While we’re all inside marathon-watching television until our eyeballs bleed and the bedsores take hold, it’s fun to imagine what certain shows might look like in the time of the coronavirus. This week, Vulture did just that, polling 37 TV writers on what their characters in series new and old might do in a pandemic.
The lineup includes Tina Fay and Mike Schur, writers from “Curb Your Enthusiasm,” “Riverdale,” “Friday Night Lights,” “Frasier,” “Parks and Recreation,” “Brooklyn Nine-Nine,” “One Day at Time,” “You,” and many more of your at-home comfort favorites. The standout, however, and the one that feels most inherent to the series’ established DNA, is executive producer and showrunner David Mandel’s spec take on what the world of “Veep” might look like today, and how perennially incompetent V.P. turned Potus Selina Meyer would actually… pull it off and save the day?.
More from IndieWireFilm Academy...
The lineup includes Tina Fay and Mike Schur, writers from “Curb Your Enthusiasm,” “Riverdale,” “Friday Night Lights,” “Frasier,” “Parks and Recreation,” “Brooklyn Nine-Nine,” “One Day at Time,” “You,” and many more of your at-home comfort favorites. The standout, however, and the one that feels most inherent to the series’ established DNA, is executive producer and showrunner David Mandel’s spec take on what the world of “Veep” might look like today, and how perennially incompetent V.P. turned Potus Selina Meyer would actually… pull it off and save the day?.
More from IndieWireFilm Academy...
- 4/4/2020
- by Ryan Lattanzio
- Indiewire
In Edward Norton’s “Motherless Brooklyn,” the ‘50s-set New York noir detective story he produced, directed, wrote and stars in, politics are never far from the surface. But they’re not the obvious parallels to any racist autocrats from New York of modern times, but instead focus on more timeless politics – the way disabled people and minorities are marginalized by powerful, monied interests.
Norton, at Poland’s 27th EnergaCamerimage cinematography festival to accept the Krzysztof Kieslowski prize, says these elements seemed deeply in tune with the period of the film, which he changed from Jonathan Lethem’s novel, set in modern times.
So the plot that your character, Lionel Essrog, uncovers in the film while battling his own Tourette-like syndrome, was this inspired by some of the work you do with non-profits in affordable housing?
In the plot in the book, the crime had to do with the Yakuza and...
Norton, at Poland’s 27th EnergaCamerimage cinematography festival to accept the Krzysztof Kieslowski prize, says these elements seemed deeply in tune with the period of the film, which he changed from Jonathan Lethem’s novel, set in modern times.
So the plot that your character, Lionel Essrog, uncovers in the film while battling his own Tourette-like syndrome, was this inspired by some of the work you do with non-profits in affordable housing?
In the plot in the book, the crime had to do with the Yakuza and...
- 11/17/2019
- by Will Tizard
- Variety Film + TV
Three-time Oscar nominee Edward Norton does not think small. After years of uncredited rewriting and editing room consulting (“American History X”), he directed “Keeping the Faith” in 2000. And over nine years of trying to make an adaptation of Jonathan Lethem’s 1999 novel “Motherless Brooklyn”, which he wrote and produced, he decided to direct himself in the ambitious drama, which launched in Telluride and Toronto to upbeat reviews and closes the New York Film Festival on Friday. Whatever happens to this movie, it’s Norton’s baby.
At age 50, Norton is always in demand as a canny character actor, but it took nine years to develop, finance and produce “Motherless Brooklyn,” because he wanted to take the helm of a smart, ambitious drama for adults that evokes 50s period film noir New York, complete with a dissonant jazz soundtrack. Whether smarthouse crowds are ready to go there with him remains to be seen.
At age 50, Norton is always in demand as a canny character actor, but it took nine years to develop, finance and produce “Motherless Brooklyn,” because he wanted to take the helm of a smart, ambitious drama for adults that evokes 50s period film noir New York, complete with a dissonant jazz soundtrack. Whether smarthouse crowds are ready to go there with him remains to be seen.
- 10/10/2019
- by Anne Thompson
- Thompson on Hollywood
Three-time Oscar nominee Edward Norton does not think small. After years of uncredited rewriting and editing room consulting (“American History X”), he directed “Keeping the Faith” in 2000. And over nine years of trying to make an adaptation of Jonathan Lethem’s 1999 novel “Motherless Brooklyn”, which he wrote and produced, he decided to direct himself in the ambitious drama, which launched in Telluride and Toronto to upbeat reviews and closes the New York Film Festival on Friday. Whatever happens to this movie, it’s Norton’s baby.
At age 50, Norton is always in demand as a canny character actor, but it took nine years to develop, finance and produce “Motherless Brooklyn,” because he wanted to take the helm of a smart, ambitious drama for adults that evokes 50s period film noir New York, complete with a dissonant jazz soundtrack. Whether smarthouse crowds are ready to go there with him remains to be seen.
At age 50, Norton is always in demand as a canny character actor, but it took nine years to develop, finance and produce “Motherless Brooklyn,” because he wanted to take the helm of a smart, ambitious drama for adults that evokes 50s period film noir New York, complete with a dissonant jazz soundtrack. Whether smarthouse crowds are ready to go there with him remains to be seen.
- 10/10/2019
- by Anne Thompson
- Indiewire
The Motion Picture Association recently moved into a redesigned headquarters, just a couple blocks from the White House, and on Monday night the trade organization debuted the signature feature of their glassy new space: a 118-seat theater.
The occasion was a screening of Motherless Brooklyn, the new Edward Norton drama that opens on Nov. 1, but the studio hopes are that the venue will again become a focal point for D.C.’s social scene.
The theater replaces a smaller, 70-seat one that was part of a Brutalist-style structure opened in 1969.
Back then, with Jack Valenti at the helm, the theater became “one of the most exclusive invitations in Washington,” as The New York Times once described it. Lady Bird Johnson attended one of the first events, and President Gerald Ford, Vice Presidents Walter Mondale, George H.W. Bush and Dick Cheney, and Jordan’s King Abdullah were among those who attended screenings there.
The occasion was a screening of Motherless Brooklyn, the new Edward Norton drama that opens on Nov. 1, but the studio hopes are that the venue will again become a focal point for D.C.’s social scene.
The theater replaces a smaller, 70-seat one that was part of a Brutalist-style structure opened in 1969.
Back then, with Jack Valenti at the helm, the theater became “one of the most exclusive invitations in Washington,” as The New York Times once described it. Lady Bird Johnson attended one of the first events, and President Gerald Ford, Vice Presidents Walter Mondale, George H.W. Bush and Dick Cheney, and Jordan’s King Abdullah were among those who attended screenings there.
- 10/8/2019
- by Ted Johnson
- Deadline Film + TV
The Toronto International Film Festival’s welcoming audiences and traffic-chasing media can deliver a mighty headwind for movies hoping to gain momentum in the Oscar race. But not everybody gets that push. And the reality does not always match the clickbait headlines.
Yes, festival fave “Hustlers” rode a tsunami of press. After all, Jennifer Lopez is an established global star who knew exactly what to do with her alluring role as a pole-riding stripper. But while all that buzz might pull moviegoers into theaters this weekend, “Hustlers” (which B-movie distributor Stx took over from A-movie producer Annapurna) is far more likely to play for the Hollywood Foreign Press than the more tony Academy voters, who want their Oscar contenders to shine with the patina of art. If the movie is a hit and Lopez’s team finds financial backing for an awards campaign, she could squeak into a Supporting Actress slot.
Yes, festival fave “Hustlers” rode a tsunami of press. After all, Jennifer Lopez is an established global star who knew exactly what to do with her alluring role as a pole-riding stripper. But while all that buzz might pull moviegoers into theaters this weekend, “Hustlers” (which B-movie distributor Stx took over from A-movie producer Annapurna) is far more likely to play for the Hollywood Foreign Press than the more tony Academy voters, who want their Oscar contenders to shine with the patina of art. If the movie is a hit and Lopez’s team finds financial backing for an awards campaign, she could squeak into a Supporting Actress slot.
- 9/14/2019
- by Anne Thompson
- Thompson on Hollywood
Merle Debuskey Dies: Theatrical Press Agent, Crucial Supporter Of New York’s Free Shakespeare Was 95
Merle Debuskey, a longtime theater press agent and one of the most significant players in providing free Shakespeare in the Park for generations of grateful New Yorkers, died Tuesday at the Actors Fund Home in Englewood, New Jersey. He was 95.
“Merle Debuskey was one of the first champions of the New York Shakespeare Festival and what would become The Public Theater,” the Public Theater said in a statement. “He championed Free Shakespeare in the Park, and we are proud he is part of our family. Our thoughts are with Merle’s family at this time. Rest in peace.”
His death was confirmed by Philip S. Birsh, Playbill president and publisher and Debuskey’s executor.
A tireless supporter of New York theater, perhaps most importantly the Off Broadway scene that was emerging in the early 1950s when Debuskey began his longtime association with producer Joe Papp. Despite pressure from the city’s powerful Robert Moses,...
“Merle Debuskey was one of the first champions of the New York Shakespeare Festival and what would become The Public Theater,” the Public Theater said in a statement. “He championed Free Shakespeare in the Park, and we are proud he is part of our family. Our thoughts are with Merle’s family at this time. Rest in peace.”
His death was confirmed by Philip S. Birsh, Playbill president and publisher and Debuskey’s executor.
A tireless supporter of New York theater, perhaps most importantly the Off Broadway scene that was emerging in the early 1950s when Debuskey began his longtime association with producer Joe Papp. Despite pressure from the city’s powerful Robert Moses,...
- 9/28/2018
- by Greg Evans
- Deadline Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.