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Network president Susan Zirinsky thanked executive producer Chris Licht and 'the Colbert crew.'
Last Wednesday, CBS News president Susan Zirinsky announced the temporary closure and cleaning of two network buildings in New York City due to an outbreak of the novel coronavirus. But, she said that she expected both buildings to re-open on Monday of this week.
In a new memo on Wednesday morning, however, Zirinsky told staffers that the buildings will not be opening.
"We all have to make daily adjustments to our lives during this health crisis," she wrote. "In an abundance of caution, ViacomCBS is temporarily moving operations out of the Broadcast Center/555 Building and diversifying locations. This applies to all CBS divisions, including Sports, WCBS TV, COE operations and, of course, CBS News."
Starting Thursday, the network's morning show — CBS This Morning — will now broadcast from The Ed Sullivan Theater, home of The Late Show with Stephen Colbert.
Zirinsky thanked Late Show executive producer Chris Licht "and the Colbert crew who will be handling all technical operations out of the Ed Sullivan Theater."
She also provided an update on the six CBS News employees who have tested positive for the virus.
"Many of you have asked about our colleagues who are sick," Zirinsky wrote. "We're all deeply concerned about those who have contracted COVID-19 and thinking of them as they recover. We have not had any confirmed cases beyond what we shared on Monday, although we await the results of a few more tests."
Speaking broadly about the network's coverage of the outbreak, she said, "There has never been a bigger story impacting every community in our country and across the globe in our lifetime. It touches everyone. Covering the pandemic every day - every development - with the right tone, context and comprehensive, fact-based reporting — this is our critical mission. You are rising to this challenge, day and night. Thank you to your commitment to the public. Thank you for your sensitivity to the story and to each other during these times."
Source: Hollywood Reporter
Being in a disagreement with the official Auschwitz Memorial is not an ideal position for anyone, but given the circumstances, Hunters creator and co-showrunner David Weil seems to be doing it about as respectfully and thoughtfully as possible.
Over the weekend, the official Auschwitz Memorial Twitter account criticized the new Amazon series, which stars Al Pacino as the leader of a group of Nazi hunters in the 1970s, for “inventing a fake game of human chess” for a concentration camp flashback, calling it “dangerous foolishness & caricature.” Now Weil has responded, explaining his decision in a way that comes off as level-headed instead of overly defensive.
Auschwitz was full of horrible pain & suffering documented in the accounts of survivors. Inventing a fake game of human chess for @huntersonprime is not only dangerous foolishness & caricature. It also welcomes future deniers. We honor the victims by preserving factual accuracy. pic.twitter.com/UM2KYmA4cw
— Auschwitz Memorial @AuschwitzMuseum February 23, 2020
Auschwitz was the most notorious concentration camp in the world, the site of unfathomable horrors and over a million deaths in the 1940s. Yesterday, the memorial’s official account condemned Hunters and tweeted an image of the fictional chess match scene in question, saying that they “honor the victims by preserving factual accuracy.” Weil responded in a letter to Deadline, pointing out that the show was never meant to be an exact recreation of historical events and explaining that he went out of his way to avoid depicting the “specific, real acts of trauma” that occurred there.
This is obviously a tricky topic, and it’s inevitable that people are going to feel strongly about it. From my perspective, all I can do is say that I appreciate how Weil’s response actually feels like it came from an adult who seems to be aware of the responsibility that comes with tackling a story which intersects with one of the most horrible eras of human history. This is clearly something that weighed heavily on the minds of the people who made the series: when we interviewed the co-showrunner, they told us “[The Holocaust scenes] were fictionalized, in part, because we didn’t think that we would have the ability to do those stories justice. We weren’t there for that.” We can talk all day about the quality of the series your mileage may vary, but at the very least, I feel like other showrunners should use this as an example of how to thoughtfully, tactfully, and respectfully respond to controversy.
Read Weil’s statement in full below.Hunter Creator’s Response to Auschwitz Memorial’s Criticism
Years ago I visited Auschwitz and I saw the gates my...
The former Dr. Harleen Quinzel may not have received the right movie one that brings in droves of comic book fans with Birds Of Prey, but the Harley Quinn animated series is an entirely different creature. Notably, the DC Universe streaming service has shown that they're willing to cut bait with shows that don't work, like James Wan's Swamp Thing, which received an immediate axe without ceremony. So, it says a lot that DC Universe is running hard and fast with more Harley, four months after her first season celebrated her free-wheeling, feminist romp on the way to finally ditch the ultimate bad and abusive boyfriend, the Joker. He's gone, after attempting during last season's finale to erase Harley by tossing her back into the transformative Ace Chemicals vat and ending up there himself. And the show's now even better for his omission.
When Mr. J laughed his last laugh, though, he also found a way to leave Gotham City and the Legion of Doom in shambles, which gives this sophomore season a marvelous jumping-off point. Basically, we're looking at the apocalyptic version of Gotham right now. The U.S. has disavowed the city, and the police force can't cope with the increasing pandemonium. Harley's just fine with all of this — actually, she's thrilled — and the season launches with more inappropriate humor, along with rampant profanity and violence, but it all feels more amplified. The F-bombs are strategically placed, with none going to waste, and the rip-roaring ride feels even faster than last time.
Granted, DC Universe has not released almost the whole second season to critics, like they did last year, so I can't assure you that the whole season is consistent, but it's off to a bang-up start. Harley has achieved her own sense of self, and she's pumped. She's no longer weighed down by a clown, but the enormous Gotham power void that he's left must be filled by someone, and as the season premiere reveals, is now filled by about 1000 a-holes. It's up to Harley and her gang all guys, and that's kind-of marvelous with her as the leader to narrow down that field of a*holes. Can she rise to that challenge? Fortunately, this version of Harley voiced by Kaley Cuoco has her head in the game unlike Margot Robbie's hollow character, who's in the DCEU wind, and the series keeps pretending that Suicide Squad doesn't exist.
Where does this Harley go after her emancipation has been established?DC Universe/Warner Bros.
A new principal challenge awaits, but also, this Harley is a tough-as-nails lady with heart. I mean, she actually saves a sushi chef from becoming a meal for King Shark. This shouldn't come as a surprise for existing viewers of this series, which sees her as less of a supervillain than an antihero. However, there's still a hell of a lot of guys behaving...
The first season of Star Trek: Picard was as frustratingly mixed as any first Trek season. As thrilling as it was to see Jean-Luc Picard return, its great ideas and story elements are tantalising moments amid a show that’s merely pretty good. The central story is solid. It’s the best-shot Star Trek show to date, shying away from shiny sci-fi precision in favour of earthy tones and messy spills of light. The inevitable moments of fan service mostly serve the story. And while its structure and texture is wildly different to any prior Treks, it still finds time to explore big ideas like the rest of them.
So by way of organisation, here are five things we loved about the season, and three we didn’t and by “we,” I mean “me”.Liked: The Returning Cast
First and foremost: Patrick Stewart. Reprising his most famous role after nearly two decades, Stewart plays Picard as the same bookish, steadfastly ethical, self-consciously stiff decision-maker he was – but softened with age. This Picard savours moments, rather than optimising them, granting us a more personal look into the character. It’s a really unique progression of a hero from commanding officer to retiree.
Though no other Next Generation-era figures return as regulars, several pop up in recurring roles, most significantly Jeri Ryan and Jonathan Del Arco as former Borg Seven of Nine and Hugh. It makes perfect sense to match Picard up with his fellow “XBs,” and their scenes together are some of the season’s best. Ryan especially gets super-solid dramatic meat to sink her teeth into. Poor Seven of Nine.
Stewart’s TNG co-stars are also responsible for the season’s most delightful passage, in which Picard and hybrid android Soji drop in on Will Riker, Deanna Troi, and their daughter Kestra, to whose development they are devoted after losing their son to an incurable degenerative illness. Between their loss, Picard’s own incurable brain abnormality, and the presence of “Data’s daughter,” conversation naturally turns to life, death, age, love, and loss. Beyond seeing Jonathan Frakes and Marina Sirtis again, it’s a surprising breather in a breathless show, allowing the characters to simply sit, talk, and enjoy some delicious wood-fired pizza.Liked: The New Cast
For a show trading so heavily on characters and concepts from a show that ended in 1994, Picard has a varied and interesting new cast. Santiago Cabrera delivers a cigar-chomping tour de force as Cristóbal Rios and his crew of holographic, variously-accented lookalikes: the season basically functions as a showreel for the actor. Ever-reliable ensemble player Alison Pill never delivers less than 110% in painting neurotic AI specialist Agnes Jurati’s unusual and emotional character arc. Romulan warrior-monk Elnor is a classic Star Trek character, defined...