Amazon Prime Video’s “Mr. & Mrs. Smith” is taking this Emmy race seriously.
With stars Donald Glover and Maya Erskine leading the charge, “Mr. & Mrs. Smith,” which draws inspiration from the 2005 movie featuring Brad Pitt and Angelina Jolie, is set to compete in the drama categories at this year’s awards ceremony.
Crafted by Glover and Francesca Sloane, the show’s debut season stretches across eight episodes, centering on John and Jane Smith, secret agents who pose as a married couple while working for a shadowy corporation. Its blend of comedy and drama offered the potential to categorize it in either genre for awards consideration.
Read: All Primetime Emmy predictions in every category on Variety’s Awards Circuit.
Glover, already an Emmy favorite for his role in FX’s “Atlanta,” is in contention for five Emmy nods this year: drama series, actor in a drama series, directing in...
With stars Donald Glover and Maya Erskine leading the charge, “Mr. & Mrs. Smith,” which draws inspiration from the 2005 movie featuring Brad Pitt and Angelina Jolie, is set to compete in the drama categories at this year’s awards ceremony.
Crafted by Glover and Francesca Sloane, the show’s debut season stretches across eight episodes, centering on John and Jane Smith, secret agents who pose as a married couple while working for a shadowy corporation. Its blend of comedy and drama offered the potential to categorize it in either genre for awards consideration.
Read: All Primetime Emmy predictions in every category on Variety’s Awards Circuit.
Glover, already an Emmy favorite for his role in FX’s “Atlanta,” is in contention for five Emmy nods this year: drama series, actor in a drama series, directing in...
- 4/4/2024
- by Clayton Davis
- Variety Film + TV
"Tonight - be your most authentic selves, void of inhibitions." Disney has revealed an official trailer for a comedy called The Slumber Party, coming to both Disney Channel and Disney+ later in July. Based on the book "The Sleepover" by Jen Malone, this is pretty much the exact concept from The Hangover - but for kids. Follow the hilarious consequences of a sleepover birthday party hypnotism that went wrong as Megan, Page and Veronica, wake up with no memories of the night before. "This is a party you won’t want to forget." They must retrace their steps to find missing birthday girl and explain why there's a flock of baby ducks in the bathtub, what happened to Megan's eyebrow, and everything else that's gone awry. This comedy made for kids stars Darby Camp, Emmy Liu-Wang, Valentina Herrera, Alex Cooper Cohen, Dallas Liu, Ramon Rodriguez Caroline Valencia, and Tituss Burgess as the hypnotist.
- 6/26/2023
- by Alex Billington
- firstshowing.net
If you ever wondered what The Hangover could look like as a movie for the whole family, the new Disney Original Movie The Slumber Party is it. TV Insider is exclusively unveiling a first look at the trailer (which you can watch above) for the coming-of-age comedy, which will premiere on Thursday, July 27 at 8/7c on Disney Channel (and will be available to stream the next day on Disney+). Based on Jen Malone’s YA novel The Sleepover, the film shows the hilarious aftermath of a birthday party hypnotism gone wrong after friends decide to go big, have fun, and do something they never had before. As you can see in the video, best friends Megan (Darby Camp) and Paige (Emmy Liu-Wang), along with soon-to-be step-sister Veronica (Alex Cooper Cohen), wake up with no memory of the night before — but the (much) bigger problem is the birthday girl, Anna Maria (Valentina Herrera), is missing.
- 6/23/2023
- TV Insider
In the first episode of “Wednesday,” Jenna Ortega’s title character plays a cello cover of The Rolling Stones’ goth anthem “Paint It Black.” Pulling off such a scene required licensing the song, orchestrating a new arrangement of it, and teaching Ortega how to play it — all while the traditional scoring process was taking place. It’s a fusion of old and new that helped make the show a cultural phenomenon when it debuted on Netflix in November 2022. And while the production team might have made it look easy, it required intense coordination between multiple departments.
That type of collaboration was a recurring theme to be celebrated at IndieWire’s Consider This Event on Saturday June 3. IndieWire hosted nearly 200 TV Academy, guild members, and other industry in attendance for a packed event at NeueHouse Hollywood that included a welcome reception, buffet lunch, items raffled by Rabbit Hole whiskey, Stanley cupware,...
That type of collaboration was a recurring theme to be celebrated at IndieWire’s Consider This Event on Saturday June 3. IndieWire hosted nearly 200 TV Academy, guild members, and other industry in attendance for a packed event at NeueHouse Hollywood that included a welcome reception, buffet lunch, items raffled by Rabbit Hole whiskey, Stanley cupware,...
- 6/4/2023
- by Christian Zilko
- Indiewire
The 2022-2023 season was a very good time to be a Netflix subscriber. Returning favorites like “Stranger Things” shattered viewership records for the streaming giant, while new projects like “Wednesday” and “Beef” proved that audiences are ready to embrace the company’s next big hit.
At IndieWire’s Consider This Event in Los Angeles on Saturday, post-production artists from some of Netflix’s biggest shows got together to discuss the craftsmanship that goes into making our favorite television. The panel, moderated by IndieWire’s Jim Hemphill, featured “Stranger Things” re-recording mixer/supervising sound editor Craig Henighan, “Beef” editor Laura Zempel and composer Bobby Krlic, and “Wednesday” composer Danny Elfman, co-composer Chris Bacon, and music supervisor Jen Malone.
In the penultimate season of “Stranger Things,” the Duffer Brothers’ sci-fi blockbuster went darker than ever. Feature length episodes saw the residents of Hawkins plumb the depths of their trauma to face off against Vecna,...
At IndieWire’s Consider This Event in Los Angeles on Saturday, post-production artists from some of Netflix’s biggest shows got together to discuss the craftsmanship that goes into making our favorite television. The panel, moderated by IndieWire’s Jim Hemphill, featured “Stranger Things” re-recording mixer/supervising sound editor Craig Henighan, “Beef” editor Laura Zempel and composer Bobby Krlic, and “Wednesday” composer Danny Elfman, co-composer Chris Bacon, and music supervisor Jen Malone.
In the penultimate season of “Stranger Things,” the Duffer Brothers’ sci-fi blockbuster went darker than ever. Feature length episodes saw the residents of Hawkins plumb the depths of their trauma to face off against Vecna,...
- 6/3/2023
- by Christian Blauvelt and Christian Zilko
- Indiewire
Where were you when the best Coachella set since Beyoncé happened? When Danny Elfman took the stage of Coachella shirtless on April 2022 to perform music from his band Oingo Boingo as well as the scores of “A Nightmare Before Christmas,” “Edward Scissorhands,” and — of course — “The Simpsons,” it set Twitter afire. The sometimes goofy, undeniably epic performance was a delight that reminded people of a universal fact: Danny Elfman rocks.
Elfman made his film composing debut in 1980 with “Forbidden Zone,” which was directed by his brother Richard Elfman and was based on the work of Danny’s experimental musical theater group “The Mystic Knights of Oingo Boingo.” The Mystic Knights were soon reformed into the (somewhat) more conventional new wave band Oingo Boingo, and their music found a fan in director Tim Burton, who recruited Elfman to score his feature debut “Pee-wee’s Big Adventure.” From there, a partnership was formed,...
Elfman made his film composing debut in 1980 with “Forbidden Zone,” which was directed by his brother Richard Elfman and was based on the work of Danny’s experimental musical theater group “The Mystic Knights of Oingo Boingo.” The Mystic Knights were soon reformed into the (somewhat) more conventional new wave band Oingo Boingo, and their music found a fan in director Tim Burton, who recruited Elfman to score his feature debut “Pee-wee’s Big Adventure.” From there, a partnership was formed,...
- 6/2/2023
- by Wilson Chapman and Alison Foreman
- Indiewire
As the Emmy race begins to heat up, IndieWire’s annual Consider This event will return to Los Angeles on Saturday, June 3 to honor the best artists and craftspeople working in television in both above and below-the-line roles. This year will feature panelists from some of the most acclaimed shows including Showtime’s “Yellowjackets,” Netflix’s “Stranger Things” and “Beef,” Starz’ “P-Valley,” and “Grease: Rise of the Pink Ladies” from Paramount+. The shows will take center stage via panel discussions moderated by IndieWire’s editors. Lunch will be offered, and the event will conclude with a reception.
Emmy voters and television industry insiders can request an invitation to this private event.
Apply To Attend Here
The Consider This Event will put the spotlight on talent from all different aspects of the industry from actors Christina Ricci (“Yellowjackets”), Nicco Annan, Brandee Evans, and J. Alphonse Nicholson (“P-Valley”) to composer Danny Elfman...
Emmy voters and television industry insiders can request an invitation to this private event.
Apply To Attend Here
The Consider This Event will put the spotlight on talent from all different aspects of the industry from actors Christina Ricci (“Yellowjackets”), Nicco Annan, Brandee Evans, and J. Alphonse Nicholson (“P-Valley”) to composer Danny Elfman...
- 5/25/2023
- by Christian Zilko
- Indiewire
Here’s a look at this week’s biggest premieres, parties and openings in Los Angeles and New York, including red carpets for Love Again and Angel City, plus FYCs for Wednesday, The Last of Us and Ted Lasso.
The Last of Us FYC
Pedro Pascal and Bella Ramsey reunited with their Last of Us team for a “For Your Consideration” event in L.A. on April 28.
Bella Ramsey and Pedro Pascal Neil Druckmann, Craig Mazin, Bella Ramsey, Pedro Pascal, Gabriel Luna, Carolyn Strauss and Murray Bartlett
Wednesday FYC
Netflix held a special Wednesday screening and Q&a at the Hollywood Forever Cemetery on Saturday with stars Jenna Ortega, Catherine Zeta-Jones, Luis Guzmán and Gwendoline Christie.
Jen Malone, Danny Elfman, Alfred Gough, Luis Guzmán, Gwendoline Christie, Jenna Ortega, Catherine Zeta-Jones, Miles Millar and Yvette Nicole Brown Gwendoline Christie, Jenna Ortega and Catherine Zeta-Jones
Welcome to Wrexham FYC
Ryan Reynolds and...
The Last of Us FYC
Pedro Pascal and Bella Ramsey reunited with their Last of Us team for a “For Your Consideration” event in L.A. on April 28.
Bella Ramsey and Pedro Pascal Neil Druckmann, Craig Mazin, Bella Ramsey, Pedro Pascal, Gabriel Luna, Carolyn Strauss and Murray Bartlett
Wednesday FYC
Netflix held a special Wednesday screening and Q&a at the Hollywood Forever Cemetery on Saturday with stars Jenna Ortega, Catherine Zeta-Jones, Luis Guzmán and Gwendoline Christie.
Jen Malone, Danny Elfman, Alfred Gough, Luis Guzmán, Gwendoline Christie, Jenna Ortega, Catherine Zeta-Jones, Miles Millar and Yvette Nicole Brown Gwendoline Christie, Jenna Ortega and Catherine Zeta-Jones
Welcome to Wrexham FYC
Ryan Reynolds and...
- 5/5/2023
- by Kirsten Chuba
- The Hollywood Reporter - Movie News
Spoiler Alert: This interview contains spoilers for the first episode of “Yellowjackets” on Showtime.
Showtime’s “Yellowjackets” is back, and viewers who hoped to hear a song from ’90s icon Tori Amos finally get their wish, as music supervisor Nora Felder delivers a tasty treat in the form of the 1994 song “Cornflake Girl.”
Felder replaces former music supervisor Jen Malone, having helped Kate Bush’s “Running Up That Hill” soar up the streaming charts with “Stranger Things” Season 4.
“Cornflake Girl” closes out the first episode. Teen Shauna (Sophie Nélisse) has a hard time saying goodbye to Jackie (Ella Purnell), who froze to death in the Season 1 finale, after the two best friends had a fight, and Jackie spent the night outside in a snit. Shauna, guilt-ridden, spends much of the Season 2 premiere with Jackie’s corpse in the meat shed, talking to her (guest star Purnell talks back).
After Shauna hits Jackie’s dead body,...
Showtime’s “Yellowjackets” is back, and viewers who hoped to hear a song from ’90s icon Tori Amos finally get their wish, as music supervisor Nora Felder delivers a tasty treat in the form of the 1994 song “Cornflake Girl.”
Felder replaces former music supervisor Jen Malone, having helped Kate Bush’s “Running Up That Hill” soar up the streaming charts with “Stranger Things” Season 4.
“Cornflake Girl” closes out the first episode. Teen Shauna (Sophie Nélisse) has a hard time saying goodbye to Jackie (Ella Purnell), who froze to death in the Season 1 finale, after the two best friends had a fight, and Jackie spent the night outside in a snit. Shauna, guilt-ridden, spends much of the Season 2 premiere with Jackie’s corpse in the meat shed, talking to her (guest star Purnell talks back).
After Shauna hits Jackie’s dead body,...
- 3/24/2023
- by Jazz Tangcay
- Variety Film + TV
The winners of the 13th annual Guild of Music Supervisors Awards were revealed Sunday night at the Wiltern Theatre in Los Angeles.
Anton Monsted won best music supervision for a film budgeted over $25 million for Elvis, while Lauren Marie Mikus and Bruce Gilbert won the award for a film budgeted $25 million or under for Everything Everywhere All at Once. The latter film also won best song written and/or record for a film for “This Is a Life.” Rob Lowry took home two awards for his work on Cha Cha Real Smooth and Do Revenge.
On the television side, Nora Felder won for best music supervision for a television drama for the fourth season of Stranger Things, while Kier Lehman won in the comedy/musical category for Insecure season five. “Perfect Day” from Better Call Saul season six won best song written and/or recorded for TV.
At the awards ceremony,...
Anton Monsted won best music supervision for a film budgeted over $25 million for Elvis, while Lauren Marie Mikus and Bruce Gilbert won the award for a film budgeted $25 million or under for Everything Everywhere All at Once. The latter film also won best song written and/or record for a film for “This Is a Life.” Rob Lowry took home two awards for his work on Cha Cha Real Smooth and Do Revenge.
On the television side, Nora Felder won for best music supervision for a television drama for the fourth season of Stranger Things, while Kier Lehman won in the comedy/musical category for Insecure season five. “Perfect Day” from Better Call Saul season six won best song written and/or recorded for TV.
At the awards ceremony,...
- 3/6/2023
- by Beatrice Verhoeven
- The Hollywood Reporter - Movie News
Black Panther: Wakanda Forever and Elvis lead the nominees for the 2023 Music Supervisors Guild Awards.
Each film earned three nominations in the same categories: best music supervision for film budgeted over 25 million, best song written and/or recorded for a film and best music supervision in a trailer – film.
Artists who contributed to the Black Panther sequel and Elvis movie soundtrack, Rihanna and Doja Cat, were also nominated for awards this year, as were performers and songwriters Lady Gaga, Taylor Swift, Diana Ross and David Byrne.
High-profile films and TV shows that earned two nominations apiece include A Jazzman’s Blues, Everything Everywhere All at Once, Minions: The Rise of Gru, Glass Onion: A Knives Out Mystery, Atlanta, The Marvelous Mrs. Maisel, Better Call Saul, Stranger Things, P-Valley and The Afterparty.
The winners in categories spanning film, TV, video games, advertising and trailers will be revealed at an in-person and...
Each film earned three nominations in the same categories: best music supervision for film budgeted over 25 million, best song written and/or recorded for a film and best music supervision in a trailer – film.
Artists who contributed to the Black Panther sequel and Elvis movie soundtrack, Rihanna and Doja Cat, were also nominated for awards this year, as were performers and songwriters Lady Gaga, Taylor Swift, Diana Ross and David Byrne.
High-profile films and TV shows that earned two nominations apiece include A Jazzman’s Blues, Everything Everywhere All at Once, Minions: The Rise of Gru, Glass Onion: A Knives Out Mystery, Atlanta, The Marvelous Mrs. Maisel, Better Call Saul, Stranger Things, P-Valley and The Afterparty.
The winners in categories spanning film, TV, video games, advertising and trailers will be revealed at an in-person and...
- 1/23/2023
- by Hilary Lewis
- The Hollywood Reporter - Movie News
There is nothing better than a cinematic needle drop. This year was absolutely loaded perfect song selections that charmed, horrified, confused or absolutely destroyed audiences. To celebrate the best moments of music in 2022’s film and television the Variety staff cobbled together a list of our favorite hits.
Labrinth & Zendaya “I’m Tired” – “Euphoria”
Music Supervisor: Jen Malone
This song is hauntingly perfect for the scene in which it is featured. Rue (Zendaya) is out of her mind on drugs and hallucinates that she is in a church before she sees herself in her living room dancing with her dead father. Zendaya proves that she is not only one of the best actresses of her time in this scene, but one hell of a singer to boot. – Joe Otterson
Donovan “Riki Tiki Tavi” – “Barbarian”
Music Supervisor: Jillian Ennis
During the tensest scene of this year’s horror hit “Barbarian,” Tess...
Labrinth & Zendaya “I’m Tired” – “Euphoria”
Music Supervisor: Jen Malone
This song is hauntingly perfect for the scene in which it is featured. Rue (Zendaya) is out of her mind on drugs and hallucinates that she is in a church before she sees herself in her living room dancing with her dead father. Zendaya proves that she is not only one of the best actresses of her time in this scene, but one hell of a singer to boot. – Joe Otterson
Donovan “Riki Tiki Tavi” – “Barbarian”
Music Supervisor: Jillian Ennis
During the tensest scene of this year’s horror hit “Barbarian,” Tess...
- 12/21/2022
- by Jazz Tangcay, William Earl, Joe Otterson, Kate Aurthur, Todd Gilchrist, EJ Panaligan, Ellise Shafer, Meredith Woerner, Katie Reul and Ethan Shanfeld
- Variety Film + TV
In the weeks since its premiere, “Wednesday” — from co-creators Alfred Gough, Miles Millar, and executive producer Tim Burton — has become Netflix’s third most popular English-language series.
Titular star Jenna Ortega’s self-choreographed dance sequence to the Cramps’ 1981 single “Goo Goo Muck” has also won its spooky victories. Ortega’s gothic dance scene has gone viral on social media platforms like TikTok with imitators in braided pigtails. A fan-made TikTok video dance to Lady Gaga’s “Bloody Mary” has resulted in Gaga’s 2011 song jumping up the music streaming charts, and “Goo Goo Muck” has seen an increase in its Spotify streams by 9.500 since “Wednesday” debuted.
Along with noting how Ortega made the Cramps’ menacing brand of rockabilly her own, credit series music supervisors Jen Malone and Nicole Weisberg from Black & White Music for giving “Goo Goo Muck” new life.
Malone and Weisberg just heard of “Wednesday’s” record-setting feat...
Titular star Jenna Ortega’s self-choreographed dance sequence to the Cramps’ 1981 single “Goo Goo Muck” has also won its spooky victories. Ortega’s gothic dance scene has gone viral on social media platforms like TikTok with imitators in braided pigtails. A fan-made TikTok video dance to Lady Gaga’s “Bloody Mary” has resulted in Gaga’s 2011 song jumping up the music streaming charts, and “Goo Goo Muck” has seen an increase in its Spotify streams by 9.500 since “Wednesday” debuted.
Along with noting how Ortega made the Cramps’ menacing brand of rockabilly her own, credit series music supervisors Jen Malone and Nicole Weisberg from Black & White Music for giving “Goo Goo Muck” new life.
Malone and Weisberg just heard of “Wednesday’s” record-setting feat...
- 12/8/2022
- by A.D. Amorosi
- Variety Film + TV
If music is a tool that helps viewers gain a better emotional understanding of what they’re watching, then “Atlanta” wielded the songs on its soundtrack like a tricked-out Leatherman with 19 distinct uses (including three different types of can opener). Music playing such a significant role shouldn’t be surprising for a series whose protagonist, Earn Marks (Donald Glover), is managing the burgeoning rap career of his cousin, Alfred “Paper Boi” Miles (Brian Tyree Henry). But that music had a versatility tailored to match “Atlanta,” a show where a harrowing trip to a showbiz house of horrors and a genuinely touching tribute to an animated classic were equally at home.
The needle drops on “Atlanta” often do more than one thing at a time: Informing the show’s specific sense of place, revealing what characters are feeling in ways that add to the actors’ expressions, giving the audience a poetic...
The needle drops on “Atlanta” often do more than one thing at a time: Informing the show’s specific sense of place, revealing what characters are feeling in ways that add to the actors’ expressions, giving the audience a poetic...
- 11/10/2022
- by Sarah Shachat
- Indiewire
A show about a down-on-his-luck college dropout and his rapper cousin navigating the music industry as the latter’s star rises; created by a multi-hyphenate who, at one point, was a full-time rapper himself; set in what many might argue was the rap capital of the United States for most of the past decade…
You’d think Donald Glover’s FX series “Atlanta” would be a cakewalk for song placements — license a few Migos, Young Thug and Gucci Mane tracks and call it a day — but music supervisors Jen Malone and Fam Udeorji are anything but paint-by-numbers.
While musically, the series pays ample homage to its titular hometown, the pair has worked closely with Glover and the rest of the show’s writers room throughout its four-season run — coming to an end in November — to establish a musical palette that simultaneously reflects Atlanta while also expanding far beyond the city limits.
You’d think Donald Glover’s FX series “Atlanta” would be a cakewalk for song placements — license a few Migos, Young Thug and Gucci Mane tracks and call it a day — but music supervisors Jen Malone and Fam Udeorji are anything but paint-by-numbers.
While musically, the series pays ample homage to its titular hometown, the pair has worked closely with Glover and the rest of the show’s writers room throughout its four-season run — coming to an end in November — to establish a musical palette that simultaneously reflects Atlanta while also expanding far beyond the city limits.
- 10/13/2022
- by EJ Panaligan
- Variety Film + TV
Exclusive: Disney Branded Television has begun production on The Slumber Party, a Disney Original Movie based on Jen Malone’s popular teen novel The Sleepover, from Imagine Kids+Family, a division of Brian Grazer and Ron Howard’s Imagine Entertainment. Production got underway today in Atlanta.
Darby Camp (Big Little Lies), Emmy Liu-Wang (Raven’s Home), Valentina Herrera (Black Widow), Dallas Liu (Pen15) and newcomers Alex Cooper Cohen and Ramon Rodriguez star in the coming-of-age comedy, directed by Veronica Rodriguez (Let’s Get Married), and written by Eydie Faye (Fuller House).
The Slumber Party depicts the hilarious aftermath of a sleepover birthday party hypnotism gone wrong as best friends Megan (Camp) and Paige (Liu-Wang), along with soon-to-be step-sister Veronica (Cooper Cohen), wake up with absolutely no memory of the night before. Now they must retrace their steps to find missing birthday girl Anna Maria (Herrera) … and explain why there’s a flock...
Darby Camp (Big Little Lies), Emmy Liu-Wang (Raven’s Home), Valentina Herrera (Black Widow), Dallas Liu (Pen15) and newcomers Alex Cooper Cohen and Ramon Rodriguez star in the coming-of-age comedy, directed by Veronica Rodriguez (Let’s Get Married), and written by Eydie Faye (Fuller House).
The Slumber Party depicts the hilarious aftermath of a sleepover birthday party hypnotism gone wrong as best friends Megan (Camp) and Paige (Liu-Wang), along with soon-to-be step-sister Veronica (Cooper Cohen), wake up with absolutely no memory of the night before. Now they must retrace their steps to find missing birthday girl Anna Maria (Herrera) … and explain why there’s a flock...
- 9/27/2022
- by Denise Petski
- Deadline Film + TV
Would “The Sopranos” finale have been as impactful if it hadn’t included Journey’s “Don’t Stop Believin’”? And what would “Grey’s Anatomy” be without its frequent use of the Snow Patrol song “Chasing Cars”? These and many more unforgettable musical TV moments all occurred before the establishment of the Best Music Supervision Emmy category. Since 2017, the award has served the purpose of honoring the people who enhance TV shows by incorporating existing songs into episodes and thus stirring up viewers’ emotions.
This year, Amazon Prime Video’s “The Marvelous Mrs. Maisel” could pull off its fourth win in this category after taking the prize every year from 2018 to 2020. It is being challenged for the third time each by “Better Call Saul” (AMC) and “Stranger Things” (Netflix) and for the second time by “Euphoria” (HBO). The 2022 lineup’s remaining two slots are filled by “Ozark” (Netflix) and “The White Lotus...
This year, Amazon Prime Video’s “The Marvelous Mrs. Maisel” could pull off its fourth win in this category after taking the prize every year from 2018 to 2020. It is being challenged for the third time each by “Better Call Saul” (AMC) and “Stranger Things” (Netflix) and for the second time by “Euphoria” (HBO). The 2022 lineup’s remaining two slots are filled by “Ozark” (Netflix) and “The White Lotus...
- 8/28/2022
- by Matthew Stewart
- Gold Derby
Can that nostalgic feeling be enough to garner an Emmy nomination? If the 2022 list of nominees is any guide, the answer is yes.
In the live variety special category, the proof is in the pudding. Per usual, the Grammys, the Tonys and the Oscars — slap and all — are nominated. However, the final two slots are filled by ABC’s “Live in Front of a Studio Audience: The Facts of Life and Diff ’rent Strokes” and NBC’s “Pepsi Super Bowl Lvi Halftime Show.”
The Norman Lear and Jimmy Kimmel live special has been nominated each time it has aired previously — first for the recreation of “All in the Family” and “The Jeffersons” in 2019 and in 2020, with “Good Times” in the mix. With “The Facts of Life” and “Diff ’rent Strokes” this year, not only were old stories retold, more A-list stars — and talent from the original shows— joined in.
“Diff ’rent Strokes...
In the live variety special category, the proof is in the pudding. Per usual, the Grammys, the Tonys and the Oscars — slap and all — are nominated. However, the final two slots are filled by ABC’s “Live in Front of a Studio Audience: The Facts of Life and Diff ’rent Strokes” and NBC’s “Pepsi Super Bowl Lvi Halftime Show.”
The Norman Lear and Jimmy Kimmel live special has been nominated each time it has aired previously — first for the recreation of “All in the Family” and “The Jeffersons” in 2019 and in 2020, with “Good Times” in the mix. With “The Facts of Life” and “Diff ’rent Strokes” this year, not only were old stories retold, more A-list stars — and talent from the original shows— joined in.
“Diff ’rent Strokes...
- 7/27/2022
- by Emily Longeretta
- Variety Film + TV
Not only are audiences eating up HBO’s “Euphoria,” Showtime’s “Yellowjackets” and Paramount +’s “The Offer,” but viewers have also been turning to music streaming platforms to find the songs from the series. And music supervisor Jen Malone is fast becoming a household name as the mastermind behind the tunes. “We always want to cross our fingers and toes and make sure it clears,” she jokes as she refers to music clearance, which is integral to those moments. A show’s tunes often begins with the script. “Those songs are the ones we have to get the jump on immediately and get cleared and ready for the production,” says Malone. “The approach with a lot of shows is to bring us back to a certain time, and certain songs will always do that.” Here she breaks down some key music on her series.
Katy Perry’s “Roar” in...
Katy Perry’s “Roar” in...
- 6/16/2022
- by Jazz Tangcay
- Variety Film + TV
The Season 2 premiere of “Euphoria” opens with a 10-minute prologue that is, even by the fearless standard set in that show’s first season, astonishingly provocative. In telling the origin story of drug dealer Fezco, writer-director Sam Levinson breathlessly races through a sex-, violence-, and cocaine-fueled set piece with camera moves as propulsive as any conjured by Scorsese at his most frenetic. What binds the incendiary content and dynamic visuals is the music, an in-your-face parade of 10 anthemic songs that range from Billy Swan covering Elvis to Poison’s hair metal hit “I Want Action,” with some Harry Nilsson and Bo Diddley thrown in for good measure.
And that’s just the prologue — then the opening title comes up to the tune of 2Pac’s “Hit ‘Em Up” and we’re in an entirely new musical register that leads into two dozen more equally varied and original song choices over the course of an hour.
And that’s just the prologue — then the opening title comes up to the tune of 2Pac’s “Hit ‘Em Up” and we’re in an entirely new musical register that leads into two dozen more equally varied and original song choices over the course of an hour.
- 6/13/2022
- by Jim Hemphill
- Indiewire
Obsessing over needle drops on buzzy shows has become a fun pastime in the era of peak TV. But music supervisor Jen Malone, whose credits include “Euphoria,” “The Offer,” “Atlanta,” “Yellowjackets” and many other series, warns us not to forget our TV history.
“Music has always been a part of the storytelling process,” she points out. Even in the broadcast era.
We may not remember these moments because, in many cases, songs that aired on TV episodes then were cleared for one-time use and stripped out of repeats.
Sadly, I was too young to remember “Wkrp in Cincinnati” during its original CBS run, but I will never forget the tearful scene where the Beach Boys’ “God Only Knows” played on ABC’s “The Wonder Years” in 1991 or Billy Vera and the Beaters’ “At This Moment” punctuated a key romantic moment on NBC’s “Family Ties.”
More attention was paid to...
“Music has always been a part of the storytelling process,” she points out. Even in the broadcast era.
We may not remember these moments because, in many cases, songs that aired on TV episodes then were cleared for one-time use and stripped out of repeats.
Sadly, I was too young to remember “Wkrp in Cincinnati” during its original CBS run, but I will never forget the tearful scene where the Beach Boys’ “God Only Knows” played on ABC’s “The Wonder Years” in 1991 or Billy Vera and the Beaters’ “At This Moment” punctuated a key romantic moment on NBC’s “Family Ties.”
More attention was paid to...
- 6/10/2022
- by Michael Schneider
- Variety Film + TV
The Atx TV Festival will close June 4 with a panel featuring the executive producers and stars of HBO’s Westworld.
Participants will include Lisa Joy, the co-creator, writer and executive producer, as well as Alison Schapker, and stars Evan Rachel Wood, Jeffrey Wright, Luke Hemsworth, and Angela Sarafyan. Westworld will return for its fourth season on June 26.
It was announced Tuesday that Oscar winner Ariana DeBose (West Side Story) is joining the cast of Westworld as a recurring guest star for the upcoming eight-episode season. She joins returning main cast members Wood, Wright, Hemsworth, Sarafyan, Thandiwe Newton, Ed Harris, Tessa Thompson and Aaron Paul.
Westworld was created for TV by Jonathan Nolan and Joy, who are executive producers with Schapker, Denise Thé, J.J. Abrams, Athena Wickham, Richard J. Lewis and Ben Stephenson.
HBO and HBO Max are sponsors of the festival. Previously announced HBO and HBO Max programming...
Participants will include Lisa Joy, the co-creator, writer and executive producer, as well as Alison Schapker, and stars Evan Rachel Wood, Jeffrey Wright, Luke Hemsworth, and Angela Sarafyan. Westworld will return for its fourth season on June 26.
It was announced Tuesday that Oscar winner Ariana DeBose (West Side Story) is joining the cast of Westworld as a recurring guest star for the upcoming eight-episode season. She joins returning main cast members Wood, Wright, Hemsworth, Sarafyan, Thandiwe Newton, Ed Harris, Tessa Thompson and Aaron Paul.
Westworld was created for TV by Jonathan Nolan and Joy, who are executive producers with Schapker, Denise Thé, J.J. Abrams, Athena Wickham, Richard J. Lewis and Ben Stephenson.
HBO and HBO Max are sponsors of the festival. Previously announced HBO and HBO Max programming...
- 5/11/2022
- by Lynette Rice
- Deadline Film + TV
Ahead of the long-awaited return of “Westworld,” the cast will get back together to headline Atx TV Festival‘s closing night event. On Saturday, June 4, the cast and creative team behind the HBO series will take part in the panel in Austin, Texas. Panelists include co-creator and executive producer Lisa Joy, writer and executive producer Alison Schapker and stars Evan Rachel Wood, Jeffrey Wright, Luke Hemsworth and Angela Sarafyan.
After more than two years off the air, “Westworld” Season 4 will debut on Sunday, June 26 on both HBO and HBO Max. On Tuesday, the network announced that “West Side Story” star Ariana DeBose has joined the upcoming season in a secret recurring guest role.
HBO Max will also present an Atx TV Trivia Night following the panel. Previously announced HBO and HBO Max programming include a conversation with “Euphoria” and “The White Lotus” star Sydney Sweeney; a discussion with the creative...
After more than two years off the air, “Westworld” Season 4 will debut on Sunday, June 26 on both HBO and HBO Max. On Tuesday, the network announced that “West Side Story” star Ariana DeBose has joined the upcoming season in a secret recurring guest role.
HBO Max will also present an Atx TV Trivia Night following the panel. Previously announced HBO and HBO Max programming include a conversation with “Euphoria” and “The White Lotus” star Sydney Sweeney; a discussion with the creative...
- 5/11/2022
- by Emily Longeretta
- Variety Film + TV
Deadline has launched the streaming site for its second annual Sound & Screen, an award-season composer showcase of original music for television.
Click here to launch the streaming site.
The event May 5 at UCLA’s Royce Hall featured a 50-person orchestra spotlighting the music from composers Daniel Pemberton, Sean Callery, Amanda Jones, Dan Romer, Jeff Russo and Nico Muhly; composer-songwriters Tom Mizer & Curtis Moore; and music supervisor Jen Malone all of whom took part in post-performance Q&As to discuss their work. The night also featured a special virtual performance by Mick Jagger.
The studios and streamers who took part included Amazon Studios/Prime Video with The Marvelous Mrs. Maisel; Apple TV+ with Pachinko, Slow Horses and The Afterparty; CBS Studios with Star Trek: Picard and The Man Who Fell to Earth; HBO/HBO Max with Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; National Geographic with Welcome to Earth...
Click here to launch the streaming site.
The event May 5 at UCLA’s Royce Hall featured a 50-person orchestra spotlighting the music from composers Daniel Pemberton, Sean Callery, Amanda Jones, Dan Romer, Jeff Russo and Nico Muhly; composer-songwriters Tom Mizer & Curtis Moore; and music supervisor Jen Malone all of whom took part in post-performance Q&As to discuss their work. The night also featured a special virtual performance by Mick Jagger.
The studios and streamers who took part included Amazon Studios/Prime Video with The Marvelous Mrs. Maisel; Apple TV+ with Pachinko, Slow Horses and The Afterparty; CBS Studios with Star Trek: Picard and The Man Who Fell to Earth; HBO/HBO Max with Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; National Geographic with Welcome to Earth...
- 5/9/2022
- by The Deadline Team
- Deadline Film + TV
Tunes are very important to Euphoria creator Sam Levinson, but it’s sometimes a challenge to give him exactly what he wants, the HBO/HBO Max series’ music supervisor Jen Malone says.
“Obviously you can have the most perfect song in the entire world. But if you can’t clear it, you can’t use it,” Malone said during a panel discussion at Deadline’s Sound & Screen event. “When Sam really wants a song I will do anything and everything to try to get it.”
Sometimes, her cup runneth over: the pilot episode of the show featured 37 songs. But that doesn’t always mean everyone is clamoring to have their tunes in Euphoria. “I’ve come across some denials. We use a lot of catalog music. We are dealing with estates that are not necessarily comfortable with the content [of the show].”
Malone says her job entails having to transform into a veritable...
“Obviously you can have the most perfect song in the entire world. But if you can’t clear it, you can’t use it,” Malone said during a panel discussion at Deadline’s Sound & Screen event. “When Sam really wants a song I will do anything and everything to try to get it.”
Sometimes, her cup runneth over: the pilot episode of the show featured 37 songs. But that doesn’t always mean everyone is clamoring to have their tunes in Euphoria. “I’ve come across some denials. We use a lot of catalog music. We are dealing with estates that are not necessarily comfortable with the content [of the show].”
Malone says her job entails having to transform into a veritable...
- 5/6/2022
- by Lynette Rice
- Deadline Film + TV
Deadline’s Sound & Screen, a showcase of television’s most moving and lauded original music from some of the industry’s top-most talent, has lifted the baton for its second edition tonight live and in person at UCLA’s Royce Hall.
Attendees of the awards-season event, which kicked off at 6:30 p.m. Pt, will be transported through the melodic sounds of these programs from a 50-piece orchestra, followed by sit-downs with the composers, conductors and music supervisors behind the works.
Scores facilitate in carrying the audience’s emotions and heighten senses in a way that would not be possible with just dialogue. Imagine HBO’s Euphoria without its hypnotic and genre-bending soundtrack? Or being marched ahead through the final frontier in CBS Studios’ Star Trek: Picard without its ethereal score? Or being carried through the sweeping migrant saga of Apple TV+’s Pachinko without its gentle orchestral melodies?
This year,...
Attendees of the awards-season event, which kicked off at 6:30 p.m. Pt, will be transported through the melodic sounds of these programs from a 50-piece orchestra, followed by sit-downs with the composers, conductors and music supervisors behind the works.
Scores facilitate in carrying the audience’s emotions and heighten senses in a way that would not be possible with just dialogue. Imagine HBO’s Euphoria without its hypnotic and genre-bending soundtrack? Or being marched ahead through the final frontier in CBS Studios’ Star Trek: Picard without its ethereal score? Or being carried through the sweeping migrant saga of Apple TV+’s Pachinko without its gentle orchestral melodies?
This year,...
- 5/6/2022
- by Diana Lodderhose
- Deadline Film + TV
Sound & Screen, Deadline’s inaugural live concert showcasing the composers, music supervisors and songwriters behind the music of television’s buzziest shows, has set the lineup for its in-person event May 5 at UCLA’s Royce Hall.
The free-to-attend evening will feature a 50-piece orchestra performing songs from 12 featured series, followed by panelists talking about their respective works. Those include some of the biggest names in music, from a virtual performance by The Rolling Stones icon Mick Jagger for Apple TV+’s Slow Horses to in-person discussions with composers Daniel Pemberton, Amanda Jones, Sean Callery, Nico Muhly, Jeff Russo and Dan Romer; composer-songwriters Tom Mizer and Curtis Moore; and music supervisor Jen Malone.
The lineup features Amazon Studios’ The Marvelous Mrs. Maisel; Apple TV+’s Pachinko, Slow Horses and The Afterparty; HBO/HBO Max’s Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; CBS Studios’ Star Trek: Picard...
The free-to-attend evening will feature a 50-piece orchestra performing songs from 12 featured series, followed by panelists talking about their respective works. Those include some of the biggest names in music, from a virtual performance by The Rolling Stones icon Mick Jagger for Apple TV+’s Slow Horses to in-person discussions with composers Daniel Pemberton, Amanda Jones, Sean Callery, Nico Muhly, Jeff Russo and Dan Romer; composer-songwriters Tom Mizer and Curtis Moore; and music supervisor Jen Malone.
The lineup features Amazon Studios’ The Marvelous Mrs. Maisel; Apple TV+’s Pachinko, Slow Horses and The Afterparty; HBO/HBO Max’s Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; CBS Studios’ Star Trek: Picard...
- 4/26/2022
- by The Deadline Team
- Deadline Film + TV
Atx TV Festival, on Monday, revealed additional programming for its Season 11 lineup.
The annual television event, which will return for an in-person iteration in Austin, TX from June 2-5, will also spotlight Showtime’s I Love That For You, from Vanessa Bayer and Jeremy Beiler. Atx will feature an advance look at an upcoming episode and a conversation with Bayer, Beiler and showrunner Jessi Klein.
Also added to the lineup of panels is one spotlighting the showrunners of NBC’s Grand Crew, HBO’s A Black Lady Sketch Show and Peacock’s Rutherford Falls. Their respective showrunners Phil Augusta Jackson, Robin Thede and Sierra Teller Ornelas will join for the panel, where they will discuss the state of TV comedies, the art of running (and in sometimes starring in) the show, and how they’ve managed to break through the noise of too-much-tv. Additional panelists will be revealed at a later date.
The annual television event, which will return for an in-person iteration in Austin, TX from June 2-5, will also spotlight Showtime’s I Love That For You, from Vanessa Bayer and Jeremy Beiler. Atx will feature an advance look at an upcoming episode and a conversation with Bayer, Beiler and showrunner Jessi Klein.
Also added to the lineup of panels is one spotlighting the showrunners of NBC’s Grand Crew, HBO’s A Black Lady Sketch Show and Peacock’s Rutherford Falls. Their respective showrunners Phil Augusta Jackson, Robin Thede and Sierra Teller Ornelas will join for the panel, where they will discuss the state of TV comedies, the art of running (and in sometimes starring in) the show, and how they’ve managed to break through the noise of too-much-tv. Additional panelists will be revealed at a later date.
- 4/18/2022
- by Alexandra Del Rosario
- Deadline Film + TV
The 2022 SeriesFest officially announced its star-studded programming slate to take place May 5–11 in Denver, Colorado.
IndieWire can exclusively confirm that new Starz drama “Becoming Elizabeth” will debut opening night, followed by a Q&a panel with creator and executive producer Anya Reiss and series stars Alicia von Rittberg and Jamie Blackley.
Award-winning international festival and non-profit organization SeriesFest spotlights episodic storytelling. The annual six-day festival will include a full slate of in-competition screenings, panels, and workshops, as well as never-before-seen sneak peeks and television premieres.
Joining the special screening event line-up this year includes “Rat in the Kitchen” (TBS) with series’ co-hosts actress and comedian Natasha Leggero and Chef Ludo Lefebvre; “Bring on the Dancing Horses” featuring star and executive producer Kate Bosworth and director, writer, and executive producer Michael Polish; “This is Going to Hurt” (AMC+) with comedian and writer Adam Kay; “Somebody Feed Phil” (Netflix) with series creator...
IndieWire can exclusively confirm that new Starz drama “Becoming Elizabeth” will debut opening night, followed by a Q&a panel with creator and executive producer Anya Reiss and series stars Alicia von Rittberg and Jamie Blackley.
Award-winning international festival and non-profit organization SeriesFest spotlights episodic storytelling. The annual six-day festival will include a full slate of in-competition screenings, panels, and workshops, as well as never-before-seen sneak peeks and television premieres.
Joining the special screening event line-up this year includes “Rat in the Kitchen” (TBS) with series’ co-hosts actress and comedian Natasha Leggero and Chef Ludo Lefebvre; “Bring on the Dancing Horses” featuring star and executive producer Kate Bosworth and director, writer, and executive producer Michael Polish; “This is Going to Hurt” (AMC+) with comedian and writer Adam Kay; “Somebody Feed Phil” (Netflix) with series creator...
- 4/14/2022
- by Samantha Bergeson
- Indiewire
The Guild of Music Supervisors held its 12th annual awards ceremony virtually to celebrate outstanding achievement in the craft of music supervision in film, television, documentaries, games, advertising and trailers.
Mandi Collier took home two awards for her work on Sylie’s Love and Zola while the Oscar-nominated original song “Dos Oruguitas” from Encanto by Lin-Manuel Miranda won for Best Song Written and/or Recorded for a Film.
Legendary songwriter and record producer Diane Warren was presented with this year’s Icon Award and music supervisor Mitchell Leib took home the Legacy Award.
Tonight’s presenters included Hollywood luminaries such as Javier Bardem, Jessica Chastain, Lin-Manuel Miranda, Kristen Wiig, Annie Mumolo, Ryan Tedder, Marlon Wayans, Dave Burd aka Lil Dicky, Rickey Minor, Rufus Wainwright and more.
The 12th Annual Guild of Music Supervisors Awards was produced by President Joel C. High, Vice President Madonna Wade-Reed and former Gms President Thomas Golubić.
Mandi Collier took home two awards for her work on Sylie’s Love and Zola while the Oscar-nominated original song “Dos Oruguitas” from Encanto by Lin-Manuel Miranda won for Best Song Written and/or Recorded for a Film.
Legendary songwriter and record producer Diane Warren was presented with this year’s Icon Award and music supervisor Mitchell Leib took home the Legacy Award.
Tonight’s presenters included Hollywood luminaries such as Javier Bardem, Jessica Chastain, Lin-Manuel Miranda, Kristen Wiig, Annie Mumolo, Ryan Tedder, Marlon Wayans, Dave Burd aka Lil Dicky, Rickey Minor, Rufus Wainwright and more.
The 12th Annual Guild of Music Supervisors Awards was produced by President Joel C. High, Vice President Madonna Wade-Reed and former Gms President Thomas Golubić.
- 3/21/2022
- by Brandon Choe
- Deadline Film + TV
HBO’s ‘The White Lotus,’ ‘Lovecraft Country’ Take Top TV Honors at Guild of Music Supervisors Awards
The Guild of Music Supervisors held its 12th annual awards ceremony virtually on March 20.
Recognizing those who excel at the craft of music supervision in film, television, documentaries, games, advertising and trailers, the night’s big winners included HBO’s “The White Lotus,” supervised by Janet Lopez, who gave an impassioned acceptance speech, thanking the music makers of Hawaii for taking her call, and Liza Richardson for “Lovecraft Country” season 1. The Netflix film “Tick, Tick… Boom!,” supervised by Steven Gizicki, took home the prize for film budgeted over $25 million. Mandi Collier won twice for her work on “Sylie’s Love & Zola,” and “Dos Oruguitas” from “Encanto,” by Lin-Manuel Miranda and sung by Sebastian Yatra (and nominated for an Academy Award), won for best song written and/or recorded for a film.
Receiving special honors were Diane Warren (the Icon Award), for her numerous songs to soundtrack major films, and Mitchell Leib...
Recognizing those who excel at the craft of music supervision in film, television, documentaries, games, advertising and trailers, the night’s big winners included HBO’s “The White Lotus,” supervised by Janet Lopez, who gave an impassioned acceptance speech, thanking the music makers of Hawaii for taking her call, and Liza Richardson for “Lovecraft Country” season 1. The Netflix film “Tick, Tick… Boom!,” supervised by Steven Gizicki, took home the prize for film budgeted over $25 million. Mandi Collier won twice for her work on “Sylie’s Love & Zola,” and “Dos Oruguitas” from “Encanto,” by Lin-Manuel Miranda and sung by Sebastian Yatra (and nominated for an Academy Award), won for best song written and/or recorded for a film.
Receiving special honors were Diane Warren (the Icon Award), for her numerous songs to soundtrack major films, and Mitchell Leib...
- 3/21/2022
- by Shirley Halperin
- Variety Film + TV
The “Encanto” song “Dos Oruguitas” and the music supervision of “Zola,” “Sylvie’s Love,” “Barb and Star Go to Vista Del Mar” and “tick, tick…Boom!” have been honored at the 12th annual Guild of Music Supervisors Awards, which took place in a virtual ceremony on Saturday evening.
The music supervisors of “Zola,” “Sylvie’s Love,” “Barb and Star Go to Vista Del Mar” and “tick, tick…Boom!” won for the best supervision of a film at four different budget levels. Songwriter Lin-Manuel Miranda’s “Dos Oruguitas” from “Encanto” won in the Best Song Written and/or Recorded for a Film category, the only GMA category that corresponds to an Oscar music category.
Over the six years in which the guild has been giving out that award, the winner has gone on to take the Oscar only twice, with “City of Stars” from “La La Land” and “Shallow” from “A Star Is Born.
The music supervisors of “Zola,” “Sylvie’s Love,” “Barb and Star Go to Vista Del Mar” and “tick, tick…Boom!” won for the best supervision of a film at four different budget levels. Songwriter Lin-Manuel Miranda’s “Dos Oruguitas” from “Encanto” won in the Best Song Written and/or Recorded for a Film category, the only GMA category that corresponds to an Oscar music category.
Over the six years in which the guild has been giving out that award, the winner has gone on to take the Oscar only twice, with “City of Stars” from “La La Land” and “Shallow” from “A Star Is Born.
- 3/21/2022
- by Steve Pond
- The Wrap
It’s late on a Friday afternoon and as the working week draws to a close, music supervisor Jen Malone is invigorated. The cause for celebration? An email she had been waiting for just arrived, marking the last clearance for a song to be used in the season finale of HBO’s “Euphoria.”
Malone’s needle drops for the music-heavy series helped make “Euphoria” a social-media phenomenon, trending on a weekly basis as two million-plus tune in. Those viewers are also holding their phones toward the screen with the Shazam app open, looking to capture every song.
Malone — who has been nominated for two Guild of Music Supervisors Awards, both in the same category: music supervision for film budgeted under $5 million, for “Malcolm & Marie” and “Zola” (alongside Nicole Weisberg and Mandi Collier) — spends Sunday evenings glued to HBO herself. And in a case of life meets art, she was...
Malone’s needle drops for the music-heavy series helped make “Euphoria” a social-media phenomenon, trending on a weekly basis as two million-plus tune in. Those viewers are also holding their phones toward the screen with the Shazam app open, looking to capture every song.
Malone — who has been nominated for two Guild of Music Supervisors Awards, both in the same category: music supervision for film budgeted under $5 million, for “Malcolm & Marie” and “Zola” (alongside Nicole Weisberg and Mandi Collier) — spends Sunday evenings glued to HBO herself. And in a case of life meets art, she was...
- 3/3/2022
- by Lily Moayeri
- Variety Film + TV
Spoiler Alert: Do not read if you have not watched the first seven episodes of “Euphoria” Season 2.
Despite the immense popularity of HBO’s “Euphoria,” clearing a song for use in the show isn’t as easy as it may appear — especially when it comes to legacy artists and estates.
As music supervisor Jen Malone puts it, the teenage drama series has “sex, nudity, violence, drugs, guns. There’s not one thing that was missing as far as red flags for approval parties.”
And yet the first episode of Season 2 kicks off with Billy Swan’s cover of “Don’t Be Cruel,” made famous by Elvis Presley. The song plays as the grandmother of Fezco (Angus Cloud) struts into a strip club, walks in on a man receiving oral sex and shoots him in both legs. So how did Malone convince Presley’s estate to let the show use the song?...
Despite the immense popularity of HBO’s “Euphoria,” clearing a song for use in the show isn’t as easy as it may appear — especially when it comes to legacy artists and estates.
As music supervisor Jen Malone puts it, the teenage drama series has “sex, nudity, violence, drugs, guns. There’s not one thing that was missing as far as red flags for approval parties.”
And yet the first episode of Season 2 kicks off with Billy Swan’s cover of “Don’t Be Cruel,” made famous by Elvis Presley. The song plays as the grandmother of Fezco (Angus Cloud) struts into a strip club, walks in on a man receiving oral sex and shoots him in both legs. So how did Malone convince Presley’s estate to let the show use the song?...
- 2/24/2022
- by Ellise Shafer
- Variety Film + TV
When the entertainment industry hit pause in 2020, Georgia’s only television festival was forced to make the same change that so many did, readjusting its annual Scad TVfest into a virtual event. Not only did that event go on without a hitch, it became a tremendous success, and made the team realize that it was a trend they want to continue after the pandemic ends.
“After presenting TVfest virtually for the first time, we were amazed with the reach, interest and attendance on a global scale,” says Christina Routhier, executive director of Scad Theaters and Festivals. “The format allowed for industry leaders, prospective students, even our special guests and honorees to participate from locations all over the world. The virtual experience also allowed new audiences to discover our festival — and discover the magic of Scad — so really, it was a game-changer for us and an enhancing component we’ll continue...
“After presenting TVfest virtually for the first time, we were amazed with the reach, interest and attendance on a global scale,” says Christina Routhier, executive director of Scad Theaters and Festivals. “The format allowed for industry leaders, prospective students, even our special guests and honorees to participate from locations all over the world. The virtual experience also allowed new audiences to discover our festival — and discover the magic of Scad — so really, it was a game-changer for us and an enhancing component we’ll continue...
- 2/16/2022
- by Emily Longeretta
- Variety Film + TV
The Guild of Music Supervisors released on Thursday the nominees for the group’s 12th annual awards ceremony, honoring music supervisors in film, television, advertising and video games.
Among the nominees for the film categories are “Being the Ricardos,” “Encanto,” “Barb and Star Go to Vista Del Mar,” “The Harder They Fall,” “The Tender Bar” and “Tick, Tick… Boom.” Meanwhile, some of the Television nominees include “The Crown,” “Cruel Summer,” and “Genius: Aretha.”
Nominees for music supervision in trailers include “The Matrix Resurrections” and “Spencer,” while video game nominees include “Grand Theft Auto: Online — The Contract” and “FIFA 22.”
As previously announced, Diane Warren will receive the Icon Award, while Mitchell Leib will receive the Legacy Award, which honors “music supervisors who have excelled within the craft of music supervision.”
Read the complete list of nominees below:
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – Being The Ricardos...
Among the nominees for the film categories are “Being the Ricardos,” “Encanto,” “Barb and Star Go to Vista Del Mar,” “The Harder They Fall,” “The Tender Bar” and “Tick, Tick… Boom.” Meanwhile, some of the Television nominees include “The Crown,” “Cruel Summer,” and “Genius: Aretha.”
Nominees for music supervision in trailers include “The Matrix Resurrections” and “Spencer,” while video game nominees include “Grand Theft Auto: Online — The Contract” and “FIFA 22.”
As previously announced, Diane Warren will receive the Icon Award, while Mitchell Leib will receive the Legacy Award, which honors “music supervisors who have excelled within the craft of music supervision.”
Read the complete list of nominees below:
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – Being The Ricardos...
- 2/11/2022
- by Ross A. Lincoln
- The Wrap
The Guild of Music Supervisors today unveiled the nominees for its 12th annual award ceremony, celebrating outstanding achievement in the craft of Music Supervision in film, television, games, documentaries, advertising, and trailers, with such notable songwriters and performers as Beyoncé, Jay-Z, Kid Cudi, Lin-Manuel Miranda, Eddie Vedder, Anderson .Paak, Bruno Mars, H.E.R. and Demi Lovato making the cut.
Beyoncé was among those recognized for the Oscar-nominated King Richard song “Be Alive,” with Jay-Z, Kid Cudi, filmmaker Jeymes Samuel and music supervisor Michelle Silverman noted for the song “Guns Go Bang” from The Harder They Fall, and Miranda cited for his Oscar-nominated Encanto song “Dos Oruguitas.” Vedder was nominated alongside Glen Hansard, his performer daughter Olivia and music supervisor Tracy McKnight for the Flag Day tune “My Father’s Daughter,” with Anderson .Paak and Bruno Mars among those sharing a nom for the Shang-Chi song “Fire In the Sky.” H.E.
Beyoncé was among those recognized for the Oscar-nominated King Richard song “Be Alive,” with Jay-Z, Kid Cudi, filmmaker Jeymes Samuel and music supervisor Michelle Silverman noted for the song “Guns Go Bang” from The Harder They Fall, and Miranda cited for his Oscar-nominated Encanto song “Dos Oruguitas.” Vedder was nominated alongside Glen Hansard, his performer daughter Olivia and music supervisor Tracy McKnight for the Flag Day tune “My Father’s Daughter,” with Anderson .Paak and Bruno Mars among those sharing a nom for the Shang-Chi song “Fire In the Sky.” H.E.
- 2/10/2022
- by Matt Grobar
- Deadline Film + TV
Nominees for the 12th annual Guild of Music Supervisors (Gms) Awards have been revealed, recognizing the craft of music supervision in film, television, games, advertising and trailers.
Among the film nominees for the 2022 edition of the Gms Awards are “Encanto,” “The Eyes of Tammy Faye” and “Being the Ricardos,” each of which also scored Oscar nominations this week. Television shows that scored nods include “The White Lotus,” “Blindspotting” and “Lovecraft Country.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Diane Warren will receive the organization’s prestigious Icon Award, and Mitchell Leib will receive the Legacy Award honoring those music supervisors who have excelled within the craft of music supervision.
The 12th annual ceremony will take place virtually on Sunday, March 20.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – “Being the Ricardos...
Among the film nominees for the 2022 edition of the Gms Awards are “Encanto,” “The Eyes of Tammy Faye” and “Being the Ricardos,” each of which also scored Oscar nominations this week. Television shows that scored nods include “The White Lotus,” “Blindspotting” and “Lovecraft Country.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Diane Warren will receive the organization’s prestigious Icon Award, and Mitchell Leib will receive the Legacy Award honoring those music supervisors who have excelled within the craft of music supervision.
The 12th annual ceremony will take place virtually on Sunday, March 20.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – “Being the Ricardos...
- 2/10/2022
- by Jazz Tangcay
- Variety Film + TV
Spoiler Alert: Do not read if you haven’t seen the first two episodes of “Euphoria” Season 2.
In HBO’s “Euphoria,” music isn’t just a supplementary factor to the plot — it’s arguably as important as the characters themselves. For proof, look no further than the titles of the episodes — most are named after songs, like Birdman and Lil Wayne’s “Stuntin’ Like My Daddy” (Season 1 Episode 2), Jay-Z and Beyoncé’s “’03 Bonnie and Clyde” (Season 1 Episode 5) and Bob Dylan’s “Tryin’ to Get to Heaven” (Season 2 Episode 1). But more than anything, the show’s intense cocktail of high school drama, countless drugs, in-your-face violence and unrequited romance lends itself perfectly to a stellar soundtrack.
Complemented by a beautiful original score from Labrinth, music supervisor Jen Malone has expertly selected needle drops from across the musical spectrum to further the characters’ emotions and connect with the show’s audience, from...
In HBO’s “Euphoria,” music isn’t just a supplementary factor to the plot — it’s arguably as important as the characters themselves. For proof, look no further than the titles of the episodes — most are named after songs, like Birdman and Lil Wayne’s “Stuntin’ Like My Daddy” (Season 1 Episode 2), Jay-Z and Beyoncé’s “’03 Bonnie and Clyde” (Season 1 Episode 5) and Bob Dylan’s “Tryin’ to Get to Heaven” (Season 2 Episode 1). But more than anything, the show’s intense cocktail of high school drama, countless drugs, in-your-face violence and unrequited romance lends itself perfectly to a stellar soundtrack.
Complemented by a beautiful original score from Labrinth, music supervisor Jen Malone has expertly selected needle drops from across the musical spectrum to further the characters’ emotions and connect with the show’s audience, from...
- 1/17/2022
- by Ellise Shafer
- Variety Film + TV
Julio Perez IV’s music exploration works in reverse with his age. When he was a young teenager in the mid-‘80s, he was discovering the funk of the early ‘70s. When he was a college student in the ‘90s, he was getting exposed to ‘60s surf rock and ‘50s jazz. Current or classic, the film editor’s music obsession has stood him in good stead as his extensive knowledge comes into play on every project on which he works. This includes his most recent film, Sam Levinson’s “Malcolm & Marie,” starring Zendaya and John David Washington (read Variety‘s review here), which is now streaming on Netflix.
For “Malcolm & Marie,” Perez worked with his “Euphoria” music team, which includes music supervisor Jen Malone, composer (and hit singer-songwriter) Labrinth, and cinematographer Marcell Rev in addition to writer/director Levinson. From soul to funk, jazz, hip hop and R&b,...
For “Malcolm & Marie,” Perez worked with his “Euphoria” music team, which includes music supervisor Jen Malone, composer (and hit singer-songwriter) Labrinth, and cinematographer Marcell Rev in addition to writer/director Levinson. From soul to funk, jazz, hip hop and R&b,...
- 2/5/2021
- by Lily Moayeri
- Variety Film + TV
Leah has her head buried in a book. Fatin’s makeup is perfect. Martha is worried about her best friend, Toni, who seems increasingly angry. Nora is quiet. Her athletic sister, Rachel, is diligently measuring her food on an app that makes her iPhone double as a scale. Shelby is blonde and sunny. Dot is confrontational. Jeanette doesn’t know when to stop talking.
All of them are sitting in a chartered plane en route to Hawaii to attend a young women’s empowerment retreat — The Dawn of Eve — over a long weekend.
The plane takes off, things don’t go as planned, and these caricatures — purposefully crafted to hit the stereotypical marks of every teen show ever — are about to become the most compelling teenage girl characters seen in a genre TV program since “Buffy the Vampire Slayer.”
Creator Sarah Streicher (“Daredevil”) takes a big swing on “The Wilds,...
All of them are sitting in a chartered plane en route to Hawaii to attend a young women’s empowerment retreat — The Dawn of Eve — over a long weekend.
The plane takes off, things don’t go as planned, and these caricatures — purposefully crafted to hit the stereotypical marks of every teen show ever — are about to become the most compelling teenage girl characters seen in a genre TV program since “Buffy the Vampire Slayer.”
Creator Sarah Streicher (“Daredevil”) takes a big swing on “The Wilds,...
- 12/4/2020
- by Ann Donahue
- Indiewire
Variety is pleased to announce that Mary J. Blige and Marcus Mumford will be keynote speakers at its Music for Screens Week, airing Nov. 30-Dec. 3.
Expanded for the first time over four days in this all-digital installment, Variety’s Music for Screens Summit 2020 will celebrate excellence in musical artistry and storytelling for film, TV, digital media, brands and more.
Blige will speak about her original song “See What You’ve Done” for the documentary “Belly of the Beast,” which looks at women who have been abused in the criminal justice system. Mumford, of the band Mumford and Sons, will speak to his experiences scoring his first TV series, Apple TV Plus’ “Ted Lasso,” a comedy about an American football coach hired to lead an English football club.
Music for Screens Week will also feature a State of Scoring composers panel presented by ASCAP, including Amanda Jones; Germaine Franco; Amelia Warner...
Expanded for the first time over four days in this all-digital installment, Variety’s Music for Screens Summit 2020 will celebrate excellence in musical artistry and storytelling for film, TV, digital media, brands and more.
Blige will speak about her original song “See What You’ve Done” for the documentary “Belly of the Beast,” which looks at women who have been abused in the criminal justice system. Mumford, of the band Mumford and Sons, will speak to his experiences scoring his first TV series, Apple TV Plus’ “Ted Lasso,” a comedy about an American football coach hired to lead an English football club.
Music for Screens Week will also feature a State of Scoring composers panel presented by ASCAP, including Amanda Jones; Germaine Franco; Amelia Warner...
- 11/19/2020
- by Ellise Shafer
- Variety Film + TV
For a show that doesn’t look like anything else on TV, “Euphoria” still has a solid foundation. Through the eyes of one main character, the viewer gets to see a group of high school students dealing with all the challenges of modern teenage life.
It would make sense for the music of “Euphoria” to draw solely on what its characters would stream. Make a separate playlist for each student and pick from a giant soup of songs as each party or late-night battle with anxiety demands.
Instead, the music of “Euphoria” built its own cultural cachet largely because of the organic way it weaves through the series. Its songs draw from different eras and styles. The score introduces some playfulness and bounce amidst an encroaching uncertainty.
For music supervisor Jen Malone, searching for songs that would be a good fit for “Euphoria” wasn’t a regimented process. It came...
It would make sense for the music of “Euphoria” to draw solely on what its characters would stream. Make a separate playlist for each student and pick from a giant soup of songs as each party or late-night battle with anxiety demands.
Instead, the music of “Euphoria” built its own cultural cachet largely because of the organic way it weaves through the series. Its songs draw from different eras and styles. The score introduces some playfulness and bounce amidst an encroaching uncertainty.
For music supervisor Jen Malone, searching for songs that would be a good fit for “Euphoria” wasn’t a regimented process. It came...
- 8/26/2020
- by Steve Greene
- Indiewire
In HBO’s Euphoria, music supervisor Jen Malone found one of the most rewarding and challenging projects of her career—a frenetic series calling for wall-to-wall music, in a diversity of styles.
Created by Sam Levinson, the teen drama centers on Rue (Zendaya), a 17-year-old recovering drug addict struggling to find her place in the world, following her and her high school peers through turbulent experiences with sex, drugs, relationships, identity and trauma.
A prolific music supervisor, who earned her first Emmy nomination in 2018, with FX’s Atlanta, Malone found the appeal of Euphoria to be obvious, from her first meeting with Levinson. “Hearing his vision and his thoughts, and seeing the pilot, there was definitely something there that was like, ‘Okay, it’s going to be a monster, but I absolutely have to do this show,’” the music supervisor recalls, “‘and I’m very lucky that Sam is going...
Created by Sam Levinson, the teen drama centers on Rue (Zendaya), a 17-year-old recovering drug addict struggling to find her place in the world, following her and her high school peers through turbulent experiences with sex, drugs, relationships, identity and trauma.
A prolific music supervisor, who earned her first Emmy nomination in 2018, with FX’s Atlanta, Malone found the appeal of Euphoria to be obvious, from her first meeting with Levinson. “Hearing his vision and his thoughts, and seeing the pilot, there was definitely something there that was like, ‘Okay, it’s going to be a monster, but I absolutely have to do this show,’” the music supervisor recalls, “‘and I’m very lucky that Sam is going...
- 7/10/2020
- by Matt Grobar
- Deadline Film + TV
There’s nothing like validation from your peers, especially in Hollywood, but seeing your name emblazoned in a front-end credit on TV is something music supervisors have found elusive — even when the show centers around, or is chock full of, music.
”I worked on a very music-intensive show and asked for a front-end credit because the show was based around music and dance,” says Jen Malone, who this year won a Guild of Music Supervisors (Gms) Award for her work on “Euphoria” (the HBO series shows a title card in lieu of main credits). “The studio said the Directors Guild of America will not allow it because they consider a music supervisor to be a technical credit. Even the TV Academy now recognizes our work with an Emmy category so I’d hope that the DGA reevaluates their stance.”
Guild president Joel C. High puts the big picture into perspective vis-à-vis the small screen.
”I worked on a very music-intensive show and asked for a front-end credit because the show was based around music and dance,” says Jen Malone, who this year won a Guild of Music Supervisors (Gms) Award for her work on “Euphoria” (the HBO series shows a title card in lieu of main credits). “The studio said the Directors Guild of America will not allow it because they consider a music supervisor to be a technical credit. Even the TV Academy now recognizes our work with an Emmy category so I’d hope that the DGA reevaluates their stance.”
Guild president Joel C. High puts the big picture into perspective vis-à-vis the small screen.
- 6/30/2020
- by James Patrick Herman
- Variety Film + TV
The Guild of Music Supervisors has unveiled its summer panel series lineup featuring many of the top musical tastemakers and composers working across television and streaming platforms today.
The first panel kicks off with music supervisors from HBO’s lineup: Kier Lehman from “Insecure,” Jen Malone from “Euphoria,” Liza Richardson from “Watchmen” and Blake Leyh from “The Plot Against America.” Guild founding member Jonathan McHugh will moderate the panel on June 11. Register here.
June 18’s panel focuses on the working relationships of composers and music supervisors on Apple TV Plus shows. Moderated by Variety Artisans Editor Jazz Tangcay, speakers include Zach Cowie and Michael Brook (“Little America”), DeVoe Yates, Ian Hultquist and Sofia Hultquist (“Dickinson”) and Liza Richardson and Carter Burwell (“The Morning Show”). Register here.
The Netflix panel on June 25 looks at the diverse offerings of shows where music features as a character. Matt Biffa of “Sex Education,” Nora Felder...
The first panel kicks off with music supervisors from HBO’s lineup: Kier Lehman from “Insecure,” Jen Malone from “Euphoria,” Liza Richardson from “Watchmen” and Blake Leyh from “The Plot Against America.” Guild founding member Jonathan McHugh will moderate the panel on June 11. Register here.
June 18’s panel focuses on the working relationships of composers and music supervisors on Apple TV Plus shows. Moderated by Variety Artisans Editor Jazz Tangcay, speakers include Zach Cowie and Michael Brook (“Little America”), DeVoe Yates, Ian Hultquist and Sofia Hultquist (“Dickinson”) and Liza Richardson and Carter Burwell (“The Morning Show”). Register here.
The Netflix panel on June 25 looks at the diverse offerings of shows where music features as a character. Matt Biffa of “Sex Education,” Nora Felder...
- 6/10/2020
- by Variety Staff
- Variety Film + TV
The entertainment industry’s “unsung heroes” — as Quentin Tarantino has described Mary Ramos for her significant contribution to his entire filmography — celebrated the outstanding achievements of their peers at the 10th annual Guild of Music Supervisors Awards on Thursday night at the Wiltern. And who can blame these hardworking but vastly underpaid professionals for tooting their own horns since the Motion Picture Academy refuses to validate their work with an Oscar category? Coincidentally, the winners also helped to shine a light on critically acclaimed films featuring black casts that were snubbed by the Academy, much like music supervisors themselves.
The big news of the night: Women rock! Unlike every other Hollywood award show, the majority of winners — 10 out of 15, in fact — were female. (But then this may be the only guild that has nearly achieved gender parity among members and women outnumber men as board members.) “I met Quentin Tarantino 28 years ago and after that,...
The big news of the night: Women rock! Unlike every other Hollywood award show, the majority of winners — 10 out of 15, in fact — were female. (But then this may be the only guild that has nearly achieved gender parity among members and women outnumber men as board members.) “I met Quentin Tarantino 28 years ago and after that,...
- 2/7/2020
- by James Patrick Herman
- Variety Film + TV
The music supervisors from “Once Upon a Time … in Hollywood,” “Queen & Slim,” “Waves” and “The Last Black Man in San Francisco” and singer-songwriter Regina Spektor have won the top film awards from the Guild of Music Supervisors, which handed out its annual awards in Los Angeles on Thursday night.
The Gms categories for film are separated by budget. “Once Upon a Time … in Hollywood” won the award for music supervision on a film with a budget of more than $25 million, “Queen & Slim” for a film between $10 million and $25 million, “Waves” for a film between $5 million and $10 million and “The Last Black Man in San Francisco” for a film with a budget of less than $5 million.
The award for a song written for film went to Spektor’s “One Little Soldier” from “Bombshell.” The song category is the only Gms category that overlaps with the Academy Awards, but only one of the five nominees,...
The Gms categories for film are separated by budget. “Once Upon a Time … in Hollywood” won the award for music supervision on a film with a budget of more than $25 million, “Queen & Slim” for a film between $10 million and $25 million, “Waves” for a film between $5 million and $10 million and “The Last Black Man in San Francisco” for a film with a budget of less than $5 million.
The award for a song written for film went to Spektor’s “One Little Soldier” from “Bombshell.” The song category is the only Gms category that overlaps with the Academy Awards, but only one of the five nominees,...
- 2/7/2020
- by Steve Pond
- The Wrap
In the ten years since the Guild of Music Supervisors was formed, the organization has come a long way. Granted, the job still involves low pay, long hours and little respect, but at least the craft has been validated with Grammy and Emmy categories introduced by the Recording Academy and the Television Academy, respectively. The Gms has its own presence during awards season, as it hosts its own annual awards ceremony on Feb. 6 at the Wiltern Theatre in Los Angeles. (Quite the upgrade for an event that initially consisted of brunch and four trophies held on Grammy morning.)
In addition to celebrating excellence in sonic storytelling across 16 categories — from film and TV to games and advertising to trailers and emerging media — the organization will honor prolific composer and songwriter Burt Bacharach with the Icon Award. Bob Hunka, a veteran music executive and soundtrack pioneer for Sony Pictures Television who also...
In addition to celebrating excellence in sonic storytelling across 16 categories — from film and TV to games and advertising to trailers and emerging media — the organization will honor prolific composer and songwriter Burt Bacharach with the Icon Award. Bob Hunka, a veteran music executive and soundtrack pioneer for Sony Pictures Television who also...
- 2/4/2020
- by Charlie Amter and James Patrick Herman
- Variety Film + TV
Robbie Robertson will be a keynote speaker at Variety‘s second annual Music for Screens Summit, to be held at Neuehouse in Hollywood on Oct. 29.
The first wave of panelists has also been announced for the day-long gathering, which hosts the creators and greenlighters at the intersection of music and visual media.
Robertson has two projects reaching the big screen this year. A documentary about his time with the one of the key rock groups of the 1960s and ’70s, “Once Were Brothers: Robbie Robertson and the Band,” was the gala opening night premiere at this month’s Toronto International Film Festival and was acquired for worldwide theatrical distribution by Magnolia. He also provided music for his friend Martin Scorsese’s epic drama “The Irishman,” coming to theaters on Nov. 1, preceding its Nov. 27 Netflix bow. Robertson also has a new album, “Sinematic,” out Sept. 20.
Others announced for the conference include songwriter Diane Warren; Mike Knobloch,...
The first wave of panelists has also been announced for the day-long gathering, which hosts the creators and greenlighters at the intersection of music and visual media.
Robertson has two projects reaching the big screen this year. A documentary about his time with the one of the key rock groups of the 1960s and ’70s, “Once Were Brothers: Robbie Robertson and the Band,” was the gala opening night premiere at this month’s Toronto International Film Festival and was acquired for worldwide theatrical distribution by Magnolia. He also provided music for his friend Martin Scorsese’s epic drama “The Irishman,” coming to theaters on Nov. 1, preceding its Nov. 27 Netflix bow. Robertson also has a new album, “Sinematic,” out Sept. 20.
Others announced for the conference include songwriter Diane Warren; Mike Knobloch,...
- 9/10/2019
- by Chris Willman
- Variety Film + TV
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