Pedro Pascal is also set for the feature, which is scheduled to begin production this fall. Tiffany Haddish will join Nicolas Cage, playing Nicolas Cage, in Lionsgate meta-comedy The Unbearable Weight of Massive Talent. The movie, which is expected to go into production this fall, follows a fictionalized version of Cage, who must accept a $1 million offer to attend the birthday of a super fan and billionaire, who also happens to be a criminal kingpin (Pedro Pascal). When things take a wildly dangerous turn, Cage is forced to live up to his own legend, channeling his most iconic and beloved on-screen characters in order to save himself and his loved ones. Haddish will play the role of Vivian, an eccentric rogue government agent who forces superstar Nicolas Cage to go undercover in a crazy, off-book, last-ditch effort to bring one of the largest criminal organizations in Europe down for good. Tom Gormican will direct from a screenplay he wrote with Kevin Etten. Kevin Turen, Kristin Burr and Mike Nilon. James Myers and Brady Fujikawa will oversee for the studio.

The agreement was reached by the DGA, SAG-AFTRA, IATSE, Teamsters and the Basic Crafts with the AMPTP. The industry has just cleared a major hurdle in its effort to get back to work. After months of negotiations, Hollywood’s top studios and unions have finally come to an agreement on a handful of lingering issues related to COVID-19 filming protocols on Monday (read the full return-to-work agreement here). The deal was reached by the AMPTP, the Directors Guild, SAG-AFTRA, IATSE, Teamsters and the Basic Crafts, who'd been bargaining over details of the contract since June. Guidelines were first laid out in a June 1 "white paper" crafted by the Industry-Wide Labor-Management Safety Committee Task Force — members of which include AMPTP, SAG-AFTRA, the DGA, IATSE and the Teamsters — and then later in "The Safe Way Forward" report, a 36-page document released June 12 by the unions. The AMPTP, which represents the major studios, and the industry’s top guilds had been struggling to agree on certain aspects of on-set safety protocols and other COVID-related contractual issues since June. The thorniest issues were said to revolve around the frequency and type of virus testing, whose responsibility it is to should the cost of the protocols, crew size, workday caps, the role of COVID-19 managers on set and sick day compensation. Concerning the issue of pay, sources say the guilds wanted to protect members who might become infected with the virus by ensuring they are still be paid for the time they would have worked, while the studios wanted to minimize costs, as their production spend has already sky-rocketed in the age of COVID. Insiders add that another challenging issue to hammer out was testing: both determining the kind of tests and the frequency with which cast and crewmembers should be checked. The newly agreed-upon guidelines outline testing regimes for productions, health and safety training requirements, paid sick leave, necessary PPE, among other much-discussed issues. The extensive contract also spells out some of what has been unofficially agreed to over the last few months. For instance, meals and snacks are now to be served in individually wrapped portions — something productions that have gotten up and running have already been doing. “Though this process was not easy, unprecedented inter-union collaboration and unwavering solidarity enabled our unions to achieve strong COVID-19 protections that will translate into tangibly safer workplaces," said Matthew D. Loeb, international president of IATSE. Added SAG-AFTRA president Gabrielle Carteris: “SAG-AFTRA members, along with their peers in other entertainment unions, are anxious to get back to work, but safety has to be the highest priority. This agreement establishes sensible, science-based protocols that allow members to return to doing the work they love while managing risk. I am grateful to our sister unions, who pulled together during this extended crisis, as well as to the studios for collaborating on this important issue.” “Getting everyone safely back to sets and back to telling stories in these difficult times has been critical for all of us," said Thomas Schlamme, president of the DGA. "To overcome the challenges posed by our unique work, we collaborated with our friends at SAG- AFTRA, IATSE and the Teamsters, together with the Producers, to develop a comprehensive set of standards that will allow production to resume while minimizing the risk we, our families and our communities face during this pandemic. It has been a long and complicated journey, and none of it would have been possible without the collaboration and solidarity of our sister guilds and unions.” Added Carol Lombardini, president of the AMPTP: “The health and safety of those who work in the motion picture and television industry is and remains our top priority. To ensure that employers are able to provide a safe and healthful workplace, the industry – including representatives from Amazon, Apple, CBS, Disney, HBO Max, NBC Universal, Netflix, Paramount, Sony and Warner Bros. – undertook four months of thoughtful dialogue and meaningful negotiations with the multi-union bargaining committee. We are pleased to announce that this process today culminated in a science-based agreement among the Employers and the multi-union committee on return-to-work protocols for use in the coronavirus era.” Sources say the prolonged talks prompted some of the major studios, including Warner Bros. and Universal's TV arms, to push back filming plans. Despite the holdup, several projects have been able to move forward with production by getting approval from the guilds on a case-by-case basis. Still, some insiders who've been on sets recently say that the inconsistencies across productions and studios are confusing and that the industry could benefit from a bit more consensus. Certainly, settling these negotiations is a step in the right direction.

Netflix entered Sunday's 72nd Emmy Awards with a record 160 total nominations but failed to cap its historic season as stalwart HBO was the year's biggest winner, having converted 30 of its 107 nominations on the strength of Watchmen and Succession. Despite its impressive nominations haul, Netflix wrapped five nights of the Creative Arts Emmys tied with HBO. The rivals entered Sunday's primetime ceremony with 19 apiece. With 23 remaining awards to be handed out during Sunday's virtual ceremony, Netflix and HBO faced off in 16 of the categories. (Netflix entered the night with nominations in 19 categories vs. HBO's 18.) The streamer and rival HBO ended in a tie after the 2018 Emmys when they each took home 23 statuettes. HBO rebounded last year, taking home 34 Emmys vs. Netflix's 27. The big night ended a year in which Netflix, led by outgoing head of originals Cindy Holland, set an Emmy record with 160 nominations, up from 118 last year. That easily topped HBO's 107 nominations (down from 137 a year ago). Still, it was HBO — overseen by programming president Casey Bloys — that entered the night with the year's most-nominated program, Damon Lindelof's Watchmen. The drama took home wins for limited series and stars Regina King and Yahya Abdul-Mateen II and ended Emmy season as the year's most decorated program. HBO also distanced itself from Netflix with wins Sunday for drama actress (Euphoria's Zendaya) and favorite Last Week Tonight With John Oliver. Drama series Succession also took home wins for lead actor Jeremy Strong, writing for creator/showrunner Jesse Armstrong. Netflix took home only two wins Sunday, for directing a limited series (Unorthodox) and lead supporting actress in a drama (Julia Garner, Ozark). Winners by Outlet (including Creative Arts): HBO 30 Netflix 21 Pop TV 10 Disney+ 8 NBC 8 VH1 6 ABC 5 National Geographic 5 Adult Swim 4 Amazon Prime Video 4CNN 3 Fox 3 Apple TV+ 2 CBS 2 Quibi 2 FX Networks 2 A&E 1 AMC 1 BBC America 1 Discovery Channel 1 Epix 1 ESPN 1 History 1 Hulu 1 MagicLabsMedia 1 Oculus 1 Showtime 1 USA Network 1 YouTube 1 FX on Hulu 1 Winners by Program: Watchmen 11 Schitt's Creek 9 Succession 7 The Mandalorian 7 Saturday Night Live 6 RuPaul's Drag Race 6 Last Week Tonight With John Oliver 4 The Marvelous Mrs. Maisel 4 Apollo 11 3 Cheer 3 Dave Chappelle: Sticks & Stones 3 Genndy Tartakovsky's Primal 3 Euphoria 3 #FreeRayshawn 2 Hollywood 2 Live In Front of a Studio Audience 2 The Cave 2 The Crown 2 The Oscars 2

Seven performers took home awards in major categories in 2020, topping the previous high of six set two years ago. The Television Academy gave out a record number of Emmy nominations to Black actors in 2020. Over the weekend, the Emmys followed that up by giving a record number of awards to Black performers. Regina King, Yahya Abdul-Mateen II (both of HBO's Watchmen), Uzo Aduba (FX on Hulu's Mrs. America) and Zendaya (HBO's Euphoria) all won honors during Sunday's ceremony. They join Eddie Murphy, Maya Rudolph and Ron Cephas Jones, who won guest acting Emmys on Saturday. The seven Emmy wins by Black actors in the drama, comedy and limited series fields tops the previous high of six, set two years ago. Rudolph also won a second Emmy this week for outstanding voiceover performance for her work on Netflix's animated series Big Mouth. Black actors (Laurence Fishburne and Jasmine Cephas Jones of Quibi's #FreeRayshawn) also earned both short-form acting awards, and RuPaul won his fifth straight Emmy for best reality host. With her win for lead actress in a limited series or movie, King tied the record for most Emmys won by a Black actor, with four. She now shares the mark with Alfre Woodard; her Emmys have all come since 2015 and are all for different roles. Aduba won her third Emmy for playing Shirley Chisholm in Mrs. America; her previous two came for her work on Orange Is the New Black. Ron Cephas Jones is also a repeat winner; he also won for guest actor in a drama in 2018 for his role on NBC's This Is Us. Murphy and Rudolph — whose guest acting wins came for the same episode of Saturday Night Live from December 2019 — and Zendaya picked up their first career Emmys this week. Zendaya is the youngest ever winner for lead actress in a drama series and just the second Black woman to win in that category, following Viola Davis in 2015. King and Aduba also wore shirts featuring the likeness and name of Breonna Taylor, who was killed by police in Louisville, Kentucky, in March, during the ceremony. "I love being a Black woman, I loved being a Black girl," King told reporters after her win. "I love being American, and it's important that people see all of those things together, and when you have the platform celebrate that and remind those that tend to look past Black girls, Black women. When I saw my sister Uzo had on this same shirt it just was a confirmation that this was right."

Christopher Nolan's tentpole earned $4.7 million in its third weekend of play domestically for a North America total of $36.1 million. Christopher Nolan's Tenet jumped the $200 million mark at the international box office over the weekend, but continues to struggle domestically without such major cities New York and Los Angeles in play. Warner Bros. is reporting that the big-budget espionage pic earned $4.7 million domestically from 2,930 theaters in its third weekend for a North American total of $36.1 million. The studio insists that Tenet is far from over, and anticipates a huge bump in ticket sales as more cinemas on both coasts are allowed to flip on the lights. Internationally — where theaters are ahead of their U.S. counterparts in terms of reopenings — Tenet grossed another $25 million for a foreign tally of $214 million and a worldwide total of $250.1 million. Nolan's $200 film was the first Hollywood tentpole to brave opening on the big screen, but its performance has sparked worry that many moviegoers, at least in the U.S., aren't yet ready to return en masse to the multiplex despite enhanced sanitary measures and social distancing. As a result, studios are once again rearranging their fall and early winter calendars, including delaying the Oct. 2 release of Wonder Woman 1984. New York and Los Angeles also remain a major issue, since they are the two largest moviegoing markets in the country. As of Friday, roughly 27 percent of the domestic marketplace was still dark. That includes most of California. Exceptions include Orange County, San Diego and Sacramento, where theaters are turning in big numbers for Tenet (three of the top five grossing theaters were in the OC). Warners considers this an especially encouraging sign. Highlights overseas included Japan, where Tenet debuted to a strong $4.3 million. That's ahead of both Dunkirk and Interstellar. Imax theaters in Japan contributed a huge $1.15 percent of the gross and, all told, Imax has now contributed 11.2 percent ($28 million) of Tenet's total global gross. In China, Tenet earned another $5.6 million for a pleasing total of $60 million. Disney's Mulan, meanwhile, is having a dismal run in China. The big-budget epic adventure tumbled 72 percent sophomore frame for a cume of $36.2 million. In total for the weekend, Mulan grossed $10.9 million from 20 territories for a foreign tally of $57 million. In the U.S. and many Western European countries, Disney decided to send Mulan straight to Disney+ at a premium price, versus waiting for the domestic box office to stabilize. The only new wide release of the weekend in North America was the Middle Eastern action pic Infidel, which opened to an estimated $1.5 million from 1,724 theaters. Infidel is being distributed by indie outfit Cloudburst. New specialty offerings included Bleecker Street's thriller The Secrets We Keep, which posted a five-day opening of $114,722 from 471 cinemas; and Focus Features and MSNBC's documentary The Way I See It, which is reporting a three-day debut of $25,000 from 124 locations. Starring Noomi Repace, The Secrets We Keep will be made available early on VOD. The Way I See It, about famed White House photographer Pete Souza, is likewise getting a hybrid release and will air in three weeks on MSNBC. Among holdovers, 20th Century and Disney's The New Mutants grossed $1.6 million from 2,518 locations domestically to finish its fourth weekend with a North American total of $17.7 million and $35 million globally. In its fifth weekend, Solstice Studios’ Unhinged earned $1.3 million from 2,324 for a domestic cume of $15.7 million. Sony and Tri-Star's romantic-comedy The Broken Hearts Gallery fell to $800,000 from 2,221 cinemas in its second weekend for an early domestic total of $2.4 million.

Imax has formed a partnership with camera makers ARRI, Panavision, Sony and Red that could greatly expand the opportunity for filmmakers to make movies in the Imax format. After roughly a year of planning, the large-format cinema firm is launching its “Filmed in Imax” program that effectively gives filmmakers who want to offer Imax releases more choices of camera models and suppliers, while helping them to plan for the format starting in preproduction. It was described as a certification process and Imax didn't elaborate on the terms of the agreements. The goal is creating the experience of Imax in the theater, in the way the filmmaker intended, “to make something in Imax versus converting something in Imax,” explains Megan Colligan, president of Imax Entertainment. “It means we are partnering with filmmakers and the studios earlier.” Until now, to make a movie billed as "Filmed in Imax," filmmakers required either the Imax 65mm large-format film cameras (Christopher Nolan’s cameras of choice, which he's used on movies including Dunkirk and most recently Tenet) or the Alexa 65 Imax digital camera (created through a development partnership with ARRI, based on ARRI’s Alexa 65 large-format camera and available through ARRI rental houses; they were used to shoot Avengers: Infinity War and Avengers: Endgame). But the majority of motion pictures that play in Imax theaters do not take this route; they are instead converted to the Imax format using Imax’s remastering process during postproduction. Colligan reports that Imax will select only a limited number of films to participate in the new program each year and will continue to offer its conversion services to remaster additional titles. These new partnerships give cinematographers a much wider range of choices. They can use any of the digital cameras certified in the program, which are ARRI’s Alexa LF (large format) and Mini LF, Panavision’s Millennium DXL2, Red’s Ranger Monstro and Sony’s Venice cameras, as well as the aforementioned Alexa 65 Imax system. (The program is designed for digital cameras; celluloid fans continue to have the availability of Imax film cameras.) Denis Villeneuve’s Dune and Joseph Kosinski’s Top Gun: Maverick are among the first releases certified through the new program. Dune was lensed by Oscar-nominated DP Greig Fraser (Lion) with the ARRI LF, and Maverick by Oscar winner Claudio Miranda (Life of Pi) with the Sony Venice. These filmmakers collaborated with Imax early on, as Imax was still putting together the new partnership program. Bruce Markoe, Imax's senior vp postproduction/operations and digital media remastering, explains that the general parameters for camera certification include that they offer resolution of 4K or higher and could allow the filmmakers to create an aspect ratio for Imax's more square screens (approximately a 1.43:1 aspect ratio) or floor-to-ceiling/wall-to-wall screens (1.90:1). (Imax would like at least some of certified productions to support at least one of these aspect ratios. According to Markoe, Dune will have sections in both of the aspect ratios, and Maverick will have sections in 1.90:1.) Recommendations include additional settings from compression schemes to color science. A big part of the program involves testing and reviewing those tests on Imax screens so that the film is designed by the filmmakers with the format in mind, starting in preproduction. “We don’t want to tell them how to make their movie, we want to give guidance,” says Markoe. Markoe adds that when the Alex 65 Imax camera development started in 2015, “I felt [the Alexa 65] was pretty much the best camera on the market when it was introduced. In the last few years all of the digital cinema-grade cameras have gotten a lot better and it's more about how you use the camera than comparing one over the other. These cameras are all capable of delivering really good images to Imax screens.” As part of the program, Imax will also certify independent camera rental houses, starting with Panavision, ARRI and Keslow Camera. Noting that Panavision has had a relationship with Imax by providing its large-format lenses for Imax cameras, Panavision COO Michael George says this "continues to foster that relationship and opens up the opportunity to service those big tentpole features with our DXL cameras." Colligan notes that Imax will continue to work with its partners and filmmakers to further develop creative and technical techniques. "We have put these cameras in space and used them to create massive vistas. How can they be used to create more intimacy and emotion? There's still more to explore." Through the program, filmmakers would continue to use their post teams and colorists of choice, and then it would go to Imax for final mastering. Several Hollywood mixing stages now offer Imax sound and mixes are accomplished on these dub stages.

The author's novel was made into a six-Oscar winning 1994 movie starring Tom Hanks. Winston Groom, whose novel Forrest Gump was made into a six-Oscar winning 1994 movie that became a soaring pop cultural phenomenon, has died at age 77. Mayor Karin Wilson of Fairhope, Alabama, said in a message posted on social media that Groom had died in that south Alabama town. The death was confirmed by a local funeral home, which said arrangements were pending. "It is with great sadness that I share the passing of our dear friend Winston Groom," Wilson wrote on Facebook, adding her community had "lost an iconic author." Forrest Gump was the improbable tale of a slow-witted man who was a participant or witness to key points of 20th Century history — from Alabama segregationist Gov. George Wallace's "stand at the schoolhouse door," to meetings with presidents. Groom was a 1965 graduate of the University of Alabama, according to the university, which said it was saddened by the passing of what it called a "legend." Alabama Gov. Kay Ivey also issued a statement that Groom will forever be remembered for his classic work. "Saddened to learn that Alabama has lost one of our most gifted writers. While he will be remembered for creating Forrest Gump, Winston Groom was a talented journalist & noted author of American history. Our hearts & prayers are extended to his family," Ivey said in a message posted online.

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iTS 13th Birthday iTS our 13th birthday so we fired up the lottery and have some other surprises as well. Please join us to celebrate. iTS been an amazing journey so far and long may it continue. We have been busy revamping the site over the last month or two and hope you have enjoyed the changes. A big thanks to o**** for tirelessly updating ALL the director collections. A herculean effort. We had over 150 new members join since we started the application threads and quite a few have been active, which is great. This brings our active userbase to near the 500 mark. Member Classes The new member classes are in place. You will see a new name for yours. The requirements for the new classes will be added to the FAQ shortly. But not to worry, nobody lost anything. What you've earned in the past will of course remain yours. Invites We have opened IRC interviews, so new members can join easily. To apply join: Server: irc.shadowthein.net | for Secure connection (SSL) use port +6697 (irc.shadowthein.net:+6697) Channel: #stepintotheshadow Direct link: irc://irc.shadowthein.net/stepintotheshadow There are also new sections in the upper level forums, including the much requested offical invite forums where friendly staff from other trackers offer you a safe route in to theirs. Most will be looking at your recent statistics, so please make sure you're busy here, before considering applying. First Line Support We are looking for new FLS members to help with basic member questions and support, with a view to a moderator postition. Please send a staff PM if you would like to help. Active members only please. Encoders If you're an encoder, let us know. We would be happy for you to join the encoding group and help newer encoders perfect their art. We are always happy for any encodes to be shared wherever you like. If you'd like to upload your encodes here, we will create a collection with your tag so you can upload content outside the existing collections. Only encoders enjoy this extra freedom in terms of content. User Classes These are almost ready to go. Look out for an announcement soon. Your class will change, along with everyone else's. Donations We do our best to keep our costs low. Currently under 50 euros a month. It doesn't take a lot of people to keep us afloat. We strive to do our best to keep a tight-knit safe-haven for you to collect and share the things you love.The biggest pleasure we get is people making good use of it. Please consider donating if you can. Uploads The upload rules are currently being worked on. Please refer to the 'Big Changes' post on the home page as a guide for now. Curators We're looking for people to help beautify and update the collections. You can do this by posting an update in the collection database forum. These will be added to the main collection pages when complete. We'd love to see some of your creativity and flair with these. If you can help with any of the above, or anything else, we'd love to hear from you. Feel free to send a staff PM whenever you like. If you have any questions, we will do our best to answer. Suggestions and help in the forums is always appreciated too. Thanks to you all for keeping our small community alive and well and we wish you all a warm and shadowy time with us going forwards.

The streamer, which launched Nov. 11, scored 19 total nominations. Disney+ has nabbed its first Emmy, taking home a trophy on Wednesday for The Mandalorian. The series won for special effects, while Greig Fraser won best cinematography. The 10-month-old streamer headed into the Emmys with 19 total nominations, leading the pack of first-time streaming nominees. The majority of its nominations are for The Mandalorian, which also landed a not for outstanding drama series. It leads the pack of first-time streaming nominees, including Apple TV+ (18 nominations) and Quibi (10 nominations). Streamers continue to be a dominant force at the Emmys. Netflix leads all outlets with 160 nods, while Hulu and Amazon’s Prime Video also have several nominations each. Disney+ launched Nov. 11 as a low-cost ($7 per month) streaming option with a heavy focus on tentpole franchises and family-friendly programming. The Mandalorian, created by Jon Favreau and starring Pedro Pascal, was its first marquee original. After it premiered, Baby Yoda became an instant meme, helping boost early subscriptions to the service. As of August, Disney+ had attracted more than 60 million subscribers in the U.S. and a handful of international markets.

Also starring Katie Aselton and Ally Ioannides, the film is directed by Aaron Moorhead and Justin Benson, the creative duo behind 2017's sci-fi horror 'The Endless.' Well Go USA has released the first full trailer for its mind and time-bending thriller Synchronic, starring Anthony Mackie and Jamie Dornan. The mainstream crossover debut for indie directors Aaron Moorhead and Justin Benson, the creative team behind 2017's similarly trippy sci-fi horror film The Endless, Synchronic follows two New Orleans paramedics, Steve (Mackie) and Dennis (Dornan). Both find themselves responding to multiple violent and strange accidents that — with the help of a pill — lead them into a terrifying truth about reality and time. "You know they say we see everything once in this game," Dennis says over the image of an ambulance racing across a bridge. "Pretty sure we've never seen this." As the two enter a gruesome scene, the camera swings to a message spray-painted on a wall that reads, "Time is a lie." The unsettling incidents are increasingly weighing on Steve, who admits he's struggling to find meaning in his life and work. Steve then turns to a new designer drug left at the scene of their last call. After ripping the pills from their packages, Steve places duct tape on the floor of his apartment building and turns to a camera. "If you're watching this, I'm probably trying to convince you of something pretty unbelievable or... I'm dead," he says, before he's seen walking around a frozen tundra. Steve is then thrown into a series of odd locations that appear both in and outside of time, before pulling Dennis, whose eldest daughter has disappeared, into his bizarre trips. In spite of Dennis' concerns for his life, Steve ignores his friend's warnings and falls farther down the rabbit hole where he comes face-to-face with "things that are far worse than death." Unable to deal with reality, Steve must confront his obsession with a supposed psychedelic that's suddenly making people disappear. "The clock keeps ticking down," Steve says, before he's seen fleeing from a series of horrifying entities. Written by Benson, the film premiered at the 2019 Toronto International Film Festival and also stars Katie Aselton and Ally Ioannides. Synchronic will hit theaters and drive-ins on Oct. 23. Watch the trailer below.

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Google Translation: We celebrate National Day, and all people have fun. Wine and song, life geometry. (1) From September 30 to October 08, registration is open. When the number of people reaches the upper limit, it stops automatically. (2) From September 26 to October 11, release the top 10 music seeds that meet the requirements: First place, you need to send more than 450 seeds, reward 15 invitations, 1.5 million magic power, 10T upload, wine worth 378 yuan, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2000 kinds of rewards Permanent VIP, over 3000 rewards for brand new 8T five-year enterprise hard drives. The second place needs to send more than 450 seeds, reward 14 invitations, 1.4 million magic power, 9T upload, wine worth 299 yuan, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2000 kinds of rewards Permanent VIP, over 3000 rewards for brand new 8T five-year enterprise hard drives. The third place needs to send more than 450 seeds, reward 13 invitations, 1.3 million magic power, 8T upload, wine valued at 139 yuan, over 500 additional bonus permanent yellow stars, over 1,000 additional bonus 4T hard disk, over 2,000 rewards Permanent VIP, over 3000 rewards for brand new 6T five-year enterprise hard drives. No. 4, need to send more than 450 seeds, reward 12 invitations, 1.2 million magic power, 7T upload, wine worth 139 yuan, over 500 additional rewards permanent yellow star, over 1,000 additional rewards 4T hard disk, over 2,000 rewards Permanent VIP. No. 5, need to send more than 450 seeds, reward 11 invitations, 1.1 million magic power, 6T upload, 120 yuan worth of wine, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2000 kinds of rewards Permanent VIP. The sixth place needs to send more than 400 seeds, reward 10 invitations, 1 million magic power, 5T upload, 120 yuan worth of wine, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2000 kinds of rewards Permanent VIP. The 7th place needs to send more than 350 seeds, reward 9 invitations, 900,000 magic power, 4T upload, wine worth 109 yuan, over 500 kinds of additional bonus permanent yellow stars, over 1,000 kinds of additional bonus 4T hard disk, over 2000 kinds of rewards Permanent VIP. The eighth place needs to send more than 300 seeds, reward 8 invitations, 800,000 magic power, 3T upload, 99 yuan worth of wine, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2000 kinds of rewards Permanent VIP. The 9th place needs to send more than 250 seeds, reward 7 invitations, 700,000 magic power, 3T upload, 99 yuan worth of wine, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2,000 kinds of rewards Permanent VIP. The 10th place needs to send more than 200 seeds, reward 6 invitations, 600,000 magic power, 3T upload, 89 yuan worth of wine, more than 500 kinds of additional bonus permanent yellow stars, more than 1,000 kinds of additional bonus 4T hard disk, more than 2000 kinds of rewards Permanent VIP. Note: The 4T hard drive is sponsored by the management team. It is a hard drive replaced by a capacity upgrade. It is not brand new and has no quality problems. (3) From September 26 to October 11, the number of music seeds that meet the requirements exceeded 100, but did not enter the top 10: reward 5 invitations, 500,000 magic power, 3T upload.

----- has triggered the Freeleech Pool! The following films have been randomly selected and are now freeleech for the next 48 hours. The Fugitive Vampyr The Clovehitch Killer Cult of Chucky Goodbye Christopher Robin Dishonored The Time Machine The Short History of the Long Road Thanks to users ----, ----, -----, ----, and ---- who donated to the pool. Now go drop some of your own orbs into the next pool!

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ABC is wading into the enduringly popular subgenre of the 911 call. The network announced Thursday that it's given a series order for Emergency Call. The hour-long unscripted series, hosted by Luke Wilson, documents the first minutes of a 911 calls by focusing on the 911 operators who pick up the phone. “An estimated 240 million calls are made every year to 911 call centers across the country,” said ABC Entertainment president Karey Burke. “While we often hear about some of these stories on the news, we rarely hear about the heroes that are the first point of contact and, at times, essential to saving a life. Emergency Call shines a light on these mysterious and brave voices who are driven by their desire to help; and Luke Wilson is the consummate host, navigating us through these extraordinary situations which will have you on the edge of your seat.” Premiering Monday, Sept. 28, the project will help fill scheduling holes left by the gutted fall schedules. Scripted shows are slowly looking to resume production as the ongoing COVID-19 pandemic still makes most sets impossible to reopen, and unscripted and reality fare have proven far more feasible to film. “Since I was a kid, I have always been interested in people who help. People who save people,” said Wilson. “When you’re younger, you might be drawn toward superheroes or fictional characters, but as you get older you come to realize that people who help, real-life heroes, are just regular people who do extraordinary things. 911 call takers don’t just save people; they calm and console people until they are safe. They are the first link in the chain of first responders. For that, I feel very lucky to be a part of this project.” Emergency Call comes at a time when there is incredible scrutiny placed on the ways law enforcement is depicted on television. Amidst ongoing calls for police reform and racial justice in America, unscripted series such as Cops and Live PD were promptly canceled. From the synopsis and the looks of the first trailer, Emergency Call is sidestepping the action of when firefighters, police or emergency medical teams actually arrive at the site of the crises depicted. The show also comes on the heels of lingering success on Fox for Ryan Murphy drama 9-1-1, spinoff 9-1-1: Lone Star. In success, Emergency Call would be something of an anomaly on the ABC line-up. The reality-heavy network has kept away from docu-dramas in recent years, instead focusing on its successful slate of game shows, the Bachelor franchise and shiny floor shows such as American Idol and Dancing With the Stars. The series is produced by 8Hours Television's Adeline Ramage Rooney and Jonny Slow, showrunner Grant Kahler and Wilson. It's based on an original format by De Chinezen and licensed by Lineup Industries.

As the Christopher Nolan film hits theaters in the U.S. and Batman Robert Pattinson tests positive for coronavirus, Ann Sarnoff says, "I think we never expected things to go completely smoothly." As WarnerMedia Studios and Networks Group head Ann Sarnoff marks a year at the company where she was recently elevated to a top position overseeing all content, she agreed to a series of interviews on Thursday tied to the release of Christopher Nolan’s much-discussed and oft-postponed Tenet. Hours before she was set to begin speaking with the press, the coronavirus pandemic intervened once again, with news that filming on Matt Reeves' The Batman in London had shut down again after star Robert Pattinson reportedly tested positive for COVID-19. The studio had hoped to keep the focus on Tenet, which opens today where it can in the U.S. after launching internationally last weekend to a better-than-expected $53 million-plus from 41 markets (Los Angeles and New York City theaters remain off limits for now). It also raised the awkward question of whether patrons should risk going to a movie theater at a time when a production that was in theory carefully controlled faced a shutdown. (Cinemas have been open in a number of countries that have done better at coping with the pandemic than the U.S. without any known outbreaks thus far.) Sarnoff has a very full plate — a disappointing launch of HBO Max, shifting business models, massive reorganizations, and overall disruption and displacement caused by the COVID-19 — and Tenet is an enormous gamble for her and her team. The $200 million espionage epic is braving a traditional theatrical release in the first major test of whether a Hollywood tentpole can prevail amid the ongoing pandemic. Nolan is a fierce advocate of the cinematic experience and has insisted on a big-screen debut. At the same time, Disney is experimenting with Mulan, the other big-ticket movie out this week, offering it for $29.99 to subscribers on its streaming service in the U.S. and other select markets. (The film will be made available theatrically in China, South Korea, Russia and other smaller markets.) Sarnoff’s hire and recent promotion — she now oversees all content operations — have been viewed skeptically by some in Hollywood. In August 2019, she arrived at Warner Bros. as CEO with oversight of the film and television studios despite being mostly unknown to Hollywood insiders. Before serving as president of BBC Studios America, Sarnoff was president of Dow Jones Ventures, COO of the WNBA and executive vp consumer products and business development at Nickelodeon. Sarnoff is the first woman to run Warner Bros. and the only high-profile woman in WarnerMedia's upper echelon. In August, her power base increased immeasurably when newly installed WarnerMedia CEO Jason Kilar ousted Bob Greenblatt and Kevin Reilly and expanded Sarnoff’s purview to all content, including the company’s nascent streaming service, HBO Max. HBO veteran Casey Bloys, a new Sarnoff report, is now overseeing a content team that encompasses the premium cable network, HBO Max and a trio of basic cable channels. Warner Bros. Motion Pictures Group chief Toby Emmerich also continues to report to Sarnoff. In a wide-ranging Q&A , Sarnoff was candid about the challenges of resuming production in the COVID era — "I don’t see things materially changing until there is a medical solution" — why Tenet needs to be seen on the big screen, and how Emmerich will have expanded purview on which of his movies go straight to HBO Max. Production on The Batman has been halted after a castmember tested positive for COVID-19. It’s been confirmed the person is lead actor Robert Pattinson. I won’t comment on specifics. We have to protect people’s privacy. Does what happened to Batman change your thinking about resuming production? I think we never expected things to go completely smoothly. In fact, as we’ve been getting our protocols ready, we built in contingencies. If someone tests positive, you do contact tracing, you pause, you evaluate, and come back when you can. I think it would have been naïve to think we wouldn’t have certain cases on certain productions. The most important thing is to be ready for when that happens. And we were very much ready. Do you have any sense at all of when production might return to normal on an overall basis? I don’t see things material changing until there is a medical solution, unless we were to reach herd immunity somehow. Instead, we are just proceeding as if there won’t be and resuming production as safely as we can. Regarding Tenet’s release in theaters, there’s a perception that Christopher Nolan controls things. Is that fair or overstated? It's overstated. Let me share with you the process that we went through. Right when COVID struck, we started looking at alternative ways to think about movie releases. On the Scoob! front, we decided to release it on PVOD. Families were sequestered together and wanted more content. We are very happy with the results. A few weeks later it debuted on HBO Max, where we were very happy with the results as well. On the Tenet front, we also had a finished movie, which we are very proud for people to see. As the summer unfolded, we started thinking about more innovative ways of releasing the movie. What if we didn’t put everything up front toward the opening weekend? Theaters were very upfront about saying they could give us three to four times as many screens as normal. So that started to change our thinking. We are happy with where we are. Some markets still aren’t open, but it is a marathon and not a sprint. Theaters have instituted a host of safety protocols, but are you concerned about risks of asking people to gather in an enclosed space? Of course. We have done quite a bit of research throughout the last few months about people’s concerns and preferences. We started to monitor behaviors of people going back to outdoor restaurants and indoor theaters. It gave us a lot of data about specific markets and the behavior that people are likely to exhibit when theaters reopen. Our approach is to never make anyone go to a theater if they aren’t comfortable. But it isn’t one size fits all. Some people are more comfortable than others. Would you ever consider doing a hybrid PVOD-theatrical release for a big tentpole, much as Disney is doing with Mulan? I don’t completely understand Disney’s strategy, but they are releasing Mulan internationally in some theaters. I’m rooting for anybody who is getting a movie out. Fans are anxious for new content. I actually went to see Tenet last night in Connecticut. I’m in Bedford, New York, and drove 10 minutes to the theater with friends. And it was amazing. It was safe. There were no crowds. I even found a way to eat popcorn with a mask on. Of course my mask smells like popcorn now. Did you ever consider putting Tenet on PVOD considering the ongoing pandemic? No. It is a remarkable, cinematic, beautiful film. It is so impactful. It is a movie meant for the big screen. I’m very proud of our approach. A lot of people are pushing stuff into next year. Tenet absolutely deserves to be seen in theaters. What is the thinking on Wonder Woman 1984, which is due out in mid-October? Will you you move it to the Dune slot in December? We are still figuring out the strategy for all of our movies. We have quite a lot done. Obviously, Wonder Woman 1984 is up next. For now, it is where it is. Like I said earlier, certain movies deserve to be on the big screen. My belief is Wonder Woman is one of those. HBO Max’s launch has been considered less optimal. Now that there’s been a big reorganization, are you talking about simplifying things and changing the name? Would you consider new pricing, or anything that might change the HBO Max approach? These are early days for me. Casey and I are partners in diving in since neither one of us was working on it directly before. So we are really studying the consumer feedback, the content performance, et cetera. The good news is we are seeing incredible engagement. Stay tuned. There’s a lot of scuttlebutt with all the studio reorgs, and Susan Rovner looking at NBCUniversal. Can you give us any idea as to when Peter Roth might retire, or what you might do to retain someone so that they don’t go to a rival? I’m sorry I can’t comment because it’s all speculation at this point. I don’t have anything official to say. How much creative input do you intend to have in terms of content? My job is to lead the group. I’m not giving notes. I may have an opinion about something. I have incredibly capable people working for me. I’m very happy with them running their businesses. That is one of the reasons John Stankey hired me: I break silos. My job is to pull it all together and make it more valuable for creators. They now have one-stop shopping. We just have so many platforms to work with. With the NBC reorg, it seems like you come in the door and they decide where the product goes. How will Warner Bros. approach this? Let me give you an example of how this new structure simplifies things. Toby Emmerich will now focus on whether a project is a theatrical release or whether it is better for HBO Max, in which case he’ll talk to Casey and Sarah Aubrey. Now that everything is under one roof, it is much easier and more harmonious. Will Toby decide that well into the process? It will be right out of the gate [is] what the intention is in terms of which distribution route a project will take. It will very rarely be a pivot. Where are the AMPTP and the guilds at in terms of return-to-work talks? We understand there are issues around work hours, sick day compensation? I’m very informed and we have a very good team that has been negotiating. They are fairly optimistic that we are starting to reach some agreements with the unions. On a personal level, after all these months, after Tenet finally opens and you get the news about Batman, how do you cope with such uncertainty? I think it is what I said about Tenet: You have to be patient. You have to open in markets where you can. It's the same with production. You produce when you can. I don’t see it as anything that changes our strategy. You just got a new promotion and a whole new team you have to deal with on Zoom. I was able to interact with many in person before we went into lockdown. I certainly spent a lot of time with Casey and Sarah and Sandra [Dewey]. You definitely get Zoom fatigue. We are also trying to be creative. I am returning to L.A. in a few weeks even if we aren’t all in the office. We can do walks together or socially distanced ice teas. We will take it a step at a time. I will never take a hug for granted again.

The city paid tribute to Boseman in a public memorial on Thursday evening. Chadwick Boseman was remembered as a hometown hero who brought a sense of pride to his native Anderson, South Carolina. The city paid tribute to Boseman in a public memorial on Thursday evening. The actor, who became widely popular through Black Panther, was honored after he shockingly died last week at the age of 43 following a private four-year battle with colon cancer. A viewing of Black Panther was held at an outdoor amphitheater where people practiced social distancing. Most attendees wore masks, while others — mostly kids — dressed up in Black Panther costumes. Some artwork of Boseman was displayed onstage during the tribute. "He is the epitome of black excellence," said Deanna Brown-Thomas, the daughter of legendary singer James Brown and president of her father’s family foundation. She remembered when Boseman visited her family in Augusta, Georgia, before the actor portrayed her father in the 2014 film Get on Up. Boseman was a playwright who acted and directed in theater before playing the Marvel Comics character King T’Challa in Black Panther, which became one of the top-grossing films in history. He also wowed audiences in his portrayal of other Black icons, including Jackie Robinson in 42 and Thurgood Marshall in Marshall, and shined in other films such as Spike Lee’s Da 5 Bloods. Brown-Thomas joked about how her family teased Boseman for being too tall to play her father. But she said Boseman was perfect for the role, admiring his humility as a high-profile actor. "He wasn’t Hollywood, and that’s what I loved about him," she said. Anderson mayor Terence Roberts said people around town always knew Boseman would be special. "You know, he was always reading and always trying to get better," Roberts said. "So from a work ethic point of view, it just doesn’t happen overnight. He showed us that we’ve got to hone our skills and just persevere." In Anderson, a city of about 28,000 people, "there’s deep sadness and grief, but it has a bounce out of it that is such inspiration," city spokeswoman Beth Batson said. That’s because Boseman inspired so many people in the community, she said.“It has been amazing to watch the grief, so to speak, blossom,” she said. "Now young people say 'what can I do, what can I be.'" Pastor Samuel Neely said Boseman was active in church, speech and debate. The pastor said he baptized Boseman. He also praised Boseman for having high character. "Even though he plays these different people, I still see the person I knew as a child,” said Neely, who was Boseman’s childhood pastor. "When I see him, it’s almost like seeing my own child. He's still Chad." Thursday’s tribute was not a funeral, and members of Boseman’s immediate family did not plan to be in attendance, Boseman’s publicist, Nicki Fioravante, said in a statement. "On behalf of the Boseman Family, we appreciate the community’s outpouring of love and admiration for Chadwick," Fioravante said.

Alana Haim will co-star in the coming-of-age story that is set in the San Fernando Valley, and also feature Bradley Cooper and Bennie Safdie. Cooper Hoffman, the son of Oscar-winning actor Phillip Seymour Hoffman, is starring in Paul Thomas Anderson's untitled 1970s-set coming-of-age story. Hoffman is playing the child actor at the center of the movie, which involves multiple storylines and is set in the San Fernando Valley. While the project will feature an ensemble of actors, including Bradley Cooper, Hoffman is the star of the film, with singer-songwriter Alana Haim. Anderson wrote and will produce the movie via his Ghoulardi Film Company banner, along with Sarah Murphy. The project, which jumped to MGM from Focus Features, is now filming on location in the San Fernando Valley. MGM had no comment on the casting. Anderson and Phillip Seymour Hoffman were longtime artistic collaborators, with a professional relationship that began with the writer-director’s 1996 feature debut Hard Eight, and continued through most of Anderson’s catalogue including Boogie Nights, Punch Drunk Love, Magnolia and The Master. Hoffman, who won an Oscar for Capote, died at 46 in 2014. The younger Hoffman and Haim are both making their respective acting debuts in the feature. Although Haim has previously worked with Anderson on a number of music videos including those for tracks “Summer Girl” and “Little of Your Love”.

Starz has given the greenlight to a third spinoff in the Power franchise. The premium cable outlet has ordered 10 episodes of Power Book IV: Force, which will center on Joseph Sikora's fan-favorite character, Tommy Egan. The pickup comes six days ahead of the premiere of Power Book II: Ghost, a direct sequel to the flagship series. "Power has been one of the most successful series in premium pay television during its six-year run, garnering more than 10 million multiplatform views in its last two seasons, and we can't wait to take fans in a whole new direction as we pick up Tommy's story with Power Book IV: Force," said Christina Davis, president of programming at Starz. Force will follow Tommy after he cuts ties and puts New York in his rearview mirror for good. Robert Munic (DirecTV's Ice, Fox's Star) will serve as showrunner on the series and executive produce alongside Power creator Courtney A. Kemp and Curtis "50 Cent" Jackson. The show joins Ghost, which premieres Sept. 6, and prequel series Power Book III: Kanan, which is scheduled to air in 2021 on Starz. A fifth show in the franchise is also in the works. All four Power series come from Lionsgate Television (the studio also owns Starz), Kemp's End of Episode and Jackson's G-Unit Film and Television. Mark Canton of Atmosphere Entertainment MM, End of Episode's Danielle DeJesus and Chris Selak, and Shana Stein and Bart Wenrich also executive produce.

Arnold Schwarzenegger is taking a shot at scripted TV. The Terminator star and former California governor is set to play the lead role in and executive produce a spy series that's in development at Skydance Television. The project from Nick Santora (Scorpion, Quibi's Most Dangerous Game) is set to be taken to potential buyers soon. The untitled project is a global spy adventure centering on a father, played by Schwarzenegger, and daughter. Should it go forward, the show would mark Schwarzenegger's first regular role in a series. Skydance and Schwarzenegger have an established relationship, as the indie studio has produced the last two Terminator films, Genisys and Dark Fate. He'll next be seen in Kung Fury 2 and is attached to Triplets, a sequel to his 1988 movie Twins with Danny DeVito. Santora has an overall deal at Skydance. The writer and producer will serve as showrunner on the studio's Jack Reacher series for Amazon and has two shows at Quibi: Most Dangerous Game (which has been renewed for a second run) and The Fugitive. His credits also include Prison Break and Law & Order.

Guan Hu’s controversial, oft-delayed and visually stunning war epic finally makes its way to theaters, much to the delight of exhibitors. When the Japanese Imperial Army laid siege to an innocuous warehouse in 1937’s Battle of Shanghai, the skirmish ultimately became a flashpoint that galvanized a nation. China lost that battle but won the war, and the resistance of the Eight Hundred Heroes earned the legendary status it retains to this day. Sixth-generation director Guan Hu’s retelling of that moment in contemporary Chinese history, The Eight Hundred, is finally making its way to cinemas after drama of its own. Suddenly, and mysteriously, yanked from its opening-night slot at last year’s Shanghai International Film Festival — for “technical reasons” — it was subsequently pulled from general release in July. Theories for the cancellation largely hinged on the film’s reverence for Chiang Kai-shek’s Kuomintang and Nationalist Revolutionary Army, not Mao Zedong’s Communist Party. Industry rumors suggest that at the 70th anniversary of the People’s Republic of China, anything stealing the spotlight from the CCP and Beijing’s active reimagining of history was unwelcome. The final postponement came as a result of COVID-19-related theater closures. To outside viewers, the film’s issues may have been hard to spot, but to China’s increasingly controlling censors it was enough to send Guan and his editors back to the cutting board twice. Guan shot to prominence for 1994’s glum music drama Dirt and the popular crime drama Mr. Six, and it’s likely his contribution to the $290 million-grossing propaganda pic My People, My Country led to his first mainstream crowd-pleaser. Guan certainly sticks to historical details (dramatic license aside) that would seem to be party-approved: The government and the military have only the best interests of the people at heart; the residents of the foreign concession are soft and unprepared for the reality of war; Western politicking condemned Shanghai. An epilogue points out that China became an “anti-fascist battleground” and the war was ultimately won by a “Communist-led” resistance. However, Guan and co-writer Ge Rui’s willingness to paint some of the NRA soldiers as bullies and cowards, and the prominence placed on the national flag (now Taiwan’s flag), could have raised eyebrows. It’s clearly been edited around, and early posts on mainland review site Douban indicate viewers disapprove of “brushing over the corruption of the KMT leadership,” despite the siege still being regarded as a beacon in China’s resistance to Japanese invasion. So with 13 minutes excised, The Eight Hundred launched with an impressive $115 million debut in Chinese cinemas reopening at 50 percent capacity; North America is next at the end of August. The first Chinese feature shot entirely in Imax, the film boasts an unprecedented $80 million budget that's entirely on the screen. Stacked with a sprawling (at times too sprawling) cast and Hollywood standard production values, the film was, unsurprisingly, a hit. The combination of summer blockbuster visuals and a chance to get out of the house should keep it afloat domestically for some time, and its polish and true resistance story could lure braver overseas audiences tired of middling Netflix originals out to cinemas. But the mixed messaging could be a challenge for international audiences in light of shifted geopolitical attitudes. The story unfolds shortly after the start of the Second Sino-Japanese War. Under siege for roughly five days, a vastly outnumbered 524th Regiment of NRA defended the strategically located Sihang Warehouse to provide cover for the retreating forces and serve as a buffer for Shanghai’s foreign concessions across the Suzhou River. The motley crew of veteran soldiers, civilians and so-called deserters totals just over 400, rather than the 800 they allow everyone to believe. The numbers dwindle as the siege carries on and the soldiers are mowed down by Japanese. The Eight Hundred rivals Dunkirk and 1917 for mud-soaked, blood-splattered gruesomeness expected of a war epic, some of it realized with assistance from international heavy hitters. Visual effects came courtesy of Tim Crosbie (X-Men: Apocalypse) and Jason Troughton (A Bigger Splash), and veteran action coordinator Glenn Boswell (The Hobbit) chipped in with battle choreography. Brit Rupert Gregson-Williams (Wonder Woman) wrote the theme (reminiscent of “Danny Boy”) to complement Andrew Kawczynski’s (a contributor to the upcoming Top Gun: Maverick) score, which sidesteps both excessively inspirational and on-the-nose. The film deftly balances frantic combat with clarity — the characters may feel anonymous, but we always know what’s happening — and cinematographer Cao Yu repeats the war-torn, bleak-beautiful images he created for Lu Chuan’s City of Life and Death (about the Rape of Nanking). Ironically, calm grasslands and the rubbly gray/sepia of leveled cities are outdone only by the contrast between neon in the foreign concession and the muted dustiness of the collapsing warehouse. It suggests a more critical examination of wartime relations that never comes. But like the ambitious The Wandering Earth, the last Chinese epic to make a play for international glory, and indeed Christopher Nolan’s Dunkirk, The Eight Hundred is thin on characterization, and too often slips into rote narrative and war movie cliches (really, a runaway white horse?). And that's despite eight writers working on the script. The sheer volume of men fighting and dying in the face of overwhelming odds and stellar technical spectacle step into the gap where emotional connection should be. The closest the film comes to protagonists are 13-year-old Xiao Hubei (newcomer Zhang Junyi) and his brother Duan Wu (Ou Hao, The Captain); the cowardly Lao Tie (Jiang Wen’s brother Jiang Wu) and his pseudo-pal Yang Guai (Wang Qiangyuan, Shadow); and commanders Xie Jinyuan (television actor Du Chun) and Lao Hulu (Huang Zhizhong, Our Time Will Come). The rest of the men (there are a half-dozen women, none with substantial dialogue) are functional sketches designed to earmark key moments in the battle. Production company: Huayi Brothers, The Seventh Arts Pictures, Tencent Pictures, Beijing Enlight Media, Alibaba Pictures U.S. distributor: CMC Pictures Cast: Ou Hao, Du Chun, Huang Zhizhong, Zhang Junyi, Wang Qianyuan, Jiang Wu, Zhang Yi, Wei Chen, Li Chen, Yu Haoming, Zheng Kai, Cao Lu Director: Guan Hu Screenwriter: Guan Hu, Ge Rui Producer: Zhu Wenjiu Executive producer: Zhang Dajun Director of photography: Cao Yu Production designer: Lin Mu Costume designer: Li Zhou Editor: Tu Yiran, He Yongyi Music: Andrew Kawczynski Casting: Can Zi World sales: Blossoms Entertainment In Putonghua No rating, 148 minutes

Tyler Norwood's documentary chronicles Robin Williams' struggle with the neurological disease that would eventually lead him to commit suicide. The news of Robin Williams' 2014 death at his own hands was emotionally devastating. Not just because it was the tragic loss of a great talent, but also because it seemed unfathomable that such a brilliant entertainer, one who had brought so much joy to millions, could have felt such despair. It was thus an ironic relief to hear months later that he had been unknowingly suffering not from depression nor addiction issues (both of which he had struggled with in the past) but rather the devastating neurological illness Lewy body dementia. The diagnosis came too late to help Williams, but it delivered some comfort to those who had been struggling with accepting the loss. Tyler Norwood's documentary provides further illumination and insight into the performer's tragic condition. Chronicling the troubled last year of Williams' life, during which he suffered from terrifying symptoms he couldn't understand, Robin's Wish proves both emotionally harrowing and cathartic. "I just want to reboot my brain," a desperate Williams told his wife, Susan Schneider Williams, the central figure in the documentary. For many months, he had been suffering from insomnia, paranoia, anxiety and visual hallucinations, all signs of the disease that would eventually undo him. After experiencing hand tremors, Williams was falsely diagnosed with a mild case of Parkinson's disease, but he didn't buy it. Williams' friends, neighbors and colleagues, several of whom are interviewed in the documentary, noticed that Williams was hurting. One neighbor confesses that, after hearing of Williams' suicide, "I felt remorse and guilt. I could have done more. I should have done more." David E. Kelley and Shawn Levy, who collaborated with the actor on the television series The Crazy Ones and the final Night at the Museum film, respectively, talk about how they could see that Williams was having trouble remembering his lines and maintaining his customary manic energy. "His mind was not firing at the same speed," notes Levy, who says that he and everyone working on the film took pains to be discreet about Williams' issues. In behind-the-scenes footage of the making of the Museum film, Williams is seen looking morose, his uncharacteristic insecurity clearly evident. As the actor's condition worsened, he became more desperate and frightened. Advised by doctors to sleep apart from his wife due to his insomnia issues, a confused Williams pathetically asked her, "Does this mean we're separated?" On the final day of his life, he stopped by a neighbor's home, saying "Boss, I really need a hug," and broke out into tears. The account of Williams' final days, juxtaposed with footage and photographs of earlier times spotlighting his happy domestic life and undiminished comic talents, proves almost unbearably moving. The film's several detours into such subjects as Williams' love for performing for the troops in Iraq and Afghanistan and his deep friendship with actor Christopher Reeve, are also powerful. Robin's Wish suffers at times from its lack of objectivity. Williams' widow is clearly the project's driving force, with much of the story told from her perspective (his children, on the other hand, are not heard from at all). Nonetheless, the film, which incorporates testimony from several medical experts, fully succeeds in its admirable goal of using Williams' story to shed light on a disease with which many people were previously unfamiliar. The title, by the way, refers to an inscription that the actor wrote in a book of meditations: "I want to help people be less afraid." There's no doubt that he fulfilled that ambition. Available On Demand and in digital formats Production company: Quotable Pictures Distributor: Vertical Entertainment Director/director of photography: Tyler Norwood Producers: Tyler Norwood, Ben Sinclair Executive producers: Shoshana Ungerleider, Mylea Charvat, Tyler Norwood, Jim Czarnecki Editor: Scott Fitzloff Composer: Aaron Drake 77 min.