USA Network unveiled its drama development slate today and said it will start production this summer on the pilot Horizon, the period genre drama from The Walking Dead producer Gale Anne Hurd that the network pushed in February. The new slate (see the full list below) includes Complications, the latest from Burn Notice‘s Matt Nix; the new Rob Thomas project Blanco County; and works from Doug Liman and David Semel. The news comes on the heels of the network’s newest original series, the Jeff Eastin-created Graceland, joining the summer drama schedule with a premiere set for June 6.
Fox International Productions has taken distribution rights in Latin America, Germany and the U.S. on action thriller Mea Culpa which Gaumont is selling. The Fred Cavayé-directed pic stars Vincent Lindon, Gilles Lellouche and Nadine Labaki. The story follows a pair of good cops who’ve been longtime partners. Their lives go into a tailspin when one causes a tragic car accident. When his family is put in danger a few years after he exits the police force, he takes matters into his own hands. Cavayé’s previous films include Anything For Her, which was remade by Paul Haggis as The Next Three Days, and Point Blank, which is being developed as an English-language remake by Leverage and Working Title. Gaumont is screening exclusive footage of the pic for buyers here in Cannes. The $20M film bows in France in early 2014.
The billionaire founder of hedge fund Third Point startled many in entertainment today with the news that he has paid $1.1B for a 6.4% stake in Sony – and wants the company to create a stock for its movie, TV, and music businesses, selling as much as 20% to the public. But on Wall Street, where Daniel Loeb is an A-list celeb, the big surprises are that he showed any interest in showbiz — and that his language in the letter he sent to Sony was so polite. As a value investor managing more than $13B, Loeb, 51, likes to engage in deep research and then bet on relatively boring companies and assets that others overlook. Third Point’s most recent quarterly investor letter highlights its holdings in International Paper and mortgages, as well as John Malone’s European cable company Liberty Global. Although Loeb was raised in Los Angeles, the son of a lawyer and an historian, he’s known as a New Yorker. He earned an economics degree from Columbia University before he hit Wall Street. After working 12 years for firms including Citibank, Jefferies and Warburg Pincus, he founded Third Point in 1995 with about $3M from family and friends.
EXCLUSIVE: Warner Bros TV Shake-Up – Top Exec Bruce Rosenblum Settled Out And Peter Roth Signed To Big Long-Term Deal; All The Behind-The-Scenes Drama & Detail
UPDATE SUNDAY 2 PM: Warner Bros Entertainment CEO Kevin Tsujihara is finally confirming internally my news that Warner Bros Television Group Bruce Rosenblum is exiting. This, after Tsujihara for months and even in recent weeks has told almost everyone there that Rosenblum was staying.
BREAKING … SATURDAY 10 PM… EXCLUSIVE: Hollywood always fires people in success, or so the saying goes. I’ve learned that the announcement by Warner Bros Entertainment CEO (and soon-to-be-chairman) Kevin Tsujihara is planned for 7 to 14 days after next week’s TV upfront presentations. Despite Tsujihara’s claims for months that he hadn’t made up his mind what to do about the brilliant but sharp-elbowed Bruce Rosenblum, I can tell you Tsujihara declared from Day One of his new job that “Bruce is an unnecessary layer of management”. This, even though Rosenblum’s Warner Bros Television Group consistently contributes half of Warner Bros Entertainment’s profits year after year. I’m told that Rosenblum won’t be replaced as President of the Warner Bros Television Group now that he’s quietly settled out his contract which expires in August. (Tsujihara never made a move to negotiate a new one for him.) Some already expect Rosenblum not to turn up at next week’s upfronts. Instead Bruce is sitting on a fat severance package in recognition of his more than two outstanding decades at Warner Bros and for keeping his mouth shut during the humiliation of losing the WB CEO job and then getting kicked to the curb on top of that. Many in Hollywood thought Tsujihara might keep Rosenblum in place rather than bust up what is so obviously a winning formula atop the TV group. Instead Tsujihara proved that, just like his Time Warner boss Jeff Bewkes, he is more obsessed by politics and personality than profit. (“It would have been pretty awkward, quite frankly,” Tsujihara told the TV community about keeping Rosenblum on.)
Warner Bros Television President Peter Roth has just been signed to a new long-term deal and will report to Tsujihara for the first time. Roth reps the increasing power of content and the executives directly responsible for its creation. ”As I look at the key people that exist, Peter comes at the top of the list. He’s at the top of the game right now creatively,” Tsujihara enthused privately on Day One of his new job. But Rosenblum’s roles will be assumed by a new WBTV leadership mix including Warner Bros TV Group EVP Craig Hunegs, Warner Bros International Distribution President Jeffrey Schlesinger, and Warner Bros Television EVP Brett Paul. (“Peter is the big teddy bear but Brent was sent in to beat you up,” notes one exec.) These guys are some of what Bewkes was referring to back on January 28th when he talked about the “very strong benches of people beneath”. All will become the TV group’s new sharp-elbowed negotiators who won’t rub people the wrong way like Rosenblum did.
It’s been a professional and emotional roller-coaster for Rosenblum ever since he expected the top job and didn’t get it.
UPDATE: According to Breaking Bad producer Sony TV, the studio has not closed a deal with Univision for a Spanish-language adaptation. The studio had shot and shopped a Spanish-language Breaking Bad pilot for the U.S. and Latin American markets but has not decided what network(s) it would go with or whether it would proceed with the series at all.
PREVIOUS, 1:31 PM: Spanish-language versions of Breaking Bad and Gossip Girl are among the new shows coming to Univision next season. Ahead of the network’s upfront Tuesday, Univision today unveiled its programming slate for next season. Along with a number of returning series, Univision itself will launch 21 new series plus eight new series on its youth-focused UniMás network and three on its sports-heavy Galavision outlet. The Univision shows include two new big telenovelas, La Tempestad (The Storm) and Mentir para Vivir (Lie So You Can Live). In addition to a lot of sports and 10 documentaries made with Participant Media, Univision will also for the first time adapt English-language series for the Hispanic market. UniMás, Univision’s second broadcast network, will be airing Metastasis, a U.S.-based series patterned on AMC’s Breaking Bad, and Gossip Girl Acapulco, a look at the scandalous lives of Acapulco’s elite based on the CW series. Both are set to debut in 2014, said Univision Communications president and CEO Randy Falco on a conference call today. Falco also said there were a few surprises left to be announced next week in NYC including some new awards shows and a musical reality series set to air in 2014 that Univision Studios is co-producing. Here are the details about the new shows:
Cannes Briefs: Bekmambetov’s ‘Squirrels’; Darclight’s ‘Tell Tale Heart’; Vision’s Duff McKagan Doc; More
Bekmambetov’s ‘Squirrels’ To Ravage Croisette
Red Sea Media has boarded sales on the Timur Bekmambetov produced horror thriller Squirrels. The script is by Daniel Antoniazzi and Ben Shiffrin, based on an idea by Bekmambetov about a young man who returns home to uncover the mystery behind his father’s death only to find a pack of flesh-eating squirrels hellbent on destroying everything in their path. Lisa Ellzey and Michele Wolkoff are executive producers. A director and cast are being set.
Rose McGowan, Peter Bogdanovich Movie ‘The Tell Tale Heart’ Sets Sales Co.
Darclight Films will screen footage of John La Tier’s The Tell Tale Heart starring Rose McGowan, Peter Bogdanovich and Patrick John Flueger. Based on the Edgar Allen Poe short story, the film’s action is transferred to modern-day New Orleans where a man is tormented by the still-beating heart of the old man he murdered and buried beneath the floorboards. The film adds a haunting romance to the mix. Producer is Daniel Zirilli via Popart Film Factory and Leverage Entertainment.
EXCLUSIVE: Robert Downey Jr is set for another huge payday from a mega-hit Marvel movie, this time Iron Man 3. I’ve learned he’s already made $35 million from the actioner, which grossed $680 million worldwide in its first 12 days. He should exceed his biggest payday to date — that $50M from The Avengers which I’ve learned was more like $70M-$80M now that the film is all in. But it’s really Avengers 2 where he’ll clean up big-time — if he wants to reprise the role. He’s hinting to some media it may be time to retire Tony Stark. And saying to other outlets that Marvel better show him more money for Avengers 2. ”I don’t know,” he said on The Daily Show. ”I had a long contract with them and now we’re gonna renegotiate.” (“You are Iron Man! You are!” cheered Jon Stewart.) I’ve learned that Marvel and therefore owner Disney are going to run into big trouble on that sequel because the upfront pay, backend compensation, break-even points and box office bonuses aren’t pinned down yet for several big stars and castmates. This is major hurdle that Walt Disney Co Chaiman/CEO Bob Iger hasn’t even mentioned to Wall Street or shareholders though he’s already been hyping Avengers 2 for more than a year now.
First and foremost Marvel does not have Downey in place yet. ”They need him, and they don’t have him. He’s got a lot of leverage,” one insider tells me. Much less so Scarlett Johannsen (paid to pop up in Marvel movie after movie), Chris Evans (whom some sources say made his deal for Avengers 2 when he signed for Captain America 2), Chris Hemsworth (a much bigger star now than before and unsigned for Avengers 2), Mark Ruffalo (whose Hulk role already was cast 3 times and could be the most vulnerable), Jeremy Renner (probably grateful for more exposure), Samuel L. Jackson (Scarlett’s doppelganger) among others who were paid pittances for their first movies, not much better for the sequels, and are counting on at least $5 million upfront and better back ends for Avengers 2. That means much better than what Marvel claimed was Avengers’ break-even point: a whopping $1.1 billion in global grosses. (“If Avengers wasn’t profitable until then, why would you make it?” one rep pointedly asked Marvel top execs Kevin Feige and Louis Esposito.) In a business where studio accounting is known as fatal subtraction and even worldwide blockbusters are still supposedly in the red, Marvel and its famously frugal CEO Ike Perlmutter still give new meaning to the term stingy. I’ve learned that one reason why The Avengers was nominated for only one Oscar – Best Visual Effects – in the 85th Academy Awards contest was because Marvel refused to pay for an awards season campaign for the picture. And even when Disney offered to foot the bill, Marvel still wouldn’t budge. (Yet the Academy Of Motion Picture Arts & Sciences assembled the cast onstage to create buzz.) Here’s how one exec describes any negotiation with Marvel: “I wouldn’t say it’s brutal. It’s uncompromising, not mean or draconian. The fact is this is the reality of the world we’re living in right now.”
But The Avengers cast are ready to rumble with Marvel for the Avengers sequel slated for a May 2015 release. “Some received only $200,000 for Avengers and Downey got paid $50M. On what planet is that OK?” an insider tells me. CAA represents an overwhelming majority of the Marvel stars and is trying hard to keep the negotiations out of the public limelight and media headlines. But that may not be possible with some reps blaming the studio for ’scorched earth’ tactics past and present. ”Marvel has created so much animosity by strong-arming and bullying on sequels already. It’s counterproductive,” one source tells me. Says another, “I’m sick of Kevin Feige telling me again and again how Marvel is ‘reinventing the movie business’. It doesn’t work like this. They’re reinventing business, period.” I’ve learned Marvel already has threatened to sue or recast when contracts and/or options are challenged. That prompted a few cast members to respond, “Go ahead.” I hear Hemsworth especially wasn’t anxious to go back into that arduous diet and training regimen and subsist primarily on egg whites for Thor: Dark World which hits theaters November 8th. I also understand that Scarlett Johanssen told castmates she’s “not going to cut her quote” for Marvel’s Avengers 2. The actress as butt-kicking operative Black Widow in The Avengers and Iron Man 2 is wrapping Captain America: The Winter Soldier and has a whopping 8 options total.
Already a lot of brinkmanship played out for Captain America 2 and Thor 2. Calling it the “weirdest experience”, one rep still can’;t believe Marvel offered “only a $500,000 raise and then would pay another $500,000 when the movie hits $500M. Are they out of their minds?” When it was pointed out to Marvel that Hemsworth already had received $5M for his starring role in Snow White And The Huntsman, the studio shot back, ”I don’t know why you’re complaining when Marvel only has hit movies.” To which the response was, “He’s happier working at a place like Universal.” After hard-fought bargaining, Chris Evans for Captain America 2 and Chris Hemsworth for Thor 2 wound up with deals still weighted on the back end but at least with attainable break-even numbers and small upfront guarantees and box office bonuses.
The issue going forward is how many of the Avengers stars and starlets are still bound by early agreements and longterm options which Marvel can continue to exploit individually. To counter, I’ve learned the Avengers cast are becoming united behind Robert Downey Jr who is seen as the “leader” – like “a big brother” in the words of one rep - for all the younger actors in the ensemble. “He’s the only guy with real power in this situation. and balls of steel, too. He’s already sent a message that he’s not going to work for a place where they treat his colleagues like shit,” one source explains. Another rep tells me, “I have four words for Marvel – ‘Fuck you, call Robert.’”
All exhibition chains struggled with the weak box office in early 2012. But Carmike suffered from a triple whammy in Q1 as it recorded $12.3M in interest expenses — due in part to the additional leverage to finance its acquisition of Rave’s theaters at the end of 2012 — as well as about $3.1M in charges to cancel leases for underperforming theaters. The company ended up with a net loss of $5.8M, down from a $3.2M profit in the period a year ago, on revenues of $130.1M, +0.1%. The top line was right about where analysts expected. But the net loss of 33 cents a share contrasts with forecasts for a seven cent profit. Revenues from admissions fell 1.4% to $81.5M as the rise in the price of the average ticket — to $7.02 from $6.68 — was offset by the 4.6% drop in attendance to 11.6M. Even so, concessions revenues rose 2.7% to $48.6M, as the average concessions sales per patron rose 27 cents to $4.18. The company says that the increase reflects the success of its experiments and efforts to promote high-margin goodies. “Last year’s first quarter box office benefited from a strong and well-balanced film slate, creating a challenging year-over-year comparison for the industry,” CEO Dave Passman says. But Q2 “is off to a strong start,” he adds, and “we expect the positive momentum to continue throughout the summer as the upcoming release calendar features a …
EXCLUSIVE: A&E has given a six-episode order to an untitled docu-reality series executive produced by Mark Wahlberg, which is set in his native Boston. This marks the first unscripted series for Wahlberg, who is executive producing through his Closest to the Hole Prods along with frequent collaborator Stephen Levinson of Leverage, Bill Thompson of Bill Thompson Prods. and veteran reality producer Stephanie Drachkovitch of 44 Blue Prods as well as Jennifer Colbert who serves as showrunner.
The initial impetus for the project, which was first ordered as a pilot by A&E in November, came from the tough, hard-as-nails female characters in Wahlberg‘s Oscar-nominated feature The Fighter. Wahlberg and Thompson were inspired by the women’s spirit and set out to find a group of those types of Boston girls going through challenging times and tell their story.
EXCLUSIVE: Gossip Girls‘ Leighton Meester, Community‘s Gillian Jacobs and Adam Brody are set to star in Life Partners, a comedy that marks the directorial debut of Susanna Fogel. Fogel co-wrote with Joni Lefkowitz. Also in the ensemble are Gabourey Sidibe, Abby Elliott and Beth Dover. Myriad Pictures will handle foreign sales for the film at Cannes. The comedy is about a codependent friendship between two very different girls — type-A Paige (Jacobs) and lesbian slacker Sasha (Meester). Paige has vowed that she won’t get married until Sasha has the same legal right and that works out fine until Paige meets Tim (Brody), a young and charming doctor. As a crucial vote on gay marriage approaches, the threesome struggle with issues of love, friendship, and loyalty.
EXCLUSIVE: Condé Nast Entertainment has named development executive Gina Marcheschi as VP Scripted Television Series. Marcheschi will oversee the development and management of CNE’s scripted TV projects. She will be based in the company’s Los Angeles office, reporting to CNE president Dawn Ostroff. Marcheschi joins CNE’s EVP Jeremy Steckler, who oversees motion pictures, and EVP Michael Klein, who is in charge of alternative TV programming. “Gina has an extensive and entrepreneurial background in both television and film production,” said Ostroff. “Her knowledge and expertise in developing projects for both domestic and international television audiences makes her an invaluable asset to the CNE as we build our television business.”
Analysts expect to hear encouraging news across the board from the barrage of Big Media Q1 earnings reports and conference calls this week and next. But they’ll be listening especially carefully to Viacom on Wednesday. Its shares — which recently hit all-time highs — are down 3.6% since Monday night, when Netflix said that it will let its streaming deal with Viacom expire next month. Netflix says it would rather secure exclusive rights to particular shows instead of broad deals for shows that also appear on other streaming services including Amazon and Hulu. That worries some investors: Viacom has reassured them that all’s well following Nickelodeon‘s ratings dive last year — and backed up its confidence by promising to repurchase $2.5B in stock this year and pay $1 per share in dividends. The question now is whether Viacom can afford to make good on those vows. “Cash, rather than content, remains king,” Pivotal Research Group’s Brian Wieser says this morning. The Netflix news adds to the concerns about Viacom already held by Bernstein Research’s Todd Juenger — the company’s toughest critic on Wall Street. “We don’t think Netflix will bid a big sum for the specific programs it wants from Viacom,” he says this AM. “If they were willing to do so, they wouldn’t have gone through this exercise.” Nor does Juenger believe that Amazon will become a white knight. It “has all the leverage. Anything they offer to Viacom is better than nothing.” He adds that it would be “the ultimate irony if Viacom claimed the loss of Netflix would help their linear ratings, given years of arguing the opposite.” Others are more sanguine about Viacom’s prospects.
It’s pilot screening time. CBS just started viewing its pilots, with the other networks slated to follow over the next few days. Feedback from the screenings and extensive focus group testing inform the networks’ series pickup decisions and are capable of catapulting a pilot from an also-run to frontrunner status overnight, as it happened with CBS’ Blue Bloods three years ago. Here is what I hear as of this weekend, with information still missing on a few late pilots.
Drama Lucky 7 may live up to its name. The blue-collar ensemble about gas station employees who win the lottery seemed a little off brand for ABC and its glitzy dramas. But I hear the project based on a British format, which hadn’t drawn much attention, came in above expectations, making it a contender in what’s shaping to be a very tight race. It’s tight because two slots have already been penciled in for Marvel‘s S.H.I.E.L.D. and the Once Upon A Time spinoff, whose early footage I hear ABC brass liked. Also boosted by corporate synergy is major contender Big Thunder, based on the Disney ride. Word is ABC may choose one of its two soapy pilots, Westside and Betrayal, with Westside having the edge at the moment. (However, Betrayal‘s David Zabel has two irons in the fire as he is also behind Lucky 7.) The gothic soap Gothica has cooled off a bit while high-concept The Returned, about deceased coming back to life as their old selves, is heating up after another great pilot directing performance by Charles McDougall who, in his typical fashion went over on filming days (by 4 I hear) but delivered a strong pilot. Among the character procedurals, Murder In Manhattan, Doubt, Killer Women and Influence all seem in the mix.
2ND UPDATE 2:30 PM: The largest domestic movie theater chain Regal Entertainment says this post is going up on its Facebook page: “Regal has Iron Man 3! After some extensive talks with Disney, we’re glad to say that Tony Stark will definitely be in our theatres for Iron Man 3. We’ve got Fandango working overtime right now to place tickets back on sale at all Regal Cinemas, United Artists and Edwards Theatres.”
UPDATE 12:37 PM: AMC just released this pro forma statement. (Don’t you love how everybody is friends again?): “Iron Man 3 tickets are now on sale and we’re excited to welcome guests to the 9 PM debut and Marvel’s Iron Man Marathon at AMC, both on May 2. We thank our partners at Disney for working with us to achieve economical terms so we can present our guests with one of the biggest blockbusters of 2013 and solidly kick off the summer movie season.”
BREAKING… As I first broke the news on April 16th, AMC was one of the biggest theater chains refusing to put Iron Man 3 tickets on advance sale even though this summer’s hotly anticipated movie opens on May 3rd. That’s because Disney decided to leverage the film in order to renegotiate the studio’s future terms with the chains beginning with this humongous Marvel blockbuster. At one point AMC, Regal, and Carmike were among those holding out. On …
2nd UPDATE, 3:00 PM: Now here’s a response from NYC Comptroller John Liu to Cablevision’s response to him: “The Cablevision board may have helped the Dolan family shareowners extract great value over the past decade, thanks to the many family members on the payroll, their excessive pay, and pervasive related-party deals. The board hasn’t helped create superior value for public shareowners, however. Cablevision’s total shareowner returns substantially lag its peers over the past 10 years. These are among the reasons shareowners have repeatedly voted for boardroom change. It’s baffling that three directors who repeatedly failed to receive majority support remain on the board.”
UPDATE, WEDNESDAY 4:00 PM: Cablevision just offered this response to NYC Comptroller John Liu: “This is one of many letters that Mr. Liu sends to companies, and we are baffled because Cablevision board members have helped to create great value for Cablevision shareholders over the past decade. This strikes us as an attempt to distract attention from the indictment and ongoing trial of Mr. Liu’s campaign.”
PREVIOUS, WEDNESDAY 2:32 PM: The New York mayoral candidate will add drama to the company’s annual meeting May 23 on Long Island. Comptroller John Liu, who controls the city’s 532,020 Class A Cablevision shares, says in a letter to other investors that the five directors that public shareholders can elect have …
E! Developing Scripted Projects From Diane Warren, Josh Schwartz, Kevin Spacey, Mark Schwahn, Ryan Seacrest & Gale Anne Hurd
Last April, E! announced its first scripted slate as the reality/entertainment news-driven cable network signaled plans to enter the scripted space under its new NBCUniversal leadership. As E! is gearing up to greenlight its first three scripted pilots by Memorial Day, at its upfront today the network unveiled its new slate of scripted projects that come from well-known writers and producers. Several of the projects were originally developed for broadcast networks earlier this season. Those include dramedies Songbyrd, featuring the songs and experiences of songwriter Diane Warren, from producers Neil Meron and Craig Zadan; and Laurel Canyon, from producers Josh Schwartz and Stephanie Savage. Songbird, written by Krista Vernoff, was originally set up at E! sibling NBC; Laurel Canyon, penned by Karen Croner, was at ABC.
E!’s scripted slate also includes three projects inspired by literary classics. Expectations, inspired by Charles Dickens’ Great Expectations, is from Oscar-winning writer Ron Bass (Rain Man) and producer Dan Jinks. Interestingly, there were two modern-day Great Expectations projects in development at the broadcast networks this season — one at the CW produced by Reese Witherspoon, and one at ABC produced by Debra Martin Chase — none of which went to pilot. The Royals, a take on William Shakespeare’s Hamlet, is written by One Tree Hill creator/exec producer Mark Schwahn who executive produces with fellow OTH executive producers Brian Robbins and Joe Davola. The Stand-In is described as a darkly psychological re-telling of Mark Twain’s The Prince & the Pauper, executive produced by Ryan Seacrest. Fortunate Son is written by Joey Falco and executive produced by Kevin Spacey and Michael De Luca, who also had a joint project on E!’s inaugural scripted slate last year. According to E!’s original plans, the network was looking to launch its first scripted series in 2013. Here are details about E! scripted shows in development, which include dramas produced by Gale Anne Hurd and Becky Hartman Edwards:
UPDATE: ‘Iron Man 3′ Tickets Not On Sale Yet By Some Theater Chains Because Of Dispute With Disney: Movie Due May 3rd
4:30 PM UPDATE: My sources say Carmike and Disney have come to terms.
7:30 AM UPDATE: My sources say Regal, Carmike, and as I previously reported AMC are among those big movie chains holding out.
BREAKING… 6 AM EXCLUSIVE: CinemaCon underway now in Las Vegas gives the impression that the Hollywood studios are buddy-buddy with the movie exhibitors. But there’s a frenemies drama unfolding there. I’ve learned that a number of movie theater circuits are refusing to put tickets on sale for Iron Man 3 even though its one of this summer’s most anticipated hits when it opens May 3rd. That’s because Disney decided to leverage the film in order to renegotiate the studio’s future terms with the chains beginning with this humongous Marvel blockbuster. I’m told that AMC, one of America’s largest exhibitors, is among those holding out even though the Robert Downey Jr movie opens wide in North America in just 17 days. Some chains were selling advance tickets — and then stopped. Distributors tell me Disney hasn’t negotiated its terms with the movie chains in several years — not even for Summer 2012′s huge tentpole The Avengers — so the studio thinks it’s due for a new overall deal on future Disney titles. Those include not just Marvel sequels but also Lucasfilm’s new Star Wars series as well as Pixar toons. That’s why the studio right now in Las Vegas is bargaining with the exhibition community, some of whose chains are pushing back. The result is an impasse with a number of circuits refusing to put IM3 tickets on sale until there is an accord.
EXCLUSIVE: Directors Michael Watkins, Rob Bailey and Tawnia McKiernan have signed with APA. Watkins has served as producer and director on shows such as Prison Break, Las Vegas, Smallville, Law & Order and The X-Files. Most recently, he directed the season finale of Justified, and the indie feature, Knucklehead, due out later this year. He was formerly with CAA. Bailey was the producer/director of CSI: New York for five seasons. Other directing credits include Treme and The Wire for HBO. He has also directed multiple episodes of the BBC’s MI-5 and Glasgow Kiss. Bailey is also repped by Protocol and Independent Talent Group in the U.K. He was formerly with CAA. McKiernan has directed multiple episodes of Burn Notice, Fairly Legal and Leverage. She also just completed directing John Stamos in the Lifetime movie, Secrets Of Eden. She is managed by Andrea Simon and was formerly with CAA.