Latest news with #BridgetEverett
Yahoo
3 days ago
- Entertainment
- Yahoo
Could AI Help the Emmys? Why the TV Community Is ‘Curious, but Not Yet Committed'
As Hollywood explores the potential impact of AI, there've been no shortage of conferences, technology testing and conversations to address this topic. In fact, the Television Academy held a well-attended AI Summit in mid-March, though there was still a lot of hesitation around the elephant in the room. Earlier this year, the awards conversation featured several high-profile Oscar contenders that utilized technology during production or post-production, including best picture nominees 'The Brutalist' and 'Emilia Pérez,' both of which incorporated AI audio technology from Respeecher. More from Variety Emmys Just Aren't Quite Sure What to Do With Eligibility for All of This Season's Guest Stars and Cameos Bridget Everett on How 'Somebody Somewhere' Was the Best Experience of Her Life: 'It's Like, Now What Am I Gonna Do?' Alexis Bledel Withdraws From Emmy Race for 'The Handmaid's Tale' Due to New Guest Actor Rules (EXCLUSIVE) Last month, the Academy of Motion Picture Arts and Sciences announced AI guidelines as part of its rules for the 2026 Oscars: 'With regard to Generative Artificial Intelligence and other digital tools used in the making of the film, the tools neither help nor harm the chances of achieving a nomination. The Academy and each branch will judge the achievement, taking into account the degree to which a human was at the heart of the creative authorship when choosing which movie to award.' Similarly, the Television Academy has Emmy guidelines focused on the human contributions in a submission. 'Emmy rules make clear that submissions must be the work of the submitter, utilizing the tools of their craft,' a TV Academy spokesperson said in a statement to Variety. 'Though there are a few specific guidelines around the use of AI as a tool, the Television Academy continues to monitor it across all categories and will make any updates to our rules and guidelines as needed.' Speaking generally about AI, Eric Shamlin, CEO of new tech-infused production studio Secret Level and co-chair of the TV Academy's AI Task Force, admits that at this stage, he is seeing 'very little that's actively being used' in production, though there's a lot of testing of AI's potential. 'Everybody's kind of curious, but not yet committed.' He observes, 'Some of it is kind of early-stage storyboarding or concept development for maybe a new show or a new season. I think in other situations, it's being seen [for certain tasks in] visual effects or post-production. So, I think you're seeing different teams or different parts of the pipeline explore these tools, but I still think there's a lot of just overall kind of hesitation around the tools.' Shamlin also acknowledges thorny areas that still need to be worked out, such as legal, labor and ethical issues. 'There's still plenty of people that are against AI adoption or just vocally criticizing it, which I also deeply respect, but I do think the overall sentiment has shifted to one of engagement and curiosity and conversation,' he says. 'I want to be firmly on the side of making this a benefit to as many people as possible, and accelerating jobs and expanding jobs, multiplying jobs. But you only do that by engaging with the tools and engaging with the processes and helping guide how they get adopted.' There are many others in the community that feel the best approach is to talk about the technology and how it may be implemented, though not all employers or publicists want their representatives to discuss this publicly. 'It is time for the industry to reveal itself properly,' says another source in the community, requesting anonymity. 'Then, instead of being seen as a victim of AI, the art of moviemaking will be seen to be at the forefront of absorbing this new technology. Perhaps the studios based in technology companies and the technology companies active in the production of the movies will be the right ones to bring this message to the markets.' Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Sci-Fi Surges, FYC Crunch Pressure, and Comedy Category Shakeups Across 94 Races
Yahoo
3 days ago
- Entertainment
- Yahoo
‘I Am: Celine Dion' will now compete for Exceptional Merit in Documentary Filmmaking at Emmys — so what's the difference?
Prime Video's documentary I Am: Celine Dion, which chronicles the iconic pop singer's battle with Stiff Person Syndrome, has been accepted to compete in the Exceptional Merit in Documentary Filmmaking category at the 2025 Emmys, Gold Derby has confirmed. This juried award, presented at the Creative Arts Emmys since 2005, honors documentaries that "showcase an exceptional filmmaker's vision, compelling storytelling, artistic innovation, and the ability to inform, transport, impact, enlighten, and create a meaningful, indelible work that elevates the art of documentary filmmaking." Notably, films selected for this category are not eligible to compete in Best Informational Series or Special or Best Documentary or Nonfiction Special. More from GoldDerby How the longtime 'Severance' cinematographer wound up directing Season 2's standout episode 'We could do this show forever': 'Somebody Somewhere' creators on final season, heart, and the humor of Bridget Everett The Making of 'Out of My Mind': Inside the groundbreaking Disney+ film redefining disability representation on screen What's the difference between Exceptional Merit in Documentary Filmmaking and Best Documentary or Nonfiction Special? According to the 2025 Emmys rulebook, documentaries with an aggregate theatrical release exceeding 70 days must enter the Exceptional Merit in Documentary Filmmaking category. They are ineligible for competition in the Documentary or Nonfiction Special or Hosted Nonfiction Series or Special categories. The television broadcast or streaming debut of these documentaries must occur within one year of their initial public exhibition, excluding film festival screenings, which do not count as theatrical screenings. Programs nominated for an Oscar in any category are also barred from submitting. In essence, the Exceptional Merit in Documentary Filmmaking category was created to celebrate documentaries that had a robust theatrical run before airing on television. For example, Super/Man: The Christopher Reeve Story, another standout film that was in contention for last year's Best Documentary Feature Oscar, will also compete in this category. Speaking to Gold Derby last year, director Irene Taylor reflected on her initial surprise when approached about the project. "I did not know Céline before this film," she admitted. "In fact, I was a little bit surprised when a producer contacted me — someone who had worked closely with her and her management in the past. She said she was thinking of me for this possible film that Céline was open to. I was surprised because my films are very much character-driven, but I had never focused on someone with as much celebrity as Céline has." As the film delves into Dion's struggles with a long-hidden illness, Taylor speculated why the singer chose her for the project. "I think Céline was looking for someone she could tell her secret to. That's really what the film is about — this unfortunate lie that she had been telling the world." Filmed more than two years ago, Taylor sought to focus the most pivotal and deeply challenging period in Dion's life. "It would have been out of bounds just to do a straightforward biopic when her body was going through this tumultuous detox off of medications. She was trying to figure out what was happening with her vocal cords. She was also at home with her children, adjusting to having the kind of time she hadn't had for decades. It was very clear that the film needed to focus on this exceptional period of her life." A performer since childhood, Dion's identity has long been intertwined with her role as a global entertainer. "Céline began performing before she was even a teenager, so she didn't necessarily know how to step out of that role," Taylor explained. "I wanted the film to have some balance between the struggle and that essential talent and joyful person Céline is at heart," she explained, adding that these elements helped "brighten up the film a little bit." One of the film's most harrowing moments captures Dion experiencing a medical crisis while undergoing therapy for her illness. Reflecting on the scene, Taylor revealed, "We call it a medical episode because her body just goes into this rigid stance, and we didn't know if she was breathing." Initially, the crew prioritized Dion's safety, but it quickly became clear that she was in capable hands. "Her bodyguard and her physical therapist had a protocol given to them by doctors of exactly what to do," Taylor explained. Ultimately, they decided to continue filming. "Céline had told us, 'Don't shy away. Always film, and I'll tell you to stop.' Remarkably, Céline never asked to see the footage — she trusted us to document her truth." I Am: Celine Dion is streaming on Prime Video. Best of GoldDerby Chloë Sevigny on Kitty Menendez and 'Monsters' fascination: 'People are endlessly curious about those who have privilege and abuse it' Jason Isaacs relives filming 'The White Lotus' piña colada scene: 'It was one of the reasons I was worried about taking the job' Kaitlyn Dever on playing 'horrible' characters in 'Last of Us', 'Apple Cider Vinegar': 'I just don't see any other option but to give 100 percent' Click here to read the full article.
Los Angeles Times
21-05-2025
- Entertainment
- Los Angeles Times
2025 Emmy predictions: best comedy actress
Reigning champ and winner for each of 'Hacks'' previous three seasons, Jean Smart is the favorite here, with Natasha Lyonne, star, executive producer and occasional writer and director of 'Poker Face,' joining her as the only other performer named on every ballot in Round 1. 'I'd love to see if Natasha Lyonne can really compete this year with Smart and [Quinta] Brunson,' says Trey Mangum. 'But also, Ayo Edebiri may continue to be an awards darling and stun them all.' Marveling at how Lyonne 'makes it look effortless,' Glenn Whipp says the multiple threat 'looks like she's having the time of her life.' Lorraine Ali says, 'Bridget Everett, Natasha Lyonne and Uzo Aduba all deliver fantastic and nuanced performances as eccentric outsiders and in roles that capitalize on their unconventional appeal.' Tracy Brown writes that Kathryn Hahn's selfish witch on 'Agatha All Along' 'is pretty much everything society tells you women aren't supposed to be, but you can feel Hahn having a blast, playing her.' Predicting it will again be Smart's time to shine, Matt Roush declares, 'In the spirit of 'It's an honor to be nominated,' let's hope Bridget Everett receives that honor for her poignant, soul-baring realism.' And while Kristen Baldwin expects the final season of 'What We Do in the Shadows' to get a series nom, 'It still hurts that Natasia Demetriou [hasn't been] nominated for her consistently batty (sorry) performance as the enterprising vampire Nadja of Antipaxos.' More predictions: Comedy actor | Comedy series 1. Jean Smart, 'Hacks'2. Natasha Lyonne, 'Poker Face'3. Quinta Brunson, 'Abbott Elementary'4. Bridget Everett, 'Somebody Somewhere'5. Ayo Edebiri, 'The Bear'6. Kristen Bell, 'Nobody Wants This'7. Kathryn Hahn, 'Agatha All Along'8. Poorna Jagannathan, 'Deli Boys'9. Kate Hudson, 'Running Point'10 Uzo Aduba, 'The Residence'
