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‘This Is Us’ Creator Dan Fogelman On “Cathartic” Season 5 Premiere, Big New Twist & COVID-Impacted Storylines - Deadline

SPOILER ALERT: The story includes details about the Season 5 premiere of NBC’s This Is Us. Tonight, the No.1 broadcast drama series, NBC’s This Is Us, was the first to return on the air. It packed an emotional punch in the two-hour Season 5 premiere, which tackled COVID-19 and the George Floyd protests through the lives of the Pearsons, still reeling from the Kevin-Randall fight in the Season 4 finale that threatened to tear the family apart. In a signature This Is Us fashion, the opener also dropped a shocking twist at the very end, revealing that Randall’s birth mother, Laurel, known to have died of an overdose shortly after he was born, was actually revived by a paramedic. In a press call and a follow-up interview, This Is Us creator Dan Fogelman unpacked the two opening episodes, which he wanted to air before the election “because I think they are difficult and they are hopeful.” Related Story 'This Is Us' Creator Dan Fogelman Explains Why Season 5 Had To Premiere Before The Election As Team Talks COVID, Black Lives Matter & Kevin-Randall Rift BACK FROM THE DEAD This is the second time This Is Us has brought to life a character that had been presumed dead, following Jack’s brother Nicky. There won’t be a third, despite some fans hoping against hope that Jack did not die from the fire, Fogelman told Deadline. “No, Jack is definitely not alive, and no, nobody else is coming back to life,” he said of the series, which is poised to end its run with Season 6. While declining to reveal whether Laurel is alive in present time, Fogelman promised that answers will come pretty quickly — within the first half of the season — on her fate and what happened after she took that deep breath at the end of the premiere. We will also get a glimpse at her origin story. “That’s a big part of Randall’s journey in the front half of this season,” Fogelman said. “It’s about her, and it’s also really about Randall’s character and what learning her story does for him.” THERAPIST CHANGE NBC Sterling K. Brown’s Randall was at the center of the premiere, expressing his anguish over George Floyd’s death while also reflecting on his Pearson family upbringing with no one to turn to on issues a young black man grapples with. Struggling to process his feeling that had boiled up for decades, Randall felt the need to talk to a therapist but could not confide in Dr. Leigh (Pamela Adlon). He informed her of his plan to switch to a Black therapist. Fogelman said that Randall will start the search in Episode 3 and will find a new therapist who will be a recurring character this season. “At the end of this episode, when Randall makes his move to change therapists and returns home to his family, he’s pulling away a little bit, for a moment, not just from Kevin, on the heels of the fight, but from his family in general,” Fogelman said. “This man who loved this family, and loved them fiercely, is having a moment to pull back and process a lot about his life.” COVID COMPLICATIONS Headed to a clinical trial in St. Louis, Rebecca (Mandy Moore) and Miguel (Jon Huertas) took a detour, quarantining at the Pearson cabin after the trial was postponed because of the pandemic. It was one of several changes to the story Fogelman and his team had to make in light of the coronavirus pandemic. “Obviously, it’s something that’s happening to many people all over the country and all over the world right now, where health plans are being either postponed or irreparably changed,” Fogelman said. “It’s possible Rebecca and Miguel could be in St. Louis for part of our season next year,” he added. As for Rebecca’s medical prognosis in light of her latest incident on the Big 3’s 40th birthday, teased in last season’s Thanksgiving episode, “there’s a long journey ahead with this disease,” Fogelman said. “Because of where the disease is currently in terms of research and science, there’s a path we can still stick to for what our plan is for Rebecca that is not altered forever by the pandemic but more in the short-term, in terms of her location and where she’s living.” REBECCA ❤️ MIGUEL NBC Rebecca and Miguel got a significant airtime in the premiere being romantic at the cabin. That is a precursor of things to come this season, Fogelman said as This Is Us will finally tell the duo’s love story. “It becomes a bigger part of the season in the back half of this season and heading into next, where you’re really experiencing, post-Jack, this courtship period, what came to pass between them. We have big plans for them, as well, in the sixth season of the show.” While editing their scenes from tonight’s opener, “I found it really enjoyable to be with them and watch them be sweet with each other and to watch them hold each other up,” Fogelman said. “It’s a place, both as an older couple but also the younger couple, that when we’ve gone there, it’s always been rewarding for us, so it’s something we’re looking forward to doing more of this season.” KEVIN ❤️ MADISON? Kevin (Justin Hartley) and Madison’s (Caitlin Thompson) relationship storyline also underwent an adjustment because of the pandemic. “There was always a plan to focus on this kind of new, strange, odd moment between Madison and Kevin, for instance, but now, it’s under the prism of them being strangers who are somewhat quarantining together,” Fogelman said. Kevin and Madison, whose relationship started with a one-night stand that resulted in a pregnancy, got engaged in the Season 5 premiere when Kevin proposed after a pregnancy health scare. For the new couple, “things are happening in reverse, in hyper-speed, in a show that very much treats love very romantically,” Fogelman said. Despite the seeming bliss, engagement and twin babies on the way, “it’s not just going to be this easy love story like some of our other love stories have been,” Fogelman said. “There’s affection and chemistry there, but they still don’t really know each other. So, it’s fair to say they have an up-and-down journey ahead of them.” Fogelman confirmed his statement after the Season 4 finale that “There are many more chapters in Kevin’s romantic story,” indicating that the This Is Us resident bachelor is not spoken for just yet. MIA ELI The pandemic also impacted Kevin and Madison’s prenatal care. The Season 4 finale introduced the characters of Madison’s OBGYN Eli (Josh Hamilton) and his horse whisperer teenage daughter Sadie (Glory Rose). We were supposed to see more of Eli this season but that is now very much up in the air, and neither was in the Season 5 premiere. “That’s one of the few things that we had to change a little bit,” Fogelman said, “It’s complicated, as I had a baby during this period in quarantine, and it really changes what doctor appointments look like and feel like.” Will we see the doctor and his daughter at all? “My hope is to see them, but I’m unclear on a couple of logistical things,” Fogelman said. PEARSON VS. PEARSON After the big Randall-Kevin fight in the Season 4 finale, there was another sibling face-off in the Season 5 opener. Randall (Sterling) and Kate’s (Chrissy Metz) exchange in front of the cabin was as gut-wrenching but in a very different way. “I think the scene, which I can’t really take credit for, came a lot from Kay’s soul,” Fogelman said of his co-writer Kay Oyegun. “For me, it’s a conversation between two family members who love each other. Randall’s pointing out a point of view to a white person who’s reckoning with something.” There are a lot of “very cathartic” moments in tonight’s premiere, and the Randall-Kate scene stands out among them, Fogelman said. “I hope people respond to it the way I do, because I really love it.” The This Is Us two-hour opener was written by Fogelman, Kay Oyegun & Jake Schnesel and directed by Ken Olin.

https://avalanches.com/world_news/us/us_33718/deadl_this955753_28_10_2020

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‘Assassin’s Creed’ Live-Action TV Series In Works At Netflix As Part Of Content Deal With Ubisoft - Deadline

Netflix is looking to build an Assassin’s Creed TV universe. The streamer has entered into a content agreement with Ubisoft to develop live-action, animated, and anime series based on the international best-selling video game franchise. Primetime-Panic Your Complete Guide to Pilots and Straight-to-Series orders The first series in development is as an epic, genre-bending live-action adaptation. The series, executive produced by Ubisoft Film & Television’s Jason Altman and Danielle Kreinik, is looking for a showrunner. “We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Peter Friedlander, VP, Original Series, Netflix. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.” Since it first launched in 2007, the Assassin’s Creed franchise has sold more than 155 million games worldwide to become one of the best-selling series in video game history. It was adapted as a feature with the 2016 Assassin’s Creed directed by Justin Kurzel and starring Michael Fassbender. In 2017, Ubisoft signaled its plans for an Assassin’s Creed TV series. “For more than 10 years, millions of fans around the world have helped shape the Assassin’s Creed brand into an iconic franchise,” said Jason Altman, Head of Ubisoft Film & Television – Los Angeles. “We’re thrilled to create an Assassin’s Creed series with Netflix and we look forward to developing the next saga in the Assassin’s Creed universe.” Ubisoft Film & Television’s slate of IP-based and original film and TV projects in various stages of development and production include the films Tom Clancy’s The Division (Netflix), Rabbids (Lionsgate), Just Dance (Screen Gems), Beyond Good & Evil (Netflix), the independent feature Werewolves Within, the current series Mythic Quest: Raven’s Banquet (Apple TV+) and French animated series Rabbids Invasion (season 4 on Netflix),

https://avalanches.com/world_news/us/us_33718/deadl_assa952831_27_10_2020

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‘Moon Knight’: Oscar Isaac Tapped To Star In Marvel And Disney+ Series - Deadline

With his time in the Star Wars franchise coming to an end, Oscar Isaac now sets his sights on the Marvel Cinematic Universe. Deadline is hearing he is in negotiations to star as the title character in Moon Knight, the Marvel and Disney+ series based on the comic book hero. Jeremy Slater, who developed and wrote Netflix’s comic book adaptation of the Umbrella Academy series, has been tapped to develop and lead the writing team on the series for the streamer. Moon Knight aka Marc Spector, is a mercenary who has numerous alter egos — cabbie Jake Lockley and millionaire playboy Steven Grant — in order to better fight the criminal underworld. But later he was established as being a conduit for the Egyptian moon god Khonshu. Most recently, the character was a consultant who dresses in all-white and goes by the name Mr. Knight. Marvel and Disney+ now will look to attach a director to the series. No production start date has been set. Marvel had no comment. Marvel and Disney+ having ramping up there future slate of development as Isaac joins Tatiana Maslany, who was recently tapped to play She-Hulk, and Iman Vellani, who was named the new Ms. Marvel. As WandaVision, eyes a premiere date before the end of the year, the studios are looking to have a strong set of characters to lead these new tentpole series. With his time as Poe Dameron coming to an end in the Star Wars franchise, Isaac is not slowing down any time soon. When audiences head back to theaters, he has a number of films set to bow that include the Paul Schrader thriller The Card Counter as well as Denis Villeneuve’s retelling of Dune. He recently signed on to the HBO limited series Scenes from a Marriage at HBO, reuniting with his old Julliard classmate Jessica Chastain. He is repped by WME and Inspire Entertainment.

https://avalanches.com/world_news/us/us_33718/deadl_moon949893_26_10_2020

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‘SNL’: Adele Turns ‘The Bachelor’ Into A Mini Concert, Then Becomes First Contestant To Get The Boot - Deadline

Adele made her Saturday Night Live hosting debut tonight, but instead of bringing her musical talent to the Studio 8H stage, the Grammy-winning singer brought it to The Bachelor mansion. In a skit inspired by the ABC dating series, Adele joined a number of cast members a potential matches for Beck Bennett’s bachelor. “I’m here because I’ve had a lot of heartbreak in my life. First at 19, then famously at 21 then even more famously at 25,” the singer said referring to her three albums. Impressing the bachelor to attract him isn’t too different from what happens in the real ABC series, but during the SNL skit, Adele took it to a whole different level. Any chance she got, the vocalist burst into song, performing any of her top-charting hits. (The musical guest tonight was H.E.R.; Adele explained during her monologue her album wasn’t ready yet.) When she felt that the bachelor’s eyes were on someone else, Adele began her numbers including “Someone Like You” and “Rolling in the Deep.” However, her musical numbers also came in handy for intimate moments with Bennett’s bachelor. “This is a talking show,” the bachelor had to remind Adele, after she turned a compliment into a performance of “When We Were Young.” “Oh yes, I forgot about that,” she replied. While her singing chops might have surpassed those of her fellow competitors, Adele’s inability to stay in her lane eventually got her the boot. However, before leaving the show, the singer refused to go silently – resuming her “Someone Like You” performance right where it left off. “Thank you everyone,” she says to the SNL audience and her fellow The Bachelor contestants. “Catch me next week on Love Island.” Watch the video above.

https://avalanches.com/world_news/us/us_33718/deadl_snl_945226_25_10_2020

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Don’t Hold Your Breath Waiting To See 007 Film ‘No Time To Die’ On Streamer As Cursory Talks Died Quickly - Deadline

After the theatrical release of No Time To Die got pushed for the fourth time, will the makers of the James Bond film give up on waiting for the pandemic to go away and instead premiere on a streaming service? Despite reports that originated with a Bloomberg scoop yesterday, sources say an emphatic no. Bloomberg wrote about a rumor that has been making the rounds the last week and a half, that MGM offered the film to streamers Netflix, Apple and Amazon for a proposed one year license of $600 million. Dialogue between MGM and streamers did happen the same week MGM moved the Bond film out of its Thanksgiving slot. The studio also considered doing a PVOD deal, like the one Disney did with Mulan, charging viewers directly. But Deadline hears none of the streamers was willing to put up more than half the amount asked for the one year license. More importantly, Deadline hears that James Bond franchise gatekeeper Eon and principal producer Barbara Broccoli flatly nixed the deal and might have been surprised real negotiations were taking place. It sounds like MGM was over its skis, tired of waiting on a revenue event that the studio expected to happen a long time ago. Related Story Margaret Nolan Dies: 'Goldfinger' Actress And Model Was 76 We’ve heard right along that studios with numerous finished films shelved by the pandemic have had cursory talks with streamers, but cursory conversations don’t usually lead to articles. What streamer wouldn’t kill to premiere a movie like Top Gun: Maverick or the sequel to A Quiet Place, and what studio that has seen theatrical revenues completely dry up wouldn’t want to add cash to its bottom line? But most studios have decided it would be shortsighted to empty its slates of its best titles, and been resolute in hanging onto most of its slam dunk hits. A few deals have happened, where cash-hungry studios sold finished films for a substantial markup. That includes the WWII Tom Hanks film Greyhound, which Sony sold to Apple TV + and most recently with Paramount selling the Eddie Murphy Coming To America sequel to Amazon. But many feel MGM and the Bond franchise would likely be better served hanging in. While MGM is working on a Creed sequel that Michael B Jordan will direct, and a new creative team is aggressively building a promising slate, Bond remains MGM’s crown jewel. If it’s any good, No Time To Die has the opportunity to generate a billion dollar global gross in a healthy theatrical market. It is the 25th Bond film, and likely the last one to star Daniel Craig. A healthy gross would certainly boost MGM’s standing, as rumors race that the the studio might sell. It would also boost the 007 franchise by driving library sales. All of that would be compromised by debuting the film as a home entertainment offering so early in its revenue run. While there is the frustrations all studios feel in carrying interest costs indefinitely because of the pandemic, interest rates are low right now. Sources say that the notion of making a streamer deal also would have been complicated by obligations to the international and ancillary rights held by Universal, and the advertising partners whose goodwill likely was strained by MGM waiting so long before pulling the film from its Thanksgiving date even when it was clear that was the right thing to do. Starting and stopping the promotion on a Bond film is arduous, and the picture had a spot on the last Super Bowl. It is unclear how P&A will work because many don’t believe 007 will stick to its current April 2021 date. The Bond demo is an older one, and barring a miracle vaccine that puts the pandemic firmly in the rear view mirror by then, No Time To Die might be a title taken to heart by a high risk demo that won’t flock to movie theaters to see what would be the film blockbuster in theaters. It is also conceivable that if a vaccine doesn’t materialize by the middle of next year, that the wisdom of a big bucks streaming bow for Bond might look much better. An MGM spokesperson acknowledge the rumors but said the film will be released theatrically in order to preserve the theatrical experience for moviegoers.

https://avalanches.com/world_news/us/us_33718/deadl_dont943708_25_10_2020

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President Donald Trump Says He Was Once Targeted By ‘Borat’s Sacha Baron Cohen As Ali G: WATCH - Deadline

Rudy Giuliani apparently wasn’t the only Borat prank target in the current administration. According to President Donald Trump, he was also once visited by the Kazakhstan journalist. Speaking to reporters late on Friday, President Donald Trump was asked whether he had seen the footage involving his adviser Giuliani in the new film, The Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan, which features comedian Sacha Baron Cohen and Maria Bakalova. In the film, Giuliani is targeted for a phony interview by Bakalova, and is depicted in a compromising bedroom situation before Borat rushes to the rescue. Asked about the scene, Trump said, “I don’t know what happened. But years ago, you know, he tried to scam me. And I was the only one who said no way. That’s a phony guy. And I don’t find him funny. I don’t know anything about him other than he tried to scam me. He came in as a BBC – British broadcasting anchor.” Related Story Final Presidential Debate Scores 63M Viewers; Fox News Tops The Pack Again - Update Trump was vague on the time line of the alleged meeting, leaving it “15 years ago.” The President concluded, “To me, he was a creep. Thank you all.” The prank was perpetrated by Baron Cohen as another alter ego, Ali G for his HBO show back in 2003. Trump was among a bunch of venture capitalists Ali G pitched on a glove to use while eating ice cream. Here is the clip: It was revealed earlier that a deleted scene from the new Borat film shows Bakalova actually visiting the White House. The Bulgarian actress was shown being guided into the White House by One America News Network’s Chanel Rion. She also attended a Trump fundraiser, with Trump, Donald Trump Jr. and Kimberly Guilfoyle onstage. The incident allegedly happened Sept. 20. Some questioned why Bakalova was allowed into the White House press room without having to go through a security check or take a coronavirus test.

https://avalanches.com/world_news/us/us_33718/deadl_pres943154_24_10_2020

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Assessing Quibi Debacle: Financiers Second Guess While A Film Crew Struggles To Finish A Production In Ukraine After Being Told To Shut Down - Deadline

The reverberations of Jeffrey Katzenberg and Meg Whitman’s stunning Quibi shutdown are being felt both in financial circles — where the $2 billion failure cements itself as a cautionary tale — and in Hollywood’s beleaguered creative community where many believe Quibi’s demise will make it harder for the next big idea to hook funding. Post mortems are underway on both coasts, questioning everything — from the decision to launch a service geared to consuming content on the go a month after a global pandemic locked everyone at home, to perhaps the worst brand name since Tronc (the short-lived moniker for Tribune Publishing), to Quibi’s inability to connect with its target millennial set. Quibi Quibi is short for “quick bites.” “It’s not a bad name. The Q is a good image,” said one Wall Streeter. “But it might have been hard to pronounce. Is it ‘cubee’, ‘queebiee?’” Related Story Exclusive Q&A: Quibi's Jeffrey Katzenberg & Meg Whitman Detail 'Clear-Eyed' Decision To Shut It Down One seasoned Hollywood dealmaker who watched a presentation Katzenberg made to the agencies late last year to draw talent marveled at the platform’s well publicized limitations in areas like social media sharing. The dealmaker wondering if executives sat down with actual millennials to see if they really wanted quick-bite scripted mobile programming, or if “it was these two 60-ish titans going, ‘Boy, are the kids going to love this’!” The quake will be felt among the 15 or so sharp creative executives who took a leap and placed their faith in the reputations and confidence Katzenberg and Whitman who will be among over 200 that will be jobless at the beginning of November. And the ripples are as far reaching as Kiev where today, the 100 cast and crew of a Mark Molloy-directed 2016 election fixing drama This Is Clickbait continued to shoot despite being told by Quibi to shut down and come home. Drama in Ukraine They were filming the last scenes they had money for today, a pivotal scene involving an actress who will have to report to work on another movie. But the production needs about 20 days to finish. Producers at Stampede and at The Batman director Matt Reeves and Adam Kassan’s 6th & Idaho are attempting a Hail Mary: told to shutter on Monday, they’ve sent the script and a hastily assembled 15 minutes of footage to potential financiers in hopes of raising the low-seven-figure bridge funding needed to finish a drama that would be repurposed as a traditional indie feature. Cast and crew are holing up in a Ukraine hotel, hoping the money materializes before everyone scatters in the next few days, which might doom the project that’s based on the true story of Macedonian teens who manipulated the 2016 U.S. presidential election. The filmmakers were ostensibly told to stop because of a COVID test that sources close to the production said turned out to be a false positive. A source close to the This Is Clickbait production described the call from Quibi as “devastating” and said the shocked crew milled around a hotel lobby dumbfounded and full of questions as Katzenberg and Whitman announced Wednesday they were pulling the plug. The Quibi app’s last day of operation will be December 1. Back Stateside is a wave of second guessing, dissecting flaws in Quibi’s strategy and the viability of its platform. Should Katzenberg and Whitman have waited to flick Quibi’s “on” switch, some investors wondered, instead of launching into a full-blown pandemic that made it impossible to accumulate enough paid subscribers to allow a well-funded startup to last only six months? While Katzenberg months ago placed Quibi’s launch problems squarely on COVID-19 for blunting the service’s main appeal – filling downtime moments for on-the-go 25-35 year-olds – he and Whitman acknowledged to Deadline in their first interview after the shutdown and subsequently that it wasn’t fair to blame the virus as the sole reason for failure. But their abrupt decision to close has revived that obvious question: Why did they start Quibi during a pandemic when its self-described business model was, for better or worse, based on viewers in line at Starbucks, on mass transit, living life at a million miles an hour and craving content in the down moments in between. Quibi launched April 6 in the midst of a total shutdown that started in mid-March. “Even then I thought it was a mistake,” said one Quibi investor who asked not to be named. “You had a time in April when there were 800 people dying a day in New York City hospitals and my view was, is it the time to launch an entertainment revolution? You could have waited, delayed, slowed down. You could have flipped the switch at any point. “At the time, their view was, ‘Everyone is sitting in their houses and they do not have a lot to do and other streaming services were going to run out of content,’ ” he said, referring to Katzenberg and Whitman. “It was huge mistake. It was a major pivot.” Evolving To “Freemium” Model Too Late Along with a lack of strategic clarity, the platform’s miscalculations include: overspending, no hits like The Handmaid’s Tale that put Hulu on the map, no library, and charging consumers a high monthly fee for unproven product. Early decisions to not allow viewers to share content on social media or watch Quibi on TV hurt, as did ineffective marketing. And Quibi could still have learned more from the best and brightest in mobile video even if its scripted content was worlds away from TikTok, Snapchat or Instagram. Quibi is “the WeWork of entertainment,” one high-profile producer marveled. “The difference is, it’s not fraud. It just didn’t work.” (Investors are suing WeWork for fraud in connection with a failed IPO.) Insiders said Quibi had been evolving toward replicating the “freemium” strategy employed in its launch in Australia, which gives access to programming with commercials for free with the option to pay a premium subscription rate for programming without commercials. But by the time this was being seriously considered, it was becoming clear to execs that the writing was on the wall. That was clear when Katzenberg focused on the business side and became less involved in content, a signal things were growing desperate. As Katzenberg and Whitman acknowledged, nothing was going to change its fortunes anytime soon as the initial raise of funds was running out. “Has any entertainment company ridden to promise, and then dissipated this quickly? I cannot think of one,” said Gene Del Vecchio, adjunct professor of marketing at USC Marshall School of Business. Quibi investor“It surprised me that there was no transaction. They are not selling the whole company, but are winding down, and still selling content. It didn’t seem to have been an emergency, enough that they had to shut down.” Still the abruptness of the end was a surprise. An investor who attended the virtual meeting Wednesday where Katzenberg and Whitman revealed Quibi’s demise said the call was “like a presentation,” no Q&A. He was surprised that Katzenberg and Whitman didn’t pursue, say, merging with a SPAC (Special Purpose Acquisition Vehicle) or clinching a deal to sell Quibi’s content, before announcing the end. The founder and CEO say they plan to sell rights to the programming. It’s complicated, however. They can sell the programming to a streamer after two years but all rights revert back to the content creators after seven years. “It surprised me that there was no transaction,” the investor said. “They are not selling the whole company, but are winding down, and still selling content. It didn’t seem to have been an emergency, enough that they had to shut down.” In Hollywood, there was palpable disappointment at the loss of a viable outlet to sell projects and make talent deals at a time when the major studios are overhauling and making less as they lean into streaming and reel from the damage the coronavirus has done to their theatrical-bound properties. “Give them credit for taking a rise, because we need big swings like this right now,” said an industry player who made deals with Quibi. “They were paying real money, essentially financing and licensing content that left opportunities for real ownership stake and own the content outright after seven years. [But] the name didn’t help and it seemed off. Why didn’t they start with subscription fees at a dollar or two until they built a content library and customer loyalty, and then raise the price over time? But really, the pandemic just crushed them.” Quibi Another dealmaker recalled Katzenberg’s staging a presentation late last year for all the agencies, hoping to draw top talent for its next wave of projects. Each agent was given a smartphone pre-programmed with Quibi content to watch highlights before Katzenberg spoke. The reaction in the room, said the agent, was that while some of the programming seemed pretty good, it felt awkward watching it on such a small screen. Even then, the agent said, many believed Quibi might be short-lived, if only because of the many content alternatives and the likelihood that if millennials had spare moments in their on-the-go day, they would likely use them to check emails and social media platforms, and not watch content broken up into 10-minute segments. Said one seasoned producer who resisted overtures to make projects at Quibi, “Just the target demographic of 25- to 35- year-olds seems naïve because people at the low and high end of that live completely different lives. The 25-year-olds are more compatible to 16-year-olds with their obsession with gaming and pursuits that 35-year-olds are beyond that.” “It is hard to find the key to what young people obsess over, as evidenced by the young people who are making fortunes with unboxing videos. But it’s clear from streaming successes that what most people want is to binge 40 episodes of something, and not to watch 10 minutes of something and then go back and try to remember where they left off,” the person added. Anger in town “This was flawed from the start, down to the idea of financing content and then giving it back to the creators after a few years. There is anger in town right now, because it just makes it harder to raise money,” the producer said. Quibi raised $1.75 billion in three rounds from dozens of investors including media companies like Disney, Comcast and ViacomCBS; hedge funds; and Katzenberg and Whitman personally (their investments said to be, respectively, $10.5 million and $5.5 million, according to website The Information). Comcast declined to comment on Quibi. Reps for ViacomCBS and Disney didn’t respond. Neither did Madrone Capital Partners, the Menlo Park, CA-based private equity and venture capital firm managed by Gregg Penner — son-in-law of Walmart scion Rob Walton — which chipped in a reported $200 million, perhaps the biggest single chunk. WndrCo, a holding company that invests in consumer technology — and whose founding partners include Katzenberg and Ann Daly — invested a reported $100 million in Quibi. The outlay from media companies ranged from $5 million-$50 million. For the big ones, these are small enough to be considered “rounding errors,” said one analyst. Whitman had been CEO of Hewlett-Packard and eBay and campaigned for California governor. Katzenberg’s tenures at DreamWorks, Disney and Paramount are the stuff of Hollywood legend. Katzenberg is a master salesman, resolute in his vision, and an indefatigable marketer. He is so well regarded in the industry that many bought into his infectious enthusiasm and didn’t want to miss out on his next big thing. Quibi’s Jeffrey Katzenberg and Meg WhitmanDenise Truscello for Quibi As they prepared to fold their hand, Katzenberg and Whitman said they became convinced Quibi would not become a viable stand-alone business. Investors agree that keeping it going would have required more cash, which would have been harder to raise. The duo’s ownership in the venture would have been increasingly diluted. And it would have been a long, hard road. With legacy content businesses suffering from a pandemic that might not end anytime soon, a startup relying on young people on the go remained a tough proposition. Katzenberg and Whitman said they preserved about $350 million in cash to return to investors, plus the prospect of proceeds from content – though, again, that will be a challenge since Quibi’s licenses are ticking clocks that will expire. In an interview with CNBC on Thursday, Katzenberg and Whitman called the closure of Quibi the “honorable thing” to do — to “return some money to investors and also try to give employees some cushion on the way out the door.” Noam Wasserman, Dean of Yeshiva University’s Sy Syms School of Business, called that “remarkable.” “The usual inclination is for founders to keep persisting until the money runs out. Part of that comes from founder overconfidence in their prospects and passion for their ideas, from the ways in which founder persistence is celebrated in the culture,” he said. “It’s impressive that Quibi’s founders and executives were able to realize that persistence might be a vice rather than a virtue, and then to shut down the company” while it still had money left. Advertisers left holding the bag? A group that also appears to have lost out is Quibi advertisers. The platform’s 10 initial ad partners — including Taco Bell, Pepsi, Anheuser-Busch and Walmart — bought up all available inventory before launch for about $150 million. Unlike venture firms or other investors, though, ad buyers will likely not see that money again. One media buyer told Deadline many of the ad deals were struck between company executives and Katzenberg and Whitman directly, leaving their agencies — which usually hammer out deal terms — exposed once the service failed. As early as May, many advertisers were agitating for make-goods or concessions when they saw the weak initial take-up of the service. “The way the deals were cut gave the agencies very little leverage,” the buyer said. “It’s hard to see how they get whole.” Brian Wieser, global president of Business Intelligence for GroupM, said he hopes the Quibi debacle doesn’t scare advertisers looking to innovate. “Hopefully this doesn’t deter them,” he said. “If anything, they should be doing innovative things more often, especially given the weakness of traditional television. There need to be more alternative avenues to pursue.” Overall, Quibi’s founders “were making assumptions that weren’t based in reality” and brought “no proof of concept” to the process. “Investors were just persuaded that this was going to be a good idea instead of seeing it actually connect,” he said. One studio chief conceded to never being “able to get my head around the idea of what they were doing. They all seemed well-intentioned but there was just something slightly off about it.” Other red flags, Wieser said, included Katzenberg and Whitman investing only a sliver of Quibi’s overall pie – unusual for founder-led startups – and also the costly flops of go90 and Vessel, which were similarly focused on mobile video. In Wieser’s view, “people will pay for content they really want, so it wasn’t that they charged money, it was that they didn’t demonstrate the demand.” As for the Quibi execs who bought into the Katzenberg-Whitman dream, one insider said everybody who worked there learned a lot in a short time as they generated almost 100 scripted, unscripted and docu shows, along with reams of daily news and sports programming. Even though Katzenberg and Whitman’s successes were a main draw, everyone came in knowing this was a launch of an unproven concept and that it could fail. The insider believed that the executives would be given a cushion, and will land in other jobs quickly. Around Hollywood, players worry that the Quibi flop will make it harder for other startup companies in the space to find funders. “I’ve got to get on that horse and find the next mountain to charge up,” Katzenberg told CNBC. “It’s the only thing I know how to do and I’ve got a lot to prove.”

https://avalanches.com/world_news/us/us_33718/deadl_asse939934_23_10_2020

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Borat’s Daughter Owns OAN In Latest Sacha Baron Cohen Tweet - Deadline

Sacha Baron Cohen continues his “penetration of the Trump regime” with this new video tweet promoting Borat Subsequent Moviefilm. Maybe not as buzzy as Rudy Giuliani’s handsy footage, the new tweet has Cohen’s Borat doing his best to own the right-wing Trump-loving reporters of OAN. With the message “Trump very careful who he let into his events and house. No Covid test necessary – High 5!,” the tweeted outtake video shows Borat’s “daughter” (Bulgarian actress Maria Bakalova) job-shadowing OAN White House correspondent Chanel Rion, who ushers the supposedly 15-year-old girl into the White House. “They take my daughter into White House,” Borat narrates. “No need for security check or cover masks!” The footage also shows Rion asking President Donald Trump if he thinks “Chinese food” is a racist term. In a final exchange, Bakalova, in character, seemingly stumps Rion with the question, “Why are all the fake journalists on the Left and not the Right?” Borat Subsequent Moviefilm is available on Amazon Prime Video. Watch the video tweet about what Cohen calls “the most rigorous news source in America” below. Trump very careful who he let into his events and house. No Covid test necessary – High 5! pic.twitter.com/Kf5gGk3n2M — Borat (@BoratSagdiyev) October 23, 2020

https://avalanches.com/world_news/us/us_33718/deadl_bora939939_23_10_2020

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Quibi’s Jeffrey Katzenberg & Meg Whitman Detail “Clear-Eyed” Decision To Shut It Down - Deadline

EXCLUSIVE: “There was no question that keeping us going was not going to have a different outcome, it was just going to spend a whole lot more money without any value to show for it,” Jeffrey Katzenberg told Deadline on Wednesday in his first interview after the decision to shut down Quibi just six months after getting it up and running. “So, out of respect for these people that put up this extraordinary amount of capital to do it, that’s irresponsible and we both felt we shouldn’t do it,” the former DreamWorks Animation boss added. Initiated by Katzenberg more than two years ago and led by former eBay chief Meg Whitman, the ambitious mobile subscription-video platform had over $1.7 billion in investment from Disney, NBCUniversal, Sony Pictures, MGM, the entities now known as WarnerMedia and ViacomCBS, as well as Wall Street’s Goldman Sachs and JPMorgan Chase. With a premise of delivering original short-form programming via smartphones to an America on the go, the much-hyped and well-promoted Quibi app debuted in April, as the coronavirus pandemic kept millions at home in quarantine and lockdown. Related Story Quibi To Shut Down, Ending $2B Streaming Experiment With the long anticipated official announcement today, around $350 million still in the bank, and a virtual town hall meeting with most of Quibi’s 200-strong staff about to start, Katzenberg and CEO Whitman spoke with me about their decision. The longtime friends revealed what happened to their dream and how their years in the media industry helped them make the call to pull the plug. Katzenberg and Whitman also outlined their plan to bring the company in for its final landing and the hope there is someone out there to buy the assets. DEADLINE: So Jeffrey, how does Quibi come to its end now? KATZENBERG: There’s a wind-down that will take place over the next couple of months, Dominic. I think the first most important thing for us I would say…well, there’s two. In every decision that we make from today forward we need to do right by this incredible group of employees, these daring entrepreneurs who joined Meg and I on this adventure. We have a tremendous obligation to help them transition from us into whatever their next opportunity is going to be and I have to say there’s not a single one of them that isn’t going to land in some incredibly great situation. But this is a tough time, we are in the middle of a pandemic and I think we want to be incredibly sensitive and most of all supportive of transitioning our employees and helping them with a good landing. Equally important is to wind down the business in a way in which we’ll be able to return the max amount of money to our investors. We want to maximize the return to our investors here and those numbers are going to be sizeable. We are going to return a lot of money to them. DEADLINE: When did the two of you make the decision to wind things down? WHITMAN: We tried a lot of different things over the summer, whether it was payment-less free trial, 90-day free trial, 14-day free trial. We changed marketing around entirely to be more title marketing than platform marketing, which we made a lot of changes and we also you know, tried a completely different business model in Australia. And ultimately none of it really changed the fundamental answer, that we needed more capital and we needed more capital relatively soon. And so I would say it’s just been a journey for Jeffrey and I as we’ve looked very clear-eyed at the data and said what’s the right thing to do. In order to get to scale we would have to raise more capital, a lot more capital and we would need to be raising it in the first part of next year. And we don’t think that we would have the data and the metrics to support another capital raise at that point. Ultimately probably a couple weeks ago we said, you know, the right thing to do, the hard right but the right thing to do is to return cash to shareholders. DEADLINE: Which is where you intend to see this conclude? WHITMAN: Yes and make sure that we land this as well as we can. And I think for me it’s a bit of maturity. DEADLINE: How do you mean? WHITMAN: Most entrepreneurs just keep on going because they literally run out of money and we just didn’t think that was the right thing to do. DEADLINE: In so far, that you could see, based on past experience, how this story was going to end? WHITMAN: We did. We could see it really clearly after all the experimentation and pivots that we did over the summer and frankly into September. DEADLINE: Jeffrey, Meg has pointed out some of the issues were cash flow, and certainly in this town in this climate, people aren’t spending oodles of money. But what about outside resources, a SPAC offer I heard about and others. Why wasn’t the environment there to make Quibi work financially? KATZENBERG: Well, I think Meg has really addressed the internal part of your question, Dominic, in that we just were not scaling fast enough. You know, given the investment that we were making, the quality and the quantity of the content that we were doing, we needed to really come out of the starting gate in a very big way in order for this to work. Now, how much of this was impacted by COVID will always be unknown. DEADLINE: How so? KATZENBERG: Well, everything about Quibi was designed to be on the go, in-between moments at a moment in time which no one was on the go and their in-between moments were on their couch, and suddenly we were competing for people’s attention in a way that we never conceived of or thought of. To answer the rest of your question there which is, is that over these past three weeks we have aggressively looked at strategic partners, potential acquirers, additional funding and financing. Every one of those stones was turned, every one of them. I mean, every possible avenue, because the last thing in the world we wanted to do was shut down. I mean, we loved doing what we’re doing. We are proud of the work that our team is doing and we wanted to keep going but you know, as Meg said maybe it is the years of experiences here. There was no question that keeping us going was not going to have a different outcome, it was just going to spend a whole lot more money without any value to show for it. So, out of respect for these people that put up this extraordinary amount of capital to do it, that’s irresponsible and we both felt we shouldn’t do it. DEADLINE: Was there pressure from the studios who invested? KATZENBERG: We weren’t pressured by anybody about it one way or another… WHITMAN: It was the right thing to do. KATZENBERG: Yeah. WHITMAN: Yeah, the right thing to do. KATZENBERG: Meg has an expression that’s in our value proposition, which is the hard right versus the easy wrong. So, I would say this easily and comfortably fits into one of the fundamental tenants that we wanted to build Quibi on, do the hard right. DEADLINE: In these hard times… KATZENBERG: Well, yes and I think the big question will always be was it that the idea of a standalone streaming premium short form platform wouldn’t work, or is it that we got caught in a pandemic? DEADLINE: What do you think? KATZENBERG: I think Meg and I are agreed that it’s probably a mix of those two things, it’s some of each. We are not solely a victim of COVID but for sure it had a pretty extreme impact on how we conceived and launched the business. DEADLINE: Meg, there’s going to be a lot of armchair punditry on the end of Quibi, that there were traditional and slower start-up methods you could have used and so on. But from your perspective in the chair, the real chair, what were some of the things that you think now, could have been different from the start? WHITMAN: Yeah. Well, you’re right, Monday morning quarterback is usually easier. Listen, we made very deliberate decisions. Here’s the good news, we didn’t do things without thinking about it. We thought about should we have living room apps and we said, you know what? We’re going to be mobile only because we really thought our use case was 7 in the morning ‘til 7 at night while you were on the go, so why would you need a living room app? And so we thought about it and we said you know, in the prioritization of engineering tasks and engineering projects that wasn’t at the top of the list. Now right after we launched and the pandemic, within a couple of weeks we had AirPlay and Chromecast launched so that helped our living room access. But we thought about it. DEADLINE: I guess the general POV from the cheap seats is that the big launch was a costly overstretch? WHITMAN: Likewise we thought about did we want to do a soft launch or did we want to do a launch with a lot of attention around it. We said we think that’s the right thing to do because as Jeffrey said, we needed to…we were creating a whole new category so we needed a large number of people to think about it and a large number of people to try it, and they did. We had 600 thousand new users in the first week. So I wouldn’t go back and change that. We thought about it and we did the right thing, even though we are where we are. You can always go back and say woulda, coulda, shoulda but I think the good news is there isn’t much that people have brought up that we didn’t think about and consider. You might go back and redo, but we thought about it at the time and perhaps made a different decision. DEADLINE: Jeffrey, you hold a considerable and I might add Emmy-winning library. I know that there has been discussions about selling the library. Where is that, and in terms of individual shows like for instance CBS with the renewed Most Dangerous Game, but then there’s this two-year window. How will all that be affected going forward? Will that window collapse if someone buys or takes back a property? Can they move forward with it instantly? KATZENBERG: Well, I think those are things that will reveal themselves in time. I think these are all things that we are working through, Dominic. This is going really, really fast. I think the first opportunity that we think will exist is for Quibi as a service and its content to continue on, on somebody else’s platform. That’ll be the first thing that we will want to explore with potential buyers. It is one of the big assets of the company; a hundred shows, an incredible development slate, and as you said some things that have been both big hits but also you know, critically acclaimed, award winning and critically acclaimed. So that library in its totality, the Quibi service in its totality, is going to be made available to potential buyers. DEADLINE: Jeffrey, you mentioned development. What will be the status of that? Will shows continue to develop for production or is that going to pretty much hit the pause button? KATZENBERG: Well, it’ll hit the pause button until we see if there is a home for the Quibi service. Our guess is, is that if there is a home for the service they will want to continue on you know, with the development and with the content that’s in the pipeline here. There’s a very, very full pipeline of content that we think is going to be very valuable. Remember, we have 28 movies that are in the can here and that are I think really, really strong movies and titles with the biggest stars and incredible talent with them that are really great marquee shows. We have 28 movies available at a moment in time in which you know, there seem to be many platforms that are looking for content because of the impact of COVID. DEADLINE: Both of you have been around a long time, you’ve been to a lot of rodeos before this We are seeing in the industry right now unprecedented change in the corner offices, in layoffs and restructurings and perhaps of the cinema-going experience. In that context, what insights, what battle scars would you offer to others who are looking around in what just seems to be a tumultuous time of endless change? KATZENBERG: Change is hard, particularly when it’s at its extreme which our industry is certainly grappling with here. But that’s when the biggest opportunities reveal themselves, Dominic. So, as difficult as it may seem right now for the movie business, for the network business, for the studio business, it is the moment in which great, great successes and opportunities are going to come. WHITMAN: To underscore what Jeffrey said, I think change begets opportunity. Every time there is a change in an industry, whether it’s the economic structure or the business models or it’s the creative process or delivery mechanisms, it signals opportunity and that’s one of the things we saw here that change signals opportunity. It didn’t work out for us but it doesn’t mean it won’t work out for existing players or other new players. DEADLINE: What’s next? WHITMAN: I do not know. KATZENBERG: I’m going to Disneyland. DEADLINE:You better ask Gavin Newsom about that, Jeffrey, it could be a few more weeks off… KATZENBERG: I’m going. When he’s ready I’m ready. I’m going to Disneyland. But, also, on the other side of it, Dominic, how often do you get to dream as big a dream, as big an idea as Meg and I did and honestly just get the opportunity to actually go and do it? I think that’s the thing that we are so grateful to our employees and to our investors and all of the partners that allowed Quibi to be and for us to have this amazing two-year journey building this thing that we’re so proud of.

https://avalanches.com/world_news/us/us_33718/deadl_quib934012_22_10_2020

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Filmmaker Amy Berg Inundated With Hate For Chris Pratt Meme She Didn’t Start; ‘Avengers’ Take On Pratt Bashers - Deadline

Amy Berg, the documentarian behind such acclaimed films as Deliver Us From Evil, West of Memphis and Janis: Little Girl Blue, has absolutely nothing against Chris Pratt. In fact, she strongly disagrees with that other Amy Berg who inadvertently launched the whole Cancel/Don’t Cancel Chris twitstorm that got so out of hand the Avengers themselves came to their costar’s rescue. “What a way to wake up,” documentarian Berg tweeted this morning. “This is not me. Hundreds of hate messages on all social media platforms! I strongly disagree with this Amy Berg’s tweet and not a big fan of cancel culture. Thank you. #ChrisPratt” Amy Berg, Producer & Pratt Poll-TakerFacebook Even the other Amy Berg, a TV producer and writer (Warrior Nun, Jack Ryan, The Alienist: Angel of Darkness), is saying enough is enough. Yesterday, she tweeted, “We managed to turn a Chris ‘snack’ joke into attacks and threats by right-wingers….Seriously, enough. This was a play on the ‘one has to go’ Halloween candy meme going around and the responses turned it into a hate-filled shitfest on both sides.” The “this” referred to by Berg – from here on the “Berg” in this post is the producer and writer unless otherwise noted – was the social media brouhaha over Chris Pratt’s perceived conservative political and social stances. Berg kicked things off on Sunday with an irreverent but seemingly innocuous tweet that showed the pictures of Chris Pratt, Chris Pine, Chris Hemsworth and Chris Evans with the message “One has to go,” a take-off on a popular meme about various Halloween candies. Berg’s tweet soon took on political shade when many responders chose Pratt as Hollywood’s worst Chris due to his reportedly conservative political viewpoints (Pratt himself hasn’t weighed in). Also resurfacing was a 2019 social media exchange between Pratt and actress Ellen Page, the latter tweeting that Pratt’s church is “infamously anti LGBTQ.” Pratt reportedly attends mass at Zoe Church in Los Angeles, which has ties to the megachurch Hillsong. In response to Page’s tweet, Pratt posted an Instagram response saying, “It has recently been suggested that I belong to a church which ‘hates a certain group of people’ and is ‘infamously anti-LGBTQ.’ Nothing could be further from the truth. I go to a church that opens their doors to absolutely everyone.” (For the record, while Zoe Church notes on its website “Our church is a place where our doors are open to people of all backgrounds,” a 2017 film The Heart of Man, exec produced by Zoe Church founder and pastor Chad Veach depicts people who “have struggled with ‘sexual brokenness’,” a term the film applies to same-sex attraction. The Hillsong church, where Veach worked before founding the offshoot Zoe, includes a 2014 statement on its website from senior pastor Brian Houston attempting to clear up any suggestion that he had spoken in favor of same-sex unions: “Nowhere in my answer did I diminish biblical truth or suggest that I or Hillsong Church supported gay marriage.”) One has to go. pic.twitter.com/HUWnbQOA43 — Amy Berg (@bergopolis) October 17, 2020 The latest Chris debate prompted Pratt’s Avengers and Guardians of the Galaxy co-stars to publicly tweet-defend their friend. (See the tweets below.) Mark Ruffalo: “You all, @prattprattpratt is as solid a man there is. I know him personally, and instead of casting aspersions, look at how he lives his life. He is just not overtly political as a rule. This is a distraction. Let’s keep our eyes on the prize, friends. We are so close now.” Zoe Saldana: “No matter how hard it gets, stick your chest out, keep your head up and handle it. -Tupac.” You got this @prattprattpratt Your family, friends, colleagues & everyone who’s ever crossed paths with you knows your heart and your worth!” Guardian director James Gunn: “Sorry. Just finding out about this nonsense. @prattprattpratt is the best dude in the world. I’ve spent hours & hours sharing my deepest truths with this man, as he has with me. Please stop assuming what he believes, politically or in any other way, because he’s a Christian.” Robert Downey Jr.: “What a world… The ‘sinless’ are casting stones at my brother, Chris Pratt… A real Christian who lives by principle, has never demonstrated anything but positivity and gratitude…AND he just married into a family that makes space for civil discourse and (just plain fact) INSISTS on service as the highest value. If you take issue with Chris… I’ve got a novel idea. Delete your social media accounts, sit with your OWN defects of character, work on THEM, then celebrate your humanness…” Avengers actor Jeremy Renner “liked” Downey’s post, which makes reference to Pratt’s recent marriage to Katherine Schwarzenegger, daughter of Arnold. Katherine also joined in, responding to a media post on the controversy by writing, “Is this really what we need? There’s so much going on in the world and people struggling in so many ways. Being mean is so yesterday. There’s enough room to love all these guys. Love is what we all need not meanness and bullying. Let’s try that.” The not-the-documentarian Berg – well, both Bergs actually – seem to agree with Schwarzenegger. “Man, I’ve never had to block this many people with seven numbers in their name,” TV producer Berg tweeted early this morning, apparently referring to hate-bots, while noting in other tweets that she’s received threats and that “The only thing I will say is that I wish all those coming to CP’s defense had showed up for Brie Larson.” (Captain Marvel actress Larson has been the target of heinous, misogynistic online trolling for years.) Later, Berg the producer responded to a tweet by the FiveThirtyEight polling website ranking the popularity of Halloween candy brands. “Okay,” she told FiveThirtyEight, “now do guys named Chris. I promise it’ll end well for everyone.” What a way to wake up. This is not me. Hundreds of hate messages on all social media platforms! I strongly disagree with this Amy Bergs tweet and not a big fan of cancel culture. Thank you. #ChrisPratthttps://t.co/d8razDuNSm — amy berg (@disarmingfilms) October 21, 2020 Man, Ive never had to block this many people with seven numbers in their name. :) — Amy Berg (@bergopolis) October 21, 2020 Okay, I am really not poking fun at memes anymore. We managed to turn a Chris snack joke into attacks and threats by right-wingers. — Amy Berg (@bergopolis) October 20, 2020 You think I expected this reaction? Yeah, I was really hoping to spend my Tuesday deleting threats against me. And fuck no, Im not apologizing for other peoples opinions. — Amy Berg (@bergopolis) October 21, 2020 View this post on Instagram What a world… The sinless are casting stones at my #brother, Chris Pratt… A real #Christian who lives by #principle, has never demonstrated anything but #positivity and #gratitude… AND he just married into a family that makes space for civil discourse and (just plain fact) INSISTS on service as the highest value. If you take issue with Chris,,, Ive got a novel idea. Delete your social media accounts, sit with your OWN defects of #character, work on THEM, then celebrate your humanness… @prattprattpratt I #gotyerbackbackback ( @jimmy_rich ) A post shared by Robert Downey Jr. Official (@robertdowneyjr) on Oct 20, 2020 at 2:53pm PDT You all, @prattprattpratt is as solid a man there is. I know him personally, and instead of casting aspersions, look at how he lives his life. He is just not overtly political as a rule. This is a distraction. Lets keep our eyes on the prize, friends. We are so close now. — Mark Ruffalo (@MarkRuffalo) October 20, 2020 Sorry. Just finding out about this nonsense. @prattprattpratt is the best dude in the world. Ive spent hours & hours sharing my deepest truths with this man, as he has with me. Please stop assuming what he believes, politically or in any other way, because hes a Christian. https://t.co/XSIgU9WemX — James Gunn (@JamesGunn) October 20, 2020 No matter how hard it gets, stick your chest out, keep your head up and handle it.-Tupac You got this @prattprattpratt . Your family, friends, colleagues & everyone whos ever crossed paths with you knows your heart and your worth! — Zoe Saldana (@zoesaldana) October 21, 2020 Okay, now do guys named Chris. I promise itll end well for everyone. https://t.co/WxGVyJ2LrB — Amy Berg (@bergopolis) October 21, 2020

https://avalanches.com/world_news/us/us_33718/deadl_film932911_21_10_2020

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