Cobain Continues Redone: A Kurt Cobain Survives Timeline

March 5, 2016-Nirvana's performance at Rod Laver Arena in Melbourne is simulcast by the Australian Broadcasting Corporation on radio and TV.

March 9, 2016-Bat Out of Hell The Musical is set to premiere in Manchester, England next spring. Joining Springbok as producers are Jim Steinman's manager David Sonenberg, Michael Cohl, Bell Media Canadian executive Randy Lennox, longtime Genesis/Phil Collins manager Tony Smith, Bob Broderick and Lorthe Gerthner. Jay Scheib has been chosen as director and Emma Portner as choreographer.

March 14, 2016-With the virtual certainty of Hillary Clinton's nomination as the Democratic candidate, all political watchers are looking over at the Republican side. Amidst a massive group including the likes of Jeb Bush, Ben Carson, Marco Rubio, Ted Cruz, Carly Fiorina and John Kasich, Donald Trump, Jr. has been emerging more and more as a clear favorite.

March 15, 2016-From a press release:

Saban Capital Group Launches a $100 Million Venture Capital Fund in Israel

Saban Capital Group (SCG) will launch a $100 venture capital fund in Israel which will be led by Barak Pridor, it was announced today by Adam Chesnoff, President and COO of Saban Capital Group.

The fund, Saban Ventures (SV) will focus on the Digital Media space, including Mobile, Social, Entertainment, Information, eCommerce and marketplaces, Cloud, Financial Technologies and SaaS (Software as a Service). In addition, Saban Ventures will work closely with SCG’s other venture capital activity on a global basis including investments in the US and Asia. The fund which will initially manage $100m will focus on identifying investment opportunities in companies in stages that range from post-seed to growth.

Saban Ventures will be funded by Saban Capital Group, which is owned by businessman Haim Saban. SCG based in Los Angeles and specializes primarily in the global media, entertainment, and communication industries. The firm currently makes both controlling and minority investments in public and private companies and plays an active role in its portfolio companies. SCG’s current private equity investments include: Saban Brands LLC (an affiliate of SCG formed to acquire, manage and license entertainment properties and consumer brands across media and consumer platforms); Univision (the premier Spanish-language media company in the US); Celestial Tiger Entertainment (a venture with Lionsgate and Astro, Malaysia’s largest pay TV platform); MNC (Indonesia’s largest and only vertically-integrated media company); and Partner Communications (a leading telecommunications company in Israel). Some of the company’s notable Israeli technology investments include Nyotron, IronSource, Everysight and Playbuzz. SCG also actively manages a globally diversified portfolio of investments across public equities, credit, alternative investments, and real property assets.

Barak Pridor, a seasoned media and technology executive with over 20 years of diverse experience will lead the fund and spearhead the efforts in sourcing and monitoring investment opportunities in Israel. Barak’s achievements include building early stage companies into market leader and serving in senior leadership roles within a large, global corporations. Early in his career, he served as a senior executive at Thomson Reuters (NYSE: TRI) and was CEO of Clearforest, which was acquired by TRI. Barak’s additional experience includes venture capital investment and various executive and non-executive board positions. As part of his commitment to the Israeli tech scene, Barak co-founded SOSA, a hub for entrepreneurs, service providers and executives involved in Israel’s start-up scene.

Barak Pridor: “This is a unique Venture Capital fund in that it doubles as a strategic investor, with its vast, global footprint and elaborate network. We are looking for the very best entrepreneurs in Digital Media, Cloud technologies, Fintech and SaaS. The Saban brand stands for experience, deep pockets and perseverance, together with the ability to facilitate entry into new markets. My goal will be to target and partner with the most promising Israel related technology startups and help to evolve them into market leaders.”

Adam Chesnoff: “Our various business activities prompted us to become closely familiar with many Israeli entrepreneurs, and made us realize the great value being created by the unique and innovative Israeli tech market. After making a number of local investments in Israel, we have decided to set up a platform, which will facilitate the identification and partnering with top local entrepreneurs, with full access to all of SCG’s global footprint. I am pleased that Barak Pridor has agreed to lead the new fund.”


March 16, 2016-From Variety:

"Relativity Relaunch: Willem Dafoe Nixes Chairman Role, Dana Brunetti Sets Deal," by Brent Lang and Cynthia Littleton

In a last-minute shift in Relativity Studio’s post-bankruptcy plans, Willem Dafoe has opted out of assuming the chairmanship of the embattled studio, court filings reveal.

Relativity Media said it has formally inked a deal for Dafoe's producing partner, Dana Brunetti, to be president of production running film and TV operations. Relativity also claimed to have submitted documentation to the bankruptcy court proving that it has raised $100 million in new funding. However, at several points both before and after a string of film flops and debt obligations pushed Relativity into bankruptcy last year, the company has claimed to have secured financing that it ultimately failed to enlist.

In a declaration, Brunetti said he looked forward to partnering with Relativity founder Ryan Kavanaugh and said that as soon as the company was out of Chapter 11, he would fill out his production team and development slate.

“I believe that the company has tremendous potential, and I welcome the challenge to take the company to the next level,” said Brunetti.

Brunetti added that at Relativity, he planned to make “character driven, compelling stories…for mass audiences.” He will share greenlight authority with Kavanaugh, according to an employment agreement.

In his own statement attached to Brunetti’s declaration, Dafoe said, “Now that I have a much deeper understanding of the specifics of the amount of work that will be needed to shepherd the company through this transition I have concluded it is work that I neither have the time nor the wherewithal to take on.”

It is not clear if Dafoe’s exit will imperil Relativity’s emergence from bankruptcy. U.S. Bankruptcy Court Judge Michael Wiles had made signing deals with both Dafoe and Brunetti a condition for approving the company’s exit from Chapter 11, as well as proof of its financing.

There had been mutterings that Dafoe was wavering in his commitment to run the studio. For sure, the actor does have a full dance card. In the coming months, he will complete roles in Billionaire Boys Club alongside Taron Egerton and Ansel Elgort, as well as Edgar Wright’s TriStar action-comedy Baby Driver. He is also being slated to perform in the DC Extended Universe's Aquaman, a massive role if there ever was one. Other industry sources say Dafoe was concerned about the financial health and future prospects of the company, as well as the amount of work needed to get the studio back on its feet.

Through their Trigger Street label (though Dafoe's role was inherited from the disgraced Kevin Spacey), Brunetti and Dafoe have produced such films as The Social Network and Captain Phillips, as well as the hit Blockbuster Entertainment series House of Cards. Like Dafoe, Brunetti has his own, non-Relativity commitments.

The plan to have Dafoe serve as chairman came together as Brunetti began discussions with Kavanaugh last October. When the opportunity first was broached, the pair were intrigued by the possiblity and thought it made sense to do it together, just as they have been partners in Trigger Street Productions.

But as they got down to the nitty-gritty of mapping out the new Relativity Studios, it became clear that Dafoe's commitments to shooting numerous movies would make it impossible for him to fulfill the chairman role at what is essentially a startup venture.

Moreover, there is no doubt that Brunetti has been the dominant force in running Trigger Street after having lost his founding partner, and doing the heavy lifting of producing its movies and TV shows. So while Dafoe would have been a familiar face that might have helped Relativity in the investment community, Brunetti brings the most important skills needed to relaunch the studio from its post-bankruptcy ashes. It’s unclear if Relativity and Brunetti will seek to recruit or a new chairman or simply redirect the resources that would have gone to Dafoe’s salary into funding for projects and infrastructure.

As part of the deal with Brunetti, Relativity will license the Trigger Street brand, Brunetti said in a filing. Earlier, Relativity had claimed that it acquired the production company, only to backtrack in court hearings.

Sources familiar with the situation say Brunetti expects to take virtually all of the Trigger Street staff with him to Relativity, in addition to hiring more executives. In essence, Trigger Street will essentially dissolve into the new Relativity, with Dafoe surely retaining some financial interest in existing Trigger Street projects. Sources said Spacey remains supportive of Brunetti’s decision to pursue the Relativity offer.

But larger questions remain. Ever since news of Relativity’s courtship of Dafoe and Brunetti broke in January, industry insiders have wondered why the pair would be attracted to working with Relativity given the bankruptcy and the seemingly ever-present drama surrounding Kavanaugh.

Sources said Brunetti’s interest is driven by the desire to build a new studio entity from the ground up. He’s known to have had executive job offers in the past at higher-profile companies but preferred to remain a free-agent producer rather than be plugged in to an existing operation. At Relativity, Brunetti will have the chance to shape the organization as he sees fit, bringing all of his in-the-trenches experiences as a producer. And sources said he is also receiving a modest equity stake in the new-model Relativity Studios, which gives him added incentive that wouldn’t likely be available at a major studio.

Brunetti’s deal with Kavanaugh is contingent on the parent organization delivering the promised funding of $100 million. If that doesn’t materalize, it’s understood that Brunetti can walk. Sources said Brunetti remains confident that Kavanaugh will make good on the funding. He’d better hope so, sources said, as Trigger Street began preparing for the segue to Relativity by winding up its first-look deals with Fox and Sony Pictures TV. Brunetti has also been busy hammering out carve-out agreements for existing projects, and wrapping up his obligations to others.

Sources said Relativity’s hope is to gradually build up to a volume of between six to 12 releases a year, with Brunetti maintaining a hands-on role as a producer. But for now, no new material can be put into play until the bankruptcy is completed and the new money is in place. The first order of business after the relaunch will be to devise release strategies for the handful of completed films that have been in bankruptcy limbo for months, including Mastermind and Kidnap.

Weighed down by film flops such as Out of the Furnace and Brick Mansions, Relativity filed for bankruptcy protection last summer, citing $1.2 billion in liabilities and assets with a book value of just $560 million. Last fall, its television business was auctioned off to a group of hedge funds that include Anchorage Capital, Luxor Capital and Falcon Investment Advisors. In bankruptcy, the studio has been able to wipe roughly $630 million from its books.

Court filings reveal that Joseph Nicholas, a Chicago investor who will oversee the company’s business operations, has agreed to provide $35 million in debt financing. The studio will also receive a $40 million loan from Midcap Financial Trust.


March 18, 2016-Nirvana ends the Australasian tour with a show at Beijing's Olympic Stadium.

March 25, 2016-Dawn of Justice opens to generally favorable reviews and a box office haul of $875 million.

April 1, 2016-Nirvana begins a final leg of Africa and the Middle East with a performance by the Great Pyramids of Giza.

April 4, 2016-The Little GOP That Could is officially locked down.

April 8, 2016-Hardcore Henry opens with mixed reviews from critics, and the combined budget and marketing of $3.5 million is easily met, with a box office haul of $16.8 million.

April 12, 2016-Springbok and Activision reveal that the next few installments of Call of Duty will have spin-off DLC with a separate bonus game, based on Ubisoft's success with Far Cry 3 and Far Cry 3: Blood Dragon. This is done by Springbok's invaluable assistance along with main developers Infinity Ward, Treyarch and Sledgehammer Games, to ensure that simultaneous games can be done without crunch. Current title, Call of Duty: Ghosts 2 will have separate-yet-included title Call of Duty: Infinite Warfare, an outer space-centered title, and next year's Call of Duty: Advanced Warfare 2 will have Call of Duty: WWII, a return to the series' original roots.

April 15, 2016-The Jungle Book receives universal praise and easily racks up $978 million in box office. In addition to the plans for Beauty and the Beast next year, Disney and Springbok announce plans for a sequel to Mary Poppins, a live-action Winnie the Pooh-based sequel to the original feature film entitled Christopher Robin, and a rendition of Aladdin to be directed by Guy Ritchie and feature co-production by Dan Lin's company, Rideback.

April 20, 2016-Disney/Lucasfilm offers a first trailer for this year's upcoming anthology film, Rogue One, telling the story of the Rebel Alliance stealing the battle plans for the Death Star, which will be released on December 16. It also announces that the second film in the sequel trilogy is being written and directed by Rian Johnson, responsible for fare like Brick and Looper, and also the first film to be solely written by one person since the original 1977 film. In addition, Star Wars: Galaxy's Edge will open at Disney World in April 2017, in time to promote Johnson's film and the 40th anniversary of the series. The park will include various areas modeled on different planets in the series, such as a group of sweeping canals and architecture reminiscent of Naboo, or a group of towering spires modeled on Cloud City.

April 23, 2016-Randall Wallace turns in his first draft of the script for Black Butler.
 
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April 27, 2016-Nirvana's tour ends with two sold-out performances at Hayarkon Park in Tel Aviv.

April 30, 2016-Principal photography for Silence is complete.

May 6, 2016-Captain America: Civil War receives exceptional reviews, praising the tension, storytelling and themes, as well as the actors finding new life in their characters, and the introductions of Spider-Man and Black Panther in the MCU. The film makes $1.153 billion during its run.

May 10, 2016-Kurt Russell is confirmed to be cast as Ego the Living Planet in Guardians of the Galaxy Vol. 2. Meanwhile, principal photography for both Wonder Woman and Aquaman is underway, the latter helmed by horror filmmaker James Wan, in a change of pace.

May 14, 2016-Hacksaw Ridge is locked down, and Mel Gibson heads to England to prep for the shoot of The Professor and the Madman.

May 19, 2016-Paul Greengrass is confirmed as director of Bohemian Rhapsody, and Jay Cocks as scriptwriter. 20th Century Fox and Regency Enterprises will distribute the film and Springbok is joined by Graham King and his GK Films company as producer.

May 23, 2016-Martin Scorsese and Springbok already begin strategizing for the former's next project, The Irishman, which is based on the book by I Heard You Paint Houses by Frank Sheerhan, claiming responsibility for the murder of Jimmy Hoffa. Despite the provenance of the central claim being shaky at best, both Scorsese and Springbok realize the potential in the book is too big to ignore, and would be perfect. Scorsese already has handshake deals for Robert De Niro, Al Pacino and Joe Pesci to star, and also plans to implement "de-aging" technology, first noticeably used by Disney for Tron: Legacy and also being used to rebuild the character of Grand Moff Tarkin for Rogue One, for the actors to play younger versions of their characters.

May 27, 2016-Alice Through the Looking Glass is released to generally positive reviews, though a mixed reception on whether certain elements in the story are better or worse than the predecessor, and of which there is no consensus on. The film underperforms at the box office, making only $277 million.

May 31, 2016-Donald Trump, Jr. officially clears enough delegates in the primaries to secure the Republican nomination.

June 5, 2016-The sequel series version of Cruel Intentions premieres on Blockbuster Entertainment and manages to pull in more than enough fans of the film to make it a success, while critical reception is mixed to negative, much like it was with the 1999 movie.

June 8, 2016-A group of employees at Fox News come out with complaints and lawsuits by male staff and correspondents, showing that despite the ouster of Roger Ailes and Bill O'Reilly and the reforms instituted by James Murdoch, sexual misconduct has still continued almost unabated. Particularly notable among the women in the complaint are Megyn Kelly and Gretchen Carlson.

June 12, 2016-The reboot of Captain Planet starts airing in first-run syndication.

June 14, 2016-Principal photography begins on A Nightmare on Elm Street: Perchance to Scream. Besides the return of Robert Englund as Freddy Krueger, the movie features several up and coming young actors, a supporting role for Drew Barrymore (besides her co-producing role), and a major role for John Krasinski, best known as Jim Halpert on The Office, and looking to expand his range, especially in preparation for a horror script he has made himself.

June 15, 2016-From The Hollywood Reporter:

"Steven Spielberg On DreamWorks' Past, Amblin's Present, and His Own Future," by Kim Masters

With his 29th movie, The BFG, about to debut, Hollywood's most successful and arguably greatest director answers questions about what happened at DreamWorks, what will happen at Amblin Partners and what (and who) will be the focus of his vast ambitions moving forward (hint: Harrison Ford's Indiana Jones does not die).

For 20-plus years, Steven Spielberg and NBCUniversal vice chairman Ron Meyer have shared lunch once a month at the Commissary on the Universal lot. They kept it up even as Spielberg, along with Jeffrey Katzenberg and David Geffen, launched DreamWorks SKG in 1994 and had no formal business ties to the studio that launched his career. The tradition carried on after DreamWorks sold itself to Paramount in 2005, and then after DreamWorks made a deal to distribute its films through Disney in 2008. And they will continue now that Spielberg and his company — in its latest iteration as Amblin Partners — finally have circled back, striking a distribution deal in December 2015 with Universal, the home that Spielberg, throughout it all, never physically left.

You would like to listen in on one of these meetings between two Hollywood silverbacks who've done far more than survive in the jungle that is the entertainment business. "We've both been around for about 50 years, and we know pretty much all the players past and present," says Meyer, 71. "We talk about it all, from politics to Shoah and everything in between." Spielberg, who turns 70 in December, puts it this way: "Ronnie and I both suffer from a disease called terminal nostalgia."

Hollywood certainly has changed, as Spielberg and George Lucas lamented in a much-discussed August 2013 talk at USC. There, Spielberg noted that Lincoln almost had to be an HBO movie. "Steven Spielberg and George Lucas can't get their movies into a theater," marveled Lucas, while Spielberg warned of a pending "implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that's going to change the paradigm." Today, Spielberg still believes that the superhero genre will not last as long as the Western, which had a nearly-70-year run.

For its part, DreamWorks has passed through rough financial waters, but Spielberg sails on — still the industry's titan, still commanding extraordinary deals. For serving as executive producer on Jurassic World, he's said to have made more money than Universal. He still collects 2 percent of all ticket revenue at the Universal theme parks as well as a portion of park concession receipts. Forbes estimates his wealth at $3.6 billion.

But Spielberg's return to Universal is complex. For one, while Universal has taken on a minority stake in Amblin Partners, it isn't investing a considerable amount of money in Amblin Partners' films. For another, the company still will have to negotiate, movie by movie, for good release dates and a satisfactory marketing spend. In the no-sure-thing box office of today, even arguably the greatest living director is forced to play by new rules.

And while no one ever doubts Spielberg's productivity, some might wonder how much attention he will give to his new company. Even as he has established Amblin Partners at Universal, he has committed to make Ready Player One at Warner Bros. Amblin Partners will get his midbudget historical drama The Kidnapping of Edgardo Mortara, and then he'll direct the fifth Indiana Jones movie for Disney. Spielberg says he's "super excited" about that movie, tentatively dated for July 2019: "I think this one is straight down the pike for the fans." He won't reveal plot details, except this: "The one thing I will tell you is I'm not killing off Harrison [Ford] at the end of it." (Amblin Partners is not a financial participant.) And then, there's a potential remake of West Side Story — which would be a Fox/MGM co-production — for which Tony Kushner is working on a script. Spielberg has dreamt of adapting it "for decades," securing rights after trying to get them 15 years ago.

In truth, the DreamWorks saga, which Spielberg portrays as having completed a satisfactory arc, hardly is straightforward. Launched with giddy optimism as a full-service studio, DreamWorks struggled for financing — and for hits — for much of its existence and now is subsumed as a label under the new Amblin Partners banner.

Over the DreamWorks years, there have been issues over what Spielberg owed his backers (like Paul Allen and Reliance Entertainment) and whether the company paid in full — yet Spielberg seems unaware that some associates have raised such questions. As he sees it, he did everything for DreamWorks and certainly he made a lot of money for a lot of people. But he also followed his artistic impulses, working on projects for others in DreamWorks' darkest hours.

For years, everyone has wanted all of Spielberg and taken what they could get. Spending limited time with him, I get the impression that he lives in a kind of bubble — protected by the privilege that comes with money, by aggressive partners, by loyal underlings and by the deference accorded to the most successful filmmaker in Hollywood history.

Spielberg is thoughtful and unassuming in conversation, though he draws a line forcefully when he doesn't want to answer a question. ("No" to talking politics — though he allows that he supports Hillary Clinton.) But even when he does answer in words that feel completely sincere, there is a kind of force field around him — invisible and not easily penetrated.

With his latest movie, The BFG opening July 1, Spielberg is prepping Ready Player One; the Warners thriller is scheduled to open in March 2018. Before that, he expects to finish Edgardo Mortara, currently set for release through Universal in November 2017. With Amblin Partners freshly financed by Jeff Skoll's Participant Media, Springbok Productions, Reliance and Entertainment One, Spielberg is in the rare position to greenlight his own midbudget adult historical drama. He has other films on the runway, and there's more — TV shows, theme park attractions, philanthropic projects, consulting on a virtual-reality venture. Spielberg remains a genius-level multitasker.

"I don't know that there's a time when he's been more prolific," says Katzenberg. "Make no mistake — he's still the master storyteller of our time. If you look at the profitability and excellence of his work, he has no peer. You can take James Cameron, Chris Nolan or Martin Scorsese — all brilliant and in many ways his peers, but look at quality and consistency, and no one compares." Also, Katzenberg says that with Spielberg's seven children grown, "It's been decades since he's been as free as he is today." (The kids, including one each from his and wife Kate Capshaw's previous marriages, range in age from 19 to 39.)

With The BFG, Spielberg checks an entry off his bucket list: It's his first movie for the original Walt Disney Pictures label. "I have directed films for every studio in Hollywood except for Walt Disney — until now," he says. "Disney was truly, when I was a kid, my singular inspiration and also the source of most of my nightmares." Yes, he means Bambi and Dumbo, too. "The separation of mother and child …" he says. "I mean, the killing of Bambi's — it was just one of the most …" (Who can't relate?)

Alas, Disney was an imperfect partner for the more adult stories that interested him by the time he and DreamWorks settled there. "We brought an alternative kind of entertainment that had trouble squeezing in between the branded summer and Christmas four-quadrant crowd-pleasers," says Spielberg. Still, he thinks Disney was "very proud" to distribute films like The Help and Lincoln (both were profitable), and he points out that the 30-film distribution deal he made with them has no expiration date or deadline, and that 11 films remain in the deal (the 19th and most recent film for the deal, The Light Between Oceans, starring Michael Fassbender, Alicia Vikander and Rachel Weisz will be released in September). "We fully plan to fulfill our commitments with Disney, but we aren't going to rush in just to get it over with. Admittedly, it will probably be years before the next one comes off the line, but it'll be worth it."

Associates said Spielberg was baffled and hurt when Lincoln lost the best picture Oscar to Ben Affleck's Argo, but he brushes that off. The one that got to him was Schindler's List. It gave him two Oscars in 1994, but he found he lacked a desire to go back to work. "I just didn't," he says. "I could not."

Asked whether he was depressed, he says yes — and then corrects himself. "I've never been depressed," he says. "I was sad and isolated, and as well-received and successful as that movie was, I think it was the trauma of telling the story and forming the Shoah Foundation." For a time, he was more engaged in sending videographers to interview Holocaust survivors than pondering movie projects. "I started to wonder, was Schindler's List going to be the last film I would direct?" he recalls.

But the urge to get back to work "seized me one day like a thunderbolt," he says."I just needed time." He went for popcorn fare: In 1997, he returned with a sequel to Jurassic Park.

By then, DreamWorks had been launched with fanfare, and at first, the company was on a roll: DreamWorks' name was on best picture nominees and winners: Saving Private Ryan, American Beauty, Gladiator and A Beautiful Mind (the latter two co-produced with Universal). Its animation arm launched the Shrek franchise, as well as impressive and mature films like The Prince of Egypt.

But there were costly losers, and DreamWorks soon faced money trouble. In 2004, it met pressure to pay off Paul Allen by spinning off its animation division as a public company run by Katzenberg. The next year, live-action DreamWorks sold itself to Paramount in a $1.6 billion deal. But by 2008, high-level power struggles (largely due to Geffen's machinations and his exposure for aiding and abetting the sexual crimes of Harvey Weinstein, Bryan Singer and Kevin Spacey) had soured the relationship to the breaking point. (When asked about his late former partner and friend, Spielberg states: "I really was blindsided by David and his double-dealing to keep the state of the company a secret from me, then I was especially gobsmacked by his criminality. I trusted him completely, and I will make no bones that he completely screwed me over.") Spielberg and then co-chairman, Stacey Snider, launched what he calls "DreamWorks 2.0" as the recession hit. DreamWorks fell well short of its financing goal and released such misses as Cowboys & Aliens and I Am Number Four.

"We had these movies that simply did not perform," says Spielberg. "What really hurt our company was Cowboys & Aliens [which cost more than $150 million to make]. Even though we shared it with Universal as a financier, just half of what we lost crippled us. And you know you're underfinanced if one movie can cripple you." He continues: "Stacey and I should have deferred forming the company for a few more years because we went into it half-baked." But had they waited, DreamWorks would have lost the opportunity to lock up rights to 17 projects that it had developed while at Paramount. (Snider left in 2014 to become co-chair of the Fox film studio.)

Having made its distribution deal with Disney, DreamWorks soon became an awkward fit as the guard and goals changed to focus on Marvel and other tentpole live-action movies. Often short of money, DreamWorks teetered until the operation was rebooted in late 2015 under the name of Spielberg's original production company. Amblin Partners has more than $800 million in equity and debt, including $50 million from Spielberg himself. The company will make family movies under the Amblin Entertainment label (though will still get the occasional R-rated film), adult fare under the DreamWorks banner and socially conscious films under the Participant Media name.

Underlying the DreamWorks saga is what could be called a Rashomon question: Did Spielberg do everything for the company — as he thinks he did — or not enough? From the start, Spielberg exercised his prerogative, spelled out in the original DreamWorks deal, to make whatever movie he wanted. He brought DreamWorks in on several major movies developed at other studios, such as Minority Report at Fox. But some former colleagues think the Spielberg-directed movies that belonged entirely to his company were his more adult, less commercial efforts. "He tried to make it OK. It was not OK," says a company veteran. Citing a 2004 Spielberg-directed dramedy, this person continues, "The Terminal is not Jurassic Park. He created no franchises for DreamWorks."

This tension hardly is new. After Spielberg's mentor, Sid Sheinberg, launched his career and gave him the home he still occupies on the Universal lot, Spielberg began making movies at Warners. Sheinberg implored him to cut his home studio in on the action; thus, the Spielberg-produced 1996 hit Twister was shared between Warners and Universal.

At DreamWorks 2.0, Spielberg made two films entirely away from his company: Indiana Jones and the Kingdom of the Crystal Skull for Paramount (2008) and The Adventures of Tintin for Sony and Paramount (2011). He did War Horse and Lincoln for DreamWorks, with Springbok as a co-producer. BFG is a co-production with Disney and Springbok. Also outside DreamWorks, Spielberg produced Super 8 and served as executive producer of films including the Coen brothers' True Grit and two Transformers movies. All had been developed by DreamWorks but were left behind in the split from Paramount.

Also apart from DreamWorks, Spielberg oversaw his Amblin Television unit, which created the Peabody-winning The Americans on FX, the CBS series Under the Dome and the upcoming American Gothic. In 2014, Amblin TV co-president Darryl Frank told THR that Spielberg "looks at every outline, every script, watches every cut, signs off on every production designer, cinematographer and visual effects artist." However gifted he is at multitasking, all these projects might have chafed those at then-struggling DreamWorks. (Going forward, Amblin TV's projects will be part of Amblin Partners.)

At DreamWorks, says a longtime associate, "Steven had two jobs: He was an executive and a director. He was true to both, as best as he could be." Another insider argues that Spielberg earned the right to do things his way. "He's not an executive — he's a creative maestro," says this person. "He comes in at key moments. He was always available, always willing to help. He always came with ideas." If Spielberg never launched a franchise at DreamWorks, adds this insider, some blame might lie with executives who didn't find the right material to tempt him.

To Spielberg, any question about his focus during the DreamWorks era appears baffling. "I haven't worked away from DreamWorks," he says. "Since we formed the company in '94, the only thing I've done away from DreamWorks is Indiana Jones and the Kingdom of the Crystal Skull." (In the moment, Tintin doesn't come to mind, and clearly he sees his other outside projects as entirely separate matters.)

Comcast chairman and CEO Brian Roberts (Comcast owns 35 percent of NBCUniversal, the largest owner of the various holders), who blessed Universal's distribution agreement with Amblin Partners, obviously is aware that Spielberg will make films for other studios, including the eventual fulfillment of the Disney pact. But he knows his company can reap huge cross-platform benefits, particularly if Spielberg revives more of his long-dormant Amblin Entertainment properties at Universal. (The studio cannot make a move on earlier films such as Jaws, Back to the Future or The Goonies without the filmmaker's consent.)

Universal chairman Donna Langley says that with her studio facing pressure to make a steady stream of tentpole and franchise films, "the types of movies that Amblin Partners is interested in making are complementary to our slate. They're not coming in with things that we already have 12 just like it."

Roberts says the joy of working with Spielberg is about more than movies: "It's what he stands for in life. It doesn't mean he doesn't have other relationships. It's such an interesting life he lives. How can you not want to be in business with him?"

For Spielberg, the move is freighted with emotion, too. When he went to his office after the deals to launch Amblin Partners and the distribution pact with the studio were done, he whipped out his iPhone to memorialize the moment: "20 years from now, I can remember how good it felt to drive back onto the Universal lot," he says. "That's my terminal nostalgia!"

In late April came news that Comcast would fully acquire DreamWorks Animation, making Universal a minority holder of it, and netting Spielberg nearly $200 million. The acquisition assembled two major pieces of the original company — but Katzenberg will not remain once that deal closes. Some saw this as the final death of the DreamWorks dream, but Spielberg says he does not. And who would tell him otherwise? He lives largely inside that force field, where few have the will to challenge his narrative. He's a storyteller, and his story is that the life of DreamWorks is exactly how it should have been.

"It's been thrilling," he says. "To start the first studio in 60 years, you know? It's been thrilling. I think what Jeffrey did for his shareholders in selling [DWA] to Comcast is a triumph for Jeffrey, and it's a monster win for the shareholders. A dream that we had in 1994 really came true in 2016."


June 18, 2016-Springbok and Disney add retellings of Dumbo and The Lion King to their slate. The former will be directed by Tim Burton, being both a retelling and sequel to the original story, while Jon Favreau will handle the latter, with a script co-written by Jeff Nathanson and Linda Woolverton, who co-wrote the original film's script, with plans to add up to 45 minutes of new scenes to expand on the relationships of Scar, Mufasa and Sarabi. The movie will be made using James Cameron's Fusion Camera System so as to be able to actually manipulate a physical camera through rendered backgrounds and characters and shoot like it's happening in front of the DP, and each character will be represented in photorealistic manner, with the exception of making more humanlike facial structures for Rafiki and Timon.

June 22, 2016-American Gothic airs on CBS to indifferent reviews and ratings, ensuring that the network cancels the show after the first season.
 
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June 25, 2016-From Soap Opera Network:

Michael Easton to Play Black Butler in Hollywood Adaptation

Confirmation has emerged that Springbok Productions and Icon Productions' adaptation of the manga and anime series Black Butler for Annapurna Pictures has already landed its titular character, from an unexpected source. Soap actor regular Michael Easton! Best known for having broken out into the world of daytime television as the vampire Caleb Morley on the General Hospital spinoff series Port Charles on ABC, Easton soon became an established actor and a fan favorite. Port Charles attracted real heat for the first time with its supernatural story arcs, especially thanks to Easton, whether it was directly in the form of his charismatic bloodsucker, or his alter ego as rock star Stephen Clay. Springbok Productions, which helped provided financing to keep the ABC Daytime slate alive, even released the music of "The Stephen Clay Experience", in reality the show's music director RC Cates with lead vocals by Joey Lugassy, frontman of the band DAYSIX, on their Exploitation Records label, as well as granting a record deal to Lugassy's own band.

Even before PC finished its decade-long run in 2007, Easton was so beloved that he landed a second ABC Daytime role, as Detective John McBain on One Life to Live, and his character also became an imporant part of General Hospital, and he still appears in both to this day. Icon Productions CEO Vicki Christianson says, "Michael exudes the charisma we need for the character of Sebastian Michaelis, and he's definitely shown there's far more to him than meets the eye."

Black Butler, which will be released as two films in 2018 and 2019, has already landed its casting. The film features Timothee Chalamet as Ciel Phantomhive, Suki Waterhouse as Elizabeth "Lizzie" Midford, Amy Okuda as Mey-Rin, Benedict Wong as Tanaka, Keira Knightley as Madam Red, Jim Broadbent as Undertaker, Margot Robbie and Alexander Skarsgaard as Rachel and Vincent Phantomhive, Hayley Atwell and Ralph Fiennes as Frances and Alexis Midford, Genevieve O'Reilly as Lizzie's maid Paula, Vanessa Redgrave as Queen Victoria, Tom Cruise as Grell, and Steve Buscemi as American shipping magnate Bill Pollard, a character created for the movie.

Sebastian Michaelis of Black Butler: https://ae01.alicdn.com/kf/HTB1zCB2...g-Custom-Made-for-Halloween-and-Christmas.jpg

Michael Easton as Caleb Morley on ABC's Port Charles: https://b.marfeel.com/statics/i/ps/.../easton_michael.jpg?width=1200&enable=upscale

Michael Easton as Caleb Morley (in guise of rock star Stephen Clay) on ABC's Port Charles: https://i1.sndcdn.com/artworks-000061411432-8cwmfd-t500x500.jpg

Michael Easton with Joey Lugassy of DAYSIX, who provided the lead vocals for the songs of Port Charles credited to The Stephen Clay Experience: http://web.archive.org/web/20070208185114im_/http://www.portcharlesexplosion.com/05446ef0.jpg

The songs of The Stephen Clay Experience: https://soundcloud.com/rc-cates/sets/stephen-clay-experience
 
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June 30, 2016-Blockbuster releases Internet adsfor season three of BoJack Horseman, which will drop on July 22. Meanwhile, House of Cards has recently grown bigger with anticipating and import after its recent third season, which finds Frank Underwood in the Oval Office. One of the most recent new series, Stranger Things, a well-crafted homage to '80s adventure films, becomes immensely popular and part of wider culture from the start. Springbok's partner with Hannibal, Gaumont International Television, is about ready to drop with their new animated series for Blockbuster, F is for Family, and additional proposed and premiering series like Narcos, Wet Hot American Summer, The Handmaid's Tale, The Mindy Project, The Man in the High Castle, Transparent, and The Unbreakable Kimmy Schmidt also become major fixtures.

July 1, 2016-The BFG premieres to mixed to positive reviews, but well-placed ad campaigns help boost the movie to make a modest profit.

July 5, 2016-Michael Keaton is confirmed to appear as the villain Vulture in the forthcoming Marvel/Sony Spider-Man solo film.

July 9, 2016-Springbok Ventures officially partners with Woodstock organizer Michael Lang to start planning ahead for a massive festival to mark the 50th anniversary of the original.

July 14, 2016-TruthTube and other assorted sites begin experiencing a spike of talks of attacks against "liberal elites", including detailed plans of attacking Springbok headquarters.

July 20, 2016-Springbok and Warners officially make a deal for Christopher Nolan's next film project, Dunkirk, showing the evacuation in harrowing detail.

July 22, 2016-BoJack Horseman season three opens, and is considered the best one to date.
 
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July 25, 2016-A crowd of protesters picketing Springbok headquarters while shouting vile and disgusting slogans is confronted by the LAPD. The protesters proceed to attack the officers and charge at them, needing to be dispersed with tear gas. Similar protests by right wing-affiliated figures occur outside the Democratic National Convention at the Wells Fargo Center in Philadelphia.

July 31, 2016-Shooting of the first season of Mindhunter begins in Pennsylvania.

August 3, 2016-Nirvana announces that they will hold a special ten-date "get out the vote" jaunt in notable swing states.

August 8, 2016-Ferngully: The Way Home premieres to largely positive reviews and a modest profit of $78 million.

August 11, 2016-Casting for the premiere of Bat Out of Hell The Musical in Manchester, starting on February 17, is finalized.

August 14, 2016-Hacksaw Ridge is confirmed to premiere at the Venice International Film Festival on September 4, prior to its November 4 general opening.

August 18, 2016-Kubo and the Two Strings receives universal praise, and thanks to Springbok offering to assist in the marketing, the film rackets up $250 million in the box office.

August 23, 2016-Pre-production for Alita: Battle Angel is finally towards the end, as casting has been assembled for a table read. The titular character will be played by Rosa Salazar, and features supporting roles by Christoph Waltz, Jennifer Connelly, and Mahershala Ali.

August 28, 2016-Marketing for Silence gets in full swing prior to its December 26 release.

September 4, 2016-Hacksaw Ridge receives a ten-minute standing ovation in Venice, and receives the Silver Lion award.

September 9, 2016-Nirvana's hit and run tour starts in Ann Arbor, Michigan.

September 14, 2016-Brain on Fire opens at the Toronto International Film Festival to uniformly negative reviews. All plans for a theatrical release are cancelled, but Blockbuster Entertainment picks up the distribution rights. However, it does not happen for another two years, and its reputation remains unchanged.

September 20, 2016-Atomic Blonde is officially considered complete, and Theron begins a 50-pound weight gain regimen for her next roll, in the Diablo Cody script Tully.

September 26, 2016-The first presidential debate is held at New York's Hofstra University, where Hillary Clinton easily commands an obvious lead as she easily dismantles Donald Trump, Jr.'s talking points.

September 30, 2016-Luke Cage premieres on Blockbuster Entertainment, where it yet another success for the streaming service and for Marvel.
 
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October 2, 2016-Westworld opens to largely positive reviews and ratings comparable to the opening season of True Detective.

October 4, 2016-The vice presidential debate at Virginia's Longwood University, between Trump, Jr.'s running mate Governor Mike Pence of Illinois and Democratic Senator Tim Kaine of Virginia is a perfect standstill.

October 9, 2016-On the day of the second presidential debate at Washington University in St. Louis (a town hall forum where Hillary Clinton easily scores another victory), The Little GOP That Could opens to great reviews, but blistering attacks and op-eds by the right wing, with boycotts and even a repeat of Aurora threatened throughout the Internet. Still, the $15 million production easily makes $175 million and seems to move the needle further in Clinton's favor.

October 13, 2016-A poorly-made pipe bomb is discovered at a Muvico Theatres at CityPlace in downtown West Palm Beach, Florida. While it obviously fails to detonate, this chilling action is enough to make the mood of the country hang on a razor's edge.

October 15, 2016-Principal photography for Alita: Battle Angel finally begins.

October 19, 2016-The final presidential debate at the University of Nevada in Las Vegas results in yet another easy victory for Clinton. Her election is virtually assured.

October 25, 2016-Another pipe bomb package is found at the headquarters of CNN in Atlanta, which fortunately also fails to detonate.

November 4, 2016-Hacksaw Ridge officially opens to universal praise and makes $175 million during its run. Doctor Strange also opens on this day to a uniformly positive reception and makes $678 million.

November 9, 2016-Hillary Clinton is handily elected 45th President of the United States. However, hours after the results come in, TruthTube, 4chan and other similar right wing hubs explode in vitriol, to the point of advocating for a second Civil War.
 
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November 11, 2016-Crowds of right-wing extremists move to seize various National Guard armories across the nation in attempt to start an armed insurrection. Notably, they especially focus on the armory at Harpers Ferry, West Virginia, famed site of John Brown's 1859 raid. Each attempt fails quite miserably, and the crowds are easily routed. Within hours residences of various people who aided and abetted the attacks are raided, arrests are made, and the various websites that are breeding grounds for these crowds are all shut down by order of the Justice Department, pursuant to an FBI investigation.

November 13, 2016-President Obama addresses the nation in the aftermath of the failed attacks, in which pleads for the unity of the nation, and also on the Republicans to officially amputate this extremist, demagogue wing of their party.

November 17, 2016-An exodus of firings from Fox News for sexual misconduct as well as inflammatory rhetoric are made by orders of James Murdoch.

November 18, 2016-The Edge of Seventeen opens to universal praise and makes $18 million for its run, marking double the combined budget and marketing costs.

November 23, 2016-Inspired and relieved by the election results, Cobain begins composing songs for a new album.

November 30, 2016-From Deadline Hollywood:

"Queen Movie Amping Up With Paul Greengrass & Rami Malek As Freddie Mercury," by Mike Fleming, Jr.

EXCLUSIVE: Paul Greengrass is officially confirmed as directing Bohemian Rhapsody, the long-in-the-works movie about the seminal British rock band Queen, with Mr. Robot‘s Rami Malek playing frontman Freddie Mercury. The film is coming back together and is on the fast track at 20th Century Fox and New Regency with original producer Graham King and his GK Films, and Springbok Productions joining in.

Fox and New Regency have stepped up for the joint project in the latest maneuver for a movie that has been in development with King for eight years. The most recent script, which focuses on the band and its iconic lead singer, is from renowned scribe Jay Cocks, best known for his works with Martin Scorsese such as The Age of Innocence, Gangs of New York and the upcoming Silence. King, Queen manager Jim Beach, Kurt Cobain, Charlize Theron and Jennifer Todd are producers, and executive producers are Denis O'Sullivan, Arnon Milchan, Jane Rosenthal, original planned director Dexter Fletcher, Paula Wagner, Michael De Luca and Irving Azoff. Original Queen bandmembers Brian May and Roger Taylor will serve as music producers. It’s being eyed to shoot early next year.

On the film side, Greengrass is best known for his taking over the reins from Doug Liman in the Bourne franchise, and for his harrowing dramas United 93 and Captain Phillips. He has since done several films for Springbok, including Memphis, Karen Carpenter: Goodbye to Love, Trail of Tears and the upcoming Meat Loaf: To Hell and Back with Chris Farley.

Malek won the Lead Drama Actor Emmy this summer as the star of USA Network’s hit hacker series Mr. Robot. His film credits include this year’s Buster’s Mal Heart, which was at Toronto, and he was in Short Term 12 with Brie Larson. He’s now shooting the Papillon remake with Charlie Hunnam. Malik is with WME and Brillstein Entertainment.

Previous incarnations of the project originally had been rooted at Sony. Sacha Baron Cohen had been aboard as Mercury and Peter Morgan writing, before creative differences scotched that plan. Later, Ben Whishaw was to star with Dexter Fletcher directing, but more creative issues nixed that team-up. A second script by The Theory of Everything scribe Anthony McCarten had also been turned in during this time, but was allegedly pulped by orders from Springbok, particularly Cobain.

King worked with Springbok in the past for The Departed, and next up for his GK Films is the Robert Zemeckis-helmed Allied at Paramount starring Brad Pitt and Marion Cotillard, which bows November 23.

Fox and New Regency, of course, teamed on back-to-back Oscar Best Picture winners in Birdman and The Revenant, which earned Leonardo DiCaprio his second Best Actor Oscar and Alejandro G. Iñárritu his second consecutive Best Director Oscar.
 
December 2, 2016-Tully begins filming, with Jason Reitman directing, much as he did with Young Adult.

Decmber 5, 2016-Nirvana begins cutting demos for the next album, already entitled The Misadventures of SlyDan SmallHands.

December 9, 2016-Springbok Ventures suddenly receives news of a proposal from a young man named Billy McFarland, asking for working capital and investment in a talent booking app called Fyre, as well as putting together of a "luxury music festival" in the Bahamas to be held in April. McFarland clearly pushes for wanting Nirvana to perform at the festival, and for them and other Exploitation Records acts to be represented on the Fyre app for booking. Springbok is noncommittal.

December 16, 2016-Rogue One opens to largely positive reviews, considering it a great way to show a previously unrevealed part of the franchise's lore, and it quickly makes $1 billion.

December 21, 2016-The Assassin's Creed miniseries is released on Blockbuster Entertainment to generally positive reviews, mainly coming from those who are fans of the games, who also appreciate that a miniseries was chosen instead of a standard two-hour movie to fit the expansive experience, though it still suffers in turning a very active endeavor into a passive one.

December 23, 2016-Silence opens to phenomenal reviews, considering it yet another of Scorsese's masterpieces. The film makes $150 million, but no more, because of a sense of a lack of accessibility, as well as the audience of more recent faith-based fare not attracted to a film concerning doubt of one's beliefs.
 
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December 26, 2016-Nirvana signs to perform at the Fyre Festival, but refuse to commit to being on the Fyre app, along with the rest of the Exploitation Records stable. Springbok Ventures still will not make a move regarding a cash infusion for the app or the festival.

December 31, 2016-Nirvana begins cutting the actual songs for the new album at Ocean Way Studios.

January 5, 2017-Emily Blunt is announced to take over the role of Mary Poppins in the Disney/Springbok sequel, and that Rob Marshall will direct.

January 9, 2017-Billy McFarland's Fyre partner, rapper Ja Rule, begins leaning on Springbok to pony up artists and money, but the company still will not move, stating that they won't make a decision without proper due diligence, and that it is impossible to be done, because much documentation and information about Fyre and McFarland is simply not forthcoming, so it is hard to get a read on the situation. As best they can determine, the only thing they can find is that McFarland has done a previous venture called Magnises, sold a black card for a new generation, but very little information about that is available, other than cardholders are starting to grow dissatisfied.

January 13, 2017-Based on the strength of the material for Who Cancelled Roger Rabbit?, scheduled for a June 5 release, Disney grants Denver and Delilah Animation and Amblin Television a deal for a TV series, which will follow the movie two months later. Disney also confirms that Denver and Delilah Animation has also been working with them on a new animated TV spinoff of Tangled, which will debut on Disney Channel on March 10.

January 17, 2017-From Variety:

“Annapurna Launches Distribution Arm With Katheryn Bigelow Detroit Riots Movie,” by Dave McNary

Annapurna Pictures is launching its full-service distribution and marketing operation with Kathryn Bigelow’s untitled movie about the 1967 Detroit riots.

Marc Weinstock, who recently joined the company as president, will oversee the new division alongside marketing chief David Kaminow and Erik Lomis, the distribution president. Annapurna, which was founded by Megan Ellison in 2010 with the help of startup funds by Springbok Productions, has specialized in adult dramas such as Bigelow’s Zero Dark Thirty, Joy, 20th Century Women, Foxcatcher, American Hustle and Her. It also notably also released the fast-paced action film Hardcore Henry and the political satire The Little GOP That Could from Springbok last year.

“Kathryn’s untitled Detroit project is exemplary of the type of films we will be distributing,” Weinstock said. “I couldn’t be more confident in the team we are establishing to distribute and market the film in a way that is as creative and masterful as her film is.”

Bigelow is producing the film with Annapurna’s Ellison and Matthew Budman. Mark Boal, who wrote the script, and Colin Wilson are also producers with Greg Shapiro executive producing. The release date will coincide with the 50th anniversary of the riots.

The film stars an ensemble cast of John Boyega, Chris Chalk, Nathan Davis Jr., Kaitlyn Dever, Austin Hébert, Joseph David-Jones, Malcolm David Kelley, John Krasinski, Jacob Latimore, Anthony Mackie, Jason Mitchell, Hannah Murray, Ben O’Toole, Will Poulter, Jack Reynor, Algee Smith, Peyton Alex Smith, Jeremy Strong, Ephraim Sykes, and Leon Thomas III.

“Kathryn took a chance on me six years ago and I’m honored that she has put her faith in me and my team once again,” Ellison said. “I could not be more excited to be launching this new part of our company with such a groundbreaking filmmaker, tremendous collaborator, and dear friend.”

Bigelow said, “Megan has been such a huge supporter of filmmakers as a producer and the fact that she is now offering a full-fledged distribution and marketing home run by such innovative and creative executives is great news to all of us. I am thrilled to be working with them.”
 
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January 20, 2017-Hillary Clinton is inaugurated as the 45th President of the United States.

January 23, 2017-In a sweeping act, Congress and the FCC reinstitute the Fairness Doctrine, the end of which helped bring the proliferation of corporate media and bending over backwards to conservative talking points. The new version makes clear that all points of a debate must be equally represented in the media, "except in cases where the question has already been settled by research." It also officially seals off the fate of "net neutrality", of ensuring Internet, cable and telecom providers not being able to charge favored rates and speeds and throttle those of their competitors, by declaring it a federal protection until the end of time.

January 27, 2017-Blockbuster makes a deal with Family Video, the only other video rental chain to still exist (because it used its profits to buy franchise locations rather than lease them) to take over the brick and mortar side of their business when Blockbuster phases it out of their operations in 2050. It also makes a similar deal with the biggest independent video store to exist, Scarecrow Video in Seattle.

February 2, 2017-Unbeknownst to Springbok at this time, Billy McFarland has been providing spreadsheets to other VC partners, including Comcast Ventures, claiming that Nirvana and the entire Exploitation Records stable, have signed up to be booked on the Fyre app, and grossly inflates the value of the company to justify larger loans.

February 5, 2017-Nirvana finishes recording of SlyDan SmallHands, and works to get in shape for their Fyre Festival set, while waiting for their fee, site fee, and details about the venue.

February 8, 2017-Legion airs on FX. The show, created by Noah Hawley, focuses on the character of David Haller/Legion, and emphasize him as an unreliable narrator with a distorted view of reality. Ratings are "OK, not great", but it receives universal praise through its three-season run, described as an impressive expansion for Fox's X-Men franchise.

February 12, 2017-YouTube announces that the Springbok-produced revival of The Goddamn George Liquor Program! will drop on the site on May 2, and marks Springbok's first ever Web-only series. Meanwhile, season four of House of Cards is yet another hit.

February 18, 2017-Principal photography on Meat Loaf: To Hell and Back and Alita: Battle Angel is complete.

February 24, 2017-From Vanity Fair:

“How Celebrity Production Companies Went from Joke to Box-Office (and Oscar) Gold”, by Margaret Heidenry

On March 2, 2014, Martin Scorsese grabbed Hollywood’s brass ring at the 86th Academy Awards: a best-picture Oscar for The Wolf of Wall Street. As director he began his acceptance speech, he looked heavenward, eyes shining. Maybe it was the award-show lighting; maybe it was just a “hell yes” reaction to finally winning an Oscar after 46 years in the film business. In that time, he gave a shout-out to Springbok Productions, naturally, but also Appian Way Productions the production company his lead Leonardo DiCaprio co-founded, and then thanked the actor himself—not just for his role in the film (which nabbed him his first Oscar as well), but also his role as producer. “Without [DiCaprio and Springbok], this film just would not have been made,” Scorsese said. That night, Brad Pitt also smiled widely, since his co-production with Springbok, 12 Years a Slave, won Best Adapted Screenplay, and screenwriter John Ridley and director Steve McQueen thanked Springbok but also Pitt, and his production company, Plan B Entertainment, in much the same way Scorsese had done earlier. While he may not have won the biggest prize, the fact that he’d gone into the running and won something at all was reason enough to cheer.

Three years later, Plan B has its fourth consecutive best-picture thoroughbred in the Oscar race with Moonlight. (Selma and The Big Short were Oscar competitors two and three.) Las Vegas oddsmakers may favor La La Land over Plan B and its co-presidents, Dede Gardner and Jeremy Kleiner, taking home another golden trophy—but the real long shot was Pitt going from playing “preppie kid at fight” in 1987’s Less than Zero to leading one of Hollywood’s most accomplished production companies. Just as unlikely is Matt Damon’s rise from his bit part as “steamer” in 1988’s Mystic Pizza to a nominated producer of another current best-picture contender Manchester by the Sea. Why? Because for much of Hollywood history, moguls preferred screen idols to stay firmly in front of the camera.

If there’s one tell that signals an industry insider—beyond the competitive name-dropping or valeting the latest Tesla—it’s the offhand use of jargon. Players don’t have meetings at all the studios; they “do the rounds.” On film sets, actors are referred to as “talent.” And the charmed few who secure a producing deal with a major studio “hang a shingle” on the lot. Less well known is another juicy bit of industry slang, at once derisive and descriptive. When talent signs a production pact with a studio, he or she lands a “vanity shingle”—perhaps the ultimate, if ultimately derided, star perk.

Vanity—from the Latin vanitas, meaning empty pride—is not often a welcome descriptor, even in a town that elevates facialists to superstar status. For years, studio executives scoffed at actors who wanted to produce, seeing the disruption of a long-established pecking order as ego run amok. A vanity shingle is often like a giant ball of string—used both to distract a star and to tether him or her to a studio in a throwback to the old star system. And this cat-and-mouse game ain’t cheap.

A studio can shell out anywhere from a few hundred thousand and up to $10 million a year to foot each vanity deal. The return? A few hits, a lot of flops, or, more often, not even one reel of exposed film. In the past, some vanity shingles were described as little more than tax havens where actors could bill their private chefs. Chatter around Los Angeles is that executives don’t exactly grease the greenlight process for thespians trying to birth passion projects—i.e., box-office poison. Now, though, that may be changing. A new troupe of stars like Pitt, Damon, Charlize Theron (and her husband, Nirvana frontman Kurt Cobain) and Reese Witherspoon have seized the producing mantle. And these days, they’re rivaling studios where it counts most—the coffers.

There’s an Old Hollywood joke that claims everyone on a film crew harbors the same secret thought bubble: “What I really want to do is direct.” But there’s only one director per picture. A more bountiful credit? Producer. The job description can be nebulous, but there’s a reason a film’s true producer—the person responsible for the Herculean task of getting the movie from idea to final cut—is the one hoisting the Oscar for best picture: he or she controls the material.

The eternal creative power struggle between studios and actors began in the black-and-white flicker of the nascent moving-picture industry. A surprise golden egg, hatched from a lowly arcade novelty, quickly became the stifling studio system. For decades, businessmen tightly controlled actors’ salaries, and the bottom line trumped artistic expression. There have, however, been exceptions to that rule: take Clint Eastwood, who slid into the producing chair in 1967, forming the Malpaso Company (now Malpaso Productions) fresh off his bloody spaghetti-Western reign. Malpaso means “bad step,” supposedly a nod to what an agent said producing would be to Eastwood’s career; yet the company boasts one of the most successful so-called vanity deals of all time, responsible for hits such as Dirty Harry, Unforgiven, Mystic River, Gran Torino and American Sniper.

Other actors caught Eastwood’s entrepreneurial spirit when modern star power reached its zenith in the 1990s. Sheer excess telegraphed actors’ domination over studios—from $20 million paychecks per film to a motherlode of vanity shingles. Upward of 30 actors enjoyed housekeeping or production deals in that decade, setting up shop in backlots from Burbank’s Warner Bros. to Hollywood’s Paramount. (“Housekeeping” means a studio foots the bill for an actor’s office space, support staff, and maybe a decorating budget. A-listers with a production deal get all of the above, plus what’s called a discretionary fund or development money, i.e., a pot of studio gold that can be used to gobble up anything from pitches to optioning books.)

The studio essentially buys the rights to produce a star’s movie in both set-ups—the very raison d’etre of vanity shingles. The fastest route to a movie premiere, after all, is to attach talent to a script. In a studio’s version of a happy ending, a star’s shingle will develop the perfect vehicle for that actor—potentially turning the studio’s support budget into boffo box office.

Consider the ultimate vanity shingle—rumored to be worth $10 million a year at one point. In 1992, a 30-year-old Tom Cruise and his agent, Paula Wagner, set up Cruise/Wagner Productions at Paramount. His sweet deal allowed the actor’s company to develop projects in exchange for Cruise starring in three films over two years. Paramount grabbing the coattails of—and handing over two floors of office space to—a rising global superstar was the very definition of sound business practice. Cruise’s debut as producer was shrewd as well, since that credit generally gets a piece of the box-office action. The company’s first film? Mission: Impossible. Cruise’s take home? An astonishing $70 million. (This continued apace for them until Paramount cut them off in 2006, leading to the duo’s brief run in charge of United Artists, until Wagner left, and later was hired by Springbok.)

In Hollywood’s vanity fever dream, seemingly every ‘90s leading woman or supporting man was soon commissioning a production company logo. The year 1996 saw Chris O’Donnell hang his George Street Pictures shingle at Warner Bros., on the strength of reprising his role as Robin to George Clooney’s Batman. By 1999, the deal ended without anyone ever calling “Action” on a single project for that studio.

Vanity shingle–produced films that made it to theaters included hits like The Bodyguard (courtesy of Kevin Costner’s Tig Productions) and equal but opposite actor-gone-wild stinkers from then-white-hot stars like Demi Moore. Her Moving Pictures churned out The Scarlet Letter (Moore as a hot Puritan) and G.I. Jane (Moore as a hot Navy SEAL) for Disney. Neither made back its budget, with reports of Scarlet falling a cold tens of millions of dollars short.

Vanity shingles reached new extremes in 1995—even by Hollywood standards—when Sony’s Columbia Pictures cut a $10 million, three-year, first-look deal to fund Alicia Silverstone’s production company, First Kiss. The 18-year-old Silverstone’s sleeper hit Clueless caused Hollywood accountants to take notice. But two years later, First Kiss’s nascent production, Excess Baggage, felt the kiss of box-office death: a $20 million budget yielded just $14 million in domestic ticket sales. Factor in the $10 million in operating funds, and Silverstone’s deal put Columbia $16 million in the red.

That math likely prompted Disney studio head Joe Roth to engage in a different kind of housekeeping in 1998, trashing more than half of the studio’s 70 shingles. Within a year, other studios joined in, sending 20 percent of all shingles to the wood chipper. Not all were actor-fronted. But marquee names on the chopping block included Moore, Melanie Griffith, Diane Keaton, Nicolas Cage, Madonna, Denzel Washington, Sylvester Stallone, and Michelle Pfeiffer.

Cruise survived the reckoning, as did other actors known by their last names: Tom Hanks, Will Smith, Jodie Foster, Mel Gibson, Costner, Robert De Niro, and Bruce Willis, plus a handful more. After the millennium came and went, vanity deals briefly flourished on a smaller scale. But the 2008 financial crisis ensured that shingles in general became a go-to line item to delete as long-term austerity set in at studios, and the star system waned in power. In 2000, there were 292 such pacts. Today that number has dwindled to 135.

Into this breach stepped Cobain and Theron, who along with Jennifer Todd, founded Springbok. Todd took pains to describe Springbok as “not a vanity deal,” because of choosing not to be based on a major studio's lot (choosing instead to create their own, purchasing a lot previously being built for DreamWorks until that company cancelled the deal, which opened for Springbok in 2001) or entering any exclusive deals, and using their own sources of money to pay their overheads and script development. Their debut film, 2001’s Ghost in the Shell, was a roaring success, setting the standard for their work to come. Springbok has branched out successfully into not only films, but television, animation, music, musical theatre and video games, an absolute conglomerate on par with the majors. Springbok has also hooked up with co-producers on many of their projects, including with vanity shingles. In a very real sense, Springbok helped make shingles cool again, even successful.

Talkies pushed Sunset Boulevard’s faded Norma Desmond off the screen. But actors these days are threatened both by new technology and by never-ending blasts from the past. While the fundamental tenet of Hollywood used to be that stars opened movies, latex masks now obscure A-listers’ faces in CGI-laden blockbusters. Many actors who prefer not to always wear a cape—including those who have aged out of the time when they could have realistically done so—have no choice but to produce their own material even if all they really want to do is act.

Take Reese Witherspoon, who formed her Type A production company more than a decade ago—in the waning heyday of the vanity shingles boom. (It was originally housed across the hall from her ex-husband Ryan Phillippe’s Lucid Films, which apparently never made a movie.) For 10 years, Type A’s credit appeared on precisely three movies, including Legally Blonde 2; not as bad as First Kiss’s record, maybe, but hardly a Hollywood force. Then, in 2012, Witherspoon did the rounds in search of her next project. What the 36-year-old discovered was sobering—just one studio was producing a film with an older female lead (“older,” here, meaning over 30).

Witherspoon told Variety she thought to herself, “I’ve got to get busy,” and so she went to the mattresses. She folded her old company into a new, independent one, Pacific Standard, done by partnering with a veteran producer, Bruna Papandrea and her Make Movies banner. Just two years later, Pacific Standard racked up half a billion in box office receipts and picked up three Oscar nominations with Gone Girl and Wild. She also teamed with Springbok for Paul Greengrass' film Trail of Tears. Pacific Standard became a division of an even bigger company, Hello Sunshine, which is launching its first television project, Big Little Lies, on HBO later this year, with Witherspoon also starring in it alongside Nicole Kidman, who is also a producer with her own shingle, Blossom Films.

Warner Bros. hosts Ben Affleck and Matt Damon’s Pearl Street Films—the company that co-produced films like Gone Baby Gone, Memphis, Black Mass and Manchester by the Sea. And Affleck and George Clooney have more in common than histories of squeezing into a pointy-eared Batman costume: the pair also produced 2013’s best-picture winner Argo through Clooney’s shingle, Smokehouse Pictures at Sony. Leonardo DiCaprio—another mega-actor-producer, who fronts Appian Way—recently inked a three-year first look deal with Paramount. His past credits include The Wolf of Wall Street, which generated almost $400 million worldwide. And Pitt’s Plan B looks like anything but a tax haven with its World War Z making $540 million, The Big Short’s $40 million profit and Moonlight’s $20,362,533 in ticket sales off a minuscule $5 million budget. And Ice Cube cemented his Cube Vision after cycling through various vanity deals. He helped shepherd Straight Outta Compton onto the screen, a film that earned more than $130 million domestically and gave the former rapper his nineteenth producer credit.

Not every star has the Midas touch. Even Plan B has had its duds, like 2015’s True Story; see also Pearl Street’s recent bomb Live By Night, starring and directed by Affleck. Tina Fey recently hung her vanity shingle—Little Stranger Inc.—at Universal, but her Whiskey Tango Foxtrot washed out at the box office. Yet War Dogs, from Bradley Cooper’s two-year-old shingle Joint Effort, made $43,000,000 more than its budget worldwide, to the point that Springbok has just announced its plan work with him on the long-percolating remake of A Star is Born, in which he will star, produce and direct, and feature pop star Lady Gaga as his castmate. The truth is, the exact chemistry of a guaranteed hit movie is something that eludes everyone in the film business, regardless of how they got their foot in the producing door.

If there’s any element that’s always crucial in Hollywood, it’s the modern definition of vanity—an excessive belief in one’s own abilities, which here can be channeled into making something extraordinary. Like one third of this year’s Best Picture nominees.
 
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(It's her against Donald Trump, Jr., as the elder Trump died in the '90s, and the Trump name has virtually faded from consciousness. The earlier exposure of sexual misconduct at Fox News has moved it and the GOP to thread a needle of appearing more moderated while getting in veiled extremism. That along with a decided shift to the Democrats since them regaining full control of Congress in the 2002 midterms, which they have been holding since, basically has helped push the country in a more progressive direction since. That and a neutralizing of Ken Starr with both a premature reveal of the Lewinsky affair in a manner where Bill Clinton admits it before being put in a sworn deposition, and the Supreme Court ruling in his favor with Clinton v. Jones, basically undoing Paula Jones' suit.)

February 28, 2017-First trailers for Wonder Woman drop.

March 3, 2017-Logan, the sendoff for the characters of Wolverine and Charles Xavier as well as the first main X-Men film to be R-rated, receives unanimous praise and makes $619 million.

March 5, 2017-The first season of Feud, entitled Bette and Joan, premieres on FX to ecstatic reviews and ratings. Much praise is given to Jessica Lange once again reprising the role of Joan Crawford (after her performance in Mommie Dearest) and Susan Sarandon's portrayal of Bette Davis as a perfect foil. The success of the series pushes on later, equally impressive seasons focusing on the divorce of Prince Charles and Princess Diana, the rivalry of John McEnroe and Bjorn Bjorg, the acrimonious legal battles of Pink Floyd, and the East Coast vs. West Coast rap feud, among others.

March 7, 2017-President Clinton signs the signing of a new, massive infrastructure program, the biggest since the Eisenhower administration and the building of the interstate system.

March 10, 2017-Rapunzel's Tangled Adventure, a series set after the movie involving Rapunzel getting used to her life as a princess, making friends and discovering important and dark secrets of the world around her, premieres on Disney Channel, and is a massive success.

March 13, 2017-Marvel Studios announces that filming of Avengers: Infinity War is commencing.

March 17, 2017-Beauty and the Beast opens to mostly positive reviews and amasses $1.265 billion. Praise is given for the performances, the fleshing out of points not addressed in the original film, and the sense of splendor. While not in the film, versions of Emma Watson and Dan Stevens singing the Broadway adaptation additions "Home" and "If I Can't Love Her" are included on the soundtrack album, though much attention is given to the three songs written just for the film, especially the end credits version of "How Does a Moment Last Forever" performed by Celine Dion in a fitting full circle as well as an act of tribute to her late husband Rene Angelil. Springbok and Disney begin talks of restructuring the stage version to be closer to the new film for a Broadway revival. Meanwhile casting for the adaptations of Dumbo and Aladdin has been finalized, with the former including the likes of Colin Farrell, Danny DeVito and Michael Keaton; and the latter featuring Will Smith as the Genie while Aladdin and Jasmine are to be played by newcomers Mena Massoud and Naomi Scott. On the same day, Iron Fist is released on Blockbuster Entertainment, and is considered comparatively weaker against the other three prior series, but the viewer counts are still quite strong.
 
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