“Slow Burn” Season 2, Reviewed: The Painful Lessons of the Clinton Impeachment

The impeachment saga of Bill Clinton, the subject of the second season of “Slow Burn,” the Slate podcast hosted by the Slate staff writer Leon Neyfakh, would seem, at first, to have little in common with Watergate, the subject of its first. They were different kinds of scandal, with vastly different causes, trajectories, and outcomes, and the Clinton impeachment didn’t feel like a slow burn, as Watergate was. January, 1998, when the public first became aware of Clinton’s affair with Monica Lewinsky, felt more like spontaneous combustion, and the fire of scandal and political histrionics raged on for the next thirteen months, through Clinton’s impeachment and acquittal. For “Slow Burn,” the story is a bold and curious choice. In its first season, its audience, presumably largely progressive, could revel in Watergate’s absurdities, and in Richard Nixon’s amusing hubris and short-sightedness, while being reassured, almost subliminally, about our own era. We could hope that the special counsel Robert Mueller’s investigation, whose workings were mysterious, would ultimately prove to be another slow burn, with a Presidential resignation to follow. Focussing on Bill Clinton’s misdeeds provides no such political comfort. But comfort can’t be all that we seek. And I’m pleased to report that “Slow Burn” Season 2 is, so far—I’ve heard two episodes, the first of which was released today—a riveting listen, narratively fascinating, with relevant and urgent themes. If it’s painful for Democrats, it’s appropriately so.

In 1998, the year the mayhem began, Neyfakh was in middle school. Part of what he seeks in the series, which will comprise eight episodes, is to “get into the minds of people who followed the scandal and talked about it and argued about it,” and to figure out why they reacted as they did. As a “child of Democrats,” Neyfakh says, he “took Clinton’s side and believed sort of vaguely and ambiently that Ken Starr was in the wrong.” This reaction was common among adult Democrats, too, though many were chagrined by Clinton’s behavior. Neyfakh says that he hopes that he felt sympathy for Monica Lewinsky at the time. “But I honestly don’t know if I did,” he says. “A lot of people didn’t.” (That, at least, has changed dramatically, in part because of Lewinsky’s own articulate writing and speaking on the subject.) Neyfakh wants to explore “the ideas that swirled around the Clinton saga—ideas about sex and power and privacy and character,” and to consider whether our attitudes and perspectives have changed. “Are we more enlightened now?” he asks. “Or is there something we’re not appreciating about what it was like to live through this story in real time?”

Neyfakh is a gifted and trustworthy storyteller, with a gently wry tone; the details in his writing are lightly comic and well chosen, evincing empathy and amazement. As we meet Lewinsky, it’s January 16, 1998, and she is a twenty-four-year-old former White House intern. (Lewinsky did not participate in the podcast.) She’s waiting to meet a friend from work, Linda Tripp, for lunch in the food court of “a typical suburban mall, brightly lit, with a movie theatre, a Macy’s, and white tiles on the floor,” Neyfakh says. Lewinsky has come from the gym, and she’s still dressed in workout clothes. Her affair with Clinton, which lasted for about eighteen months, consumes her thoughts, and she has confided about the relationship to Tripp. She sees Tripp coming toward her, down an escalator, and Tripp gestures to some men behind her, in dark suits and carrying badges. The men tell Lewinsky that they are F.B.I. agents, “and that the Attorney General of the United States had authorized a criminal investigation into her actions,” Neyfakh says. Then they take her to a nearby Ritz-Carlton, where two men from the office of the independent counsel Ken Starr clarify the stakes: twenty-seven years in prison, for lying on an affidavit in which she denied a relationship with Clinton.

This opening has fascinating parallels to the thrillingly crazy opening scene of “Slow Burn” Season 1, which centered on Martha Mitchell, the wife of the then U.S. Attorney General, John Mitchell, who was in cahoots with Nixon. Each scene tells the story of a woman who is romantically linked to a political figure, held at a fancy hotel against her will, put in a situation of tremendous political import and personal stress, and pressured by powerful, manipulative men. Lewinsky, like Mitchell, resists these pressures.

Neyfakh’s narration captures the often surreal details of political scandal. The agents want Lewinsky to tell them everything about the affair, to coöperate with the Starr investigation, and to participate in an undercover operation to implicate the President. Lewinsky, scared, angry, and upset, wants to wait for her mother, who lives in New York, to arrive before she decides what to do. To pass the hours while they wait, Lewinsky convinces the prosecutors to let her return to the mall, and Lewinsky, an F.B.I. agent, and one of Starr’s investigators proceed to a Crate & Barrel, where they browse the housewares, and Lewinsky tries to “lighten the mood by cracking jokes.” During a restroom trip, Lewinsky, attempting to warn the President, calls Clinton’s secretary’s office from an out-of-view pay phone, but she doesn’t answer. Later, Lewinsky and the agents eat dinner together at a restaurant in the mall called Mozzarella’s American Grill. These are all unexpected moments in an operation that the investigators have named Prom Night.

One of the great strengths of the first season of “Slow Burn” was its deliberate, methodical study of the political Zeitgeist of the seventies. Politics, as ever, was partisan, but behavior in the congressional and judicial branches lacked the extremism and guerrilla tactics of later decades; when the dirty tricks of Nixon’s executive branch came to light, Americans were taken aback. The Clinton era marked a watershed moment for such tactics. “The nineties were a transformative period in American politics, a time when the culture of no-holds-barred partisan warfare that we’re all used to now first took hold in Washington,” Neyfakh says. “January 16th, 1998, represented a turning point in that era. You could argue that it determined everything that happened next.” Beyond the government itself, new, partisan media eagerly fanned the flames of the Clinton conflagration. The Lewinsky story exploded into our consciousness via a new online publication, the Drudge Report; Fox News, which went on the air in 1996, had a field day with it, and with the Clintons more broadly. We haven’t heard much about Fox yet on “Slow Burn,” but we do hear the newscasters of that era, including a recurring Tom Brokaw, who seems to be scolding Clinton at every turn. Brokaw, an anchorman-hero whose beloved book “The Greatest Generation” also came out in 1998, was recently accused of having engaged in work-related sexual harassment, including in the nineties. Brokaw vehemently denied the allegations, and many network colleagues, including Rachel Maddow and Andrea Mitchell, signed a letter of support. The claims, like many of the #MeToo revelations, became a matter of public debate years after the alleged behavior, and it took almost two decades for public opinion to turn in Lewinsky’s favor. Are we more enlightened now? It’s tough to say. Enlightenment is a slow burn, too.

Original Link: https://www.newyorker.com/culture/podcast-dept/slow-burn-season-2-reviewed-the-painful-lessons-of-the-clinton-impeachment

Picnic at Hanging Rock VRP

PICNIC AT HANGING ROCK
Production Companies: Amazon Studios, FremantleMedia Australia, Screen Australia
Distributers: Amazon, FremantleMedia, BBC, SoHo, FOXTEL
EPs: Penny Win, Anthony Ellis, Jo Porter
Producers: James Grandison (Line), Beatrix Christian (Script), Brett Popplewell, Antonia Barnard
Writers: Beatrix Christian, Alice Addison
Directors: Larysa Kondracki, Michael Rymer, Amanda Brotchie
Released: May 25, 2018
Episodes: 6 x 1hr
In the Media:
Amazon Picks Up Australian Series ‘Picnic at Hanging Rock’ Starring Natalie Dormer  |  Deadline  |  July 20, 2017
Amazon has acquired Picnic at Hanging Rock, the upcoming six-episode Australian drama series starring Game Of Thrones’ Natalie Dormer, for a 2018 premiere on Amazon Prime Video US.

The series, a re-imagining of Joan Lindsay’s classic Australian novel, hails from director Larysa Kondracki and distributor FremantleMedia International.

Dormer stars as English headmistress Mrs Hester Appleyard  — a woman whose dead husband instructs her daily life and whose peculiarities are surely hiding dark skeletons — in Picnic at Hanging Rock, which chronicles the mysterious disappearances of three schoolgirls and one teacher on Valentine’s Day 1900. The complex, interwoven narrative follows the subsequent investigation and the event’s far-reaching impact on the students, families and staff of Appleyard College, and on the nearby township. Yael Stone plays Miss Dora Lumley, one of the teachers at Appleyard College. The college student roles are played by Lily Sullivan (Camp) as Miranda Reid, Madeleine Madden (Tomorrow When The War Began) as Marion Quade, Samara Weaving (Monster Trucks) as Irma Leopold, Ruby Rees (Miss Fisher’s Murder Mysteries) as Edith Horton and introducing Inez Curro as Sara Waybourne.

“The stylish re-imagining of the provocative Picnic at Hanging Rock story will no doubt capture contemporary audiences across the US,” said Caroline Kusser, SVP, Sales & Distribution for FremantleMedia International in North America. “With fantastic scripts, outstanding cast and bold editorial direction from Larysa Kondracki, Picnic at Hanging Rock is set to be a must-see series in 2018. We are thrilled to be working with Amazon Prime Video to bring this powerful drama to US screens.”

The sale was based in part on a sizzle made by Kondracki who has been overseeing the entire production in addition to directing the pilot and two additional episodes.

Picnic at Hanging Rock, which will have its world premiere on Foxtel in Australia in 2018, is a FremantleMedia Australia production made with key production investment from Screen Australia. The series was shot in Victoria, Australia, with the assistance of the Victorian Government through Film Victoria.

Executive producers are FremantleMedia Australia’s Jo Porter and Anthony Ellis and Foxtel’s Penny Win, script producer and establishing writer is Beatrix Christian, Writer Alice Addison, producer Brett Popplewell, directors are Larysa Kondracki, Michael Rymer and Amanda Brotchie. For Amazon, the series will be overseen by Amazon Studios’ Head of International Series Morgan Wandell.

A Canadian filmmaker best known for her debut feature film, The Whistleblower starring Rachel Weisz, Kondracki has directed episodes of high-profile drama series like Legion, The Americans and Better Call Saul and served as the producing director on Copper. Lawyers Linda Lichter and Jonathan Shikora of Lichter Grossman represent Kondracki.

Erik Logan VRP

Erik Logan was named president of OWN: Oprah Winfrey Network in July 2011, where he spearheads the day-to-day operations for the network. Under his leadership, OWN has become one of the fastest growing cable networks and in 2016 delivered its highest rated and most-watched year in network history. Additionally, year-to-date, OWN has 3 of the Top 5 original scripted series on ad-supported cable for W25-54 with THE HAVES AND THE HAVE NOTS, IF LOVING YOU IS WRONG and GREENLEAF.
OWN launched two highly acclaimed new original scripted series in 2016. GREENLEAF debuted in 2016 to record ratings becoming 2016’s #1 new cable series for women. QUEEN SUGAR, from award-winning filmmaker Ava DuVernay, premiered in September as the highest-rated two-episode debut in network history. Both series are now in their second seasons.

A veteran radio and media industry executive, Logan joined Harpo Studios in 2008 as executive vice president. Previously, Logan was executive vice president, programming and broadcast operations for XM Satellite Radio where he helped build the subscriber base to beyond nine million subscribers, negotiated partnerships and managed day-to-day relationships with major content providers including Major League Baseball, PGA Tour, CNNClear Channel Communications and Fox News.

Prior to joining XM, Logan also served as president of programming for Citadel Broadcasting, and served for over a decade at CBS/Infinity Broadcasting in a variety of roles, including vice president of programming.

 
In the Media:
OWN Orders Two Series From Will Packer  |  Variety  |  April 17, 2018
OWN has ordered two new series from executive producer Will Packer and his company Will Packer Media. The first, “Ambitions” is a soap opera-style drama from Lionsgate. the second, “Ready to Love,” is an unscripted dating series. Packer will exec produce for both series. The new shows are the first television series to be created under Packer’s first-look deal with the network.

“Will is a creative powerhouse who knows what audiences want,” said Erik Logan, president of OWN. “He has an insightful approach to relationships and a keen eye for great storytelling that resonates with viewers across the board. We can’t wait to bring these two new series to our viewers.”

“Partnering with OWN to bring ‘Ambitions’ and ‘Ready to Love’ to their fast-growing lineup of critically acclaimed series is a win-win scenario,” said Will Packer, CEO and founder of Will Packer Media. “OWN has been on an incredible streak with its recent slate, and we’re looking forward to extending the network’s primetime success with these new shows created specifically with the OWN audience in mind.”

“Ambitions” will be produced for OWN by Will Packer Media in association with Lionsgate division Debmar-Mercury. Will Packer Media’s Sheila Ducksworth will also exec produce and writer Jamey Giddens will serves as co-executive producer.

“Ready to Love,” which begins production in Atlanta this spring, will be produced by Will Packer Media and Lighthearted Entertainment. Will Packer Media’s Kelly Smith and Lighthearted’s Rob LaPlante and Jeff Spangler will also executive produce with Packer.

OWN President Dishes on What It’s Like Working for Oprah Winfrey  |  The Hollywood Reporter  |  June 6, 2016

“Look ahead in a new direction.” The writing literally is on the wall at OWN’s West Hollywood offices. Fittingly, it’s a quote from the boss herself, CEO Oprah Winfrey, but lately those words have taken on new meaning for network president Erik Logan. Coming off of its most watched year, the network — up 13 percent in total viewers compared with 2014 — will launch its first prestige scripted series, Greenleaf, on June 21.

The megachurch drama — which already has been renewed for season two — hails from Six Feet Under and Lost alum Craig Wright and features Winfrey in a recurring role. Later this year, OWN will add Ava DuVernay’s drama series Queen Sugar to a lineup better known for its more populist Tyler Perry series. Behind the scenes, the 5-year-old network, co-owned by cable behemoth Discovery Communications and Winfrey’s Harpo Productions, also has undergone a dramatic shift with the May exit of Logan’s co-president Sheri Salata, who had logged 21 years with Winfrey. Logan, 45, or “Elo” as the nameplate outside his office reads, now runs day-to-day operations of the 165-employee network, expanding his purview to include the creative side as well as the business one.

Fortunately, he has Winfrey, who not only lends her name to the network but also her insights on edits, promos, series and even costumes. “One of the things Oprah has taught us all is, ‘Love is in the details,’ ” says Logan, a married father of two who starts each day on his surfboard.

The Oklahoma native, a radio industry veteran before joining Harpo Studios in 2008, sat down for a conversation about OWN’s rough early days, the network’s turning point and what, exactly, an Oprah note entails.

How have your day-to-day duties changed since becoming the network’s sole president in May?
I leaned more toward the operational, business side. Sheri leaned more toward the creative side. She was an executive producer for all those years, but at the beginning and end of every day, we’d huddle up and go through the decisions that we had made. Because of that level of communication, it gives me a tremendous advantage in stepping in and taking the lead on the rest of those projects.

Why did Salata leave? She’s worked closely with Oprah since way back on the daytime show.
Oprah is a person who encourages people to do what they want, and [Salata] wanted to tell stories. She wanted to do it on her own. And Oprah was like, “Then that’s what you should do.”

Greenleaf and Queen Sugar mark OWN’s first two scripted shows not from Tyler Perry. What were you looking for in expanding scripted offerings?
Everybody who said it takes five years to get a network up and going was right. (Laughs.) I think what [Winfrey] sparks to and what a lot of the creative teams have sparked to has been that both of these are family dramas, but they’re also in settings and telling stories that you don’t see, and that’s what sets them apart. It’s not just another family drama in insert-your-town here. An African-American megachurch [drama] was specifically picked by Oprah. Queen Sugar was based upon a book that she read years ago. If you think about it, what family drama have you seen that’s taken place around sugarcane? The answer’s none.

How involved is Oprah in the development process?
It’s almost easier for me to tell you what she’s not involved with. She’s been involved in every aspect of the development for Greenleaf and Queen Sugar. I mean every aspect — being on set for shooting, looking at mood boards, looking at outfits, changing singular words in every single script, being in the writers room.

What specifically does she bring to that process?
Our network’s name is a person, and it’s not a person that’s no longer here. It’s a person who you can pick up the phone and, as I jokingly say, you can call the brand. Oh, by the way, if the brand doesn’t like what you’re doing, the brand can call you. She’ll call you when she watches the network, and [she] asks questions. What she brings is that intuitive gift that she has and has refined over decades when it comes to a 15-second promo or a 13-episodic order for a show.

What does an Oprah call or a note entail?
This is going to sound overly simplistic, but we always open the meeting with an “intention statement.” It is her favorite word. She believes in setting the intention. And so when she sees something and she doesn’t understand why, that’s always the first question. It’s like, “OK, what was the intention of that?” Or, “What is the intention of us doing this?” It can come across like you’re in trouble, but she has a beautiful way of hearing what that is, understanding it and going, “OK, so next time let’s try this.”

What is the conversation like when the two of you don’t see eye to eye on a project?
Short. (Laughs.) She absolutely, 1,000 percent wants to hear what everybody has to say. I mean, to a fault. She wants to hear, and she’s very respectful when she’s like, “I don’t agree with that. I want to do this.” Inherently, anybody who works at any of the [Winfrey] companies has signed up to help her advance her mission. So when she’s like, “I don’t want to do that, I want to do this,” it’s actually empowering. It removes a lot of the mystery of should we, could we, and it’s like, “Well, let’s just ask and find out.”

Do you need her signoff before any project is greenlighted?
When it comes to creative decisions of that magnitude, for sure. But she’s empowered our marketing teams and promo teams and our ad sales teams and our affiliate teams to run the businesses. After five years, because the network’s in a much better place and we’re healthy, we don’t need to run very small decisions by her. But I wouldn’t expect to see me going rogue and greenlighting a 13-episode order without her signing off on it anytime soon.

What went into the decision to have Oprah act in Greenleaf?
[When] I was reading some of the early drafts, I had visions of just how much more fantastic it could be [with her in it]. But there was something inside of me that was like, “Don’t ask, don’t ask.” I remember she called and said, “I think I’m going to play Mavis.” I had to put my phone on mute because I was so excited. And then I was like, “This is fantastic!” I didn’t want to go over the top.

Back in 2012, when the network was struggling, Oprah famously said, “Had I known that it was this difficult, I might have done something else.” What did you think when you heard that?
Oh, I totally understood. She was just being honest, and anybody who had been walking in her shoes would have a great deal of empathy for that statement at the time. And she’s made a career of connecting with viewers and fans across the world by being honest. So, how else would she answer that question? That moment for her — and for all of us — was like, “Yeah, it’s been tough.” Anybody who tells you that it wasn’t is [lying].

What was the turning point?
The first big piece of validation for me was Bobbi Kristina. We’d been trying to figure out Saturday night. Oprah was doing Next Chapter, and we had some success with Joel Osteen and Steven Tyler. Whitney [Houston] had passed, and Oprah was a friend of the family, and we did a 90-minute special with Bobbi Kristina. We turned it around really quickly and got it on the air. The next morning, we did 3.5 million viewers. That was significant because we’d been telling ourselves that nobody can really find us — that we’re not in enough homes or whatever the excuses were. What I walked away with was, if we get the content right, they will find us because they just did. It removed a layer of skepticism culturally for us as a company.

OWN’s audience now skews heavily African-American. Was that always part of the plan?
No, it wasn’t. One of the beautiful success stories of OWN is Welcome to Sweetie Pie’s. It aggregated this audience that was predominantly African-American, and Oprah herself finds such power in the fact that we can put positive images of African-American women on the air and aggregate audiences around that. So that is the base of what the network was at the time on Saturdays. When we put programming on that is Oprah-centric — SuperSoul Sunday, Master Class — those skew more balanced between African-American and non-African-American viewers.

What’s the biggest misconception of OWN?
Because our SuperSoul brand is so strong, there is a misconception in the marketplace that the network is all about that. It’s like, “Well, why would I ever want to watch the Oprah network? It’s not for me.” But we have a little bit of everything.

 
OWN Shakes Up Leadership Team, Co-President Sheri Salata to Exit  |  Variety  |  May 4, 2016
OWN is shaking up its leadership team, with co-president Sheri Salata set to step down from her post to launch her own firm. Erik Logan will continue as the sole president of the cabler that is a joint venture of Oprah Winfrey and Discovery Communications.
OWN said Salata plans to launch a “brand innovation agency and content/story platform.” OWN and Winfrey’s Oprah Media Group have signed on as clients.

“I give my deep thanks and appreciation to Sheri not only for helping to create a strong platform of growth for OWN and our digital business, but for her tireless commitment and sacrifice producing the final years of ‘The Oprah Winfrey Show.’ It was an unparalleled time of our lives,” said Winfrey, who is CEO of OWN.  “I am excited about what we are doing at OWN and look forward to continuing our growth with Erik and the dedicated team as we take our company to the next level.”

Salata and Logan were named co-presidents of OWN in 2011 at a time when the cable venture was struggling to find its footing and had become a revolving door for executives. The pair are credited with helping to solidify the channel’s focus on lifestyle and entertainment programming. OWN has been on an upswing with the success of its Tyler Perry produced soaps “If Loving You Is Wrong” and “Love Thy Neighbor.” OWN is expanding further into scripted programming with drama series “Greenleaf” and “Queen Sugar” bowing later this year.

Salata said it was her decision to leave the Winfrey fold.

“It’s time to take what has been the ride of my life to the next level in creating my own agency and doing what I love best — telling stories,” Salata said. “Oprah has been my North Star and spiritual mentor for 20 years and her faith in me and this next venture means everything.  Erik and the entire OWN team are simply the best in the business and I can’t wait to see what unfolds.”

Salata joined Winfrey’s Harpo Studios in 1995 as a promotions producer for her top-rated syndicated talk show. She rose to become exec producer of “The Oprah Winfrey Show” from 2006 until its end in 2011.

Logan joined Harpo Studios as executive VP in 2008, prior to to the launch of OWN.

Feigco Entertainment VRP

Feigco Entertainment specializes in developing edgy and commercial comedies with an emphasis on complex female lead characters. Other Feigco Entertainment projects in different stages of development include: a film with Jamie Denbo and Jessica Chaffin based on their characters Beth and Gina from Feig’s recent comedy hit THE HEAT; an untitled comedy written by Broad City creators Ilana Glazer and Abbi Jacobson; and an untitled comedy for a group of ethnically diverse comic actresses that Melissa Stack will write based on an original idea by Feig. Feig is also a producer of the Golden Globe nominated film THE PEANUTS MOVIE, which was released in 2015.

Twitter: (669 followers) https://twitter.com/feigco
Executives:
Paul Feig (Co-Founder) — Feig is the king of feminist comedies, working as a writer, director and producer on films and TV shows about characters who are rarely depicted on the big screen — particularly funny women. He directed the 2011 Universal comedy BRIDESMAIDS, which earned $288 million at the box office, and was a writer and producer on the film as well. It was followed by THE HEAT (2013) and SPY (2015), which featured Melissa McCarthy as women who are smart, good at their job and unappreciated; in both films, her key relationship is with another woman (Sandra Bullock and Rose Byrne, respectively). Feig has three movies lined up: The currently filming Lionsgate film A SIMPLE FAVOR, about a mommy blogger and starring Blake Lively and Anna Kendrick, plus sequels to HEAT and SPY. The originals of those two films respectively earned $229 million and $235 million.

Feig started as an actor and a stand-up comic and made a big Hollywood impact with the 1999 series that he created, FREAKS AND GEEKS, on which he was writer-director-producer and occasional actor. The show was cancelled after only 12 episodes were aired, but it remains a prestige item and was a breakthrough for actors James Franco, Jason Segal and Seth Rogen. Another veteran of the series, producer Judd Apatow, has become a mini-factory, producing three dozen film and TV projects since then.

Jessie Henderson (EVP) — Henderson joined Feigco Entertainment in 2013. Since joining, she has served as a producer on the films SPY and SNATCHED. She also executive produces THE JOEL MCHALE SHOW WITH JOEL MCHALE.
Adam Bold (Co-Founder)
Dan Magnante (Creative Executive)
Filmography:
SPY 2 In Development
PLAY-DOH In Development
UNTITLED SALMA HAYEK PINAULT PROJECT (TV) In Development
GROOM In Development
TURNED ON In Development
UNTITLED BETH AND GINA PROJECT In Development
UNTITLED PAUL FEIG/MELISSA STACK PROJECT In Development
SUPERMODEL SNOWPOCALYPSE In Development
UNTITLED PAUL FEIG/MUSICAL PROJECT   In Development
PROS & CONS In Development
SOMEONE GREAT  In Production
A SIMPLE FAVOR In Production
GIRL CODE (TV) In Production
THE JOEL MCHALE SHOW WITH JOEL MCHALE (TV) 2018
SNATCHED 2017
GHOSTBUSTERS 2016
THE PEANUTS MOVIE 2015
SPY 2015
OTHER SPACE (TV) 2015
PEOPLE IN NEW JERSEY (TV) 2013
In the Media:
Paul Feig Launches Powderkeg To Showcase Underserved Voices  |  Deadline  |  Mar 13, 2018
EXCLUSIVE: Paul Feig is launching Powderkeg, a digital content company that will aim to champion new voices with a commitment female and LGBTQ creators and filmmakers of color. The new company will be run by CEO Laura Fischer, formerly head of production and development at Yahoo and before that at Disney, and will focus on scripted and unscripted series as well as incubator programs. The news comes the same day Feig, known for his successful female-led movies, said that going forward his Feigco Entertainment will include inclusion riders on all future film and TV projects.

The Powderkeg venture is being funded by Superbrand LLC, the private entertainment industry investment company run by Adam Bold, co-founder of Grandma’s House Entertainment. CAA oversaw the deal for Powderkeg and will rep it.

“It has long been a goal of mine to create an outlet for new and little-heard voices, both in front of and behind the camera,” Feig said. “Entertainment needs to be fully representative of our entire population, and I am thrilled to have this outlet to help empower and bring exposure to as many distinct and varied new voices as possible.”

Powderkeg will be separate from Feigco’s film deal at 20th Century Fox and TV deal at Lionsgate. That company was created to make edgy, commercial comedies and original tentpoles starring women — which it has done to the tune of $1 billion-plus in box office grosses with the likes of Spy, The Heat, Bridesmaids and Ghostbusters.

Said Fischer: “Paul has long championed the irrepressible power of women in comedy and his eye for talent is unparalleled. I’m excited to bring Paul’s commitment to empowering diverse voices and their unique brand of comedy to the digital space. Now is the perfect moment in time to explore the surprising, authentic, and hilarious stories that have yet to be told.”

Feig recently wrapped his first thriller, A Simple Favor, which stars Anna Kendrick, Blake Lively and Henry Golding and has a September 14 release date via Lionsgate. Feigco is also producing Netflix’s Someone Great and Freeform’s Girls Code, and exec producing Netflix’s The Joel McHale Show with Joel McHale.

Paul Feig Adds Inclusion Rider in Feigco Entertainment Productions  |  Variety  |  Mar 13, 2018
Director-producer Paul Feig has adapted the inclusion rider as part of all the feature film and television productions at his Feigco Entertainment.

The move came a week and a half after Frances McDorrmand sparked interest and support for the term after she concluded her Oscars best actress acceptance speech by saying, “I have two words to leave with you tonight, ladies and gentlemen: inclusion rider.”

“Thrilled to announce that Feigco Entertainment is officially adopting an #inclusionrider for all our film and TV productions moving forward,” Feig wrote Tuesday on Twitter. “Thank you to @Inclusionists and Stacy L. Smith for their guidance and inspiration. We challenge other companies and studios to do the same.”

Backstage at the 90th Academy Awards, McDormand explained an inclusion rider can be added to contracts so that at least 50% of the cast and crew have to be diverse. The topic of diversity and inclusion in Hollywood has gained momentum in recent months and continued following the massive success of Ryan Coogler’s “Black Panther.”

Michael B. Jordan announced on March 7 that he would add the inclusion rider to all projects produced by his company, Outlier Society Productions. Matt Damon and Ben Affleck announced Monday that their Pearl Street company would do the same.

Feig’s credits include “Bridesmaids,” “The Heat,” “Spy” and “Ghostbusters.” He cited Stacy Smith of the Annenberg Inclusion Initiative in his announcement.

Paul Feig Inks First-Look Deal With Lionsgate TV  |  Deadline  |  Mar 1, 2018
Lionsgate TV is expanding its relationship with multi-hyphenate Paul Feig, signing Feig to a first-look deal. Under the pact, Feig and his producing partner Jessie Henderson will create scripted and unscripted series and formats for the Lionsgate Television Group through his Feigco Entertainment banner. In addition, Feigco’s Dan Magnante has been promoted to oversee the banner’s television development.

Lionsgate’s relationship with Feig in the TV business already includes the unscripted half-hour comedy series The Joel McHale Show with Joel McHale, which Feig executive produces alongside McHale, K.P. Anderson, and Henderson. The show, which takes an absurdist look at pop culture, generated buzz in its Netflix global launch last month.

“Paul Feig is one of the most prolific and versatile talents in film and television today, and we’re thrilled to continue growing our multifaceted relationship with him across our scripted television business,” said Lionsgate Executive Vice President and Head of Worldwide Scripted Television Chris Selak. “Paul epitomizes the ‘premium’ in premium talent, and our collaborative, cross-divisional approach allows us to tap his creative brilliance across an ever-expanding array of platforms.”

“We’re incredibly fortunate to have a world-class talent of Paul’s caliber as part of our creative family,” said Lionsgate Executive Vice President of Alternative Programming Jennifer O’Connell. “There are few creative voices who could have an impact in so many different parts of our business. Our relationship with Paul has already resulted in the global launch of The Joel McHale Show with Joel McHale, and we’re excited about working with him and Jessie on additional nonfiction projects as we continue to ramp up our premium unscripted slate.”

A three-time Emmy-nominated writer/director and DGA Award winner, Feig created the critically praised Freaks and Geeks and served as director and co-executive producer of The Office. His praised series Other Space marked his return to television in 2015.

Feig has directed a string of critically-acclaimed blockbusters including female star-driven comedies Bridesmaids, Spy, Ghostbusters, and The Heat. His films have grossed over a billion dollars at the worldwide box office, and he is currently in post-production on Lionsgate’s thriller A Simple Favor, starring Blake Lively, Anna Kendrick and Henry Golding, to be released on September 14.

“I’m delighted to have this opportunity to continue expanding my collaboration with the Lionsgate Television Group,” said Feig. “I’ve worked with Kevin [Beggs] and his amazingly talented team since the days of Nurse Jackie, and Lionsgate has proven itself time and again to be a home for bold creative vision and ground-breaking original content. I can hardly wait for this next exciting chapter in our partnership.”

Feig is repped by CAA and Sloane Offer Weber and Dern.

The deal was negotiated for Lionsgate by Executive Vice President of Television Business Affairs Dan Hadl.

Wiip Mini-VRP

ABC Entertainment Group president Paul Lee attends the Entertainment Weekly and ABC network upfront party on Tuesday, May 13, 2014, in New York. (Photo by Evan Agostini/Invision/AP)

Wiip (stylized as “wiip”) is a development and production company started by Paul Lee in 2017 and funded by CAA. “Wiip” stands for (word.idea.imagination.production). According to Lee, “wiip is committed to supporting bold, creative content.”

IMDBprohttps://pro.imdb.com/company/co0698419/\

Paul Lee Wikipediahttps://en.wikipedia.org/wiki/Paul_Lee_(television_executive)

In the Media:
Cristiano Ronaldo, Paul Lee’s wiip Land Series Order for Facebook Watch Scripted Drama  |  Variety  |  May 9, 2018
Real Madrid soccer star Cristiano Ronaldo is kicking it with a new team. Ronaldo has partnered with with Paul Lee’s newly launched studio, wiip, to produce a new scripted drama series for Facebook Watch.The series centers on a diverse high school girls soccer team from upstate New York, whose ability to achieve its goals through teamwork and friendship inspires the local community to transcend the racial, ethnic and class differences that divide it. En route to greater cultural understanding, the show also explores the personal struggles and triumphs of the teen team members.

“The story of my life has many similarities with the highs and lows the girls varsity soccer team will face in the series,” Ronaldo said. “While the series is set against the background of soccer, it goes much deeper than just the beautiful game. It’s about values, challenges, friendship, difficult times, hard work, solidarity, tensions, and harmony. In a word — it’s about life.”

Liz Garcia and Josh Harto, creators of TNT’s “Memphis Beat,” join Ronaldo as the series’ executive producers, while wiip will helm production with the support of the CAA. The announcement comes on the heels of wiip CEO Lee’s recent acquisition of the Gimlet Media podcast, “Sandra.”

“This is a high-end series with global appeal, set against the backdrop of the world’s most popular sport, and created in partnership with the world’s best footballer Cristiano Ronaldo, and remarkable storytellers Liz and Josh,” Lee said.

The sports drama marks wiip’s second collaboration with Facebook Watch, which is also developing the Catherine Zeta-Jones-starrer “Queen America.”

‘Sandra’ Podcast In Works As TV Series By Paul Lee’s Wiip & Gimlet Pictures  |  Deadline  |  May 7, 2018
In a competitive situation, Paul Lee’s recently launched independent studio wiip has acquired the rights to Gimlet Media’s new scripted podcast, Sandra, to develop for premium television. Gimlet Pictures (Homecoming), the TV and film production arm of Gimlet, will produce the series, its first project under the banner launched earlier this year.

The seven-episode podcast, which launched all episodes Wednesday, April 18, is set five minutes in the future and follows Helen Perez, a new hire at Orbital Industries, the company behind Sandra, the world’s most intuitive virtual assistant. As one of thousands of Sandra operators, Helen spends her days peeking into the world of Sandra users and helping them navigate their questions and demands. One problem: the users don’t know she’s real. Along the way, Helen’s own world becomes more difficult to navigate, too, as she struggles to manage a divorce while keeping her boss Dustin happy. Oh, and she also may be in a bit of an increasingly unprofessional situation in her interactions with Tad, a heartbroken Sandra super-user. Kristen Wiig voices Sandra in the podcast, along with Ethan Hawke, who voices Dustin and Arrested Development’s Alia Shawkat, who voices Helen.

“wiip is committed to supporting bold, creative content,” said Lee. “Sandra is the latest example that Gimlet Pictures has mastered the art of storytelling, and we’re excited to partner with them to bring Sandra’s compelling and complex world to life on screen.”

Gimlet Pictures’ Eli Horowitz and Giliberti will serve as Executive Producers on the series.

“On the heels of launching Gimlet Pictures this year, we’re excited to set our first project under the banner,” said Chris Giliberti, Head of Gimlet Pictures. “We couldn’t be more thrilled to take this step forward with Paul Lee and the wonderful wiip team.”

Lee’s wiip (word.idea.imagination.production), backed by CAA, creates and produces content for digital and global platforms. The company recently landed its first series order at Facebook for Queen America, starring Catherine Zeta-Jones.

Gimlet Media has high-profile new series Homecoming, starring  Julia Roberts and produced by Universal Cable Productions, coming up at Amazon.

Catherine Zeta-Jones to Star in Facebook Watch Series ‘Queen America’ From Paul Lee’s New Studio  |  Variety  |  May 3, 2018
Catherine Zeta-Jones has signed on to play the lead role in a new Facebook Watchseries titled “Queen America,” Variety has learned.The half-hour series, which has received a 10-episode straight-to-series-order, is described as a dark comedy set in Tulsa, Oklahoma. It revolves around Vicki Ellis (Zeta-Jones), the most renowned and ruthless pageant coach in the state, and the hapless Samantha Stone, who hopes Vicki can mold her into worthwhile contender for the title of Miss America. Vicki is desperately sought after by young women competing to be Miss America for one reason; she can turn any girl into a winner. But when she gets paired with the beautiful but unpolished Samantha, Vicki’s entire reputation might be at stake.

Zeta-Jones most recently starred in the Lifetime movie “Cocaine Godmother: The Griselda Blanco Story.” She also appeared as Olivia de Havilland in the first season of the Ryan Murphy anthology series “Feud.” She won an Oscar for best supporting actress for her work in the 2002 film adaptation of the hit musical “Chicago” and is also known for her roles in films like “Traffic,” “Entrapment,” “Intolerable Cruelty,” and “The Mask of Zorro.”

She is repped by WME and Management 360.

The series is created, written, and executive produced by Meaghan Oppenheimer. Made Up Stories’ Bruna Papandrea and Casey Haver, and Entertainment 360’s Guymon Casady and Suzan Bymel will also executive produce alongside Janice Williams. It also marks the first straight-to-series order for wiip, the new independent studio launched and led by veteran television executive Paul Lee. Made Up Stories will serve as wiip’s co-studio partner.

“I’m so excited to be making this show, set in my hometown of Tulsa, Oklahoma — and beyond grateful to be partnered again with Bruna Papandrea, who has championed this project from its earliest stages and proven to be one of the biggest supporters of women in the industry,” said Oppenheimer. “We have been very lucky to have found such great collaborators in wiip, Entertainment 360, and Facebook. To have one of my favorite actresses, Catherine Zeta-Jones, bringing this character to life is a dream come true.”

In addition to her work as an actress, Oppenheimer also co-wrote the screenplay for the 2015 Zac Efron film “We Are Your Friends.” On the TV side, she has written for “Fear the Walking Dead” and created the ABC pilot “Broken” in 2016, which was executive produced by Papandrea. She is repped by CAA and Management 360.

Papandrea serves as an executive producer on the hit HBO series “Big Little Lies.” She will also executive produce the upcoming HBO series “The Undoing” starring and executive produced by “Big Little Lies’” Nicole Kidman and the series “Deadlier than the Male” at TNT.

Former ABC Chief Paul Lee Eyes TV Production Company Set Up at CAA  |  Variety  |  Dec 8, 2016
Paul Lee may have found his next move.

The former ABC boss has been working with CAA on the possibility of setting up a television production company with the agency. The potential venture would be funded by TPG, the investment firm that holds a majority stake in CAA. Sources tell Variety that it could take the form of a rebooted Slingshot Global Media, the TPG-backed production company that launched in 2014 under former FremantleMedia boss David Ellender.Insiders say that the company would focus on developing programming for the international market as well as for digital streaming platforms. CAA’s role is still unclear, but the company, which has a longstanding relationship with Lee, is working with the executive to set up the venture.

A representative for CAA declined to comment.

The move would potentially take CAA into new territory, expanding the agency’s role into scripted television programming production.

Lee departed ABC this past February when he was replaced by Channing Dungey, who is now president of the network. Lee, who held the post of ABC Entertainment Group president and also oversaw ABC Studios, was ousted as a result of a power struggle with Disney/ABC Television president Ben Sherwood. The British exec was head of ABC when the highly successful Shondaland “TGIT” block was put in place, but when Lee was pushed out, the net was in last place among the major broadcasters in 18-49. Prior to joining ABC in 2010, he was at the then-ABC Family (now Freeform) where he helped launch “Pretty Little Liars,” “Kyle XY” and “The Secret Life of the American Teenager.” Lee got his start at the BBC, and before joining ABC Family, he launched BBC America in the states.

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Zachary Quinto on Boys, Acting In and Out of the Closet, and Mind Control

In the Broadway revival of The Boys in the Band, he leads an all-star cast of openly gay actors back to the days when being out was career suicide.

On a bright, cold Saturday morning in a squat, unmarked building in Brooklyn, the actor Zachary Quinto is sitting at a card table while a man from Kansas City explains that he was, 14 years ago, drugged and subsequently implanted with a series of microwave chips by a (former) friend who wanted to zap him into giving up the rights to a hygienic soda-can cover that both men were convinced would, eventually, make them millions of dollars.

It’s a very confusing conversation, but Quinto is steady. The interview is being filmed for In Search Of, a History Channel show of which Quinto is both the executive producer and the host. (This particular episode is about mind control.) “Are they still following you?” Quinto asks. His heavy, famous brow is furrowed. Quinto definitely has sci-fi chops — he was personally approved by Leonard Nimoy to revive the role of Spock in the J. J. Abrams remakes. He played a serial killer with superpowers on Heroes and had roles on two seasons of American Horror Story. He’s exactly the person a midwestern contractor who believes he’s been the victim of brain tampering would trust to take him seriously.

“They are following me,” says the man. “I saw them on my flight.” Quinto leans forward. He nods. “I believe you.”

In Search Of is a reboot of a show of the same name that ran from 1977 to 1982, hosted by Nimoy. Nimoy’s version was about phenomena that seem a little quaint now: yetis, the Bermuda Triangle, aliens. Quinto’s show expands to explore the interference of technology in a format he describes as “less turtlenecks and blazers, more Anthony Bourdain.”

It’s been a heady few months of production, but variety has always been what’s really set Quinto apart. So a few weeks after we meet, the minute he wrapped In Search Of, he flew to Los Angeles to begin rehearsals for a revival of a cultural relic of a different sort: The Boys in the Band, the 1968 Off Broadway play by Mart Crowley that is widely considered the first mainstream American play to deal openly with male homosexuality. The characters meet in an Upper East Side apartment to celebrate a birthday. They are drunk, they are funny, they are mean. The overwhelming sense is that they are hidden. The damage that this double life causes is palpable, painful, sad.

The revival is stuffed with blockbuster names — all of whom, in a conscious move by the producers, are gay. It’s produced by Ryan Murphy, directed by Joe Mantello, and Quinto’s co-stars include Jim Parsons, Andrew Rannells, and Matt Bomer. But even with all the attention that such a high-wattage project will bring, Quinto took some convincing to come aboard.

“Historically, the play has been really stigmatized,” he says. It’s after the In Search Of shoot, and Quinto’s eating a salad at the Library bar at the Public Theater, near the apartment he shares with his boyfriend, the actor and artist Miles McMillan. “When it appeared in 1968, it was revolutionary. No one had seen anything like it,” he says. “Then the movie came out in 1970, and in that period of time, Stonewall had happened, and this play became backward-looking, reductive, and stereotypical. It was a thing for the gay-rights liberation movement to say, This is exactly what we are not anymore. We are not these men who have to sneak around and make up stories.

Quinto, in fact, had always thought of the play that way himself. Since coming out in a 2011 New Yorkinterview, he’s been careful to pursue a varied career — he’s the action and science-fiction star with the healthy New York stage credentials. He co-founded a production company, as his friend Sarah Paulson (who once had to breastfeed him on American Horror Story) puts it, “before I even got a computer.” She points out that he was having big commercial-film success when he committed to doing The Glass Menagerie, which ultimately came to Broadway but began its run in Boston. “I can guarantee you his agents weren’t jumping for joy,” Paulson says, “but it ended up being wonderful, and I remember noting for myself that these things could exist simultaneously. You can have commercial success and take the power of that and use it to feed yourself artistically.”

“He’s one of the most versatile actors out there,” says J. J. Abrams.
“He’s limitlessly capable.”

As for The Boys in the Band, which begins previews at Broadway’s Booth Theatre on April 30, “I’ve worked really hard to carve out a career that is separate from my identity as a gay man,” Quinto says. “And there was a part of me that was just like, I want to go in a different direction.” A July workshop convinced him that Boyswould. “I think what this production does is go in the face of how far we’ve come,” he says, “and holds a mirror up to the audience and asks them to evaluate how far we still have to go. It’s incredibly relevant that a cast of accomplished, successful, authentic gay men are standing up and giving this seminal work a Broadway production. We’ve all been able to build diverse and satisfying careers for ourselves. The original cast of the play really struggled.” Even just having played gay men, they had limited opportunities as a result of being in the play.

The question of whether Quinto’s coming out on the eve of his breakthrough role changed the guardrails of his career is not hugely interesting to him. “Look,” he says, cocking an eyebrow, “I don’t think I would have been James Bond anyway.” (He says it as a joke, but it doesn’t seem the hugest stretch.) “There are people who feel that preserving that aspect of their identity will generate better opportunities,” he says. “I wasn’t capable of any kind of lie about my authentic self.”

When The Boys in the Band finishes its 15-week run, Quinto’s not sure what’s next. He’s thinking of shifting his base of operations back to L.A., where he can focus on his production company. And while it seems like there are already many Zach Quintos out there — the deadpanning, sci-fi Quinto, the heartbreaking-and-honest stage Quinto, the curious-businessman Quinto — there’s still more. He wants to do episodic television, he wants to do comedy (“I mean, I’m hilarious,” he says), he wants to continue wrestling with the obscure.
“What did you think of that guy?” he asks later in the afternoon. “I mean, I feel like I have a lot more I want to ask.”

*This article appears in the April 30, 2018, issue of New York Magazine. Subscribe Now!

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An Alaska man revealed a secret in his suicide message, sparking a small town’s ‘Me Too’ moment

Rick Martin used his last words to share a painful secret.

The 60-year-old man from Haines, Alaska, was suffering from an incurable liver disease. But before he took his own life in March, Martin recorded videos on his cellphone. In one clip, he claimed he had been sexually abused decades earlier by local luminary Karl Ward.

For 22 years, Ward worked in the town’s school system, rising from teacher to superintendent until his retirement in 1976. Although he had been dead since the 1990s, his presence still clung to the small fishing town 80 miles northwest of Juneau. The high school where Martin’s wife worked had a plaque celebrating the former superintendent’s career.

“For the record, this goes back a long ways and probably a lot of the boys remember this,” Martin said in his message, the Chilkat Valley News reported. “I had to keep my mouth shut about that.”

After Martin’s final message, four other former students came forward with their own stories about alleged misconduct by Ward, according to the Valley News, pushing a town with fewer than 2,000 residents to confront a possible pattern of sexual exploitation by an eminent authority figure.

“I love my town,” Martin’s widow, Rene, told KHNS. “I love the people who live here. We will not keep secrets. We will not live in the dark.”

Local law enforcement say they have no reason to doubt the allegations, but no further investigation is planned, according to the Associated Press. The alleged incidents fit into a larger pattern across the state. Alaska’s rate of sex crimes is three times the national average, the Anchorage Daily News has reported, with the child sexual assault rate six times the national figure.

Ward spent his career around children.

Originally from Philadelphia, according to the Valley News, Ward landed in Haines in 1947 working for the National Missions of the Presbyterian Church, an outreach group of the Presbyterian Church (USA). He also worked at the Haines House, a facility for orphaned Native American children.

In 1954, Ward began teaching at Haines High School, rising to principal in 1957 and superintendent in 1967. He also served as a Boy Scout leader, fostered four boys and worked as a scorekeeper with the local youth basketball team. He died in 1997.

“He brings in kids that are already torn out of their home that really have no voice,” Haines Borough Police Chief Heath Scott told the paper. “He was probably given a certain level of trust when he came in with the Presbyterian Mission and the Haines House and he goes into the public school system, and that level of trust just continued. He operated in the shadows based on that level of trust.”

Rick Martin grew up in Haines and graduated from the high school in 1975. Years later, when both he and his wife worked at the school, Martin told her about his run-in with Ward.

“He told me that it really bothered him to go by the Karl Ward plaque, because he knew that Karl Ward was just a real creepy guy,” Rene, now the high school’s principal, told KHNS. “I said ‘well what do you mean by that?’ And at that time he told me that Karl Ward had tried to grab his penis. And he ran away and went and told his dad, who was Native. And his dad was like ‘okay you’re not really hurt.’ We’re Native and he’s the white superintendent. So you know, we just have to move on.”

After her husband’s suicide, Rene Martin disclosed that his allegations were on a video. The Chilkat Valley News began tracking down former students to corroborate the abuse. Four former students — Craig Loomis, Robert Brouillette, Nick Kokotovich and Roger Schnabel — eventually agreed to talk publicly about Ward’s advances. They told stories that were remarkably similar — Ward would invite students over to his house, give them alcohol and touch them.

“I don’t want to mention any other names, but I’m sure there’s probably more than a couple,” Loomis told the Valley News. “I should have said something 30 or 40 years ago. Whoever’s been suffering, we don’t know what their life would have been if we would have said something.”

Haines has responded positively to the painful story, Borough Manager Debra Schnabel explained to KHNS.

“That’s one of the things that’s so right about Rene Martin being willing to come forward,” Schnabel said. “It’s not to make a sensational story. But it’s to tell people, this is one person’s story. And if it’s happened to you, then it’s our story.”

Ward’s widow, Doris, lives in an assisted-living facility in the town. She declined to speak to the Associated Press. According to the facility’s nurse administrator, she is “in shock and she’s in mourning for the life she thought she had.”

The gym sign honoring Ward at the high school — the same sign that reminded Rick Martin about his alleged abuse decades ago — has been taken down.

“We had to take it down for me to be able to go back to school, quite honestly,” his widow told KHNS.

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Younger Made Up a Book Pitch Good Enough to Get Published in Real Life

Younger’s fun-house mirror version of the publishing industry is bleeding over into our world — which means soon we’ll all start believing Sutton Foster is in her 20s, too. Per EW, Simon & Schuster is publishing actual copies of the show’s fictional novel Marriage Vacation, a dishy, thinly veiled tell-all written by Jennifer Westfeldt’s character Pauline about her ex-husband Charles (Peter Hermann). The real-life version of the book, out in June, is supposed to “serve as a standalone novel as it tells the story of a woman who leaves her marriage to go on a journey of self-discovery” — though of course it will also include the steamy sex scene on page 58 all the characters on the show keep talking about. Someone please publish the show’s Crown of Kings books next.

Original Post: http://www.vulture.com/2018/03/youngers-fake-book-is-getting-published-in-real-life.html?utm_campaign=vulture&utm_source=fb&utm_medium=s1

Halle Berry At Center Of ‘Jagged Edge’ Remake At Sony Pictures

EXCLUSIVE: Sony Pictures is in the early stages of mounting a remake of the 1985 thriller Jagged Edge, as a star vehicle for Halle Berry. The effort is being led by Steven Bersch, the Sony Worldwide Acquisitions Group head who took over the genre arm Screen Gems. This one could very well be a standard Sony release, but they’re still working that out. The project is a priority and the studio has begun the search for the right writer to draft the new version.

Matti Leshem and Doug Belgrad will produce it. Scott Strauss will oversee for the studio.

Directed by Richard Marquand from a Joe Eszterhas script, the original starred Glenn Close, Jeff Bridges and Robert Loggia, latter of whom got an Oscar nomination. In the original, a San Francisco heiress is brutally murdered in her remote beach house. Her dashing newspaper publisher husband Jack is accused of committing the gruesome crime. He hires lawyer Teddy Barnes to defend him, and their chemistry spills into an affair. Even though the lawyer is falling in love, can’t shake the feeling that something isn’t quite right with the case, with the killer sending anonymous notes pecked out on an old typewriter. Is Jack the key to a happy future for the lawyer if she can get him acquitted in a courtroom, or is he a sociopath? The original was released when sexually charged whodunits were the rage. With TV minting money relaunching classic series like Roseanne, refashioning 80s concepts for price-minded updates seems a clever idea.

Weimaraner Republic Pictures’ Leshem has had success in female-driven thrillers, and Belgrad as an exec supervised the sleeper shark hit The Shallows, which made for an easy team up on this.

Berry was last seen in Kingsman: Golden Circle and Kidnap, and starred in the X-Men franchise and won her Oscar for Monster’s Ball. She’s repped by Mamagement 360 and WME.

Original Article: http://deadline.com/2018/04/jagged-edge-remake-halle-berry-sony-pictures-steven-bersch-1202359761/