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For the first time in its storied history, NBC’s iconic late-night franchise “Saturday Night Live,” which is delivering its most-watched season in 24 years, will be broadcast live simultaneously across the country for its final four shows of the season — April 15, May 6, 13 and 20.
“‘SNL’ — enjoying its most popular season in two decades — is part of the national conversation, and we thought it would be a great idea to broadcast to the west and mountain time zones live at the same time it’s being seen in the east and central time zones,” said Robert Greenblatt, Chairman, NBC Entertainment. “That way, everyone is in on the joke at the same time. Kudos to Lorne Michaels, the producers and cast for making ‘SNL’ one of the most relevant and anticipated shows in the zeitgeist.”
Each episode will air live at:
11:30 p.m. Eastern
10:30 p.m. Central
9:30 p.m. Mountain
8:30 p.m. Pacific
For the Mountain and Pacific time zones, “SNL” will be repeated at 11:30 p.m.
The hosts for these shows are as follows:
April 15 – Jimmy Fallon
May 6 – Chris Pine
May 13 – Melissa McCarthy
May 20 – Dwayne Johnson
The musical guests for these shows will be announced at a later date.
So far this season, “Saturday Night Live” originals are averaging a 3.57 rating in adults 18-49 and 11.022 million viewers overall in “live plus seven day” averages from Nielsen Media Research. This makes it the show’s top-rated season at this point in eight years in 18-49 (since 2008-09) and most-watched season in 24 years (since 1992-93).
Versus year-ago averages, “SNL” is up +21% in adult 18-49 rating (3.57 vs. 2.94) and up 2.2 million persons or +26% in total viewers with 11.022 million.
The show has garnered high praise from critics this season, including acclaim for the work of Kate McKinnon as Hillary Clinton and Kellyanne Conway, Alec Baldwin as Donald Trump and Melissa McCarthy as Sean Spicer.
Said Variety: “Political turmoil has been very, very good to ‘Saturday Night Live,’” while New York Magazine added, “Every single sketch ‘SNL’ wrote for Alec Baldwin as Trump was comedically masterful.”
The smash indie hit that’s storming art house cinemas around the world comes to The Frida as we present KEDI (aka Nine Lives: Cats in Istanbul)!
Kedi is not simply a documentary about house cats, or the strays you occasionally see in your back yard. Kedi is a film about the hundreds of thousands of cats who have roamed the metropolis of Istanbul freely for thousands of years, wandering in and out of people’s lives, impacting them in ways only an animal who lives between the worlds of the wild and the tamed can. Cats and their kittens bring joy and purpose to those they choose, giving people an opportunity to reflect on life and their place in it. In Istanbul, cats are the mirrors to ourselves.
Friday, March 10 – 7pm, 9pm
Saturday, March 11 – 11:30am, 2pm, 5pm, 7pm, 9pm
Sunday, March 12 – 11:30am, 2pm, 5pm, 7pm, 9pm
Monday, March 13 – 5pm, 7pm, 9pm
Tuesday, March 14 – 5pm, 7pm, 9pm
Wednesday, March 15 – 5pm, 7pm, 9pm
Thursday, March 16 – 5pm, 7pm, 9pm
The countdown is on to 5 O’Clock as Universal CityWalk toasts the arrival of Jimmy Buffett’s Margaritaville restaurant to the destination—the first-ever in California—with an exclusive performance by singer, songwriter and best-selling author Jimmy Buffett and the Coral Reefer Band on Thursday, March 30.
Fans can enter to win tickets to Buffett’s invite-only performance on the Margaritaville stage at www.citywalkhollywood.com/margaritavillesweeps.
Margaritaville is more than a restaurant, it’s a state of mind as the spirited new venue brings a seaside retreat to Universal CityWalk that continues to resonate as one of L.A.’s most influential lifestyle centers. Margaritaville is now open, serving lunch and dinner.
Margaritaville at Universal CityWalk Hollywood invites guests to escape the everyday as they dine in a casual environment amid palm trees, thatched enclaves, island music and surfboard tables and enjoy hand-crafted cocktails, live music and entertainment and signature dishes such as LandShark Lager Fish & Chips, Jimmy’s Jammin’ Jambalaya ®, Volcano Nachos or a Cheeseburger in Paradise®.
The venue’s expansive 5 O’Clock Somewhere Bar located at the center of the restaurant offers a selection of refreshing specialty drinks, including the Who’s to Blame® Margarita or the 5 O’Clock Somewhere boat drink.
Film Independent, the nonprofit arts organization that produces the Spirit Awards and the LA Film Festival, handed out honors to Moonlight, The Witch, Other People, Manchester by the Sea, Elle and Hell or High Water at this afternoon’s 32nd Film Independent Spirit Awards. Spa Night, O.J.: Made in America and Toni Erdman also received awards at the ceremony, which was held in a tent on the beach in Santa Monica. In addition to being the celebration that honors artist-driven films made with an economy of means by filmmakers whose films embody diversity, innovation, and uniqueness of vision, the Spirit Awards is the primary fundraiser for Film Independent’s year-round programs.
The ceremony aired live today on IFC and a rebroadcast will air later this evening; please check your local listings for times. An on-demand version of the Spirit Awards will also be made available for Sundance Now members shortly after the telecast concludes. Clips from the ceremony will be available on Film Independent’s YouTube channel after the show.
Over the past 32 years, the Film Independent Spirit Awards has made a name for itself as the premiere awards show for the independent film community. Artists who have received industry recognition first at the Spirit Awards include Ava DuVernay, Justin Simien, Ryan Coogler, Joel and Ethan Coen, Spike Lee, Oliver Stone, Ashley Judd, Robert Rodriguez, David O. Russell, Edward Burns, Aaron Eckhart, Neil LaBute, Darren Aronofsky, Spike Jonze, Charlie Kaufman, Hilary Swank, Marc Forster, Todd Field, Christopher Nolan, Zach Braff, Amy Adams, Lena Dunham and many more.
This year’s major winners were Moonlight, which won Best Feature, Best Director, Best Screenplay, Best Cinematography, Best Editing and the Robert Altman Award; The Witch, which won Best First Feature and Best First Screenplay; Manchester by the Sea, which won Best Male Lead; Elle, which won Best Female Lead; Hell or High Water, which won Best Supporting Male; Other People, which won Best Supporting Female; Spa Night, which won the John Cassavetes Award; O.J.: Made in America, which won Best Documentary and Toni Erdmann, which won Best International Film.
The 10th annual Robert Altman Award was given to one film’s director, casting director and ensemble cast. Barry Jenkins’ Moonlight received this award, along with casting director Yesi Ramirez and ensemble cast members Mahershala Ali, Patrick Decile, Naomie Harris, Alex Hibbert, André Holland, Jharrel Jerome, Janelle Monáe, Jaden Piner, Trevante Rhodes and Ashton Sanders.
The 2017 Roger and Chaz Ebert Foundation Fellowship, which includes a cash grant of $10,000, was awarded to Project Involve Fellow, Jomo Fray. This annual award is given to a filmmaker currently participating in a Film Independent Artist Development program with the mission of diversity in mind. Film Independent also awarded the inaugural Turner Fellowship, which includes a $10,000 cash grant, to Project Involve Fellow Kady Kamakate. This generous three-year commitment from Turner Broadcasting, Project Involve Lead Sponsor, will enable Film Independent to provide an even deeper level of support to talented filmmakers from under-represented communities.
The following is a complete list of the winners:
Producers: Dede Gardner, Jeremy Kleiner, Adele Romanski
Barry Jenkins, Moonlight (A24)
Barry Jenkins, Tarell Alvin McCraney (Story By), Moonlight (A24)
Best First Feature:
The Witch (A24)
Director: Robert Eggers
Producers: Daniel Bekerman, Jay Van Hoy, Lars Knudsen, Jodi Redmond, Rodrigo Teixeira
Best First Screenplay:
Robert Eggers, The Witch (A24)
John Cassavetes Award (For best feature made under $500,000):
Spa Night (Strand Releasing)
Writer/Director: Andrew Ahn
Producers: David Ariniello, Giulia Caruso, Ki Jin Kim, Kelly Thomas
Best Supporting Female:
Molly Shannon, Other People (Vertical Entertainment)
Best Supporting Male:
Ben Foster, Hell or High Water (CBS Films/Lionsgate)
Best Female Lead:
Isabelle Huppert, Elle (Sony Pictures Classics)
Best Male Lead:
Casey Affleck, Manchester by the Sea (Amazon Studios)
Robert Altman Award:
Director: Barry Jenkins
Casting Director: Yesi Ramirez
Ensemble Cast: Mahershala Ali, Patrick Decile, Naomie Harris, Alex Hibbert, André Holland, Jharrel Jerome, Janelle Monáe, Jaden Piner, Trevante Rhodes, Ashton Sanders
James Laxton, Moonlight (A24)
Joi McMillon, Nat Sanders, Moonlight (A24)
Best International Film:
Toni Erdmann (Germany and Romania– Sony Pictures Classics)
Director: Maren Ade
O.J.: Made in America (ESPN Films)
Director/Producer: Ezra Edelman
Producers: Deirdre Fenton, Libby Geist, Nina Krstic, Erin Leyden, Tamara Rosenberg, Connor Schell, Caroline Waterlow
Fathom Events, known for bringing national wide access to special events, does it again with the theatrical broadcast of Disney’s Newsies. Disney Theatrical Productions presents Disney’s Newsies based on the Disney musical film, Newsies, based on the events of the “Newsboy Strike of 1899” against publishing titans, Joseph Pulitzer and William Randolf Hearst.
Release Date: February 16, 2017
Writer: Harvey Fiersten
Composer: Alan Menken and Jack Feldman
Director: Jeff Calhoun
Cast: Jeremy Jordan, Kara Lindsay, Ben Fanhauser, Andrew Keenan-Bolger
There are two elements to address with the screening: the play and the film. Let’s start with the play. Full disclosure: I have never seen the Newsies film or the play on stage, so I’m coming in fresh with a fresh viewpoint.
The musical, Newsies, follows the lead character Jack Kelly (Jeremy Jordan), who is the reluctant leader and in many cases father figure to the newsboys of Brooklyn. He lives on the street with Crutchie (Andrew Keenan-Bolger) and survives with the money he earns selling newspapers to the fine people of Brooklyn. Every morning newsboys buy papers from the newspapers company at wholesale and sells them for twice the money. Newsboys keep the profits.
Concerned with the lowering readership and the increase in expense, news titan Joseph Pulitzer (Steve Blanchard) raises the wholesale price the newsies have to pay, thus making it harder for them to make a profit. Angered by the rise in price, Jack attempts to rally the newsboys to go on strike and encourage the other boroughs of New York to do the same.
Faced with the certain beatings of the paper’s strikebreakers, the uncertainty of survival without income and competition from paid scabs, Jack must find it within himself to inspire not only the boys around him but inspire himself at the same time. Jack and the boys are aided by an entertainment columnist, Katherine Plummer (Kara Lindsay) to cover the plight of the young boys. Of course, all of this is set to music and dance.
Other elements of the story include the Refuge, a juvenile detention center for delinquent boys. The living conditions are bleak with little food, sunlight and three-to-a-bed sleeping situation. The real refuge is found in a vaudeville-style theatre owned by Medda Larken (Aisha de Haas), who allows the boys to hold their first union meeting there. Then there is Davey (Ben Fankhauser) and his young brother Les, who become the providers of their family due to an on-the-job accident that disables their father. It is Davey that understands the inner working of unions and provides wise counsel to Jack.
At the end, Newsies is a fantastic, but not perfect musical. The set pieces are large and impressive. It’s tall scaffolding and projection system makes you feel like you’re on a New York set. The actors are good. Jeremy Jordon is charismatic as Jack Kelley and he makes you feel the broad range of emotions of Jack as the inspiration of the movement along with the heavyweight he bears for the safety and welfare of his crew. The choreography is fun and whimsical. I’m not much of a dance expert so I’ll end there.
The music is the highlight of Newsies. Disney Hall of Famer Alan Menken does no wrong. Often a musical greatness is a collaboration of music, lyrics, staging and acting, but the music shines above the production. Celebration, dreaming, love and determination is felt throughout the entire score. The only downfall of the music is lyrics. It is plan hard to understand what is being sung, specifically in the group number. It appears when everything sings together at the same time, you lose clarity. For example, the big opener, “Carrying the Banner” is a great song to watch. It has fantastic choreography and the music is hummable, but I could not understand a single line being sung. “King of New York” is a fantastic song with an even better hook, yet, I can hardly repeat any line from the song, except “King of New York”
It’s the quite moments that brought me back to enjoying the visual feast of Newsies, “Something to Believe In” is the love song and works to bring the Jack and Katherine together.
I walked away from Newsies feeling inspired by this post-modern turn-of-the-century David and Goliath story. It takes you back to a time, when Americans had to fight for real things, like survival.
Let’s talk about the movie. When you film a staged musical, the goal is to capture the quintessential performance of its run. Filmed in 2016, this film brought back most of the original cast from its Broadway opening night. The performances are clean and flawless and the veteran cast performs as a veteran cast should. It’s clear that the film blends footage from its live performance with a pack audience with a separate performance for close-up cameras.
Newsies Live manages to give us the feel of the stage production, especially during the big dance numbers. Although, sometimes the overuse of close-ups can pull you out of the theater and drop you in a live broadcast on television. The theater audience has the opportunity to look around the stage for the action, but then the close-up cameras force you to see what the film director wants you to see. This is just a small criticism, with what otherwise is the quintessential capture of the Broadway show.
The last small annoying thing about Newsies Live is the audience. Clearly, they are there because they are theater geeks, who are a little too over-enthusiastic about the experience. But fortunately, the performance itself is able to stand on its own and garner the admiration it deserves.
If you love big Broadway musicals, Disney musicals and a good ole feel good show, Newsies Live is worth checking out.