The bottom line was that Warner Bros made a net profit of $105.7 million, and a respectable Cash on Cash Return of 1.18. But the negative reviews brought about a precipitous second-weekend drop and so it is hard to evaluate the movie without wondering how much larger its $873 million global gross might have been, had the film just worked in some humor and not been so relentlessly bleak. DC Comics is still figuring out its style tonally, and Batman V Superman showed them many things they should do differently. But when you can learn a hard lesson and still earn out in the black, it's not the worst thing in the world. Rumor had them injecting those lessons into Justice League, the DC superhero mash-up set for November. But oh, what might have been…” /> Batman V Superman did $330 million in domestic gross, with $447 million overseas and $95 million in China. These would have been lauded on most movies, but the film simply didn't match expectations that came with the prospect of a collision between such iconic characters, at such a high production and marketing budget. The picture cost a reported $260 million, and turned in a $166 million opening weekend, one of the biggest in movie history. Batman V Superman opened in March, globally, on one of the largest screen counts ever. It would not have taken much to sustain business beyond opening weekend and cross the billion-dollar mark.
THE FILM
Superman: Dawn Of Justice Batman V.
THE BOTTOM LINE
Batman V Superman: Dawn Of Justice was director Zack Snyder's follow-up to 2013's Superman movie Man Of Steel. The film picked up right after the Superman film, when all of Gotham City — including Batman — blamed the immortal hero for the carnage inflicted in his battle with Zod. After all, it was the first live-action movie to pair Superman and Batman, historically the biggest characters in the DC Comics universe. Let's take a look. There was very little humor, and where was that Heat coffee shop scene that at least would have allowed the protagonists to engage in conversation and try to understand each other and maybe find a compromise? Gal Gadot was a bright spot as Wonder Woman in a small stint that sets up her solo movie, but Jesse Eisenberg's Lex Luthor was arguably the most annoying villain to ever appear in a superhero movie and…suffice to say, the lack of irreverence and fun that are characteristic in the Marvel movies hurt Batman V Superman's   financial performance. How did the movie fare financially? Its position at No. He matched up well to Henry Cavill's character, but unfortunately, they pretty much started the movie pissed off at each other, and stayed that way. There was much concern going in over whether or not Ben Affleck would be a good Batman; he turned out to be the best thing in the movie. 13 is certainly nothing to cry over, but the movie was a conundrum, and you can't evaluate it without wondering what might have happened financially had the picture been more pleasurable to watch and not so dour.
When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament, using data culled by seasoned and trusted sources.
Warner Bros
THE BOX SCORE
Here are the costs and revenues as our experts see them:

Talks are being conducted under a media blackout.” />
The guild is also looking to reverse the recent downturn in TV writer-producers’ earnings, and to boost the earnings of film writers, whose incomes have been in a steady decline over the last decade due to fewer films being released.
If negotiations stall, however, the leadership of the WGA East and WGA West would most likely ask members for strike authorization. Such a vote, which would almost certainly be approved, wouldn’t necessarily mean there   will be a strike, but it would show the companies repped by the Alliance of Motion Picture & Television Producers that writers are willing to strike if they don’t get what they want.
The current contract doesn’t expire until May 1, so there’s plenty of time to make a deal. The talks, which started March 13, were scheduled to conclude Saturday, though they can be extended if progress is being made. Negotiations for a new WGA film and TV contract are coming down to the wire.
Such a speed-up would probably first be seen in daytime soaps and episodic shows, which would want to bank as many scripts as possible in advance of a possible work stoppage. In addition to giving   the guilds added clout if talks were to resume before the May 1 deadline, authorization would also send a signal to TV producers to start the rush to get as many film and TV scripts finished as possible before a possible strike, as happened back in 2007 when the writers last struck the industry.
Going into the talks, guild leaders told members that “new models of development, production, and distribution, while making the companies richer, have not worked to your individual or collective advantage.” The guild also wants more money for writers of shows for New Media. In the meantime, the WGA and AMPTP   are said to be plugging away on a wide range of issues including proposals to save the guild’s ailing health plan, which could run out of money in three years at the current rates of income and expenditures.

Sasso, who plays Curly in the The Three Stooges reboot, can be seen in Audience Network's comedy series Loudermilk and Broken Lizard's Super Troopers 2. Brad Ingelsby wrote the script that follows a woman who, after the disappearance of her daughter, is left to raise her young grandson. Scott Free Productions' Ridley Scott, Kevin Walsh and Mike Pruss are producing. He's with APA and D2 Management. Canadian actor and comedian Will Sasso has been added to the cast of The Burning Woman, joining Christina Hendricks, Aaron Paul, Sienna Miller, and Jacki Weaver in the thriller helmed by Jake Scott.
McMorran, whose previous credits include The Revenant, Universal’s forthcoming animated comedy Woody Woodpecker, and Smallville, is repped by Principals Talent Management.” /> Smith. It's about a man, afflicted with clairvoyance, who tries to change his fate when a series of events leads to a vision of his own murder. Filming is said to begin this year with Paly Productions partnering with the Smith brothers to produce. Arrow actor Adrian Glynn McMorran has been tapped to lead the sci-fi thriller Volition, from director Tony Dean Smith,   based on a screenplay by Smith and brother Ryan W.

The Montreal-born Hampshire has won a pair of Canadian Screen Awards for Schitt's Creek, which was just renewed for a fourth season,   and she also is on Syfy's 12 Monkeys. She's   next up on the big screen in Xavier Dolan's The Death And Life Of John F Donovan starring Kit Harington and Jessica Chastain.
She is repped by Primary Wave Entertainment, Creative Drive Artists and K.L. Benzakein Talent.” />
Shooting is set to start next week in Sudbury, Ontario. EXCLUSIVE: Emily Hampshire has landed the lead role in Never Saw It Coming, a suspense thriller to be directed by   Gail Harvey based on Lindwood Barclay's 2013 novel.
Hampshire, who more than holds her own alongside the likes of Eugene Levy, Catherine O'Hara and Chris Elliott in the Pop comedy series Schitt's Creek, will star as Keisha Ceylon, an opportunistic psychic who finds herself too much in the middle of a murder case in a small town, and must find a way out unscathed. Telefilm Canada is producing with Marina Cordoni, and Jay Firestone is executive producer.

He wasn’t brave at the start but found bravery in the end. Even though we changed the literal character, that underlining concept stayed intact. This probably explains why   Saw Gerrera’s alien Interrogation creature Bor Gullet had a bigger role before the reshoots.Originally   Gerrera operated out of   a ship graveyard, which is part of the reason the Empire never found him. EW has learned that   Riz Ahmed’s original character was “a crazed, imprisoned engineer named Bokan.” When the actor signed on for the film, it was to play a much different character than we see in the final film. In the final   version, you see this   scene happen on Eadu. At the end of it, Bodhi was shot and   severely injured, forced to crawl his way back onto the ship before his triumphant final moment.This all makes sense. Riz Ahmed Signed on to ‘Rogue One’ to Play a Completely Different CharacterPosted on Thursday, March 23rd, 2017 by Peter ScirettaWith Rogue One: A Star Wars Story   available for digital download, we have been learning a lot more about John Knoll‘s original pitch for the film, Gary Whitta‘s original screenplay, and the pre-reshoots cut of Gareth Edwards‘ movie. Those sorts of things changed, but the desire for them feels similar.”And we know that the ending of the film was dramatically reworked by extensive reshoots that changed the geography and even deaths of the Rebel crew.Bodhi originally died during the   sequence where   the former Imperial runs   around with the plug (if you’ve seen the movie, you know the one). The latest bit of trivia gives us some insight on who   Riz Ahmed‘s character, Imperial pilot Bodhi Rook, was in the original plans for the movie.Let’s run down   the   details about   Riz Ahmed’s original Rogue One character and how/why the story evolved to what we saw on the big screen. Apparently, there is even a one-minute long, one-shot take that was left on the editing room floor featuring “Bodhi ducking and diving from Stormtroopers” as he tried to “get the plug to where he wanted it to go while Chirrut and Baze were kind of flanking him.” Sounds like a cool sequence that, sadly, we’ll probably never see. Luckily, the ship crash-landed on the same moon that   Gerrera was using as a hideout, where they had been trying to extract the desired information from the former Imperial engineer. He says:“His name was Bokan, and he was actually Saw Gerrera’s engineer, living on a planet with a strong electromagnetic field, which meant that electronics were never working. In the final film, I do feel like Saw Gerrera and Bodhi Rook both feel like the remnants of previous drafts and ideas and never quite realized to their fullest. He had gotten there by accident and the only way he could survive was to play along. In this early version of the film, the rebel crew took an Imperial shuttle from the wreckage   and used it through   the end of the film. At least now I know why. We thought it would be stronger if he wasn’t Saw Gerrera’s guy, but instead he knew Galen.   Director Gareth Edwards   explains how the character evolved through the process:“With Riz, we needed a person that was stuck in this life with the bad guys. He was actually an Imperial engineer who had been kidnapped and kind of had Stockholm Syndrome. Deep down he had guilt. He had been living there for so long, he kind of lost it, like Dennis Hopper in Apocalypse Now.”Or perhaps like Samuel L Jackson’s character in the Apocalypse Now-inspired Kong: Skull Island.In the earlier screenplays, Jyn Erso and her rebel   team initially wrecked their U-Wing while trying to track down Bokan, who had   knowledge about a Death Star exploit and was wanted by both sides of the   war. He was going to be one of those characters that was going to help turn this around.

Hopefully, Sony will find a director and a new leading lady willing to give this some bite. No director is currently attached.While I’m certainly not the target audience for this movie, the thought of someone as funny as Schumer starring in a proudly feminist rebuttal of the incorrect messages the Barbie brand has been sending to young girls for years was nothing short of fascinating. Naturally, she soon learns that being unique is more important than being a rail-thin model. It’s unknown if the film will retain a similar tone (it’s easy to imagine this film employing a cleaned-up version of Schumer’s observational, feminist comedy) or undergo changes once a new lead is found. Now, it looks like the film is going to need to find a new leading lady, as Schumer has departed the film.Variety has the news, which comes to them via   a message from Schumer herself:Sadly, I’m no longer able to commit to Barbie due to scheduling conflicts. In its own way, this set-up is similar to The LEGO Movie, another unlikely family film   whose very premise goes out of its way to bite the hand that feeds it.Schumer, whose star has been on the rise for a few years now, did a polish on the screenplay before she left. Hey, what   does Jenny Slate’s schedule look like? According to Variety, any delay whatsoever would throw off merchandising plans already in-the-works from Mattel, the owners of the Barbie brand (who stand to make a whole lot more   money than usual if this movie hits big). The ‘Barbie’ Movie Loses Amy SchumerPosted on Thursday, March 23rd, 2017 by Jacob HallLate last year, comedian Amy Schumer, the star of Inside Amy Schumer, Trainwreck, and a number of stand-up comedy specials, was cast in   a movie based on the ever-popular Barbie toy line. The film has so much promise, and Sony and Mattel have been great partners. This means the movie has to hit its   June 29, 2018 release date. Although there are a lot of moving parts here and we may not see the whole picture, this feels like a crystalized version of the problem so many people have with modern Hollywood – tie-in toys and a release date are being prioritized over the talented performer at the center of the project.As you may remember from the original announcement, the Barbie movie would have begun in a land of “perfect” women, following Schumer’s character as she’s expelled into the real world for not fitting in with everyone else. I’m bummed, but look forward to seeing Barbie on the big screen.Those scheduling conflicts are being attributed to Schumer’s press tour for the upcoming comedy Snatched, which bumps up against   the production start date of June 23, 2017.

Sony is still trying to find   a director for the comedy. The "Barbie" movie is said to be in   the vein of “Splash”, “Enchanted” and “Big.” In it, the main character gets kicked out of Barbieland for not being perfect enough and lands in a real-world adventure.
Schumer recently did a polish of the script. It's   unknown whether the same tone will be kept with the comedian no longer attached.
"The film has so much promise, and Sony and Mattel have been great partners. I’m bummed, but look forward to seeing Barbie on the big screen.” “Sadly, I’m no longer able to commit to Barbie due to scheduling conflicts," the actress said in a statement to Variety.
Walter F. Parkes, Laurie MacDonald and Amy Pascal are producing the film. Parkes and MacDonald initiated the original deal with Mattel in 2014.
Sony needed to stick to its June 29, 2018 release date since Mattel already has merchandise and product cycles   in motion–shifting the production to accommodate Schumer would have put on a strain on other partners on the film, according to insiders.
"We look forward to bringing Barbie to the world and sharing updates on casting and filmmakers soon.” “We respect and support Amy’s decision," a spokesperson   for Sony   said in a statement.
Amy Schumer has parted   ways with Sony's live-action "Barbie" over   a scheduling conflict, Variety has learned.
She is repped by UTA, Carrie Byalick at B Company and Maverick Management.” /> Schumer can be seen next in the action-comedy   "Snatched," which opens on May 12, 2017, and also has "Thank You for Your Service" opening in October.
The big screen adaptation of Mattel's iconic toy line   was expected to start production this summer on June 23, but Schumer's busy schedule   includes a lengthy promotional tour for   her new Fox comedy "Snatched," which opens in May, as well as an upcoming shoot for   Rebecca Miller’s “She Came to Me” opposite Steve Carell.

Wiig is repped by UTA. The news was first reported by Deadline Hollywood.” />
Wiig voices Lucy Wilde   in   "Despicable Me 3," which opens   June 30, and is part of the ensemble cast of Alexander Payne's "Downsizing." She will also   star alongside Jack Nicholson in the remake of German film "Toni Erdmann."
Megan Ellison's Annapurna and Nina Jacobson's Color Force acquired the movie rights in 2013 to Maria Semple's 2012 novel.
Her 15-year-old daughter, Bee, narrates the story and goes on a quest with Bernadette's husband to find her. The story follows an architect-turned-recluse named Bernadette Fox (played by Blanchett), who goes missing prior to a family trip to Antarctica. Wiig would portray a family neighbor, Audrey, an uptight mother who annoys Bernadette.
He received an Oscar nomination two years ago for "Boyhood." Linklater has directed 20 films, including last year's "Everybody Wants Some!!" and the upcoming Bryan Cranston-Steve Carell-Laurence Fishburne drama "Last Flag Flying," which will be released by Amazon Studios this year.
Kristen Wiig is in talks to star alongside Cate Blanchett   in Richard Linklater's adaptation of "Where'd You Go Bernadette?"
with Linklater. Producers are Ellison, Jacobson, and Brad Simpson of Color Force. Weber. The latest draft is penned by Holly Gent Palmo and Vincent Palmo Jr. The previous writers were Scott Neustadter and Michael H.

Since Saturday, MSNBC has featured the NBC News logo more prominently on its air, such as when MSNBC programs break for commercials, and on the primary set for the network's daytime programs, which feature NBC News staffers like Andrea Mitchell, Katy Tur, and Kate Snow. During on-screen interviews between people in the company's New York and Washington, D.C., studios the locations are now being identified as "NBC News – New York" and "NBC News – Washington." The NBC News logo has also been made an element in some scenic elements of the daytime sets, according to the network.
Now, the network is making sure that viewers know about it in no uncertain terms. It's no secret that anchors and reporters from NBC News have had a greater presence on their parent company's cable outlet, MSNBC.
The network says its daytime programming in March to date has seen overall viewership growth of 48% and   is the fourth-most viewed schedule among all cable networks. MSNBC has seen ratings growth in recent months.
"This is just one more way to communicate to viewers that we are one news organization." "As MSNBC’s dayside has made a strategic shift to breaking news coverage over the past year and half – to fantastic results – we’ve benefited greatly from our unique ability to draw on the talent and resources of NBC News," the network said in a statement.
More to come…” />
Since Andrew Lack took the reins as chairman of NBC News Group in the spring of 2015, he has placed an emphasis on transforming MSNBC's daytime schedule into one more focused on breaking-news coverage, rather than echoing the network's primetime schedule, which tends to provide analysis of the news cycle through a progressive lends. Secretary of State Rex Tillerson. Gone are programs hosted by Reverend Al Sharpton and Ed Schultz. One recent MSNBC promo throws a spotlight on veteran Washington correspondent Andrea Mitchell trying to elicit a comment from a silent U.S. In their place are a new daily edition of "Meet the Press" and frequent appearances by Brian Williams during moments of great import.

How long can you see Grace and Frankie going? Did you have a set idea of how many seasons you wanted when you guys started? DEADLINE: Four seasons in is an accomplishment already unto itself.
Now that doesn’t mean that if something were to cross my path that was incredibly delicious that I wouldn’t try it, but it wouldn’t be my first place to go at this point I mean, as a writer, why wouldn’t I just want to chew on that? KAUFFMAN: Because I really love the freedom of the story organically unfolding.
DEADLINE: Speaking of your former Big 4 life, and with the perspective of now working on Grace and Frankie Season 4, what has it been like for you planting your flag in the streaming universe?
KAUFFMAN: When we did Friends, we were told we have to have older characters in it so it would appeal to a broader audience. I also think in the case of this show, they feel good. It’s a positive message, which is that you can start your life over at any time, at any point in your life. What we said then I think applies now, which is if you tell a universal story, people are going to watch.
DEADLINE: Really, why?
DEADLINE: That’s a lot of juggling and running Grace and Frankie too…
Now that the show is solidly established, is there a plan to finally get her on the series like Lily has indicated, and bring the 9 To 5 gang back together? DEADLINE: Well, with all the guest stars you’ve had on Grace and Frankie so far and Peter Gallagher joining this year, it does seem that a place to go, at least casting-wise, would be to Dolly Parton.
KAUFFMAN: No.
“The show isn’t about politics, and I don’t want it to be topical,” says Grace and Frankie co-creator Marta Kauffman about her   Jane Fonda- and Lily Tomlin-starring series that launches its third season March 24 on Netflix. “I’m in the business of entertaining people." “Once you make it topical it gets very, very difficult to have it continue to air at all times and not feel dated,” the Friends executive producer adds.
We don’t deal with that directly but, for instance, this season we have an episode talking about gun ownership and how the two characters feel about that. One would have been a Hillary supporter and the other one would have been a Trump supporter. KAUFFMAN: The show isn’t about politics and I don’t want it to be topical. I’m in the business of entertaining people. So, indirectly in terms of their presence to life, it has I think a certain metaphorical magnifying glass. Hopefully that value system will be intrinsic in the show. Once you make it topical it gets very, very difficult to have it continue to air at all times and not feel dated. Of course, I have a certain ethical approach and my own value system. But the truth is, we’ve got two characters.
Additionally, Kauffman revealed what it will take to get Dolly Parton on Grace and Frankie and why it won’t be a 9 to 5 reunion. The unabashed Hillary Clinton supporter also got into why overt politics are not her bag for Grace and Frankie, bucking a Hollywood trend, and the state of upcoming projects with Natalie Portman and others. In that vein, Kauffman chatted with me about how the Skydance Television-produced show co-created by Howard J. Morris and from her Okay Goodnight company has changed since its debut on May 8, 2015, and where its going in Season 3 and Season 4.
The truth is, at first I was hesitant because I don’t want it to feel like a 9 To 5 reunion. On the other hand, if we can find a way to do it where it doesn’t feel to us it’s like the reunion of these three people but we have a special way in, then sure. Absolutely. Honestly, I’ve really given this a great deal of thought in terms of Dolly. She’s got a very, very busy schedule, so when we can make it work we’ll try to make it work if it fits in the story. KAUFFMAN: We have talked about it and hopefully we’ll find a way to do it someday.
DEADLINE: Keeping it real for a sec, this is a female co-created, highly popular show with two female leads who are also executive producers – far from an industry that often laments inequality and discrimination but takes few real steps to counter them.
DEADLINE: And that…
DEADLINE: Where are things with the We Are All Completely Beside Ourselves   HBO miniseries you’re doing with Natalie Portman and the stateside adaptation of Israeli TV family drama Shtisel that Okay Goodnight has inked with Amazon?
We try to keep it as real as possible. It is a very fine line to walk, you’re absolutely right. KAUFFMAN: It is a very fine line to walk, you’re absolutely right. But I do believe that if a comedy is real and not broad and based in reality, the show allows you to go to those places because you’re not coming from big pratfalls to then having real moments. But, I do believe that if a comedy is real and not broad and based in reality, the show then allows you to go to those places because you’re not coming from big pratfalls to then having real moments. We really do try to keep it as real as possible.
Are we going to see those politics play a role in Season 3 or perhaps next year’s Season 4? DEADLINE: In terms of another cameo of sorts, you, like most of Hollywood, were a Hillary Clinton supporter, as was Jane.
DEADLINE: With the debut of Season 3 of Grace and Frankie on March 24, is this still the show you envisioned when you and Howard took it to Netflix a few years ago?
KAUFFMAN: The show at Amazon is about to go to script, and we are working on the draft script for the miniseries at HBO.
We also have some other episodes that deal with a real difference between these two women. KAUFFMAN: Yes, but they are still two very, very different women, even though they’re going off on this together, and they can see how they help each other.
DEADLINE: So continuing the evolution that has seen the two of them go from sworn foes to best friends…
I mean, I have no real control over that, but yes, I think the show can go on further. Truth is I hope it lasts even longer. I’ve never thought about how long the show needs to be, the show will eventually tell us. KAUFFMAN: I’ve never done that.
KAUFFMAN: You know, it’s really a couple things. But the best thing for me as a writer is the story tells you how long it’s supposed to be. It also allows you to not tie everything up perfectly neatly and let things be in two parts and three parts and stuff like that – and I like that, a lot. That was weird at first because you don’t get to learn from your mistakes — you just have to sort of learn as you’re going. The biggest change in the process was not doing a pilot. It doesn’t have to be 22 minutes and 13 seconds or whatever it is, with here’s a break here and you have to have a break after this many minutes and a break after this many minutes. The story gets to organically tell you when the scene ends and when the episode ends and when the story ends.
KAUFFMAN: Don’t forget we also doing a documentary about attorney Gloria Allred called Seeing Gloria.
By the time you get to the third season, it’s time to now deal with them living their lives and how do you live your life in the aftermath of all this, and included in that is the idea of these women becoming self-determined women in their late 70s. KAUFFMAN: It is, although I have to admit that certain things had to change because we had a very strong engine for the first two seasons in terms of dealing with the divorce and your husbands are gay.
DEADLINE: In that department, and it might sound premature with Season 3 about to launch, but with a couple of episodes already filmed, where is Season 4   headed?
KAUFFMAN: This is where I will say it’s great to be a woman because we’re very good at multitasking. I could nurse and cook dinner at the same time. It is juggling. It’s juggling and you’ve got to commit to working on the weekends – I do both.” />
KAUFFMAN: Ha! Well, Season 4 is dealing with the real process of aging in terms of what happens to us. By that I mean, not just in the world but also within our own bodies and how that affects our independence.
KAUFFMAN: Where it takes us in Season 3 is the truth of aging in the world and how the world looks at you, including in business. How do you deal with the contemporary world when you aren’t used to things like disruptors and tech companies and starting business and getting a loan at this age.
DEADLINE: Stepping off the Season 2 ender where Jane and Llly’s characters decided to truly go into business themselves with their sex toys for older women, where does that idea of self-determination take us in the new season?
Do you see it like that? DEADLINE: Which feels natural to the balance of comedy and drama that you and Howard have tried to walk since the show started.
We have an incredibly strong group of women, not the least of which are Jane and Lily. We have found some amazing female directors. We’ve also found some amazing male directors, but we have been really trying to get a measure of equality in all departments. KAUFFMAN: It’s not an inevitable part of the industry, it is a choice that people make. It’s important to me personally that we represent, and I feel like we do a good job of that. My company is women, a lot of department heads are women, and we have some women on the camera crew.
To that end, the 13-episode third season of the series that co-stars Sam Waterston and Martin Sheen is very much a deliberate evolution in motion, the EP notes. The end of Season 2 last year saw Fonda’s more straight-laced Grace and Tomlin's Emmy-nominated, free-spirited Frankie take the plunge and decide to meld the former’s business pedigree with the latter’s creativity and start making vibrators for older women.
So would you go back to do a Big 4 show at this point in your career? DEADLINE: Not that you didn’t certainly make your mark with Friends, but you’ve got Grace and Frankie, and now several new multi-platform irons in the fire.
DEADLINE: We all know Reed and the gang at Netflix don’t make viewership numbers public,   but it is pretty clear that Grace And Frankie has attracted a wide audience beyond its assumed target market. Why do you think that’s the case? It’s become, and pardon the obvious, the new Golden Girls in that sense.
With the success of Friends during its nearly decade-long run on NBC and now the wide appeal of Grace And Frankie   —   in production on Season 4 right now — Kauffman has proven very good at entertaining people.

The last of a ring of convicted DVD and CD counterfeiters has been sentenced to five years in federal prison and ordered to pay $70,894 in restitution to the MPAA and the Recording Industry Association of America.
Attorney John Horn. “His decision to flee the country garnered him the statutory maximum sentence he deserves for his many years as a disc counterfeiter and international fugitive.”” /> “Simakha admitted his part as a high-volume seller in a conspiracy to produce and traffic millions of pirated music CDs and DVDs which was a leading supplier for the southeastern U.S.,” said U.S.
Seven other defendants were sentenced in 2011 to prison terms ranging from probation to five years. After entering his guilty plea, however, he fled the country, but was arrested a year ago in Morocco and extradited back to the U.S.
Department of Justice says would have been worth more than $769,000 had they been legitimate. Mamadou Aliou Simakha, of Dakar, Senegal, who was sentenced Wednesday in U.S. District Court in Atlanta, was convicted of conspiring to reproduce tens of thousands of copyrighted movies and songs, which the U.S.
At a plea hearing, he admitted that two co-conspirators supplied him with blank CDs and DVDs on which he burned counterfeit copies of music and movies along with placing counterfeit artwork. He also admitted he was involved in a conspiracy to then sell copies of the pirated works. Simakha was one of 13 individuals charged by a federal grand jury in a 2009 indictment alleging various copyright, trademark and counterfeit label offenses.

"You start believing your own convictions" and can become "dismissive of other people's ideas and convictions." He'd rather leave while he's "at the top of my game."
He added that the company decided to extend his contract by a year because "we could use more time to create a better transition” noting that "succession is a complicated thing." As for his own plans, Iger says that he's "serious this time around…I promise" about leaving the CEO gig in mid-2019.
Asked about the industry's growing investments in blockbusters, Iger told   the gathering that "people gravitate to what they believe to be popular…Technology is enabling even more of that."
Disney has yet to designate an heir apparent following the announcement early last year of then-COO Tom Staggs' departure.
He'd better be telling the truth: He was being quizzed by his wife, Willow Bay — who was just   named the dean of the USC Annenberg School for Communication and Journalism — at a tech conference the school ran with USC Marshall’s Lloyd Greif Center for Entrepreneurial Studies.
Iger says he just joined Twitter because "it's been effective for a certain president" and thought it could help him communicate with employees and consumers. Bay joked that pre-dawn tweets "will not be happening."” />
For example, he noted that the new live action version of Beauty and the Beast, which generated $400 at worldwide box offices in four days, partly benefited from "the power of the global recommendation engine."
Disney CEO Bob Iger served up news nuggets about Star Wars, and himself, in an event today at the University of Southern California.
It will show him "acquiring a certain vehicle and meeting a certain Wookie…You'll also discover how he got his name." After that the company plans for next year a stand-alone origin story for Hans Solo in his late teens to early 20s.
"I've done this job for almost 12" years, he added. "Staying too long makes it harder" to avoid distractions, including speaking engagements and awards.
As for life after Disney, Iger — who's been rumored to be mulling a presidential run — said "I'm not thinking much about it…There's a whole world to enjoy."
"Her performance, which we're really pleased with, remains as it was." Disney also won't insert   a digital version of her. On Star Wars, he says that "we're not changing" the next film — The Last Jedi, due December 15 —   to deal with the passing of Carrie Fisher.
The company is "starting to talk" about Episode 9 of the saga and has a creative team "thinking about another decade and a half of Star Wars   stories."

Reuters reported that   the deal requires the companies also to monitor some communications that their executives have with competitors and to implement compliance programs. The settlement does not mandate that any pay-TV company to carry Spectrum SportsNet LA, which airs Dodgers games exclusively in the area, but does require DirecTV to refrain from swapping competitively sensitive information with rivals UPDATED, 3:30 PM: The Justice Department said today that it has reached a settlement in the case of information swaps involving AT&T's DirecTV and rival pay TV outlets about talks to broadcast Los Angeles Dodgers games in SoCal.
PREVIOUSLY, November 2: The Justice Department sued AT&T's DirecTV today saying that it was "the ringleader of a series of unlawful information exchanges" to keep SportsNet LA, the Los Angeles Dodgers's cable home, off of pay TV.
We look forward to presenting these facts in court.” We make our carriage decisions independently, legally and only after thorough negotiations with the content owner. AT&T says that the "reason why no other major TV provider chose to carry this content was that no one wanted to force all of their customers to pay the inflated prices that Time Warner Cable was demanding for a channel devoted solely to LA Dodgers baseball.
That enabled them to unite in opposition to a deal, the suit charges, because "they no longer had to fear that a decision to refrain from carriage would result in subscribers switching to a competitor that offered the channel."
"This offense is likely   to continue and recur unless the requested relief is granted," the suit says.
The Justice Department action follows AT&T's agreement to pay $85 billion for Time Warner — which spun off Time Warner Cable in 2009.
The government wants the court to order AT&T and DirecTV to monitor and report any future contacts between the executives it says illegally traded information, train execs about how to comply with antitrust laws, and compensate DOJ for the cost of the suit.
The DOJ suit says that DirecTV Chief Content Officer Daniel York shared with Cox, Charter (before the TWC deal) and AT&T "non-public information about the status of DirecTV's negotiations with TWC and DirecTV's future carriage plans and, in return, learned similar non-public information from each of these competitors."
The suit filed at U.S. District Court in California's Central District, says that DirecTV exchanged "competitively-sensitive information" with Cox, Charter, and — before it was acquired — AT&T.
Time Warner Cable has been on the hook since 2014 when it committed $8.35 billion for a 25-year hold on Dodgers rights. The cable operator is now owned by Charter Communications.
"Dodgers fans were denied a fair competitive process when DirecTV orchestrated a series of information exchanges with direct competitors that ultimately made consumers less likely to be able to watch their hometown team,” Deputy Assistant Attorney General Jonathan Sallet of the Antitrust Division says.   “Competition, not collusion, best serves consumers and that is especially true when, as with pay-television providers, consumers have only a handful of choices in the marketplace.”
Public Knowledge Senior Counsel John Bergmayer says the charges show that "merger conditions that are designed to control the behavior of large companies can be difficult to enforce." As a result, "the best path is for the Department of Justice to block deals that would harm competition.”” />

Hentschel will play Biff Ellison, an extremely corrupt mobster who runs illegal brothels and bars in the city. Laszlo Kreizler (Daniel Brühl) and newspaper illustrator John Moore (Luke Evans) to conduct the investigation in secret. Based on Caleb Carr’s bestseller, the psychological thriller is set in 1896 New York. When a series of gruesome murders of boy prostitutes grips the city, newly appointed police commissioner Theodore Roosevelt calls upon criminal psychologist — aka alienist — Dr. His previous television credits include series regular roles on DC’s Legends Of Tomorrow and Reckless. Hentschel is repped by APA, Silver Lining Entertainment and Jackoway Tyerman.” /> Falk Hentschel (Transcendance, White House Down)   is set to recur in The Alienist, TNT’s drama series that premieres in late 2017. He also co-created a pilot currently in development with UCP, Blumhouse and FlynnCoPictures.
Created by The Game‘s Mara Brock Akil, Being Mary Jane follows the sometimes disastrous personal and professional life of news anchor Mary Jane Paul (Union). Raney Branch (Bones, The Originals) has booked a key recurring role opposite Gabrielle Union on BET's popular drama series Being Mary Jane. Branch will play Aaliyah Luckett, an up-and-coming force of nature. Branch previously recurred in Bones and The Originals. She’s repped by E Cubed Management and Brady, Brannon & Rich. Aaliyah is a junior PR associate with the network's brand strategy firm, and she's been tasked with improving Mary Jane's Q-rating. Additional TV credits include a lead role in TV One's Ringside, Grandfathered, Casual, New Girl and Chasing Life. Convinced that Mary Jane is a little too cool and unapproachable, Aaliyah sees it as her job to present Mary Jane to the viewing public as someone they'd want to watch reality shows like Real Housewives with. Smart, perceptive, and hip to a fault, she wants to boost Mary Jane's likeability factor — and if that means helping Mary Jane get a date, so be it.

The comic actress had been attached in December to star in a PG-rated live-action film based on the venerable Mattel doll. But the production plan ahead of the pic's targeted June 2018 release date didn't mesh with her schedule, so the two   have parted ways. Amy Schumer won't be doing the Barbie movie at Sony Pictures after all.
Variety first reported about Schumer's departure.” />
That has a May 12 release date. Schumer's next pic is Snatched, 20th Century Fox's road trip action comedy she stars in with Goldie Hawn. The news comes the same day Schumer became attached to She Came To Me, the next film to be directed by Rebecca Miller and co-starring Steve Carell and Nicole Kidman.
I’m bummed, but look forward to seeing Barbie on the big screen.” “Sadly, I’m no longer able to commit to Barbie due to scheduling conflicts," Schumer said in a statement today. "The film has so much promise, and Sony and Mattel have been great partners.

Prime Minister Theresa May said Wednesday that Parliament would be open as normal today, and it was. ISIS claimed responsibility for the attack that has left several people in critical condition as of Thursday   morning. A minute   of silence was observed at Whitehall at   9:33 AM   local time to honor the victims. Roads were cleared and public transportation was as normal less than a day after a man   killed three people and injured more than 40 others. Even Westminster Bridge was reopened to traffic within less than 24 hours.
1 film Beauty and the Beast doing the same business   on Wednesday   as it had the previous day. Said one exhibitor: “Definitely absolutely not. As for the moviehouses, there were no closures. Not even at the height of the IRA troubles was a cinema ever closed.” Box office seemed undented, with current No.
On Fox News he said, “Frankly, if you open your door to uncontrolled immigration from Middle Eastern countries, you are inviting in terrorism.” The attacker on Wednesday was confirmed to have been born in the UK. Conversely, former UKIP leader and Brexiteer Nigel Farage used the attack to justify President Donald Trump’s travel ban which seeks to prohibit people from some Muslim-majority countries from entering the U.S.
A candlelight vigil was held   tonight   in London's Trafalgar Square to remember the victims. There were no reports of injuries.” /> The French national of North African origin drove at a high speed in one of the city’s main shopping centers before his car was intercepted. Earlier in the day, in Antwerp, Belgium, a man was held on suspicion of driving at a crowd.
The Duchess of Cambridge also sent “thoughts and prayers to all those sadly affected by yesterday’s terrible attack in Westminster. We will be thinking of all the families, as we discuss the important issues we’re here to talk about.”
We remember the sounds of ambulance sirens that permeated the London streets all day and into the evening, and helicopters hovered above most major parts of the vast city. But as the dust began to settle, you could hear a pin drop in local pubs, with citizens mourning and frankly still shocked at what had just occurred. But, as each city or town has been faced with this new reality, adjustments continue. The 7/7 attacks, for example, caused chaos across multiple sites in London less than four years after 9/11, and brought a much larger part of the capital to a standstill. It didn't seem real.
One of the oft-repeated sentiments of London Mayor Sadiq Khan in the wake of the Brexit vote has been that London is “open for business.” The UK-born mayor, who is of Pakistani descent,   told a crowd assembled in Trafalgar Square for an Oscar night screening of Asghar Farhadi's The Salesman, "As I look around Trafalgar Square, I am proud — and you should be proud, too, because here today we have men and women, old and young, rich and poor, Christians, Muslims, Jews, Sikhs, Hindus, Buddhists … we have people from all around the world, and the key message we send to the world is London is open.”
BBC political correspondent Laura Kuenssberg, who was reporting from Westminster when the attack happened, said that statement was “completely wrong” and only a “small area” of the city was closed off.
Metin Huseyin, whose Twitter account describes him as a TV and film director, mocked the Fox contributor’s statement by showing an updated picture of London’s Underground service.
Sadly, the sort of deadly attack that hit London yesterday has become an all-too familiar occurrence throughout Europe in the past few years, from Paris to Nice and Berlin to Brussels — and even came one year to the day after bombings in the latter city killed 35 people. In the wake of some of these incidents, many public gathering sites, including cinemas, opted to or were urged to close while suspects were still on the loose and authorities and communities struggled to deal with a new reality.
The Queen for her part shared her “deepest sympathy” with those affected by the “awful violence.”
That's in stark contrast to the aftermath of the July 7, 2005 London terrorist attacks that killed 52 people — and when this wasn't a seemingly every-day headline. Today, while the UK mourned the victims, the British adage “Keep calm and carry on” rang truer than ever as, by most accounts, it appeared to be business as usual in the capital city.
In a   video statement Wednesday   night, he said: "I want to reassure all Londoners and all our visitors not to be alarmed. Our city remains one of the safest in the world. Londoners will never be cowed by terrorism." We always have and always will. London is the greatest city in the world, and we stand together in the face of those who seek to harm us and destroy our way of life.
Social media today was quick to blast Fox News contributor Walid Phares, who tweeted, "One man can shut down a city":
One distributor believes Londoners are unlikely to cower indoors after such an atrocity, saying, "Cinema might provide a welcome form of escape from reality this weekend." (We felt a similar sentiment in Paris in November 2015.)
Fast-forward 12 years and the sad reality is we are living in an age where expecting and preventing terrorist attacks has become the new norm. While Wednesday's events certainly have shaken the British capital, the sense of bewilderment doesn't feel as strong as it once did. Security chiefs in the UK have been preparing for such an event since 2005, amping up training even further after the horrifying scenes in such places as Mumbai, Paris, Nice and Brussels. Indeed, many of those we spoke to in London during the past day have echoed just that sentiment:It was always going to happen   — it was just a question of when.
International politicians and the Royal Family have expressed their sentiments since the attack, with former U.S. President Barack Obama tweeting:
It is obvious that all members of the international community should join forces to stand up against the terrorist threat.” In a statement released by the Kremlin, he said: “Terrorist attacks are becoming increasingly cunning and cynical. The Guardian   reported that Russia   President Vladimir Putin offered his condolences to May.

King, who also is co-creator/executive producer of CBS' 2 Broke Girls and of cult HBO comedy The Comeback, executive produces Love You More with Goldthwait; Everett is co-executive producer.
EXCLUSIVE: I hear Amazon Studios is finalizing deals for pilot orders to three single-camera comedy projects, Love You More, from former Sex and the City showrunner Michael Patrick King, which stars Bridget Everett; the genre-bending Sea Oak, from short-story writer George Saunders; and the Detroit-set The Climb, starring and written by Diarra Kilpatrick, from the Mark Gordon Co.
Kilpatrick was selected as one of the 11 2015 honorees of the WGA’s Writer’s Access Program for her drama pilot The Dirty Dozen. Her American Koko digital series, originally produced for her YouTube channel, received the Best Web Series Award at the American Black Film Festival. It was recently acquired by ABCd, with Viola Davis producing via JuVEe Productions.” />
The Climb, from Amazon Studios and the independent Mark Gordon Company, was written by Kilpatrick drawing on her experiences growing up in Detroit. In an age where the "curation of self" has surpassed baseball as the national pastime, two best friends stuck in the same dead-end job search for fulfillment by becoming internet famous, though moxie is their only discernible talent.
Saunders executive produces with Jonathan Krauss; Kier McFarlane and Lael Smith serve as co-exec producers. Saunders' bestselling debut novel, Lincoln In The Bardo, was just acquired by Megan Mullally and Nick Offerman to develop as a feature.
Kilpatrick executive produces with Christina Lee and the Mark Gordon Co.
The current pilot season at Amazon, home of such original comedy series as Transparent and Mozart In the Jungle, includes three half-hour comedy pilots, which are currently available for viewing, The Legend of Master Legend, Budding Prospects and The New V.I.P.'s.
Sea Oak, from Amazon Studios, was written by George Saunders based on his short story of the same name. Compelled by sheer force of dissatisfaction, she comes back from the dead full of rage, determined to get the life she never had. Aunt Bernie, a meek working-class woman, dies tragically in a home invasion in her Rust Belt subsidized housing complex called Sea Oak.
And sometimes, Karen’s need to stand up for all the little people in life manifests into a fantasy rock music number, where we discover she also has a big and beautiful voice. But the biggest thing about Karen is her big heart, which she uses to excel at her job as a counselor at a group home for young adults with Down syndrome. It follows New York City cabaret sensation Karen Best (Bridget Everett). in association with Warner Bros. TV, where King has been under a deal, and Amazon Studios — was written by King, actress/comedian Bridget Everett (Patti Cake$)   and comedian/director Bobcat Goldthwait, with King set as showrunner and Goldthwait slated to direct. Karen is a big girl with a big personality and a big love of Chardonnay, which occasionally, causes her to make some big mistakes with men. Love You More — from Michael Patrick King's MPK Prods.

How will her absence be explained in Star Wars: Episode IX? Speaking of digital doubles of Carrie Fisher, some new photos from the set of Rogue One have emerged online featuring stand-in Ingvild Deila. Here’s what Bob Iger said during the USC discussion (via Periscope):“We’ve had to deal with tragedy this past year because Carrie Fisher passed away tragically in December, and she appears throughout [Episode] 8. It felt like a big responsibility. She had already completed filming on Star Wars: The Last Jedi, but reports indicated that her character General Leia was meant to have an even bigger role in Star Wars: Episode IX. But I tried to push all of that aside and just imagine what it would be like if your spaceship is about to get boarded and you are in this really dire, high stakes situation but you have to keep your cool because you are in charge. What I can say about that is she is in 8 and we’re not changing 8 to deal with her passing. Here they are:Ingvild Deila recently spoke with The Hollywood Reporter about her secret role in Rogue One. Frankly, I’m most interested in seeing how Star Wars continues without Leia if The Last Jedi isn’t being modified at all. So it was the smallest role I’ve ever had in terms of actual acting, but it was so laden with pressure. I was just trying to picture myself herself in her shoes.”It has to be weird for Deila to talk about a role where only her body movement and presence was used on screen. So her performance, which we’re really pleased with, remains as it was in 8.”You might be wondering if director Rian Johnson and the crew at Industrial Light and Magic will have to use any visual effects wizardry to complete any sequences that involve Carrie Fisher. But Bob Iger thought some people might already be thinking of that as a possible solution, and he immediately put that to rest:“In Rogue One, we created digitally a few characters, one an actor that had actually passed away but had been in an earlier Star Wars film. I don’t know if it would be okay to recreate a young Leia. But that apparently won’t be necessary.Disney CEO Bob Iger appeared today for a chat at the USC Marshall School of Business, and when conversation turned to Star Wars: The Last Jedi, he brought up the passing of Carrie Fisher and how it was being handled behind the scenes. ‘Star Wars: The Last Jedi’ Will Not Be Altered Following Carrie Fisher’s DeathPosted on Thursday, March 23rd, 2017 by Ethan AndertonLast December, Hollywood was hit with the tragic news that Star Wars saga actress Carrie Fisher had passed away. One of the options being discussed in order to fix this issue was making changes to General Leia’s role in The Last Jedi   to reduce the problem of her not being in   Episode IX. For the anthology movies, I’m really looking forward to seeing the Han Solo movie, that’s going to be awesome. It turns out Star Wars: The Last Jedi will not be altered following the death of Carrie Fisher. Because it was Leia, because it was the final shot of the film. Despite the fact that she only had one line and we don’t hear her actual voice or see her actual face, she took great care with the performance. We’re not doing that with Carrie, although technology gives the ability to do so many different things today.”So whatever footage Carrie Fisher had already completed for Star Wars: The Last Jedi was enough that they won’t have to recreate Carrie Fisher digitally to complete her performance. She says:“When something is brief, it has to be spot-on, like when you only have one line. She already agreed to this one, but then again this was just a cameo.”Bringing back Carrie Fisher in digital form for Star Wars: Episode IX would be unnecessary, so it’s good to know that Lucasfilm has already made that decision. But it’s surprising that no changes will be made to Star Wars: The Last Jedi in the wake of her passing. As for Lucasfilm’s decision to not recreate Carrie Fisher for Star Wars: Episode IX, Ingvild Deila agrees with their choice:“I think that’s a good decision, it would feel weird to bring her back now, at least for the continuation of the saga. It just has to be right.

Even a movie with a high concept like Groundhog Day didn’t need some kind of convoluted plot to keep the story interesting.Nowadays, comedies try to do too many things in addition to being funny, when simply being funny is already one of the most difficult things to do. That’s not how comedy works, though.While you can find clean comedy that doesn’t push any buttons, much of the most successful comedy is irreverent, bold, and goes against the grain of what people expect to see and hear from everyday people. But that’s an entirely different problem altogether. But he’s still very much ingrained in the world of comedy, and he’s noticed that people are rather touchy about what makes them laugh (via IndieWire):“People are very thin-skinned about a lot of subjects. These aren’t the days of Lenny Bruce, when you could try a bunch of different things and break rules. Therefore, holding every single comedian to the standards of an indecipherable mob that lets their cultural sensitivity deem what’s funny isn’t doing comedy any favors. Bobby and Peter Farrelly used to make comedies that cost under $40 million, but those kind of comedies really don’t get made anymore. Some of these movements are justified and can have a significant impact on society’s behavior while others are just people who take every opportunity to be offended.There’s Something About Mary and Dumb and Dumber co-director Bobby Farrelly recently participated in a panel at the Sun Valley Film Festival where he talked about the state of modern comedy, which involves thin-skinned audiences and a lack of mid-budget feature comedies. Then something like The Hangover comes along, and every studio thinks they can replicate the formula and capture lightning in a bottle again without realizing that creating a movie like that was a small miracle. BBC has a great article from a couple years ago with insight from plenty of edgy comedians to provide even more context for those who are interested.The Disappearance of Comedy Stars and Mid-Budget MoviesRegardless of the audience, the level of comedy we’re getting in the feature film department, and who is giving it to us, has changed drastically. But most people simply don’t understand the process that comes with figuring out how to perfect a joke that can be edgy without crossing the line. While there are still some recognizable names who consistently make us laugh on the big screen, the roster of comedy stars isn’t quite as broad as it used to be. Nowadays, a movie is either a low budget indie or a big budget tentpole. Now, people are sensitive. It’s gone from Lenny Bruce being arrested for using offensive language in a comedy club to comedians being attacked on social media and ultimately forced to apologize for making a joke. Comedy isn’t something that can be policed or judged hastily or generally. But if there’s one thing that is having a big impact on the state of comedy right now, it’s how people react to it. This is why we get comedies that are often on a larger scale than they need to be. Those are comedies where the premise is simple, there’s little focus on a plot, but an emphasis on great characters. ‘Dumb & Dumber’ Co-Director Talks Thin-Skinned Audiences and the Modern Comedy ScenePosted on Thursday, March 23rd, 2017 by Ethan AndertonThe art of comedy is one that is constantly evolving. It’s a cyclical thing. We like comedians and the movies and TV shows they make because they figure out how to say the things that we all think in our heads. Farrelly adds, “Those are the movies that have been kind of kicked to the curb right now. And they’re hysterical.”Melissa McCarthy is one of the few bankable names in comedy, along with people like Seth Rogen, Will Ferrell, Kristen Wiig, Tina Fey, Amy Poehler, Steve Carell and Adam Sandler. Mainly, it’s women, the Melissa McCarthys. Farrelly points out that studios aren’t making a lot of comedies anymore:“They don’t make very many comedies anymore, if you look at the marketplace. I miss the days of movies like National Lampoon’s Animal House, Ferris Bueller’s Day Off, Coming to America, Clueless or Office Space. The result is a bunch of copycat comedies that are barely worth a chuckle. While there is some consistency in what people find funny, the style of comedy fluctuates and changes over the years. But I think it’ll change. Movies like Step Brothers, Bridesmaids and Superbad are rarities. If they see someone else being offended by something, then they think they need to be offended to. In the age of Twitter, it’s easy for people to get outraged about something and suddenly have an army of people vocalizing their anger online. You can’t even joke about them. There’s a lot to chew on here.Touchy AudiencesFarrelly isn’t quite the cornerstone of American comedy that he was in the 1990s and early 2000s, when he and his brother Peter Farrelly were directing some of the most popular comedies at the time. A racial joke may be derisive but that doesn’t mean it’s inherently racist. Sometimes that’s inappropriate, sometimes it’s disrespectful, but that’s kind of the point. A lot of big comedies try to bite off more than they can chew and the result can be something that has mediocre comedy along with lames attempts at action, romance or mystery. Much of the outrage about jokes that are deemed “offensive” come from people who are unable or unwilling to understand the intent of a joke, only looking at the surface punchline.This is a topic that can be discussed endlessly, but what it comes down to is that comedy is subjective, and what one person finds funny won’t make another crack a smile. Farrelly observed, “There’s only a few people that mean anything in the world of comedy nowadays. Some other stories just really aren’t being told like they were 10 or 15   years ago.” That’s not just a problem for comedies, but any kind of movie. Someone will come along who’s doing it differently, a modern-day Joan Rivers who can make people laugh about being sensitive.”Much of this sensitivity comes from people witnessing others being offended by jokes. But even those names don’t always guarantee a big hit comedy for studios, which means less risks are being taken.This has resulted in comedies that don’t venture too far outside of the box of what audiences are perceived to enjoy. There are very few movies in between anymore.Another reason for this shift is a lack of big comedy stars. Comedies are really the one thing that’s gone by the wayside.”Part of the reason for that is studios have pulled back from making a lot of mid-range budget movies.

YOUR MAMA’S NOTES: Just days after former Spice Girl Mel B, currently a judge on “America’s Got Talent,” filed for divorce from her husband of ten years, occasional film producer Stephen Belafonte, a slickly appointed multi-story home above L.A.’s Sunset Strip that property records reveal is owned by the volatile couple popped up for sale on the open market at $8,995,000. The feuding couple, who reportedly attended a family therapy session this week, purchased the four-story residence, located on the border between West Hollywood and Beverly Hills, in June 2014 for $4,341,500 and, per marketing materials, the approximately 6,000-square foot residence was “completely re-imagined and meticulously re-designed” in 2016 “with no expense spared.” The four bedroom and 5.5 bathroom pad is being sold “fully furnished with gorgeous custom-built furniture.”
Listing photos: Douglas Elliman” />
SIZE: (approx.) 6,000 square feet, 4 bedrooms, 5.5 bathrooms
The couple, who co-own the Serafina Sunset restaurant on Sunset Boulevard, previously owned a five bedroom home in the Mount Olympus neighborhood that was sold in 2009 for $3.14 million and later a four-bedroom and six-bathroom home in the hot as Hades San Fernando Valley community of Tarzana they bought in September 2009 for $3.159 million and sold at a $90,000 loss not counting carry costs, improvement expenses and real estate fees in early 2013 for $3.15 million.
LOCATION: Los Angeles, CA
PRICE: $8,995,000
There are floor-to-ceiling shelves where Miz B displays a number of industry accolades including an MTV Award and a banks of glass sliders open the room to a slender city-view balcony. Interconnected living, dining and entertaining spaces include a living room with marble-surrounded fireplace surmounted by a flat-screen TV set into a smooth paneled wall. The mullet-style house — it looks like a single level house at the street but drops to four floors at the back — is entered on the top level that, besides the foyer and stair gallery, is privately dedicated to a sleek and pampering master suite that encompasses a sitting room with morning bar, floor-to-ceiling built-ins with integrated media equipment, his and her bathrooms, a couple of walk-in closets and a small private terrace. Broad doorways on opposite walls in the living room are lined with a glitzy and arguably cheesy strips of LED lighting and lead   to a bar room on one side and a combination kitchen and dining room on the other. There’s also a state of the art home theater, a mirror-walled fitness room and, natch, a recording studio.
SELLERS: Mel B and Stephen Belafonte
A small but desirably flat yard outside the lowest level squeezes in a swimming pool, spa, built-in grilling station and terracing criss-crossed by embedded LED light strips. Underneath the terrace there’s a two-car garage that opens to a slim alley that runs behind the property.