When you watch Quiz, the ITV and AMC drama on the Who Wants To Be A Millionaire? cheating scandal of 2001, you realize that is just such obviously fertile territory for television drama. A story about a million-pound heist, which played out on one of the biggest quiz shows ever made, featuring characters from everyday backgrounds.
Writer James Graham knew it was a gift, but not necessarily one for the screen, which is why he initially created a stage play around the saga. It took Andy Harries, the CEO of The Crown producer Left Bank Pictures, to realize its television potential after watching the West End show at the invitation of Graham. “I hadn’t thought of it as a TV drama, but Andy’s enthusiasm convinced me,” Graham recalls.
More from DeadlineAMC Preps Quarantine Chatshow With Jeffrey Dean Morgan & Hilarie Burton MorganAMC Theatres Bankruptcy Rumors Grow, But That Move Wouldn't...
Writer James Graham knew it was a gift, but not necessarily one for the screen, which is why he initially created a stage play around the saga. It took Andy Harries, the CEO of The Crown producer Left Bank Pictures, to realize its television potential after watching the West End show at the invitation of Graham. “I hadn’t thought of it as a TV drama, but Andy’s enthusiasm convinced me,” Graham recalls.
More from DeadlineAMC Preps Quarantine Chatshow With Jeffrey Dean Morgan & Hilarie Burton MorganAMC Theatres Bankruptcy Rumors Grow, But That Move Wouldn't...
- 4/13/2020
- by Jake Kanter
- Deadline Film + TV
Being one of the longest running reality shows on national television, Amitabh Bachchan marked his return as a host on Kaun Banega Crorepati just a few days ago. The show, which is an Indian version of the American show ‘Who Wants To Be A Millionaire’, will also see a series of celebrities from Bollywood, whoRead More
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The post Check out: Shilpa Shetty turns contestant for Amitabh Bachchan’s Kaun Banega Crorepati appeared first on Bollywood Hungama.
- 9/6/2017
- by Bollywood Hungama News Network
- BollywoodHungama
"What you call love was invented by guys like me to sell nylons." With these tender words, Don Draper talked himself into the heart of his new client Rachel Mencken, and into TV history. The first episode of Mad Men aired 10 years ago today, on July 19th, 2007, introducing the world to a rogue's gallery of glamorously twisted con artists. Jon Hamm as Don, the Korean War deserter who steals a dead officer's dogtags and invents himself a new life as a Madison Avenue advertising genius. John Slattery as Roger Sterling,...
- 7/19/2017
- Rollingstone.com
Seth Rogen Gets ‘Inception’-ed, Carrie Coon Loves the Public Theater — The Week in Showrunner Tweets
One fascinating aspect of today’s media landscape is that many creators and executive producers enjoy using Twitter to engage with their audiences, share behind-the-scenes information about their shows, chat about politics, and otherwise communicate about what matters to them. So, each week, we’ll compile some of our favorite exchanges representing the wide variety of discourse seen on social media.
Last Week’S Tweets: Who ‘Mr. Robot’ Is Really Attacking, And R.I.P. ‘The Get Down’
This week: Bryan Fuller watches “Twin Peaks,” and showrunners love “The Handmaid’s Tale.”
We Would Watch The Crap Out of This
Think big, Hollywood, and listen to Shonda Rhimes’ casting suggestion here.
Obvious: only actor who could play Comey and do him justice?
"Lordy, I hope there are tapes," says Denzel Washington. Bam. Academy Award.
— shonda rhimes (@shondarhimes) June 10, 2017
Bryan Fuller Is Catching Up on TV
One of these lists wouldn...
Last Week’S Tweets: Who ‘Mr. Robot’ Is Really Attacking, And R.I.P. ‘The Get Down’
This week: Bryan Fuller watches “Twin Peaks,” and showrunners love “The Handmaid’s Tale.”
We Would Watch The Crap Out of This
Think big, Hollywood, and listen to Shonda Rhimes’ casting suggestion here.
Obvious: only actor who could play Comey and do him justice?
"Lordy, I hope there are tapes," says Denzel Washington. Bam. Academy Award.
— shonda rhimes (@shondarhimes) June 10, 2017
Bryan Fuller Is Catching Up on TV
One of these lists wouldn...
- 6/18/2017
- by Liz Shannon Miller
- Indiewire
Amidst the chorus of people saying that TV is better than it’s ever been, you’ll always find one person lamenting the decline of the theme song. While it’s true that the days of minutes-long intros with original songs and catchy melodies might be in the past, there’s no denying that shows are still finding memorable (and in a few cases, iconic) ways to open each episode.
Read More: The 20 Best Animated TV Shows of the 21st Century, Ranked
With that in mind, we set out to pick the best TV themes of the young century. Some of these are snippets from existing songs, others are new instrumentals that have quickly taken on meaning well beyond the shows they’re attached to. As DVRs and streaming services make it easier than ever to skip TV credits, there are plenty of songs and shows trying to keep the art of the opening alive.
Read More: The 20 Best Animated TV Shows of the 21st Century, Ranked
With that in mind, we set out to pick the best TV themes of the young century. Some of these are snippets from existing songs, others are new instrumentals that have quickly taken on meaning well beyond the shows they’re attached to. As DVRs and streaming services make it easier than ever to skip TV credits, there are plenty of songs and shows trying to keep the art of the opening alive.
- 6/13/2017
- by Steve Greene and Michael Schneider
- Indiewire
Sneak Peek: Kaitlyn Bristowe And Shawn Booth Play ‘Who Wants To Be A Millionaire’ For Animal Charity
Kaitlyn Bristowe and Shawn Booth will try their best at trivia as part of a special week-long edition of “Who Wants To Be A Millionaire”. Airing on Global beginning Monday, Feb. 6, “Bachelor Fan Favourites” will take over the popular game show for a chance to win big for their favourite charities. Naturally, animal lovers […]...
- 2/1/2017
- by Rachel West
- ET Canada
It all started off in the year 2000 when the TV industry saw a (r)evolution of sorts in the form of the Indian adaptation of the widely watched game show ‘Who Wants to Be a Millionaire?’. The Indian version of the game show was titled as ‘Kaun Banega Crorepati’, which later gained popularity as ‘Kbc’.Read More
The post Scoop: This young actor all set to replace Amitabh Bachchan as the host of Kbc? appeared first on Bollywood Hungama.
The post Scoop: This young actor all set to replace Amitabh Bachchan as the host of Kbc? appeared first on Bollywood Hungama.
- 1/21/2017
- by Satish Sundaresan
- BollywoodHungama
Florence Henderson, the actress who portrayed matriarch Carol Brady on the Seventies sitcom The Brady Bunch, died Thursday in Los Angeles from heart failure. She was 82.
"We are heartbroken to announce the passing of our dear mother Florence Henderson from heart failure," the Henderson family said in a statement. "On this day of thanks, our beloved mother was surrounded by her devoted children and dearest friends. We thank all of her fans for their many years of love and ask that we be allowed to grieve in private."
Henderson's agent Kayla Pressman added,...
"We are heartbroken to announce the passing of our dear mother Florence Henderson from heart failure," the Henderson family said in a statement. "On this day of thanks, our beloved mother was surrounded by her devoted children and dearest friends. We thank all of her fans for their many years of love and ask that we be allowed to grieve in private."
Henderson's agent Kayla Pressman added,...
- 11/25/2016
- Rollingstone.com
He’s earned millions of Instagram followers — but can he earn millions of dollars?
Dr. Mikhail Varshavski, a.k.a. Dr. Mike, a.k.a. People’s Sexiest Doctor Alive of 2015, is competing on Friday’s episode of Who Wants to Be a Millionaire.
This week, the series has honored “Hometown Heroes” — including the three American men who stopped the terrorist attack on a train to Paris last year — and Dr. Mike is being singled out for his charity work and ‘healthspiration.’ Making him even more lovable: He plans to donate his winnings to the Susan G. Komen foundation for breast cancer.
Dr. Mikhail Varshavski, a.k.a. Dr. Mike, a.k.a. People’s Sexiest Doctor Alive of 2015, is competing on Friday’s episode of Who Wants to Be a Millionaire.
This week, the series has honored “Hometown Heroes” — including the three American men who stopped the terrorist attack on a train to Paris last year — and Dr. Mike is being singled out for his charity work and ‘healthspiration.’ Making him even more lovable: He plans to donate his winnings to the Susan G. Komen foundation for breast cancer.
- 11/3/2016
- by Kate Hogan
- PEOPLE.com
Don’t start writing an obit for NBC’s The Voice anytime soon. With an average of 13.3 million viewers and a 3.4 rating in the coveted 18-49 demo, its audience is still as big as Kanye’s ego.
Still, numbers for this week’s Season 10 finale — 10.4 million total viewers and a 2.1 demo rating for Alisan Porter’s win – were down 18 and 28 percent from Jordan Smith’s coronation a season prior. And if those declines don’t make exec producer Mark Burnett a teensy bit nervous, he need only look at the way prior reality behemoths American Idol and Who Wants to Be a Millionaire?...
Still, numbers for this week’s Season 10 finale — 10.4 million total viewers and a 2.1 demo rating for Alisan Porter’s win – were down 18 and 28 percent from Jordan Smith’s coronation a season prior. And if those declines don’t make exec producer Mark Burnett a teensy bit nervous, he need only look at the way prior reality behemoths American Idol and Who Wants to Be a Millionaire?...
- 5/28/2016
- TVLine.com
“Who Wants to Be a Millionaire” is heading to Vegas, baby! The long-running trivia game show will move production to Las Vegas for its 15th season in national syndication. Hosted by “The Bachelor” emcee Chris Harrison, the new season will tape at Bally’s Las Vegas and is set to premiere on Monday, September 12. “Who Wants to Be a Millionaire” exploded onto American television with original host Regis Philbin in 1999. It entered into syndication in 2002 with host Meredith Vieira, who departed in 2013. Cedric the Entertainer took the reigns for one season, before turning the show over to Terry...
- 5/20/2016
- by Reid Nakamura
- The Wrap
Winners were announced Sunday night for the 43rd Daytime Emmy Awards, which were held in Los Angeles and broadcast/streamed by… well, no one.
RelatedCBS, Y&R Lead Daytime Emmy Nods; Ceremony Won’t Be Televised
CBS’ The Young and the Restless entered the evening with 27 total nominations, followed by ABC’s General Hospital (24 nods), CBS’ The Bold and the Beautiful (23) and NBC’s Days of Our Lives (16).
TVLine has denoted winners in the major categories below; our sister site Variety has a tally of the Creative Arts winners, announced on Saturday.
RelatedKelly Ripa, Michael Strahan Not Attending Daytime...
RelatedCBS, Y&R Lead Daytime Emmy Nods; Ceremony Won’t Be Televised
CBS’ The Young and the Restless entered the evening with 27 total nominations, followed by ABC’s General Hospital (24 nods), CBS’ The Bold and the Beautiful (23) and NBC’s Days of Our Lives (16).
TVLine has denoted winners in the major categories below; our sister site Variety has a tally of the Creative Arts winners, announced on Saturday.
RelatedKelly Ripa, Michael Strahan Not Attending Daytime...
- 5/2/2016
- TVLine.com
Disney|ABC Home Entertainment and Television Distribution has renewed the Live with Kelly and Michael talk show on the ABC owned stations through the 2019-2020 television season. Kelly Ripa and Michael Strahan host the morning show.
The division has also renewed the Who Wants to Be a Millionaire game show on the ABC owned stations for 2016-2017 (with the exception of Wls-tv Chicago). The Bachelor's Chris Harrison is in his first season hosting the show, which was hosted by Terry Crews, the year prior.
Read More…...
The division has also renewed the Who Wants to Be a Millionaire game show on the ABC owned stations for 2016-2017 (with the exception of Wls-tv Chicago). The Bachelor's Chris Harrison is in his first season hosting the show, which was hosted by Terry Crews, the year prior.
Read More…...
- 1/20/2016
- by TVSeriesFinale.com
- TVSeriesFinale.com
“Live With Kelly and Michael” will stay alive on the ABC Owned Stations through at least the 2019-2020 television season, thanks to a Tuesday morning renewal by Disney/ABC Home Entertainment and Television Distribution. Additionally, the group has renewed “Who Wants To Be A Millionaire” on the ABC Owned Stations for 2016-2017 — with the exception of the Chicago market, that is. The eight ABC Owned stations are New York (Wabc-tv), Los Angeles (Kabc-tv), Chicago (Wls-tv), Philadelphia (Wpvi-tv), San Francisco (Kgo-tv), Houston (Ktrk-tv), Raleigh/Durham (Wtvd-tv) and Fresno (Kfsn-tv). “We are exceptionally proud of ‘Live’s’ unparalleled success and are thrilled...
- 1/19/2016
- by Tony Maglio
- The Wrap
Live will stay that way for some time. The syndicated talker starring Kelly Ripa and Michael Strahan has been renewed through the 2019-20 season. Disney/ABC Home Entertainment and Television Distribution has also renewed game show Who Wants to Be a Millionaire for the 2016-17 season. The renewals are for the majority of ABC-owned stations and keep Ripa and Strahan at the helm of one of highest-rated and most stable shows in daytime. “We are exceptionally proud of Live's unparalleled success and are thrilled to extend our highly valued partnership with the ABC-owned stations for many
read more...
read more...
- 1/19/2016
- by Michael O'Connell
- The Hollywood Reporter - Movie News
Disney/ABC Television Distribution’s flagship syndicated series, Live with Kelly and Michael, has been renewed by the ABC Owned Stations through the 2019-2020 television season. Additionally, the ABC O&Os have picked up Disney/ABC’s game show Who Wants To Be A Millionaire for next season, 2016-17( with the exception of Wls-tv Chicago). The renewals come on the first day of the Natpe confab in Miami. They also follow the 1.8 women 25-54 rating that Live with Kelly and Micha…...
- 1/19/2016
- Deadline TV
For some reason Regis Philbin doesn't come to mind when we think of diversity in television, but today that changes. In a clip discovered by the great game show site BuzzerBlog, we see that in 2000, Mr. Philbin openly questioned why white males dominated the "Who Wants to be a Millionaire?" casting pool. I've seen most episodes of every existing game show, and I can't ever remember a plea quite like this. It's worth noting that game shows in general have gotten a lot better with casting diverse contestants. Twenty-five years ago you'd routinely see three white male contestants on "Jeopardy!" or two white families on "Family Feud"; now that's almost never the case. Also, less importantly: Damn, I miss Regis on primetime. ...
- 12/7/2015
- by Louis Virtel
- Hitfix
Earlier this week, IndieWire's Sam Adams interviewed me, Mo Ryan, and Tim Goodman about the increasingly strange and outdated practice of reviewing new shows based just on the pilot episode. At one point, Sam asked what was the wrongest I ever was about a show's quality based on the pilot episode. I didn't have a great answer for that one, since I have a pretty good Spidey sense about when pilots aren't to be trusted (case in point: "Studio 60"), but I did think of an answer to a related question: What show was I most wrong in predicting its commercial success based on the pilot? The answer to that one's easy, and timely, because the show in question is airing a series finale special Sunday night at 9: "CSI: Crime Scene Investigation." It's not that I was predicting its outright failure or anything. I actually found the pilot interesting...
- 9/25/2015
- by Alan Sepinwall
- Hitfix
By Patrick Shanley
Managing Editor
Winning the audience award at the Toronto International Film Festival is a major feather in the cap for any film — and, for many, the launching pad for even loftier goals. Indeed, five went on to win best picture at the Academy Awards.
Chariots of Fire (1981): This true story about two Olympic athletes, one a devout Christian running for God, the other an English Jew running to overcome prejudice, in the 1924 Games won best picture at the 54th Academy Awards. A few months before receiving that statue it premiered at Tiff and took home the audience award. The film’s legacy, and particularly its theme song (which earned composer Vangelis an Oscar), endures to this day.
American Beauty (1999): Screenwriter Alan Ball‘s family drama about a depressed suburban father (Kevin Spacey) who suffers a mid-life crisis after developing an infatuation on his teenage daughter’s best friend,...
Managing Editor
Winning the audience award at the Toronto International Film Festival is a major feather in the cap for any film — and, for many, the launching pad for even loftier goals. Indeed, five went on to win best picture at the Academy Awards.
Chariots of Fire (1981): This true story about two Olympic athletes, one a devout Christian running for God, the other an English Jew running to overcome prejudice, in the 1924 Games won best picture at the 54th Academy Awards. A few months before receiving that statue it premiered at Tiff and took home the audience award. The film’s legacy, and particularly its theme song (which earned composer Vangelis an Oscar), endures to this day.
American Beauty (1999): Screenwriter Alan Ball‘s family drama about a depressed suburban father (Kevin Spacey) who suffers a mid-life crisis after developing an infatuation on his teenage daughter’s best friend,...
- 9/18/2015
- by Patrick Shanley
- Scott Feinberg
In an effort to make jury duty fun, NBC has ordered a live, unscripted spin-off of Law & Order that promises to have viewers serve as arbiters of real cases, according to THR. Dubbed You the Jury, it'll be a one-hour prime-time show focused on civil cases, in which the audience will reportedly determine verdicts and weigh in on witnesses and evidence via interactive voting. (Think The People's Court meets the engagement portions of Who Wants to Be a Millionaire — fun?) The series, which NBC nabbed in May, comes from producers Magical Elves, Wolf Reality's Tom Thayer, and procedural titan Dick Wolf, who has left his mark on NBC with decades of material ranging from the Law & Order series to the Chicago-based series. An air date has still yet to be announced, which is great because this sounds like a lot of responsibility.
- 9/17/2015
- by Sean Fitz-Gerald
- Vulture
Chicago – He’s not a household name, but he has certainly rocked a few houses…with laughter. Writer/director Paul Feig has a new film called “Spy,” in which he re-teams with two of the supporting cast of his “Bridesmaids” romp, Melissa McCarthy and Rose Byrne. “Spy” opens on Friday, June 5th.
“Spy” is a perfect tonic to today’s super serious movies depicting undercover chicanery. McCarthy portrays Susan, a ex-teacher-turned CIA desk jockey, who often is paired with superspy Bradley Fine (Jude Law). When Fine is disposed of, it is up to Susan to complete his international mission, under the disguises of cat lady and unmarried tourist. Like Feig has done in his previous films, “Spy” loves the juxtaposition of having the unlikely Melissa McCarthy as the world’s greatest operative.
Director Paul Feig (background) Prepares Melissa McCarthy in a Scene from ‘Spy’
Photo credit: 20th Century Fox
Paul Feig...
“Spy” is a perfect tonic to today’s super serious movies depicting undercover chicanery. McCarthy portrays Susan, a ex-teacher-turned CIA desk jockey, who often is paired with superspy Bradley Fine (Jude Law). When Fine is disposed of, it is up to Susan to complete his international mission, under the disguises of cat lady and unmarried tourist. Like Feig has done in his previous films, “Spy” loves the juxtaposition of having the unlikely Melissa McCarthy as the world’s greatest operative.
Director Paul Feig (background) Prepares Melissa McCarthy in a Scene from ‘Spy’
Photo credit: 20th Century Fox
Paul Feig...
- 6/5/2015
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
It's been quite awhile since ABC has had a game show that's a hit in the ratings. Could 500 Questions become a phenomenon like Who Wants to Be a Millionaire? was 15 years ago? Will this new series be renewed for a second season or cancelled instead? That's the real question but we'll have to wait for the answer.
Hosted by Richard Quest, 500 Questions lets some certified geniuses try to correctly answer 500 very difficult general knowledge questions -- without getting three incorrect in a row.
The ratings are typically the best indication of a show's likelihood of staying on the air. The higher the ratings (particularly the 18-49 demo), the better the chances for survival. This chart will be updated as new ratings data becomes available -- typically around 11:30am Est/8:30am Pst. Refresh to see the latest.Read More…...
Hosted by Richard Quest, 500 Questions lets some certified geniuses try to correctly answer 500 very difficult general knowledge questions -- without getting three incorrect in a row.
The ratings are typically the best indication of a show's likelihood of staying on the air. The higher the ratings (particularly the 18-49 demo), the better the chances for survival. This chart will be updated as new ratings data becomes available -- typically around 11:30am Est/8:30am Pst. Refresh to see the latest.Read More…...
- 5/26/2015
- by TVSeriesFinale.com
- TVSeriesFinale.com
CBS topped a Wednesday of premieres and finales, despite its “Survivor” season-ender slipping from last year. The evening marked the final primetime offerings of the traditional fall season. For ABC, the event game show “500 Questions” didn’t make the grade at 8 p.m., debuting to a 1.2 rating/5 share in the key demo and 5 million total viewers. Fellow network season premiere “Celebrity Wife Swap” was also limp last night, and Fox’s season opener of “MasterChef” didn’t quite light the world on fire either. The latest attempt at finding the next “Who Wants to Be a Millionaire?” is set to air over.
- 5/21/2015
- by Tony Maglio
- The Wrap
Filmmakers and profit participants often complain about distributors that engage in creative bookkeeping. This is one area where filmmakers concede the studios are sufficiently imaginative in their thinking. A frequent criticism is that distributors devise new and ingenious ways to interpret a contract so that all the revenue stays with them. Filmmakers believe that net profits are often illusory. Rarely does a share of net profits actually result in money received.
I have been involved in many creative accounting disputes and recovered millions of dollars for filmmakers cheated by distributors. As a result of my experience, whenever I negotiate a distribution deal, I always try to tightly define and limit expenses that are recoupable to those that are “direct, auditable, out-of-pocket, reasonable and necessary.” This means the distributor has to produce a receipt showing a legitimate payment to a third party in order to deduct that expense. Less precise wording can leave enough ambiguity for a distributor to argue over which deductions are proper.
I recently won an award from a distributor that engaged in many of the typical tactics used to defraud filmmakers. Even though the distribution deal clearly prohibited the deduction of overhead, interest or legal fees, an audit revealed that the distributor had deducted those expenses. The distributor even tried to claim its own attorney fees for negotiating the initial distribution deal with the filmmaker, as well as payment to his lawyer contesting the filmmaker’s right to terminate the agreement. The filmmaker was clearly within his rights to terminate the agreement, after the distributor repeatedly failed to provide producer statements and payments due.
The distributor tried to write off wages paid to staff members from ranging from executives to interns, and also deducted charges for cell phone calls, meals and entertainment and even staff parking. Perhaps most outrageous, the distributor paid fees to one of its own top executives and attempted to hide this payment by making the payment to a company owned by the executive that had ostensibly provided marketing services for the film. Since producer statements are summaries lacking in detail, none of this misconduct was revealed until an audit was undertaken.
Distributors have attempted to hide their misconduct with missing or incomplete records. However, in cases where records essential to proving damages are in a distributor’s exclusive control, the courts have shifted the burden of proof to the distributor, to prove that their deductions are legitimate.
No doubt, there are numerous instances where producers or distributors have cooked the books to avoid paying back-end compensation to those entitled to it. Expenses incurred on one movie might be charged to another. Phony invoices can be used to document expenses that were never incurred. Some ruses are more subtle, and not readily apparent to the uninitiated.
Various court decisions have held that distributors have a duty to exercise good faith and fair dealing toward filmmakers. In Celador Int’l, Ltd. v. Disney Co., the court held that when a party has an interest in profits from a business, the person managing that business has to act in such a manner as to protect the interest of the profit participants. Celador created and executive produced a show entitled “Who Wants to Be a Millionaire,” which was highly successful in the United Kingdom. Celador later entered into an agreement with ABC and Buena Vista Television (both Disney subsidiaries) for a version of the Series to be produced for distribution in North America. Under the agreement negotiated by the parties, Celador was entitled to 50% profit participation. Celador alleged that Disney breached its implied covenant of good faith and fair dealing because Disney assigned production of the Series to Valleycrest Productions, Ltd. (“Valleycrest”), a subsidiary of Disney, rather than seeking competitive deals from third-party producers. According to Celador: “ABC agreed orally to license the Series for an ‘imputed per-episode license fee equal to Valleycrest’s per-episode production costs’.... As a result, the network exhibition of the Series could never reach profits after production costs, distribution fees, distribution costs, overhead, interest, etc. were deducted from any gross receipts.” Consequently, the Series never generated any profits for Celador while Disney benefited in the form of cost savings and increased profits to Disney affiliates. As a result of decisions like Celador, filmmakers often try to restrict the distributor from making deals with affiliated companies or sub-distributors, unless the filmmaker consents to such arrangements.
It is important to understand that the major studios determine profits for participants using their own special accounting rules as set forth in their net profit definitions. The accounting profession has generally agreed-upon rules called Generally Accepted Accounting Principles (Gaap). There are special guidelines for the motion picture industry called Financial Accounting Standards Bulletin 53 (Fasb 53). These rules provide, among other things, for the accrual method of accounting. Under this method, revenues are recognized when earned, and expenses are recognized when incurred. But distributors do not necessarily follow these rules. They may use Gaap and Fasb 53 when accounting to their shareholders, or reporting to their bankers, but they often resort to their own Alice in Wonderland-type rules when they calculate net profits for participants. They may recognize revenue only when it is actually received, while taking expenses when incurred. So if the distributor licenses a film to a television network, the distributor may not count the license fee as revenue until they actually receive it. Even when they receive a non-refundable advance, they might not count it as income until the time of the broadcast. Meanwhile, they count expenses immediately, even if they have not paid those expenses yet. This mismatching of revenues and expenses allows the distributor to delay payment to participants. It also allows distributors to charge producers interest for a longer time on the outstanding “loan” extended to a producer to make the film.
The Art Buchwald case illuminates some of the devices Paramount used to deny payment to net profit participants. Art Buchwald was a Pulitzer Prize winning author and syndicated columnist who alleged that Paramount Pictures stole his script idea and turned it into the 1988 movie "Coming to America." Although the movie generated more than $288 million in worldwide box office revenues, according to Paramount it had earned no net profit according to the profit definition in Buchwald's contract. The trial judge found many of Paramount’s accounting practices to be unconscionable and refused to enforce them. Paramount appealed, but the case was settled before the Court of Appeals could issue a definitive ruling on the issue.
If Buchwald had won the appeal, the precedent could have caused severe repercussions for all the major studios. That is because Paramount’s “net profit” definition was virtually identical to the definitions found throughout the industry. If Buchwald’s contract was invalid because it was unconscionable, then many other contracts could likewise be contested.
However, Buchwald could have lost the appeal. The trial judge in Buchwald used the doctrine of unconscionability to invalidate a contract that Buchwald was trying to enforce. Courts have traditionally embraced this doctrine only when it was used as a defense, or shield, against enforcement of an unfair contract, rather than as a sword to enforce the terms of a contract against another. Courts have typically relied on the doctrine to protect uneducated people who have been taken advantage of. If an unscrupulous door-to-door salesman sells a refrigerator for an exorbitant price to a poor, illiterate consumer on an installment plan using a boilerplate contract not open to negotiation, the judge might refuse to enforce the contract because it “shocks the conscience of the court.”
Buchwald, however, was hardly a poor, defenseless victim. He was an intelligent, wealthy, and acclaimed writer represented by the William Morris Agency. If a judge was willing to rewrite his contract because it was unfair, then why not rewrite thousands of other writer contracts? Indeed, why not rewrite any unfair contract? Where does one draw the line? If any contract can be contested simply because it is unfair, then how can anyone safely rely upon the terms of a contract? And how can one conduct business if you cannot be sure your contracts will be enforceable?
Under long-established precedent, courts refuse to invalidate contracts simply because they are unfair. Law students are taught the principle that even a peppercorn—something worth less than a penny—can be valid consideration. This means that if you are foolish enough to sign a contract to sell your $200 bike for a dime, do not expect a court to bail you out of a bad deal. Absent fraud, duress, or some other acceptable ground to invalidate a contract, courts do not second-guess the wisdom of what the parties agreed to.
While the trial judge in the Buchwald case thought the doctrine of unconscionability could be invoked to invalidate a net profit definition, it bears noting that another Los Angeles Superior Court came to a different conclusion. In reviewing the accounting practices of Warner Bros. in the "Batman" case, the judge found that the plaintiffs had failed to prove that the studio’s net profits definition was unconscionable. The court noted that one of the plaintiffs who had negotiated the Warner Agreement was a former general counsel and senior executive of a major motion picture studio who “knew all the tricks of the trade,” and was knowledgeable about how these agreements worked.
Regardless of whether the Buchwald decision would have been upheld on appeal, the dispute has had an impact on the industry. The major studios have rewritten their contracts, replacing the phrase “net profits” with such terms as “net proceeds.” They want to avoid any implication that the back-end compensation promised participants has anything to do with the concept of profitability.
As a result of many highly publicized creative-accounting disputes, anyone who has clout insists on receiving either large up-front payments or a share of gross revenue. Distributors have consequently lost the ability to share risk with talent. Budgets have escalated to accommodate large up-front fees, with major stars now demanding $20 million per picture. Moreover, stars and directors have little incentive to minimize production expenses, since it doesn’t affect their earnings.
Not all complaints about creative accounting concern accounting errors. Many grievances reflect the inequality of the deal itself. The studio uses its leverage and superior bargaining position to pressure talent to agree to a bad deal. The distributor then accounts in accordance with the terms of the contract and can avoid paying out any revenue to participants because of how net profits are defined. The contract may be unfair, but the studio has lived up to its terms. It is only after the picture becomes a hit that the actor bothers to read the fine print of his employment agreement. This is not creative accounting. This is an example of a studio negotiating favorable terms for itself.
Keep in mind that there is no law requiring distributors to share their profits with anyone. Indeed, in most industries, workers do not share in their employer’s profits. Moreover, when a major studio releases a flop, losses are not shared; they are borne by the studio alone.
More on Mark Litwak:
Mark Litwak is a veteran entertainment attorney and producer’s rep based in Beverly Hills, California. He is an adjunct professor at USC Gould School of Law, and the creator of the Entertainment Law Resources website with lots of free information for filmmakers ( www.marklitwak.com). He is the author of six books including: Dealmaking in the Film and Television Industry, Contracts for the Film and Television Industry, and Risky Business: Financing and Distributing Independent Film. He can be reached at law2[At]marklitwak.com
Mark will be conducting an all-day seminar in New York City on April 24th, 2015 called "Self Defense for Writers and Filmmakers" with Volunteer Lawyers for the Arts...
I have been involved in many creative accounting disputes and recovered millions of dollars for filmmakers cheated by distributors. As a result of my experience, whenever I negotiate a distribution deal, I always try to tightly define and limit expenses that are recoupable to those that are “direct, auditable, out-of-pocket, reasonable and necessary.” This means the distributor has to produce a receipt showing a legitimate payment to a third party in order to deduct that expense. Less precise wording can leave enough ambiguity for a distributor to argue over which deductions are proper.
I recently won an award from a distributor that engaged in many of the typical tactics used to defraud filmmakers. Even though the distribution deal clearly prohibited the deduction of overhead, interest or legal fees, an audit revealed that the distributor had deducted those expenses. The distributor even tried to claim its own attorney fees for negotiating the initial distribution deal with the filmmaker, as well as payment to his lawyer contesting the filmmaker’s right to terminate the agreement. The filmmaker was clearly within his rights to terminate the agreement, after the distributor repeatedly failed to provide producer statements and payments due.
The distributor tried to write off wages paid to staff members from ranging from executives to interns, and also deducted charges for cell phone calls, meals and entertainment and even staff parking. Perhaps most outrageous, the distributor paid fees to one of its own top executives and attempted to hide this payment by making the payment to a company owned by the executive that had ostensibly provided marketing services for the film. Since producer statements are summaries lacking in detail, none of this misconduct was revealed until an audit was undertaken.
Distributors have attempted to hide their misconduct with missing or incomplete records. However, in cases where records essential to proving damages are in a distributor’s exclusive control, the courts have shifted the burden of proof to the distributor, to prove that their deductions are legitimate.
No doubt, there are numerous instances where producers or distributors have cooked the books to avoid paying back-end compensation to those entitled to it. Expenses incurred on one movie might be charged to another. Phony invoices can be used to document expenses that were never incurred. Some ruses are more subtle, and not readily apparent to the uninitiated.
Various court decisions have held that distributors have a duty to exercise good faith and fair dealing toward filmmakers. In Celador Int’l, Ltd. v. Disney Co., the court held that when a party has an interest in profits from a business, the person managing that business has to act in such a manner as to protect the interest of the profit participants. Celador created and executive produced a show entitled “Who Wants to Be a Millionaire,” which was highly successful in the United Kingdom. Celador later entered into an agreement with ABC and Buena Vista Television (both Disney subsidiaries) for a version of the Series to be produced for distribution in North America. Under the agreement negotiated by the parties, Celador was entitled to 50% profit participation. Celador alleged that Disney breached its implied covenant of good faith and fair dealing because Disney assigned production of the Series to Valleycrest Productions, Ltd. (“Valleycrest”), a subsidiary of Disney, rather than seeking competitive deals from third-party producers. According to Celador: “ABC agreed orally to license the Series for an ‘imputed per-episode license fee equal to Valleycrest’s per-episode production costs’.... As a result, the network exhibition of the Series could never reach profits after production costs, distribution fees, distribution costs, overhead, interest, etc. were deducted from any gross receipts.” Consequently, the Series never generated any profits for Celador while Disney benefited in the form of cost savings and increased profits to Disney affiliates. As a result of decisions like Celador, filmmakers often try to restrict the distributor from making deals with affiliated companies or sub-distributors, unless the filmmaker consents to such arrangements.
It is important to understand that the major studios determine profits for participants using their own special accounting rules as set forth in their net profit definitions. The accounting profession has generally agreed-upon rules called Generally Accepted Accounting Principles (Gaap). There are special guidelines for the motion picture industry called Financial Accounting Standards Bulletin 53 (Fasb 53). These rules provide, among other things, for the accrual method of accounting. Under this method, revenues are recognized when earned, and expenses are recognized when incurred. But distributors do not necessarily follow these rules. They may use Gaap and Fasb 53 when accounting to their shareholders, or reporting to their bankers, but they often resort to their own Alice in Wonderland-type rules when they calculate net profits for participants. They may recognize revenue only when it is actually received, while taking expenses when incurred. So if the distributor licenses a film to a television network, the distributor may not count the license fee as revenue until they actually receive it. Even when they receive a non-refundable advance, they might not count it as income until the time of the broadcast. Meanwhile, they count expenses immediately, even if they have not paid those expenses yet. This mismatching of revenues and expenses allows the distributor to delay payment to participants. It also allows distributors to charge producers interest for a longer time on the outstanding “loan” extended to a producer to make the film.
The Art Buchwald case illuminates some of the devices Paramount used to deny payment to net profit participants. Art Buchwald was a Pulitzer Prize winning author and syndicated columnist who alleged that Paramount Pictures stole his script idea and turned it into the 1988 movie "Coming to America." Although the movie generated more than $288 million in worldwide box office revenues, according to Paramount it had earned no net profit according to the profit definition in Buchwald's contract. The trial judge found many of Paramount’s accounting practices to be unconscionable and refused to enforce them. Paramount appealed, but the case was settled before the Court of Appeals could issue a definitive ruling on the issue.
If Buchwald had won the appeal, the precedent could have caused severe repercussions for all the major studios. That is because Paramount’s “net profit” definition was virtually identical to the definitions found throughout the industry. If Buchwald’s contract was invalid because it was unconscionable, then many other contracts could likewise be contested.
However, Buchwald could have lost the appeal. The trial judge in Buchwald used the doctrine of unconscionability to invalidate a contract that Buchwald was trying to enforce. Courts have traditionally embraced this doctrine only when it was used as a defense, or shield, against enforcement of an unfair contract, rather than as a sword to enforce the terms of a contract against another. Courts have typically relied on the doctrine to protect uneducated people who have been taken advantage of. If an unscrupulous door-to-door salesman sells a refrigerator for an exorbitant price to a poor, illiterate consumer on an installment plan using a boilerplate contract not open to negotiation, the judge might refuse to enforce the contract because it “shocks the conscience of the court.”
Buchwald, however, was hardly a poor, defenseless victim. He was an intelligent, wealthy, and acclaimed writer represented by the William Morris Agency. If a judge was willing to rewrite his contract because it was unfair, then why not rewrite thousands of other writer contracts? Indeed, why not rewrite any unfair contract? Where does one draw the line? If any contract can be contested simply because it is unfair, then how can anyone safely rely upon the terms of a contract? And how can one conduct business if you cannot be sure your contracts will be enforceable?
Under long-established precedent, courts refuse to invalidate contracts simply because they are unfair. Law students are taught the principle that even a peppercorn—something worth less than a penny—can be valid consideration. This means that if you are foolish enough to sign a contract to sell your $200 bike for a dime, do not expect a court to bail you out of a bad deal. Absent fraud, duress, or some other acceptable ground to invalidate a contract, courts do not second-guess the wisdom of what the parties agreed to.
While the trial judge in the Buchwald case thought the doctrine of unconscionability could be invoked to invalidate a net profit definition, it bears noting that another Los Angeles Superior Court came to a different conclusion. In reviewing the accounting practices of Warner Bros. in the "Batman" case, the judge found that the plaintiffs had failed to prove that the studio’s net profits definition was unconscionable. The court noted that one of the plaintiffs who had negotiated the Warner Agreement was a former general counsel and senior executive of a major motion picture studio who “knew all the tricks of the trade,” and was knowledgeable about how these agreements worked.
Regardless of whether the Buchwald decision would have been upheld on appeal, the dispute has had an impact on the industry. The major studios have rewritten their contracts, replacing the phrase “net profits” with such terms as “net proceeds.” They want to avoid any implication that the back-end compensation promised participants has anything to do with the concept of profitability.
As a result of many highly publicized creative-accounting disputes, anyone who has clout insists on receiving either large up-front payments or a share of gross revenue. Distributors have consequently lost the ability to share risk with talent. Budgets have escalated to accommodate large up-front fees, with major stars now demanding $20 million per picture. Moreover, stars and directors have little incentive to minimize production expenses, since it doesn’t affect their earnings.
Not all complaints about creative accounting concern accounting errors. Many grievances reflect the inequality of the deal itself. The studio uses its leverage and superior bargaining position to pressure talent to agree to a bad deal. The distributor then accounts in accordance with the terms of the contract and can avoid paying out any revenue to participants because of how net profits are defined. The contract may be unfair, but the studio has lived up to its terms. It is only after the picture becomes a hit that the actor bothers to read the fine print of his employment agreement. This is not creative accounting. This is an example of a studio negotiating favorable terms for itself.
Keep in mind that there is no law requiring distributors to share their profits with anyone. Indeed, in most industries, workers do not share in their employer’s profits. Moreover, when a major studio releases a flop, losses are not shared; they are borne by the studio alone.
More on Mark Litwak:
Mark Litwak is a veteran entertainment attorney and producer’s rep based in Beverly Hills, California. He is an adjunct professor at USC Gould School of Law, and the creator of the Entertainment Law Resources website with lots of free information for filmmakers ( www.marklitwak.com). He is the author of six books including: Dealmaking in the Film and Television Industry, Contracts for the Film and Television Industry, and Risky Business: Financing and Distributing Independent Film. He can be reached at law2[At]marklitwak.com
Mark will be conducting an all-day seminar in New York City on April 24th, 2015 called "Self Defense for Writers and Filmmakers" with Volunteer Lawyers for the Arts...
- 4/14/2015
- by Mark Litwak
- Sydney's Buzz
Chris Harrison's schedule is about to get even busier! Bachelor Nation's fearless leader is branching out, adding another show to his already stacked resume: he's the new host of Who Wants to Be a Millionaire, ABC announced on Monday. Harrison is set to take over hosting duties when the longrunning game show returns for its 14th season in the fall. "There are few shows on television as strong and iconic as Millionaire,'" Harrison said in a statement. "This is a great fit and I'm extremely excited and honored to take on this new endeavor." On Twitter, Harrison continued to express his excitement over his new gig, writing, "Have always been a huge fan of this show....
- 4/13/2015
- E! Online
It’s that time of the year again, as another Flash Sale has arisen on the PlayStation Network and will run until 11:00 a.m. Pst on Monday. Focusing mostly on the PlayStation 3, this bundle of sales features games discounted to less than $1 and represents a multitude of genres, including the likes of Surgeon Simulator, Dino Crisis, Katamari Damacy, Gravity Rush, and more.
The complete list of titles on sale can be found below:
PlayStation 4:
Dead Nation: Apocalypse Edition — $0.90
Home: A Unique Horror Adventure (Cross-Buy: PlayStation Vita) — $0.95
Surgeon Simulator: A&E Anniversary Edition — $0.91
Tennis in the Face (Cross-Buy: Ps Vita and PlayStation 3) — $0.95
PlayStation 3:
Babel Rising — $0.90
Back to the Future: The Game (Full Season) — $0.80
Bejeweled 3 — $0.95
Breath of Fire IV (Cross-Buy: Ps Vita and PlayStation Portable) — $0.96
Championship Bass (Cross-Buy: Ps Vita and PSP) — $0.96
Cloudberry Kingdom — $0.90
Dead Nation (Cross-Buy: Ps Vita) — $0.88
Dino Crisis (Cross-Buy: Ps Vita and PSP) — $0.96
Dino Crisis...
The complete list of titles on sale can be found below:
PlayStation 4:
Dead Nation: Apocalypse Edition — $0.90
Home: A Unique Horror Adventure (Cross-Buy: PlayStation Vita) — $0.95
Surgeon Simulator: A&E Anniversary Edition — $0.91
Tennis in the Face (Cross-Buy: Ps Vita and PlayStation 3) — $0.95
PlayStation 3:
Babel Rising — $0.90
Back to the Future: The Game (Full Season) — $0.80
Bejeweled 3 — $0.95
Breath of Fire IV (Cross-Buy: Ps Vita and PlayStation Portable) — $0.96
Championship Bass (Cross-Buy: Ps Vita and PSP) — $0.96
Cloudberry Kingdom — $0.90
Dead Nation (Cross-Buy: Ps Vita) — $0.88
Dino Crisis (Cross-Buy: Ps Vita and PSP) — $0.96
Dino Crisis...
- 3/21/2015
- by Eric Hall
- We Got This Covered
Thanks to a strange prize structure, a man won $500,000 on the Australian game show "Millionaire Hot Seat," a spinoff of "Who Wants to be a Millionaire?", for answering an incredibly easy question. The gigantic prize is the result of the show's competition with another Australian game show called "Million Dollar Minute." According to BuzzerBlog, an outstanding game show news resource, the reason the prize was so high has to do with a building jackpot: "'Million Dollar Minute' had a contestant win $500,000 today and turn it down for the chance at $750K tomorrow. "Millionaire Hot Seat," in retaliation, did a Jackpot week last week where the final amount played for, win or lose, gets added to the Jackpot. So today this question usually worth $20,000 was worth $520,000. It's probably the easiest $500,000 I've ever seen. Slightly desperate. Imagine getting on "Who Wants to be a Millionaire?" and winning a jackpot because you could...
- 3/16/2015
- by Louis Virtel
- Hitfix
Radio 1's Greg James has said that he has been "quite picky" with what TV shows he's chosen to be involved with.
The 29-year-old also told Digital Spy that he has turned down presenting "a million" clip shows and panel shows on TV, as he likes to be involved with unique projects.
Asked by DS whether he would like to focus on television more than radio, James said: "No, not really.
"So far it's working side by side and I love doing my radio show and it's taken a while to get to that point.
"So I don't want to just go, 'Right, I'm done with that'. I love doing my show, and I never not want to be on the radio.
"Even when I'm nearly dead I want to be on the radio somewhere. I'll never stop, hopefully, if someone will employ me."
On whether he would like to present a big TV gameshow,...
The 29-year-old also told Digital Spy that he has turned down presenting "a million" clip shows and panel shows on TV, as he likes to be involved with unique projects.
Asked by DS whether he would like to focus on television more than radio, James said: "No, not really.
"So far it's working side by side and I love doing my radio show and it's taken a while to get to that point.
"So I don't want to just go, 'Right, I'm done with that'. I love doing my show, and I never not want to be on the radio.
"Even when I'm nearly dead I want to be on the radio somewhere. I'll never stop, hopefully, if someone will employ me."
On whether he would like to present a big TV gameshow,...
- 1/28/2015
- Digital Spy
Radio 1's Greg James has said that although he "loves" presenting his show on the station, it took him a while to enjoy it.
The 29-year-old also told Digital Spy that he has turned down presenting "a million" clip shows and panel shows on TV, as he likes to be involved with unique projects.
Asked by DS whether he would like to focus on television more than radio, James said: "No, not really.
"So far it's working side by side and I love doing my radio show and it's taken a while to get to that point.
"So I don't want to just go, 'Right, I'm done with that'. I love doing my show, and I never not want to be on the radio.
"Even when I'm nearly dead I want to be on the radio somewhere. I'll never stop, hopefully, if someone will employ me."
On whether he would...
The 29-year-old also told Digital Spy that he has turned down presenting "a million" clip shows and panel shows on TV, as he likes to be involved with unique projects.
Asked by DS whether he would like to focus on television more than radio, James said: "No, not really.
"So far it's working side by side and I love doing my radio show and it's taken a while to get to that point.
"So I don't want to just go, 'Right, I'm done with that'. I love doing my show, and I never not want to be on the radio.
"Even when I'm nearly dead I want to be on the radio somewhere. I'll never stop, hopefully, if someone will employ me."
On whether he would...
- 1/28/2015
- Digital Spy
In the third episode of its new season, Episodes sets the deck for many of the dilemmas that its following six instalments will probably concern. While a series of late in-episode turns promise to throw the show as a whole into conflict, the road to get to the ending of “Episode 403” involves the characters meandering their way through talky scenes in order to serve the final plot developments. While this episode alludes to future intrigue on the show, “403” has yet to return Showtime’s comedy to the chaotic heights that provides Episodes’ funniest moments.
Matt LeBlanc opens this week by giving his sons a funny, vulgar drawing lesson, demonstrating the similarities between a frog and the female anatomy. Following this quick introduction, the next scene uncovers the crux of tension in “Episode 403.” Sean plans to meet with his former writing partner Tim Whittick (Bruce Mackinnon), which reminds Beverly of the tension between Tim and her.
Matt LeBlanc opens this week by giving his sons a funny, vulgar drawing lesson, demonstrating the similarities between a frog and the female anatomy. Following this quick introduction, the next scene uncovers the crux of tension in “Episode 403.” Sean plans to meet with his former writing partner Tim Whittick (Bruce Mackinnon), which reminds Beverly of the tension between Tim and her.
- 1/26/2015
- by Zachary Shevich
- We Got This Covered
We don't know what a Burger Ring is, but it sounds delicious, and if our significant other were to gift us with one, we'd be happy. So we can't really blame this Millionaire Hot Seat contestant on this one. Whitney Beseler, a beautiful woman who appeared on Australia's Who Wants to Be a Millionaire spinoff, had a very simple first round (or "gimme round") question: "Which of these is not a piece of jewelry commonly worn to symbolize a relationship between two people?" Here are the options she had to choose from: A: Engagement ring B: Wedding ring C: Anniversary ring D: Burger ring Apparently her jewelry history has been dismal,...
- 12/17/2014
- E! Online
Game shows are usually heart-pounding affairs involving huge amounts of money and stakes. "Jeopardy!" is not funny. "Who Wants to be a Millionaire?" is not funny. But sometimes game shows give up the serious act and just decide to humiliate their contestants. We appreciate those shows a lot. To celebrate Gsn's 20th anniversary as a network, we're counting down the ten funniest game shows ever. Survey says: You will laugh your ass off at these clips. Click the gallery below to look back at a few decades of hilarious game shows. ...
- 12/2/2014
- by Louis Virtel
- Hitfix
Adult Swim’s “Black Dynamite” is the latest to bash Bill Cosby The latest shot at Cosby, revolving around a “Cosby Coon Renewal Program,” has nothing to do with the rape allegations. In Friday’s episode, titled “Sweet Bill’s Badass Song or Cos Ain’t Himself,” Cosby is portrayed as a villain who kidnaps all the “blackity-black” actors in an effort to get them to “stop cooning in Black Hollywood.” The timely episode has been in the works for a year. Discovery's “Eaten Alive” could kill an anaconda Dr. Jesús A. Rivas, who specializes in the green anaconda that the Discovery special is using explains: "When they swallow a prey, because they don't have the respiratory system that we do, they can either swallow or breathe. They can't do both. So during the time the prey goes through what would be the throat, they have to do that in apnea.
- 11/15/2014
- by Norman Weiss
- Hitfix
Peter Bart and Mike Fleming Jr. worked together for two decades at Daily Variety. In this occasional column, two old friends get together and grind their axes, mostly on the movie business.
Fleming: Deadline held its annual Contenders Event yesterday, where my colleagues Pete Hammond, Dominic Patten and I interviewed filmmakers, actors, composers and producers behind the Oscar films, directly to a room full of voters. It’s worthwhile on many fronts, not the least of which is reconnecting us to filmmaker passion and reminding us that creative ambition is alive and well. But as Pee-Wee Herman once famously said onscreen, “There is always a big but, so tell us about your big but.” Here’s my big but. I’ve prowled the town the past week, and discovered a profound sense of depression after Warner Bros and Marvel trotted out superhero slates through 2020. Adding Sony’s Spider-Man line and...
Fleming: Deadline held its annual Contenders Event yesterday, where my colleagues Pete Hammond, Dominic Patten and I interviewed filmmakers, actors, composers and producers behind the Oscar films, directly to a room full of voters. It’s worthwhile on many fronts, not the least of which is reconnecting us to filmmaker passion and reminding us that creative ambition is alive and well. But as Pee-Wee Herman once famously said onscreen, “There is always a big but, so tell us about your big but.” Here’s my big but. I’ve prowled the town the past week, and discovered a profound sense of depression after Warner Bros and Marvel trotted out superhero slates through 2020. Adding Sony’s Spider-Man line and...
- 11/2/2014
- by Peter Bart and Mike Fleming Jr
- Deadline
Talpa, the Dutch production company behind such reality shows as The Voice and Utopia, has launched a new production operation in the Middle East. Ziad Kebbi, a veteran producer who adapted The Voice, as well as formats including Deal or No Deal, Who Wants to be a Millionaire and Betty La Fea for the region, will head up Talpa Middle East as CEO. He will report to Talpa Global’s managing director, Maarten Meijs. Talpa Middle East's first project will be taking over for the third season of The Voice Arabia, the local version of the hit singing competition, which airs
read more...
read more...
- 10/8/2014
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Et's Kevin Frazier sat down with 'Brooklyn Nine-Nine' star and former NFL pro Terry Crews to get his reaction to the Ray Rice video.
Et's Kevin Frazier sat down with Brooklyn Nine-Nine star and former NFL player Terry Crews to get his reaction to the Ray Rice video.
Video surfaced Monday on TMZ of the alleged moment that Rice punched his then-fiancee (now wife) Janay Palmer Rice in the face, knocking her unconscious. The new Who Wants to Be a Millionaire host, who has publicly spoken about his father physically abusing his mother during his childhood, said the incident brought back personal memories of growing up.
"When I saw the video I was immediately taken back to my childhood," Crews, 46, said. "This is the way I grew up. I used to watch this happen over and over again. It was a post-traumatic stress experience for me. I used to watch my father hit my mother...
Et's Kevin Frazier sat down with Brooklyn Nine-Nine star and former NFL player Terry Crews to get his reaction to the Ray Rice video.
Video surfaced Monday on TMZ of the alleged moment that Rice punched his then-fiancee (now wife) Janay Palmer Rice in the face, knocking her unconscious. The new Who Wants to Be a Millionaire host, who has publicly spoken about his father physically abusing his mother during his childhood, said the incident brought back personal memories of growing up.
"When I saw the video I was immediately taken back to my childhood," Crews, 46, said. "This is the way I grew up. I used to watch this happen over and over again. It was a post-traumatic stress experience for me. I used to watch my father hit my mother...
- 9/10/2014
- Entertainment Tonight
Austria has selected Andreas Prochaska’s The Dark Valley as its official entry for Best Foreign Language Film at the 87th Academy Awards. Sam Riley stars in the German-language revenge Western based on the bestseller by Thomas Willman. In the film, a stranger arrives in a remote high mountain valley toward the end of the 19th century and asks the clannish village community if he can take shelter for the winter. But he knows the villagers’ gloomy secret, and a mysterious series of deaths ensues. Produced by Stefan Arndt of Xfilme, the pic won the German Film Prize and seven Lolas after premiering at the Berlin International Film Festival in February. Watch the subtitled trailer above.
Former Sony Pictures Television execs Ed Louwerse and Julian Curtis have launched independent distribution company Lineup Industries. The firm will focus on repping international sales of formats and derived IP. News comes just ahead of the Mipcom TV market,...
Former Sony Pictures Television execs Ed Louwerse and Julian Curtis have launched independent distribution company Lineup Industries. The firm will focus on repping international sales of formats and derived IP. News comes just ahead of the Mipcom TV market,...
- 9/4/2014
- by Nancy Tartaglione
- Deadline
Fifteen years ago, America was asked a very important question: Who wants to be a millionaire? Turns out lots of people were interested in getting an extra seven figures, and so a game show was born. Originally hosted by Regis Philbin, Who Wants to Be a Millionaire? premiered on Aug. 16, 1999. Through the years, the program made some tweaks, but the basic principles have stayed the same. If a hot-seat contestant uses their lifelines wisely and answers all 15 questions correctly, they are going home with at least $1,000,000. Many have come close to the feat, but only 13 folks have reached the big prize so far.
- 8/16/2014
- by Kelli Bender, @kbendernyc
- PEOPLE.com
Fifteen years ago, America was asked a very important question: Who wants to be a millionaire?
Turns out lots of people were interested in getting an extra seven figures, and so a game show was born. Originally hosted by Regis Philbin, Who Wants to Be a Millionaire? premiered on Aug. 16, 1999. Through the years, the program made some tweaks, but the basic principles have stayed the same.
If a hot-seat contestant uses their lifelines wisely and answers all 15 questions correctly, they are going home with at least $1,000,000. Many have come close to the feat, but only 13 folks have reached the big prize so far.
Turns out lots of people were interested in getting an extra seven figures, and so a game show was born. Originally hosted by Regis Philbin, Who Wants to Be a Millionaire? premiered on Aug. 16, 1999. Through the years, the program made some tweaks, but the basic principles have stayed the same.
If a hot-seat contestant uses their lifelines wisely and answers all 15 questions correctly, they are going home with at least $1,000,000. Many have come close to the feat, but only 13 folks have reached the big prize so far.
- 8/16/2014
- by Kelli Bender, @kbendernyc
- People.com - TV Watch
Ah, the long-running phenomenon of the TV game show. These programs may be appointment viewing for you every night or just something you stumble upon when you're home sick from work, but we've all indulged in the great television pastime of watching other people win (and lose) money on the small screen at some point.
There are a whole slew of game show series that have stood the test of time. For instance, the original "Jeopardy" premiered back in 1964 and "The Price is Right" has been kicking since the early '70s. One show hitting a milestone is "Who Wants to Be a Millionaire?" -- the U.S. version of the quiz program first aired on August 16th, 1999, so it's about to hit its 15th anniversary. Yup.
But not all game shows are as lucky. Sure, some of them live on through syndication and Game Show Network re-runs and occasionally there's modern reboot,...
There are a whole slew of game show series that have stood the test of time. For instance, the original "Jeopardy" premiered back in 1964 and "The Price is Right" has been kicking since the early '70s. One show hitting a milestone is "Who Wants to Be a Millionaire?" -- the U.S. version of the quiz program first aired on August 16th, 1999, so it's about to hit its 15th anniversary. Yup.
But not all game shows are as lucky. Sure, some of them live on through syndication and Game Show Network re-runs and occasionally there's modern reboot,...
- 8/14/2014
- by Alana Altmann
- Moviefone
At one time or another, we’ve all shrieked at the TV when some bozo blows an easy question on a game show. Once indoor voices are resumed, we’re tempted to feel tremendous sympathy for these poor souls. It’s only natural to assume that intense pressure brought on by crowds, cameras, and cash has caused them to become a bundle of nerves and choke, right? Wrong.
I personally have been one of the aforementioned bozos, and that definitely wasn’t the way it went down. The crowds, cameras, and cash have the total opposite effect, with adrenaline turning you into a sort of coked-up trivia nerd with a God complex. All eyes are on you, so clearly you must have all the answers. You truly begin believe that you know things, even topics that you know Nothing about. Case in point-
[Gif: Whatevs.tumblr.com]
During the lengthy preparation process, producers constantly...
I personally have been one of the aforementioned bozos, and that definitely wasn’t the way it went down. The crowds, cameras, and cash have the total opposite effect, with adrenaline turning you into a sort of coked-up trivia nerd with a God complex. All eyes are on you, so clearly you must have all the answers. You truly begin believe that you know things, even topics that you know Nothing about. Case in point-
[Gif: Whatevs.tumblr.com]
During the lengthy preparation process, producers constantly...
- 8/14/2014
- by Jordan Runtagh
- VH1.com
At one time or another, we’ve all shrieked at the TV when some bozo blows an easy question on a game show. Once indoor voices are resumed, we’re tempted to feel tremendous sympathy for these poor souls. It’s only natural to assume that intense pressure brought on by crowds, cameras, and cash has caused them to become a bundle of nerves and choke, right? Wrong.
I personally have been one of the aforementioned bozos, and that definitely wasn’t the way it went down. The crowds, cameras, and cash have the total opposite effect, with adrenaline turning you into a sort of coked-up trivia nerd with a God complex. All eyes are on you, so clearly you must have all the answers. You truly begin believe that you know things, even topics that you know Nothing about. Case in point-
[Gif: Whatevs.tumblr.com]
During the lengthy preparation process, producers constantly...
I personally have been one of the aforementioned bozos, and that definitely wasn’t the way it went down. The crowds, cameras, and cash have the total opposite effect, with adrenaline turning you into a sort of coked-up trivia nerd with a God complex. All eyes are on you, so clearly you must have all the answers. You truly begin believe that you know things, even topics that you know Nothing about. Case in point-
[Gif: Whatevs.tumblr.com]
During the lengthy preparation process, producers constantly...
- 8/14/2014
- by Jordan Runtagh
- TheFabLife - Movies
Terry Crews is keeping plenty busy. The former pro footballer — who plays Sgt. Jeffords on Fox's Brooklyn Nine-Nine, stars in The Expendables 3 (out August 15) and is Old Spice's commercial spokesman — can now add game-show host to his résumé. The actor will emcee 170 episodes of the syndicated Who Wants to Be a Millionaire next season. Crews explains how he's juggling his moonlighting gig.
Read More >...
Read More >...
- 7/22/2014
- by Michael Schneider
- TVGuide - Breaking News
The new host of Who Wants to Be a Millionaire, Mvp on the Golden Globe-winning Brooklyn Nine-Nine and co-star of Sylvester Stallone's Expendables franchise, Crews, 45, has come a long way since hurling himself at quarterbacks in the NFL and working as a bouncer at L.A. clubs. Below, Crews offers hard-earned advice for other athletes looking to make that leap from the highlight reel to Hollywood. Story THR Sports Issue: Rgiii Fronts Thursday Night Football Preview 1. Be humble: "I didn't know what I was doing." When you leave the NFL, you've got a cocky
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- 7/17/2014
- by Marc Bernardin
- The Hollywood Reporter - Movie News
Terry Crews is stepping off the set of “Who Wants to Be a Millionaire” to host the 30th Annual Television Critics Association (TCA) Awards. The invite-only event, to be held at the Beverly Hilton Hotel on July 19, will honor the top television shows and networks of the 2013-2014 season. Awards will be presented in categories ranging from news and information to drama and reality. Also read:Terry Crews Joins ‘Who Wants to Be a Millionaire’ as New Host Four broadcast networks including ABC, CBS, NBC and Fox are nominated for awards. PBS, Netflix, and nine additional cable networks have also been nominated.
- 6/26/2014
- by Eric Czuleger
- The Wrap
Meredith Vieira is one of the great daytime talk show personalities of any era. She's cool, smart, diplomatic without being stuffy, and fun. I hope she hosts "Jeopardy!" when Alex Trebek retires. Let's start passing around that petition now. When Vieira visited Conan O'Brien last night, she dropped all semblance of newswoman staidness and got bawdy (She says "tit" and "ball-sack" when she first sits down). Then, she mocked Matt Lauer's silly shorts. It's a perfect interview. P.S. Let's never forget when she hit on a "Who Wants to be a Millionaire?" contestant really, really hard.
- 6/25/2014
- by Louis Virtel
- Hitfix
Before VH1′s I Love the 2000s special began on June 17, I polled my roommates (whom I forced to watch with me) about their favorite pop culture moments from the year 2000. For about three minutes, everyone was stumped—what’s actually from the year 2000, instead of just under the umbrella term “the 2000s”? It turns out that remembering specific years is a lot harder than you think.
That’s why there’s a saving grace to VH1′s nostalgia-bait series, a 10-part anthology spread out over five days this week. It’s hugely entertaining to hear no-name comedians praise specific...
That’s why there’s a saving grace to VH1′s nostalgia-bait series, a 10-part anthology spread out over five days this week. It’s hugely entertaining to hear no-name comedians praise specific...
- 6/18/2014
- by Marc Snetiker
- EW.com - PopWatch
It seems Angela Merkel had better things to do with her time. One of Merkel's political allies twice tried to reach the German Chancellor during the broadcast of the local version of quiz show Who Wants to be a Millionaire?, but all he got was Merkel's voicemail. Story: Terry Crews Named New 'Who Wants to Be a Millionaire' Host Wolfgang Bosbach, appearing on a celebrity charity version of the show, had named Merkel as one of his telephone "jokers," or the lifeline equivalent of "phone a friend." When a question came about life in former East Germany -- where Merkel
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- 6/4/2014
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Christina Ricci has major news, Terry Crews gets a phone call from an entertainment legend, and we find out why January Jones shouldn’t be behind the wheel.
Having your car break down on the road is pretty distressing, but having Ashton Kutcher rescue you makes it all better! The actor spotted some people in need of help while in Los Angeles, and while it’s clear his skills as a mechanic are far from intuitive, it’s cool Ashton was eventually able to help out. [TMZ] With Terry Crews about to take the reins as the new host of Who Wants To Be A Millionaire, he might need a lifeline from a helpful friend before he gets started. Who called Big Morning Buzz Live to give Terry some advice? Mad Men‘s January Jones has told the world why she hates taking selfies while driving. Not to mention the fact...
Having your car break down on the road is pretty distressing, but having Ashton Kutcher rescue you makes it all better! The actor spotted some people in need of help while in Los Angeles, and while it’s clear his skills as a mechanic are far from intuitive, it’s cool Ashton was eventually able to help out. [TMZ] With Terry Crews about to take the reins as the new host of Who Wants To Be A Millionaire, he might need a lifeline from a helpful friend before he gets started. Who called Big Morning Buzz Live to give Terry some advice? Mad Men‘s January Jones has told the world why she hates taking selfies while driving. Not to mention the fact...
- 5/27/2014
- by Rahsheeda Ali
- TheFabLife - Movies
var brightcovevideoid = '3577054628001'; Jimmy Fallon is well-known for hosting "lip-sync battles" with guests on The Tonight Show, but with the famously buff Terry Crews in residence, a battle of a different kind was in order. A "nip-sync" battle. Fallon and the Brooklyn Nine-Nine star "duetted" on the Paul McCartney and Stevie Wonder song "Ebony and Ivory," with Fallon receiving a computer-generated assist from some very buff Tonight Show staffer (with a prominent shoulder tattoo). Crews, who will start hosting Who Wants to Be a Millionaire? this fall, will also be appearing in the new Adam Sandler and Drew Barrymore rom-com Blended,...
- 5/20/2014
- by Alex Heigl
- PEOPLE.com
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