The CW has unveiled its summer schedule, which includes originals on all five nights the network programs. That includes the reboot of Whose Line Is It Anyway? which originally launched last summer, now moving to a new night, Mondays. It will be joined by original episodes of Beauty And The Beast, which has been benched for the rest of the season; two new scripted offerings, Canadian comedy Seed and web-to-TV comedy Backpackers; docu-reality series Famous In 12; and two magic series, Penn & Teller: Fool Us and a Masters Of Illusion revival. Here is the CW summer schedule with premiere dates and descriptions of the new series:
EXCLUSIVE: Open Road Films has acquired U.S. rights to Tupac, the long-awaited and highly anticipated feature on the life of Tupac Shakur directed by John Singleton. Scripted by Jeremy Haft & Ed Gonzalez and Singleton, the film traces Shakur’s life from growing up in East Harlem the son of activist Black Panther Party members, to reaching superstardom as a songwriter, hip-hop and movie star, to his vocal position as a leader in the East Coast/West Coast rap war, to his death. Shakur, leaving a Mike Tyson fight at the MGM Grand In Las Vegas, was murdered in a drive by shooting, dying at age 25 in 1996.
The film is being produced and financed by Morgan Creek Productions and Emmett/Furla/Oasis Films. The deal was set by Open Road CEO Tom Ortenberg, Morgan Creek chairman and CEO James G. Robinson, Program Pictures’ L.T. Hutton and Emmtt/Furla/Oasis Films principals Randall Emmett and George Furla. It’s a reunion of sorts for Singleton and Shakur, as Singleton directed him as an actor in the 1993 film Poetic Justice.
Open Road has committed to a wide-screen release of at least 2000 theaters. This film has been long in the making, but if anything Tupac is bigger than ever, based on his popularity and how well his music sells. Producers are Robinson, David Robinson, …
UPDATE: Intl Box Office: ‘Rio 2′ Soars With $63.4M; ‘Captain America: The Winter Soldier’ Blasts Past $300M Overseas; ‘Noah’ Adds $36.2M; ‘Divergent’ Nearing $50M
Highlights: Rio 2 (FOX) has $63.4M weekend, lands $12.6M in China debut; Captain America: The Winter Soldier (DIS) crosses $300M international; Noah (PAR) adds $36.2M; Divergent (LGF/SUM/var) nears $50M; Spanish Affairs (UNI) has 5th No. 1 weekend in Spain…
4th UPDATE, 7:15 PM, PST: The final Divergent numbers are in, with the film nearing $50M but not yet crossing it; it stands at $48.1M. The film is based on the YA novel of the same name (part of a trilogy) and Lionsgate is hoping it will become another big franchise. This is the same company that launched the wildly successful Hunger Games series. Divergent is at $124.7M in the U.S. after the 3-day weekend for a worldwide gross of $172.8M+.
3rd UPDATE, Monday, 1:52 PM, PST: New grosses are in for Rio 2, The Grand Budapest Hotel, 300: Rise Of An Empire, The Lego Movie, Spanish Affairs and The Secret Life of Walter Mitty. Rio 2 did better than previously expected internationally over the weekend, with a total tally of $63.4M to date; the worldwide cume on the animated family picture is over $100M.
2ND UPDATE, MONDAY 12:45 AM PT: Last weekend, Captain America: …
With the openings of Draft Day and Joe this weekend we suddenly re-discover two Oscar winners from the ’90s who have found their groove again after years of cinematic disappointments. I can’t remember the last time either Kevin Costner and especially Nicolas Cage delivered performances worthy of their prime as Costner does in Summit’s Draft Day and Cage does in Roadside Attractions’ Joe. Both come from companies associated with Lionsgate and hopefully both will find some sort of audience this weekend as they reaffirm the power of great actors in the right role.
Costner, who won Oscars for directing and producing Dances With Wolves in 1990, is right in his wheelhouse playing the general manager who has the opportunity to turn a hapless Cleveland Browns football team around with a No. 1 draft pick of a hot Heisman Trophy winner. It’s reminiscent not only of Moneyball but more importantly, of the kind of sports-oriented movies like Bull Durham and Field Of Dreams that made him a star in the first place. And Cage, is playing a combustible ex-con who becomes a surrogate father figure to a troubled teen (Tye Sheridan) in the Southern-set drama Joe. Cage turns down his usual volume of late to deliver a performance of power and poignancy in a film that has much in common with last April’s surprise indie hit Mud (also from Roadside and also co-starring Sheridan) but even more akin to the 1953 George Stevens classic Shane. It is perhaps his best screen acting since winning the Oscar for Leaving Las Vegas almost 20 years ago. And from what I can tell, both these stars clearly know they have again hit their mark.
Tom Wheeler gave as good as he’s gotten today when he addressed a potentially hostile audience of TV and radio station owners at the NAB Show in Las Vegas. “Trust me. I get the skepticism,” he told the group which has been irked by his efforts to block local station cooperative agreements, among other things. “Here’s the former head of the cable AND the wireless industry at the NAB Show telling you he’s your friend….There is no more ridiculous metaphor.” But he assured the audience that now “I have the American people as my client.” And they would be best served if broadcasters think differently about their medium.
“We are at an inflection point where broadcast licensees can move from being the disrupted, to being the disruptor,” much like Netflix, the FCC chairman says. Instead of just hitting up pay TV providers for retransmission fees, local stations can create vibrant local news and entertainment online services. “It can be the basis for a fixed and mobile-delivered cable-like service. You possess the two most important components of a successful digital strategy: compelling content – specifically, the most important content: local content – and the means to promote it. …For all the wonderful things the Internet has done, one place that it has yet to deliver on its promise is local content.” Net neutrality would ensure that these services are carried online. But “your window of opportunity won’t stay open forever,” he says, nothing that others including Yahoo and Verizon are preparing deals to offer competitive content.
Reality shows are accused all the time of being fake, but an assault and battery complaint filed today against Spike TV’s Bar Rescue might have gotten a bit too real for all concerned. A Vegas doctor is alleging that he was set up by the production company to hit on host Jon Taffer’s wife and then attacked by the bar and nightlife expert for doing so. In the 4-claim jury trial filing (read it here) today in LA Superior Court, Dr. Paul Wilkes is seeking general, actual and punitive damages as well as medical and legal expenses, pain and suffering and “other and further relief as the Court many deem just and proper” from the February 11, 2013, incident. The doctor is suing Taffer; his wife Nicole, who also is on the show; and Bongo LLC, a limited liability company of producer 3 Ball Productions. Wilkes, who is part owner of the Sin City bar that used to be known as the Sand Dollar, “has suffered and continues to suffer severe emotional distress which results in physical manifestations including but not limited to migraine headaches, nausea, vomiting, night terrors, crying spells, severe depression and anxiety attacks,” says the filing of the on-camera dust-up that saw Taffer punch the doctor in the jaw, among other things. Portions of the incident were seen on the show’s July 7 Season 3 broadcast entitled “Don’t Mess With Taffer’s Wife” (watch a clip from the episode below).
National Association of Broadcasters CEO Gordon Smith offered a healthy plate of red meat to his constituents today as he urged officials to ensure that TV and radio have the same kinds of regulatory protections often provided for broadband and other media. “On one hand, government can treat us as if we are dinosaurs and does what it can to encourage TV stations to go out of business,” he told broadcasters at the kickoff of the annual NAB Show in Las Vegas. “On the other hand, the FCC says we are so important and powerful that two TV stations can’t share advertising in the same market, while it’s OK for multiple cable, satellite and telecommunications operators to do so. Which is it? Too powerful or irrelevant? It can’t be both.” He says it’s only fair to develop coordinated policies to give the industry as much support as the government offers for cable and wireless providers. ”Why doesn’t the FCC have a National Broadcast Plan?” he says.“Why is there no focus to foster innovation and investment in broadcasting to ensure our business continues to be a world leader alongside our broadband industries? Where is the FCC’s gusto and determination to embrace broadcasting’s values and public service responsibilities?”
Global Showbiz Briefs: ’50 Kisses’ Sets Writer Record; ‘Mysteries Of Laura’ Deepen; ‘Dropped’ Upped In Sweden; More
UK omnibus 50 Kisses is entering the Guinness Book of World Records for the largest roster of co-writers on a feature film. The 51 scribes will gather today at BAFTA headquarters in London for a special screening of the film that beat the previous record holder, 1943’s Forever And A Day. That film had 21 writers including an uncredited Alfred Hitchcock. The British 50 Kisses was produced by the London Screenwriters’ Festival. Two years ago, it invited writers to submit two-page scripts featuring at least one kiss and set on Valentine’s Day. The 50 best scripts were released online with an open invitation for filmmakers to produce them. Ultimately, 127 shorts were made and those were edited down to produce 50 Kisses. The finished product was released on February 13 this year, earning a per-screen average of nearly £9,500. The end credits run for 17 minutes.
Animal Planet Details First Dive Into Scripted Programming With ‘Moby Dick’ From Whale’s Point Of View
Animal Planet is plunging into scripted territory with a retelling of the story that inspired the novel Moby Dick, in Revenge Of The Whale (working title). Starring Martin Sheen, this two-hour film tells a dramatic story of a time when whales were hunted for their oil. The BBC co-production re-imagines what happened when the magnificent sea creature finally turned on its killers. Here’s a complete look at Animal Planet’s new slate:
The biggest news on the closing night of PaleyFest was the reveal that Michael Chiklis is joining the American Horror Story cast for the fourth season. Series co-creator Ryan Murphy said the Emmy winner will make his AMS debut playing the father of Evan Peters’ character and the ex-husband of Kathy Bates’ character on American Horror Story: Freak Show, the title of which Murphy announced in a tweet this week.
“What a way to come back to my home network,” Chiklis told the screaming crowd at the Dolby Theatre in Hollywood. “We’re going to freak you and scare you!” Said Murphy: “Every person on this stage is coming back,” referring to Bates, Emma Roberts (Madison Montgomery), Angela Bassett (Marie Laveau), Sarah Paulson (Cordelia Grove), Gabourey Sidibe (Queenie), Frances Conroy (Myrtle Snow), Jamie Brewer (Nan), Denis O’Hare (Spalding) and Evan Peters (Kyle Spencer). While most of the castmembers were announced in the press recently, Roberts and O’Hare were known to be holdouts. Prior to the panel tonight, both actors told Deadline that they were still in talks.
In this week’s podcast, Deadline Awards Columnist Pete Hammond returns to the mike after a post-Oscar break to talk with host David Bloom about the just-ended CinemaCon gathering in Las Vegas. While all the studios used the confab to tout their hottest upcoming projects to theater operators, the longtime head of the National Association of Theater Owners touched off controversy with head-scratching comments about not watching Best Picture Oscar winner 12 Years A Slave on the big screen. Pete and David also discuss whether, in the wake of Josh Charles’ abrupt departure from The Good Wife, having your character killed off a hit TV show can be a shortcut to the Emmy red carpet. Finally, Pete gives his take on the weekend’s notable movie debuts, led by Darren Aronofsky’s audacious take on the Genesis story Noah.
CinemaCon: Warner Bros Brings Out Heavy Star Power To Court Theater Owners – Eastwood, Depp, Freeman, Sandler, Tatum Hit Vegas
If CinemaCon delegates were waiting for a busload of movie stars to show up at the convention, Warner Bros granted their wish this afternoon delivering, by far, more star power to the stage of the Caesars Palace Colosseum Theatre than the other studios combined. Clint Eastwood, Adam Sandler, Drew Barrymore, Melissa McCarthy , Morgan Freeman, Johnny Depp, Channing Tatum and Mila Kunis were among the names who were trotted out by the studio to the delight of theater owners in the audience. But sometimes it gets awkward up there. Tatum and Kunis just read their lines off a teleprompter, and Depp couldn’t seem to figure out if he had any. Usually at these things he just walks across the stage and waves. Sandler actually was quite funny, bantering with a very pregnant Barrymore, who was still in tears she said over the preceding clip from Godzilla. Eastwood managed a standing ovation and, in talking about the very high-decibel sound levels of the film clips, charmed his way through a brief introduction to footage from his forthcoming musical Jersey Boys.
The heavy star presence distinguished Warners’ turn in the spotlight, the last of the major studios to come to bat, in a presentation that was otherwise very corporate in its approach. Warners had much to crow about and clearly knew it after coming off a record $5.03 billion year, 10 Oscars and a personal-best 21 nominations. It also had a 2013 summer that produced another record: All seven releases earned more than $100 million each. And Warners touted early results in 2014 as being just as promising, with The Lego Movie earning $400 million worldwide so far and the sequel 300: Rise Of An Empire already up to a symmetrically perfect $300 million. Whether the studio can continue on this kind of roll is anyone’s guess as it has a year ahead that’s almost totally lacking in bread-and-butter sequels.
With a chorus line of 40 Samba-dancing Vegas showgirls parading through the audience to the stage for a performance of a song from the upcoming Rio 2 (4/11), 20th Century Fox got its CinemaCon presentation off in style. And the studio earned high marks for attempting to put a little showmanship that has been missing from some other presentations this week. Hey this is Vegas. Let’s liven it up, folks. And Fox did.
This is not to say the rest of their “show” was not all about showing off footage from their 2014 slate. It was, but clearly they put a lot of work into impressing these theatre owners who responded strongly to what Fox was offering. Distribution President Chris Aronson appeared with a feather headdress on (he looked pretty hot) but quickly took it off for a more corporate look as he welcomed the crowd and got things rolling including those previously reported remarks regarding NATO ‘s John Fithian and 12 Years A Slave. He pointed out that the studio’s total worldwide boxoffice was $3.39 billion, the fifth consecutive year they have exceeded the $3 billion mark. He then introduced 20th’s Chairman Jim Gianopulos who expertly hosted the event as he does each year, actually managing to sound like he’s not reading stuff off a prompter – an art both he and Disney’s M.C. Alan Horn have mastered. He launched right into it by announcing “we are starting summer in April this year” and bringing on Cameron Diaz and Leslie Mann to introduce clips of their comedy The Other Woman. Then it was time for the “tentpoles” as he intro’d a clip package featuring the opening scene and trailer from X Men: Days Of Future Past (5/23), extended footage from How To Train Your Dragon 2 (6/13) from their partnership with DreamWorks Animation and a harrowing scene from Dawn Of The Planet Of The Apes (7/11) , the latter really whetting the exhibitors appetite. Let’s just say it involves a couple of drunk guys, a playful-seeming ape and an Uzi. Wow. Even Shailene Woodley, star of 20th’s June 6th romantic drama The Fault In Our Stars, said she was still shaking from the Apes footage when Gianopulos brought her on.
On Tuesday during his annual address to delegates at CinemaCon, National Association Of Theatre Owners president John Fithian caused a stir with a real head-scratcher that has kept resonating among theater owners and some studio executives when he stated he waited to watch this year’s Oscar-winning Best Picture 12 Years A Slave at home, rather than at a cinema, because it was too “unequivocally intense.” For the head of an organization that is meant to promote movie-watching in theaters, singling out the Academy’s choice for Best Picture (with that Oscar distinction traditionally a real magnet to bring customers into theaters) was an eye-opener, and execs at 20th Century Fox to whom I have spoken were furious with the NATO chief for even suggesting, however personal, that the preferred way to see the widely acclaimed Fox Searchlight release was to wait and see it at home. This morning, near the beginning of their studio presentation at Caesars Palace’s Colisseum theatre, Fox shot back. ”All of (our) films are meant to be seen in the best possible venue, the cinema, your cinemas and that includes movies that win the Oscar for Best Picture like 12 Years A Slave,” said 20th Century Fox distribution president Chris Aronson in his opening remarks this morning that contained that not-so-veiled reference and response to Fithian’s comments.
Of course it is no secret that many Academy members were, like Fithian, reluctant to watch the intense film, either in a theater or at home on their screener. That’s one of the reasons Fox Searchlight launched their second-phase “It’s Time” campaign in order to encourage them to view the film that would eventually take the top prize for the studio. But coming from the head of NATO, these remarks really stung, especially since he so publicly supports strict windows between the theatrical release of a movie and when it can be consumed at home. One Fox exec to whom I spoke was, in a word, livid when he heard Fithian’s remarks. Another major theatre chain head who played several runs of 12 Years A Slave and still has it in some theaters (even though it first opened in October) was equally outraged by the suggestion that the film is too intense for their screens. Another said, “It’s like if you were the head of Macy’s department store and urged people to shop in their store, but to buy your underwear online.”
They can, but managers have to be careful, a panel at the industry’s CinemaCon confab in Las Vegas told exhibition execs this morning. Companies are intrigued as they experiment with restaurant and fast-food offerings. “Everyone’s doing a dining concept,” says Carmike Cinemas VP Rob Lehman. As a result, “we’re in the beer and wine business.” But he warned colleagues to be careful when they go for liquor licenses. “It’s a long process but we work very closely with the police. Everyone has this perception that kids are going to get drunk at the back of the auditorium. We don’t want that.” Emagine Entertainment’s Gary Butske urged managers to train staff so they can deal with problem customers. His venues try to avoid trouble by strictly carding and giving wristbands to those old enough to buy. He has a two-drink maximum (strong drinks such as a Long Island Iced Tea are classified as doubles), uses clear plastic cups for booze, and has video cameras that monitor the audience so managers can see whether a buyer passes a drink along to an underaged friend. “We reserve the right to refuse service to anybody.” But he says theaters could see a payoff, especially if they become creative about their bar offerings. He’s had success with craft beers, as well as drink specials for PG-13- and R-rated films including the Hangover trilogy, Sex And The City, and Magic Mike. His theaters also had a vodka drink for The Avengers and Looper.
Carmine Giovinazzo (CSI: NY) and Jon Sklaroff (24, Life) have landed recurring roles on USA Network‘s police drama Graceland. Giovinazzo will play Sid Markham, the head of LAPD’s Gang Task Force. Sid is more mind than muscle and uses his intelligence and ability to read people as a way to build relationships and close cases — but that doesn’t mean he’s not prone to acts of violence here and there. Briggs (Daniel Sunjata) grows close to him, seeing Sid as a helpful tool in taking down a cartel. Sklaroff will play Fritz, who has has made his living in the vilest way possible: through human trafficking. He uses intimidation and brutality to keep “his property” in line. The depravity of his operation leaves the team reeling.
Related: 2014 USA Network Pilots
The 73rd Pioneer Of The Year Dinner in honor of the late Tom Sherak just may have been the most emotional and moving event the philanthropic organization has ever thrown, certainly of those I have attended in the four years they have been held during CinemaCon. As 20th Century Fox President of Distribution and President of the Will Rogers Motion Picture Pioneers Foundation Chris Aronson said, it was also “historic” as it represented the first time the Pioneer Of The Year award was presented posthumously. That was not the plan when they selected Sherak, who passed away in January, for the honor several months ago. The dinner raised over $1M for the Pioneer Assistance Fund. Sherak’s widow Madeleine told me Wednesday evening that he was thrilled to be getting the award and was well aware of it before his passing. Still, she noted it was very bittersweet. ”When Tom died he didn’t leave anyone in charge. There isn’t a vice-president of All Things Tom. But what he did leave was a piece of him in everyone he touched. He didn’t have a number two, he had a number hundreds. We all have watched him through the years, we were mentored by him, he taught us to ‘do’,” Aronson said in opening remarks.