Latest news with #Jolt
Yahoo
6 days ago
- Health
- Yahoo
Jolt's Latest Doc ‘Can't Look Away' Examines the Dark Side of Social Media and Its Impact On Adolescents
In the documentary 'Can't Look Away,' directors Matthew O'Neill and Perri Peltz expose the dark side of social media and the tragic impact Big Tech company algorithms can have on children and teens. Based on extensive investigative reporting by Bloomberg News reporter Olivia Carville, the doc follows a team of lawyers at Seattle's Social Media Victims Law Center who are battling several tech companies for families who have lost children due to suicide, drug overdose, or exploitation linked to social media use. O'Neill and Peltz ('Axios,' 'Surveilled') capture the lawyers' fight against Section 230 of the Federal Communications Act. Created in 1996 before the birth of social media, Section 230, known as the Communications Decency Act, states that internet service providers cannot be held responsible for what third parties are doing. More from Variety Netflix's 'Cold Case: The Tylenol Murders' Investigates Who Was Responsible for Seven Deaths: A Psychopath or a Drug Company? Judas Priest Documentary, Co-Directed by Rage Against the Machine's Tom Morello, Coming From Sony Music Vision (EXCLUSIVE) Millennium Docs Against Gravity Festival in Poland Crowns 'Yintah' With Grand Prize 'The fact that this group of really incredible lawyers came together with this mission in mind to get around Section 230 through product liability, we just thought it was such a fascinating approach,' says Peltz. 'Can't Look Away' is currently streaming on Jolt, an AI-driven streaming platform that connects independent films with audiences. Recent Jolt titles include 'Hollywoodgate,' 'Zurawsksi v Texas,' and 'The Bibi Files,' a documentary from Oscar-winners Alex Gibney and Alexis Bloom that investigates corruption in Israeli politics. O'Neill says that he and Petlz decided to put 'Can't Look Away' on Jolt, in part, because the company could 'move quickly and decisively reach an audience now, with a message that audiences are hungry for.' 'What was also appealing to us is this sense of Jolt as a technology company,' he says. 'They are using these tools to identify and draw in new audiences that might not be the quote unquote documentary audience. We are documentary filmmakers, and we want our films to speak to everyone.' Jolt uses AI to power its Interest Delivery Networks, enabling films to connect with their target audiences. The platform's Chief Executive Officer, Tara Hein-Phillip, would not disclose Jolt viewership numbers for 'Can't Look Away,' making it difficult to determine how well the new distribution service is performing. However, Hein-Phillip did reveal that since the platform's launch in March 2024, the company's most-viewed film is the documentary 'Your Fat Friend,' which charts the rise of writer, activist, and influencer Aubrey Gordon. Hein-Phillip attributed part of the film's success on Jolt to Gordon's niche but significant online following. 'We are still learning along the way what builds audience and where to find them and how long it takes to build them,' Hein-Phillip says. 'It's slightly different for every film. We really focus on trying to find unique audiences for each individual film. In a way, that is problematic because it's not a reliable audience to say, 'Oh, we have built however many for this particular film, now we can turn them onto (this other) film and they'll all go there.' They won't.' The company utilizes advanced data analytics and machine learning to develop performance marketing plans that target specific audiences for each film and increase awareness. All collected data is shared with each respective Jolt filmmaker, who receives 70% of their Jolt earnings and retains complete ownership of their work and all future rights. 'Initially, we thought Jolt would just be an opportunity to put a film up there,' says Hein-Phillip. 'We would put some marketing against it, and we would push the film out into the world and give it our best push, and we definitely still do that, but now we realize that to build an audience, you actually have to do a handful of things. Some films come to us and they have already done that work, and some films come to us and they haven't. If they haven't, it's in our best interest and their best interest for us to help facilitate that.' That 'work' can include a theatrical release, an impact campaign, or a festival run. In addition to being a 'great, impactful film,' Hein-Phillip says that Jolt partnered with O'Neill and Peltz on 'Can't Look Away' because of the doc's audience potential. 'There are so many audiences for this film – parents, teenagers, lawyers, educators, etc,' said Hein-Philip. To attract those audiences, Jolt and 'Can't Look Away' directors have, ironically, relied on social media to help get the word out about the film. 'We aren't anti-social media,' says Petlz. 'What we are trying to say in the film is – put the responsibility where it rightly belongs.' 'Can't Look Away' will be released on Bloomberg Media Platforms in July. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
Yahoo
27-05-2025
- Entertainment
- Yahoo
Comedian and 'WTF' Podcast Host Marc Maron Reveals His Struggle with Anxiety Led to Decision to Never Be a Dad
Marc Maron reveals the reason behind his decision not to have children Anxiety Club features behind-the-scenes content and commentary from fellow comedians about how mental health impacts their daily lives The upcoming documentary arrives on Jolt on Aug. 15Marc Maron is opening up about the reason why he never became a father. In an all-new Jolt documentary titled Anxiety Club, the WTF podcast host, 61, joins fellow comedians as they find humorous ways to share how fear and mental health have held them back from living life. 'Most of what you're reacting to is something your brain is making up,' Maron says in the trailer. He later confesses, 'My anxiety stopped me from having children.' Tiffany Jenkins, Baron Vaughn, Aparna Nancherla, Mark Normand, Eva Victor and Joe List also reflect on their relationship with anxiety through exclusive interviews, standup performances, sketch videos, therapy sessions and everyday life. The opening scene of Anxiety Club sees Normand, 41, doing a sunset comedy show on a rooftop. 'I love a roof gig. If this goes horribly, I can just jump right off,' he says as the crowd laughs. Next, List, 43, is seen in a comedy club cracking jokes about how many times thoughts about his parents dying or him being diagnosed with cancer cross his mind per day. Again, the response from the crowd is laughter. '[In] other professions, mental health may not have been a big topic, but comedy has always destigmatized things by saying, 'Okay, this is okay to talk about,' ' one commentator explains in an on-camera interview. A skit of Jenkins' 'anxiety' and 'brain' having a conversation is shown next, as she talks about the condition being common, yet people still not knowing how to cope. According to Nancherla, 'Anxiety is warning you about a danger that isn't actually there.' Normand takes cameras with him for his day-to-day life, which includes sleeping with a weighted anxiety blanket that 'feels like a hug.' For Vaughn, the emotion feels like a 'turbine' in his brain. 'I am scared of getting murdered. I have a horrendous fear of the ocean. I think about my kids breaking their neck and getting paralyzed a lot,' Jenkins tells a therapist during a therapy session as footage of her kids doing flips at an indoor trampoline park begins to play. Per a press release, 'All of the comedians in Anxiety Club have created standup or sketch material about their mental health that is not only funny but uniquely relatable and disarming to audiences. Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. 'With comedy, vulnerability, and honesty, these comedians provide remarkable insight into anxiety — the most prevalent mental health disorder affecting an estimated 300 million people worldwide,' the release continues of the Wendy Lobel-directed documentary. In a more serious scene, List says during an on-camera interview, 'I guess there's a lot of pain there. Fear and anger. I think it's a desire for the feeling of peace for myself and people I love.' Carolin Ehrenburg, Jonathan Gray and Scott Sinkler produce Anxiety Club. Jeff Spivack is a co-producer and Ehrenburg edited the film. Anxiety Club arrives on Jolt on Aug. 15. If you or someone you know needs mental health help, text "STRENGTH" to the Crisis Text Line at 741-741 to be connected to a certified crisis counselor. Read the original article on People
Yahoo
05-05-2025
- Entertainment
- Yahoo
At Chicago's Doc10, Filmmakers Say the Streaming Boom Is Over, and Governor Pritzker Talks Politics: ‘We Are Seeing Autocrats Exploit Those Who Struggle to Make Ends Meet'
The documentary streaming boom is officially over, according to Academy Award-winning producer and Impact Partners co-founder Geralyn Dreyfous. 'The market for streamers is not coming back,' Dreyfous said during a panel discussion at Chicago's Doc10 film festival over the weekend. 'To go into these film festivals like Sundance and think that you are going to get a big sale is la la land (thinking). The numbers are just not there. One of 20 films is being bought out of Sundance. When we started Impact Partners, eight out of 10 of our films were being bought. That's gone. Gone! We have to create new distribution models.' More from Variety Margaret Mead Film Festival Offers New Yorkers a Chance to See Acclaimed Docs Without Distribution Film About Democracy Now! Journalist Amy Goodman To Open Third Annual DC/DOX Festival (EXCLUSIVE) Isabel Arrate Fernandez Named as IDFA's New Artistic Director Dreyfous, whose credits include 'The Invisible War,' 'Won't You Be My Neighbor?' and 'Navalny,' helped launch Jolt, an AI-driven, direct-to-consumer streaming platform, in 2024. Meant to give a literal jolt to indie docs that might have been a success at festivals across the world but have not found traditional distribution, Jolt was created as a result of the doc distribution crisis. Recent Jolt titles include 'Hollywoodgate,' 'Zurawsksi v Texas,' and 'The Bibi Files,' a documentary from Oscar-winners Alex Gibney and Alexis Bloom. Submarine co-president Josh Braun and Red Owl co-founder Alice Quinlan joined Dreyfous on the May 3 panel discussion titled '6 Radical Ideas: Disrupting the Documentary Landscape' to discuss the current state of the nonfiction marketplace. Braun admitted that sales are taking longer than expected to make. 'Submarine went to Sundance this year with eight films, and we left without selling a single film,' said Braun. 'That's the first time that that ever happened. Now we have sold four of the eight. If those four had sold in February, we would have felt really great. Now that they are selling, and it's May, and we are afraid to feel really great because it's sort of like, was that evidence of anything? We don't know.' In addition to creating a highly curated viable mechanism that will give audiences the docs they want to see, Dreyfous also suggested the creation of an Angel Studios for the left. The studio that often releases faith-based movies lets members of its Angel Guild choose which film and television projects the company will market and distribute. 'Why can't we have our own guild?' asked Greyfous. Oscar-nominated filmmaker Heidi Ewing, whose doc 'Folktales' screened at Doc10 and recently sold to Magnolia, commented on the state of the industry. 'From a filmmaker's perspective, going to these festivals is a lead-up tour to a theatrical,' Ewing said. 'They actually become your evangelists. People will see the movie (at Doc10) and will tell their friends to come see it when it opens (theatrically) in Chicago. I'm not being an optimistic, pie in the sky, naivete, but people are really lonely and they want to gather. We have to reach them directly. So, I do believe in the theatrical. There is a way to get people to come.' Ewing was one of several filmmakers with high-profile docs that attended the tenth edition of Doc10. Geeta Gandbhir ('The Perfect Neighbor'), David Osit ('Predators'), and Academy Award winner Mstyslav Chernov ('2000 Meters to Andriivka') were also in attendance. All three films debuted at Sundance 2025. Chernov's '20 Days in Mariupol' offered audiences a visceral view of the first days of Russia's invasion of Ukraine and its civilian toll. In '2000 Meters to Andriivka,' Chernov turns his lens toward Ukrainian soldiers — who they are, where they came from, and the impossible decisions they face in the trenches as they fight for every inch of land. During a Q&A with Doc10 head programmer Anthony Kaufman, the director explained why he made another film about Ukraine. 'When I'm going around the world, I keep hearing questions – 'What is going to happen next to Ukraine? How do the Ukrainians feel? How do they feel about the land?' Chernov said. 'I always want to give an answer, but I never know what to say, so I try to make a film about it. I really want those numbers of casualties, those kilometers that are just statistics, those names that are just names on the map to have meaning to them. That's why this film exists.' The five-day festival concluded on May 4 with a screening of Michelle Walshe and Lindsay Utz's 'Prime Minister.' The doc about former New Zealand Prime Minister Jacinda Ardern won rave reviews after premiering at Sundance in January. Illinois Governor JB Pritzker introduced the film and the guest of honor, Jacinda Ardern. 'What you will see in this documentary is a thoughtful and compassionate person navigating the complexities of her private life while facing the tension and the pressure of public office,' Governor Pritzker said. 'It's the type of empathetic leadership that I truly admire, and we should demand it from all of our public servants. (Arden) should remind us of the enormous contrast between the hero of this tale and the politicians who choose to approach public service with cruelty and ignorance. Those elected officials go about their daily lives, facing the challenges that we all do. But instead of choosing empathy as a response, they decide to make those burdens heavier for other people.'He added, 'We are seeing autocrats exploit those who struggle to make ends meet. They think that showing strength means punching down on the most vulnerable. They are convinced that those who look or live or love differently from you don't experience the same joy or the same pain that you have. In this documentary and throughout (Arden's) premiership, we see that strong and effective leadership is founded upon empathy and kindness, especially in times of crisis. She shows us that strength comes from recognizing and acting on behalf of our shared humanity.'Doc10 fest was hosted by Chicago Media Project. Best of Variety Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival New Movies Out Now in Theaters: What to See This Week What's Coming to Netflix in May 2025
Associated Press
04-04-2025
- Entertainment
- Associated Press
Jolt Powers New Era for Independent Film Distribution With Slate of Impactful Releases
Jolt, the AI-driven platform helping independent films reach audiences and generate revenue, today unveiled its latest slate of bold, socially resonant films—including the highly anticipated premiere of Can't Look Away: The Case Against Social Media, a documentary feature film that exposes the real-world consequences of dangerous social media algorithms that exploit and endanger vulnerable young users. Other films joining Jolt's roster include Jon Glassberg's Girl Climber, showcasing renowned climber Emily Harrington as she defies expectations by taking on the challenge to free climb El Capitan in under 24 hours, all while confronting the relentless pressure to prove herself in a male-dominated sport; Wendy Lobel's ANXIETY CLUB, a funny and relatable exploration of anxiety and treatment methods through the lens of some of today's most brilliant comedians; and Dan Algrant's Cathedrals, following the filmmaker on a journey to reconnect with two Black collaborators from a film made nearly 50 years ago. Jolt is creating a new industry standard by transforming the way independent films are distributed and restoring creative sovereignty to filmmakers. As traditional streaming services have lowered the barrier to entry for the film and television industry, the resulting explosion in content has threatened both the creation and discoverability of independent films. Documentaries, especially those with political and emotional depth, have found themselves increasingly crowded out by commercialized algorithms. Jolt is building a critical alternative: a platform where original voices and complex topics are amplified, not buried. Launched by a team with deep roots in independent film—including former Sundance Chief Digital Officer Tara Hein-Phillips, Accel founder and long time Sundance Board Member Jim Swartz, and Academy Award-winning producer Geralyn Dreyfous—Jolt offers a new path forward for filmmakers. Through a first of its kind Interest Delivery Network, Jolt leverages advanced data and machine learning to deliver films directly to highly engaged, values-aligned audiences, ensuring creators see meaningful returns. Filmmakers receive 70% of their earnings, and retain complete ownership of their work and all future rights. Contrary to traditional distribution methods, Jolt strategically curates, markets, and distributes films, ensuring artistic voices find the audiences most receptive to their vision. 'Independent films and documentaries are at risk of disappearing into the void of content overload,' said Tara Hein-Phillips, CEO and Co-founder of Jolt. 'Jolt exists to change that. We're building a new model that empowers filmmakers with creative control, data, and a direct line to the audiences who care deeply about their work.' Bloomberg's Can't Look Away, directed by award-winning filmmakers Matthew O'Neill and Perri Peltz, joins Jolt's growing collection of vital and thought-provoking films, available as of today. The documentary investigates the real-world harms caused by social media platforms and the legal fight to hold them accountable, exemplifying Jolt's commitment to films that confront today's most urgent challenges. In addition to Can't Look Away, Jolt's 2025 lineup includes: Girl Climber (launching June 15), from Red Bull Studios, professional climber Emily Harrington has summited Everest, 8000-meter peaks, and dominated the competition circuit but her greatest challenge extends beyond the physical. Caught between the pursuit of personal ambition and the ticking biological clock of life, a near-fatal fall forces Emily to reckon with what she's willing to risk, ultimately proving she isn't just the best 'girl climber' but one of the best climbers. Period. ANXIETY CLUB (launching August 15), an insightful, heartfelt and humorous documentary that explores anxiety through the lens of some of today's most brilliant comedians, including Marc Maron, Tiffany Jenkins, Mark Normand and others. Through stand-up, sketch videos, exclusive interviews and private behavioral therapy sessions, they candidly share their personal struggles with anxiety, the world's most prevalent mental health condition. Cathedrals (launching May 15), a powerful exploration of the bonds that tie us together and the experiences that shape our identities. Through the lens of a creative collaboration spanning nearly fifty years, the film illuminates the struggles and triumphs that define life in a close-knit community, ultimately reaffirming the importance of human connection and the power of collective memory. Recent titles Hollywoodgate and Zurawski v Texas, which have garnered critical acclaim for their fearless storytelling, as well as The Bibi Files from Oscar-winning filmmakers Alex Gibney and Alexis Bloom, a gripping investigation into power and corruption at the highest levels of Israeli politics, set the tone for the kind of urgent, high-caliber storytelling that Jolt was built to support. 'While legacy streamers prioritize commercial appeal, often avoiding politically complex or emotionally challenging content, Jolt is creating a space where independent creators can thrive—without sacrificing ownership, revenue retention, voice, or impact,' said Accel founder Jim Swartz. 'Jolt exists so independent non-fiction narratives can find and challenge their audience, distinguish their voice amongst their peers, and make their collective impact,' said Geralyn Dreyfous. 'Jolt's model is exactly what our film needs,' said Matthew O'Neill, director of Can't Look Away. 'Through Jolt, we're getting a critically important story out to an audience that cares deeply about these issues in the timeframe when they are most hungry for knowledge. Parents everywhere can learn from this film.' 'In an era when tough stories are too often sidelined, we're grateful to partner with a platform that trusts filmmakers first,' said Perri Peltz, director of Can't Look Away. 'Jolt is making room for films that ask difficult questions—and giving them a place to be seen.' ' Can't Look Away tells so many stories in which young users have been left vulnerable by the digital practices of tech companies,' said Kristin Powers, Executive Producer of Can't Look Away. 'Jolt will reach the audiences who need to see this film—including parents—and, hopefully, provoke meaningful conversations.' For interviews, press screening access, or additional information on Jolt's upcoming releases, please contact [email protected] to learn more. About Jolt Jolt is transforming the way independent films are distributed, while restoring creative sovereignty to filmmakers. Through proprietary AI-driven audience discovery, Jolt connects extraordinary films to audiences with strategic curation, marketing and distribution. Co-founded by former Sundance Chief Digital Officer Tara Hein-Phillips, Accel founder Jim Swartz, and Academy Award-winning producer Geralyn Dreyfous, Jolt helps independent films achieve their full potential while empowering film teams with data, marketing tools and all future rights for their work. Jolt's curated platform features exceptional independent films like The Bibi Files, Hollywoodgate, and more. INDUSTRY KEYWORD: OTHER COMMUNICATIONS ENTERTAINMENT ONLINE COMMUNICATIONS MEDIA GENERAL ENTERTAINMENT FILM & MOTION PICTURES SOCIAL MEDIA SOCIAL ACTIVISM LICENSING (ENTERTAINMENT) SOURCE: Jolt Copyright Business Wire 2025. PUB: 04/04/2025 11:00 AM/DISC: 04/04/2025 11:01 AM
Bloomberg
04-04-2025
- Bloomberg
How to Keep Your Kids Safe Online
The 'stranger danger' fears of the 20th century can seem quaint compared with the horror stories kids may come across in the digital world. Before the internet, parents feared sexual predators or drug dealers having physical access to their children. Now they're just a swipe away. Kids are growing up online, immersed in social media, obsessed with it and, in some cases, addicted to it. More than 95% of teens in the US use social media, with one-third saying they are logged on almost constantly. The fabric of their social lives has shifted from classrooms to smartphone apps, video games and chat forums — internet spaces where it can be impossible to know who you're really talking to. And, as Bloomberg's new documentary Can't Look Away demonstrates, these online environments can be dangerous, and even deadly. The film, which is streaming on Jolt and in select theaters starting April 4, follows a group of attorneys fighting to hold social media companies accountable for causing devastating harm to kids: Cases where teens were ruthlessly blackmailed by international gangs of cyber-sextortionists or sold deadly counterfeit pills by drug dealers who deliver through their bedroom windows.
