HBO’s ‘Girls’ Hits Season-Premiere Low, ‘Togetherness’ Debuts Soft & ‘Looking’ Falls In Return
With 2.3 million viewers and the best HBO series debut since Boardwalk Empire, last year’s True Detective lead-in helped give Girls a series high of 1.1 million.
Written by Dunham and fellow EP Judd Apatow, the total viewership for Sunday’s debut was more in line with the Season 3 finale of March 23 last year. That airing had 670,000 total viewers. In fact, the Season 4 opener did 1% better than the Season 3 closer.
Following Girls was the series debut of Togetherness at 10 PM. The eight-episode series from brothers Jay and Mark Duplass about a couple of LA couples living in the same house had a very soft 427,000 viewers. Without a Game Of Thrones lead-in like Silicon Valley had for its series debut on April 6 last year, it is probably best to compare Togetherness’ premiere to the 872,000 beginning of Girls on April 15, 2o12, after Eastbound & Down, or the November 13, 2013 start of Getting On, which had 520,000 viewers after the fourth-season finale of Boardwalk Empire on a very competitive night. In either comparison, the new show does not have much standing.
Ending the night of premieres for HBO, the Season 2 launch of dramedy Looking drew 183,000 viewers. That’s down 45% from its January 19, 2014 debut. Following a non-premiere episode of Girls, that 10:30 show had a then-slight 338,000 total viewers. The March 9 Season 1 finale of Looking pulled about 420,000 viewers, down from the 519,000 season high of February 23, which had a particularly strong True Detective as a lead-in for that night.
Ryan Gosling to Star in Financial Drama ‘The Big Short’ (EXCLUSIVE)
Sources tell Variety that Pitt, Christian Bale and Ryan Gosling have come on board to star in “The Big Short,” Paramount and Plan B’s adaptation “The Big Short: Inside the Doomsday Machine,” which Adam McKay is writing and directing.
Lewis’ nonfiction tome tells the story of the build-up of the housing and credit bubble during the 2000s that led to the financial crisis of 2007-2010. Paramount had no comment.
Pitt will produce with DeDe Gardner through their Plan B banner. Production start date is unknown.
The book follows several key people who played a role in creating the disastrous credit bubble. The feature adaptation will likely feature several A-list actors who have similiar-sized roles, similar to the cast of “Traffic” or “The Counselor.”
As with “Moneyball,” Pitt has been very passionate about getting this adaptation onto the bigscreen.
His Plan B company has built a reputation for serious dramas that tackle important issues, with “12 Years a Slave” landing last year’s best picture Oscar and “Selma” deep in the Oscar race this year.
Pitt, who is repped by CAA and Brillstein Entertainment, was last seen in “Fury.” The WME-repped Bale was last seen in “Exodus: Gods and Kings” and will shoot the Travis McGee pic “The Deep Blue Goodby” this spring.
Gosling just wrapped production on the Warner Bros. thriller “The Nice Guys.” He is repped by Anonymous Content and LBI Entertainment.
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'Homeland' may avoid a Muslim terrorist storyline next season (but won't shy away from controversy)
Jan 12, 2015
By James Hibberd
Showtime’s Homeland might find a new threat to focus on for season 5.
The network’s president, David Nevins, says the show’s writer-producer Alex Gansa might find a fresh antagonist for CIA case officer Carrie Mathison (Claire Danes) to tackle when the show returns later this year. But the executive also firmly emphasized a decision has not yet been made and the story’s villain will be chosen for creative reasons— and to avoid repetition— rather than the recent terror attacks in Europe.
“Where they’re going to go next year is a little bit up in
the air,” Nevins told critics at the Television Critics Association’s
semi-annual press tour Monday. “We’re not necessarily going to stay now
and forever [focusing on] U.S. relations in the Muslim world. It’s a
show ultimately about U.S. foreign policy, U.S. intelligence in the 21st
century at a very difficult time. So we’re exploring a few different
possibilities and may change it up a little bit.”
Later, during an off-stage huddle with reporters, the
executive added: “The real franchise of the show is how difficult it is
to be America in the world in the 21st century, how difficult the
choices are. I think that’s a story that will remain relevant for as
long as they can come up with new stories. It could be Africa, it could
be Europe, it could be back in another place in the Middle East. I don’t
expect that show to fall into a formula. I can see it coming back to
the U.S. at some point.”
Referencing the Charlie Hebdo shooting in France and North
Korea’s alleged hacking of Sony, Nevins noted that “it’s a bit of a
scary time to be a maker of controversial, political truth. It’s been a
bad month for free speech around the world.”
Yet in terms of Homeland—which is based on an Israeli format and has focused on Muslim extremists and Middle East terrorists since it launched in 2011—the
executive said that none of the current attacks will prevent the show
from tackling sensitive international issues. “I hope [the attacks are]
not considered at all,” he said. “I really, really don’t want there to
be any limitations. I don’t expect there will be. They never shied away
from anything difficult. I want them to go right into the teeth of it
again.”
Homeland was criticized by officials in Pakistan and Israel
for its most recent season. Pakistan officials complained about how
their country was depicted as a war-torn “hellhole” that secretly
helps terrorists, while Israel objected to a line of dialogue about a
former Prime Minister.
“I thought the Pakistani embassy handled it the way they
were supposed to handle it,” Nevins said. “They made a statement through
the press representing their side. That’s how the game is supposed to
be played. It seems like the substance of their complaints is the U.S.
and Pakistani [governments] have a very long and successful relationship
and they’re united in the battle against terror—all of which are true. Some of the other sides [to Pakistan] the show brought up I think are also very defensible.”
Gansa is embarking on a fact-finding trip to D.C. later
this month, Nevins said. The showrunner typically interviews Washington
insiders and real-life intelligence operatives before deciding each
season’s narrative to bring more authenticity to the program. When Gansa
returns, he’ll lay out his plan for season 5. “It’s a very well
researched show,” Nevins said. “We spent a lot of time in Washington
last year. We’re going back to Washington in January. With that said,
it’s a work of fiction. I’m very defensive of their rights to tell
difficult stories in difficult parts of the world.”
— Natalie Abrams contributed to this report
CNN Teams Up With the FAA for Reporter Drones
The cable network is upping its efforts to include unmanned aerial vehicles into its newsgathering
by Michael O'Connell
CNN announced Monday that it has entered a deal with the Federal Aviation Administration to integrate drones into its newsgathering and reporting.
"Our aim is to get beyond hobby-grade equipment and to establish what options are available and workable to produce high-quality video journalism using various types of UAVs and camera setups," said CNN senior vp David Vigilante. "Our hope is that these efforts contribute to the development of a vibrant ecosystem where operators of various types and sizes can safely operate in the US airspace."
The pact, technically dubbed a Cooperative Research and Development Agreement, will integrate CNN's existing research collaboration on drones with Georgia Tech Research Institute. The new partnership is already underway, and the FAA will use the existing data to best decide how to use drones in reporting.
"Unmanned aircraft offer news organizations significant opportunities," added FAA administrator Michael Huerta. "We hope this agreement with CNN and the work we are doing with other news organizations and associations will help safely integrate unmanned newsgathering technology and operating procedures into the National Airspace System."
Drones are hard to avoid in the media these days. Just yesterday, the Golden Globes set a drone lose above its red carpet.
Mark and Jay Duplass talk moving to TV with HBO's 'Togetherness'
Jan 9, 2015
By Ray Rahman
Mumblecore filmmakers Jay and Mark Duplass regularly turn up on TV (The League, Transparent, The Mindy Project), but HBO’s Togetherness (debuting Jan. 11 at 9:30 p.m.) marks their first time making TV. EW chatted with the multitalented siblings about their new dramedy—and why filmmakers are increasingly turning toward the small screen.
How would you describe Togetherness? Jay: The simplest way for us to talk about the show is, it’s about when you’re trying to be a good friend, a good parent, a good husband—whatever it may be—and you’re also trying to make your own dreams come true. You feel like you’re a millimeter away from drowning.
You’ve made plenty of films (Jeff, Who Lives at Home; The Puffy Chair), but this is your first time making a TV show. Was there ever a point that this might have been a movie, or was it always a series?
Mark: It felt like a world that’s much larger than a 90-minute movie. We had a friendly relationship with HBO, and they’d always say, “Why don’t you make a show with us?” And we’ve always thought, “God, you make a TV show and it takes up your whole life!” Then we realized if we write and direct eight episodes, it’s like making two movies in a year. Then we were like, “Wait a minute—HBO’s going to support us, let us cast who we want, pay us nicely, and give us creative freedom, and when the show comes out they’re going to promote the shit out of it. Why have we not been doing this?” [Laughs]
Tell me about casting the show.
Jay: Steve Zissis, who plays Alex—the seed really began with him. Steve is our best friend from high school. Everyone in New Orleans knew who he was. He was the president of our prep school, he was the lead in all the plays, so everybody thought that he was going to be the president or Tom Hanks or both. What ended up happening was…it’s very hard to break through. We’ve been obsessed with him and wanting to find a way to bring him to the world. With the ladies, both Melanie [Lynskey] and Amanda [Peet] came in and read with us, and it was obvious within the first 30 seconds.
There’s a scene where a big-time producer says he doesn’t do movies anymore. Do you feel that the real action has shifted to TV?
Mark: The $5–10 million movie is a very fear-based place in art right now. They’re all losing money and everybody’s freaking out, and there’s a huge boon in television. The amount of fun and the great creative spirit of being at HBO right now, where they’re in the middle of this fantastic renaissance, it feels like being in Hollywood in the early ’70s in film. Or what I assume that was like.
Jay, now that you’re acting on Transparent, have you gotten the bug? When you work with Mark, is there a discussion that didn’t happen before about who will be acting?
Jay: Honestly, Togetherness is the first thing that Mark and I have made that I haven’t been the primary camera operator on. So it’s literally never even been a discussion.
Mark, for people who might know you from The League, how would you sell them on Togetherness?
Mark: I would say I play a completely different character because I’m wearing glasses. I really transformed myself, guys! And I actually even button that top button sometimes!
By Ray Rahman
Mumblecore filmmakers Jay and Mark Duplass regularly turn up on TV (The League, Transparent, The Mindy Project), but HBO’s Togetherness (debuting Jan. 11 at 9:30 p.m.) marks their first time making TV. EW chatted with the multitalented siblings about their new dramedy—and why filmmakers are increasingly turning toward the small screen.
How would you describe Togetherness? Jay: The simplest way for us to talk about the show is, it’s about when you’re trying to be a good friend, a good parent, a good husband—whatever it may be—and you’re also trying to make your own dreams come true. You feel like you’re a millimeter away from drowning.
You’ve made plenty of films (Jeff, Who Lives at Home; The Puffy Chair), but this is your first time making a TV show. Was there ever a point that this might have been a movie, or was it always a series?
Mark: It felt like a world that’s much larger than a 90-minute movie. We had a friendly relationship with HBO, and they’d always say, “Why don’t you make a show with us?” And we’ve always thought, “God, you make a TV show and it takes up your whole life!” Then we realized if we write and direct eight episodes, it’s like making two movies in a year. Then we were like, “Wait a minute—HBO’s going to support us, let us cast who we want, pay us nicely, and give us creative freedom, and when the show comes out they’re going to promote the shit out of it. Why have we not been doing this?” [Laughs]
Tell me about casting the show.
Jay: Steve Zissis, who plays Alex—the seed really began with him. Steve is our best friend from high school. Everyone in New Orleans knew who he was. He was the president of our prep school, he was the lead in all the plays, so everybody thought that he was going to be the president or Tom Hanks or both. What ended up happening was…it’s very hard to break through. We’ve been obsessed with him and wanting to find a way to bring him to the world. With the ladies, both Melanie [Lynskey] and Amanda [Peet] came in and read with us, and it was obvious within the first 30 seconds.
There’s a scene where a big-time producer says he doesn’t do movies anymore. Do you feel that the real action has shifted to TV?
Mark: The $5–10 million movie is a very fear-based place in art right now. They’re all losing money and everybody’s freaking out, and there’s a huge boon in television. The amount of fun and the great creative spirit of being at HBO right now, where they’re in the middle of this fantastic renaissance, it feels like being in Hollywood in the early ’70s in film. Or what I assume that was like.
Jay, now that you’re acting on Transparent, have you gotten the bug? When you work with Mark, is there a discussion that didn’t happen before about who will be acting?
Jay: Honestly, Togetherness is the first thing that Mark and I have made that I haven’t been the primary camera operator on. So it’s literally never even been a discussion.
Mark, for people who might know you from The League, how would you sell them on Togetherness?
Mark: I would say I play a completely different character because I’m wearing glasses. I really transformed myself, guys! And I actually even button that top button sometimes!
'Boyhood' wins top honors at Golden Globes
Richard Linklater's long journey to complete Boyhood is beginning to look pretty worthwhile.
The movie cemented its status as an Oscar frontrunner Sunday at the 72nd Golden Globe Awards. Boyhood was named best drama, Linklater won for best director and his star Patricia Arquette won for supporting actress for her portrayal of an underappreciated single mother.
"This is a very personal film for me, it couldn't be more personal, and it became very personal to everyone who worked on it," said Linklater, who filmed the coming-of-age movie once a year for 12 years.
"We're all flawed in this world, no one's perfect," he added, dedicating the director award to his parents and parents "who are evolving everywhere and families who are just passing through this world and doing their best."
Andrea Mandell and Bryan Alexander interview celebrities on the Golden Globes red carpet.
Arquette thanked her "visionary" director "for allowing me to be part of something so human, so simple and groundbreaking and significant in the history of cinema" and "for shining a light on this woman and the many women like her and for allowing me to honor my own mother with this incredible character."
Michael Keaton won for best actor in a musical or comedy and was one of two awards for Birdman, which also garnered best screenplay. It didn't win for best movie in its category, however — that honor went to Wes Anderson's The Grand Budapest Hotel.
Playing a former superhero-movie actor looking for a career comeback, Keaton said he was thankful for being in director Alejandro González Iñárritu's "unbelievably gutsy, polished look at human nature" and got choked up when talking about his friends, family and son.
"I'm so grateful from the bottom of my heart. You don't know what this means to me," he said.
Julianne Moore made herself the woman to beat at the Oscars by taking best actress in a drama for Still Alice, in which she plays a woman with early onset Alzheimer's. She said the filmmakers "wanted to celebrate who we are and what we value and who we love."
And The Theory of Everything star Eddie Redmayne, who plays theoretical physicist Stephen Hawking in the biopic, won an important victory in a tough dramatic actor field.
"This was a huge privilege. The Hawking family allowed us into their lives and entrusted us with their story," Redmayne said. "Getting to spend time with Stephen Hawking — who, despite all the obstacles put in his way, has lived passionately and fully and with great humor — was one of the great honors of my life."
The movie cemented its status as an Oscar frontrunner Sunday at the 72nd Golden Globe Awards. Boyhood was named best drama, Linklater won for best director and his star Patricia Arquette won for supporting actress for her portrayal of an underappreciated single mother.
"This is a very personal film for me, it couldn't be more personal, and it became very personal to everyone who worked on it," said Linklater, who filmed the coming-of-age movie once a year for 12 years.
"We're all flawed in this world, no one's perfect," he added, dedicating the director award to his parents and parents "who are evolving everywhere and families who are just passing through this world and doing their best."
Arquette thanked her "visionary" director "for allowing me to be part of something so human, so simple and groundbreaking and significant in the history of cinema" and "for shining a light on this woman and the many women like her and for allowing me to honor my own mother with this incredible character."
Playing a former superhero-movie actor looking for a career comeback, Keaton said he was thankful for being in director Alejandro González Iñárritu's "unbelievably gutsy, polished look at human nature" and got choked up when talking about his friends, family and son.
"I'm so grateful from the bottom of my heart. You don't know what this means to me," he said.
And The Theory of Everything star Eddie Redmayne, who plays theoretical physicist Stephen Hawking in the biopic, won an important victory in a tough dramatic actor field.
"This was a huge privilege. The Hawking family allowed us into their lives and entrusted us with their story," Redmayne said. "Getting to spend time with Stephen Hawking — who, despite all the obstacles put in his way, has lived passionately and fully and with great humor — was one of the great honors of my life."
Harvey Weinstein Guest Column: Paris Attacks a Fight Between ‘Good Versus Evil’
Harvey Weinstein / Guest Columnist
Photo by Getty
A longtime champion of social and political freedoms, onscreen and off, Oscar-winning producer-distributor Harvey Weinstein has written articles on our industry and world events for many leading publications. In light of last week’s tragic terror attack on France’s satirical weekly Charlie Hebdo, Variety editor-in-chief Claudia Eller and chief film critic Scott Foundas asked Weinstein to contribute a guest column on his thoughts and outlook, as follows.
When I was a college student, it gave me great pleasure to read about politics because it was my passion, along with film and journalism. I used to love reading Herblock cartoons in the Washington Post. And I loved Tom Toles’ cartoons from the Buffalo News (I went to school in Buffalo). Of course, Herblock went on to great success, as did Tom Toles, but they were always an insistent reminder that cartoon and caricature could be great weapons for good, and deterrents to bad.
This preamble hopefully illustrates the humanity and the affection that I think people have for cartoons. From the Sunday funnies like Harold Gray’s Little Oprhan Annie that helped us through the Depression, to Peanuts and Doonesbury, they sometimes provide better wisdom than known philosophers. I’ll take Charlie Brown over Rene Descartes, and put Linus in Socrates’ class, any day of the week. Although it’s Lucy who has the voice of a cartoonist — ironic, funny and eye-opening.
I send my condolences and sympathy to the editors, writers and especially to the families of Charlie Hebdo.
The tragedy in France is a stunning blow against freedom of speech and freedom of joy. It draws a parallel to the horrors of the Nazis and their mad attempt at Kristallnacht to destroy books. These are the works of fanatics — irrational thinking and scapegoating to compensate for misappropriated ideas.
This has become a fight, good versus evil. This is a time for nations to unite, to share information and realize we live in a world where technology has evened the score and made the bad guys even more dangerous. Now we have to use our technology and share things to make the good guys better, more capable, more efficient. No one’s talking about torture or the violation of human rights, but for God’s sake we have to sympathize with our Secret Service and the other organizations of men and women protecting our safety daily. We have to know there will be mistakes and casualties along the way, but we the people have to support those who protect us, more than ever.
I always think about “The Lord of the Rings” at times like this, when all worlds united. Tolkien’s great literature was a rallying cry for World War II, when fascism and supreme evil had to be stopped by the sacrifices of good people, good armies and good countries. Let the humor, the wisdom, of Charlie Hebdo live, by us winning the war that they fought on the pages of their beautiful newspaper.
For me, I would make the suggestion that they take all their great cartoons, put them out in a book and form a foundation for those families that suffered in this tragedy — and similar tragedies all over the world. We should buy that book and have it on the tables of millions of homes as a constant reminder. I will contribute to that in whatever way I can, and I’m sure my associates in this industry will be innovative as well.
Over the years, I’ve had the ability to be part of the production of concerts for 9/11 and Hurricane Sandy, to protect people who live in the great city of New York, but those Parisians who died last week are also my neighbors, my brothers, my sisters, fighting against an intolerant way of life. There have been a lot of great books that sit on families’ tables, from fashion to photography to travel. The cartoons of Charlie Hebdo are images that are more beautiful and meaningful than many of the images found within those books. Charlie Hebdo is a reminder of the beauty of art and the beauty of language. No one can ever defeat the ability of great artists to show us our world.
Laughter and satire will never disappear, and will always be the most effective tools for a free world. One of the greatest movies of all time had one of the most romantic lines ever spoken in a film: Humphrey Bogart saying to Ingrid Bergman, “We’ll always have Paris.” Whenever I think of Paris, I will always think of the romance, but more importantly, I will think of Charlie Hebdo and the romance of its greatness.
May it live now and forever.
Tonight is the Golden Globes, and there’s always champagne on the table. I hope we can all raise glasses and that someone like Tina, Amy or George Clooney will urge us to toast with 300 million viewers around the world: “Je suis Charlie, je suis juif, je suis Ahmed.”
A longtime champion of social and political freedoms, onscreen and off, Oscar-winning producer-distributor Harvey Weinstein has written articles on our industry and world events for many leading publications. In light of last week’s tragic terror attack on France’s satirical weekly Charlie Hebdo, Variety editor-in-chief Claudia Eller and chief film critic Scott Foundas asked Weinstein to contribute a guest column on his thoughts and outlook, as follows.
When I was a college student, it gave me great pleasure to read about politics because it was my passion, along with film and journalism. I used to love reading Herblock cartoons in the Washington Post. And I loved Tom Toles’ cartoons from the Buffalo News (I went to school in Buffalo). Of course, Herblock went on to great success, as did Tom Toles, but they were always an insistent reminder that cartoon and caricature could be great weapons for good, and deterrents to bad.
This preamble hopefully illustrates the humanity and the affection that I think people have for cartoons. From the Sunday funnies like Harold Gray’s Little Oprhan Annie that helped us through the Depression, to Peanuts and Doonesbury, they sometimes provide better wisdom than known philosophers. I’ll take Charlie Brown over Rene Descartes, and put Linus in Socrates’ class, any day of the week. Although it’s Lucy who has the voice of a cartoonist — ironic, funny and eye-opening.
I send my condolences and sympathy to the editors, writers and especially to the families of Charlie Hebdo.
The tragedy in France is a stunning blow against freedom of speech and freedom of joy. It draws a parallel to the horrors of the Nazis and their mad attempt at Kristallnacht to destroy books. These are the works of fanatics — irrational thinking and scapegoating to compensate for misappropriated ideas.
This has become a fight, good versus evil. This is a time for nations to unite, to share information and realize we live in a world where technology has evened the score and made the bad guys even more dangerous. Now we have to use our technology and share things to make the good guys better, more capable, more efficient. No one’s talking about torture or the violation of human rights, but for God’s sake we have to sympathize with our Secret Service and the other organizations of men and women protecting our safety daily. We have to know there will be mistakes and casualties along the way, but we the people have to support those who protect us, more than ever.
I always think about “The Lord of the Rings” at times like this, when all worlds united. Tolkien’s great literature was a rallying cry for World War II, when fascism and supreme evil had to be stopped by the sacrifices of good people, good armies and good countries. Let the humor, the wisdom, of Charlie Hebdo live, by us winning the war that they fought on the pages of their beautiful newspaper.
For me, I would make the suggestion that they take all their great cartoons, put them out in a book and form a foundation for those families that suffered in this tragedy — and similar tragedies all over the world. We should buy that book and have it on the tables of millions of homes as a constant reminder. I will contribute to that in whatever way I can, and I’m sure my associates in this industry will be innovative as well.
Over the years, I’ve had the ability to be part of the production of concerts for 9/11 and Hurricane Sandy, to protect people who live in the great city of New York, but those Parisians who died last week are also my neighbors, my brothers, my sisters, fighting against an intolerant way of life. There have been a lot of great books that sit on families’ tables, from fashion to photography to travel. The cartoons of Charlie Hebdo are images that are more beautiful and meaningful than many of the images found within those books. Charlie Hebdo is a reminder of the beauty of art and the beauty of language. No one can ever defeat the ability of great artists to show us our world.
Laughter and satire will never disappear, and will always be the most effective tools for a free world. One of the greatest movies of all time had one of the most romantic lines ever spoken in a film: Humphrey Bogart saying to Ingrid Bergman, “We’ll always have Paris.” Whenever I think of Paris, I will always think of the romance, but more importantly, I will think of Charlie Hebdo and the romance of its greatness.
May it live now and forever.
Tonight is the Golden Globes, and there’s always champagne on the table. I hope we can all raise glasses and that someone like Tina, Amy or George Clooney will urge us to toast with 300 million viewers around the world: “Je suis Charlie, je suis juif, je suis Ahmed.”
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