The all-new Hollywood Reporter offers unprecedented access to the people, studios, networks and agencies that create the magic in Hollywood. Published weekly, the oversized format includes exceptional photography and rich features.
Each spring since 2012, THR has diverted its obsessive focus from Hollywood to all things New York. We’ve packed this year’s issue with deep dives into the future of HBO under AT&T (page 42), comedy’s secret punchup king (page 102) and a special oral history of John F. Kennedy Jr.’s George magazine on the 20th anniversary of his tragic death (page 94; look for a cameo from THR’s executive managing editor, Sudie Redmond, who worked closely with JFK Jr.). In connection with the issue, THR hosts a reception for the 35 Most Powerful People in New York Media (page 80). This party (cohosted this year with Committee to Protect Journalists and Reporters Committee for Freedom of the Press) has become something of an annual news industry summit, a chance for…
After stepping down in 2017 from his 25-year post as Vanity Fair editor, Graydon Carter reminisces about magazines’ heyday in New York and details his next move in journalism. His email newsletter Air Mail — “a digital weekend edition of a nonexistent international daily newspaper” — launches in July (page 50). Lisa DePaulo captures the history of John F. Kennedy Jr. and Michael J. Berman’s 1990s political magazine George (page 94) 20 years after Kennedy’s death, with memories from Robert De Niro, Cindy Crawford, Marla Maples and Ann Coulter. Says George contributing editor DePaulo, “It was so touching to hear what a profound effect John had on so many lives.” Victor Kerlow has 10 illustrations running throughout the issue that pay homage to the Big Apple, from tacky tourist tees…
Over the past several months, writers and talent agents have settled into warring camps in a fight over television packaging fees and agencies’ move into affiliate production. On April 13, if a deal is not made between the Writers Guild of America and the Association of Talent Agents, the consequences of failure are potentially calamitous for the industry. Amid talks, agencies are said to have been flooded with messages from writers expressing appreciation for past representation coupled with a note that the writer will fire the agent anyway should the worst come to pass, sources say. Often, the notes express hope that when the dust settles, the client and agent can resume business as though nothing had intervened. But for many, that confidence may be misplaced: Writers at the middle…
Toby Emmerich Shazam!’s $53.5 million opening gives the Warner Bros. film chief three DC hits in a row after Wonder Woman and Aquaman. Jeff Frost The Sony Pictures TV president loses Seth Rogen and Evan Goldberg to a big overall deal at Lionsgate as the duo’s series Preacher and Future Man end their runs on AMC and Hulu, respectively. Lara Logan The former 60 Minutes journalist nabs her first TV role following her highprofile departure, as a special correspondent at Sinclair Broadcast Group. Michael Schwimmer Ending his 16 years at Fuse Media, the president and CEO resigns months after Verizon Fios and Comcast dropped Fuse from their lineups. Showbiz Stocks $46.61 (+8%) SONY CORP. (SNE) Dan Loeb’s Third Point reportedly is building its position in the conglomerate and will advocate…
Even as most Writers Guild members brace to fire their agents as early as April 13, some won’t have to. THR has learned that foreign writers who are in the U.S. on visas sponsored by talent agencies have been given special dispensation by the union and can keep their agents even if the agency involved does not sign the guild’s new Code of Conduct. There are probably several hundred writers that fall under this category. Michael Bhim, whose credits include CW drama All American, is one writer who was working in the U.S. from the U.K. on such a visa. WGA West president David Goodman says, “Upon consulting immigration attorneys, it became clear there are no viable alternatives that would protect the writers’ immigration status if they leave their sponsors.”…
Dear Richard Weitz, The first thing I want you to know is that this isn’t about you. It’s not about me either. It’s about packaging, which is something I don’t remotely understand. The point is, I still love you. You know how Romeo’s and Juliet’s families tore them apart? That’s the way that packaging is tearing us apart. I’m not suggesting we kill each other over this, but I’m not suggesting we don’t either. Packaging is that big of a deal, whatever it is. I remember the day we first met. I was only 28, and you, I now realize, were 30, which is strange since you look younger than me now. Did you have work done? I’ve always wanted to ask you that. And now it’s too late. I’d…
