiny pieces and threw it back at me. Adam and Tanya were both really great. They had good things to say about the script, along with insightful suggestions for improving it, which I’m going to explore in the next draft. We talked about the writing process. We talked about production. We talked about navigating the industry. Getting advice from two talented, experienced filmmakers who’d been through this many times before was incredibly helpful, not just for this project, but for my career as a filmmaker as well.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
The first thing I’m going to do is take some time to really get at the heart of each and every character. Then I’ll tackle the rewrite and when the script is ready, I’ll reach out to producers.
Shelby Farrell
Project: "Deidra and Laney Rob A Train"
Shelby Farrell is a screenwriter from Memphis, Tennessee. She is a graduate of Emory University where she was awarded the Kikag screenwriter award and the American Film Institute Conservatory where she finished an Mfa in screenwriting. She was recently featured in the Tracking Board's 2014 Young and Hungry List. She currently writes interactive games for Pocket Gems and is in preproduction for her feature "Deidra and Laney Rob A Train." She is repped by Gersh and Principato-Young.
Describe your project briefly and at what stage in the creative process it is.
"Deidra and Laney Rob A Train" is a dramedy about two teenage sisters who start robbing freight trains to support their family after their mother goes to jail. This script was my thesis screenplay for AFI and was featured on the Tracking Board's 2014 Young and Hungry List. Sydney Freeland (Sundance Alumni, "Drunktown's Finest") is attached to direct. Currently our reps are approaching select producers with the project, and we are really excited to see where it goes from here.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
All of the writers and I were pushed to find inspiration from our own past experiences during writing exercises. Through this process, I think we all realized that our screenplays are more autobiographical than we perhaps wanted to believe. Not that I've ever robbed a train, but I could.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Having professional advisors is always a blessing. Their feedback was especially useful in this stage because so many people I work with have read multiple drafts. Having fresh eyes on the script really gave me a new perspective. Also since the advisors are independent filmmakers and Sundance alums they really know what we are going through at this stage of development. I also got great advice on what's coming in the next few months as we get this story off the page.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
As far as this project goes, I feel like the script is in a really good place, but I also know that rewrites never end, and I'm excited to use the notes I received for future drafts. I'm also planning on using the writing exercises we learned in Joan Tewkesbury's workshop as I develop my newer projects. Joan taught us some character development tools that can be applied to any project in any stage.
Jared Frieder
Project: "Three Months"
Jared Frieder is a graduate of the Columbia University fiction writing program and his stories can be found in The Collective Press and The Newer York. His screenplay, "Three Months," has taken the top screenwriting prizes at the Austin Film Festival, the Screencraft Comedy Screenplay Contest, and the Big Bear International Film Festival Screenplay Contest. "Three Months" was also chosen for the 2014 Outfest Screenwriting Lab and was the featured script on The Black List online last November. He is currently developing his animated half-hour pilot, "Marathoners," with Bento Box Entertainment. He was accepted to USC’s Screenwriting Mfa on the Edward Volpe Endowed Scholarship before leaving to work on the ABC Family drama, "Chasing Life."
Describe your project briefly and at what stage in the creative process it is.
My project, "Three Months," tells the coming-of-age story of Caleb Kahn, a queer Ziggy Stardust-loving teenager from Miami who is exposed to HIV the weekend of his high school graduation and has to wait three months to be tested for the disease. It's a comedy, it's a love story, it's a tale of resilience, and it's a deconstruction of how people in crisis sludge through great periods of waiting. The screenplay has been a passion project of mine and I am very grateful to the Austin Film Festival Screenplay Competition, the Screencraft Comedy Screenplay Contest, and the Big Bear International Film Festival Screenplay Contest for awarding "Three Months" their respective grand prizes. I've also been spoiled by the Outfest Screenwriting Lab and the Sundance Intensive for allowing the script to be workshopped with their brilliant advisors (and some of my all-time heroes.)
After Austin, one of the festival judges (screenwriting phenom, producing master, and all around baller, Oren Uziel) came on board to help bring the script to the screen, along with my management company, Haven Entertainment. We're in the beginning stages of seeing this story come alive and it's pretty much the most exciting thing that has ever happened to me.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important lesson I learned from the Intensive's first day is that Joan Tewkesbury is my spirit animal. The second most important lesson I learned from Ms. Tewkesbury (sweetly nicknamed Tewks by the generous souls of Sundance) is that I tend to use jokes as a means of concealing truth and authenticity (something my protagonist does as well. Let's just say I was channeling.) She helped me crack the comedy facade and delve deeper into character, getting in touch with Caleb's fears, insecurities, and dreams. I'm confident that Tewk's direction will not only take Caleb and "Three Months" to the next level, but also elevate my storytelling in the future. And for that, I will forever be in Ms. Tewkesbury's debt.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Sitting down with Kyle Killen was intimidating at first (he's a certifiable story genius who wrote "The Beaver" and created shows like "Lone Star.") But Kyle tapped into my protagonist in ways that previous advisors couldn't. He helped me dissect Caleb, bringing out deeper layers of his character. We then discussed and determined the most effective way of braiding these emotional undercurrents into the narrative. It's safe to say that my mind was blown.
Kyle Alvarez (esteemed director and fast friend) took a different approach and guided me through "Three Months" from a director's perspective, helping me think about casting, locations, and how aspects of the script would translate on screen. Having mentors come at the project from different angles was really enlightening. Again, I feel incredibly spoiled and grateful.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Post-Intensive, I'm taking another pass at "Three Months" (because apparently you're never done writing, or that's what they keep telling me.) I'm stoked to take my Sundance notes and weave them through the script where I see fit. Then it's off to the producers for feedback and hopefully the hunt for a director and cast will commence. Also, there will be thank you notes. Lots and lots of thank you notes: to Sundance, to Tewks, to the Kyles, and to the universe for giving me this opportunity.
David J. Lee
Project: "Found"
David J. Lee spent years as an It professional who dreamed of becoming a performer. He finally made the leap and began working as a professional actor who curiously kept getting offers to direct. Finally he gave in, dropped it all, and proceeded to pursue his Mfa in Film Production at USC where, of course, everyone became more interested in his writing. Dave received USC’s First Film Screenwriting Award in 2013, and his thesis script, "Found," was a top 50 Academy Nicholl semi-finalist. His university-produced short, "Paulie," directed by Andrew Nackman, went on to win the Best Film, Audience Award, and Best Writer prizes at the 2014 NBC Universal Short Cuts Festival. Dave was a 2014 Cape New Writers Fellow; he is working on the feature version of "Paulie" while making eyes at the TV world.
Describe your project briefly and at what stage in the creative process it is.
My feature film script is a crime thriller called “Found”. It’s the story of a night worker at a storage facility whose odd, illicit habit of breaking into storage lockers – and her talent for understanding people's lives through their belongings – force her into action when she discovers evidence of a child abduction in one of the units.
“Found" was my thesis script at USC and was a top-50 Nicholl semi-finalist in 2013. Prior to being accepted into the 2015 Sundance Intensive, it had been selected for the 2014 Cape New Writers Fellowship.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Obviously, at this point I'm many drafts into my script, which means that I'm in a much different mindset than I was when I was originally coming up with the story. It’s a very analytical, left-brain process. Joan Tewkesbury led us through a series of writing exercises which brought me back to that original creative place, which helped me get a new perspective on my characters.
I guess if you’re looking for a specific lesson, it would be, “If you need a fresh perspective, don’t be afraid to put your characters in seemingly irrelevant situations, just to see how they play out, because you’ll be surprised at the relevant places you end up. At the very least, you often end up learning something new about your characters."
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I was amazed and honored at how much time each advisor had put into their notes. Time is gold for these folks, and they gave us so much of it. It seemed that most of them had received tremendous support from the Sundance Labs or from programs similar to them when they were younger, so they were all there that day out of a desire to give back.
It’s valuable to receive notes from professionals in that these are folks who have more experience than you and a valuable perspective from having worked within the system, and I received some fantastic, insightful feedback that day. At the same time, they’re only perspectives. A note from a working professional may warrant extra consideration, but ultimately, if it doesn’t resonate with you, then it just doesn’t. In the end you weigh those comments against all the other feedback you’ve received over time.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Keep writing. I’m encouraged by the attention this script has received. When I get it to a place where I’m happy with, then I’ll start looking into getting it made.
Channing Godfrey Peoples
Project: "Miss Juneteenth"
Channing Godfrey Peoples received her Mfa from USC's School of Cinematic Arts. Originally from Texas, she spent her childhood in community theater and has been storytelling ever since. Her films are character driven stories that focus on the resilience of the human spirit, often featuring African-American women at a turning point in their lives. At USC, Channing was awarded funding to direct her documentary, “Carry Me Home”, about the celebratory aspects of African-American Funeral Traditions.
Her narrative Thesis Film, “Red”, is a King Family Foundation Recipient, Jury Award Winner for Directing at the Directors Guild of America Student Film Awards, Panavision New Filmmakers Grant Recipient and nominated for Best Short at Pan African Film Festival and the Africa Movie Academy Awards. Channing won “Best Director” at the Nevada International Film Festival and was honored at the Lois Weber Film Festival in Texas. She wrote, directed and starred in “Red”, which is currently on the festival circuit, most recently screening at Champs-Élysées Film Festival in Paris, France. Channing served as a Time Warner Artist-in-Residence at Howard University in Washington DC. She believes in community involvement and mentors children interested in the arts. Channing is developing her first feature film, “Miss Juneteenth."
Describe your project briefly and at what stage in the creative process it is.
In Texas, slaves were informed they were free, two long years after 1863's Emancipation Proclamation declared American slaves free. That day was June 19 th, 1865, also known as “Juneteenth”. Today, many communities celebrate the Juneteenth holiday with beauty pageants acknowledging young African-American women who are the descendants of slaves. My story, "Miss Juneteenth," is about one of these women.
Turquoise Jones is a former beauty queen, “Miss Juneteenth 1999”, who lost her pageant's top prize of a college scholarship when an unplanned pregnancy lands her back home tending bar at an aging juke joint. Today, she is a single mother to a teenage girl, who she struggles to keep from going down the same wrong path that she took. She has enrolled her disinterested daughter in this year’s Miss Juneteenth pageant and is fighting to keep her in it.
The project is in development and is based in my hometown of Fort Worth, Texas. Neil Creque Williams ("David’s Reverie") is attached as Producer.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
On our first day of the Screenwriters Intensive Lab, Joan Tewkesbury lead an incredible writing workshop that challenged me to look deeper into the emotional journey of my story. I was seeking a way to take my script to a deeper emotional level and the workshop certainly aided that endeavor. The lesson for me was to connect to my characters through personal experience and emotion and not be resistant to other possibilities for my story.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were incredible and I am in awe of their insight and accomplishments. I was delighted to receive feedback from professionals whose work I have long admired. They provided constructive feedback and challenged me to think of the script in new ways. I also enjoyed exchanging ideas with the other fellows at the Intensive and I was delighted to be surrounded by such diverse talent.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I am now revisiting the script with a renewed intensity. I will be directing my film, "Miss Juneteenth," so my producer, Neil Creque Williams and I have identified our locations and begun preliminary casting. Our next step is crowdfunding and to continue to apply for support.
Maya Perez
Project: "Umwana"
Maya Perez is a screenwriter and fiction writer. She is a consulting producer for the Emmy Award- winning television series "On Story: Presented by Austin Film Festival," now entering its fifth season on PBS, and co-editor of the book On Story: Screenwriters and Their Craft (University of Texas Press, October 2013). She holds a Bachelor of Arts from Vassar College and is a Michener fellow at the University of Texas at Austin. She grew up in Kenya, Zambia, and the United States and lives in Austin, Texas.
Describe your project briefly and at what stage in the creative process it is.
My project is a feature script, "Umwana," a domestic drama about an American teen who goes to rural Zambia to meet and live with her father and his family. More foreign to her than the cultural differences is the experience of being a member of a family.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
It was great to be reminded of the importance of specificity when depicting characters, and also, how to pull from personal experience without making your characters reflections of yourself. In the workshop we were assigned numerous writing exercises and, though initially intimidating, it was stimulating to be assured there's no limit to the new stories we can quickly craft from scratch. We often think of time as the enemy, in that we don't have enough of it in which to do the work. But sometimes I think I give myself too much time. Some of my better, more visceral writing has been generated under the gun, so to speak.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
One of my advisors hit me with a barrage of questions as soon as I sat down - What is Cassie feeling here? What does Joseph look like? Is it what she expected? What if this happened? What if that happened? So many questions that I started doubting the story's weight altogether. But she kept on and wouldn't let up, so I just wrote them all down until I finally had an answer and then another and eventually realized I know exactly what this story and these characters are about. I had to be sort of beaten down and thrown off balance in order to find the railing. It was terrific. Another advisor - who fortunately came right after - grabbed my shoulders and said he would stalk me until I made this film. He offered to make introductions to agents, managers, producers, and to be there for every draft and question I might have along the way. It was an invaluable experience, to sit down with these talented, professional writers who had read my script so closely and had such constructive questions and encouragement. It felt as though they were as invested in its success as I am.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
My proposed new opening to the script was met with enthusiasm, so I'll make that change, do another revision on the script, and then submit it for the Screenwriters Lab. It was a finalist last year, so hopefully it will go through this year and I'll be able to take advantage of a full week at the Lab to prepare it for production. One of my advisors generously sent me the look book he's using for his current project, and I'm making one of those for "Umwana" as well as researching what shooting on location in Zambia will entail.
Rodrigo Reyes
Project: "Charlie"
Rodrigo Reyes was born in Mexico City in 1983. Supported by the Mexican Ministry of Film, his acclaimed 2012 feature documentary "Purgatorio" featured visceral and intimate portraits of the Us- Mexico border. The film premiered in competition at the 2013 Los Angeles Film Festival and Guadalajara International Film Festival, touring more than 40 festivals including MoMA’s Documentary Fortnight, and winning several jury prizes including the Michael Moore Award for Best Documentary at the Ann Arbor Film Festival. "Purgatorio" has been released theatrically on over 100 screens throughout Mexico, touring Latin America, Spain, and over 30 American cities. In 2013 Filmmaker Magazine named Rodrigo one of 25 New Faces of Independent Film, and in 2014 he was awarded the Tribeca Film Institute Heineken Voices Grant for his upcoming documentary "Sanson And Me," as well as the Canon Filmmaker Award for his hybrid peach picker portrait "Lupe Under The Sun," currently in post-production. Rodrigo attended Uc San Diego, as well as colleges in Madrid and Mexico City, earning a degree in International Studies. He currently lives in California’s Central Valley where he works as an interpreter in the California Superior Court.
Describe your project briefly and at what stage in the creative process it is.
"Charlie" is a story about a mother and son living in the heartland of America, who hide a dark secret that is tearing them apart, threatening them with destruction. It’s a twisted, existential fairy-tale that tackles estrangement, loneliness and violence in a unique way. Aside from Sundance, the film has received the support of Nalip’s Latino Media Market.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
I was surprised by some of the tools used in the labs. There was an element of tapping into the subconscious using semi-dada techniques that really clicked with me. The key was coming in with an open mind.
Before the Labs, I felt the project was close to a final draft. That has since been atomized and torn apart at the hinges, which is fantastic, actually. The Intensive helped me pull away from the rut I didn’t know I was in and look at my script with a naked, honest perspective.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Often as independent filmmakers we feel threatened by the industry, their perspectives are senses as criticisms instead of critiques. The Lab did a great job of inviting you to a conversation, not a lecture or a dictate. I felt I could take the advice that honestly connected with me and integrate it with my script, while also fielding key questions to the advisors in a safe space.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
It’s all in my hands now. I have to integrate the conversations, critiques and perspectives gleaned from this process into a new draft.
Luke Uriah Slendebroek
Project: “Sophia/Gordita”
Luke Uriah Slendebroek is a graduate of the UCLA School of Theater, Film, and Television Mfa directing program. While at UCLA, Luke's films have been awarded The Hollywood Foreign Press Award, The Four Sister’s Award, The Carroll Sax Award in Motion Picture and Television Production, the Edie and Lew Wasserman Film Production Fellowship, and two Motion Picture Association of America Awards. Luke has directed a short documentary for the Bill and Melinda Gates Foundation, and he has directed a short film for the Oscar-winning producer and director Robert "Bobby" Moresco as part of an interdisciplinary collaboration at UCLA. He has also directed a number of industrial films for Fortune 500 companies. Luke's films favor the underdogs, involve fantastical worlds, and tend to explore that brief period between childhood and adulthood.
Describe your project briefly and at what stage in the creative process it is.
“Sophia/Gordita” is a coming of age western based on the incredible true story of teenage madam that served the migrant farming communities of the midwest.
Aleksandar Marinovich has stepped on board to help produce the film. Currently we are raising money to finance the film with a goal of shooting in September, 2016.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The Sundance Intensive was an amazing and immersive experience. The writing techniques I learned during the two days will be crucial as I dive into the next draft of my screenplay entitled “Sophia/Gordita”. Through this workshop, I feel confident to tackle the issues of my screenplay and to dig deeper into motivations that drive my lead character, Sophia.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Patricia Cardoso and Ligiah Villalobos were incredibly generous to offer their guidence and direction on my screenplay “Sophia/Gordita”. Their feedback, although at times challenging, pushed me to dig deeper into the character of Sophia. What really drives her to make the choices in act one that sends her life into a downward spiral during the subsequent acts? As I work through these issues, the outcome will hopefully be a character that no one has ever seen before on the screen, an anti-hero for a new generation.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I plan on doing another rewrite utilizing the tools and techniques I learned from the Intensive. After the next draft, I will get more feedback from my producer and my film collective, Vices of Reason. Once I get a draft that I’m comfortable with, I’m going to get the script in the hands of anyone that’s willing to read it as well as continue to raise money to finance the film.
Vivian Tse
Project: "These Animals"
Vivian Tse is a filmmaker making both narrative and documentary films. She was a Colonist at the 2013 Nantucket Screenwriting Colony with her feature script "Joe Boy," which was also selected for the 2014 Ifp Transatlantic Partners Program. Tse participated in the 2014 Pov Hackathon with the transmedia documentary film "The Angola Project." Originally from San Francisco, she graduated from the University of Southern California.
Describe your project briefly and at what stage in the creative process it is.
"These Animals" is the story of an astronaut's last year on Earth after she agrees to crew a one-way mission to Mars. It's about what the last year of someone's life would be like if she made a decision with stakes that high, what happens to her family and the people around her, the people she loves and who love her.
We're currently in the development stage, trying to put the financing together. Sundance and the A3 foundation was kind enough to give us a grant. And we're in post on a short version of the project which we shot late last year.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
It took a bit of processing but the most rewarding lesson, or at least the one that stuck with me most, was using yourself to dig deeper into your character's journey. Which sounds obvious and certainly its something you're already doing as a writer with everything you write, but you can always go deeper. learning that there is always more to dig up, more of you to add, which is horrifying and invigorating at the same time.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were amazing. They're very passionate - it's great. i found it invaluable, even when I didn't agree with the notes. it lets you know how people are reading, understanding and thinking about your story. their perspective was so helpful and it helps to look at my characters and my story in a new way. writing can be very isolating so it's always great to talk to someone who is doing what you're doing. and they share their war stories, telling you to reimagine a scene because they did something similar and it went to shit so don't forget to think about this or that, or that space ships are expensive so maybe try to stay out of a ship as a location. i don't have any space ships in the film but you get my point.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
A re-write for one, casting, financing the rest of the film. Keep pushing forward, hustling, like everyone does, until you make your film.
Diego Velasco & Carolina Paiz
Project: "Los Invadidos"
Diego Velasco and Carolina Paiz, a husband and wife writing team, are currently working on "Los Invadidos," a thriller which Velasco will also direct.
Writer/director Diego Velasco was born in the Us and raised in Caracas, Venezuela. Diego’s short, "Cédula Ciudadano," got him invited into the Fox Searchlab program after winning the Los Angeles Latino Film Festival. In 2003, Diego moved to Los Angeles and formed Open Studios with his wife, a production company meant to make the films they wanted to see in the world. In 2010, Diego made his feature debut with "La Hora Cero" (The Zero Hour). Set in Caracas during the 24-hours of a controversial medical strike, the film followed La Parca, a tattooed hit-man, as he takes an elite hospital hostage in an attempt to save his wounded girlfriend and her child. The film became the highest grossing Venezuelan film of its time. It has won over 35 awards at International festivals and secured distribution in five continents. Currently it has been optioned for an English language remake. In November of 2011, Diego was featured as one the Ten Mover and Reshapers of Latin American Cinema by Variety Magazine.
Growing up in Guatemala during the civil war, Carolina Paiz spent much of her time indoors, reading and watching television, escapes which later provided the foundation for her career as a writer for film and TV. At 15, she left Guatemala for Kent, a boarding school in Connecticut, where she was the first non- native English speaker to be awarded the Robert S. Hillyard award for her achievements in creative writing. Carolina went on to study English and Latin American Studies at Tulane University. The short stories she wrote there were later published by the Caribbean Writer. One of these, Sleep Comes Suddenly, was honored with the Canute A. Brodhurst Award. In 2006, she landed a position as a staff writer on ABC’s "Grey’s Anatomy." She later went on to write on NBC’s "Lipstick Jungle," CBS’s "The Defenders," Fox’s "Gang Related" and currently, Fox’s "Runner." She also developed a series for Fox, "Queen Of the South," based on the hugely successful Spanish novel. Between television projects, Carolina co- wrote and produced the Venezuelan feature "La Hora Cero," the highest grossing Venezuelan film in history.
Describe your project briefly and at what stage in the creative process it is.
The film follows a couple that has just lost their only child and now find themselves on different sides of the spiritual debate. They’re forced to face their problems when they inherit a remote farm in the Venezuelan plains. Hoping for a new start, they soon learn the farm has been invaded by squatters and that there’s more to reality than what you can see…
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The first day was revelatory. By doing exhaustive and highly personal writing exercises that we then shared with the entire class, we both realized that we hadn't fully tapped into our own fears and desires in writing the characters in our feature. We realized there was far more of us in these characters than we'd anticipated and that embracing that would actually deepen them. Rewriting the script now, the characters have come to life by simply putting ourselves in their shoes.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Our advisors were completely different and had very different points of view on the script, yet both sets of notes complimented each other quite well at the end of the day. Their points of view were enlightening. We had exhausted our resources by asking for notes from every trusted friend and colleague that we knew, and we'd gotten to the point we were afraid they'd stop taking our calls for fear that we'd make them read the script again. We were desperate for fresh eyes from people that didn't know us, didn't know the project, and had no emotional stake in any of it. But what made it truly amazing was the fact that we got to dive in with such skilled writers, and such generous people, and that they truly took the time to give us deep and insightful notes.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
We are currently rewriting the script as per what we've learned and hope to begin our search for financing soon!
But the institute’s commitment to provide opportunities for new voices that represent an eclectic array of background and experiences goes even further with other, lesser known, initiatives that have the potential to become turning points in the artists' careers. Of these, one of the most exciting programs is the Screenwriters Intensive, which is part the Sundance Institute's Diversity Initiative. This is of course a resource that is not only valuable, but crucial as we try to become a more inclusive society that is appreciative and welcoming of stories that exist beyond the mainstream, homogenous noise.
The Screenwriters Intensive is a 1 1/2 day workshop for writers whose work has been encountered by the institute as part of their outreach for the Labs and which they find especially promising. The writers of 10 projects take part in a program whose elements include a hands-on writing workshop led by creative advisor Joan Tewkesbury (“Nashville”), a screening of a recent Sundance film followed by a candid conversation with the filmmaker, a reception with Sundance staff and the extended Sundance community, and one-on-one meetings with two creative advisors to get feedback on their script. With the Intensive, the Sundance Institute aims to present participants with creative tools that they can take back to their own work, provide a space for dialogue and information sharing about the creative process of making a film (and all of the joys and challenges therein), and foster community among storytellers and an ongoing connection with Sundance.
This year the film screened was Rick Famuyiwa’s “Dope,” which premiered earlier this year in Park City and won a Special Jury Prize for Editing. Following the screening Famuyiwa shared anecdotes about the film’s production and the perseverance needed to stand by the core values of his project in spite of outside opposition. Later that evening, during a casual and highly interactive reception, the fellows had the chance to discuss their latest breakthroughs and newly found questions regarding their personal projects with the institute’s staff and other members of the independent film community. Chatting with them, and having witnessed some of the poignant exercises Ms. Tewkesbury uses in the past, there is not doubt in my mind that this was a groundbreaking experience for the entire group.
The following morning the fellows returned to the institute’s L.A offices to have on-on-one conversations with two advisors from a group of talented and achieved professionals that included Kyle Patrick Alvarez (“The Stanford Prison Expriemnt”), Patricia Cardoso (“Real Women Have Curves“),the aforementioned director Rick Famuyiwa (“Dope”), Deena Goldstone (“Identity Theft”), Tanya Hamilton (“Night Catches Us”), Felicia Henderson (“Gossip Girl”), Elgin James (“Little Birds”), Craig Johnson (“The Skeleton Twins”), Kyle Killen (“The Beaver”), Adam Bhala Lough (“Bomb the System”), Joan Tewkesbury herself, and Ligiah Villalobos (“Under the Same Moon”).
The Screenwriters Intensive fellows come from uniquely different backgrounds, and their projects bring original stories that are sure to showcase new and inventive perspectives on the world. Get to know them and their stories as they are on their way to giving us a great batch of new independent films.
To learn more about the Sundance Institute's programs visit Here
Tara Anaise
Project: "Bombay Stories"
Tara Anaïse is an award-winning writer/director whose first feature, "Dark Mountain," was released by Gravitas Ventures in August of 2014. Other recent work includes the upcoming thriller "Housekeeping," on which she’s a producer, and which is set to be released by Lions Gate in late March of 2015. Her short films have screened at festivals worldwide. Tara is currently developing several new projects, including a post-apocalyptic road movie with a female lead who drives a muscle car and kicks a**, and a romantic drama set in Mumbai in both 1968 and the present day that’s loosely based on her own family’s history. She holds an Mfa in film production from the University of Southern California’s School of Cinematic Arts and a BA in English from the University of Pennsylvania. She can make a mean pumpkin mezcal cocktail and according to an Amazonian curandero, her spirit animal is the black jaguar. She lives and works in Los Angeles
Describe your project briefly and at what stage in the creative process it is.
"Bombay Stories" is a drama centered around an Indian man returning to the city of his birth after decades of living abroad. When tragedy strikes, he recalls the summer of 1968—at that time, he was twenty-one and having a heartbreaking affair with a married woman right before leaving Bombay, and his entire family, behind for his new home in New York. It’s a story about the complexities of familial relationships and the question of whether or not it’s possible to return home.
It’s very loosely inspired by my own family’s history—my father’s side fled Sindh during the Partition of India in 1947 and rebuilt their lives in Mumbai (which at the time was called Bombay). Then my father left Mumbai (of his own volition) for the U.S. And then I fled the east coast for Los Angeles. I like to say I come from a long line of fleers.
The project is in the development stage. Currently working on a rewrite of the script and I’m planning on directing.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Don’t take the easy way out. There are certain things I know about my characters and I can write them easily and I can write them well. But the most interesting aspects of a character come from the places we know the least. Don’t be afraid to go down the path that’s half in shadow, this is the kind of exploration that leads to the heart of the thing. I’ll definitely be using Joan’s writing exercises to further develop all of my characters. I’ve never done anything like what we did during her seminar. She had us make lists of things drawn from our own personal experiences – three times in your life you’ve known something was wrong but did it anyway, three places to which you never want to return, three times you’ve felt lost, and so on—and then take one item from each list, put the items on our protagonist, and quickly write a short story about the whole thing. It’s a concrete way to use instances from one’s own life to get to the root of the character.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Going into day two was exciting but nerve-wracking. I woke up at 5am wondering how my advisors were going to react to my script (I tend to expect the worst.) Luckily, no one ripped my script up into tiny pieces and threw it back at me. Adam and Tanya were both really great. They had good things to say about the script, along with insightful suggestions for improving it, which I’m going to explore in the next draft. We talked about the writing process. We talked about production. We talked about navigating the industry. Getting advice from two talented, experienced filmmakers who’d been through this many times before was incredibly helpful, not just for this project, but for my career as a filmmaker as well.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
The first thing I’m going to do is take some time to really get at the heart of each and every character. Then I’ll tackle the rewrite and when the script is ready, I’ll reach out to producers.
Shelby Farrell
Project: "Deidra and Laney Rob A Train"
Shelby Farrell is a screenwriter from Memphis, Tennessee. She is a graduate of Emory University where she was awarded the Kikag screenwriter award and the American Film Institute Conservatory where she finished an Mfa in screenwriting. She was recently featured in the Tracking Board's 2014 Young and Hungry List. She currently writes interactive games for Pocket Gems and is in preproduction for her feature "Deidra and Laney Rob A Train." She is repped by Gersh and Principato-Young.
Describe your project briefly and at what stage in the creative process it is.
"Deidra and Laney Rob A Train" is a dramedy about two teenage sisters who start robbing freight trains to support their family after their mother goes to jail. This script was my thesis screenplay for AFI and was featured on the Tracking Board's 2014 Young and Hungry List. Sydney Freeland (Sundance Alumni, "Drunktown's Finest") is attached to direct. Currently our reps are approaching select producers with the project, and we are really excited to see where it goes from here.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
All of the writers and I were pushed to find inspiration from our own past experiences during writing exercises. Through this process, I think we all realized that our screenplays are more autobiographical than we perhaps wanted to believe. Not that I've ever robbed a train, but I could.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Having professional advisors is always a blessing. Their feedback was especially useful in this stage because so many people I work with have read multiple drafts. Having fresh eyes on the script really gave me a new perspective. Also since the advisors are independent filmmakers and Sundance alums they really know what we are going through at this stage of development. I also got great advice on what's coming in the next few months as we get this story off the page.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
As far as this project goes, I feel like the script is in a really good place, but I also know that rewrites never end, and I'm excited to use the notes I received for future drafts. I'm also planning on using the writing exercises we learned in Joan Tewkesbury's workshop as I develop my newer projects. Joan taught us some character development tools that can be applied to any project in any stage.
Jared Frieder
Project: "Three Months"
Jared Frieder is a graduate of the Columbia University fiction writing program and his stories can be found in The Collective Press and The Newer York. His screenplay, "Three Months," has taken the top screenwriting prizes at the Austin Film Festival, the Screencraft Comedy Screenplay Contest, and the Big Bear International Film Festival Screenplay Contest. "Three Months" was also chosen for the 2014 Outfest Screenwriting Lab and was the featured script on The Black List online last November. He is currently developing his animated half-hour pilot, "Marathoners," with Bento Box Entertainment. He was accepted to USC’s Screenwriting Mfa on the Edward Volpe Endowed Scholarship before leaving to work on the ABC Family drama, "Chasing Life."
Describe your project briefly and at what stage in the creative process it is.
My project, "Three Months," tells the coming-of-age story of Caleb Kahn, a queer Ziggy Stardust-loving teenager from Miami who is exposed to HIV the weekend of his high school graduation and has to wait three months to be tested for the disease. It's a comedy, it's a love story, it's a tale of resilience, and it's a deconstruction of how people in crisis sludge through great periods of waiting. The screenplay has been a passion project of mine and I am very grateful to the Austin Film Festival Screenplay Competition, the Screencraft Comedy Screenplay Contest, and the Big Bear International Film Festival Screenplay Contest for awarding "Three Months" their respective grand prizes. I've also been spoiled by the Outfest Screenwriting Lab and the Sundance Intensive for allowing the script to be workshopped with their brilliant advisors (and some of my all-time heroes.)
After Austin, one of the festival judges (screenwriting phenom, producing master, and all around baller, Oren Uziel) came on board to help bring the script to the screen, along with my management company, Haven Entertainment. We're in the beginning stages of seeing this story come alive and it's pretty much the most exciting thing that has ever happened to me.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important lesson I learned from the Intensive's first day is that Joan Tewkesbury is my spirit animal. The second most important lesson I learned from Ms. Tewkesbury (sweetly nicknamed Tewks by the generous souls of Sundance) is that I tend to use jokes as a means of concealing truth and authenticity (something my protagonist does as well. Let's just say I was channeling.) She helped me crack the comedy facade and delve deeper into character, getting in touch with Caleb's fears, insecurities, and dreams. I'm confident that Tewk's direction will not only take Caleb and "Three Months" to the next level, but also elevate my storytelling in the future. And for that, I will forever be in Ms. Tewkesbury's debt.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Sitting down with Kyle Killen was intimidating at first (he's a certifiable story genius who wrote "The Beaver" and created shows like "Lone Star.") But Kyle tapped into my protagonist in ways that previous advisors couldn't. He helped me dissect Caleb, bringing out deeper layers of his character. We then discussed and determined the most effective way of braiding these emotional undercurrents into the narrative. It's safe to say that my mind was blown.
Kyle Alvarez (esteemed director and fast friend) took a different approach and guided me through "Three Months" from a director's perspective, helping me think about casting, locations, and how aspects of the script would translate on screen. Having mentors come at the project from different angles was really enlightening. Again, I feel incredibly spoiled and grateful.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Post-Intensive, I'm taking another pass at "Three Months" (because apparently you're never done writing, or that's what they keep telling me.) I'm stoked to take my Sundance notes and weave them through the script where I see fit. Then it's off to the producers for feedback and hopefully the hunt for a director and cast will commence. Also, there will be thank you notes. Lots and lots of thank you notes: to Sundance, to Tewks, to the Kyles, and to the universe for giving me this opportunity.
David J. Lee
Project: "Found"
David J. Lee spent years as an It professional who dreamed of becoming a performer. He finally made the leap and began working as a professional actor who curiously kept getting offers to direct. Finally he gave in, dropped it all, and proceeded to pursue his Mfa in Film Production at USC where, of course, everyone became more interested in his writing. Dave received USC’s First Film Screenwriting Award in 2013, and his thesis script, "Found," was a top 50 Academy Nicholl semi-finalist. His university-produced short, "Paulie," directed by Andrew Nackman, went on to win the Best Film, Audience Award, and Best Writer prizes at the 2014 NBC Universal Short Cuts Festival. Dave was a 2014 Cape New Writers Fellow; he is working on the feature version of "Paulie" while making eyes at the TV world.
Describe your project briefly and at what stage in the creative process it is.
My feature film script is a crime thriller called “Found”. It’s the story of a night worker at a storage facility whose odd, illicit habit of breaking into storage lockers – and her talent for understanding people's lives through their belongings – force her into action when she discovers evidence of a child abduction in one of the units.
“Found" was my thesis script at USC and was a top-50 Nicholl semi-finalist in 2013. Prior to being accepted into the 2015 Sundance Intensive, it had been selected for the 2014 Cape New Writers Fellowship.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Obviously, at this point I'm many drafts into my script, which means that I'm in a much different mindset than I was when I was originally coming up with the story. It’s a very analytical, left-brain process. Joan Tewkesbury led us through a series of writing exercises which brought me back to that original creative place, which helped me get a new perspective on my characters.
I guess if you’re looking for a specific lesson, it would be, “If you need a fresh perspective, don’t be afraid to put your characters in seemingly irrelevant situations, just to see how they play out, because you’ll be surprised at the relevant places you end up. At the very least, you often end up learning something new about your characters."
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I was amazed and honored at how much time each advisor had put into their notes. Time is gold for these folks, and they gave us so much of it. It seemed that most of them had received tremendous support from the Sundance Labs or from programs similar to them when they were younger, so they were all there that day out of a desire to give back.
It’s valuable to receive notes from professionals in that these are folks who have more experience than you and a valuable perspective from having worked within the system, and I received some fantastic, insightful feedback that day. At the same time, they’re only perspectives. A note from a working professional may warrant extra consideration, but ultimately, if it doesn’t resonate with you, then it just doesn’t. In the end you weigh those comments against all the other feedback you’ve received over time.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Keep writing. I’m encouraged by the attention this script has received. When I get it to a place where I’m happy with, then I’ll start looking into getting it made.
Channing Godfrey Peoples
Project: "Miss Juneteenth"
Channing Godfrey Peoples received her Mfa from USC's School of Cinematic Arts. Originally from Texas, she spent her childhood in community theater and has been storytelling ever since. Her films are character driven stories that focus on the resilience of the human spirit, often featuring African-American women at a turning point in their lives. At USC, Channing was awarded funding to direct her documentary, “Carry Me Home”, about the celebratory aspects of African-American Funeral Traditions.
Her narrative Thesis Film, “Red”, is a King Family Foundation Recipient, Jury Award Winner for Directing at the Directors Guild of America Student Film Awards, Panavision New Filmmakers Grant Recipient and nominated for Best Short at Pan African Film Festival and the Africa Movie Academy Awards. Channing won “Best Director” at the Nevada International Film Festival and was honored at the Lois Weber Film Festival in Texas. She wrote, directed and starred in “Red”, which is currently on the festival circuit, most recently screening at Champs-Élysées Film Festival in Paris, France. Channing served as a Time Warner Artist-in-Residence at Howard University in Washington DC. She believes in community involvement and mentors children interested in the arts. Channing is developing her first feature film, “Miss Juneteenth."
Describe your project briefly and at what stage in the creative process it is.
In Texas, slaves were informed they were free, two long years after 1863's Emancipation Proclamation declared American slaves free. That day was June 19 th, 1865, also known as “Juneteenth”. Today, many communities celebrate the Juneteenth holiday with beauty pageants acknowledging young African-American women who are the descendants of slaves. My story, "Miss Juneteenth," is about one of these women.
Turquoise Jones is a former beauty queen, “Miss Juneteenth 1999”, who lost her pageant's top prize of a college scholarship when an unplanned pregnancy lands her back home tending bar at an aging juke joint. Today, she is a single mother to a teenage girl, who she struggles to keep from going down the same wrong path that she took. She has enrolled her disinterested daughter in this year’s Miss Juneteenth pageant and is fighting to keep her in it.
The project is in development and is based in my hometown of Fort Worth, Texas. Neil Creque Williams ("David’s Reverie") is attached as Producer.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
On our first day of the Screenwriters Intensive Lab, Joan Tewkesbury lead an incredible writing workshop that challenged me to look deeper into the emotional journey of my story. I was seeking a way to take my script to a deeper emotional level and the workshop certainly aided that endeavor. The lesson for me was to connect to my characters through personal experience and emotion and not be resistant to other possibilities for my story.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were incredible and I am in awe of their insight and accomplishments. I was delighted to receive feedback from professionals whose work I have long admired. They provided constructive feedback and challenged me to think of the script in new ways. I also enjoyed exchanging ideas with the other fellows at the Intensive and I was delighted to be surrounded by such diverse talent.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I am now revisiting the script with a renewed intensity. I will be directing my film, "Miss Juneteenth," so my producer, Neil Creque Williams and I have identified our locations and begun preliminary casting. Our next step is crowdfunding and to continue to apply for support.
Maya Perez
Project: "Umwana"
Maya Perez is a screenwriter and fiction writer. She is a consulting producer for the Emmy Award- winning television series "On Story: Presented by Austin Film Festival," now entering its fifth season on PBS, and co-editor of the book On Story: Screenwriters and Their Craft (University of Texas Press, October 2013). She holds a Bachelor of Arts from Vassar College and is a Michener fellow at the University of Texas at Austin. She grew up in Kenya, Zambia, and the United States and lives in Austin, Texas.
Describe your project briefly and at what stage in the creative process it is.
My project is a feature script, "Umwana," a domestic drama about an American teen who goes to rural Zambia to meet and live with her father and his family. More foreign to her than the cultural differences is the experience of being a member of a family.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
It was great to be reminded of the importance of specificity when depicting characters, and also, how to pull from personal experience without making your characters reflections of yourself. In the workshop we were assigned numerous writing exercises and, though initially intimidating, it was stimulating to be assured there's no limit to the new stories we can quickly craft from scratch. We often think of time as the enemy, in that we don't have enough of it in which to do the work. But sometimes I think I give myself too much time. Some of my better, more visceral writing has been generated under the gun, so to speak.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
One of my advisors hit me with a barrage of questions as soon as I sat down - What is Cassie feeling here? What does Joseph look like? Is it what she expected? What if this happened? What if that happened? So many questions that I started doubting the story's weight altogether. But she kept on and wouldn't let up, so I just wrote them all down until I finally had an answer and then another and eventually realized I know exactly what this story and these characters are about. I had to be sort of beaten down and thrown off balance in order to find the railing. It was terrific. Another advisor - who fortunately came right after - grabbed my shoulders and said he would stalk me until I made this film. He offered to make introductions to agents, managers, producers, and to be there for every draft and question I might have along the way. It was an invaluable experience, to sit down with these talented, professional writers who had read my script so closely and had such constructive questions and encouragement. It felt as though they were as invested in its success as I am.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
My proposed new opening to the script was met with enthusiasm, so I'll make that change, do another revision on the script, and then submit it for the Screenwriters Lab. It was a finalist last year, so hopefully it will go through this year and I'll be able to take advantage of a full week at the Lab to prepare it for production. One of my advisors generously sent me the look book he's using for his current project, and I'm making one of those for "Umwana" as well as researching what shooting on location in Zambia will entail.
Rodrigo Reyes
Project: "Charlie"
Rodrigo Reyes was born in Mexico City in 1983. Supported by the Mexican Ministry of Film, his acclaimed 2012 feature documentary "Purgatorio" featured visceral and intimate portraits of the Us- Mexico border. The film premiered in competition at the 2013 Los Angeles Film Festival and Guadalajara International Film Festival, touring more than 40 festivals including MoMA’s Documentary Fortnight, and winning several jury prizes including the Michael Moore Award for Best Documentary at the Ann Arbor Film Festival. "Purgatorio" has been released theatrically on over 100 screens throughout Mexico, touring Latin America, Spain, and over 30 American cities. In 2013 Filmmaker Magazine named Rodrigo one of 25 New Faces of Independent Film, and in 2014 he was awarded the Tribeca Film Institute Heineken Voices Grant for his upcoming documentary "Sanson And Me," as well as the Canon Filmmaker Award for his hybrid peach picker portrait "Lupe Under The Sun," currently in post-production. Rodrigo attended Uc San Diego, as well as colleges in Madrid and Mexico City, earning a degree in International Studies. He currently lives in California’s Central Valley where he works as an interpreter in the California Superior Court.
Describe your project briefly and at what stage in the creative process it is.
"Charlie" is a story about a mother and son living in the heartland of America, who hide a dark secret that is tearing them apart, threatening them with destruction. It’s a twisted, existential fairy-tale that tackles estrangement, loneliness and violence in a unique way. Aside from Sundance, the film has received the support of Nalip’s Latino Media Market.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
I was surprised by some of the tools used in the labs. There was an element of tapping into the subconscious using semi-dada techniques that really clicked with me. The key was coming in with an open mind.
Before the Labs, I felt the project was close to a final draft. That has since been atomized and torn apart at the hinges, which is fantastic, actually. The Intensive helped me pull away from the rut I didn’t know I was in and look at my script with a naked, honest perspective.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Often as independent filmmakers we feel threatened by the industry, their perspectives are senses as criticisms instead of critiques. The Lab did a great job of inviting you to a conversation, not a lecture or a dictate. I felt I could take the advice that honestly connected with me and integrate it with my script, while also fielding key questions to the advisors in a safe space.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
It’s all in my hands now. I have to integrate the conversations, critiques and perspectives gleaned from this process into a new draft.
Luke Uriah Slendebroek
Project: “Sophia/Gordita”
Luke Uriah Slendebroek is a graduate of the UCLA School of Theater, Film, and Television Mfa directing program. While at UCLA, Luke's films have been awarded The Hollywood Foreign Press Award, The Four Sister’s Award, The Carroll Sax Award in Motion Picture and Television Production, the Edie and Lew Wasserman Film Production Fellowship, and two Motion Picture Association of America Awards. Luke has directed a short documentary for the Bill and Melinda Gates Foundation, and he has directed a short film for the Oscar-winning producer and director Robert "Bobby" Moresco as part of an interdisciplinary collaboration at UCLA. He has also directed a number of industrial films for Fortune 500 companies. Luke's films favor the underdogs, involve fantastical worlds, and tend to explore that brief period between childhood and adulthood.
Describe your project briefly and at what stage in the creative process it is.
“Sophia/Gordita” is a coming of age western based on the incredible true story of teenage madam that served the migrant farming communities of the midwest.
Aleksandar Marinovich has stepped on board to help produce the film. Currently we are raising money to finance the film with a goal of shooting in September, 2016.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The Sundance Intensive was an amazing and immersive experience. The writing techniques I learned during the two days will be crucial as I dive into the next draft of my screenplay entitled “Sophia/Gordita”. Through this workshop, I feel confident to tackle the issues of my screenplay and to dig deeper into motivations that drive my lead character, Sophia.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Patricia Cardoso and Ligiah Villalobos were incredibly generous to offer their guidence and direction on my screenplay “Sophia/Gordita”. Their feedback, although at times challenging, pushed me to dig deeper into the character of Sophia. What really drives her to make the choices in act one that sends her life into a downward spiral during the subsequent acts? As I work through these issues, the outcome will hopefully be a character that no one has ever seen before on the screen, an anti-hero for a new generation.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I plan on doing another rewrite utilizing the tools and techniques I learned from the Intensive. After the next draft, I will get more feedback from my producer and my film collective, Vices of Reason. Once I get a draft that I’m comfortable with, I’m going to get the script in the hands of anyone that’s willing to read it as well as continue to raise money to finance the film.
Vivian Tse
Project: "These Animals"
Vivian Tse is a filmmaker making both narrative and documentary films. She was a Colonist at the 2013 Nantucket Screenwriting Colony with her feature script "Joe Boy," which was also selected for the 2014 Ifp Transatlantic Partners Program. Tse participated in the 2014 Pov Hackathon with the transmedia documentary film "The Angola Project." Originally from San Francisco, she graduated from the University of Southern California.
Describe your project briefly and at what stage in the creative process it is.
"These Animals" is the story of an astronaut's last year on Earth after she agrees to crew a one-way mission to Mars. It's about what the last year of someone's life would be like if she made a decision with stakes that high, what happens to her family and the people around her, the people she loves and who love her.
We're currently in the development stage, trying to put the financing together. Sundance and the A3 foundation was kind enough to give us a grant. And we're in post on a short version of the project which we shot late last year.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
It took a bit of processing but the most rewarding lesson, or at least the one that stuck with me most, was using yourself to dig deeper into your character's journey. Which sounds obvious and certainly its something you're already doing as a writer with everything you write, but you can always go deeper. learning that there is always more to dig up, more of you to add, which is horrifying and invigorating at the same time.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were amazing. They're very passionate - it's great. i found it invaluable, even when I didn't agree with the notes. it lets you know how people are reading, understanding and thinking about your story. their perspective was so helpful and it helps to look at my characters and my story in a new way. writing can be very isolating so it's always great to talk to someone who is doing what you're doing. and they share their war stories, telling you to reimagine a scene because they did something similar and it went to shit so don't forget to think about this or that, or that space ships are expensive so maybe try to stay out of a ship as a location. i don't have any space ships in the film but you get my point.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
A re-write for one, casting, financing the rest of the film. Keep pushing forward, hustling, like everyone does, until you make your film.
Diego Velasco & Carolina Paiz
Project: "Los Invadidos"
Diego Velasco and Carolina Paiz, a husband and wife writing team, are currently working on "Los Invadidos," a thriller which Velasco will also direct.
Writer/director Diego Velasco was born in the Us and raised in Caracas, Venezuela. Diego’s short, "Cédula Ciudadano," got him invited into the Fox Searchlab program after winning the Los Angeles Latino Film Festival. In 2003, Diego moved to Los Angeles and formed Open Studios with his wife, a production company meant to make the films they wanted to see in the world. In 2010, Diego made his feature debut with "La Hora Cero" (The Zero Hour). Set in Caracas during the 24-hours of a controversial medical strike, the film followed La Parca, a tattooed hit-man, as he takes an elite hospital hostage in an attempt to save his wounded girlfriend and her child. The film became the highest grossing Venezuelan film of its time. It has won over 35 awards at International festivals and secured distribution in five continents. Currently it has been optioned for an English language remake. In November of 2011, Diego was featured as one the Ten Mover and Reshapers of Latin American Cinema by Variety Magazine.
Growing up in Guatemala during the civil war, Carolina Paiz spent much of her time indoors, reading and watching television, escapes which later provided the foundation for her career as a writer for film and TV. At 15, she left Guatemala for Kent, a boarding school in Connecticut, where she was the first non- native English speaker to be awarded the Robert S. Hillyard award for her achievements in creative writing. Carolina went on to study English and Latin American Studies at Tulane University. The short stories she wrote there were later published by the Caribbean Writer. One of these, Sleep Comes Suddenly, was honored with the Canute A. Brodhurst Award. In 2006, she landed a position as a staff writer on ABC’s "Grey’s Anatomy." She later went on to write on NBC’s "Lipstick Jungle," CBS’s "The Defenders," Fox’s "Gang Related" and currently, Fox’s "Runner." She also developed a series for Fox, "Queen Of the South," based on the hugely successful Spanish novel. Between television projects, Carolina co- wrote and produced the Venezuelan feature "La Hora Cero," the highest grossing Venezuelan film in history.
Describe your project briefly and at what stage in the creative process it is.
The film follows a couple that has just lost their only child and now find themselves on different sides of the spiritual debate. They’re forced to face their problems when they inherit a remote farm in the Venezuelan plains. Hoping for a new start, they soon learn the farm has been invaded by squatters and that there’s more to reality than what you can see…
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The first day was revelatory. By doing exhaustive and highly personal writing exercises that we then shared with the entire class, we both realized that we hadn't fully tapped into our own fears and desires in writing the characters in our feature. We realized there was far more of us in these characters than we'd anticipated and that embracing that would actually deepen them. Rewriting the script now, the characters have come to life by simply putting ourselves in their shoes.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Our advisors were completely different and had very different points of view on the script, yet both sets of notes complimented each other quite well at the end of the day. Their points of view were enlightening. We had exhausted our resources by asking for notes from every trusted friend and colleague that we knew, and we'd gotten to the point we were afraid they'd stop taking our calls for fear that we'd make them read the script again. We were desperate for fresh eyes from people that didn't know us, didn't know the project, and had no emotional stake in any of it. But what made it truly amazing was the fact that we got to dive in with such skilled writers, and such generous people, and that they truly took the time to give us deep and insightful notes.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
We are currently rewriting the script as per what we've learned and hope to begin our search for financing soon!
- 4/6/2015
- by Carlos Aguilar
- Sydney's Buzz
To mark the release of Arrow Season 2 on DVD and Blu-ray 22nd September, we’ve been given a Kindle Fire HD (as seen here) to give away to one lucky HeyUGuys reader. Two runners-up will also receive the series on DVD.
Arrow Season 2 is the epic sci-fi serial drama that breeds a whole new level of superhero. The crime fighting masked vigilante with a bow and arrow returns to Starling City as Arrow : Season 2 aims and shoots to Blu-ray and DVD on 15 September from Warner Home Entertainment.
Season 2 boasts an all star young Hollywood cast including; Stephen Amell (The Flash, New Girl) as leading man Oliver Queen and the masked Arrow man; Katie Cassidy (Gossip Girl, Monte Carlo, A Nightmare on Elm Street) as Laurel Lance the attorney and former girlfriend of Oliver Queen; David Ramsey (Blue Bloods, The Defenders, Outlaw) as John Diggle, Oliver’s partner, confidant and bodyguard; Willa Holland (Tiger Eyes,...
Arrow Season 2 is the epic sci-fi serial drama that breeds a whole new level of superhero. The crime fighting masked vigilante with a bow and arrow returns to Starling City as Arrow : Season 2 aims and shoots to Blu-ray and DVD on 15 September from Warner Home Entertainment.
Season 2 boasts an all star young Hollywood cast including; Stephen Amell (The Flash, New Girl) as leading man Oliver Queen and the masked Arrow man; Katie Cassidy (Gossip Girl, Monte Carlo, A Nightmare on Elm Street) as Laurel Lance the attorney and former girlfriend of Oliver Queen; David Ramsey (Blue Bloods, The Defenders, Outlaw) as John Diggle, Oliver’s partner, confidant and bodyguard; Willa Holland (Tiger Eyes,...
- 9/7/2014
- by Competitions
- HeyUGuys.co.uk
It took a few years in a career filled with guest roles and failed series (including "Raising the Bar" and "The Defenders"), but Teddy Sears is finally on a hit show. As the actor told us during our recent webcam chat, "I would like to think it's going to be a nice long career if I could draft it up, just sort of stick around, and one of these jobs is going to be one that will be the brass ring. For me, 'Masters of Sex' is my brass ring." -Break- Follow Gold Derby on Facebook, Twitter, Instagram, and Tumblr! On the freshman Showtime series, Sears plays Dr. Austin Langham, a young doctor who gets more than he bargained for when he volunteers to take part in a study on sexuality. Langham works at Washington University in the 1950s with the famed Dr. William Masters (Michael Sheen). Even though he is married,...
- 5/22/2014
- Gold Derby
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Abstract Studios
Rachel Rising #23, $3.99
Action Lab Entertainment
NFL Rush Zone Super Bowl Special Tp, $5.00
Alterna Comics
Fubar Guts And Glory (One Shot), $3.99
Amryl Entertainment
Cavewoman Deadly Venom (One Shot)(Bud Root Special Edition Cover), Ar
Cavewoman Deadly Venom (One Shot)(Rob Durham Regular Cover), $3.75
Cavewoman Deadly Venom (One Shot)(Rob Durham Special Edition Cover), Ar
Antarctic Press
Gold Digger #207, $3.99
Arcana Studio
7 Holes For Air Gn, $19.95
Steam Engines Of Oz Volume 2 The Geared Leviathan #3, $3.99
Archie Comic Publications
Archie 1000 Page Comics-Palooza Tp, $14.99
Archie’s Funhouse Double Digest #2, $3.99
Sonic The Hedgehog #257 (Lamar Wells Station Square Rescue Variant Cover), $2.99
Sonic The Hedgehog #257 (Rafa Knight Regular Cover), $2.99
Ardden Entertainment
Devil’s Hopyard #1, $3.99
Aspen Comics
All New Soulfire #3 (Cover A Kenneth V. Marion), $3.99
All...
Abstract Studios
Rachel Rising #23, $3.99
Action Lab Entertainment
NFL Rush Zone Super Bowl Special Tp, $5.00
Alterna Comics
Fubar Guts And Glory (One Shot), $3.99
Amryl Entertainment
Cavewoman Deadly Venom (One Shot)(Bud Root Special Edition Cover), Ar
Cavewoman Deadly Venom (One Shot)(Rob Durham Regular Cover), $3.75
Cavewoman Deadly Venom (One Shot)(Rob Durham Special Edition Cover), Ar
Antarctic Press
Gold Digger #207, $3.99
Arcana Studio
7 Holes For Air Gn, $19.95
Steam Engines Of Oz Volume 2 The Geared Leviathan #3, $3.99
Archie Comic Publications
Archie 1000 Page Comics-Palooza Tp, $14.99
Archie’s Funhouse Double Digest #2, $3.99
Sonic The Hedgehog #257 (Lamar Wells Station Square Rescue Variant Cover), $2.99
Sonic The Hedgehog #257 (Rafa Knight Regular Cover), $2.99
Ardden Entertainment
Devil’s Hopyard #1, $3.99
Aspen Comics
All New Soulfire #3 (Cover A Kenneth V. Marion), $3.99
All...
- 2/10/2014
- by Adam B.
- GeekRest
Great news from the world of Stan Lee. Hero to superheroes and their fans, the legendary man of comics has written and will star in a new animated movie to premiere on the Hub Network next month, entitled Stan Lee’s Mighty 7. He’ll be voicing an animated version of himself, and is joined by a voice cast of noted stars, including Sean Astin, Armie Hammer, Mayim Bialik and Christian Slater.
The coolest thing? For this story, Mr. Lee has created seven new superheroes, along with a few other new characters. Check out, from left to right, top to bottom: Kid Kinergy, Lady Lighning, Lazer Lord, Micro, Roller Man, Silver Skylark, and Strong Arm, plus G-man Mr. Cross, and Mr. Lee himself. The almost-better news? It’s the first of three movies to be aired. Excelsior!
The Hub Network Will Debut The World Premiere Of Stan Lee Comic’S New...
The coolest thing? For this story, Mr. Lee has created seven new superheroes, along with a few other new characters. Check out, from left to right, top to bottom: Kid Kinergy, Lady Lighning, Lazer Lord, Micro, Roller Man, Silver Skylark, and Strong Arm, plus G-man Mr. Cross, and Mr. Lee himself. The almost-better news? It’s the first of three movies to be aired. Excelsior!
The Hub Network Will Debut The World Premiere Of Stan Lee Comic’S New...
- 1/10/2014
- by Erin Willard
- ScifiMafia
NBC, the long-time home of the Law & Order franchise, has put in development another legal drama with “law” in the title. Law Man, from CBS TV Studios and studio-based Carol Mendelsohn Prods (The Defenders), is inspired by Shon Hopwood’s memoir and chronicles the journey of a small-town basketball star who goes from young bank robber to federal prison inmate, during which time he became the greatest jailhouse lawyer in American history. He went on to join the D.C. District Attorneys Investigative Unit where his life experience gives him insight into identifying the guilty from the innocent, as he struggles to fit back into the world that left him behind. Mark Gibson and Philip Halprin (They Call Me Cuervo) wrote and are executive producing alongside Carol Mendelsohn Prods’ Carol Mendelsohn, showrunner of the venerable CSI series, and Julie Weitz, while Hopwood serves as consultant. This marks the second sale...
- 10/28/2013
- by NELLIE ANDREEVA
- Deadline TV
Exclusive: Former 90210 showrunner Rebecca Sinclair is back at The CW with a new hourlong drama project set in Los Angeles. Sinclair has teamed with Carol Mendelsohn Prods (The Defenders) for a period drama set in 1961 Malibu at the onset of the Southern California surf culture as well as the wave of social change that would transform America. CBS TV Studios, where Cmp is under a deal, will produce. Written, executive produced and run by Sinclair, the untitled darkly comedic drama explores the lives of a motley crew of Malibu surfers — each an outsider in their own way — who had found a community of kindred spirits. The show will dive beneath the idyllic surface of beach culture, using historic events — from the civil rights and women’s rights movements to the Cuban Missile Crisis and Vietnam — to give the project a specificity. “We wanted to tell a different kind of story about the ’60s,...
- 10/23/2013
- by NELLIE ANDREEVA
- Deadline TV
Jurnee Smollett-Bell is trading in Bon Temps and vampires for some quality family drama on "Parenthood."
The actress, who has also appeared on "Friday Night Lights" and "Full House," will play Heather Hall, Kristina's (Monica Potter) new campaign manager. TVLine first reported the casting. Look for Smollett-Bell's character to recur.
Smollett-Bell is currently appearing in Season 6 of "True Blood" as Nicole on HBO. Her other TV credits include "The Defenders," "Do No Harm" and "Cosby." The actress appeared on "Parenthood" showrunner's "Friday Night Lights" as Jess Merriweather.
In one of her earliest roles, Smollett-Bell played Michelle Tanner's friend Denise Frazer on "Full House."
Smollett-Bell's character is just one of many new characters on "Parenthood" Season 5. "The Office" veteran David Denman will appear as Ed, "Drop Dead Diva" alum Josh Stamberg will play Carl and "Lost" actress Sonya Walger will play Meredith.
"Parenthood" returns for Season 5 on Thursday, September 26 at 10 p.
The actress, who has also appeared on "Friday Night Lights" and "Full House," will play Heather Hall, Kristina's (Monica Potter) new campaign manager. TVLine first reported the casting. Look for Smollett-Bell's character to recur.
Smollett-Bell is currently appearing in Season 6 of "True Blood" as Nicole on HBO. Her other TV credits include "The Defenders," "Do No Harm" and "Cosby." The actress appeared on "Parenthood" showrunner's "Friday Night Lights" as Jess Merriweather.
In one of her earliest roles, Smollett-Bell played Michelle Tanner's friend Denise Frazer on "Full House."
Smollett-Bell's character is just one of many new characters on "Parenthood" Season 5. "The Office" veteran David Denman will appear as Ed, "Drop Dead Diva" alum Josh Stamberg will play Carl and "Lost" actress Sonya Walger will play Meredith.
"Parenthood" returns for Season 5 on Thursday, September 26 at 10 p.
- 7/28/2013
- by Chris Harnick
- Huffington Post
Two of our favorite horror shows are already casting for next season, with two people added each to Dexter and True Blood.
First up, True Blood has added two young women to the cast in Amelie Rose Blaire and Jurnee Smollett (our name of the week!)!
Smollett, who charmed my heart on Friday Night Lights (and has been on The Defenders, Cosby, Full House and a bevy of other TV shows), will play Nicole, “a do-gooder who possesses the rosy outlook of someone that life hasn’t beaten down yet. She’s not concerned with money and more concerned with the doing what’s right.”
Blaire will be Willa, the daughter of the new Louisiana governor, played by newcomer Arliss Howard.
HBO’s competitor, Showtime, has also added two new names to its premier show, Dexter. British actress Charlotte Rampling and Sean Patrick Flanery join the cast.
Rampling has been...
First up, True Blood has added two young women to the cast in Amelie Rose Blaire and Jurnee Smollett (our name of the week!)!
Smollett, who charmed my heart on Friday Night Lights (and has been on The Defenders, Cosby, Full House and a bevy of other TV shows), will play Nicole, “a do-gooder who possesses the rosy outlook of someone that life hasn’t beaten down yet. She’s not concerned with money and more concerned with the doing what’s right.”
Blaire will be Willa, the daughter of the new Louisiana governor, played by newcomer Arliss Howard.
HBO’s competitor, Showtime, has also added two new names to its premier show, Dexter. British actress Charlotte Rampling and Sean Patrick Flanery join the cast.
Rampling has been...
- 1/28/2013
- by Andy Greene
- FamousMonsters of Filmland
Major casting news today out of ABC:
James Brolin has been cast as Rick Castle's father, an often-mentioned but heretofore never-seen character that has has a major impact on his son's life.
The veteran actor will make appearances on both halves of Castle's annual two-parter (airing this year on February 18 and February 25 and guest-starring Dylan Walsh as an FBI agent), which will center on Rick and Kate looking into a plot to kidnap a businessman's daughter.
How will Castle's dad play into this storyline? It's unclear at the moment.
Will we be tuning in to this special Castle Season 5 episode to find out? What do you think?!?
Brolin has recently appeared on The Defenders, Psych and Law & Order: Svu and won an Emmy Award in 1970.
James Brolin has been cast as Rick Castle's father, an often-mentioned but heretofore never-seen character that has has a major impact on his son's life.
The veteran actor will make appearances on both halves of Castle's annual two-parter (airing this year on February 18 and February 25 and guest-starring Dylan Walsh as an FBI agent), which will center on Rick and Kate looking into a plot to kidnap a businessman's daughter.
How will Castle's dad play into this storyline? It's unclear at the moment.
Will we be tuning in to this special Castle Season 5 episode to find out? What do you think?!?
Brolin has recently appeared on The Defenders, Psych and Law & Order: Svu and won an Emmy Award in 1970.
- 1/22/2013
- by matt@mediavine.com (Matt Richenthal)
- TVfanatic
We won’t be seeing Season 6 of True Blood on HBO until probably June, but that means that we have only a few short months to study up on all the new characters coming at us this summer. Today we get up to speed with all the goings-on, so we’ll have time to get them all organized in our minds before the Season 6 premiere.
Here’s a reason for me to watch even if I’d never seen True Blood before – Rutger Hauer has been cast as a Season 6 regular, playing Macklyn, “a mysterious and sinister figure with deep ties to Sookie and Jason” according to TV Line. Though plenty of we sci-fi fans know Hauer from Blade Runner, he will always be Navarre from LadyHawke to me.
Rob Kazinsky (Pacific Rim) has been cast as a series regular and appears to be a heck of a good looking guy.
Here’s a reason for me to watch even if I’d never seen True Blood before – Rutger Hauer has been cast as a Season 6 regular, playing Macklyn, “a mysterious and sinister figure with deep ties to Sookie and Jason” according to TV Line. Though plenty of we sci-fi fans know Hauer from Blade Runner, he will always be Navarre from LadyHawke to me.
Rob Kazinsky (Pacific Rim) has been cast as a series regular and appears to be a heck of a good looking guy.
- 1/22/2013
- by Erin Willard
- ScifiMafia
Coming soon on Castle: A much anticipated father-son reunion.
The ABC hit is finally introducing Rick’s Mia dad this February, and TVLine has learned that he will be played by James Brolin!
The Emmy-winning acting vet will appear in Castle‘s big February sweeps two-parter (set to air on Feb. 18 and Feb. 25), which finds Rick and Kate investigating a murder that subsequently exposes a plot to kidnap a wealthy Middle Eastern businessman’s daughter.
Related | Will a Castle Couple Reconnect?
As TVLine previously reported, Nip/Tuck‘s Dylan Walsh guest stars in both episodes as FBI Agent Harris, an...
The ABC hit is finally introducing Rick’s Mia dad this February, and TVLine has learned that he will be played by James Brolin!
The Emmy-winning acting vet will appear in Castle‘s big February sweeps two-parter (set to air on Feb. 18 and Feb. 25), which finds Rick and Kate investigating a murder that subsequently exposes a plot to kidnap a wealthy Middle Eastern businessman’s daughter.
Related | Will a Castle Couple Reconnect?
As TVLine previously reported, Nip/Tuck‘s Dylan Walsh guest stars in both episodes as FBI Agent Harris, an...
- 1/22/2013
- by Michael Ausiello
- TVLine.com
NBC’s upcoming drama Do No Harm is about to take on a new Jurnee.
Friday Night Lights alum Jurnee Smollett will join the midseason thriller for three episodes, TVLine has learned exclusively. She’ll play the daughter of Phylicia Rashad’s Dr. Vanessa Young.
Related | Exclusive: James Cromwell Joins NBC’s New Thriller Do No Harm in Pivotal Role
Harm is a Jekyll-and-Hyde-ish thriller starring Rescue Me’s Steven Pasquale as neurosurgeon Jason Cole whose dangerous alter-ego “Ian” is in a position to destroy his personal and professional lives.
Rashad’s character is head of the hospital’s neurosurgery...
Friday Night Lights alum Jurnee Smollett will join the midseason thriller for three episodes, TVLine has learned exclusively. She’ll play the daughter of Phylicia Rashad’s Dr. Vanessa Young.
Related | Exclusive: James Cromwell Joins NBC’s New Thriller Do No Harm in Pivotal Role
Harm is a Jekyll-and-Hyde-ish thriller starring Rescue Me’s Steven Pasquale as neurosurgeon Jason Cole whose dangerous alter-ego “Ian” is in a position to destroy his personal and professional lives.
Rashad’s character is head of the hospital’s neurosurgery...
- 1/14/2013
- by Kimberly Roots
- TVLine.com
Freda Foh Shen (Everwood, Close to Home) will pay a visit to CBS’ Elementary as Joan Watson’s mother, TVLine has learned exclusively.
Related | Vegas, Elementary Receive Full Season Orders
Mary Watson appears in Episode 9, slated to air Dec. 13, and she’s not very happy about her daughter’s choice of profession. As established in the pilot, Lucy Liu‘s Joan “doesn’t feel a tremendous amount of support from [her parents] when it comes to her second career as a sober companion,” explains executive producer Rob Doherty.
But another, unexpected dynamic may prove even more interesting.
Video | Elementary Exclusive: Sherlock Offers...
Related | Vegas, Elementary Receive Full Season Orders
Mary Watson appears in Episode 9, slated to air Dec. 13, and she’s not very happy about her daughter’s choice of profession. As established in the pilot, Lucy Liu‘s Joan “doesn’t feel a tremendous amount of support from [her parents] when it comes to her second career as a sober companion,” explains executive producer Rob Doherty.
But another, unexpected dynamic may prove even more interesting.
Video | Elementary Exclusive: Sherlock Offers...
- 10/24/2012
- by Vlada Gelman
- TVLine.com
Dallas has cast Goal! actor Kuno Becker as the brother of Elena (Jordana Brewster). The Mexican star will join TNT's revival of the classic soap for season two, TV Guide reports. His character Andres - nicknamed 'Drew' - is described as an angry young man who enlisted in the military and ultimately began working on oil rigs. The army veteran will arrive in Southfork planning to follow in his late father's footsteps and drill for oil. Becker is best known for his work in Mexican film and television, but was cast in short-lived CBS legal drama The Defenders in 2010 and also appeared in three episodes of CSI: Miami's final season in late 2011 (more)...
- 10/22/2012
- by By Morgan Jeffery
- Digital Spy
"Full House" fans have long wondered whatever happened to predictability and though the answer to that question remains unclear, HufPost TV can tell you whatever happend to cast of the ABC hit family sitcom.
In honor of the 25th anniversary of "Full House," which debuted on September 22, 1987, HuffPost TV chatted with "Full House" alumni Dave Coulier, Jodi Sweetin, Lori Loughlin and more about their experiences on the show, favorite episodes, the awful late '80s hair and wardrobe, and what they're up to these days.
Below, find out which "Full House" role Dave Coulier also auditioned for, which castmember guest star Little Richard slapped, who slept on Bob Saget's couch before "Full House" ever debuted, where John Stamos and Lori Loughlin originally met, what Kurt Cobain has to do with "Full House" and how the cast reacted to its cancellation in 1995 after eight seasons.
Dave Coulier (Joey Gladstone)
Since...
In honor of the 25th anniversary of "Full House," which debuted on September 22, 1987, HuffPost TV chatted with "Full House" alumni Dave Coulier, Jodi Sweetin, Lori Loughlin and more about their experiences on the show, favorite episodes, the awful late '80s hair and wardrobe, and what they're up to these days.
Below, find out which "Full House" role Dave Coulier also auditioned for, which castmember guest star Little Richard slapped, who slept on Bob Saget's couch before "Full House" ever debuted, where John Stamos and Lori Loughlin originally met, what Kurt Cobain has to do with "Full House" and how the cast reacted to its cancellation in 1995 after eight seasons.
Dave Coulier (Joey Gladstone)
Since...
- 9/22/2012
- by Jaimie Etkin
- Aol TV.
"Full House" fans have long wondered whatever happened to predictability and though the answer to that question remains unclear, HufPost TV can tell you whatever happend to cast of the ABC hit family sitcom.
In honor of the 25th anniversary of "Full House," which debuted on September 22, 1987, HuffPost TV chatted with "Full House" alumni -- Dave Coulier, Jodi Sweetin, Lori Loughlin and more -- about their experiences on the show, favorite episodes, the awful late '80s hair and wardrobe, and what they're up to these days.
Below, find out what "Full House" role Dave Coulier also auditioned for, which castmember guest star Little Richard slapped, who slept on Bob Saget's couch before "Full House" ever debuted, where John Stamos and Lori Loughlin originally met, what Kurt Cobain has to do with "Full House" and how the cast reacted to its cancellation in 1995 after eight seasons.
Dave Coulier (Joey...
In honor of the 25th anniversary of "Full House," which debuted on September 22, 1987, HuffPost TV chatted with "Full House" alumni -- Dave Coulier, Jodi Sweetin, Lori Loughlin and more -- about their experiences on the show, favorite episodes, the awful late '80s hair and wardrobe, and what they're up to these days.
Below, find out what "Full House" role Dave Coulier also auditioned for, which castmember guest star Little Richard slapped, who slept on Bob Saget's couch before "Full House" ever debuted, where John Stamos and Lori Loughlin originally met, what Kurt Cobain has to do with "Full House" and how the cast reacted to its cancellation in 1995 after eight seasons.
Dave Coulier (Joey...
- 9/22/2012
- by Jaimie Etkin
- Huffington Post
Jeff Winger should have a Thanksgiving to remember this year on Community, because it also will double as a sort of Father’s Day. That’s right, Jeff (Joel McHale) will finally come face-to-face with his absentee father, William Winger, and William will be played by… James Brolin. Community’s producers tell EW that the Emmy winner (Marcus Welby, M.D., Hotel), spouse of Streisand, and father of Josh, will guest-star in the NBC comedy’s Thanksgiving-themed episode, titled “Cooperative Escapism in Familial Relations.” In the episode, which airs in November, Shirley (Yvette Nicole Brown) hosts an awkward gathering at...
- 9/18/2012
- by Dan Snierson
- EW - Inside TV
This Just In: James Brolin is a (fictional) deadbeat dad.
Multiple sources confirm to TVLine exclusively that Community has cast the Emmy winning acting vet as Jeff Winger’s estranged father. He’ll make his debut in quirky NBC comedy’s Thanksgiving episode.
Joel McHale first hinted at the casting via Twitter Tuesday morning when he posted a pic of the two on set together. A spokesperson for the show, however, is unable to confirm Brolin’s casting at this time.
Related | Community Exclusive: Tricia Helfer Tapped to Geek Out With Abed
Brolin — who won Emmy gold in 1970 for his role on Marcus Welby,...
Multiple sources confirm to TVLine exclusively that Community has cast the Emmy winning acting vet as Jeff Winger’s estranged father. He’ll make his debut in quirky NBC comedy’s Thanksgiving episode.
Joel McHale first hinted at the casting via Twitter Tuesday morning when he posted a pic of the two on set together. A spokesperson for the show, however, is unable to confirm Brolin’s casting at this time.
Related | Community Exclusive: Tricia Helfer Tapped to Geek Out With Abed
Brolin — who won Emmy gold in 1970 for his role on Marcus Welby,...
- 9/18/2012
- by Megan Masters
- TVLine.com
Now that Jerry O'Connell has joined Eddie Izzard in the cast of "Mockingbird Lane," the upcoming reboot of "The Munsters" from Bryan Fuller, the midseason series is finally starting to take shape. O'Connell will play Herman Munster while Izzard will play Grandpa. Rounding out the cast are Mariana Klaveno as Lily, Charity Wakefield as Marilyn and Mason Cook as Eddie.
But while the new cast looks pretty solid -- Izzard is wonderful in mostly anything, and O'Connell always makes us laugh (hey, there's a reason we watched so many episodes of "The Defenders," and it wasn't Jim Belushi) -- we can't help but wonder: do we really need this?
The "Charlie's Angels" reboot on ABC didn't even make it to sweeps, while "Knight Rider" and "The Bionic Woman" failed similarly on NBC. Then again, the "Dallas" reboot on TNT looks like it'll be worthy of its predecessor's title (judging from...
But while the new cast looks pretty solid -- Izzard is wonderful in mostly anything, and O'Connell always makes us laugh (hey, there's a reason we watched so many episodes of "The Defenders," and it wasn't Jim Belushi) -- we can't help but wonder: do we really need this?
The "Charlie's Angels" reboot on ABC didn't even make it to sweeps, while "Knight Rider" and "The Bionic Woman" failed similarly on NBC. Then again, the "Dallas" reboot on TNT looks like it'll be worthy of its predecessor's title (judging from...
- 6/6/2012
- by editorial@zap2it.com
- Zap2It - From Inside the Box
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