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A Star Is Born, Black Panther, more gain Oscar momentum with Producers Guild nominations
January 04, 2019 at 01:55 PM EST
The Producers Guild of America — one of the most influential precursor groups on the Oscar circuit — has announced its year-end awards, cementing the Academy-bound prospects of films like A Star Is Born, Roma, and The Favourite.
Black Panther, Green Book, Vice, and Crazy Rich Asians are also among the PGA’s crop of honorees, which were revealed Friday.On the television side, nominees include The Americans, Better Call Saul, The Good Place, and The Marvelous Mrs. Maisel.
Comprised of approximately 7,000 film, television, and new media producers from around the world, the PGA has deep reaches into the entertainment industry, and its voting ranks heavily cross over into the Academy’s. This makes the industry guild one of the most reliable foretellers of Oscar tastes, particularly when it comes to gauging the Best Picture race. Since the group’s inaugural ceremony honoring films from 1989, all PGA winners have gone on to either win (20 titles) or be nominated (the remaining 10, including Gravity, which tied with 12 Years a Slave in 2014) for the Academy Award for Best Picture.
After the Academy and the PGA expanded their nomination slots in 2009, the PGA has nominated between seven and nine (out of 10 total PGA nominees versus the Academy’s sliding scale between five and 10) films per year that follow up with a Best Picture nomination. Last year, seven PGA nominees (including eventual Best Picture champion The Shape of Water) ultimately showed up in the Academy’s highest competitive category.
The PGA nominations wield added influence this year, as Oscar nominations voting opens Monday — just three days after the PGA announcement.
Clay Enos/Warner Bros; Matt Kennedy/©Marvel Studios 2018
Elsewhere on the awards trail, A Star is Born, The Favourite, Black Panther, Roma, BlacKkKlansman, and Crazy Rich Asians have made significant strides in the hunt for Best Picture, racking up major nominations in top categories from key groups like the Screen Actors Guild — the largest precursor awards body that also shares significant crossover membership with the Academy — the Critics Choice Awards, the Golden Globe Awards, and more.
The 30th Annual Producers Guild of America Awards will be handed out Saturday, Jan. 19 — just under one month before final Oscar voting opens — at The Beverly Hilton in Los Angeles. Read on for a full list of 2019’s nominees below.
FILM
The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures:
“Black Panther” (Producer: Kevin Feige)
“BlacKkKlansman” (Producers: Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, Spike Lee)
“Bohemian Rhapsody” (Producer: Graham King)
“Crazy Rich Asians” (Producers: Nina Jacobson & Brad Simpson, John Penotti)
“The Favourite” (Producers: Ceci Dempsey, Ed Guiney, Lee Magiday, Yorgos Lanthimos)
“Green Book” (Producers: Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly, Nick Vallelonga)
“A Quiet Place” (Producers: Michael Bay, Andrew Form, Brad Fuller)
“Roma” (Producers: Gabriela Rodríguez, Alfonso Cuarón)
“A Star Is Born” (Producers: Bill Gerber, Bradley Cooper, Lynette Howell Taylor)
“Vice” (Producers: Dede Gardner, Jeremy Kleiner, Kevin Messick, Adam McKay)
The Award for Outstanding Producer of Documentary Motion Pictures:
The PGA previously announced the nominations in this category on November 20, 2018. The nominees are listed below, along with eligible producers’ names.
“The Dawn Wall” (Producers: Josh Lowell, Peter Mortimer, Philipp Manderla)
“Free Solo” (Producers: Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes, Shannon Dill)
“Hal” (Producers: Christine Beebe, Jonathan Lynch, Brian Morrow)
“Into the Okavango” (Producer: Neil Gelinas)
“RBG” (Producers: Betsy West, Julie Cohen)
“Three Identical Strangers” (Producers: Becky Read, Grace Hughes-Hallett)
“Won’t You Be My Neighbor?” (Producers: Morgan Neville, Nicholas Ma, Caryn Capotosto)
The Award for Outstanding Producer of Animated Theatrical Motion Pictures:
“Dr. Seuss’ The Grinch” (Producers: Chris Meledandri, Janet Healy)
“Incredibles 2” (Producers: John Walker, Nicole Grindle)
“Isle of Dogs” (Producers: *Eligibility Determination Pending*)
“Ralph Breaks the Internet” (Producer: Clark Spencer)
“Spider-Man: Into the Spider-Verse” (Producers: Avi Arad, Phil Lord & Christopher Miller, Amy Pascal, Christina Steinberg)
TELEVISION
The Norman Felton Award for Outstanding Producer of Episodic Television – Drama:
“The Americans” (Season 6) (Producers: Joe Weisberg, Joel Fields, Chris Long, Graham Yost, Justin Falvey, Darryl Frank, Stephen Schiff, Mary Rae Thewlis, Tracey Scott Wilson, Peter Ackerman, Joshua Brand)
“Better Call Saul” (Season 4) (Producers: Peter Gould, Vince Gilligan, Mark Johnson, Melissa Bernstein, Thomas Schnauz, Gennifer Hutchison, Nina Jack, Diane Mercer, Gordon Smith, Alison Tatlock, Ann Cherkis, Bob Odenkirk, Robin Sweet)
“The Handmaid’s Tale” (Season 2) (Producers: Bruce Miller, Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Mike Barker, Sheila Hockin, Eric Tuchman, Kira Snyder, Yahlin Chang, Frank Siracusa, John Weber, Joseph Boccia, Dorothy Fortenberry, Margaret Atwood, Ron Milbauer)
“Ozark” (Season 2) (Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams, David Manson, Alyson Feltes, Ryan Farley, Patrick Markey, Matthew Spiegel, Erin Mitchell)
“This Is Us” (Season 3) (Producers: Dan Fogelman, Isaac Aptaker, Elizabeth Berger, John Requa, Glenn Ficarra, Ken Olin, Charles Gogolak, Jess Rosenthal, Steve Beers, KJ Steinberg, Kevin Falls, Julia Brownell, Vera Herbert, Bekah Brunstetter, Shukree Hassan Tilghman, Cathy Mickel Gibson, Nick Pavonetti)
The Danny Thomas Award for Outstanding Producer of Episodic Television – Comedy:
“Atlanta” (Season 2) (Producers: *Eligibility Determination Pending*)
“Barry” (Season 1) (Producers: Alec Berg, Bill Hader, Aida Rodgers, Emily Heller, Liz Sarnoff)
“GLOW” (Season 2) (Producers: Jenji Kohan, Liz Flahive, Carly Mensch, Tara Herrmann, Mark A. Burley, Nick Jones, Kim Rosenstock, Sascha Rothchild, Leanne Moore)
“The Good Place” (Season 3) (Producers: Michael Schur, David Miner, Morgan Sackett, Drew Goddard, Josh Siegal, Dylan Morgan, Joe Mande, Megan Amram, David Hyman, Jen Statsky)
“The Marvelous Mrs. Maisel” (Season 2) (Producers: Amy Sherman‐Palladino, Daniel Palladino, Dhana Rivera Gilbert, Sheila Lawrence)
The David L. Wolper Award for Outstanding Producer of Limited Series Television:
“The Assassination of Gianni Versace: American Crime Story” (Season 2) (Producers: Ryan Murphy, Nina Jacobson, Brad Simpson, Alexis Martin Woodall, Tom Rob Smith, Daniel Minahan, Brad Falchuk, Scott Alexander, Larry Karaszewski, Chip Vucelich, Maggie Cohn, Eric Kovtun, Lou Eyrich, Eryn Krueger Mekash)
“Escape at Dannemora” (Producers: Ben Stiller, Nicholas Weinstock, Michael De Luca, Bryan Zuriff, Brett Johnson, Michael Tolkin, Bill Carraro, Adam Brightman, Lisa M. Rowe)
“Maniac” (Producers: Patrick Somerville, Cary Joji Fukunaga, Michael Sugar, Doug Wald, Jonah Hill, Emma Stone, Pal Kristiansen, Anne Kolbjørnsen, Espen Huseby, Carol Cuddy, Mauricio Katz, Caroline Williams, Ashley Zalta, Jessica Levin, Jon Mallard)
“The Romanoffs” (Producers: *Eligibility Determination Pending*)
“Sharp Objects” (Producers: *Eligibility Determination Pending*)
The Award for Outstanding Producer of Streamed or Televised Motion Pictures:
“Fahrenheit 451” (Producers: Sarah Green, Ramin Bahrani, Michael B. Jordan, Alan Gasmer, Peter Jaysen, David Coatsworth)
“King Lear” (Producers: *Eligibility Determination Pending*)
“My Dinner with Hervé” (Producers: *Eligibility Determination Pending*)
“Paterno” (Producers: Barry Levinson, Jason Sosnoff, Tom Fontana, Edward R. Pressman, Rick Nicita, Lindsay Sloane, Amy Herman)
“Sense8: Together Until the End” (Producers: *Eligibility Determination Pending*)
The Award for Outstanding Producer of Non-Fiction Television:
“30 for 30” (Season 9) (Producers: Connor Schell, John Dahl, Libby Geist, Erin Leyden, Adam Neuhaus, Jenna Anthony, Gentry Kirby, Marquis Daisy, Deirdre Fenton)
“Anthony Bourdain: Parts Unknown” (Season 11, Season 12) (Producers: Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandra Zweig)
“Leah Remini: Scientology and the Aftermath” (Season 3) (Producers: *EligibilityDetermination Pending*)
“Queer Eye” (Season 1, Season 2) (Producers: David Collins, Michael Williams, Rob Eric, Jennifer Lane, Jordana Hochman, Mark Bracero, Rachelle Mendez)
“Wild Wild Country” (Season 1) (Producers: Mark Duplass, Jay Duplass, Josh Braun, Dan Braun, Juliana Lembi)
The Award for Outstanding Producer of Live Entertainment & Talk Television:
“The Daily Show with Trevor Noah” (Season 24) (Producers: Trevor Noah, Steve Bodow, Jennifer Flanz, Jill Katz, Justin Melkmann, David Kibuuka, Zhubin Parang, Max Browning, Eric Davies, Pamela DePace, Ramin Hedayati, Elise Terrell, Dave Blog, Adam Chodikoff, Jimmy Donn, Jeff Gussow, Kira Klang Hopf, Allison MacDonald, Ryan Middleton)
“Last Week Tonight with John Oliver” (Season 5) (Producers: *EligibilityDetermination Pending*)
“The Late Show with Stephen Colbert” (Season 4) (Producers: Stephen Colbert, Chris Licht, Tom Purcell, Jon Stewart, Barry Julien, Denise Rehrig, Tanya Michnevich Bracco, Paul Dinello, Matt Lappin, Opus Moreschi, Emily Gertler, Aaron Cohen, Michael Brumm, Paige Kendig, Jake Plunkett)
“Real Time with Bill Maher” (Season 16) (Producers: Bill Maher, Scott Carter, Sheila Griffiths, Marc Gurvitz, Billy Martin, Dean E. Johnsen, Chris Kelly, Matt Wood)
“Saturday Night Live” (Season 44) (Producers: *Eligibility Determination Pending*)
The Award for Outstanding Producer of Game & Competition Television:
“The Amazing Race” (Season 30) (Producers: Jerry Bruckheimer, Bertram van Munster, Jonathan Littman, Elise Doganieri, Mark Vertullo)
“America’s Got Talent” (Season 13) (Producers: *Eligibility Determination Pending*)
“RuPaul’s Drag Race” (Season 10) (Producers: *Eligibility Determination Pending*)
“Top Chef” (Season 15) (Producers: Dan Cutforth, Jane Lipsitz, Casey Kriley, Tom Colicchio, Padma Lakshmi, Doneen Arquines, Tara Siener, Justin Rae Barnes, Blake Davis, Wade Sheeler, Brian Fowler, Elida Carbajal Araiza, Zoe Jackson, Patrick Schmedeman, Diana Schmedeman)
“The Voice” (Season 14, Season 15) (Producers: John de Mol, Mark Burnett, Audrey Morrissey, Stijn Bakkers, Chad Hines, Amanda Zucker, Kyra Thompson, Teddy Valenti, Carson Daly)
The PGA does not vet the individual producers of short-form programs, sports programs, or children’s programs. The winning productions will be recognized at the official ceremony on January 19th.
The Award for Outstanding Short-Form Program:
“Biography: History, Herstory” (Season 1)
“Carpool Karaoke: The Series” (Season 2)
“Comedians in Cars Getting Coffee” (Season 5)
“Her America: 50 Women, 50 States” (Season 1)
“Kevin Hart: What The Fit” (Season 1)
The Award for Outstanding Sports Program:
“Being Serena” (Season 1)“E:60” (2018)
“Hard Knocks: Training Camp with the Cleveland Browns” (Season 13)
“Real Sports with Bryant Gumbel” (Season 24)
“SportsCenter with Scott Van Pelt” (Season 4)
The Award for Outstanding Children’s Program:
“Fuller House” (Season 4)
“PJ Masks” (Season 2)
“A Series of Unfortunate Events” (Season 2)
“Sesame Street” (Season 48)
“Teen Titans Go!” (Season 4)
SPECIAL AWARDS
Milestone Award: Toby Emmerich
Stanley Kramer Award: Jane Fonda
Visionary Award: Kenya Barris
David O. Selznick Achievement Award in Theatrical Motion Pictures: Kevin Feige
Norman Lear Achievement Award in Television: Amy Sherman-Palladino
January 04, 2019 at 01:55 PM EST
The Producers Guild of America — one of the most influential precursor groups on the Oscar circuit — has announced its year-end awards, cementing the Academy-bound prospects of films like A Star Is Born, Roma, and The Favourite.
Black Panther, Green Book, Vice, and Crazy Rich Asians are also among the PGA’s crop of honorees, which were revealed Friday.On the television side, nominees include The Americans, Better Call Saul, The Good Place, and The Marvelous Mrs. Maisel.
Comprised of approximately 7,000 film, television, and new media producers from around the world, the PGA has deep reaches into the entertainment industry, and its voting ranks heavily cross over into the Academy’s. This makes the industry guild one of the most reliable foretellers of Oscar tastes, particularly when it comes to gauging the Best Picture race. Since the group’s inaugural ceremony honoring films from 1989, all PGA winners have gone on to either win (20 titles) or be nominated (the remaining 10, including Gravity, which tied with 12 Years a Slave in 2014) for the Academy Award for Best Picture.
After the Academy and the PGA expanded their nomination slots in 2009, the PGA has nominated between seven and nine (out of 10 total PGA nominees versus the Academy’s sliding scale between five and 10) films per year that follow up with a Best Picture nomination. Last year, seven PGA nominees (including eventual Best Picture champion The Shape of Water) ultimately showed up in the Academy’s highest competitive category.
The PGA nominations wield added influence this year, as Oscar nominations voting opens Monday — just three days after the PGA announcement.
Clay Enos/Warner Bros; Matt Kennedy/©Marvel Studios 2018
Elsewhere on the awards trail, A Star is Born, The Favourite, Black Panther, Roma, BlacKkKlansman, and Crazy Rich Asians have made significant strides in the hunt for Best Picture, racking up major nominations in top categories from key groups like the Screen Actors Guild — the largest precursor awards body that also shares significant crossover membership with the Academy — the Critics Choice Awards, the Golden Globe Awards, and more.
The 30th Annual Producers Guild of America Awards will be handed out Saturday, Jan. 19 — just under one month before final Oscar voting opens — at The Beverly Hilton in Los Angeles. Read on for a full list of 2019’s nominees below.
FILM
The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures:
“Black Panther” (Producer: Kevin Feige)
“BlacKkKlansman” (Producers: Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, Spike Lee)
“Bohemian Rhapsody” (Producer: Graham King)
“Crazy Rich Asians” (Producers: Nina Jacobson & Brad Simpson, John Penotti)
“The Favourite” (Producers: Ceci Dempsey, Ed Guiney, Lee Magiday, Yorgos Lanthimos)
“Green Book” (Producers: Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly, Nick Vallelonga)
“A Quiet Place” (Producers: Michael Bay, Andrew Form, Brad Fuller)
“Roma” (Producers: Gabriela Rodríguez, Alfonso Cuarón)
“A Star Is Born” (Producers: Bill Gerber, Bradley Cooper, Lynette Howell Taylor)
“Vice” (Producers: Dede Gardner, Jeremy Kleiner, Kevin Messick, Adam McKay)
The Award for Outstanding Producer of Documentary Motion Pictures:
The PGA previously announced the nominations in this category on November 20, 2018. The nominees are listed below, along with eligible producers’ names.
“The Dawn Wall” (Producers: Josh Lowell, Peter Mortimer, Philipp Manderla)
“Free Solo” (Producers: Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes, Shannon Dill)
“Hal” (Producers: Christine Beebe, Jonathan Lynch, Brian Morrow)
“Into the Okavango” (Producer: Neil Gelinas)
“RBG” (Producers: Betsy West, Julie Cohen)
“Three Identical Strangers” (Producers: Becky Read, Grace Hughes-Hallett)
“Won’t You Be My Neighbor?” (Producers: Morgan Neville, Nicholas Ma, Caryn Capotosto)
The Award for Outstanding Producer of Animated Theatrical Motion Pictures:
“Dr. Seuss’ The Grinch” (Producers: Chris Meledandri, Janet Healy)
“Incredibles 2” (Producers: John Walker, Nicole Grindle)
“Isle of Dogs” (Producers: *Eligibility Determination Pending*)
“Ralph Breaks the Internet” (Producer: Clark Spencer)
“Spider-Man: Into the Spider-Verse” (Producers: Avi Arad, Phil Lord & Christopher Miller, Amy Pascal, Christina Steinberg)
TELEVISION
The Norman Felton Award for Outstanding Producer of Episodic Television – Drama:
“The Americans” (Season 6) (Producers: Joe Weisberg, Joel Fields, Chris Long, Graham Yost, Justin Falvey, Darryl Frank, Stephen Schiff, Mary Rae Thewlis, Tracey Scott Wilson, Peter Ackerman, Joshua Brand)
“Better Call Saul” (Season 4) (Producers: Peter Gould, Vince Gilligan, Mark Johnson, Melissa Bernstein, Thomas Schnauz, Gennifer Hutchison, Nina Jack, Diane Mercer, Gordon Smith, Alison Tatlock, Ann Cherkis, Bob Odenkirk, Robin Sweet)
“The Handmaid’s Tale” (Season 2) (Producers: Bruce Miller, Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Mike Barker, Sheila Hockin, Eric Tuchman, Kira Snyder, Yahlin Chang, Frank Siracusa, John Weber, Joseph Boccia, Dorothy Fortenberry, Margaret Atwood, Ron Milbauer)
“Ozark” (Season 2) (Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams, David Manson, Alyson Feltes, Ryan Farley, Patrick Markey, Matthew Spiegel, Erin Mitchell)
“This Is Us” (Season 3) (Producers: Dan Fogelman, Isaac Aptaker, Elizabeth Berger, John Requa, Glenn Ficarra, Ken Olin, Charles Gogolak, Jess Rosenthal, Steve Beers, KJ Steinberg, Kevin Falls, Julia Brownell, Vera Herbert, Bekah Brunstetter, Shukree Hassan Tilghman, Cathy Mickel Gibson, Nick Pavonetti)
The Danny Thomas Award for Outstanding Producer of Episodic Television – Comedy:
“Atlanta” (Season 2) (Producers: *Eligibility Determination Pending*)
“Barry” (Season 1) (Producers: Alec Berg, Bill Hader, Aida Rodgers, Emily Heller, Liz Sarnoff)
“GLOW” (Season 2) (Producers: Jenji Kohan, Liz Flahive, Carly Mensch, Tara Herrmann, Mark A. Burley, Nick Jones, Kim Rosenstock, Sascha Rothchild, Leanne Moore)
“The Good Place” (Season 3) (Producers: Michael Schur, David Miner, Morgan Sackett, Drew Goddard, Josh Siegal, Dylan Morgan, Joe Mande, Megan Amram, David Hyman, Jen Statsky)
“The Marvelous Mrs. Maisel” (Season 2) (Producers: Amy Sherman‐Palladino, Daniel Palladino, Dhana Rivera Gilbert, Sheila Lawrence)
The David L. Wolper Award for Outstanding Producer of Limited Series Television:
“The Assassination of Gianni Versace: American Crime Story” (Season 2) (Producers: Ryan Murphy, Nina Jacobson, Brad Simpson, Alexis Martin Woodall, Tom Rob Smith, Daniel Minahan, Brad Falchuk, Scott Alexander, Larry Karaszewski, Chip Vucelich, Maggie Cohn, Eric Kovtun, Lou Eyrich, Eryn Krueger Mekash)
“Escape at Dannemora” (Producers: Ben Stiller, Nicholas Weinstock, Michael De Luca, Bryan Zuriff, Brett Johnson, Michael Tolkin, Bill Carraro, Adam Brightman, Lisa M. Rowe)
“Maniac” (Producers: Patrick Somerville, Cary Joji Fukunaga, Michael Sugar, Doug Wald, Jonah Hill, Emma Stone, Pal Kristiansen, Anne Kolbjørnsen, Espen Huseby, Carol Cuddy, Mauricio Katz, Caroline Williams, Ashley Zalta, Jessica Levin, Jon Mallard)
“The Romanoffs” (Producers: *Eligibility Determination Pending*)
“Sharp Objects” (Producers: *Eligibility Determination Pending*)
The Award for Outstanding Producer of Streamed or Televised Motion Pictures:
“Fahrenheit 451” (Producers: Sarah Green, Ramin Bahrani, Michael B. Jordan, Alan Gasmer, Peter Jaysen, David Coatsworth)
“King Lear” (Producers: *Eligibility Determination Pending*)
“My Dinner with Hervé” (Producers: *Eligibility Determination Pending*)
“Paterno” (Producers: Barry Levinson, Jason Sosnoff, Tom Fontana, Edward R. Pressman, Rick Nicita, Lindsay Sloane, Amy Herman)
“Sense8: Together Until the End” (Producers: *Eligibility Determination Pending*)
The Award for Outstanding Producer of Non-Fiction Television:
“30 for 30” (Season 9) (Producers: Connor Schell, John Dahl, Libby Geist, Erin Leyden, Adam Neuhaus, Jenna Anthony, Gentry Kirby, Marquis Daisy, Deirdre Fenton)
“Anthony Bourdain: Parts Unknown” (Season 11, Season 12) (Producers: Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandra Zweig)
“Leah Remini: Scientology and the Aftermath” (Season 3) (Producers: *EligibilityDetermination Pending*)
“Queer Eye” (Season 1, Season 2) (Producers: David Collins, Michael Williams, Rob Eric, Jennifer Lane, Jordana Hochman, Mark Bracero, Rachelle Mendez)
“Wild Wild Country” (Season 1) (Producers: Mark Duplass, Jay Duplass, Josh Braun, Dan Braun, Juliana Lembi)
The Award for Outstanding Producer of Live Entertainment & Talk Television:
“The Daily Show with Trevor Noah” (Season 24) (Producers: Trevor Noah, Steve Bodow, Jennifer Flanz, Jill Katz, Justin Melkmann, David Kibuuka, Zhubin Parang, Max Browning, Eric Davies, Pamela DePace, Ramin Hedayati, Elise Terrell, Dave Blog, Adam Chodikoff, Jimmy Donn, Jeff Gussow, Kira Klang Hopf, Allison MacDonald, Ryan Middleton)
“Last Week Tonight with John Oliver” (Season 5) (Producers: *EligibilityDetermination Pending*)
“The Late Show with Stephen Colbert” (Season 4) (Producers: Stephen Colbert, Chris Licht, Tom Purcell, Jon Stewart, Barry Julien, Denise Rehrig, Tanya Michnevich Bracco, Paul Dinello, Matt Lappin, Opus Moreschi, Emily Gertler, Aaron Cohen, Michael Brumm, Paige Kendig, Jake Plunkett)
“Real Time with Bill Maher” (Season 16) (Producers: Bill Maher, Scott Carter, Sheila Griffiths, Marc Gurvitz, Billy Martin, Dean E. Johnsen, Chris Kelly, Matt Wood)
“Saturday Night Live” (Season 44) (Producers: *Eligibility Determination Pending*)
The Award for Outstanding Producer of Game & Competition Television:
“The Amazing Race” (Season 30) (Producers: Jerry Bruckheimer, Bertram van Munster, Jonathan Littman, Elise Doganieri, Mark Vertullo)
“America’s Got Talent” (Season 13) (Producers: *Eligibility Determination Pending*)
“RuPaul’s Drag Race” (Season 10) (Producers: *Eligibility Determination Pending*)
“Top Chef” (Season 15) (Producers: Dan Cutforth, Jane Lipsitz, Casey Kriley, Tom Colicchio, Padma Lakshmi, Doneen Arquines, Tara Siener, Justin Rae Barnes, Blake Davis, Wade Sheeler, Brian Fowler, Elida Carbajal Araiza, Zoe Jackson, Patrick Schmedeman, Diana Schmedeman)
“The Voice” (Season 14, Season 15) (Producers: John de Mol, Mark Burnett, Audrey Morrissey, Stijn Bakkers, Chad Hines, Amanda Zucker, Kyra Thompson, Teddy Valenti, Carson Daly)
The PGA does not vet the individual producers of short-form programs, sports programs, or children’s programs. The winning productions will be recognized at the official ceremony on January 19th.
The Award for Outstanding Short-Form Program:
“Biography: History, Herstory” (Season 1)
“Carpool Karaoke: The Series” (Season 2)
“Comedians in Cars Getting Coffee” (Season 5)
“Her America: 50 Women, 50 States” (Season 1)
“Kevin Hart: What The Fit” (Season 1)
The Award for Outstanding Sports Program:
“Being Serena” (Season 1)“E:60” (2018)
“Hard Knocks: Training Camp with the Cleveland Browns” (Season 13)
“Real Sports with Bryant Gumbel” (Season 24)
“SportsCenter with Scott Van Pelt” (Season 4)
The Award for Outstanding Children’s Program:
“Fuller House” (Season 4)
“PJ Masks” (Season 2)
“A Series of Unfortunate Events” (Season 2)
“Sesame Street” (Season 48)
“Teen Titans Go!” (Season 4)
SPECIAL AWARDS
Milestone Award: Toby Emmerich
Stanley Kramer Award: Jane Fonda
Visionary Award: Kenya Barris
David O. Selznick Achievement Award in Theatrical Motion Pictures: Kevin Feige
Norman Lear Achievement Award in Television: Amy Sherman-Palladino
Michael B. Jordan and Lupita Nyong'o deny they are dating despite having 'good chemistry'
Stefanie Keenan/WireImage
ROBYN MERRETT
January 11, 2019 at 09:17 PM EST
Michael B. Jordan and Lupita Nyong’o seem like the perfect couple but they insist they are are just a couple of best buds.
“We’re good friends,” Jordan, 31, told Entertainment Tonight. “Honestly, we’ve known each other a really long time and respect each other and I love this girl to death.”
Nyong’o, 35, of course, feels the same. “It’s flattering at the end of the day. I think it’s such a rare thing to find people you have good chemistry with and too for us to find each other as actors and get to work together, it makes the work richer that we truly enjoy each other’s company on and off screen,” Nyong’o explained to ET.
The admission comes just days after the Black Panther stars, along with their costar Danai Gurira, staged a makeout scene in a photo booth at the InStyle & Warner Bros. Golden Globes afterparty.
The hilarious clip features The Walking Dead alum, 40 — dressed in a stunning red Rodarte gown — strolling in front of an elevator as the doors slowly open to reveal Jordan with his arms wrapped around Nyong’o.
Gurira then steps into the elevator, pushes the Creed star aside, and dips Nyong’o — in electric-blue Calvin Klein — so she can give her another smooch as the doors close.
Nyong’o shared the clip on her Instagram with the caption: “When the cat’s away…”
Jordan also posted it, writing, “And I’m still KING,” with the crown and crying-laughing emojis.
Jordan and Nyong’o first sparked dating rumors when they exchanged flirty tweets in February 2018 while participating in a celebrity prank show, MTV’s Safeword.
The flirtation kicked off when the Oscar winner tweeted a video backstage at The View, where she made Jordan drop down for a push-up: Apparently after winning a bet on the set of Black Panther, Nyong’o earned the right to command her costar to exercise.
Things heated up when Jordan, in a since-deleted tweet, replied, “Bring them chocolate cakes back. You ready for round 2?” For some extra spice, he added the hashtag “#youknowyouwantthis.”
Nyong’o then shot back, “No dessert until you come correct,” with the hashtags “#youknowyouwantthis” and “#youaintready.”
Eventually, Jordan cleared the air: It was all for the show.
Stefanie Keenan/WireImage
ROBYN MERRETT
January 11, 2019 at 09:17 PM EST
Michael B. Jordan and Lupita Nyong’o seem like the perfect couple but they insist they are are just a couple of best buds.
“We’re good friends,” Jordan, 31, told Entertainment Tonight. “Honestly, we’ve known each other a really long time and respect each other and I love this girl to death.”
Nyong’o, 35, of course, feels the same. “It’s flattering at the end of the day. I think it’s such a rare thing to find people you have good chemistry with and too for us to find each other as actors and get to work together, it makes the work richer that we truly enjoy each other’s company on and off screen,” Nyong’o explained to ET.
The admission comes just days after the Black Panther stars, along with their costar Danai Gurira, staged a makeout scene in a photo booth at the InStyle & Warner Bros. Golden Globes afterparty.
The hilarious clip features The Walking Dead alum, 40 — dressed in a stunning red Rodarte gown — strolling in front of an elevator as the doors slowly open to reveal Jordan with his arms wrapped around Nyong’o.
Gurira then steps into the elevator, pushes the Creed star aside, and dips Nyong’o — in electric-blue Calvin Klein — so she can give her another smooch as the doors close.
Nyong’o shared the clip on her Instagram with the caption: “When the cat’s away…”
Jordan also posted it, writing, “And I’m still KING,” with the crown and crying-laughing emojis.
Jordan and Nyong’o first sparked dating rumors when they exchanged flirty tweets in February 2018 while participating in a celebrity prank show, MTV’s Safeword.
The flirtation kicked off when the Oscar winner tweeted a video backstage at The View, where she made Jordan drop down for a push-up: Apparently after winning a bet on the set of Black Panther, Nyong’o earned the right to command her costar to exercise.
Things heated up when Jordan, in a since-deleted tweet, replied, “Bring them chocolate cakes back. You ready for round 2?” For some extra spice, he added the hashtag “#youknowyouwantthis.”
Nyong’o then shot back, “No dessert until you come correct,” with the hashtags “#youknowyouwantthis” and “#youaintready.”
Eventually, Jordan cleared the air: It was all for the show.
EW's Oscars issue celebrates Black Panther's history-making nomination
Marc Bernardin
January 23, 2019 at 12:00 PM EST
It began early, the sense that Black Panther would be more than just another comic book movie. The seeds were planted when Marvel recruited director Ryan Coogler, the Oakland native who broke hearts with Fruitvale Station and made grown men cry with Creed.
The viral clips that spread of African-American children looking up at the impeccably retouched faces of Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, and Angela Bassett on the Panther poster — for once faced with a choice of which black character they wanted to be — were the early flowers of cinematic revolution. As were the Twitter videos of the women in an African-American hair salon giddy over the first trailer, and a black teenager asking, “Is this how white people feel like all the time?” In a mall last January, I walked past another black man and, rather than just give me the customary “nod,” he simply said “Black Panther’s in a month, yo.”
Justin Fantl for EW
Black Panther was the 18th Marvel movie of the Kevin Feige Era — which started with 2008’s Iron Man — but it was the first one that carried with it the hopes and dreams of a demographic who’ve never seen themselves on screen like this, rendered with all the care and resources usually summoned for movies starring paler protagonists. They were responding to Coogler’s telling of the story of a young king in a fictional African nation that had never been colonized.
And in an era when people of every hue were shouting from the rooftops that black lives did indeed matter, Black Panther felt like the dot on that exclamation point.
That remarkable social momentum led Black Panther to the top of the 2018 domestic box office — earning more than $1.3 billion worldwide — and now this, a Best Picture nomination from the Academy of Motion Picture Arts and Sciences. The first comic book movie ever to get one.
It’s not that comic book flicks never got love from the Oscars, it’s that it’s usually the same kind of below-the-line nods that go to big action-franchise movies, like special effects, sound design, sound editing, makeup, and occasionally production design, costume design, or original score. But if there’s a genre bias among the Oscar voters for real-world dramas over the fantastic, it’s double for material drawn from the funny pages. So the rare attention gets paid; for instance, an adapted screenplay nomination for Logan, a supporting actor nod for Al Pacino in Dick Tracy. (If your comic-book movie isn’t a superhero movie, you’ve got a better shot: Road to Perdition with a best supporting actor nomination, Ghost World and American Splendor with adapted screenplay; A History of Violence with both.)
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ACADEMY AWARDS 2019: BEST PICTURE NOMINEE 'BLACKKKLANSMAN'
It wasn’t until 2009 when a superhero movie actually won a main category at the Oscars: Heath Ledger’s posthumous Best Supporting Actor honor for his performance as the Joker in Christopher Nolan’s The Dark Knight. But the film wasn’t among the five nominees for best picture that year, despite its obvious quality and enormous popularity (it grossed $1 billion worldwide, the first superhero movie to cross that mark). The next year, the Academy changed its rules and expanded the nominee field from five to 10, making room for mainstream films that might bring new viewers to the Oscar broadcast — lest we forget the importance of a TV audience, which may tune in more enthusiastically to see if a box-office behemoth like Avatar or Titanic takes home the ultimate prize over less-familiar flicks.
If the Academy hadn’t widened its gaze, Black Panther might not have gotten the nomination. Despite its critical acclaim — according to Rotten Tomatoes, it’s the best-reviewed (and most reviewed!) wide release of 2018 — Black Panther isn’t a traditional Black Oscar movie. Because it isn’t about the thing that almost every black film that’s been nominated for Oscars is: pain.
No matter how amazing such films as 12 Years A Slave, Selma, Moonlight, Hidden Figures and Precious are, they are all about black suffering. They are all about tragedy and triumph because they are all about the black experience in white America and that experience is laced with brutality and degradation and, eventually, hope. They are a history lesson in what can be overcome, often by a Great Man (or Great Woman) doing a Great Thing.
There is a place for films like that, of course. We should never forget those history lessons. But until now, every black Oscar film has felt, to some degree or another, like homework.
Not Black Panther. It doesn’t feel that way because it’s not about pain; It’s about excellence. It is, as Coogler said during the press campaign leading up to the film’s release, about the hyphen between “African” and “American.” What does it mean to be each of those things, both of those things, and neither of those things, all at once?
What does it mean to be T’Challa (Boseman), newly crowned King of Wakanda, inheritor of generations of prosperity, of technology, of power…the kind of power no black person in the world at large has ever held? What challenges face a man trying to be good, confronted by voluminous evidence of the bad? What does it mean to be Nakia (Nyong’o), a spy who walks the world and understands the role Wakanda can play in it but is forced to keep it a secret?
And what does it mean to be Killmonger (Jordan), Wakandan royalty by birth, Oakland orphan by circumstance, witness to the meatgrinder the Western world can be for people of color? To know there’s a place that could be a paradise for men and women like him, but turns its back on its own children the world over? How does it feel to be young, black, brilliant, and angry?
Coogler and his collaborators crafted a Best Picture contender that wrestles with those questions, while infusing it with its own sense of place. Costumes by Ruth E. Carter that melded the traditional with the timely. Production design by Hannah Beachler that conjured an entire world, from the largest spire to the smallest piece of jewelry, all conveying the heritage of the unconquered. A score by Ludwig Göransson that wrapped its arms around a vast mosaic of African music and musicians and embraced modern hip-hop as well. A script by Coogler and Joe Robert Cole that gave a white audience all the superheroic adventure they’ve come to expect from a Marvel movie that has only one Caucasian character with dialogue that matters (Andy Serkis’ Klaue), which closes out Killmonger’s story with a line like, “Just bury me in the ocean with my ancestors that jumped from the ships, ‘cause they knew death was better than bondage.”
Matt Kennedy/© Marvel Studios 2018
I saw the film three times before I fell in love with it. The first time I didn’t see it for everything it was, I just read what was on the surface — I was impressed with it, but still apart from it. The second time, I saw some of the subversion that Coogler built in: For instance, the final confrontation between T’Challa and Killmonger doesn’t take place on an underground railroad by accident.
But the third time…the third time, I took my newly teenaged son, who is just beginning to reckon with who he is in this world. There is an early sequence, when Danai Gurira’s Okoye is piloting the royal shuttle through the cloaking device that keeps Wakanda hidden from the outside world. She says three simple words and, when I was sitting next to my son, those words shattered me.
“We are home.”
Because “home” is a concept that’s difficult for the average African-American to wrap their mind around. Too few of us know where home is. Of course, I know where I was born, I even know where my parents were born. But the displacement that came with hundreds of years of slavery has stripped bare the memory of where I am from. Most other people have a sense of it: I can ask an Italian person where her people are from, and there’s a fair chance she can point to a place on a map. Same with many Scots, Poles, Brazilians, Australians, Japanese…there is a city, a town, a village that their people hail from.
But me? Once you drive past Haiti, where my father was born, or Trinidad and Barbados, where my maternal grandparents are from, my answer is…“Africa?” Maybe Ancestry.com or whatever can narrow that a bit, but there is no connection between me and whatever place comes up in the genetic Yahtzee.
The power of Black Panther is that it imagines a place that could be home to millions who don’t have one. A place that isn’t marked by pain, but instead by progress. A land that knows its history and revels in it, rather than be embarrassed by it. Black Pantherspeaks to children who might still believe in fairy tales and gives them a new one — one with kings and queens, magic and honor, palaces and passion. And it speaks to their elders who might’ve forgotten how to believe in fairy tales. For the first time, I saw white kids dressing up as a black hero at comic-book conventions.
Will Black Panther win the best picture Oscar? If I had to guess, I’d say no. It simply isn’t miserable enough — for a Best Picture or a Black Best Picture. The gold it will win, though, is the sparkle in the eyes of every lost child who discovers a home on the screen, a luster that will never fade.
For more on this year’s Oscars, pick up the new issue of Entertainment Weekly on stands Friday, or buy it here now. Don’t forget to subscribe for more exclusive interviews and photos, only in EW.
Marc Bernardin
January 23, 2019 at 12:00 PM EST
It began early, the sense that Black Panther would be more than just another comic book movie. The seeds were planted when Marvel recruited director Ryan Coogler, the Oakland native who broke hearts with Fruitvale Station and made grown men cry with Creed.
The viral clips that spread of African-American children looking up at the impeccably retouched faces of Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, and Angela Bassett on the Panther poster — for once faced with a choice of which black character they wanted to be — were the early flowers of cinematic revolution. As were the Twitter videos of the women in an African-American hair salon giddy over the first trailer, and a black teenager asking, “Is this how white people feel like all the time?” In a mall last January, I walked past another black man and, rather than just give me the customary “nod,” he simply said “Black Panther’s in a month, yo.”
Justin Fantl for EW
Black Panther was the 18th Marvel movie of the Kevin Feige Era — which started with 2008’s Iron Man — but it was the first one that carried with it the hopes and dreams of a demographic who’ve never seen themselves on screen like this, rendered with all the care and resources usually summoned for movies starring paler protagonists. They were responding to Coogler’s telling of the story of a young king in a fictional African nation that had never been colonized.
And in an era when people of every hue were shouting from the rooftops that black lives did indeed matter, Black Panther felt like the dot on that exclamation point.
That remarkable social momentum led Black Panther to the top of the 2018 domestic box office — earning more than $1.3 billion worldwide — and now this, a Best Picture nomination from the Academy of Motion Picture Arts and Sciences. The first comic book movie ever to get one.
It’s not that comic book flicks never got love from the Oscars, it’s that it’s usually the same kind of below-the-line nods that go to big action-franchise movies, like special effects, sound design, sound editing, makeup, and occasionally production design, costume design, or original score. But if there’s a genre bias among the Oscar voters for real-world dramas over the fantastic, it’s double for material drawn from the funny pages. So the rare attention gets paid; for instance, an adapted screenplay nomination for Logan, a supporting actor nod for Al Pacino in Dick Tracy. (If your comic-book movie isn’t a superhero movie, you’ve got a better shot: Road to Perdition with a best supporting actor nomination, Ghost World and American Splendor with adapted screenplay; A History of Violence with both.)
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ACADEMY AWARDS 2019: BEST PICTURE NOMINEE 'BLACKKKLANSMAN'
It wasn’t until 2009 when a superhero movie actually won a main category at the Oscars: Heath Ledger’s posthumous Best Supporting Actor honor for his performance as the Joker in Christopher Nolan’s The Dark Knight. But the film wasn’t among the five nominees for best picture that year, despite its obvious quality and enormous popularity (it grossed $1 billion worldwide, the first superhero movie to cross that mark). The next year, the Academy changed its rules and expanded the nominee field from five to 10, making room for mainstream films that might bring new viewers to the Oscar broadcast — lest we forget the importance of a TV audience, which may tune in more enthusiastically to see if a box-office behemoth like Avatar or Titanic takes home the ultimate prize over less-familiar flicks.
If the Academy hadn’t widened its gaze, Black Panther might not have gotten the nomination. Despite its critical acclaim — according to Rotten Tomatoes, it’s the best-reviewed (and most reviewed!) wide release of 2018 — Black Panther isn’t a traditional Black Oscar movie. Because it isn’t about the thing that almost every black film that’s been nominated for Oscars is: pain.
No matter how amazing such films as 12 Years A Slave, Selma, Moonlight, Hidden Figures and Precious are, they are all about black suffering. They are all about tragedy and triumph because they are all about the black experience in white America and that experience is laced with brutality and degradation and, eventually, hope. They are a history lesson in what can be overcome, often by a Great Man (or Great Woman) doing a Great Thing.
There is a place for films like that, of course. We should never forget those history lessons. But until now, every black Oscar film has felt, to some degree or another, like homework.
Not Black Panther. It doesn’t feel that way because it’s not about pain; It’s about excellence. It is, as Coogler said during the press campaign leading up to the film’s release, about the hyphen between “African” and “American.” What does it mean to be each of those things, both of those things, and neither of those things, all at once?
What does it mean to be T’Challa (Boseman), newly crowned King of Wakanda, inheritor of generations of prosperity, of technology, of power…the kind of power no black person in the world at large has ever held? What challenges face a man trying to be good, confronted by voluminous evidence of the bad? What does it mean to be Nakia (Nyong’o), a spy who walks the world and understands the role Wakanda can play in it but is forced to keep it a secret?
And what does it mean to be Killmonger (Jordan), Wakandan royalty by birth, Oakland orphan by circumstance, witness to the meatgrinder the Western world can be for people of color? To know there’s a place that could be a paradise for men and women like him, but turns its back on its own children the world over? How does it feel to be young, black, brilliant, and angry?
Coogler and his collaborators crafted a Best Picture contender that wrestles with those questions, while infusing it with its own sense of place. Costumes by Ruth E. Carter that melded the traditional with the timely. Production design by Hannah Beachler that conjured an entire world, from the largest spire to the smallest piece of jewelry, all conveying the heritage of the unconquered. A score by Ludwig Göransson that wrapped its arms around a vast mosaic of African music and musicians and embraced modern hip-hop as well. A script by Coogler and Joe Robert Cole that gave a white audience all the superheroic adventure they’ve come to expect from a Marvel movie that has only one Caucasian character with dialogue that matters (Andy Serkis’ Klaue), which closes out Killmonger’s story with a line like, “Just bury me in the ocean with my ancestors that jumped from the ships, ‘cause they knew death was better than bondage.”
Matt Kennedy/© Marvel Studios 2018
I saw the film three times before I fell in love with it. The first time I didn’t see it for everything it was, I just read what was on the surface — I was impressed with it, but still apart from it. The second time, I saw some of the subversion that Coogler built in: For instance, the final confrontation between T’Challa and Killmonger doesn’t take place on an underground railroad by accident.
But the third time…the third time, I took my newly teenaged son, who is just beginning to reckon with who he is in this world. There is an early sequence, when Danai Gurira’s Okoye is piloting the royal shuttle through the cloaking device that keeps Wakanda hidden from the outside world. She says three simple words and, when I was sitting next to my son, those words shattered me.
“We are home.”
Because “home” is a concept that’s difficult for the average African-American to wrap their mind around. Too few of us know where home is. Of course, I know where I was born, I even know where my parents were born. But the displacement that came with hundreds of years of slavery has stripped bare the memory of where I am from. Most other people have a sense of it: I can ask an Italian person where her people are from, and there’s a fair chance she can point to a place on a map. Same with many Scots, Poles, Brazilians, Australians, Japanese…there is a city, a town, a village that their people hail from.
But me? Once you drive past Haiti, where my father was born, or Trinidad and Barbados, where my maternal grandparents are from, my answer is…“Africa?” Maybe Ancestry.com or whatever can narrow that a bit, but there is no connection between me and whatever place comes up in the genetic Yahtzee.
The power of Black Panther is that it imagines a place that could be home to millions who don’t have one. A place that isn’t marked by pain, but instead by progress. A land that knows its history and revels in it, rather than be embarrassed by it. Black Pantherspeaks to children who might still believe in fairy tales and gives them a new one — one with kings and queens, magic and honor, palaces and passion. And it speaks to their elders who might’ve forgotten how to believe in fairy tales. For the first time, I saw white kids dressing up as a black hero at comic-book conventions.
Will Black Panther win the best picture Oscar? If I had to guess, I’d say no. It simply isn’t miserable enough — for a Best Picture or a Black Best Picture. The gold it will win, though, is the sparkle in the eyes of every lost child who discovers a home on the screen, a luster that will never fade.
For more on this year’s Oscars, pick up the new issue of Entertainment Weekly on stands Friday, or buy it here now. Don’t forget to subscribe for more exclusive interviews and photos, only in EW.
'Black Panther' Stars Surprise Student With Scholarship at Hollywood Reporter's Women in Entertainment Event
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11:01 AM PST 12/5/2018 by Lexy Perez
Chadwick Boseman, Lupita Nyong'o and Danai Gurira made the announcement, while Kesha was also on hand to present $1.8 million in college scholarships to aspiring female students at the star-studded event.
Known for defending the citizens of Wakanda in Black Panther, the cast was ready to take on a new mission by surprising a student with a full-ride scholarship during The Hollywood Reporter's 2018 Women in Entertainment event, which was held Wednesday at Milk Studios in Los Angeles.
Chadwick Boseman, Lupita Nyong'o and Danai Gurira were on hand at the star-studded gala to present the new scholarship — The Black Panther Scholarship — created by Walt Disney Studios, which gave one girl from THR's Women in Entertainment Mentorship Program a scholarship worth $250,000 to Loyola Marymount University. The program, now in its ninth year, is executed in partnership with Big Brothers Big Sisters of Greater Los Angeles.
"We know that if we want to live in a world that looks more like Wakanda, the first step is you invest in women and girls," said Gurira, who received a loud round of applause from the audience.
Boseman took a moment to thank Walt Disney Studios chairman Alan Horn, Walt Disney Studios president Alan Bergman, Marvel Studios president Kevin Feige, Black Panther director Ryan Coogler and "the entire team at the Walt Disney Studios" before announcing the winner — Kalis, 17, who plans to become a pediatric dermatologist and is currently attending high school in Inglewood.
After being awarded the scholarship, Kalis said: "I would like to thank my parents who birthed me, who made me who I am today. ... I just want to stand and say this is for girls who live in Compton, who live in Inglewood, and this is for girls and men who face adversities. I just want to say that we can do it and it is possible."
READ MORE
Hollywood Reporter Unveils Major Initiative to Promote Inclusivity in Entertainment
Kesha was also on hand to unveil a surprise for other mentees as she presented more scholarships for a total of $1.8 million awarded Wednesday.
Prior to announcing the presentation, the Grammy-nominated singer-songwriter discussed the importance of creating an "equal and safe environment for both men and women in the workplace," which she said would ultimately allow anyone to focus on "being the best actress, best singer, best songwriter, best stylist, best makeup artist, best director, best producer, best writer, the best in whatever you want to be."
The scholarships were awarded to L.A. teens from underserved communities who are currently taking part inthe Women in Entertainment Mentorship Program. Each of the 18 girls finishing her mentorship year will receive a $10,000 scholarship to attend the university of her choice, with six girls receiving full-ride scholarships worth more than $250,000 each to attend Loyola Marymount University, a longtime partner in the program. Since the program's inception, more than $6 million in scholarship money has been raised.
Kesha also took a moment to thank "guardian angels" Chuck Lorre and Lori Greiner. The Big Bang Theory producer Lorre funded two scholarships to recipients Zyrah and Veronica, who both expressed shock before taking the stage.
Greiner, the entrepreneur and inventor featured on Shark Tank, donated her second annual full-ride scholarship to Emily, who took a moment to thank THR's Stephen Galloway for making a "huge change in their lives." Greiner recently received an award from Big Brothers Big Sisters in honor of her work and generosity at the annual gala of BBBS’ Los Angeles chapter. Additional full-ride scholarships were also provided by Lionsgate, which went to Yessenia, and by Twitter, which was awarded to Denise.
READ MORE
Lena Dunham Brings Aurora's Mom Onstage to Apologize at Hollywood Reporter Women in Entertainment Event
"I want to tell every girl that anything is possible. These are for girls in Guatemala ... girls who think that it's not possible. This is for all of us," Yessenia emotionally said.
Kesha also took a moment to note that, for the first time, the Wasserman Foundation funded a new annual $10,000 scholarship, the Edie Wasserman Scholarship, which led to another surprise for each of the young girls. "Every mentee in the 2019 cohort is getting a tool that's crucial to her success: a brand-new MacBook Air laptop. Congratulations to all of you," Kesha announced, as the girls received a round of applause while accepting their new computers.
The additional $10,000 scholarships are co-funded by Lifetime and Entertainment Industry Foundation. Lifetime is naming its gift the Abbe Raven Scholarship "in honor of its longtime leader and a passionate believer in education," Kesha noted.
American Airlines gifted each graduating mentee 50,000 AAdvantage miles to help them with travel from their hometowns to their future universities, while SAG-AFTRA also gifted mentees with backpacks filled with supplies to help set them up for success when they head to college.
The Power 100 Women in Entertainment Event Presented by Lifetime was sponsored by American Airlines, Cadillac, Fiji Water, eOne, Gersh, Loyola Marymount University and SAG-AFTRA, in partnership with Big Brothers Big Sisters of Greater Los Angeles and Entertainment Industry Foundation.
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11:01 AM PST 12/5/2018 by Lexy Perez
- EMAIL ME
- YOUTUBE
Chadwick Boseman, Lupita Nyong'o and Danai Gurira made the announcement, while Kesha was also on hand to present $1.8 million in college scholarships to aspiring female students at the star-studded event.
Known for defending the citizens of Wakanda in Black Panther, the cast was ready to take on a new mission by surprising a student with a full-ride scholarship during The Hollywood Reporter's 2018 Women in Entertainment event, which was held Wednesday at Milk Studios in Los Angeles.
Chadwick Boseman, Lupita Nyong'o and Danai Gurira were on hand at the star-studded gala to present the new scholarship — The Black Panther Scholarship — created by Walt Disney Studios, which gave one girl from THR's Women in Entertainment Mentorship Program a scholarship worth $250,000 to Loyola Marymount University. The program, now in its ninth year, is executed in partnership with Big Brothers Big Sisters of Greater Los Angeles.
"We know that if we want to live in a world that looks more like Wakanda, the first step is you invest in women and girls," said Gurira, who received a loud round of applause from the audience.
Boseman took a moment to thank Walt Disney Studios chairman Alan Horn, Walt Disney Studios president Alan Bergman, Marvel Studios president Kevin Feige, Black Panther director Ryan Coogler and "the entire team at the Walt Disney Studios" before announcing the winner — Kalis, 17, who plans to become a pediatric dermatologist and is currently attending high school in Inglewood.
After being awarded the scholarship, Kalis said: "I would like to thank my parents who birthed me, who made me who I am today. ... I just want to stand and say this is for girls who live in Compton, who live in Inglewood, and this is for girls and men who face adversities. I just want to say that we can do it and it is possible."
READ MORE
Hollywood Reporter Unveils Major Initiative to Promote Inclusivity in Entertainment
Kesha was also on hand to unveil a surprise for other mentees as she presented more scholarships for a total of $1.8 million awarded Wednesday.
Prior to announcing the presentation, the Grammy-nominated singer-songwriter discussed the importance of creating an "equal and safe environment for both men and women in the workplace," which she said would ultimately allow anyone to focus on "being the best actress, best singer, best songwriter, best stylist, best makeup artist, best director, best producer, best writer, the best in whatever you want to be."
The scholarships were awarded to L.A. teens from underserved communities who are currently taking part inthe Women in Entertainment Mentorship Program. Each of the 18 girls finishing her mentorship year will receive a $10,000 scholarship to attend the university of her choice, with six girls receiving full-ride scholarships worth more than $250,000 each to attend Loyola Marymount University, a longtime partner in the program. Since the program's inception, more than $6 million in scholarship money has been raised.
Kesha also took a moment to thank "guardian angels" Chuck Lorre and Lori Greiner. The Big Bang Theory producer Lorre funded two scholarships to recipients Zyrah and Veronica, who both expressed shock before taking the stage.
Greiner, the entrepreneur and inventor featured on Shark Tank, donated her second annual full-ride scholarship to Emily, who took a moment to thank THR's Stephen Galloway for making a "huge change in their lives." Greiner recently received an award from Big Brothers Big Sisters in honor of her work and generosity at the annual gala of BBBS’ Los Angeles chapter. Additional full-ride scholarships were also provided by Lionsgate, which went to Yessenia, and by Twitter, which was awarded to Denise.
READ MORE
Lena Dunham Brings Aurora's Mom Onstage to Apologize at Hollywood Reporter Women in Entertainment Event
"I want to tell every girl that anything is possible. These are for girls in Guatemala ... girls who think that it's not possible. This is for all of us," Yessenia emotionally said.
Kesha also took a moment to note that, for the first time, the Wasserman Foundation funded a new annual $10,000 scholarship, the Edie Wasserman Scholarship, which led to another surprise for each of the young girls. "Every mentee in the 2019 cohort is getting a tool that's crucial to her success: a brand-new MacBook Air laptop. Congratulations to all of you," Kesha announced, as the girls received a round of applause while accepting their new computers.
The additional $10,000 scholarships are co-funded by Lifetime and Entertainment Industry Foundation. Lifetime is naming its gift the Abbe Raven Scholarship "in honor of its longtime leader and a passionate believer in education," Kesha noted.
American Airlines gifted each graduating mentee 50,000 AAdvantage miles to help them with travel from their hometowns to their future universities, while SAG-AFTRA also gifted mentees with backpacks filled with supplies to help set them up for success when they head to college.
The Power 100 Women in Entertainment Event Presented by Lifetime was sponsored by American Airlines, Cadillac, Fiji Water, eOne, Gersh, Loyola Marymount University and SAG-AFTRA, in partnership with Big Brothers Big Sisters of Greater Los Angeles and Entertainment Industry Foundation.
John Campea suspects Killmonger WILL BE BACK in Black Panther 2. 
Here's the full clip John Campea talks about... (Skip to the 2:00 minute mark)
Here's the full clip John Campea talks about... (Skip to the 2:00 minute mark)
How One Deleted Killmonger Line Totally Changed The Ending Of Black Panther
BY ERIC EISENBERG
3 COMMENTS
3 WEEKS AGO
RANDOM ARTICLE BLEND
SPOILER WARNING: The following article contains major spoilers for the ending of Black Panther**. If you have not yet seen the film, continue at your own risk.**
Ryan Coogler's Black Panther had one of the most beautiful and impactful endings of any movie in 2018. Not only does the whole story come full circle in an incredible way, but it's a conclusion that also fully satisfies the themes of the film and the arc of the titular hero. It really is perfect -- which is why it may surprise you to learn not only how late in the process it all came together, but also that the whole thing was changed because of a deleted line of dialogue from Michael B. Jordan's Erik Killmonger shortly before his death.
This fascinating story about the filmmaking process comes from an interview that I did with Black Panther editor Michael Shawver last week -- specifically during a discussion about how reshoots wound up shaping the blockbuster into the movie we know. He explained that the United Nations scene (now featured in the mid-credits) was the original end of the film, but input from co-editor Debbie Bermanmade him and Ryan Coogler realize they were missing a scene where the lesson of the story was fully realized for the hero. Tracing this idea back, they discovered a specific problem in Killmonger's final moments. Said Shawver,
It's not great when one of the final scenes in your movie doesn't allow proper endings for both your hero and your villain, but the good news is that this revelation was made prior to reshoots, allowing the Black Panther filmmakers time to think of an idea and fix it.
Fortunately, Ryan Coogler and Michael Shawver are long time collaborators -- the latter having cut all three of the former's features -- and that experience turned out to be crucial in fixing the issues. The duo apparently have a habit of watching scenes from classic movies and browsing filmmaker videos on YouTube while they are working, and it was through this part of their process that they ultimately discovered the answer to their problem. As Shawver noted, it all came down to understanding what makes the greatest movie endings of all time so great:
Coming to this revelation sent Ryan Coogler off to write a new ending for Black Panther -- one that would take the story back to exactly where it started: Oakland, California, and the childhood home of Erik Killmonger. In the new scene, T'Challa (Chadwick Boseman) and Shuri (Letitia Wright) not only explain how their nation's influence is going to start changing the world, with refurbishment projects and outreach programs, but we even get a special peek at what that influence is going to mean for the people who have lived their lives without Wakandan resources.
This scene was exactly what the film needed. Not only was the villain no longer telling the hero exactly what he needed to do, but audiences got to actually see T'Challa actively learn a lesson from the story and start work on the ground level instead of just making a speech at the United Nations. It's really a perfect example of showing instead of telling, as Michael Shawver explained,
Following its theatrical release early last year, the 18th feature from Marvel Studios is now available for anyone to watch on home video -- either digitally or via 4K, Blu-ray and DVD -- and it also happens to very much be a contender in this year's awards race. As such, we'll surely be writing a lot more about the movie in the coming weeks, including more from my interview with Michael Shawver, so stay tuned here on CinemaBlend.
https://www.cinemablend.com/news/24...e-totally-changed-the-ending-of-black-panther
BY ERIC EISENBERG
3 COMMENTS
3 WEEKS AGO
RANDOM ARTICLE BLEND
SPOILER WARNING: The following article contains major spoilers for the ending of Black Panther**. If you have not yet seen the film, continue at your own risk.**
Ryan Coogler's Black Panther had one of the most beautiful and impactful endings of any movie in 2018. Not only does the whole story come full circle in an incredible way, but it's a conclusion that also fully satisfies the themes of the film and the arc of the titular hero. It really is perfect -- which is why it may surprise you to learn not only how late in the process it all came together, but also that the whole thing was changed because of a deleted line of dialogue from Michael B. Jordan's Erik Killmonger shortly before his death.
This fascinating story about the filmmaking process comes from an interview that I did with Black Panther editor Michael Shawver last week -- specifically during a discussion about how reshoots wound up shaping the blockbuster into the movie we know. He explained that the United Nations scene (now featured in the mid-credits) was the original end of the film, but input from co-editor Debbie Bermanmade him and Ryan Coogler realize they were missing a scene where the lesson of the story was fully realized for the hero. Tracing this idea back, they discovered a specific problem in Killmonger's final moments. Said Shawver,
With reshoots Ryan wanted to do a new ending, and it's a whole bigger thing with the scene where Killmonger dies... What we shot originally, and in the script, was Killmonger saying 'It's beautiful, but what are you going to do for everybody in the world who can't see this?'... And it was great. It was powerful, it was awesome, but it was problematic for a few reasons. One, we realized that just as a character, for the journey of T'Challa, he can't get the answer to the movie and what he needs to do from the villain - like straight-up exactly what he needs. And that's kind of what was happening. Secondly, it was a great performance, and [Michael B. Jordan] brought it, and it was painful to watch because you kind of don't want this guy to die, but it didn't fit his character.
It's not great when one of the final scenes in your movie doesn't allow proper endings for both your hero and your villain, but the good news is that this revelation was made prior to reshoots, allowing the Black Panther filmmakers time to think of an idea and fix it.
Fortunately, Ryan Coogler and Michael Shawver are long time collaborators -- the latter having cut all three of the former's features -- and that experience turned out to be crucial in fixing the issues. The duo apparently have a habit of watching scenes from classic movies and browsing filmmaker videos on YouTube while they are working, and it was through this part of their process that they ultimately discovered the answer to their problem. As Shawver noted, it all came down to understanding what makes the greatest movie endings of all time so great:
One thing that we did was looking at all those Top 10 lists of best endings ever for movies, and we found in a lot of these videos it was one of two things: it was either the twist ending... or it was The Godfather... Basically, the first time you meet Michael, he's with Kay and he's telling her he's not like his family. 'That's not me, Kay. That's them.' The last scene we see him, he's telling Kay he's not like his family... But then he walks and the door shuts, and you know everything is different. But it's the same conversation! And so it's the circular nature why those kinds of endings feel like closure even though it's open-ended.
Coming to this revelation sent Ryan Coogler off to write a new ending for Black Panther -- one that would take the story back to exactly where it started: Oakland, California, and the childhood home of Erik Killmonger. In the new scene, T'Challa (Chadwick Boseman) and Shuri (Letitia Wright) not only explain how their nation's influence is going to start changing the world, with refurbishment projects and outreach programs, but we even get a special peek at what that influence is going to mean for the people who have lived their lives without Wakandan resources.
This scene was exactly what the film needed. Not only was the villain no longer telling the hero exactly what he needed to do, but audiences got to actually see T'Challa actively learn a lesson from the story and start work on the ground level instead of just making a speech at the United Nations. It's really a perfect example of showing instead of telling, as Michael Shawver explained,
Ryan went off in his lab and did his brilliant work that he does as a writer, and wrote the final scene in Oakland where he goes with Shuri and shows the Royal Talon fighter to those kids, and specifically a kid that kinda looks like a young Killmonger. Basically, him showing them that, and buying those buildings, and the Wakandan Outreach Program was in spirit what originally we had Killmonger tell him. 'If people can just see this. If people can see their own potential then things would be different.' And so that was done in a new scene where we see what T'Challa has done. And then at the very, very, very end, the last line is that kid looking at him and saying, 'Who are you?' And that is the theme of the movie, of identity. Who are you? And he doesn't need to answer it, because he just answered it for us.
So the next time you see or hear someone fretting about a movie going through reshoots, tell them about this story. Rather than automatically being a sign that things have gone terribly wrong behind the scenes of a project, additional photography can be a process utilized to make a great film even better, and Black Panther is a perfect example.
Following its theatrical release early last year, the 18th feature from Marvel Studios is now available for anyone to watch on home video -- either digitally or via 4K, Blu-ray and DVD -- and it also happens to very much be a contender in this year's awards race. As such, we'll surely be writing a lot more about the movie in the coming weeks, including more from my interview with Michael Shawver, so stay tuned here on CinemaBlend.
https://www.cinemablend.com/news/24...e-totally-changed-the-ending-of-black-panther
Ryan Coogler Thought Marvel Would Cut Black Panther's Most Powerful Line
Germain Lussier
Yesterday 4:30pm
Filed to: BLACK PANTHER
421.6K
2222
Director and co-writer Ryan Coogler along with Marvel Studios president Kevin Feige at the world premiere of Black Panther in 2018.
Photo: Jesse Grant (Getty Images)
Black Panther’s Erik Killmonger is one of the MCU’s most complex villains. His heartbreaking dialogue toward the end of the film is one of his most powerful moments and perhaps something you wouldn’t normally expect to hear in a superhero film. Black Panther co-writers Ryan Coogler and Joe Robert Cole put it in there assuming Marvel executives would cut it. However, they did the opposite.
In fact, they said not just to keep it in, but make the whole movie about that choice. Speaking to the Hollywood Reporter, Marvel Studios president Kevin Feige recalls reading those lines in the first draft of Black Panther. The exchange, if you recall, is as follows:
T’Challa: “I can try to heal you.”
Killmonger: “Why, so you can lock me up? Just bury me in the ocean with my ancestors who jumped ships, ‘cause they knew death was better than bondage.”
“It was one of the best lines we ever read,” Feige told THR. “We said, ‘There are going to be a lot of revisions, but don’t touch that line.’ And Ryan said, ‘That’s the line I thought you’d tell me to cut.’ And we said, ‘On the contrary, keep it and build more of the movie around it.’”
Coogler did just that, Black Panther made $700 million domestic, becoming not just Marvel’s highest grossing domestic release ever, but the third highest grossing domestic release of all time. It also, most importantly, secured Marvel its first Academy Award nomination for Best Picture. We’ll find out if it can win on February 24.
As for Coogler and Feige, the pair will soon be back at work, as a Black Panther sequel is in the works.
Germain Lussier
Yesterday 4:30pm
Filed to: BLACK PANTHER
421.6K
2222
Director and co-writer Ryan Coogler along with Marvel Studios president Kevin Feige at the world premiere of Black Panther in 2018.
Photo: Jesse Grant (Getty Images)
Black Panther’s Erik Killmonger is one of the MCU’s most complex villains. His heartbreaking dialogue toward the end of the film is one of his most powerful moments and perhaps something you wouldn’t normally expect to hear in a superhero film. Black Panther co-writers Ryan Coogler and Joe Robert Cole put it in there assuming Marvel executives would cut it. However, they did the opposite.
In fact, they said not just to keep it in, but make the whole movie about that choice. Speaking to the Hollywood Reporter, Marvel Studios president Kevin Feige recalls reading those lines in the first draft of Black Panther. The exchange, if you recall, is as follows:
T’Challa: “I can try to heal you.”
Killmonger: “Why, so you can lock me up? Just bury me in the ocean with my ancestors who jumped ships, ‘cause they knew death was better than bondage.”
“It was one of the best lines we ever read,” Feige told THR. “We said, ‘There are going to be a lot of revisions, but don’t touch that line.’ And Ryan said, ‘That’s the line I thought you’d tell me to cut.’ And we said, ‘On the contrary, keep it and build more of the movie around it.’”
Coogler did just that, Black Panther made $700 million domestic, becoming not just Marvel’s highest grossing domestic release ever, but the third highest grossing domestic release of all time. It also, most importantly, secured Marvel its first Academy Award nomination for Best Picture. We’ll find out if it can win on February 24.
As for Coogler and Feige, the pair will soon be back at work, as a Black Panther sequel is in the works.
I thought the undersea quake mention was interesting, but I didn't make the connection! Marvel obviously isn't afraid of Aquaman vs. Namor comparisons. Wakanda vs. Atlantis would be epic. Plus, we'd have the added bonus of BP's Oscar-winning production and costume design teams creating Atlantis.
What would you like the see in the sequel? More action? Comedy? A Storm cameo? Who should do the soundtrack?
I thought the undersea quake mention was interesting, but I didn't make the connection! Marvel obviously isn't afraid of Aquaman vs. Namor comparisons. Wakanda vs. Atlantis would be epic. Plus, we'd have the added bonus of BP's Oscar-winning production and costume design teams creating Atlantis.
What would you like the see in the sequel? More action? Comedy? A Storm cameo? Who should do the soundtrack?
What would you like the see in the sequel?
Whoever they can get!!! I think it is REALLY important for Falcon, Fury and Rhodey to go to Wakanda and here their thoughts
More action?
YES... better lit too. I want the T'Challa we all fell in love with in Civil War. And I want that James Bond Black Panther they promised, I want world hopping.
Comedy?
It was a fine balance don't need anymore than that. M'Baku, Shuri and Okye good enough funny
A Storm cameo?
I don't think my heart could handle it (who you gonna CAST!?!)... but even as a children would be fine.
Who should do the soundtrack?
I think it should be SPLIT...
maybe 2 different genres.
but I would like a REALLY African world music meets hip hop /R&b one like Wale and Drake and them were trying...
Have you seen this fan theory?
I don't think my heart could handle it (who you gonna CAST!?!)... but even as a children would be fine.
DeWanda Wise
Kiki Layne
All I ask is that they let BP be a superhero in the next one.
Let him drive the story. Get into the character more and let us know who he is. What makes Cap and IM so great is we know who they are.
1st BP movie he was reacting the whole time not really knowing what to do. The story was happening to him.
More importantly, let him hunt some damn bad guys.
Let him drive the story. Get into the character more and let us know who he is. What makes Cap and IM so great is we know who they are.
1st BP movie he was reacting the whole time not really knowing what to do. The story was happening to him.
More importantly, let him hunt some damn bad guys.
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DeWanda Wise
sidebar...
Imagine Nakia and Storm in a FIGHT with T'Challa in the middle?
with Shuri, The Queen, M'Baku and Okaye talking SH*T on the sidelines.
I thought the undersea quake mention was interesting, but I didn't make the connection! Marvel obviously isn't afraid of Aquaman vs. Namor comparisons. Wakanda vs. Atlantis would be epic. Plus, we'd have the added bonus of BP's Oscar-winning production and costume design teams creating Atlantis.
What would you like the see in the sequel? More action? Comedy? A Storm cameo? Who should do the soundtrack?
That would be the best way to top the first BP, with a sequel. Wakanda vs. Atlantis could bring in another billion dollar box office.
The ultimate battle between Loki and Killmonger
Thanks to @titil0pe_, many are sharing who will win if the two fought — Erik Killmonger or the "God of Mischief" Loki. The following Tweets are part of a live conversation detected by an algorithm.
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What Marvel's 1990s Black Panther Movie Looked Like (& Why It Didn't Happen)
It's good that it didn't happen.
screenrant.com
Marvel's SHIELD is Actually An Ancient Secret Society
The SHIELD organization is famous in the Marvel Universe for helping heroes like the Avengers, but their own history is even more extraordinary!
screenrant.com
Black Panther’s Shuri Is Trying To Make More Super-Soldiers After Endgame
"Wakanda forever!"
screenrant.com
Black Panther’s Shuri Is Trying To Make More Super-Soldiers After Endgame
In the aftermath of Avengers: Endgame, Black Panther's sister Shuri is attempting to create more super-soldiers - for Wakanda!
BY THOMAS BACON8 HOURS AGO
Black Panther's sister Shuri is attempting to create super-soldiers in the aftermath of Avengers: Endgame. It's easy to forget given everything that's happened since, but 2018's Black Panther plunged Wakanda into chaos. Since time immemorial, the nation of Wakanda has been protected and championed by the Black Panther. Each Black Panther is granted power by ingesting the Heart-Shaped Herb, a flower that has been granted strange and unusual properties due to Wakanda's vibranium-rich soil.
But Killmonger destroyed the ceremonial stocks of the Heart-Shaped Herb during his brief reign. Unless more can be found, it looks as though T'Challa will be Wakanda's last Black Panther, and the mantle can never be passed on. Naturally, Shuri and her Wakandan Design Group are viewing this as an absolute priority. They need to find a way to ensure there can be succession. Marvel Studios has just published The Wakanda Files, a collection of in-universe records pulled together by Shuri as she attempts to find an answer to this problem - and it seems she's taking an innovative approach.
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RELATED: New MCU Timeline Corrects Black Panther & Thor 2 Issues
Rather than focus exclusively on the Heart-Shaped Herb, Shuri is casting her net wider and attempting to discover other ways to create super-soldiers. Indeed, that's the primary reason Shuri has collected these files in the first place; in order to understand how super-soldiers are created, so she can duplicate the process. "If we are to synthesize, and by process improve upon, an ancient Wakandan herb, we must first study supplementation where others have tried and succeeded," she notes. "And also, where they have failed." To that end, she focuses particularly upon Captain America, the Hulk, the Abomination, and even Extremis from Iron Man 3.
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Intriguingly, Shuri identifies one commonality - radiation. As she notes, almost all successful super-soldier projects involve a significant dose of radiation.
It's interesting to note that, for all her genius, Shuri has actually missed the connection. It is true that no radiation is involved in the Black Panther transformation; but the Heart-Shaped Herb has its own unique properties precisely because of the radiation emitted by vibranium. The link is still there, unrecognized by Shuri, simply because it is a little more indirect.
Of course, in the real world there is a simple reason for this. The majority of the MCU's superheroes were created in the 1960s, when the Cold War was at its height. Everybody feared the possibility of an atomic war, and nobody really understood what the consequences would be. Cosmic horror and sci-fi films told tales of radioactive monsters, giant lizards, mutated bunnies, and the like. Naturally, Stan Lee and his fellow Marvel creators tapped into the idea of radiation as the source of superheroes as well. The Fantastic Four were exposed to cosmic rays, Bruce Banner was caught in a gamma blast, Peter Parker was bitten by a radioactive spider; these heroes felt oddly grounded in the real world precisely because they reflected the fear about what radiation could do to a human being. Now, decades later, that fear is a lot less pressing - and so the MCU may well need to take a subtly different approach.
‘Black Panther’ Helmer Ryan Coogler Stakes His Proximity Media Banner To 5-Year Exclusive Disney Television Deal; Wakanda Series In Works For Disney+
By Mike Fleming Jr
Mike Fleming Jr
Co-Editor-in-Chief, Film
@DeadlineMikeMore Stories By Mike
2COMMENTS
EXCLUSIVE: The Walt Disney Company has extended its relationship with Black Panther director and co-writer Ryan Coogler. Disney has made a five-year overall exclusive television deal with Coogler’s Proximity Media, which he runs with principals Zinzi Coogler, Sev Ohanian, Ludwig Göransson, Archie Davis and Peter Nicks. Coogler, who is working on the Black Panther feature sequel he will direct this year, will develop new television series for the studio. The first one will delight Black Panther fans: a drama based in the Kingdom of Wakanda for Disney+. The deal also enables Proximity to develop television for other divisions of the Company.
“Ryan Coogler is a singular storyteller whose vision and range have made him one of the standout filmmakers of his generation,” said Bob Iger, Executive Chairman, The Walt Disney Company. “With Black Panther, Ryan brought a groundbreaking story and iconic characters to life in a real, meaningful and memorable way, creating a watershed cultural moment. We’re thrilled to strengthen our relationship and look forward to telling more great stories with Ryan and his team.”
Said Coogler: “It’s an honor to be partnering with The Walt Disney Company. Working with them on Black Panther was a dream come true. As avid consumers of television, we couldn’t be happier to be launching our television business with Bob Iger, Dana Walden and all the amazing studios under the Disney umbrella. We look forward to learning, growing, and building a relationship with audiences all over the world through the Disney platforms. We are especially excited that we will be taking our first leap with Kevin Feige, Louis D’Esposito, Victoria Alonso and their partners at Marvel Studios where we will be working closely with them on select MCU shows for Disney+. We’re already in the mix on some projects that we can’t wait to share,” stated Ryan Coogler on behalf of Proximity Media.”
Coogler founded the multi-media company Proximity with Zinzi Coogler, Ohanian, Göransson, Davis and Nicks with a mission to create event-driven feature films, television, soundtracks and podcasts that look to bring audiences closer together through stories involving often-overlooked subject matters. Proximity intends to generate a wide variety of projects across all budget levels.
Coogler’s rise to the Hollywood A-list has been meteoric. His debut came on the lauded Fruitvale Station, and he reunited with Michael B Jordan on Creed, after persuading Sylvester Stallone to allow him to revive his Rocky Balboa character and franchise. Creed has turned into a franchise of its own. Coogler then followed with Black Panther, a film that grossed north of $1.3 billion globally, the most for a film by a Black filmmaker. It created a global zeitgeist groundswell and became the first superhero film to get a Best Picture Oscar nomination. Star Chadwick Boseman died last year, and Coogler and Disney are moving forward with a sequel he has written, one that will not recast another actor in that role.
The deal was negotiated on behalf of Proximity Media by WME, Charles King of M88 and Jonathan Gardner, Esq. of Cohen & Gardner.
By Mike Fleming Jr
Mike Fleming Jr
Co-Editor-in-Chief, Film
@DeadlineMikeMore Stories By Mike
2COMMENTS
EXCLUSIVE: The Walt Disney Company has extended its relationship with Black Panther director and co-writer Ryan Coogler. Disney has made a five-year overall exclusive television deal with Coogler’s Proximity Media, which he runs with principals Zinzi Coogler, Sev Ohanian, Ludwig Göransson, Archie Davis and Peter Nicks. Coogler, who is working on the Black Panther feature sequel he will direct this year, will develop new television series for the studio. The first one will delight Black Panther fans: a drama based in the Kingdom of Wakanda for Disney+. The deal also enables Proximity to develop television for other divisions of the Company.
“Ryan Coogler is a singular storyteller whose vision and range have made him one of the standout filmmakers of his generation,” said Bob Iger, Executive Chairman, The Walt Disney Company. “With Black Panther, Ryan brought a groundbreaking story and iconic characters to life in a real, meaningful and memorable way, creating a watershed cultural moment. We’re thrilled to strengthen our relationship and look forward to telling more great stories with Ryan and his team.”
Said Coogler: “It’s an honor to be partnering with The Walt Disney Company. Working with them on Black Panther was a dream come true. As avid consumers of television, we couldn’t be happier to be launching our television business with Bob Iger, Dana Walden and all the amazing studios under the Disney umbrella. We look forward to learning, growing, and building a relationship with audiences all over the world through the Disney platforms. We are especially excited that we will be taking our first leap with Kevin Feige, Louis D’Esposito, Victoria Alonso and their partners at Marvel Studios where we will be working closely with them on select MCU shows for Disney+. We’re already in the mix on some projects that we can’t wait to share,” stated Ryan Coogler on behalf of Proximity Media.”
Coogler founded the multi-media company Proximity with Zinzi Coogler, Ohanian, Göransson, Davis and Nicks with a mission to create event-driven feature films, television, soundtracks and podcasts that look to bring audiences closer together through stories involving often-overlooked subject matters. Proximity intends to generate a wide variety of projects across all budget levels.
Coogler’s rise to the Hollywood A-list has been meteoric. His debut came on the lauded Fruitvale Station, and he reunited with Michael B Jordan on Creed, after persuading Sylvester Stallone to allow him to revive his Rocky Balboa character and franchise. Creed has turned into a franchise of its own. Coogler then followed with Black Panther, a film that grossed north of $1.3 billion globally, the most for a film by a Black filmmaker. It created a global zeitgeist groundswell and became the first superhero film to get a Best Picture Oscar nomination. Star Chadwick Boseman died last year, and Coogler and Disney are moving forward with a sequel he has written, one that will not recast another actor in that role.
The deal was negotiated on behalf of Proximity Media by WME, Charles King of M88 and Jonathan Gardner, Esq. of Cohen & Gardner.