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Trent Reznor, Jeff Toyne Take Top Honors at ASCAP Screen Music Awards

Trent Reznor, Jeff Toyne Take Top Honors at ASCAP Screen Music Awards

Yahoo01-05-2025

Trent Reznor, Jeff Toyne, David Fleming and Nainita Desai were honored with ASCAP Composers' Choice Awards during the performing-rights organization's annual Screen Music Awards Wednesday night in Hollywood.
Reznor took Film Score of the Year honors for his techno-driven music for 'Challengers,' co-written with longtime partner Atticus Ross. The score for Luca Guadagnino's romantic drama starring Zendaya had earlier earned a Golden Globe, a Critics Choice Award and the best-score award from the L.A. Film Critics Association.
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Toyne won both Television Score of the Year and Television Theme of the Year for his music for the Apple TV+ comedy-drama 'Palm Royale.' He's already won an Emmy and a Society of Composers & Lyricists Award for his series theme.
Fleming took home Documentary Score of the Year for his music for the Disney+ program 'Jim Henson Idea Man,' also an Emmy winner last year. Desai received Video Game Score of the Year honors for the fantasy-adventure game 'Tales of Kenzera: Zau.'
The Composers' Choice Awards are chosen by the ASCAP composer and songwriter community and are unique among prizes given by American performing-rights societies.
Among other ASCAP Screen Awards, Andrea Datzman received the Top Box Office Film of the Year award for her music for Pixar's 'Inside Out 2,' while Jeff Cardoni earned Top Network Television Series honors for his work on the CBS sitcom 'Young Sheldon.'
John Sereda received the Top Cable Television Series award for his music for the Hallmark Channel's historical drama 'When Calls the Heart,' and David Vanacore earned Most Performed Themes & Underscore honors for various series including 'Survivor' and 'Hell's Kitchen.'
ASCAP also recognized several composers in the Top Streaming Series category: Bear McCreary for Amazon Prime's 'The Lord of the Rings: The Rings of Power'; Michael Abels for the Disney+ 'Star Wars' series 'The Acolyte'; Jamie Jackson and WAZ for their work on the Apple TV+ black comedy 'Bad Monkey'; and Rupert Gregson-Williams for his score, and Josh Kear and Meghan Trainor for their theme, for the Netflix mystery 'The Perfect Couple.'
Winners of the Top Streaming Film awards included Hans Zimmer for the World War II drama 'Blitz,' Lorne Balfe for the action thriller 'Carry-On,' Amelia Warner for the biographical sports film 'Young Woman and the Sea,' and Siddhartha Khosla for the romantic drama 'The Idea of You.'
The complete list of winners is available at the ASCAP website.
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Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer
Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer

Chicago Tribune

time29 minutes ago

  • Chicago Tribune

Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer

The Joffrey Ballet's season rarely extends this far into summer, but it's safe to say 'Alice's Adventures in Wonderland' was worth the wait. This beast of a ballet by the Tony Award-winning choreographer Christopher Wheeldon had its North American premiere at the Lyric Opera House on Thursday. If, like for me, Lewis Carroll's 1865 fairy tale about a girl who stumbles into Wonderland is a core memory, all those beloved characters are there, with a splendidly cogent (and at times delightfully grotesque) libretto. It's more Tim Burton than Disney, but you'll recognize moments no matter your preferred version (including my personal favorite, the 1985 TV movie musical starring Jayne Meadows and Carol Channing). Following a drowse-inducing garden party at her Victorian Oxford estate, Alice (magnificently danced Thursday by Amanda Assucena) awakens to find an anxiously tardy White Rabbit (Stefan Gonçalvez). She of course must follow him, kicking off a series of Don Quixote-style adventures with wild, wacky and terrifying characters. Letting her curiosity guide her, she encounters a tea party hosted by a tap-dancing Mad Hatter (Edson Barbosa) and a slithering Cheshire Cat (whose dismantlement is made possible by a corps of dancer-puppeteers). Indeed, 'Alice's Adventures in Wonderland' will resonate strongly with those who adore 'Alice' — so much so that Joffrey extended the production to three weekends before it opened. In any case, exploiting its usefulness as a ballet was far overdue. There is much within Wheeldon's zany world for everyone to admire. Very small children may not appreciate some scarier moments, most notably a scene at the Duchess' house, in which viewers quite literally see how the sausage gets made. The brutish Duchess (Dylan Gutierrez) and her ax-wielding cook (Lucia Connolly) contribute some of the night's most, um, salient imagery. The pair of them (along with henchmen Valentino Moneglia Zamora, Hyuma Kiyosawa and Xavier Núñez) are terrifically terrifying. 'Alice's' third and final act is devoted almost wholly to the search for who stole the Queen of Hearts' tart. It begins with a game of croquet, played with bendy flamingoes on pointe as the mallets, striking adorable summersaulting hedgehogs. This not-so-regal realm, ruled by prima ballerina Victoria Jaiani as supreme leader, embarks on a tribunal when it's uncovered that the Knave of Hearts — a two-eyed Jack danced by the princely Alberto Velazquez — is most likely the offender and about to lose his head. Hilarity ensues. As hard as it will be to peel your eyes from Jaiani, every once in a while, be sure to glimpse her ridiculous King (marking David Gombert's glorious return to the Joffrey stage 15 years after retirement). There are tender moments, too, particularly in a satisfyingly sweet duet for Assucena and Velazquez as Alice tries to accept the blame in tart-gate. She eventually prevails, if only by waking up back in Oxford. If there's a lesson to be learned from 'Alice's Adventures in Wonderland,' it might be that taking the blame for your boyfriend's impropriety could turn out poorly. That, and vindictive, power-hungry leaders whose kingdoms are built on a literal house of cards are not likely to succeed. Cleverly, 'Alice' borrows hallmarks from the ballets of Carroll's time, winking at canonical works like 'The Nutcracker,' 'Sleeping Beauty' and 'Cinderella.' There's a waltz of flowers; a for our protagonist and her scrappy love interest; a hilariously satirized 'Rose Adagio' for the Queen of Hearts and four suitors (in this case, hearts and clubs); and a shirtless, hookah-smoking sultan-turned-Caterpillar (Jonathan Dole) performing a seductive take on 'the worm' with a quartet of scantily clad temple women. I'm pretty sure we didn't need that last one when 'Alice' premiered in London in 2011, and I'm certain we don't need it in 2025 — though I'll take the cameo of academy kids as sparkly pointe-shoed caterpillar legs all day, every day, plus Sunday. To be clear, such tongue-and-cheek references now to 19th century ballet are generally welcome and especially fun for those who see the parallels — perhaps even more so to those familiar with Wheeldon's catalog, too, which includes Joffrey's nearly decade-old 'Nutcracker.' In some instances, that ballet and this one parrot one another; Wheeldon went so far as to use some of the exact same ideas in his 'Nutcracker's' transformation and snow scenes, further tugging the plot parallels to these two coming-of-age stories set in magical fairy lands that may or may not have all been a dream. But 'Alice's' superpowers, all due respect to 'The Nutcracker,' are its magnificently evocative original score (by Joby Talbot) and Wheeldon's pinpointed attention to detail in every character, masterfully embraced by the Joffrey's excellent dancers, whose full-throttled performances and comedic prowess grab you and hold on for the entirety of this (very, very long) spectacle. Another thing: Wheeldon's imagination could only run this wild in a superbly-crafted Wonderland, made possible through the ingenuity of scenic and costume designer Bob Crowley, lighting designer Natasha Katz, projectionists Jon Driscoll and Gemma Carrington and puppeteer Toby Olié — seamlessly executed by a Joffrey team that, frankly, has never attempted something this big. 'Alice' was originally created for London's Royal Ballet, a company of 100 dancers and nearly 10 times Joffrey's budget. Until Thursday, it had not been performed this side of the Atlantic. Pulling it off was going to be a challenge. But they did. And Wonderland turned out to be a risk that will pay off in Joffrey Ballet presents 'Alice's Adventures in Wonderland' (4 stars) When: Through June 22 Where: Lyric Opera House, 20 N. Wacker Drive Running time: 2 hours, 50 minutes with 2 intermissions Tickets: $45-$233 at 312-386-8905 and

Lucasfilm "Likely" Replacing Kathleen Kennedy at Lucasfilm with Dave Filoni and Carrie Beck — GeekTyrant
Lucasfilm "Likely" Replacing Kathleen Kennedy at Lucasfilm with Dave Filoni and Carrie Beck — GeekTyrant

Geek Tyrant

time37 minutes ago

  • Geek Tyrant

Lucasfilm "Likely" Replacing Kathleen Kennedy at Lucasfilm with Dave Filoni and Carrie Beck — GeekTyrant

It looks like big changes are brewing at Lucasfilm. According to a new reprot from The Hollywood Reporter about the shifting power dynamics at Disney, Kathleen Kennedy's time as president of Lucasfilm is winding down, and the studio may be headed in a new, but familiar, direction. The names being floated to 'likely' replace her are Dave Filoni and Carrie Beck. Filoni currently serves as Chief Creative Officer at Lucasfilm and is also producing several Star Wars TV and film projects. The report notes: 'The current thinking is a scenario where chief creative officer Dave Filoni and production head Carrie Beck — both Lucasfilm vets — take co-head roles. Even as an arm of Disney, Lucasfilm remains, in many ways, a family business, and as a George Lucas protégé Filoni long has been considered a golden boy.' Filoni's rise is no surprise to anyone who's followed Star Wars since The Clone Wars . His creative connection to George Lucas and the way he's carried forward that legacy with Rebels , The Mandalorian , and Ahsoka has earned him a loyal following, and he's their guy. However, not everyone in the room is sold. The same THR piece offers this commentary: 'But the knock against him is that he might be too steeped in Star Wars lore and risks steering a show into dense mythology that loses a broader audience. 'He's not the Andor guy, he's the Ahsoka guy,' says one Disney insider. 'Beck, who joined the company in 2012, knows the ins and outs, but neither she nor Filoni has much film experience, which could be mitigated by Kennedy's continued presence as a producer on certain Star Wars projects, ensuring quality control in the short term.' That's a fair point. While Filoni thrives in the animated and live-action series space, Star Wars hasn't exactly had a smooth run on the big screen lately, and neither he nor Beck has much experience steering theatrical releases. That's where Kennedy may linger for a while longer, potentially sticking around to produce key projects and maintain consistency as they transition. Still, fans online are already drawing battle lines. For many, the idea of a 'Lucas guy' who lives and breathes Star Wars mythology is exactly what Lucasfilm needs. After all, the most frustrating part of the franchise's modern era has often been its uneven grasp of what makes Star Wars feel like Star Wars . And yet… Andor exists. It's a perfect example of what Star Wars can be when it steps outside of the mythological comfort zone, when it slows down, digs into real human struggles, and reimagines the galaxy far, far away with grounded stakes. So here we are, at a crossroads. Lucasfilm seems like they are preparing to pass the lightsaber to two trusted veterans who've built their reputations inside the galaxy. The next era of Star Wars is about to begin, and even if Filoni isn't taking the lead, as continuing CCO, the franchise is going to have Filoni's fingerprints all over it.

3 Arts Expands In News And New York, Acquiring Olivia Metzger's OManagement In Latest Deal
3 Arts Expands In News And New York, Acquiring Olivia Metzger's OManagement In Latest Deal

Yahoo

timean hour ago

  • Yahoo

3 Arts Expands In News And New York, Acquiring Olivia Metzger's OManagement In Latest Deal

Talent management and production firm 3 Arts Entertainment has acquired OManagement, a boutique news and personality talent manager founded by Olivia Metzger, in its second significant deal in two weeks. The partnership brings together OManagement's deep expertise in representing and developing top storytelling professionals including Craig Melvin, Kristen Welker, Harris Faulkner and Steve Kornacki with 3 Arts' expanded resources, global reach, and access to leading production and media expertise. More from Deadline 3 Arts Acquires A&A Management Group, Expanding Footprint In Sports Harley Copen Transitions To Management At 3 Arts Entertainment Black List Reveals Georgia List's 2025 Winning Projects + Grant Recipients Metzger joins 3 Arts as partner and co-head of New York City office Financial terms weren't disclosed. 3 Arts, majority owned by Lionsgate Studios, just announced a push into sports with the acquisition of A&A Management last week. Today's acquisition comes with the media ecosystem in flux, audiences accessing news across a variety of platforms and individual journalists becoming brands in their own right. 'This evolution highlights the critical need for dedicated talent management that can both nurture and strategically position these voices for long-term success,' 3 Arts said. 'At 3 Arts, we recognize that news talent and media personalities have never been more valuable than they are today,' said co-CEOs Brian Weinstein and Michael Rotenberg. 'With audiences seeking out trusted individual voices, our partnership with OManagement allows us to support journalists and news professionals and personalities as they build their brands and adapt to new ways of connecting with the public. 'OManagement possesses unrivaled relationships with media companies and on-air talent, and as 3 Arts Entertainment expands its New York City presence, the addition of Olivia as a leader and a partner will help our combined team support cultural influencers and personalities creating impactful content.' Metzger said, 'the news industry is evolving, but the need for thoughtful, strategic support for storytellers and experts remains constant. Partnering with 3 Arts allows us to offer our clients expanded opportunities across a dynamic media landscape, while preserving the close, individualized attention that has always defined both OManagement and 3 Arts.' Best of Deadline 2025 TV Series Renewals: Photo Gallery 2025 TV Cancellations: Photo Gallery 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data

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