Game of Thrones enthusiasts will be delighted to know that a fan-favourite from the HBO fantasy series stars in a moving romance film, which is now available to watch for free. As of today, the musical love story of Cyrano, which stars Tyrion Lannister actor Peter Dinklage in the titular role, can be streamed via…
Filmmaker Rashad Frett is making movies with a mission.
“I’m here to make films that bring in humanity,” Frett tells Variety. “Everything I do, I want to not only entertain our audience but inform them on what’s going on. Give them food for thought. To bring the audience a visceral perspective from a situation they’ve never experienced before.”
Case in point is Frett’s debut feature “Ricky,” about a 30-year-old navigating the challenges of life after being incarcerated for 15 years, which debuted at the Sundance Film Festival on Friday to rave reviews, including Variety’s. Anchored by a captivating lead performance by Stephan James (“If Beale Street Could Talk”), the film aims to bring that humanity to the hot-button issue of recidivism and spotlights the support ex-offenders need to avoid being re-incarcerated.
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“’Ricky’ came from seeing a lot of family members go through the criminal justice system and how they struggled to improve and find work, and some resorted to their old ways,” Frett says, explaining the backstory for the project, which he co-wrote, produced and directed. “We wanted to shed light on this topic with this different type of coming-of-age story, where a 30-year-old adult is outside in the free world for the first time.”
Frett developed the project as a short film while attending the NYU Tisch graduate film program, then he and co-writer Lin Que Ayoung got into the Sundance Institute’s writers lab to develop the feature version. Following that, Frett endured the “grueling” application process to get into the director’s lab, while producer Pierre M. Coleman took the project through the producers lab.
When it came time to shoot the feature, Frett and his crew returned to his hometown of Hartford, Connecticut. “I pooled my resources up there. I had the friends and family discount,” he says with a laugh. “Putting that film together about the community that I grew up in was a team effort on all fronts.”
Of course, key to that team were James and Sheryl Lee Ralph (“Abbott Elementary”), who bring their star power to the project. “I was sent the script and was really affected by what I read. It felt familiar and urgent,” James says of signing on to play Ricky and to executive produce the project.
James — who joined Frett for an interview at the Variety Studio presented by Audible at Sundance (watch the full video above) — also dove into Frett’s short. “It was important because it showed the care and attention to detail Rashad was taking with the subject matter,” he says. “It felt intimate, personal. After speaking about how the characters and world would evolve in a full-length feature, I was sure that together we have the chance to do something meaningful with the film.”
Ralph, who plays Ricky’s parole officer, was thrilled to get the opportunity to play against type, both as a person and the characters she’s often offered.
“The character gave me an opportunity to step into a world that is often misrepresented or simplified, and I wanted to be part of a project that sheds light on these experiences with honesty and integrity,” Ralph explained via email. “The storytelling was raw, and deeply human, offering a perspective that we don’t always see fully realized on screen. But what really sealed it for me was Rashad asking me to ‘take off the makeup and the extra hair in order to let the character breathe.’ Now that takes guts!”
Read on as Frett breaks down his process of making the film and his unlikely road to directing.
“Ricky” marks a full-circle moment – not only because you filmed the movie in your hometown in Connecticut, but you’re also returning to Sundance after debuting the short at the 2023 festival How did you find out that the feature got in too?
I was on the way to the university — I teach directing at Brooklyn College — and I got the call, like ‘Congratulations,’ and I literally had to pull over because I couldn’t believe it. As artists, we have doubts, you know what I mean? I had to pull over for a good amount of time to process the news that we’d gotten into the dramatic competition.
That’s a good point. Just because you debuted the short there and because you took the feature through the lab doesn’t automatically mean you get a bid.
I was honored and humbled and at a loss at how this road to Sundance occurred. This literally started from a short film in grad school at NYU Tisch and just snowballed into this thing. My co-writer Lin Que Ayoung doesn’t like to heart this praise, but I was just going to graduate with a feature script, and she was like “We spent all this money to go to grad school, we should do another short.”
How did the short become the feature? What were some of the first ideas you had about expanding the story?
I really wanted to go deeper into the community, into the world that Ricky comes from, so I added elements of the church that weren’t in the short. Or that his father was deported. Just diving into more of his backstory before he spent 15 years in prison.
How did Stephan James get on board?
One of Michelle Satter’s [founding director of the Sundance Institute’s Feature Film Program] sons is Stephan’s agent, and we connected. When we spoke, we immediately clicked. We share Caribbean roots, and we both know people who went through what Ricky went through. It was almost as if the universe brought us together; he was supposed to be Ricky. He did a remarkable job, and it was an incredible experience.
In the short, Ricky’s parole officer plays a very small part, but the feature presents a more complex relationship between P.O. and parolee. How did you cast Sheryl Lee Ralph in this role?
I consulted with a parole officer on the subject, and I’ve known people that dealt with parole officers — you have good ones and you have bad ones. I wanted to portray a parole officer that actually cared about their parolee. A lot of the parole offers that I’ve known, grew up in the same community as their clients, so sometimes they’ll have clients that might have been their classmate from high school.
With Mrs. Ralph, we have similar backgrounds — she’s a Connecticut initiative, and we also share Caribbean roots, so we connected on that. Just the amount of just wisdom and professionalism in her performance was incredible. I learned so much working with them. It was just a complete honor, like some nuances that she and Stefan wanted to bring to the characters was incredible.Was Mrs. Ralph doing a little bit of an accent?
Yes, she was! It came out [naturally] and I was, “We were keeping it!” That’s the world we’re portraying, this Caribbean American community, so I loved it.
Stephan and Sheryl are new to the cast, but a few actors from the short reprise their roles, like Simbi Kali, who plays Ricky’s mother, and Maliq Johnson, who plays his brother. Plus, Parish Bradley, who played Ricky, takes on a new role in the feature.
I’m very loyal. I wanted to bring over some of the cast from the short to the feature, because they knew the story, so it was just enhancing the character that they had [before]. Like Maliq, we stayed in contact after the short; we’re like family. They just brought it up to the next level.
It’s a mix of top-tier actors and non-actors — that’s part of my process as a director. And my family is in there as well. My aunt is in the beginning, where the women from the church are blessing Ricky. In my community, and in a lot of communities, the church is a big influence, so I wanted to touch on that idea that Ricky’s mother and her church sisters needed to try to protect him now that he’s coming home after so many years. I also cast my nephew — he’s the kid Ricky gives a haircut to. I only had a week and a half to work with him because he’d never acted before, but I’m used to working with non-actors.
I also brought in another actor [Jadiah Bailey] from one of my previous shorts, “K.I.N.G.” I’m in the process of creating a universe of films within the same world. So, we’re gonna make a “K.I.N.G.” feature and like a few others, but it all ties into the same world. That’s the goal. That film was more about my personal life — my father not really being around and being a troubled teen. When I do get to make it, I want to do that in the Caribbean. I’m also ex-military so I want to do a spin-off from that as well. I’m inspired by the things that I’ve experienced and the people around me — that’s what I teach my students to do.
Tell me more about your military service — you were an Army medic, working in New York on September 11 and you’ve said that experience made you realize filmmaking was your path. How so?
I remember that day like was yesterday. I was a kid — I was 20. I’ve always had a passion for the arts, but I didn’t have any guidance in [entertainment], so I was just trying to figure it out where was my place in the world. So I joined the military. That day, 9/11 specifically, and seeing what I saw, I thought I’m not into politics like that, but I was just trying to figure out how I can I express myself or express what’s on my mind. I thought I’m going to turn to the arts.
The arts have been around me all of my life. It evolved from drawing to wanting to be an actor and that evolving my lofe of film. But at that moment, specifically, I just wanted to figure out how to be hear and how I can share how my community has been affected by this. That day is one of the pebbles that started the ripple effect of where I am today.
What were some of those early films that inspired you?
Professor Spike Lee’s “Do the Right Thing.” When I first saw it, I was in shock. I was like “Wow!” The artistry behind it was just so unique and really in for face. I also loved “The Warriors”; it was just something about seeing them trying to beat all the odds and get back home.
What was it like having Mr. Lee as a professor at NYU?
He was amazing. He dropped so many jewels, and he was extremely supportive. I remember going to his office to meet with him one-on-one to review our work and, internally, I’m freaking out, but I had to play it cool. But he was extremely honest, and it really helped my filmmaking get to the next level. I’m truly grateful for that, for the experience, and I’m sure he’s gonna see [the feature], and I can’t wait to see what he what he has to say about it.
What was the best note that he gave you?
Stick to your guns. If it’s your vision, and you full feel fully passionate about it, stick to your guns, and don’t even listen to the next person. If you truly believe in the story, that’s all that matters. I apply that to this day.
What was the most challenging part of making this feature?
When I direct, I really like to take my time to draw the performances out, and I just felt like we didn’t have enough time. We literally didn’t have enough time: it was a 20-days shoot; I wish it was a 25-day shoot. But, there’s beauty in limitations and we pulled it together and made it happen by the grace of God.
What do you hope to say with this movie?
I’m here to make incredible films that bring in humanity. Everything I do, I want to not only entertain our audience but inform them on what’s going on. Give them food for thought. To bring the audience a visceral perspective from a situation they’ve never experienced before.
I love the way you ended your director’s statement with this question: “How can we as a society make space for redemption?” What is your answer to that question? Or how does this movie serve as your answer to that question?
Hopefully, with this film, I can spark a conversation and remind people to give some empathy toward ex-offenders and give second chances to people that are really trying to do the right thing and reintegrate back into society. There’s a lot of programs out there, but after consulting with people that I know who went through the criminal justice system it seemed like there should be programs that start to reacclimate them earlier.
We interviewed ex-offenders during the process and one of them said that each prison is different — some have great programs and some of them have none, and he had better results reintegrating to society when he went to the program prior to being released. But there aren’t many out there.
New books are important because many children may have never had a new book. (Can Stock) St. John’s collecting books for Taft Elementary Book Drive | All books must be delivered by Friday, Feb. 7. St. John’s Episcopal Church is currently collecting books for its annual Taft Elementary Book Drive. The goal is to give…
(Credits: Far Out / Alamy) Sat 25 January 2025 19:45, UK Al Pacino has conquered pretty much every genre he has ventured into. In the realm of gangster films, he is untouchable, thanks to performances in Scarface, Donnie Brasco, and The Godfather trilogy. He’s dazzled in The Insider and Serpico, two movies about ordinary people tackling large institutions, and he’s even got a great sports drama under his belt thanks to Oliver Stone’s Any Given Sunday. One thing the iconic actor has never done is an honest-to-goodness superhero flick. The closest he’s come is 1990’s Dick Tracy, which is based on a comic strip, but nobody would go as far as to say it was a ‘comic book movie’. Considering how many legendary names have been courted by the likes of Marvel or DC in recent years, it is somewhat surprising that Pacino hasn’t turned up in this world. Maybe he just doesn’t like superheroes? Not so, if one interview is to be believed. In conversation with Vulture, Pacino named a comic book movie that he really enjoyed – Marvel’s 2014 release Guardians of the Galaxy. “I thought the Galaxy thing was a very interesting movie,” he said, giving the film the respect it deserves by seemingly forgetting its name. “In its genre, it was done very well. I saw it with my little kids, and they liked it, and I liked it. I thought it was inventive and funny and dark at times. I thought, ‘Gee, it’s a big movie, and you saw it on a big screen with sound’, and it was, I thought, well produced, well directed, acted. I was happy sitting there.”Guardians, as it is known amongst fans, marked the biggest risk the Marvel Cinematic Universe (MCU) had taken at the time of its release. The titular superhero team – comprised of Star-Lord (Chris Pratt), Gamora (Zoe Saldaña), Drax the Destroyer (Dave Bautista), Rocket Raccoon (Bradley Cooper), and the monosyllabic Groot (Vin Diesel) – were not household names. It seemed like a very random choice to give them their own film before characters like Ant-Man or Black Panther, but the movie’s mixture of humour, drama, and touching relationships made it a big hit. Not only did it get two sequels, but the major players were also heavily involved in the big Infinity War/Endgame finale to the first MCU saga. Star-Lord is almost the entire reason the ‘Snap’ happens – something most Marvel fans still haven’t forgiven him for.When asked if he’d want to do something similar to James Gunn’s opus, Pacino admitted he “wouldn’t know” how to behave in a superhero situation. “It’s what I can do,” the then-74-year-old said. “What my life is at this point, having young children too, I have older children. Whatever my life allows me to do, I will do… I feel sometimes like I do what my life dictates.”If Pacino was worrying about his age when he made these comments, then he needn’t have bothered, as the ‘Guardians’ franchise became something of a haven for older actors. Guardians of the Galaxy Vol. 2 features appearances from both Kurt Russell and Sylvester Stallone, the latter of whom plays a grizzled space pirate character that Pacino would have absolutely relished. He might have never been in one, but it’s nice to hear somebody of Pacino’s stature praise superhero cinema, especially as the likes of Martin Scorsese have publicly poured scorn on the genre. The star is still working well into his ninth decade, so there’s still plenty of time for him to don that spandex. [embedded content]Related TopicsSubscribe To The Far Out Newsletter
(Credit: Alamy) Sat 25 January 2025 20:45, UK If there’s anyone who knows a thing or two about great movies, it’s Denzel Washington. From winning an Oscar for Training Day to directing and starring in the acclaimed Fences to bringing Malcolm X to life in Spike Lee’s epic, the star has proven himself to be one of the greatest performers of this or any generation. Even if the film itself isn’t great, he’s always a highlight, as he proved with his brilliantly unhinged appearance in Gladiator II.One thing Washington seems to have stayed away from across his accomplished career is franchise movies. With the notable exception of The Equalizer, which spawned a trilogy, very few of his films get sequels, and even if they do, Washington rarely reprises his role. Perhaps this decision was influenced by a trip he once took to the cinema to watch the second instalment in an iconic spy series.“I saw The Bourne Supremacy the other day and it pissed me off,” he told Phase 9. “He has a nice little franchise going there.” The ‘he’ Washington is referring to almost certainly Matt Damon, who starred as amnesiac espionage agent Jason Bourne in four movies between 2002 and 2016. He first took on the role in The Bourne Identity, before completing the original trilogy with 2007’s The Bourne Ultimatum. When Damon decided not to return to the franchise, Jeremy Renner was cast as new character Alex Cross, although the series maintained its ‘Bourne’ motif with 2012’s The Bourne Legacy. Four years later, Damon decided he wanted one more go with the character, starring in the bluntly-titled Jason Bourne. The Bourne Supremacy, which sees the titular agent attempt to uncover more about his mysterious past, gained director Paul Greengrass after Doug Liman walked away from the series. The movie was just as exciting and well-paced as its revoluionary predecessor and, more importantly for the studios, it made more money. So what is Washington’s beef with it? Well, as it turns out, he might have actually been ‘pissed off’ in a good way. The Flight star was there to promote his upcoming movie Man on Fire, in which he plays CIA agent-turned-body John Creasy. The character comes from a series of novels by A J Quinnell, something Washington wasn’t aware of until the interviewer pointed it out. “I honestly did not know about those other books, so thank you for that. Maybe I could do another one of these Creasy stories,” he said. In fact, four more novels featuring the character were released between 1992 and 1996. Unfortunately, Creasy dies at the end of Man on Fire, but Washington, ever the entrepreneur, had an idea to get around that – “we can just say that he fell asleep at the end of this one.”Interestingly, there was an alternative ending to the film in which Creasy survives his initial injuries, but kills himself anyway to take down the main villain. Man on Fire was a major financial success, so they could have easily made another one if they wanted to, but alas, it never happened.Was Washington annoyed at The Bourne Supremacy? Or was he just jealous of Matt Damon’s cushy position? We may never know the answer, but even with just one big franchise to his name, it’s safe to say that Washington has still done more than alright for himself.[embedded content]Related TopicsSubscribe To The Far Out Newsletter
(Credits: Far Out / Public Domain / Press) Sat 25 January 2025 22:15, UK The film industry has typically been very male-dominated, with Hollywood existing for many years as a glorified boys club that didn’t care for the stories and experiences of people they didn’t directly relate to. However, there have always been pioneering female filmmakers who have fought for this to change, with writers and directors like Dorothy Arzner, Lillian Gish, and Ida Lupino paving the way for future women in the field. Since then, directors like Chantal Akerman, Claire Denis and Catherine Breillat have forged fearless careers through their bold and challenging filmographies, exploring feminist ideas and infusing them into the medium in a practically unheard-of way. These stories were seen as taboo and deeply controversial, and their legacy can be felt today in the work of Julia Ducournau, Celine Sciamma and even Greta Gerwig. Despite the fact that there are far more female directors working today, the overall statistics aren’t changing and there is still a huge gender disparity at the heart of the industry. Those in power would like us to be content with what we have, even though there is still much more work to be done in order to even the playing field. As we look forward to the future and the ways we can improve the current state of filmmaking, it is important to recognise the trailblazing women who did it first and began to break the wheel. During the early days in Hollywood, there were very few women let into leading roles, yet alone allowed to direct films. But while it was uncommon, Louis Weber managed to do this, even with all the odds stacked against her. What was Lois Weber’s first movie as a director? Weber was one of the most prolific and influential directors within the silent film period, working in Hollywood until she died in 1939. She is considered one of the first genuine auteurs, working to change the framework of film production and modernise the medium by infusing her political ideas into her films. She is most known for films such as Suspense, Shoes and Hypocrites, but her very first film as a co-director was A Heroine of ‘76 in 1911. Her work was extremely forward-thinking and progressive, exploring subject matter relating to poverty, birth control, and abortion, with her 1915 film Hypocrites being the first to feature full-frontal female nudity. After her co-directed short film in 1911, her first feature film in which she was the sole director was The Merchant of Venice in 1914. Weber also became a studio ownerAs well as being the first female Hollywood director, Weber was also the first woman to found her own studio, becoming an equally prolific producer. Her studio was aptly titled Lois Weber Productions, which was formed in 1917 and led to projects such as The Blot and What Do Men Want? Despite her unprecedented success as a director, the studio only survived for four years, with her distributors at Paramount refusing to release What Do Men Want?, leading to the studio’s collapse entirely. The demands of the audience were shifting with the rise of the ‘Roaring Twenties,’ and cinema began to change rapidly. Despite the unfortunate end to her studio, Weber was an astonishing force that changed cinema forever and continues to be remembered for her unparalleled contributions. [embedded content]Related TopicsSubscribe To The Far Out Newsletter
New from Lifetime, Mary J. Blige’s ‘Family Affair’ premieres tonight, Saturday, January 25 at 8/7c. The movie, inspired by the hit song, follows the story of Kendra and Ben as they continue their romance away from the city. For a look at the trailer, check out the video here. Then, watch for free live with a trial of Philo.• Don’t have cable? You can watch Mary J. Blige’s ‘Family Affair’ for free with Philo(free trial) or with Fubo (free trial).What is Mary J. Blige’s ‘Family Affair’ about?Kendra and Ben move out of the city to continue their lives together in this Lifetime movie inspired by the Mary J. Blige song of the same name. When Kendra clashes with Ben’s son, their relationship comes to a head and Kendra takes some space for herself. Will their families be able to come together to keep their love alive? Tune in to find out.Who is in the cast of ‘Family Affair?Ajiona Alexus stars at Kendra and Da’Vinchi stars as Ben.HOW TO WATCH MARY J. BLIGE MOVIES ON LIFETIMEWhat: Mary J. Blige’s ‘Family Affair’When: Saturday, January 25 at 8/7cTV Channel: LifetimeWatch the show live streaming online: You can watch the Lifetime movie LIVE for free with Philo(free trial) or with Fubo (free trial). If you already have cable, you can stream this movie live on Lifetime Live with your cable or satellite provider login information.
TITLE: The Librarians
Section: Premieres
Director: Kim A. Snyder
Logline: As an unprecedented wave of book banning is sparked in Texas, Florida, and beyond, librarians who find themselves under siege join forces as unlikely defenders in the fight for intellectual freedom on the front lines of democracy. Kim A. Snyder (Us Kids, 2020 Sundance Film Festival) takes us to an unexpected front line where librarians emerge as first responders in the fight for democracy and free access to information.
Company: Radical Gaslighters
Watch on Deadline
Panelists: Sarah Jessica Parker (EP), Kim A. Snyder (director), Allison Benson (producer), Becky Calzada (librarian and film participant), Amanda Jones (librarian and film participant)Key quotes: E.P. Sarah Jessica Parker on the motivation behind book banning:
“I sometimes feel as if it’s fear of children having information that might be counter to a home’s ideology, religion, political point of view. And when young people have information, they might ask questions and that might be counter and it might feel as if there is conflict when in fact it’s really just healthy curiosity about subjects, people, religions, culture that is unfamiliar.”
Librarian Becky Calzada: “The current state of book banning… initially it started in Texas and has spread out through Louisiana, Florida now even in Utah, where we’re seeing even the state telling students that they can’t even bring a book that they personally own to school… if it’s banned in their schools.”
RELATED: Book-To-Movie Adaptations Coming Out In 2025
Librarian Amanda Jones: “I’m from a very small town in Louisiana and I can’t even go out grocery shopping in my town. I’ve received death threats for the crime of giving a speech at the public library about how libraries are for everyone. And it’s not just an attack on librarians, but it’s an attack on the books. But they’re also trying to devalue and defund libraries as a whole, across the board.”
E.P. Sarah Jessica Parker: “The safety and wellbeing of these librarians who are pursuing the idea of education, the gateway to information and curiosity — for anybody to step in the way of the opportunity to learn is really tragic.”
Director Kim A. Snyder: “We’re very excited to be partnering with PBS and Independent Lens. They have a built-in network of over 150 libraries. We’re partnering on an impact campaign with PEN America and a lot of their courageous authors who’ve been affected with these banned books. And also, CAA Foundation is going to become involved to really do a tour and get this out as widely as we can.”
RELATED: TV Show Book Adaptations Arriving In 2025 So Far
Watch our conversation with The Librarians team above.
Deadline Studio at Sundance presented by Casamigos
Posted in: Books, CW, Pop Culture, streaming, TV | Tagged: buffy, buffy the vampire slayerBuffy, Willow, Xander & Giles wield “The Power of Friendship” in author Virginia Murphy and illustrator Pernille Orum’s Little Golden Book.Published Sat, 25 Jan 2025 13:07:08 -0600 by Ray Flook | While we wait patiently to see if anything will result from Sarah Michelle Gellar sounding much more comfortable about the idea of a possible Buffy the Vampire Slayer return (more on that in a minute), Penguin Random House is giving “Buffy” fans to learn more about “The Power of Friendship,” the newest Little Golden Book, written by Virginia Murphy and illustrated by Pernille Orum. Released on July 1st (though available now for pre-order), Based on the overview that was released, readers will learn about the importance of friendship and working together as a team from Buffy, Willow, Xander, and Giles (even if you don’t have a pesky little Hellmouth to worry about). Here’s a look at the cover art, followed by the overview that was released.Image: Penguin Random House/Little Golden Book
Join Buffy Summers and her friends from the fan favorite TV series “Buffy the Vampire Slayer” in this adventure-filled Little Golden Book for all ages! Whether it’s slaying vampires, fighting monsters, or breaking curses, Buffy Summers and her friends Willow, Xander, and Giles always stick together to save Sunnydale–and the world! This Little Golden Book is perfect for Buffy the Vampire Slayer fans of all ages as well as Little Golden Book collectors.
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Buffy Return Timeline: Sarah Michelle Gellar, Dolly Parton & More
“It’s funny. I always used to say, ‘No,” ’cause it’s in this bubble and so perfect. But watching ‘Sex and the City’ and seeing ‘Dexter’ and realizing there are ways to do it definitely does get your mind thinking.” And with those words, Sarah Michelle Gellar dumped a whole lot of gasoline on the dumpster fires of hope that Buffy the Vampire Slayer fans have had for years that Gellar would return to her iconic role. Ironically and interestingly enough, Gellar shared her evolved perspective on a possible “Buffy” return while promoting Paramount+ with Showtime and Showrunner/EP Clyde Phillips’s (Dexter, Nurse Jackie) Patrick Gibson-starring Dexter: Original Sin – a franchise (along with the upcoming “Resurrection”) that getting renewed life now that Michael C. Hall has returned to his famous role. With all of the building buzz, it got us thinking about where things stand with the possible reboot/revival/spinoff/sequel series (there are differences, we promise) – and how Gellar’s recent comments could get things rolling again.
Image: Paramount+ with Showtime; WBTV Screencap
Back in 2018, 20th Century Fox Television announced that it was developing a reboot. Monica Owusu-Breen (Midnight, Texas; Marvel’s Agents of S.H.I.E.L.D.) would serve as showrunner, and Joss Whedon would co-write and executive produce. That would change beginning in early 2021, when Buffy & Angel star Charisma Carpenter went public with accusations against Whedon that involved years of unprofessional and abusive behavior. This prompted many others connected to both shows to voice their support for Carpenter and offer their own allegations. Whedon’s efforts in early 2021 to address those matters and others in “The Undoing of Joss Whedon” by Lila Shapiro for New York Magazine appeared to only worsen matters, with many seeing Whedon as attempting to “play the victim” instead of addressing the accusations leveled against him in a reasoned, honest manner.
Shortly after, the allegations would return to the spotlight with the publication of Evan Ross Katz’s Into Every Generation a Slayer Is Born: How Buffy Staked Our Hearts. Offering a behind-the-scenes look at the series from its cast, creative team, and production crew, the book included interviews with Gellar, Carpenter, Emma Caulfield, Amber Benson, James Marsters, Anthony Stewart Head, Seth Green, Marc Blucas, Nicholas Brendon, and many others. In terms of a series return, things were understandably not looking good heading into August 2022, with executive producer Gail Berman sharing with The Hollywood Reporter’s Katie Kilkenny that the project was “on pause.” Now, flash ahead to January 2024 – when music legend and pop culture icon Dolly Parton made some “Buffy” headlines…
Image: WBTV Screencap/NBCUniversal
For those of you who don’t know, Parton and her former manager, Sandy Gallin, founded Sandollar Productions – and it was the production company’s television division (Sandollar Television) that co-produced all seven seasons of “Buffy” as well as the David Boreanaz-starring spinoff series Angel. Co-producing the original film with Kuzui Enterprises, the two production companies would join Whedon’s Mutant Enemy Productions and 20th Century Fox Television (now 20th Television) to develop the television series. “They’re still working on that,” Parton shared with Business Insider. “They’re thinking about bringing it back and revamping it,” she added, not offering additional details at the time. Three months later, in April 2024, Gellar shared with US Weekly during a fashion awards show in Los Angeles that Parton was one of the very few people she would take a call from regarding a return. “I mean, like, if Dolly Parton is going to call me, I’m always available to take a phone call from the queen,” Gellar shared.
To offer you some perspective on just how much “The Queen” means to her, Gellar discussed Parton being a “silent” producer on the series, how crucial Parton was in getting the series off the ground, how she reacted after Parton praised the series, and the moment when she realized that Parton knew who she was during a February 2023 visit to NBC’s The Tonight Show – with the interview waiting for you above.
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Posted in: Antarctic Press, Boom, Comics, Comics Publishers, Current News, Dark Horse Comics, DC Comics, Dynamite, IDW, Image, Marvel Comics | Tagged: diamond, lunar, PenguinWhat choice for smaller publishers oif Diamond goes away, If Lunar Distribution and Penguin Random House aren’t options?Article Summary
Diamond Comics’ bankruptcy spells trouble for small press publishers seeking distribution.
Lunar Distribution and Penguin Random House hesitant to take on smaller publishers.
Retail shifts towards pop culture may shrink indie comic presence in stores.
New distribution models and alternatives may emerge to support small publishers.
Diamond Comic Distributors does one extraordinary thing. It gives small press comic book publishers the opportunity to gain national, indeed worldwide distribution for free, across the direct market. And what money Diamond took, was a small fraction. Given processing costs, on the smallest titles, they probably took a loss. The qualifications were ridiculously low on a commercial nature. I mean, they even distributed by own black and white small press comics back in the early nineties, which raised enough money to me to fly from London to San Diego Comic-Con several times. Looking back now, especially what I was then, it was… well… extraordinary. Even then, when there were several distributors I was initially going through, Diamond brought in the biggest buck, even as they then bought up all their rivals.Diamond logo
Now Diamond Comic Distributors has declared Chapter 11 bankruptcy. The big publishers had already left, after taking advantage of lockdown making their exclusive contracts with Diamond bulk and void. A rather cut throat and mercenary decision, but inevitable after the train started rolling down that hill.
So what remains? Well, Lunar Distribution have a lot on their plate. The survivors of the DC distribution war, they had initially stepped up to distribute Marvel Comics at one point, but Image Comics has taken up much of their resources. They have a number of small publishers, who chose not to be Diamond-exclusive, but taking on more right now seems to be a no-no. While Penguin Random House has Marvel, Dark Horse, and IDW… and will soon have Boom. Their interest in taking on smaller publishers seems negligible. Dynamite may be considered, but no one smaller. Publishers will likely stick with Diamond, but would that be throwing good money after bad? As it stands, they are owed and owed stock. Full bankruptcy may deprive them of either or provide pennies on the dollar. Will they risk greater exposure by allowing Diamond to distribute more of their comics?
This also comes at a time when shipping cost increases has made crowdfunded comics less prevalent, printing costs have made publishing header and increased warehouse costs are also pressing on people who just want to make comics. Ben Dunn of Antarctic Press writes on social media, “With the bankruptcy of Diamond Comics distribution what exactly does this actually mean to comic stores? For now, it is business as usual. Comic stores will continue to get their comics, but this portends a shift in buying. Many comic stores are making the shift to being pop culture stores selling mostly toys, merchandise, cards, etc. Despite what you may personally think of Diamond, it was the ONLY distributor of small press comics. If they go, where will these publishers and creators go now? Imagine a world with no BONE, no USAGI YOJIMBO, no TEENAGE MUTANT NINJA TURTLES or no NINJA HIGH SCHOOL. If the direct market had not arisen, then chances are none of these small press comics would have gotten into stores and found an audience. Yes, Diamond made some mistakes, and hopefully, they will learn from them, or maybe it may be too little, too late. We shall see. Apparently, both Lunar and Penguin have shown little interest in AP. Not for lack of trying. We have attempted to contact them on many occasions but to no avail. We are essentially on our own, as I am sure many other small press publishers. Will we survive? Yes. AP will survive but it may be changed. Our method of distribution will change. Our product line and editorial content will change. What that change will be remains to be seen, but I believe we will know in a few months where we will be. Will someone pick up the baton? Perhaps. Will retailers care? I hope so. The thing is, if comic stores disappear or stop carrying small press comics, the indie small publisher will have a greatly diminished presence to the public. Will it be the end? Well, not really, as we have various new ways to make money, but our reach will no longer be as influential. No real chance for a new small indie to break out and build an audience. Right now the industry is relying on nostalgia. Oh, there will be a success here and there, but not nearly as much as it could be. I lament how the comics industry has self-destructed. I long had advocated to re-think the distribution model, but it fell on deaf ears, with many saying that it is outdated or impossible to implement. Well, here we are. Looking into the abyss. Had we just taken a moment to look to the future instead of lining our own pockets or indulging in personal drama, we might have had a healthy, thriving industry. Now we are looking to one that will soon disappear. I don’t wish to end this on a down note. I love comics. Always have. Always will. I love the creators who make them. I love the fans and readers who support us. We need to work together to revitalize the industry and the best way to do it is to give people a reason to read comics. Give people what they want, and they will beat a path to your door!”
Diamond Comic Distributors was very effective, but only at scale. And a scale dwarfed by Pnguin Random House. There are moves I hear for new smaller-publisher and small-press distributors to set up if Diamond does indeed go away. I heard UCS, who lost the DC distribution war formed by Midtown Comics, may be revived for just this purpose. But the chances are it will be less financially remunerative for the publishers and creators. How does that song go? “You don’t know what you’ve got till its gone.” Mayeb they’ll put up a parking lot.
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