|TREVOR NOAHTHE HELLNOMINEESOSCAR|
EXCLUSIVE: Three episodes in, the digital The Daily Social Distancing Show with Trevor Noah is making the leap to linear television. Starting on Monday, March 23, The Daily Social Distancing Show, produced and distributed remotely, with Noah and the The Daily Show team working from their homes, will air weeknights in The Daily Show‘s 11 PM time slot on Comedy Central, part of ViacomCBS Entertainment & Youth Brands Group.
Following the production shutdown of all late-night shows at the end of last week amid an escalating COVID-19 pandemic, they started to return one by one with online videos featuring the hosts doing monologues and remote celebrity interviews from their homes. Stephen Colbert and Jimmy Fallon’s videos have migrated to TV, opening that night’s rerun of CBS’ The Late Show with Stephen Colbert and NBC’s The Tonight Show Starring Jimmy Fallon, respectively.
The Daily Social Distancing Show with Trevor Noah launched on Wednesday, a couple of days after The Tonight Show, The Late Show and ABC’s Jimmy Kimmel Live started their daily videos.
From the start, The Daily Social Distancing Show with Trevor Noah, distributed via the program’s online and social channels, was the most elaborate among its YouTube-bound late-night brethren, featuring complex editing involving numerous short clips as well as images and graphics. It has been a ratings success, with the digital series amassing 3+ million viewers per episode within 24 hours of release on YouTube alone.
Now The Daily Show is the first late-night program to forego reruns, with a goal for new content to fill the show’s 11-11:30 PM slot nightly. The Daily Social Distancing Show also will continue to be available on the series' social channels. That is expected to set a template for the other late-night shows, many of which are longer in length on linear TV, making the transition more difficult. It also involves bringing homemade video production up to meet the broadcast standards.
The Daily Social Distancing Show‘s digital editions have varied in length between 12-18 min with no commercials, so expanding the episodes to fill a 20something minute slot with no commercials won’t be a stretch. The show also tested monologues, celebrity interviews and pieces with correspondents over the last three nights. Moving forward, Noah will also continue the donation drive supporting the charities No Kid Hungry and City Harvest.
Over the three digital editions, The Daily Show has covered an Italian success story, the closing of the U.S.-Canada border, America’s governors taking matters into their own hands amid President Trump’s misinformation and spring breakers insisting on partying. Plus Daily Show Correspondents Roy Wood Jr. and Jaboukie Young-White have checked in...
Love Is Blind, which wraps up its 10-episode run on Netflix this week, is the trashy reality show America loves to hate-watch. Besides a lurid and ridiculous concept couples date in sight-proof pods and get engaged sight unseen the dominant feeling of watching it is similar to a horror movie where we know something the characters don't know. We see an obvious relationship pitfall coming a mile away no physical chemistry, one person is actually a robot, etc shout “DON'T GO IN THERE!” but the characters ignore us for three episodes, giving naively cheerful one-on-one interviews in which they tell the camera, wide eyed and innocent, why they think it's a really great idea to run up the stairs, actually.
In the show, which waffles between “way too real” and “incredibly fake” whenever Kardashian wannabe Gianinna is onscreen, the initial appeal came largely from Diamond and Carlton, who had a blow out fight by the pool in Mexico in which Carlton transparently projected his feelings of inadequacy onto Diamond and ridiculed her wig for it. Once they left the show, the big draw was Jessica and Mark, a 34-year-old “regional manager” and 24-year-old fitness trainer, respectively, the former of whom clearly was not attracted to the latter. Yet for some reason, they persisted.
As a friend put it recently, “the show should just be called 'Mark Is Blind.'”
It's tempting to say “poor Mark,” but I think we've all been Mark. At 24, he was the show's youngest competitor contestant? guinea pig?, and of all the pieces of wisdom one gains in one's twenties, chief among them is knowing not to chase someone who isn't into you. Run away! Run away and count your blessings.
Now, imagine if your own learning experience had been televised. It must be a little like that for Mark Cuevas, who filmed Love Is Blind in late 2018. He spent 17 days in the Love Is Blind petri dish, his access to the outside world greatly restricted no phones, no TV and now he and his fellow reality show stars' stir-crazy relationship drama is distraction fodder for sickos like me.
To complicate matters, one of the things that made Love Is Blind different from other dating shows is the cast all lived in the Atlanta area. Which would seem to make anonymity even harder. I got the chance to speak to Mark this week, about what it's like living through this bizarre experience, and just what the hell he was thinking when he signed up for it.
So how did you get cast in this show?
Well, they actually reached out to me. They found me on Instagram. It's not that I had like a big following or anything either, I had like 1,200 followers or something like that at the time. They're like, “If you're interested, fill this out, questionnaire, we'll be on a tech call,...
Ladj Ly's Cannes Film Festival Jury Prize laureate Les Misérables was the big winner at Friday night's 45th annual César Awards, France's equivalent to the Oscars, including taking the top honor of Best Film. The night unfolded, however, under tumultuous conditions owing to controversy surrounding Roman Polanski, whose An Officer and a Spy was the leading nominee going in with 12 mentions.
The filmmaker was not in attendance, but his film won three prizes including Best Director — an occurrence that caused walkouts from the Salle Pleyel, which earlier in the evening had been the site of protests by feminist organizations.
Polanski on Thursday said he would not attend the local industry's biggest night. “Activists are threatening me with a public lynching. Some have called for demonstrations, others are planning to make it a platform,” he said. “This promises to look more like a symposium than a celebration of cinema designed to reward its greatest talents,” the Oscar winner told AFP.
Earlier today, Officer and a Spy producer Alain Goldman told AFP he and the film's team had decided not to attend amid “an escalation of inappropriate and violent language and behavior.” Star Jean Dujardin on Instagram posted a photo from the film whose French title is J'Accuse, a term adopted by protesters against Polanski and wrote, “I'd just like to remind that J'Accuse is the title of a very famous article by Emile Zola, I hope that doesn't bother anyone? Have a good night!”
The Académie des Arts et Techniques du Cinéma is itself in upheaval with the board of its management, the Association for the Promotion of Cinema, having recently announced its intention to resign en masse. That follows upset within the voting membership which has complained of an “elitist and closed” system in which they have “no voice.” A revamp of the Académie is due to begin soon with Amour producer Margaret Menegoz recently named its interim president.
The rest of the evenings nominees included such titles as Ly's Oscar-nominated Les Misérables, Nicolas Bedos' La Belle Epoque and Céline Sciamma's Portrait of a Lady on Fire. The latter included a Best Actress mention for Adèle Haenel, who has made headlines for accusing French director Christophe Ruggia of sexually harassing her from the age of 12, and has been outspoken with regard to the nominations for Polanski.
Here is tonight's full list of winners:
BEST FILMLes Misérables, dir: Ladj Ly
BEST DIRECTORRoman Polanski — An Officer And A Spy
BEST ACTRESSAnais Demoustier — Alice Et Le Maire
BEST ACTORRoschdy Zem — Roubaix, Une Lumière
BEST SUPPORTING ACTORSwann Arlaud — Grace A Dieu
Every studio is juggling: When will their movies be finished, and when can theaters reopen? If we are to believe the National Association of Theater Owners spokesman John Fithian, this moving, 3D jigsaw puzzle will come together as early as June. Movies intended for the spring and early summer schedule will move forward, and unfinished movies will push back to the already-crowded 2021.
However, that doesn’t even begin to touch the complex matrix that would-be Oscar nominees face in 2020: How are buyers going to find these films in the face of an uncertain festival environment — and, once theaters can open, how will they find screens amidst a glut of delayed blockbusters?
One thing is certain: None of this will be easy, and no one has the time to mess with anything that isn’t actually up to snuff. As Fithian finished a Friday online meeting with some 700 global exhibitors, vendors, and press, Disney dropped its revised release schedule. Its first theatrical movie to go straight to Disney+ will be the bad-buzz title “Artemis Fowl.” Even Exhibitor Relations tweeted: “As expected, Disney’s ‘Artemis Fowl’ will debut exclusively on Disney+… where it always belonged.”
As expected, Disney’s ARTEMIS FOWL will debut exclusively on Disney+…where it always belonged.
Release date: TBD.
— Exhibitor Relations Co. 2: Box Office Boogaloo @ERCboxoffice April 3, 2020
Likely to change is Disney’s next release, Pixar’s “Soul,” on June 19. Even NATO doesn’t believe most movies will be able to open nationwide until July, where Warner Bros.’ Christopher Nolan tentpole “Tenet” still sits on July 18. Nolan is the heartfelt champion of exhibitors, even penning an op-ed in The Washington Post at Fithian’s behest.
Most movies shifting their dates are mainstream pictures and unlikely Oscar contenders in the best of times except for animated features: Live-action remake “Mulan” is now July 24 and Marvel’s “Black Widow” is November 6. As for those titles more likely to be considered — well, currently it looks a little lean.
Optimistically, Ridley Scott’s “The Last Duel,” starring Matt Damon and Ben Affleck which interrupted its production schedule is now set for limited release December 25. That suggests Disney label Twentieth Century holds out hope for Oscar consideration.
On the studio side, Jon M. Chu’s adaptation of Lin-Manuel Miranda musical “In the Heights” remains undated for Warner Bros. — the director promises a theatrical release — while Steven Spielberg’s musical “West Side Story” should easily complete post-production in time for its December 18...