If you are sending us press releases, story ideas or even just want to say hi, Deadline’s spiffy new general email address is firstname.lastname@example.org. That will ring all the right bells to get your news to the proper Deadline staffers ASAP. So update those address books and blast lists accordingly, spread the word, and get back to work.
In case you haven’t noticed, Deadline Hollywood and Nikki Finke have been a lot in the news lately. Now we are getting the Funny Or Die treatment. Here is a great photo we’ve obtained from the set of the spoof, which filmed yesterday. Directed by Jody Lambert and written by …
Deadline Hollywood‘s 3rd annual The Contenders, which gives film studios an opportunity to vamp their Oscar films directly to AMPAS and Guild members on November 2nd, has in one week filled all 500 available seats in the newly opened Wallis Annenberg Center for the Performing Arts. You could call it a sellout, but it is of course free admission for voters. That is the fastest we’ve had a full house, even though we have 200 more seats available than in past years. We also have more sponsors than ever, including returnees Dell, Paradigm, Rentrak, Screen Engine and IMAX, and newcomers Rolls Royce, Delta Airlines, Simon & Schuster, Final Draft, and the Honolulu Film Office, which is providing coffee shipped direct from Hawaii.
The Contenders was first conceived and implemented by Deadline Editor In Chief Nikki Finke. Event producer Madelyn Hammond tells me that many of this year’s RSVPs are members who’ve worked The Contenders into their annual pre-voting fact-finding process. “One Academy member told me, ‘In one day I learn all about all the potential Oscar contenders. Hearing directly from the people who made them makes this event relevant and important’.”
This year 12 distributors are represented, screening footage and sending panelists who run the gamut from directors, writers, producers and stars to sound editors and composers. Paramount, Disney, Warner Bros, Sony, Universal, and DreamWorks Animation are slated for presentations, as are indies Sony Pictures Classics, The Weinstein Company, Roadside Attractions, Fox Searchlight, Focus Features and CBS Films.
FRIDAY 7 AM UPDATE: Turns out nobody on The Deadline Team wants to tackle box office this weekend or any weekend. I certainly don’t blame them because it’s a thankless job. Now I’m stuck doing it on vacation through the end of this year. Glad to provide yet more hilarity for your continuing pleasure. (What’s next: a DH sitcom?)
THURSDAY 5 PM: Ask the people who calculate or cover box office regularly what they want the most, and they’ll tell you it’s to get up late on weekend mornings and get to bed early on weekend nights. We’re all sleep-deprived. I’ve been taking some banked vacation in recent weeks while still reporting and analyzing the grosses. But now I intend to take what I consider a well-deserved break from box office until the new year when my contractual obligations start again. Please don’t beat up my temporary replacements as badly as you’ve bruised me over the years. And yes, start betting that I won’t manage more than a week or two away from box office. I love how it can be so unpredictable – especially these days when tracking is meaningless. I started including box office reports on Deadline Hollywood with the goal of doing it differently. In those days, every new release was a ‘boffo hit’ in the trades. I sought to inject more truth into the analysis. I’m still in disbelief how my coverage back then and even now can cause instant dismay and certain dispute and at least debate. In fact I’m positive there’ll be a big sigh of relief around Hollywood when my byline on box office disappears for a while. Even I was surprised by this edited excerpt from the start of a 2011 Fast Company article about Disney’s film biz:
It was prime time, the main event, the first punch of a one-two summer combo — Pirates of the Caribbean 4: On Stranger Tides and then Cars 2 – that would shape the studio’s financial fate for the year. The Pirates 4 indicators were particularly discouraging. Disney executives were counting on big revenue from 3-D screens, but ticket sales in the U.S. for such films had been flagging all spring. The reviews had not been pretty… During the afternoon of Friday, May 20, and well into the night, Disney executives emailed [then Walt Disney Studios chairman Rich] Ross and one another with the latest box-office data and anecdotal evidence. The big question on their minds was this: How would media reporters spin the opening-weekend numbers? And more specifically, what was Nikki Finke going to say on Deadline Hollywood? The most influential — and, to studio executives, terrifying — entertainment reporter in town, Finke would set the tone with the initial report on her website. As the results filtered in, Ross and his team wondered if Finke would cackle over the film’s failure to crack the magic $100 million mark in the United States.
Once again, Deadline did not enter the latest Los Angeles Press Club awards contest. Because, once again, the officers and organizers have failed to address our concerns. In my opinion, the LA Press Club seems more interested in collecting entry fees and selling gala tables than in rewarding high standards …
Deadline Expands: Hires Washington Post Journalist Lisa De Moraes As Our New TV Columnist, Details Other Staff Additions
LOS ANGELES – June 18, 2013: Penske Media Corporation’s Jay Penske and Deadline’s Nikki Finke and Nellie Andreeva today announced the hiring of LISA DE MORAES, the hugely respected and popular Washington Post journalist who for 15 years wrote the well sourced and widely read ‘The TV Column’ several times a week. Effective immediately, de Moraes becomes Deadline.com’s TV Columnist, covering the business of TV with her deep sources and outstanding knowledge and unusual fearlessness.
“We’re thrilled Lisa has joined our Deadline team,” said PMC Founder and CEO Jay Penske. “Her nuanced perspective of the TV business — always with her trademark wit — is an exciting addition for our audience.”
Before joining The Washington Post in 1998, de Moraes served for nearly 10 years as Television Editor for The Hollywood Reporter. No stranger to the outspoken brand of reporting produced by Deadline’s prolific and talented team, de Moraes comes with an established following because of her distinctive writing style, analysis and opinion. Slate praised that she “gives the entertainment-information industrial complex hell.” Indeed, her sharp and, when necessary, scathing and sardonic insights will make for ‘must’ reading by the industry’s top stakeholders and bolster Deadline’s already prominent position as the go-to source for its TV business readership.
“Lisa is one of the most respected and colorful voices in television coverage today,” said Deadline’s TV Editor Nellie Andreeva. “I’ve enjoyed her work as a fan for years, now I’m happy to have her as a colleague
Said Nikki Finke, PMC’s Editorial Adviser and Deadline’s Editor-in-Chief & Founder: “I can’t remember when I didn’t read Lisa. Her columns cover everything from morning shows to reality programs to executive suites with exclusive news and irreverence. I’m thrilled she decided to make Deadline her Hollywood home.”
De Moraes has moved to Los Angeles and can be reached at Lisa@Deadline.com. With this significant hire, Deadline continues to build its dominance in bold reporting on the business of entertainment. In addition to Finke, Andreeva, Film Editor Mike Fleming, Business Editor David Lieberman, Awards Columnist Pete Hammond, and International Editor Nancy Tartaglione, the Editorial Team has expanded with these recent hires:
DENISE PETSKI, Co-Managing Editor (Denise@Deadline.com): Before joining Deadline Hollywood, Petski spent 18 years with The Associated Press. Most recently she was Breaking News Editor in the AP’s Los Angeles bureau, responsible for writing, reporting, editing and filing to AP’s online, newspaper and broadcast subscribers. Previously, she worked at AP’s Broadcast News Center in Washington DC for the AP Radio Network. Early on in her career, she was at KNX-AM in L.A. and on the assignment desk at CNN L.A. She has won numerous awards from AP, Southern California Radio Television News Association, and Society of Professional Journalists.
ERIK PEDERSEN, Managing Editor – Night (Erik@Deadline.com): Before joining Deadline, Pedersen worked at The Hollywood Reporter for 16 years, rising to Managing Editor. In addition to overseeing a staff of more than 80, he wrote about music for THR, did hundreds of concert and TV reviews, covered such events as the Cannes Film Festival, NATPE and MIFED, and worked closely with the web team. Before that he was a cities editor at the Orange County Register, and ME of the Los Angeles Daily Commerce.
DOMINIC PATTEN, Legal Editor & General Assignment Reporter (Dominic@Deadline.com): Before joining Deadline, Patten wrote for Salon, The New York Times, Los Angeles Times, Washington Times, and The Globe and Mail. He was the Arts & Life editor and Chief Features editor for The Vancouver Sun. A frequent guest on NPR, Fox News Channel, CNN and SiriusXM, Patten has been a documentary director, TV producer and national news correspondent. He created and hosted Canada’s primetime TV news magazine 21© for CTV and garnered several awards and nominations.
JEN YAMATO, Weekend Editor & General Assignment Reporter (Jen@Deadline.com): Prior to joining the Deadline team, Jen served as Executive Editor at Movieline, Senior Editor at Rotten Tomatoes, and Film Critic at Movies.com. She has contributed to online film publications including WSJ, Film.com, and AOL Cinematical, appeared on CNN as guest critic, and covered international film festivals, Comic-Con, and other entertainment events. She graduated from University of California, Berkeley, with a BA in Mass Communications.
… Since the paper put my boss and me on Page One this morning. Oy vey.
Right now I am not going to discuss my Deadline Hollywood contract or my relationship with my boss Jay Penske. Why? Because I don’t have to. If that changes, I’ll tell you. (I also didn’t post about this imbecilic digital ad about me which my parent company ran without my knowledge in NYC’s Times Square all week during the recent TV upfronts. See below.) The fact is I’m out of town and about to begin my long-planned summer vacation. And the last thing I want is to be bothered now by a bunch of media and/or moguls asking for comment. As it happens, I was napping in a different time zone when The Wrap crapped on me yet again Sunday night. Nothing new: the desperate Sharon Waxman and her revolving door staff have been writing inaccurately about me for years, and doing it to drive traffic to her failing website, and refusing to correct even the most blatant errors. Last night Waxman sent a joint email to my boss and myself at 6:43 PM. She waited two whole minutes. Then she posted her story about us at 6:45 PM. That’s a rotten thing to do, not to mention bad journalism, and she knows it. And it’s yet one more reason I call her website The Crap. That said, I could pick apart her so-called “shocker” line by line, but I won’t. I’d much rather spend my remaining pre-vacation time writing up some great scoops to post this week. Instead, I’ll simply correct one point from her article to illustrate what a bad reporter Waxman is.
Ads for Deadline Hollywood were visible every 10 minutes on the Fox Screen by Sony Monday through Friday during last week’s TV upfronts. The brainstorm of DH business manager/advertising czar Nic Paul, our message flashed on state-of-the-art LED display technology measuring almost 35′ high and 40′ wide on some of the most valuable real estate …
Deadline Hollywood’s 2nd annual event THE CONTENDERS about the movie awards season was held November 10th at LA’s Landmark Theatre for invited Academy Of Motion Picture Arts and Sciences and Guild voters. Watch the video of its marquee event: The ‘Deadline Moguls Panel’ composed of Warner Bros’ Jeff Robinov, 20th Century Fox’s Jim Gianopulos, Sony Pictures Entertainment’s Amy Pascal, Paramount’s Rob Moore, Universal’s Adam Fogelson, Summit/Lionsgate’s Rob Friedman, and DreamWorks’ Stacey Snider who all discussed the challenges of this movie awards season. It was an insightful and fascinating discussion moderated by Deadline Awards Columnist Pete Hammond and Film/NY Editor Mike Fleming. A transcript follows the video below:
Transcript: ‘Deadline Moguls Panel’ at The Contenders November 10th:
What if an organization held an awards contest — and almost nobody entered? That happened last night. Because the Los Angeles Press Club can’t honestly call its contest the “National Entertainment Journalism Awards” if Deadline Hollywood, Variety, The New York Times, Wall Street Journal, Reuters, Forbes, Fortune, Time, The Daily Beast/Newsweek, Entertainment Weekly, Vanity Fair, New York Magazine, the network news shows, and a myriad other national media outlets covering entertainment didn’t participate. Which is why the ”Bests” handed out Sunday evening were a big joke. Take, for instance, ‘Best Entertainment Publication’: it was a contest between The Hollywood Reporter and the Antelope Valley Press. And so on. For this and other reasons, Deadline Hollywood boycotted the NEJ awards this year after we were winners or finalists in several categories last year. In fact, that’s when I began taking these awards to task – and the press club officers often failed to answer or even acknowledge my concerns. In my opinion, the LA Press Club seems more interested in collecting entry fees and selling gala tables than in rewarding high standards of journalism or conducting a competition with integrity.