Column: Last News

we voted for Vice President Kamala Harris over President-elect Donald Trump by an 84-14 margin.So, what’s there to be particularly grateful for as we watch the Gilded Age 2.0 billionaire class line up behind a guy who’s already shown us how little he cares for democracy? As even the popular vote has apparently nudged into the Trump column?I’m sure I can find something. For the sake of my sanity, I’d better.First, that popular vote win — with, as I write, votes still being counted — is not remarkable. It’s more of a tilt than tipping over.

Editors note: On October 10, Deadline posted a story summarizing a Medium column written by Jim McKairnes, a former SVP Planning for CBS who’s spent the past 13 years teaching TV history at the college level. The title of his piece was “Scheduling a TV Memoriam: An RIP Of Sorts for a Once-In-Demand Television Industry,” which, among other things, said that scheduling “is the word that’s slowly becoming irrelevant to the medium, having less and less meaning as television itself comes to mean more and more.”

Hello and welcome to this month’s edition of my mortgage advice column.

Scott Strode is the founder and executive director of The Phoenix. Colette Weintraub is the head of Stand Together Music. If there’s anything National Recovery Month and Sober October remind us, it’s that recovery isn’t a solo gig.

Presenter Dan Wootton has had his MailOnline column contract terminated following his role in the controversial Laurence Fox segment on his GB News show.

Editors note: Susanne Daniels is the former Global Head of Original Content at YouTube and onetime president of MTV Networks, Lifetime Television Networks and The WB Network (now The CW). She is currently an adjunct professor at the UCLA Anderson School of Management.

Duncan Crabtree-Ireland Labor Day is more than a long weekend of beaches, barbecues and block parties. It’s a national celebration marking the economic and social contributions of American workers. How ironic, then, that SAG-AFTRA members are observing this 141st Labor Day on strike against a global industry that refuses to fairly recognize the contributions of the workers who power its economic success.

Editor’s Note: As SAG-AFTRA continues to encourage its members to both respect and support Interim Agreements, Deadline has learned that the number of producers currently requesting permission to begin, complete and/or promote their films during the strike hovers around 1,400. Here, independent producer Michael Alden (Death Metal, Come From Away, Just Cause) reflects on the process and questions why he’s still waiting for a thumbs up from SAG-AFTRA to spread the word about his latest film, which is a supernatural thriller starring Bruce Davison, Selena Anduze and Keith David.

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Daniel D'Addario Chief TV Critic Wednesday night’s Republican debate on Fox News — the first of the 2024 election cycle — ended up, perhaps predictably, feeling like the undercard. After all, it isn’t just that the frontrunner for the Republican nomination for president, Donald Trump, wasn’t on the stage, by his own choice.

Flawless, we’ve been developing AI-powered filmmaking tools since 2018. Our goal is to help filmmakers, including myself (Scott Mann here, proud WGA and DGA member), achieve their vision with the fewest compromises. As the power of AI tools became clear, so did the need to develop new corresponding artistic rights and methods to enforce them.

Editors Note: Bill Mechanic is chairman and CEO of Pandemonium Films and a former top executive at Paramount, Disney and chairman and CEO of Fox Filmed Entertainment. He is also a former producer of the Oscars and Oscar-nominated films like Hacksaw Ridge and Coraline. He previously advocated for interim agreements as a guest on Deadline’s Strike Talk podcast and his company has applied for them since.

Inder Phull When Napster emerged in 1999, the music industry experienced an existential crisis. The advent of peer-to-peer digital file-sharing devalued music and caused an industry-wide downturn, leaving traditional gatekeepers wondering what would come next.

Editors’ Note: This guest column by former Luke Cage showrunner and Creed II writer Cheo Hodari Coker is part of Deadline’s series commemorating the 50th anniversary of Hip-Hop on August 11.

Sharon Rosen Leib I recently discovered my pioneer producer great-grandfather Sol M. Wurtzel’s obituary in the April 16, 1958 edition of Variety. In 1917, mogul William Fox sent Sol to oversee production at his Hollywood studio.

Alisa Finkelstein is a vice president and Clayton Durant is director of emerging media & platforms at MikeWorldWide. As you’ve probably read many times in recent months, Artificial Intelligence is creating a Napster-like moment in the recorded music business.

British presenter and journalist Dan Wootton has had his MailOnline celebrity news column suspended as the site’s publisher investigates “a series of allegations.”

Editor’s note: As part of Deadline’s ongoing coverage of the WGA and SAG-AFTRA strikes, we want to give voice to other Hollywood workers who are impacted by the work stoppages. This column was written by Jonathan Daniel Brown, the head of Party Crasher Films in New York City. Best known for starring in the 2012 film Project X, his life’s mission is recapture the subversive and countercultural magic of 1970s and ’90s Hollywood through a slate of bold, rebellious and wildly entertaining independent films.

Editor’s note: Marcus Ryder is a veteran UK and international news journalist and editor, academic and executive. He is among the most-respected figures working in British media diversity and his campaigning work as the Sir Lenny Henry Centre for Media Diversity has been influential throughout British entertainment circles. Yesterday, he was named CEO of the Film and TV Charity. Like our recent guest columnist John Ridley, Ryder harbors concerns companies are turning their backs on anti-racism and diversity pledges made since the death of George Floyd but here he argues the issues date back much further than that.

Hello and welcome to this month’s advice column.

Jordyn Palos Not many publicists will talk about the strikes – especially not publicly. It is our job to stay in the background and navigate the public-facing and oftentimes private worlds of the talent we represent. It’s a career that I have loved for nearly two decades. Publicists are paid a fee to deliver impactful campaigns that can move the needle for our clients’ careers, but my journey is much deeper than media placement, making sure that photo approvals are completed, or ensuring that a plane arrives on time for an overseas premiere. Representation is a responsibility, and not one that I take lightly.  In 2010, I launched Persona PR out of my apartment with no larger agency experience and have worked to build my business from the ground up. As my company has expanded over the years, I have grown into more than a talent representative, and am now a full-fledged business owner, taking on employees and their livelihoods and wellbeing. I work to be a great partner for the companies we share business with, aspire to be a mentor to publicists coming up-the-ranks and became a wife and a mother to two children, as Persona PR has grown.