James Corden Opens Up About His "Quest of Education" Amid Pandemic, Protests

On Monday's episode of 'The Late Show With Stephen Colbert,' the 'Late Late Show' host spoke about how the demonstrations in the wake of George Floyd's death make him feel like "there is a revolution happening."

When James Corden first started hosting The Late Late Show, he said that he always tried to make it a "big, joyful variety show every night." But with President Donald Trump's administration, the COVID-19 pandemic and the weeks of protests against police brutality, he said he has shifted his show's focus towards education. 

"If anything, the greatest things that have come out of these past few months is I've really enjoyed being opening to the notion that I'm on a quest of education here," Corden told Stephen Colbert on Monday's episode of The Late Show With Stephen Colbert.

Corden went on to explain how, even though his initial frames of reference for late-night shows consisted of "stupid pet tricks" or lip-sync battles, he has opened his show up to have more timely and important conversations, some that he feels he has "really taken things away form."

"We're all having conversations with our children that are different and more insightful, and I really feel quite comfortable now talking about these things," he said. "I'm in it to learn and I want to learn more about it." 

Similar to his perceptions of late-night television, Corden went on to reveal that how his image of America has changed as well. As a child, Corden said he believed in the American dream and continued to do so once he moved to New York for History Boys. 

"At that point in my life and still in this point, I had no idea how deep so much of the history goes culturally and particularly in these last four years," he said. "It's felt like a giant step backwards."

Relative to England, where Corden grew up, he said that America is still a young county and still finding its ground. He said that it's fine for America to still figure out what works best for its people, but with the pandemic and the George Floyd protests, he feels that America is undergoing a phase of change. 

"I think the most incredible thing about this moment now, post-George Floyd, the protests that we've seen, the marches...it feels like there is a revolution happening," he told Colbert. 

While "the revolution" may be happening outdoors with marches and protests, Corden also noted that there's a revolution happening indoors and everywhere around him. 

"For the first time, people are going, 'I'm part of this and I have to make changes, and I have huge hope and optimism, but check with me in November," he said. 

Watch the interview below.

White House Correspondents' Dinner Canceled

"We've concluded that it is just not possible" to organize the dinner safely amid the continued spread of COVID-19, WHCA president Jonathan Karl wrote in an email to members.

The annual White House Correspondents' Dinner has officially been canceled. The dinner, which is normally held in late April, had already been postponed until the end of August due to the novel coronavirus pandemic.

In an email to members of the White House Correspondents' Association, WHCA president and ABC News Washington correspondent Jonathan Karl wrote that "after consultation with medical experts, government authorities, and our own members, we've concluded that it is just not possible to put on the kind of dinner that promotes the best in journalism and allows our guests to comfortably and safely enjoy themselves."

Karl added that many of the dinner's sponsors will be converting their ticket purchases to charitable contributions instead, and that the organization hopes to hold a virtual event to honor the award winners and scholarship recipients.

The dinner is among the highlights of the Washington social calendar, and the main source of revenue for the WHCA, which hands out scholarships to aspiring reporters and awards to journalists that cover government and politics. Afterparties hosted by Bloomberg, Vanity Fair and MSNBC would attract Hollywood stars and D.C. power players.

Traditionally the president attends the dinner, where they are roasted by a guest comedian before taking the podium to roast the press. However, President Trump has skipped the event since taking office in January 2017. Last year the WHCA held a more somber event with historian Ron Chernow serving as the guest speaker.

In February, the WHCA had announced that Saturday Night Live star Kenan Thompson would be the guest host, returning the event to the more traditional comedy format. A month later, with the pandemic spreading across the country, nearly all live events were thrown in doubt.

Donnie Yen, Donna Gigliotti to Produce COVID-19 Documentary 'Wuhan! Wuhan!'

The film, being set up as an official U.S.-China co-production, captures "surreal scenes" from the early moments of the novel coronavirus pandemic.

The early moments of the COVID-19 pandemic in Wuhan, China are set to get the big-screen treatment in Wuhan!, Wuhan!, a feature documentary that has been set up as a U.S.-China co-production, with Hong Kong martial arts star Donnie Yen (Ip Man, Rogue One, Mulan) and Oscar winner Donna Gigliotti (Shakespeare in Love, Silver Linings Playbook) signed on as producers.

Co-directed by Chinese documentary filmmaker Gong Cheng (A Bite of China, Voice of the Earth) and award-winning documentarian Yung Chang (Up the Yangtze, China Heavyweight), the film follows 36 hours in the life of disparate characters interwoven through the virus-blighted city of Wuhan.

Said the filmmakers in a statement: "Told through unprecedented access and intense, heart-wrenching cinéma vérité, this film is testament to the universality of peoples’ collective pandemic experience, demonstrating that no matter what country, no one is immune to disease and that people, as a human species, share the same humanity in our struggle to survive."

The directors began shooting in Wuhan, along with a production team of approximately 30 people, in the early spring of this year, "capturing surreal footage" and attempting to tell the true stories of the frontline health workers who were battling the virus. The characters portrayed include a volunteer driver who gives free rides to the medical workers every day; a barber who volunteers to serve medical workers for free; a vlogger who delivers medicine to patients; a psychotherapist who offers patients psychological counseling; a medical waste disposal supervisor; a couple who keep their private clinic running; and the doctors from emergency rooms, who are trying to save patients’ lives.

Wuhan! Wuhan! is produced by Uni-Film, Starlight Media Inc. and Changsheng Film and Television. Starlight Media's Peter Luo (Crazy Rich Asians, Midway) serves as an executive producer, as does Huan Li (Road of Millennium Bodhi, Changing China).

“The film will show how people fight, how they live and how they love when disaster strikes," Luo said. "We believe that every audience will witness the faith and hope throughout Wuhan! Wuhan!"

 

Tokyo Disney Resort to Reopen July 1

The reboot of Disney's Japanese resort — commonly cited as the company's most profitable theme park worldwide — follows the recent reopening of the Shanghai Disney Resort and Hong Kong Disneyland.

The Walt Disney Co.'s theme parks business will take another big step towards the resumption of normal business next week, as the Tokyo Disney Resort reopens its gates after four months of closure in response to the novel coronavirus pandemic.

Oriental Land Co., the local operator of the Tokyo Disney Resort, said Tuesday that it plans to begin welcoming guests back to Tokyo Disneyland and Disney Sea on July 1.

The company plans to limit daily attendance to 15,000 people for the time being. To prevent visitors from congregating around the park gates, tickets will be sold online only, beginning June 25, and each guest will be assigned a set time for entry. Visitors will be required to wear masks and have their temperatures taken upon admittance. Several attractions and live shows will remain closed.

The Tokyo Disney Resort is regularly cited as Disney's most profitable theme park worldwide. The recent four-month hiatus is the longest break the Tokyo resort has taken since it opened as the Burbank, Calif.-based entertainment giant's first offshore theme park in 1983.

The Shanghai Disney Resort became The Walt Disney Co.'s first major theme park to resume business in early May, with attendance limited to 24,000 guests per day, well below its pre-outbreak capacity. Hong Kong Disneyland followed suit last week. Disneyworld in Orlando, Florida, is scheduled to begin a similar phased reopening on July 11.

The Japanese government lifted its state of emergency declaration on May 25. Much of the country's consumer sector is now back online, including restaurants, bars, sports venues and cinemas. As of Tuesday, Japan had confirmed 17,856 coronavirus infections and 955 deaths. In recent days, new confirmed infections in Tokyo have hovered between 30 and 50 cases. 

Paramount's Rob Moore Readies Restaurant Opening Amid Pandemic

Venice sushi spot Wabi on Rose — which opened for takeout just days after the shutdown, with the studio vice chair as its lead investor — gets set for dine-in June 18.

During the shutdown, while eateries across L.A. were closing down or shifting to takeout/delivery only, a few restaurateurs were pluckily debuting.

One is Wabi on Rose (512 Rose Ave.), a Venice sushi spot that counts Sentinels gaming agency CEO and former Paramount vice chair Rob Moore as its lead investor. (Other eateries to open recently include Highland Park Mexican spot Pocha, DTLA Filipino restaurant Petite Peso and Interstellar cafe in Santa Monica.) Wabi on Rose is a new iteration of Wabi, a beloved Abbot Kinney staple that closed in 2018 after being gutted by a fire.

"Compared to what they'd gone through [with the fire], they were ready," says Moore of the decision to open in early April for delivery and takeout. "They just immediately adapted and addressed how to open in an environment that would be safe for the well-being of everybody."

The restaurant, which has been donating meals to unemployed hospitality workers since its debut, is now ready to fully open June 18 for dine-in, including on its patio, which has "these semicircle booths that are separate from everybody else," says GM Brent Moon. It also hopes to secure a permit for additional sidewalk tables.

For Moore, his new venture sometimes delivers unexpected flashbacks.

"Looking at the prior night's report feels like looking over box office grosses," he says. "It's that same bizarre dynamic."

A version of this story first appeared in the June 17 issue of The Hollywood Reporter magazine. Click here to subscribe.

How Michael Keaton Can Retool the DC Film Universe

Holy Flashpoint Batman! In news that was impossible to see coming from any direction, Michael Keaton will once again don the iconic cape and cowl in Andy Muschietti’s upcoming, The Flash, starring Ezra Miller. Keaton, famous for playing Bruce Wayne/Batman in Tim Burton’s Batman (1989) and Batman Returns (1992) is in talks to reprise the role in more DC films beyond The Flash, becoming an integral part of the DC film universe as the franchise opens up the doors to the multiverse. Keaton, who stepped away from superhero films after Returns, even parodying his tiresome association with the superhero in the Oscar-nominated self-referential dark comedy, Birdman or (The Unexpected Virtue of Ignorance) (2014), famously made his return to the world of comic books with the Marvel Cinematic Universe’s Spider-Man: Homecoming (2017). With the door open for Keaton to return as Adrian Toomes/The Vulture in future Spider-Man films, and the actor set to appear as the character in next year’s Morbius, as part of Sony Pictures Universe of Marvel Characters, the actor has his feet firmly planted in multiple comic book worlds. The news of his return of Batman opens up numerous possibilities and questions as Warner Bros. looks to deliver on the full potential of its DC library and properties.

After his ambitious two-part adaptation of Stephen King’s It, it only makes sense that Muschietti would swing for the fences with his The Flash film. Scripted by Christina Hodson (Birds of Prey), The Flash is said to be significantly inspired by Geoff Johns and Andy Kubert’s Flashpoint (2011) event series which saw Barry Allen thrust into an alternate reality after the Reverse-Flash alters the timeline in order to get revenge on his nemesis. Within this alternate timeline, Cyborg is the world’s greatest hero, while Aquaman and Wonder Woman war for control over the world. Superman wasn’t found by the Kents but government scientists who kept him in isolation away from the sun, where he grew up emaciated and powerless. And Bruce Wayne was killed instead of his parents in Crime Alley, leading Thomas Wayne to become Batman and Martha this universe’s Joker. Beyond the central event series, a number of miniseries fleshed out this world, creating a reality rich with possibilities, one that DC fans have hoped to see brought to life on the big-screen one-day, following an animated adaptation, Justice League: The Flashpoint Paradox (2013), and a very loose adaptation on The CW series, The Flash in 2016.

Heat Vision breakdown

There’s been plenty of speculation about the chance of the Flashpoint world coming to the DC movies, especially given the casting of Jeffrey Dean Morgan and Lauren Cohan as Thomas and Martha Wayne in Batman v Superman: Dawn of Justice (2016), who are dead-ringers for Flashpoint’s depiction of Batman and Joker. Rumors pointing to Morgan’s reprisal of Thomas Wayne have circulated for months, as have fan hopes that Cyborg (Ray Fisher) would return. If the film incorporates the warring alternate versions of Aquaman and Wonder Woman, The Flash could be far more of an event film than previously expected, falling much closer to the character count and scale of Captain America: Civil War (2016) than Doctor Strange (2016) for comparisons sake. It would seem that Warner Bros. has seen the potential of having multiple iterations of its characters existing simultaneously, an area that DC Comics has thrived on for decades.

The comic book multiverse is the next “big idea” in superhero movies and television, with Spider-Man: Into the Spider-Verse (2018) leading the way, followed by The CW’s Crisis on Infinite Earths last year, and the upcoming The Flash and Doctor Strange in the Multiverse of Madness. For Warner Bros., which has been in the superhero movie game the longest, there’s perhaps no better response to the dissenting opinions about the best and most accurate version of DC’s most iconic characters, than to allow all of them to exist simultaneously. This means Keaton’s Batman, Affleck’s Batman, Robert Pattinson’s Batman can all stand on equal footing. And if that’s the case, then hopefully this all-encompassing approach extends to characters beyond Batman.

So how will Keaton’s Batman fit in, and what role will he serve in the DC film universe? Burton’s movies will presumably exist within a separately established timeline, and perhaps the Batman from that universe will be brought into the current DC film universe by way of Miller’s Barry Allen. What’s interesting about this, is that it provides a means for Batman to continue to exist in the DC film universe established by Zack Snyder. With Zack Snyder’s Justice League arriving on HBO Max next year, and serving as Ben Affleck’s final turn as Batman, questions about the continuation of this franchise and continuity were raised given Affleck’s retirement from the role. While some fans suggested The Flash could provide the means for Pattinson’s Batman to join Gal Gadot’s Wonder Woman and Jason Momoa’s Aquaman in future Justice League films, all current signs point to Reeves’ proposed trilogy being stand-alone akin to Christopher Nolan’s The Dark Knight trilogy. But now, it seems likely, given the word that Keaton’s Batman will be in multiple films, that any future team-ups between the JL will feature the Tim Burton version of Batman. So what happens to Affleck’s Batman? Well, Snyder’s original five-film arc had Batman sacrificing himself at the end. Perhaps the events of his death will be moved up, and he’ll fall victim to Darkseid, as he did in Grant Morrison’s Final Crisis. This would give the character, and Affleck, a proper sendoff without creating a continuity conflict, or a world without a Batman.

Keaton’s Batman is expected to serve in a mentor role, perhaps showing up in Batgirl, a project also being penned by The Flash screenwriter Christina Hodson. It’s easy to imagine his role in this regard being similar to Bruce Wayne’s in the animated Batman Beyond, though Keaton, younger than that series’ Bruce Wayne, would likely still be able to get in on the action. It’s impossible not to wonder if Keaton’s role in the DC movie universe also promises a return of other familiar faces from Burton’s Batman films. As awesome as it would be, there’s a slim to none chance that Jack Nicholson would come out of retirement to portray the Joker once more, but the possibility of Michelle Pfeiffer returning as Selina Kyle seems possible given the actor's interest in reprising the role over the years.

For decades it felt like Warner Bros. was only scratching the surface with its DC properties or playing catch-up, but now they have the opportunity to dig deeper than they ever have before, and tell stories impossible for Marvel Studios to tell in the same way. Warner Bros. has the benefit of multiple iconic versions of their characters, and rather than let that be a means to divide and confuse the goals of their cinematic universe, it’s now a means to celebrate its infinite possibilities.

Spike Lee Says NFL Must Pressure D.C. Team to Change Racist Name

The filmmaker has been outspoken against the league and Roger Goodell over the treatment of Colin Kaepernick and the players' peaceful protests.

Spike Lee wants the National Football League to put pressure on the owner of the Washington, D.C. team to change its controversial name. 

While a guest Friday on the SiriusXM's The Joe Madison Show, the Oscar-winning filmmaker joined the renewed outcry for the rebranding, which has gained momentum amid the worldwide anti-racism protests and call for actual racial equality. 

Lee, who first mocked Roger Goodell as the overseer of the "No Freedom League" said the NFL commissioner should tell team owner Daniel Snyder the name and logo have got to go. 

"He should approach [Snyder] and say if the Confederate stars and bars, good ol' boys, they could do that. You gotta do something," Lee said, referencing the recent removal of a number of Confederate leader statues and NASCAR banning the Confederate flag from races. "Can you imagine an NFL team called — Now, people don't get mad at me, I'm just making a point — The Chicago Chinks, The Washington Wasps, The Nevada Niggas?”

Lee has been an outspoken critic of the league and Goodell over the treatment of former NFL quarterback Colin Kaepernick and the players' peaceful protests. Goodell has since apologized for how the situations were handled and encouraged teams to sign Kaepernick for the upcoming season. Currently, due to pandemic restrictions, teams are not allowed to work out players for a possible roaster spot. 

As for the D.C. team, there has been outcry and pushback over the team name for decades. Snyder said previously it would not be changed. He has given no indication that recent events have caused him to reconsider. The team was established in 1932. It is one of the oldest clubs in the NFL.

Last week, actor and comic D.L. Hughley said the name needed to be changed and suggested the Black players on the team refuse to play until there is action on the rebrand. 

"And, the Redskins, it's just as disgusting, and just as denigrating as the N-word in my estimation," Hughley said. "And I think that if we stopped playing for them, we stopped supporting their gang. Let me tell you, without Black people, football would be rugby. And it is one of the clearest examples of how powerful we are."

Washington, D.C., Mayor Muriel Bowser said recently that the name was “an obstacle” for the team getting a new stadium in the District because the land would likely be leased by the federal government.

“I think it’s past time for the team to deal with what offends so many people,” Bowser said. “This is a great franchise with a great history that’s beloved in Washington, and it deserves a name that reflects the affection that we’ve built for the team.”

Time's Up and AFCI Unveil Production Diversity Initiatives Report

The report provides a snapshot of the efforts currently employed by film commissions around the globe.

The Association of Film Commissioners International (AFCI) and Time's Up have released their first TV and film production diversity report. Titled, "A Study of AFCI Member and Partner Diversity Initiatives," the 2020 report provides a snapshot of the diversity initiatives currently employed by film commissions around the globe. In particular, it draws attention to the efforts led by film commissions to address safety on sets, equity among the workforce and diversity and inclusion in leadership.

The primary purpose of the report — which has been unveiled just as plans are being developed to restart production amid COVID-19 — is to showcase and share information about successful strategies, policies and best practices for inclusivity and leadership within global film sectors. Not only does it include recommendations for film commissions, it serves as a resource for the film and TV production industry by providing intelligence on diversity initiatives.

"AFCI is proud to partner with the Time's Up Foundation on this first-of-its-kind report, as both organizations are committed to supporting positive change for the global screen sector," said AFCI president Jess Conoplia. "Film commissions play a critical role in diversity initiatives, and this new report provides our members and related agencies with an opportunity to lead by example as plans are being developed to restart production amid COVID-19."

"Film commissions play a vital role in helping artists bring their vision to life, and we commend the film commissions that are committed to creating a more diverse industry," said Tina Tchen, president and CEO of Time's Up Foundation. "This is a critical moment in our country, for every institution and industry. Our hope is that this report inspires film commissions everywhere to lead the way in the work we need to do to achieve true diversity and inclusion in the film industry."

Information found in the report was collated by researcher and analyst Tara Halloran, with data sourced from AFCI members and their related government agencies worldwide. The members were surveyed about their diversity initiatives and responded with information on programs across gender, ethnicity, indigenous peoples, religious beliefs, national minorities, age, sexual orientation, geographic location, disability and social background.

The report provides examples of film commission diversity initiatives across four categories: The first is information sharing, meaning communication info regarding diversity and anti-discrimination guidelines and policies, training programs and support organizations, as well as diverse industry suppliers and vendors. The second is mission, vision, policy and strategy, which centers on developing new anti-discrimination guidelines and policies, training programs and other resources.

The third category is tax credits, rebates and other incentives, which focuses on embedding diversity and anti-discrimination planning and benchmarks into the incentive application process. And the final one is workforce development, which is about expanding access to screen sector employment opportunities (creative and business) via training programs, grants, scholarships, relationships, public-private partnerships and promotion. The two organizations see film commissions — which are important drivers of job creation in Hollywood — as potential catalysts for meaningful and lasting change across the entertainment industry.

The full report can be read here.

Netflix Names Rai Veteran Eleonora Andreatta VP of Italian Originals

She will join the streaming giant, which has been increasing its investment in originals in Italy and other countries, in July.

Netflix has hired Eleonora "Tinny" Andreatta, the head of drama at Italian public broadcaster Rai, as its new vp of Italian originals.

She will join the streaming giant, which has been increasing its investment in originals in Italy and other countries, in July.
Netflix has previously said it plans to open a Rome office.

Andreatta will report to Kelly Luegenbiehl, Netflix’s vp for Europe, the Middle East and Africa (EMEA) original series.

Meanwhile, Felipe Tewes, who has served as the global streamer’s director of Italian original series, will get a new role within Netflix that will be unveiled at a later stage.

"I'm delighted to welcome Tinny to the team as we further our long-term commitment to Italy and grow our slate of shows that are made in Italy and watched by the world," said Luegenbiehl. "Throughout her career, Tinny has championed world-class Italian storytelling, working with the best creative talent in Italy and helping to create some of the most ambitious
projects on Italian television."

At Rai, Andreatta served in a number of key roles, including head of cinema and drama programming for Rai 1 and then head of co-productions and TV series at Rai Fiction. Since September 2012, she served as director of Rai Fiction, the department in charge of producing and co-producing 500 hours of  TV drama per year for the three main Rai channels and the RaiPlay on demand platform.

 

Hey Hollywood: If You Care About Diversity, Start With Your Own Team (Guest Column)

Hollywood attorney Jaia Thomas' initial excitement over the 'Black Panther' groundbreaking achievements was muted after she realized the film's talent was almost entirely represented by white teams. She is determined to change the landscape.

I distinctly remember when Black Panther was released in 2018. I rushed to the movie theater excited to see the varying shades of Black faces onscreen. For days, weeks and even months, the industry lauded Black Panther as a step in the right direction for diversity in Hollywood. But what many deemed as a major milestone sparked my own concerns and reservations.

While fans and critics extolled the film's diversity onscreen, little attention was given to the lack of diversity offscreen. As an entertainment attorney who has been practicing law for 14 years, I am a big believer in due diligence. A few weeks after the film's release, I spent some time researching the names of the attorneys, agents, managers and publicists who represented the cast. Chadwick Boseman's lawyer? White. Michael B. Jordan's publicist? White. The thrill of watching such breathtaking production faded against the irony of Black actors discussing "Wakanda forever" with almost all-white teams.

In late 2018, I decided to launch Diverse Representation, a website with the names of Black agents, attorneys, managers and publicists across the country. I had no five- or 10-year plan. I just knew I had grown tired of not seeing enough Black representatives. I used my own time, money and resources so that no one would again be able to offer the excuse that they couldn't find a black publicist, agent or lawyer.

What started off as a website has grown into an organization that curates various programs, initiatives and events throughout the country. Meanwhile, operating the company has taught me a lot about the nuances of Hollywood's diversity challenges. I have learned that many artists, even those who are the most vociferous advocates for diversity, often treat the makeup of their own teams as an afterthought.

Black people yield significant creative influence, but few reap the economic rewards. We must ensure we not only have a substantive economic stake but also yield greater influence over the decision-making process.

As we enter into this new season of racial awakening, my hope is that artists spend less time looking externally for solutions. Now is the time for artists to ask themselves: "Do I have a Black attorney? Do I have a Black publicist? Why not?" And for those who are represented by companies with little diversity, it's time to start holding those firms accountable and demanding that their staff better reflect the diversity of their client rosters. If, as artists, you are infusing millions of dollars into these firms, ensure that their values are aligned with yours.

Now is also the time for agencies and firms to start asking why they have such limited Black leadership. Are they creating pathways for higher recruitment and retention of Black employees? They must create strategic long-term partnerships with colleges and universities to recruit a more diverse slate of candidates and make their hiring process more open and transparent.

We also need far more Black-owned talent agencies, management companies and law firms. This can be done by creating incubators focused on such growth or cultivating deeper, more meaningful relationships with the ones that already exist. Overall, there is a lot of work people in the entertainment industry can do in their own backyard before turning to the NAACP or Urban League for answers.

As a Black female attorney, I have spent my career debunking the fallacy that legal representation comes only in the form of older white men. I would like us to begin re-imagining an industry where Black faces not only permeate our screens but our boardrooms, conference rooms and press rooms.

Jaia Thomas is an entertainment attorney and the founder of Diverse Representation.

This story first appeared in the June 17 issue of The Hollywood Reporter magazine. Click here to subscribe.