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Joe Apollonio Enters the Scene with His Idiosyncratic Brand of Comedy and Amalia Ulman's ‘Magic Farm'

Joe Apollonio Enters the Scene with His Idiosyncratic Brand of Comedy and Amalia Ulman's ‘Magic Farm'

Yahoo25-04-2025
When Joe Apollonio, the 34-year-old New York internet comic with a wild coif of reddish hair, names River Phoenix as one of his favorite actors, it all makes sense. They have a similar countercultural vibe — not to mention fashionably unkempt hairstyle — and a hunger to take on roles that scare them, and often put their own autobiography front and center.
'I get shit sometimes from my friends for not watching certain movies,' Apollonio told IndieWire at a brewery in Bryant Park (though Apollonio is five years sober). 'I would say that I'm a huge fan of River Phoenix's work and Gus Van Sant's work. And then also movies that Michael Pitt's been in the 2000s, like 'The Dreamers.' I would say those are the two actors that I look up to the most. Interestingly enough, they're not comedians.'
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Apollonio broke out from his long-running Instagram feed of quippy queer characters and outsize personalities with a solo show at Joe's Pub in New York's Noho in summer 2023, one that put his very close relationship with his single mom front and center. He now stars in his friend Amalia Ulman's quirky ethnocentricity satire 'Magic Farm,' which premiered at the 2025 Sundance Film Festival, followed by Berlin, and opens from MUBI in theaters this Friday.
In it, he plays Justin, the flamboyantly gay cohort of a Vice Media-like documentary crew chasing an influencer in a small town in Argentina. Or, where they think is Argentina anyway, until they end up in the wrong South American country in a town also called San Cristobal.
Apollonio grew up in the town of Babylon, Long Island, before moving to New York City after high school, training at Stella Adler and finding small roles on series like 'Betty,' 'Hacks,' and 'Young Sheldon.'
'In 'Hacks,' I played a circuit twink with Owen Thiele. It was just two scenes in one episode. 'Betty,' I played a skater,' Apollonio, a longtime skateboarder himself, said. 'Then, I did 'Young Sheldon.' I played some angsty younger brother to Mandy, and it was fun. They turned that character into a main character on the spinoff of 'Young Sheldon' ['George and Mandy's First Marriage'], but they cast someone else.'
Was he disappointed? 'At the time, yeah. Now, I'm over it. If I try to play the tape forward, being in something like 'Magic Farm,' it's an edgy enough thing for me to still be myself with things that I create, and it makes sense because it's on par. It's under the same umbrella. To be in something that mainstream and just for nuclear families in middle America [like 'Young Sheldon'], maybe I would have to censor myself and dilute myself down.'
Indeed, Apollonio makes his queerness the focal point of his Instagram comedy, where he has more than 14,000 followers and self-made video posts dating back a decade, often outré-costumed and hilariously, grotesquely Facetuned, dating back to 2014.
'I don't place as much value on [social media] as I used to,' he said. 'I would say that's how it really started, and then I think where it's going to continue is stuff like this and taking my writing and putting it up on stage, or making longer-form videos or movies. Instagram is so oversaturated now with people who think that they're funny, and they can just make a joke about something going on in the zeitgeist. I don't really want any part of that. I want to make things that are valuable to me, and I also don't want to make a bunch of shit for no money and just have it completely sidelined in this thralling crazy pool of the comedy algorithm, so I'm kind of over it.'
Apollonio's solo show back at Joe's Pub more fully expressed his particular brand of comedy, which is often all about his closeness with his mom. 'She had a knee replacement last year where I took care of her. It's kind of a vignette into what my life is going to look like at some point, which is a bit scary, but I can't be doing a cross-country move right now unless I have enough money to take her with me,' he said of the thought of moving to L.A.
'The only relieving thing is everyone has to deal with this shit. She's a single mom, and I'm an only child. It's always been just us my entire life; no real semblance of blood family has been in the picture. It's just an added heaviness to it,' he added.
'She thinks my comedy is a little weird. I impersonate her sometimes. It's a central part of my work,' he said. 'It's weird, though, because she's a Baby Boomer, and their notion of Hollywood and acting is far different from what it is now. I've been on TV and stuff, but she's always like, 'When are you going to make it? I wish someone would just discover you.' That's not how it works, though.'
Argentine-born Spanish artist-turned-filmmaker Amalia Ulman — the director of 2021's 'El Planeta,' also about an only child's too-closeness with their mother — has been good friends with Apollonio for a few years now, which made it easy to cast him in 'Magic Farm' among an ensemble that includes Chloë Sevigny, Simon Rex, and Alex Wolff. 'People thought Amalia and I were dating,' Apollonio said. 'Maybe we look good together. I don't know.' (In real life, Apollonio is dating trans star Bianca Leigh, who stars on Broadway's 'Oh, Mary!')
That friendship eventually led to Chloë Sevigny, with whom Ulman had connected and whom Apollonio met at a Maison Margiela party before they got to work on the script with producer/filmmaker Eugene Kotlyarenko (a producer alongside Riccardo Maddalosso and Alex Hughes). That was not, in fact, the first time Apollonio had encountered the New York City icon.
'I was a barback at this place called Peel's in the Lower East Side. I was like 22, and she was sitting at a table and I had to pour her hot water into her tea, and I was so starstruck that my hands were shaking like fucking crazy as I'm pouring the hot water. She was just kind of looking down. I left the table and was like, 'Wow, I fucking blew it.' I brought that up to Chloe. She didn't remember it,' he recalled.
Once production on 'Magic Farm' got underway in 2023, 'We were filming in this town called San Antonio de Areco, which is two hours northwest of Buenos Aires. People go there to vacation; it's kind of like a resort town. It's very small, a lot of horses, a lot of street dogs, a pretty desolate landscape. That's where we shot the whole movie. Then we shot some stuff in New York about a month or so afterward,' he said. 'I don't speak Spanish, so any sort of broken horrible Spanish I would use to order food made me feel super American. I remember the first day I got there, I was feeling pretty good about myself. I was strutting down the street with my aviator glasses on, listening to music. I quickly got out of my own head and realized everyone was staring at me like an alien.'
While 'Magic Farm' drummed up buzz at Sundance and then Berlin ('the Germans loved it'), Apollonio said, 'I'm still waiting to see what will come from this,' though he's working on yet another personal project aimed for the stage. 'I don't want to get too much into what it's about, but it's going to be another mother-and-son dynamic show, but it's going to be much more fictional and much more over-the-top and ridiculous,' he said.
One thing he's not doing any time soon, and one thing he has in common with his co-star Sevigny? He's not moving to Los Angeles. 'I would need a swimming pool, and a really loving partner, which I do have right now, and a lot of money for me to enjoy L.A. I don't want to deal with the in-betweens of the entertainment industry in Los Angeles. It's excruciating enough to be between jobs. L.A. is really cool when you have something to do. I subletted there a few times, and you don't have anything going on and your friends are busy, it can get dark. And you're getting gaslit by the weather to be happy,' he said.
'Magic Farm' is now in theaters from MUBI.
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ReFrame Analysis of IMDbPro Data Finds Gender-Balanced Series have Higher Viewership than Those that Hire Mostly Men
ReFrame Analysis of IMDbPro Data Finds Gender-Balanced Series have Higher Viewership than Those that Hire Mostly Men

Yahoo

timean hour ago

  • Yahoo

ReFrame Analysis of IMDbPro Data Finds Gender-Balanced Series have Higher Viewership than Those that Hire Mostly Men

45 of the 100 most popular series of 2024-25 were gender-balanced productions, representing an improvement from the previous year but below the five-year average LOS ANGELES, August 20, 2025--(BUSINESS WIRE)--ReFrame, the initiative launched in 2017 by Sundance Institute and WIF (formerly known as Women In Film Los Angeles) to advance gender equity in the screen industries, and IMDbPro, the essential resource for entertainment industry professionals, today announced that 45 of the 100 most popular series of 2024-25 meet ReFrame Stamp criteria for gender-balanced production including Emmy-nominated series Dying for Sex, Hacks, The Bear and The Pitt (full list below). The 2024-25 ReFrame Report on Gender and Hiring in TV, which examines hiring across key roles in these series based on IMDbPro data, saw a rebound of 6.5% this year from last year's tally, which was the lowest for gender-balanced series since 2020. When content is produced by a gender balanced team, viewers tune in. ReFrame reviewed viewership data for the IMDbPro Top 100 Series and found that on average, ReFrame Stamped series have 1.33M more viewers than their non-Stamped counterparts. This preference for inclusive content held strong in the coveted target demographic of viewers 18-49. ReFrame looked at a larger pool of the Top 200 series to examine hiring of writers and directors and the total episode count. Last year, the total number of episodes dropped from 1,977 to 1,773 (-204) and saw nearly equivalent losses for women, nonbinary and trans writers (-187) and directors (-199). This year, the total number of episodes rebounded to 1,979 (+206), but the hiring of underrepresented writers and directors did not recover proportionately. Only 134 of the restored episodes were attributed to writers and 117 to directors of underrepresented genders, an overall loss across those episodes of 28.3% and 41.2% respectively. Additional findings of the ReFrame Report include: Women, nonbinary and trans directors shot 35.8% percent of episodes this year, a slight increase from last year's 33.4% (+2.8%). While they still lag disproportionately in their share of pilots and first episodes, some ground was gained this year: those directors helmed 35.2% of pilots or first episodes, nearing their share of regular episodes with a gap of only 1%. That said, their overall share is still far from parity. Showrunners are still the single role with the highest correlation for overall gender-balanced hiring; 92.9% of series with women in that position qualified for the ReFrame Stamp. A significant number of series (82%) had at least one woman in a non-writing executive producer role, but women of color in the role fell to 18% (down 7.5%). There were increases in several key crew roles including unit production managers who reached 33%, first assistant directors who reached 46% and directors of photography which reached 26%, historic highs for women, nonbinary and trans persons in these roles. This year there were notable decreases for two key crew roles already lacking in inclusion; representation for women, nonbinary and trans persons fell 7.5% to 12% for line producers and 4% to 14% for composers. Only Editors and Costume Designers, positions where women, nonbinary or trans people have held more than 50% of positions year over year, have ever exceeded 10% of those persons also being people of color. No other key crew position has exceeded 5.5% of role attributed to women, nonbinary and/or trans people of color. There was an increase in lead characters portrayed by trans and nonbinary performers from one last year to three this year; however, gender diversity in co-leads fell from 14 to seven. Three series hired one nonbinary and one trans director of photography to lens their episodes. This year 85% of the Top 100 series were released by streamers, who have more than quadrupled their share of top series over the last eight years, rising from 19% to 85% (+66%). Network series were down to 5% from 48% (-43%) and cable projects down to 10% from 33% (-23%). For the third consecutive year, the majority of Emmy nominees for Outstanding Comedy Series received the Stamp: Five of the eight (Abbott Elementary, The Bear, Hacks, Nobody Wants This and Only Murders in the Building) met gender-balanced production criteria. Two of the eight nominated series in the Outstanding Drama category were Stamped (The Diplomat and The Pitt), as were three of the five Limited or Anthology Series (Black Mirror, Dying for Sex and The Penguin) and one of five Animated Series (Arcane). COMPANY REPORT CARD The ReFrame Report includes a report card showing the percentage of Top 100 series that met ReFrame Stamp criteria from each company. This year, two streaming companies, Amazon MGM Studios and Netflix, as well as projects released by Warner Bros. Discovery, earned the ReFrame Stamp for more than 50% of their releases. None of the three series released by NBCUniversal on Peacock obtained the Stamp, and there were no Top 100 series from 'Other' distributors, a category that has historically included companies like AMC, Lionsgate and IFC. The ReFrame Stamp is an acknowledgement of gender-balanced hiring, so every production—regardless of subject matter or the gender of its director or lead talent—can achieve gender parity. The Stamp is awarded to series that hire 'qualifying candidates,' or women or individuals of other underrepresented gender identities/expressions (including those who are transgender, nonbinary, or gender non-conforming) in at least 50% of key roles, including showrunner, directors, writers, executive producers, lead, co-leads, director of photographer, production designer, costume designer, editor, composer, music supervisor, VFX supervisor, line producer, unit production manager, first assistant director, stunt coordinator and intimacy coordinator. Additional points are awarded to productions that hire qualifying candidates of color in these key positions, and to those with overall gender parity in their crews. View the full ReFrame Stamp criteria here. To award the Stamp, ReFrame examined IMDbPro data on the 100 most popular scripted television and streaming series with a full season of episodes released during the Emmys eligibility period of June 1, 2024 - May 31, 2025. In 2017-18, 2018-19, 2019-20 and 2024-25, percentages are based on analysis of the Top 100 series; from 2020-21 to 2023-24, they are based on the Top 200 series. Each show was considered for the list based on its top-performing four weeks during the eligibility period on the IMDbPro proprietary ranking of titles, factoring in the removal of sports, news, non-fiction and reality programs. IMDbPro rankings are based on the actual page views of the more than 250 million monthly visitors to IMDb worldwide. 2024-25 Top 100 ReFrame Stamp Recipients † Denotes series nominated for 2025 Emmy Award 9-1-1 / ABC: Season 8 The Acolyte / Disney+: Season 1 Agatha All Along / Disney+: Season 1 A Good Girl's Guide to Murder / Netflix: Season 1 A Man on the Inside / Netflix: Season 1 Apple Cider Vinegar / Netflix: Season 1 †Arcane / Netflix: Season 2 A Thousand Blows / Hulu: Season 1 Bad Sisters / Apple TV+: Season 2 †The Bear / Hulu: Season 4 †Black Mirror / Netflix: Season 7 The Bondsman / Prime Video: Season 1 †The Boys / Prime Video: Season 4 Cross / Prime Video: Season 1 †The Diplomat / Netflix: Season 2 Dune: Prophecy / HBO Max: Season 1 Emily in Paris / Netflix: Season 4 †The Four Seasons / Netflix: Season 1 Good American Family / Hulu: Season 1 Grey's Anatomy / ABC: Season 21 Grotesquerie / Hulu/FX Network: Season 1 †Hacks / HBO Max: Season 4 †The Handmaid's Tale / Hulu: Season 6 House of the Dragon / HBO Max: Season 2 Kaos / Netflix: Season 1 The Lincoln Lawyer / Netflix: Season 3 Lioness / Paramount+: Season 2 Lord of the Rings: The Rings of Power / Prime Video: Season 2 The Madness / Netflix: Season 1 †Matlock / CBS: Season 1 Missing You / Netflix: Season 1 My Lady Jane / Prime Video: Season 1 The Night Agent / Netflix: Season 2 †Nobody Wants This / Netflix: Season 1 No Good Deed / Netflix: Season 1 †Only Murders in the Building / Hulu/ABC: Season 4 †The Penguin / HBO Max: Season 1 The Perfect Couple / Netflix: Season 1 †The Pitt / HBO Max: Season 1 Ransom Canyon / Netflix: Season 1 †The Residence / Netflix: Season 1 Secret Level / Prime Video: Season 1 Tell Me Lies / Hulu: Season 2 Toxic Town / Netflix: Season 1 Yellowjackets / Showtime: Season 3 2024-2025 ReFrame Stamp Recipients Outside the Top 100 These series independently applied for the ReFrame Stamp as part of their production process. The Better Sister / Prime Video: Season 1 Cruel Intentions / Freevee: Season 1 Disney Jr.'s Ariel / Disney+: Season 1 Harlem / Prime Video: Season 3 Mayfair Witches / AMC: Season 2 Queenie / Hulu: Season 1 The Road Trip / Paramount+: Season 1 The Second Best Hospital in the Galaxy / Prime Video: Season 2 SkyMed / Paramount+: Season 3 UnPrisoned / Hulu: Season 2 The Upshaws / Netflix: Season 4 About ReFrame Founded by Sundance Institute and Women In Film, Los Angeles (WIF), ReFrame is an initiative that employs a unique strategy: a peer-to-peer approach, in which ReFrame Ambassadors engage with senior industry decision-makers at over 50 Partner Companies to implement ReFrame systemic change programs. The initiative's goals are to provide research, support, and a practical framework that can be used by Partner companies to mitigate bias during the creative decision-making and hiring process, celebrate successes, and measure progress toward a more gender-representative industry on all levels. ReFrame is made possible by support from Netflix's Creative Equity Fund, IMDbPro, WME, Adobe and Pivotal Ventures. About IMDbPro IMDbPro is the essential resource for entertainment industry professionals. This membership service empowers professionals with information and features designed to help them achieve success throughout all stages of their career. IMDbPro premium membership includes the following: detailed contact and representation information; tools for members to manage and showcase their IMDb profile, including selecting their primary images and the credits they are best "known for"; exclusive STARmeter rankings determined by page views on IMDb; the IMDbPro app for iPhone, iPad, and Android; IMDbPro Track, which empowers members to receive personalized entertainment industry news and notifications on the people and film and TV projects they want to follow; and a convenient feature that generates custom digital assets to promote their work on social media and other platforms. IMDbPro is a division of IMDb, the world's most popular and authoritative source for information on movies, TV shows, and celebrities. Industry professionals can join IMDbPro today at Follow IMDbPro on Facebook, Instagram, and X. About IMDb IMDb is the world's most popular and authoritative source for information on movies, TV shows, and celebrities. Hundreds of millions of customers all over the world rely on IMDb to discover and decide what to watch, advance their professional entertainment careers through IMDbPro, and grow their businesses using IMDb data and trending insights. Products and services to help fans decide what to watch and where to watch it include: the IMDb website for desktop and mobile devices; apps for iOS and Android; and X-Ray on Prime Video. For entertainment industry professionals, IMDb provides IMDbPro and Box Office Mojo. IMDb licenses information from its vast and authoritative database to third-party businesses worldwide; learn more at IMDb is an Amazon company. For more information, visit and follow @IMDb. Sundance Institute As a champion and curator of independent stories, the nonprofit Sundance Institute provides and preserves the space for artists across storytelling media to create and thrive. Founded in 1981 by Robert Redford, the Institute's signature labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. Sundance Institute Collab, a digital community platform, brings a global cohort of working artists together to learn from Sundance Institute advisors and connect with each other in a creative space, developing and sharing works in progress. The Sundance Film Festival and other public programs connect audiences and artists to ignite new ideas, discover original voices, and build a community dedicated to independent storytelling. Through the Sundance Institute artist programs, we have supported such projects as Beasts of the Southern Wild, The Big Sick, Bottle Rocket, Boys Don't Cry, Boys State, Call Me by Your Name, Clemency, CODA, Dìdi (弟弟), Drunktown's Finest, The Farewell, Fire of Love, Flee, Fruitvale Station, Half Nelson, Hedwig and the Angry Inch, Hereditary, The Infiltrators, The Last Black Man in San Francisco, Little Woods, Love & Basketball, Me and You and Everyone We Know, Mudbound, Nanny, One Child Nation, Pariah, Raising Victor Vargas, RBG, Requiem for a Dream, Reservoir Dogs, Sin Nombre, Sorry to Bother You, Strong Island, Summer of Soul (…Or, When the Revolution Could Not Be Televised), Swiss Army Man, A Thousand and One, Top of the Lake, Won't You Be My Neighbor?, and Zola. Through year-round artist programs, the Institute also nurtured the early careers of such artists as Paul Thomas Anderson, Gregg Araki, Darren Aronofsky, Lisa Cholodenko, Nia DaCosta, Ryan Coogler, The Daniels, Robert Eggers, Rick Famuyiwa, David Gordon Green, Sterlin Harjo, Marielle Heller, Miranda July, Nikyatu Jusu, James Mangold, John Cameron Mitchell, Kimberly Peirce, Gina Prince-Bythewood, Boots Riley, A.V. Rockwell, Ira Sachs, Walter Salles, Quentin Tarantino, Erica Tremblay, Taika Waititi, Lulu Wang, Sean Wang, and Chloé Zhao. Support Sundance Institute in our commitment to uplifting bold artists and powerful storytelling globally by making a donation at Join Sundance Institute on Facebook, Instagram, TikTok, X, YouTube, and Bluesky. About WIF Founded in 1973 as Women In Film, Los Angeles, WIF has been fighting for gender equity for more than 50 years. Its advocacy, career programs, and research efforts are a driving force for increasing gender representation in Hollywood. WIF works to dismantle gender bias in the screen industries by building the pipeline, sustaining careers, and advocating for change. Membership is open to all screen industry professionals, and more information can be found on our website: WIF is led by Chief Executive Officer Kirsten Schaffer and Chair of the Board of Directors Syrinthia Studer. Follow WIF on Twitter, Instagram, Facebook, TikTok, and YouTube. View source version on Contacts APEX Public RelationsElyse Weissman / Lindsey Brownelyse@ / lindsey@ 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

ReFrame Analysis of IMDbPro Data Finds Gender-Balanced Series have Higher Viewership
ReFrame Analysis of IMDbPro Data Finds Gender-Balanced Series have Higher Viewership

Business Wire

timean hour ago

  • Business Wire

ReFrame Analysis of IMDbPro Data Finds Gender-Balanced Series have Higher Viewership

LOS ANGELES--(BUSINESS WIRE)-- ReFrame, the initiative launched in 2017 by Sundance Institute and WIF (formerly known as Women In Film Los Angeles) to advance gender equity in the screen industries, and IMDbPro, the essential resource for entertainment industry professionals, today announced that 45 of the 100 most popular series of 2024-25 meet ReFrame Stamp criteria for gender-balanced production including Emmy-nominated series Dying for Sex, Hacks, The Bear and The Pitt (full list below). The 2024-25 ReFrame Report on Gender and Hiring in TV, which examines hiring across key roles in these series based on IMDbPro data, saw a rebound of 6.5% this year from last year's tally, which was the lowest for gender-balanced series since 2020. ReFrame and IMDbPro today announced that 45 of the 100 most popular series of 2024-25 meet ReFrame Stamp criteria for gender-balanced production. Share When content is produced by a gender balanced team, viewers tune in. ReFrame reviewed viewership data for the IMDbPro Top 100 Series and found that on average, ReFrame Stamped series have 1.33M more viewers than their non-Stamped counterparts. This preference for inclusive content held strong in the coveted target demographic of viewers 18-49. ReFrame looked at a larger pool of the Top 200 series to examine hiring of writers and directors and the total episode count. Last year, the total number of episodes dropped from 1,977 to 1,773 (-204) and saw nearly equivalent losses for women, nonbinary and trans writers (-187) and directors (-199). This year, the total number of episodes rebounded to 1,979 (+206), but the hiring of underrepresented writers and directors did not recover proportionately. Only 134 of the restored episodes were attributed to writers and 117 to directors of underrepresented genders, an overall loss across those episodes of 28.3% and 41.2% respectively. Additional findings of the ReFrame Report include: Women, nonbinary and trans directors shot 35.8% percent of episodes this year, a slight increase from last year's 33.4% (+2.8%). While they still lag disproportionately in their share of pilots and first episodes, some ground was gained this year: those directors helmed 35.2% of pilots or first episodes, nearing their share of regular episodes with a gap of only 1%. That said, their overall share is still far from parity. Showrunners are still the single role with the highest correlation for overall gender-balanced hiring; 92.9% of series with women in that position qualified for the ReFrame Stamp. A significant number of series (82%) had at least one woman in a non-writing executive producer role, but women of color in the role fell to 18% (down 7.5%). There were increases in several key crew roles including unit production managers who reached 33%, first assistant directors who reached 46% and directors of photography which reached 26%, historic highs for women, nonbinary and trans persons in these roles. This year there were notable decreases for two key crew roles already lacking in inclusion; representation for women, nonbinary and trans persons fell 7.5% to 12% for line producers and 4% to 14% for composers. Only Editors and Costume Designers, positions where women, nonbinary or trans people have held more than 50% of positions year over year, have ever exceeded 10% of those persons also being people of color. No other key crew position has exceeded 5.5% of role attributed to women, nonbinary and/or trans people of color. There was an increase in lead characters portrayed by trans and nonbinary performers from one last year to three this year; however, gender diversity in co-leads fell from 14 to seven. Three series hired one nonbinary and one trans director of photography to lens their episodes. This year 85% of the Top 100 series were released by streamers, who have more than quadrupled their share of top series over the last eight years, rising from 19% to 85% (+66%). Network series were down to 5% from 48% (-43%) and cable projects down to 10% from 33% (-23%). For the third consecutive year, the majority of Emmy nominees for Outstanding Comedy Series received the Stamp: Five of the eight (Abbott Elementary, The Bear, Hacks, Nobody Wants This and Only Murders in the Building) met gender-balanced production criteria. Two of the eight nominated series in the Outstanding Drama category were Stamped (The Diplomat and The Pitt), as were three of the five Limited or Anthology Series (Black Mirror, Dying for Sex and The Penguin) and one of five Animated Series (Arcane). COMPANY REPORT CARD The ReFrame Report includes a report card showing the percentage of Top 100 series that met ReFrame Stamp criteria from each company. This year, two streaming companies, Amazon MGM Studios and Netflix, as well as projects released by Warner Bros. Discovery, earned the ReFrame Stamp for more than 50% of their releases. None of the three series released by NBCUniversal on Peacock obtained the Stamp, and there were no Top 100 series from 'Other' distributors, a category that has historically included companies like AMC, Lionsgate and IFC. The ReFrame Stamp is an acknowledgement of gender-balanced hiring, so every production—regardless of subject matter or the gender of its director or lead talent—can achieve gender parity. The Stamp is awarded to series that hire 'qualifying candidates,' or women or individuals of other underrepresented gender identities/expressions (including those who are transgender, nonbinary, or gender non-conforming) in at least 50% of key roles, including showrunner, directors, writers, executive producers, lead, co-leads, director of photographer, production designer, costume designer, editor, composer, music supervisor, VFX supervisor, line producer, unit production manager, first assistant director, stunt coordinator and intimacy coordinator. Additional points are awarded to productions that hire qualifying candidates of color in these key positions, and to those with overall gender parity in their crews. View the full ReFrame Stamp criteria here. To award the Stamp, ReFrame examined IMDbPro data on the 100 most popular scripted television and streaming series with a full season of episodes released during the Emmys eligibility period of June 1, 2024 - May 31, 2025. In 2017-18, 2018-19, 2019-20 and 2024-25, percentages are based on analysis of the Top 100 series; from 2020-21 to 2023-24, they are based on the Top 200 series. Each show was considered for the list based on its top-performing four weeks during the eligibility period on the IMDbPro proprietary ranking of titles, factoring in the removal of sports, news, non-fiction and reality programs. IMDbPro rankings are based on the actual page views of the more than 250 million monthly visitors to IMDb worldwide. 2024-25 Top 100 ReFrame Stamp Recipients † Denotes series nominated for 2025 Emmy Award 9-1-1 / ABC: Season 8 The Acolyte / Disney+: Season 1 Agatha All Along / Disney+: Season 1 A Good Girl's Guide to Murder / Netflix: Season 1 A Man on the Inside / Netflix: Season 1 Apple Cider Vinegar / Netflix: Season 1 † Arcane / Netflix: Season 2 A Thousand Blows / Hulu: Season 1 Bad Sisters / Apple TV+: Season 2 † The Bear / Hulu: Season 4 † Black Mirror / Netflix: Season 7 The Bondsman / Prime Video: Season 1 † The Boys / Prime Video: Season 4 Cross / Prime Video: Season 1 † The Diplomat / Netflix: Season 2 Dune: Prophecy / HBO Max: Season 1 Emily in Paris / Netflix: Season 4 † The Four Seasons / Netflix: Season 1 Good American Family / Hulu: Season 1 Grey's Anatomy / ABC: Season 21 Grotesquerie / Hulu/FX Network: Season 1 † Hacks / HBO Max: Season 4 † The Handmaid's Tale / Hulu: Season 6 House of the Dragon / HBO Max: Season 2 Kaos / Netflix: Season 1 The Lincoln Lawyer / Netflix: Season 3 Lioness / Paramount+: Season 2 Lord of the Rings: The Rings of Power / Prime Video: Season 2 The Madness / Netflix: Season 1 † Matlock / CBS: Season 1 Missing You / Netflix: Season 1 My Lady Jane / Prime Video: Season 1 The Night Agent / Netflix: Season 2 † Nobody Wants This / Netflix: Season 1 No Good Deed / Netflix: Season 1 † Only Murders in the Building / Hulu/ABC: Season 4 † The Penguin / HBO Max: Season 1 The Perfect Couple / Netflix: Season 1 † The Pitt / HBO Max: Season 1 Ransom Canyon / Netflix: Season 1 † The Residence / Netflix: Season 1 Secret Level / Prime Video: Season 1 Tell Me Lies / Hulu: Season 2 Toxic Town / Netflix: Season 1 Yellowjackets / Showtime: Season 3 2024-2025 ReFrame Stamp Recipients Outside the Top 100 These series independently applied for the ReFrame Stamp as part of their production process. The Better Sister / Prime Video: Season 1 Cruel Intentions / Freevee: Season 1 Disney Jr.'s Ariel / Disney+: Season 1 Harlem / Prime Video: Season 3 Mayfair Witches / AMC: Season 2 Queenie / Hulu: Season 1 The Road Trip / Paramount+: Season 1 The Second Best Hospital in the Galaxy / Prime Video: Season 2 UnPrisoned / Hulu: Season 2 The Upshaws / Netflix: Season 4 About ReFrame Founded by Sundance Institute and Women In Film, Los Angeles (WIF), ReFrame is an initiative that employs a unique strategy: a peer-to-peer approach, in which ReFrame Ambassadors engage with senior industry decision-makers at over 50 Partner Companies to implement ReFrame systemic change programs. The initiative's goals are to provide research, support, and a practical framework that can be used by Partner companies to mitigate bias during the creative decision-making and hiring process, celebrate successes, and measure progress toward a more gender-representative industry on all levels. ReFrame is made possible by support from Netflix's Creative Equity Fund, IMDbPro, WME, Adobe and Pivotal Ventures. About IMDbPro IMDbPro is the essential resource for entertainment industry professionals. This membership service empowers professionals with information and features designed to help them achieve success throughout all stages of their career. IMDbPro premium membership includes the following: detailed contact and representation information; tools for members to manage and showcase their IMDb profile, including selecting their primary images and the credits they are best 'known for'; exclusive STARmeter rankings determined by page views on IMDb; the IMDbPro app for iPhone, iPad, and Android; IMDbPro Track, which empowers members to receive personalized entertainment industry news and notifications on the people and film and TV projects they want to follow; and a convenient feature that generates custom digital assets to promote their work on social media and other platforms. IMDbPro is a division of IMDb, the world's most popular and authoritative source for information on movies, TV shows, and celebrities. Industry professionals can join IMDbPro today at Follow IMDbPro on Facebook, Instagram, and X. About IMDb IMDb is the world's most popular and authoritative source for information on movies, TV shows, and celebrities. Hundreds of millions of customers all over the world rely on IMDb to discover and decide what to watch, advance their professional entertainment careers through IMDbPro, and grow their businesses using IMDb data and trending insights. Products and services to help fans decide what to watch and where to watch it include: the IMDb website for desktop and mobile devices; apps for iOS and Android; and X-Ray on Prime Video. For entertainment industry professionals, IMDb provides IMDbPro and Box Office Mojo. IMDb licenses information from its vast and authoritative database to third-party businesses worldwide; learn more at IMDb is an Amazon company. For more information, visit and follow @IMDb. Sundance Institute As a champion and curator of independent stories, the nonprofit Sundance Institute provides and preserves the space for artists across storytelling media to create and thrive. Founded in 1981 by Robert Redford, the Institute's signature labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. Sundance Institute Collab, a digital community platform, brings a global cohort of working artists together to learn from Sundance Institute advisors and connect with each other in a creative space, developing and sharing works in progress. The Sundance Film Festival and other public programs connect audiences and artists to ignite new ideas, discover original voices, and build a community dedicated to independent storytelling. Through the Sundance Institute artist programs, we have supported such projects as Beasts of the Southern Wild, The Big Sick, Bottle Rocket, Boys Don't Cry, Boys State, Call Me by Your Name, Clemency, CODA, Dìdi (弟弟), Drunktown's Finest, The Farewell, Fire of Love, Flee, Fruitvale Station, Half Nelson, Hedwig and the Angry Inch, Hereditary, The Infiltrators, The Last Black Man in San Francisco, Little Woods, Love & Basketball, Me and You and Everyone We Know, Mudbound, Nanny, One Child Nation, Pariah, Raising Victor Vargas, RBG, Requiem for a Dream, Reservoir Dogs, Sin Nombre, Sorry to Bother You, Strong Island, Summer of Soul (…Or, When the Revolution Could Not Be Televised), Swiss Army Man, A Thousand and One, Top of the Lake, Won't You Be My Neighbor?, and Zola. Through year-round artist programs, the Institute also nurtured the early careers of such artists as Paul Thomas Anderson, Gregg Araki, Darren Aronofsky, Lisa Cholodenko, Nia DaCosta, Ryan Coogler, The Daniels, Robert Eggers, Rick Famuyiwa, David Gordon Green, Sterlin Harjo, Marielle Heller, Miranda July, Nikyatu Jusu, James Mangold, John Cameron Mitchell, Kimberly Peirce, Gina Prince-Bythewood, Boots Riley, A.V. Rockwell, Ira Sachs, Walter Salles, Quentin Tarantino, Erica Tremblay, Taika Waititi, Lulu Wang, Sean Wang, and Chloé Zhao. Support Sundance Institute in our commitment to uplifting bold artists and powerful storytelling globally by making a donation at Join Sundance Institute on Facebook, Instagram, TikTok, X, YouTube, and Bluesky. About WIF Founded in 1973 as Women In Film, Los Angeles, WIF has been fighting for gender equity for more than 50 years. Its advocacy, career programs, and research efforts are a driving force for increasing gender representation in Hollywood. WIF works to dismantle gender bias in the screen industries by building the pipeline, sustaining careers, and advocating for change. Membership is open to all screen industry professionals, and more information can be found on our website: WIF is led by Chief Executive Officer Kirsten Schaffer and Chair of the Board of Directors Syrinthia Studer. Follow WIF on Twitter, Instagram, Facebook, TikTok, and YouTube.

'Emily Takes Love And Life To The Next Level': Your First Look At 'Emily In Paris' Season 5
'Emily Takes Love And Life To The Next Level': Your First Look At 'Emily In Paris' Season 5

Elle

time2 hours ago

  • Elle

'Emily Takes Love And Life To The Next Level': Your First Look At 'Emily In Paris' Season 5

Emily Cooper is continuing her love affair with Italy in new images that have been shared from the upcoming fifth season of Emily in Paris, which will debut on Netflix on December 18. Today, Netflix revealed the first look images from the upcoming fifth season as well as a new location: Emily will continue her Italian holiday living la dolce vita in Venice. 'This season is a Tale of Two Cities. Rome and Paris. Straddling both, Emily takes love and life to the next level,' series creator, Darren Star told Netflix's Tudum. Per the official Netflix synopsis, in the fifth season of Emily in Paris we will find Emily, who is now spearheading Agence Grateau Rome — the position she secured at the end of the fourth season — as she navigates a new city alongside complex professional and romantic relationships. 'Just as everything falls into place, a work idea backfires, and the fallout cascades into heartbreak and career setbacks,' the synopsis reads. 'Seeking stability, Emily leans into her French lifestyle, until a big secret threatens one of her closest relationships. Tackling conflict with honesty, Emily emerges with deeper connections, renewed clarity, and a readiness to embrace new possibilities.' Returning for season five of the hit series is Mindy Chen (Ashley Park), Gabriel (Lucas Bravo), Sylvie Grateau (Philippine Leroy-Beaulieu), Julien (Samuel Arnold), Luc (Bruno Gouery), Antoine Lambert (William Abadie), Alfie (Lucien Laviscount), Marcello (Eugenio Franceschini), Genevieve (Thalia Besson), Nico (Paul Forman), Laurent G (Arnaud Binard), Princess Jane (Minnie Driver), Jake (Bryan Greenberg) and Yvette (Michèle Laroque). Noticeably missing from the line-up is Lucas Bravo, who decided to hang up his hat after the fourth season of the series, during which time he felt as though he had grown apart from the character. 'The "sexy chef" was very much part of me in season one and we grew apart season after season because of the choices he makes and because of the direction they make him take,' Bravo told IndieWire last October. 'I've never been so far away from him.' It was also previously confirmed that longtime cast member Camille Razat, who played Camille, Gabriel's former love interest and Emily's friend, will not be returning for season five. All ten episodes of Emily in Paris season five will premiere on December 18 on Netflix. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Naomi May is a seasoned culture journalist and editor with over ten years' worth of experience in shaping stories and building digital communities. After graduating with a First Class Honours from City University's prestigious Journalism course, Naomi joined the Evening Standard, where she worked across both the newspaper and website. She is now the Digital Editor at ELLE Magazine and has written features for the likes of The Guardian, Vogue, Vice and Refinery29, among many others. Naomi is also the host of the ELLE Collective book club.

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