by Dominic Patten via deadline.com
“As we radically reimagine Hollywood, it is critically important that young people are included in our vision,” Ava DuVernay said today at the unveiling of the Evolve Entertainment Fund in Los Angeles.
“Real change happens when we take tangible action, and that means giving young women and people of color opportunities in the industry early on so they have the chance to shape its future,” the A Wrinkle on Time director and ARRAY founder added of the new partnership between the City of L.A, studios, networks and nonprofits that seeks to provide placement in the industry for those traditionally left on the outside.
“What is one thing that people can do to instigate inclusion on film set? Hire a woman,” Oscar nominee DuVernay also made a point of noting. “Films directed by women have 76% percent more inclusion across people of color and women.”
Teaming-up with the Academy of Motion Picture Arts and Sciences, Issa Rae Productions, Dan Lin’s Rideback, ARRAY, WME, Netflix, HBO, Film Independent, CAA, UTA, Anonymous Content, Lionsgate, Charles D King’s MACRO, Oprah Winfrey Network, the Sundance Institute, Shondaland, Ryan Murphy, Innovative Artists and Warner Bros, among others, the EEF intends to raise over $5 million to fund programs up to and beyond 2020.
With emphasis on creating TV, film and digital career opportunities for people of color, women and low-income residents of the City of Angles and securing mini-grants and placement for eligible filmmakers, the newly announced EEF has already established 150 paid summer internships for students participating in the HIRE LA’s Youth program working with 9-1-1 EP Murphy’s production company, DreamWorks Animation and Kobe Bryant’s Granity Studios. The hope is that the trajectory of those internships will expand to 250 by the end of the year, and up to 500 placements by 2020.
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“Black Panther” has grossed the second-highest four-day total of all time, behind only “Star Wars: The Force Awakens” at $288.1 million and $400,000 ahead of “Star Wars: The Last Jedi.”
Disney also reported Tuesday that the international total has reached $184.6 million to lift the worldwide take to $426.6 million, led by South Korea at $27.1 million and the U.K. at $26.7 million.
The tentpole, starring Chadwick Boseman and directed by Ryan Coogler, has blown past its original tracking. The film, which carries an estimated $200 million production budget, had been tracking to bring in between an impressive $100 and $120 million when first projections emerged on Jan. 25.
Since then, “Black Panther” has become a must-see event as it’s veered into record-setting territory and has continued to shatter all projections since then. It has the highest three-day debut ever for a February film and the fifth-biggest of all time behind only “Star Wars: The Force Awakens” at $248 million, “Star Wars: The Last Jedi” at $220 million, “Jurassic World” at $208.8 million, and “The Avengers” at $207.4 million.
“Black Panther” has demolished the record for the largest Presidents Day weekend, blowing past “Deadpool’s” 2016 mark of $152 million.
Source: http://variety.com/2018/film/news/black-panther-box-office-tops-star-wars-last-jedi-1202704917/
The Ryan Coogler-directed movie — unprecedented in being a big-budget studio tentpole featuring a virtually all-black cast — secured the fifth-biggest domestic opening of all time after blasting past all expectations. It’s also the best launch of any superhero film behind fellow Marvel title The Avengers (2012), which earned $207.4 million in its first three days, not accounting for inflation.
The weekend isn’t over, however, and Black Panther could climb even higher. Many rival studios show a four-day total of $222 million to $225 million, as well as a higher three-day total in the $195 million range.
Other records broken include that of the biggest opening for an African-American director, the top-scoring superhero film on Rotten Tomatoes (97 percent) and the biggest February bow, supplanting previous champ Deadpool, which took in $152.2 million over the four-day Presidents Day weekend in 2016.
Playing in 4,020 theaters, Black Panther was fueled by a diverse audience. According to comScore, 37 percent of ticket buyers were African-American. Caucasians made up the next largest group (35 percent), followed by Hispanics (18 percent). That sort of demographic breakdown is unheard of for a marquee superhero tentpole. On average, African-Americans make up about 15 percent of the audience for such fare.
“There are seven billion people on this planet and they come from all walks of life. Audiences deserve to see themselves reflected on the big screen. Beyond being the right thing to do, it makes for richer storytelling,” says Disney distribution chief Dave Hollis.
Adds Imax Entertainment CEO Greg Foster, “Representation matters. Get Out, Wonder Woman, Coco and now Black Panther show Hollywood that authenticity and inclusiveness wins.”
Black Panther, which cost $200 million to make before marketing, was a bold move on the part of Disney and Marvel’s Kevin Feige.
In the film, Chadwick Boseman stars as T’Challa/Black Panther alongside Lupita Nyong’o, Michael B. Jordan, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker and Andy Serkis. The story, described as a tale of black power and black pride in addition to its superhero themes, follows T’Challa as he is sworn in as king of Wakanda, a cloaked, technologically advanced nation in Africa that is home to the exotic metal vibranium, the source of Black Panther’s powers.
Audiences bestowed Black Panther with an A+ CinemaScore (the only other Marvel title to earn the mark was Avengers).
Black Panther hits theaters almost a year after Jordan Peele‘s maverick horror film Get Out transformed into a box-office sensation, although that was a genre pic. And in summer 2017, filmmaker Patty Jenkins’ Wonder Woman, featuring a female protagonist, became the highest-grossing live-action film from a female director.
Overseas — where American films with a black cast can face challenges — Black Panther opened in virtually every major market save for Russia (Feb. 22), Japan (March 1) and China (March 9). The movie earned a mighty $169 million for an estimated global bow of $387 million through Monday, including a hefty $52 million from Imax locations around the world.
Black Panther came in ahead of expectations overseas, but certainly not to the extent it did in North America. Still, it secured the fifteenth-biggest international opening of all time, opening No. 1 in almost every territory. South Korea led with $25.3 million, the fifth-biggest start ever for a Western title. The U.K./Ireland followed with a $24.8 million launch, the best showing of any Marvel title behind Avengers: Age of Ultron and eclipsing the entire runs of Justice League, Ant-Man and the first installments in the Captain America and Thor franchises.
In North America, the only movies that dared to open nationwide opposite Black Panther were Lionsgate and Aardman Animation’s family film Early Man and PureFlix’s faith-based pic Samson. Early Man placed No. 7 with an estimated four-day gross of $4.2 million from 2,492 theaters, while Samson came in No. 11 with an estimated $2.4 million from 1,249 cinemas.
Source: https://www.hollywoodreporter.com/heat-vision/weekend-box-office-black-panther-bounds-record-shattering-218m-debut-1085932
by Ricky Riley via blavity.com
With just a few more days until its release, Marvel‘s next installment into their cinematic universe, Black Panther, has already started shaping the imaginations of a generation of kids.
London-based Nigerian photographer Àsìkò, who goes by @asiko_artist on social media, decided to highlight this by recreating the sensational character posters with kids inspired by the film. Àsìkò shared a few individual pictures from the series on Instagram and wrote about why Black Panther matters and what it means to him as comic lover.
“As a kid who read comics black panther was one of the very few superheroes I came across,” he wrote. “For a child it is a beautiful thing to see yourself represented in a positive light in pop culture. What is also great is that it’s a hero steeped in culture and heritage and not drug deals or street thugging.”
“The images are inspired by the movie character posters and will be displayed at the BFI on its opening film night this Friday evening,” he added.
Àsìkò wrote that the photos were commissioned by the Talent Agency @lookslikemeuk. On his page, he posted a series of pictures featuring young kids channeling characters from the film, along with captions that include moving letters from fans on why black representation in film matters.
To read more, go to: https://blavity.com/these-awesome-kids-channelled-their-inner-black-panther-to-recreate-posters-for-the-film
by J’na Jefferson via vibe.com
Taylor Richardson, a 14-year-old aspiring astronaut from Jacksonville, Fla., exceeded her goal of raising money to send 1,000 girls to see the upcoming film A Wrinkle In Time. As of press time, her GoFundMe page for the goal has raised $17,455 of her $15,000 goal.
“This campaign is so very important to me because it will give me the opportunity to change not only girls perception of STEM [science, technology, engineering, mathematics] and space exploration but boys as well,” explains Richardson in her original post about her goal.
A Wrinkle In Time stars Oprah Winfrey, Mindy Kaling and Reese Witherspoon, and is directed by Ava DuVernay. The story tells the tale of a young girl, her friend and her brother, who are transported through time and space to a new world to rescue the girl’s father, a scientist who is being held prisoner on another planet.
Richardson was recently named a member of Teen Vogue’s Class of 2017 21 under 21 for girls who are changing the world. The self-proclaimed “STEMinist” recently attended the publication’s first ever Teen Vogue Summit in Los Angeles, and also spoke on the panel of TEDxFSCJ [Florida State College at Jacksonville] Salon: Rediscovering Space. Last year, Richardson raised money to have 1,000 girls see the science film, Hidden Figures.
I cannot believe it but I have the best news ever! Thanks to the kindness of… https://t.co/GiZ94W5FKQ
— Taylor Denise Richardson (@astrostarbright) February 8, 2018
“This campaign [“Send 1,000 Girls To Wrinkle In Time”] means a lot to me because it shows a female protagonist in a science fiction film,” she wrote in her most recent update. “Girls will know that the possibility of going into space, exploring other planets, being rocket scientists, engineers, mathematicians and astronauts for them is not that it is limited but limitless!”
A Wrinkle in Time is based on the 1962 science fiction novel by Madeleine L’Engle.
Source: https://www.vibe.com/2018/02/a-wrinkle-in-time-gofundme/
by Ramin Satoodeh via Variety.com
Chadwick Boseman struggled to catch his breath after he was cast as Black Panther. When he first tried on his spandex suit for 2016’s “Captain America: Civil War,” it felt too restricting. “It was suffocating,” recalls Boseman. “Literally, it closed off every possibility of air getting to you. I was in it, put the mask on. I said, ‘Hey, you got to get me out of this!’” By the time he headlined his own movie, as the first black Marvel superhero with his name on the poster, Boseman was more comfortable in his re-engineered costume. “I think it begins to feel like skin after a while,” says the 41-year-old actor. “But it takes time to get to that place.”
The same can be said for Disney’s long-awaited tentpole “Black Panther,” which opens in theaters on Feb. 16. For decades, actors, directors, producers and fans have wondered why Hollywood was so slow to bring black superheroes to the big screen. It’s not that there weren’t attempts along the way. In the ’90s, Warner Bros. had originally tapped Marlon Wayans to portray Robin in a “Batman” movie, before Chris O’Donnell landed the sidekick role. Wesley Snipes starred in the vampire superhero franchise “Blade,” which spawned two sequels. In 2004, Halle Berry headlined “Catwoman,” which was ridiculed by critics and tanked at the box office. And 12 years later, Will Smith, the co-star of the juggernaut “Men in Black,” popped up in “Suicide Squad” as the under-seen assassin Deadshot.
“Black Panther,” directed by Ryan Coogler, is a movie that doubles as a movement, or at least a moment that feels groundbreaking in the same way that last year’s runaway hit “Wonder Woman” inspired millions of women. “Panther” marks the first time that a major studio has greenlit a black superhero movie with an African-American director and a primarily black cast, including Forest Whitaker, Angela Bassett, Michael B. Jordan, Lupita Nyong’o, Danai Gurira and Letitia Wright as Shuri, the princess of the fictional African country Wakanda.
The reality of this milestone isn’t lost on Coogler, the 31-year-old director of the Sundance darling “Fruitvale Station” and the “Rocky” sequel “Creed.” “I think progress comes in ebbs and flows,” Coogler says. “I hope things continue to open up. As more content gets made, more opportunities like ours can come about for folks. But you’ve got to put your foot on the gas when it comes to that or things can go back to where they were.”
“Black Panther” chronicles an origin story for a Marvel character who first made his debut in the comic books in 1966. On the big screen, he’s a warrior named T’Challa, who returns home to an Afro-futuristic country to inherit the throne as king. The release of the movie coincides with a crossroads in America. Racial tensions are heightened as a result of a president who continually makes reprehensible remarks about immigrants from nonwhite countries. “Black Panther” also arrives on the heels of #OscarsSoWhite, the two consecutive years (2015 and 2016) that the Motion Picture Academy failed to nominate any actors of color for awards.
Anticipation for the release of “Black Panther” is much higher than for the last outings from Batman and Thor. In May 2016, the hashtag #BlackPantherSoLIT started trending on Twitter as casting details around the movie emerged. “Panther” is poised to break box office records for February, a typically quieter time as audiences catch up on romantic comedies around Valentine’s Day. Marvel’s latest crown jewel is tracking to gross an estimated $150 million on its opening weekend. Strong business for “Black Panther,” which cost nearly $200 million to produce and roughly $150 million more to market, would send a clear message to the movie industry that certain communities are still widely underserved. While domestic ticket sales plummeted last year, the number of frequent African-American moviegoers nearly doubled to 5.6 million in 2016, according to a survey by the Motion Picture Assn. of America.
Some are paying attention. “Representation matters,” says Alan Horn, chairman of Walt Disney Studios, which owns Marvel. “It’s a powerful and important thing for people to know they are seen and to see themselves reflected in our films and the stories we tell.” Horn believes that “Black Panther” is part of a wave of change. “In terms of gender diversity, we’ve done very well,” he says, pointing to his studio’s own roster that includes “Beauty and the Beast,” “Coco” and the upcoming live-action “Mulan.” “When it comes to diversity reflecting color and ethnicity, I’d say yes, you will see more.”
by Lori Lakin Hutcherson (@lakinhutcherson)
The U.S. Postal Service today celebrates the life and legacy of Lena Horne as the 41st honoree in the Black Heritage stamp series during a first-day-of-issue ceremony at Peter Norton Symphony Space.
“Today, we honor the 70-year career of a true American legend,” said Deputy Postmaster General Ronald Stroman, who dedicated the stamp. “With this Forever stamp, the Postal Service celebrates a woman who used her platform as a renowned entertainer to become a prolific voice for civil rights advancement and gender equality.”
Joining Stroman to unveil the stamp were Gail Lumet Buckley, an author and Horne’s daughter; Christian Steiner, photographer; and Amy Niles, president and chief executive officer, WBGO Radio.
The stamp art features a photograph of Lena Horne taken by Christian Steiner in the 1980s. Kristen Monthei colorized the original black-and-white photo using a royal blue for the dress, a color Horne frequently wore. Monthei also added a background reminiscent of Horne’s Stormy Weather album, with a few clouds to add texture and to subtly evoke the album title. Art director Ethel Kessler designed the stamp. Anyone can share the news of the stamp using the hashtags #LenaHorneForever and #BlackHeritageStamps.
Born in Brooklyn, NY, on June 30, 1917, Horne was a trailblazer in Hollywood for women of color and used her fame to inspire Americans as a dedicated activist for civil rights.
Horne began her career as a dancer at Harlem’s Cotton Club and later became a featured vocalist with touring orchestras. The rampant racial discrimination she encountered from audiences, hotel and venue managers and others was so disconcerting that she stopped touring, and in 1941, she made her move to Hollywood. A year later, she signed a contract with MGM — one of the first long-term contracts with a major Hollywood studio — with the stipulation that she would never be asked to take stereotypical roles then available to black actors. Her most famous movie roles were in Cabin in the Sky and Stormy Weather, both released in 1943.
https://www.youtube.com/watch?v=zJvYo5pZEfE
During World War II, Horne entertained at camps for black servicemen, and after the war worked on behalf of Japanese Americans who were facing discriminatory housing policies. She worked with Eleanor Roosevelt in pressing for anti-lynching legislation. In the 1960s, Horne continued her high-profile work for civil rights, performing at rallies in the South, supporting the work of the National Council for Negro Women, and participating in the 1963 March on Washington.
Horne’s awards and honors include a special Tony Award for her one-woman Broadway show, Lena Horne: The Lady and Her Music; three Grammy Awards; the NAACP Spingarn Medal; and the Actors Equity Paul Robeson Award. She was a Kennedy Center Honors recipient in 1984, and her name is among those on the International Civil Rights Walk of Fame at the Martin Luther King Jr. National Historic Site.
Customers may purchase the Lena Horne Forever stamp at The Postal Store at usps.com/shop, by calling 800-STAMP24 (800-782-6724) and at Post Office facilities nationwide. A variety of stamps and collectibles also are available at ebay.com/stamps.
Emmy winner Lena Waithe‘s “The Chi” has been renewed for a second season at Showtime, the premium cabler announced Tuesday.
The renewal comes after the series has aired just four episodes of its 10 episode first season. In addition, Ayanna Floyd Davis has signed on for Season 2 as executive producer and showrunner. Davis, who wrote the third episode of the series, has written for and produced shows such as “Empire,” “Hannibal,” and “Private Practice.”
Produced entirely in Chicago, “The Chi” is a coming-of-age story centering on a group of residents who become linked by coincidence but bonded by the need for connection and redemption on the city’s South Side. The series was created and executive produced by actor/writer Waithe.
The ensemble cast for Season 1 includes Jason Mitchel, Jacob Latimore, Ntare Guma Mbaho Mwine, Alex Hibbert, Yolonda Ross, Armando Riesco, and Tiffany Boone.
Source: http://variety.com/2018/tv/news/the-chi-renewed-season-2-showtime-1202681682/
Annapurna Pictures has purchased the film “Sorry to Bother You” following its premiere at the Sundance Film Festival. The workplace satire sold in a competitive seven-figure deal, with the studio picking up worldwide rights.
“Sorry to Bother You” centers on an Oakland-based telemarketer named Cassius Green who discovers a magical key to professional success. It takes on such topics as racism and corporate greed — some buyers felt its satire was deft, while others griped that it juggled too many ideas.
The film stars Lakeith Stansfield (“Atlanta”, “Get Out”), Tessa Thompson (“Creed”), Armie Hammer (“Call Me by Your Name”), David Cross (“Arrested Development”), and Terry Crews (“Brooklyn Nine-Nine”). It was written and directed by Boots Riley, who is better known as a musician. He provides vocals for The Coup and Street Sweeper Social Club.
Annapurna, which specializes in auteur-driven fare such as “The Master” and “Detroit,” was pretty blunt about its love for the picture. “We f—ing love this movie,” the studio said in a statement.
The film was produced by Nina Yang Bongiovi, Forest Whitaker, Charles D. King, George Rush, Jonathan Duffy, and Kelly Williams. It was co-financed by MNM Creative, MACRO, and Cinereach.
To read full article, go to: http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/
Tiffany Haddish has signed a first-look deal with HBO.
The two-year pact with Haddish and her She Ready production company comes on the heels of a breakout year for the comic, who won a New York Film Critics Circle best supporting actress award for her performance in 2017’s “Girls Trip.” Her book “The Last Black Unicorn,” released last month by Gallery Books, was named a New York Times best seller. Her new stand-up special “Tiffany Haddish: She Ready!” premiered on Showtime last year, and Haddish recently announced 2018 dates for her new stand-up tour.
Haddish will next star opposite Tracy Morgan in TBS’ “The Last OG,” which premieres in April on TBS. She will also star alongside Kevin Hart in Universal’s feature film “Night School,” set to premiere in September.
Among her other upcoming projects are starring roles in New Line’s “The Kitchen” and Universal’s “The Temp,” with Haddish set to serve as executive producer on the latter film. The comic also has “Limited Partners” in development at Paramount, and is set to star in and serve as an exec producer on the project. She recently wrapped production on “The Oath” alongside Ike Barinholtz.
Source: http://variety.com/2018/tv/news/tiffany-haddish-hbo-1202675335/