Saturday, December 20, 2025
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Kanye West Releases Trailer for “Jesus is King” Movie, Due in Theaters Next Week, Album is Still AWOL

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This thing tells us nothing. Here’s the description on the website: “IMAX® is releasing the all new Kanye West film, “JESUS IS KING,” exclusively in IMAX theatres. Filmed in the summer of 2019, “JESUS IS KING” brings Kanye West’s famed Sunday Service to life in the Roden Crater, visionary artist James Turrell’s never-before-seen installation in Arizona’s Painted Desert. This one-of-a-kind experience features songs arranged by West in the gospel tradition along with new music from his forthcoming album “JESUS IS KING” — all presented in the immersive sound and stunning clarity of The IMAX Experience®.”

Will it have a shopping component? Probably. And where is that album? God only knows.

CBS’s New Drew Barrymore Talk Show Threatens Midday Soaps “Young and Restless,” “Bold and Beautiful”

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Drew Barrymore may not seem so cute in the fall to her movie fans.

CBS Television has announced it’s picking up her hour long talk show for their afternoon schedule. This means, something has to go.

Right now, CBS programs the hours between 10am and 3pm in New York, and 10 to 2pm in Los Angeles. Right now, the CBS Daytime lineup is solidly booked, from Judge Judy’s “Hot Bench” program in the morning through to her own show in the afternoon. In between, CBS has the game shows “Price is Right” and “Let’s Make a Deal,” plus “The Talk” and “Dr. Phil.” In Los Angeles, they also have “Funny You Should Ask,” which they don’t produce but have renewed for the fall.

CBS should learn the lesson ABC accepted when it canceled “All My Children” and “One Life to Live” to make way for Katie Couric’s talk show several years ago. That ended in tears. The soap fans did not migrate to Katie, and the show was cancelled. Barrymore, who is not a particularly intuitive person when dealing with others, may not grasp the ire of those fans. But they will retaliate.

Still, “Drew” has to go somewhere on the schedule. It doesn’t help that the ratings for “The Young and the Restless” have fallen by a million viewers in two years. This past spring and summer have been brutal, although there does seem to be a little comeback happening now. Soap fans had better start a campaign to save their shows now, before things get any more dire.

And the question is, Do we need another talk show? Like another bank on the corner, talk shows are empty vessels. “Ellen” is fine, and “Live with Kelly and Ryan” has its place. But beyond that, they are all, mercilessly, the same, without much substance. And will Barrymore really want to stick it out for five years or more if her ratings aren’t anemic? The network risks losing a generation of viewers by making a sudden move.

Global Citizen Hires High Powered, Highly Paid Exec to…Raise Money for the Poor? No…Produce More Expensive Rock Concerts? Yes

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People still don’t get it. Global Citizen is about money and rock concerts. It has nothing to do with poverty, charity, or hunger.

This morning this sketchy tax free boondoggle announced they have hired Lee Rolontz as SVP of Broadcast and Events. They didn’t hire her to get money or food to poor people. No, her job is to produce more expensive rock concerts.

Rolontz, with 20 years on her resume at I Heart Radio and Viacom/VH-1, will undoubtedly receive a high six figure salary and an expense account.

She will join an organization that already is paying its top two execs $400,000-plus a year. And claimed total salaries in 2017 of $9 million.

Yet, as I’ve written before, Global Citizen’s only job is to “raise awareness” about poverty and hunger. And to fly rock stars around the world.

It’s nice work, if you can get it.

For Harry Styles, “Lights Up” was a Dim Prospect as Opening Single for New Project, Coming in 3rd This Week

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Harry Styles released “Lights Out” last week, mid week, with no warning or marketing. The result was a few sales counted before the week ended. But it did go to Number 1 for a minute.

A week later, “Lights Out” has been a dim prospect for Harry, who will release a new album soon. The single is at 23 on the iTunes chart. With sales (including streaming) at 80,000, “Lights Up” will finish third for the week. Its actual sales: 13,000 paid downloads this week, a total of 17,000 counting last week. I liked “Lights Up.” Maybe the next one will do better. But remember– Harry’s singles from his first album were not earthshaking sellers.

The singles chart is a strange place in this generation. Artists drop songs, they go to number 1 for 2 days, then drift away. Few singles stick around for months, making a lasting impression, Lizzo’s “Truth Hurts” just passed its 13th month  birthday in the top 5. Now that’s a hit! Another Lizzo track, “Good as Hell,” debuted on March 8, 2016– three and  half years ago! It’s number 6 right now.

Katy Perry dropped a new track on Tuesday night called “Harleys in Hawaii.” There’s also a video. I don’t get it. These are just pedestrian songs. She can — and has done– so much better.

Broadway: Marisa Tomei Works Very Hard But Can’t Save an Alarmingly Pedestrian Reboot of Tennessee William’s “Rose Tattoo”

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I am flummoxed by the new revival of Tennessee Williams’ “The Rose Tattoo,” which opens this week with Marisa Tomei as the sexy, confused Italian widow Serafina. Tomei, who has a long theater resume, knows what she’s doing. But she’s the only one. Rarely have I seen a star go one way and the production go the other way in a piece that is well known to everyone at least in theater.

You hear the name Tennessee Williams and you don’t think “slapstick.” There’s humor in “The Rose Tattoo,” and Serafina can be daffy and sassy, but Lucy Ricardo? No. Director Trip Cullman, who did fine work reviving “Six Degrees of Separation” and “Lobby Hero,” has just misunderstood this play completely.

Serafina is a Sicilian transplanted to the Gulf Coast of Louisiana in 1951. She sings the praises of her husband, a truck driver, as a great lover and partner. But he dies, and she learns he’s been having an affair. (It’s unclear in this version how long this takes– a few days or years.) She’s left with a 15 year old daughter who wants to lose her virginity. That’s Act I. In Act 11, a hunky younger truck driver wanders into Serafina’s seamstress business, and they fall for each other.

None of this is particularly funny, but someone has told the actors to “sell it.” The whole tone is off, and it’s almost impossible to follow what’s going on in the first act. Tomei is working, working, working. She is gorgeous and smart. But it’s like herding cats. She can’t get the cast on the same page, and neither can Cullman. Working against them is an extremely odd set. It’s inside, outside, who knows? In the distance on video is supposed to be the Gulf, but this Gulf has waves like it’s Ditch Plains beach in Montauk. A surfer could float in at any minute. Plus there are children running around constantly. Is there a daycare center nearby?

More even than George Costanza, I am such a fan of Marisa Tomei. See this production just to see her. But don’t hope to learn anything much about Tennessee Williams. This streetcar has too much graffiti.

 

R&B Great Sam Moore Turns 84 with a Surprise Party and Landmark Performance This Friday on PBS

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R&B great, Rock and Roll Hall of Famer Sam Moore turned 84 this week. Just to show you what a voice can be like at that age, Sam is one of the stars of this Friday’s Grammy Lifetime Achievement Award performances on PBS. Don’t miss it. Sam is featured solo and with Garth Brooks, who flew in to Hollywood from Nashville to sing with his old friend.

The show, taped last May at the Dolby Theater, features Valerie Simpson, Dionne Warwick, plus George Clinton and Funkadelic, and 93 year old songwriter Johnny Mandel. Click here for my original story from May. You’re not going to want to miss Sam sing “I Can’t Stand Up for Falling Down.” The Dolby Theater went crazy!

Don’t miss this show. Set your Tivos and DVR and whatever, or settle in with a nice snack to see real music legends do their thing.

PS For that 84th birthday, Sam’s wife, Joyce, threw him a surprise party and he was really surprised. He’s still getting over the shock of seeing so many friends and family in his backyard!

UPDATED Jennifer Aniston Joins Instagram, with Photo of “Friends” Cast Reunited, and a 1 Second Video, and Gets 11.8 Million Followers

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Jennifer Aniston’s new series, “Morning News,” is getting ready to launch on Apple TV. So what to do to promote it? She joined Instagram yesterday, posted one blurry picture of herself with the cast of “Friends” reunited, and reaped 8.4 million followers. It’s a marketing dream. (David Schwimmer’s response is below.)

In another movie to pump “Morning News,” Jen– her friends call her Jen, according to the Instagram bio — is also getting a lifetime achievement award from the People’s Choice (yes it still exists!) on November 10th. (The People’s Choice is on the E! channel now, but the press release comes from NBC.)

Aniston and the other “Friends” — Courteney Cox, Lisa Kudrow, David Schwimmer, Matthew Perry, Matt LeBlanc — have reason to celebrate. Millions of reasons. They are literally bathing in bucks since “Friends” will movie to HBO Max from Netflix next year. None of them has to work, and neither do their children. They were already incredibly rich, but like the “Seinfeld” cast, the Friends are now getting money that would make star athletes blush.

“Morning News” is going to be a hit no matter what they do to promote it. How can it be bad? Steve Carell and Reese Witherspoon co-star. They have a two season commitment from Apple. Plus Jen can always go back to making movies with Adam Sandler for Netflix. So it’s all good. And Rachel Green? She and Ross divorced a long time ago, trust me. He’s remarried, to a 30 year old researcher at the museum. Rachel and Ross’s daughter, Emma, is the star of a sitcom, and Rachel is her manager.

 

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I swear I didn’t mean to break it… Thank you guys for the kind, glitchy welcome ❤️

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And now we’re Instagram FRIENDS too. HI INSTAGRAM 👋🏻

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Hi Jen! x

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Elton John On His Lifelong Battle Against Baldness: “Without hair, I bear a disturbing resemblance to the cartoon character Shrek”

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Elton John’s memoir, “Me,” already number 2 on the amazon books best seller list, is a refreshingly honest visit with one of the world’s great rock stars. I told you on Monday about Sir Elton’s encounters with other rockers and celebrities. But one of my favorite passages has to do with his hair. Elton (like me) lost his locks early, and started looking into remedies.

He writes, amusingly: “My hair had started thinning a little in the early seventies, but a bad dye job in New York had suddenly caused the stuff to stage a mass walkout. Impressed by the way the fashion designer Zandra Rhodes seemed to change her hair colour to match her outfits, I had been getting mine dyed every shade imaginable at a salon in London for years with no apparent ill-effects. I’ve no idea what the New York hairdresser had put on it but, not long afterwards, it started coming out in chunks. By the time of the 1976 tour, there was virtually nothing left on top. I hated how I looked. Some people are blessed with the kind of face that looks good with a bald head. I am not one of those people. Without hair, I bear a disturbing resemblance to the cartoon character Shrek.”

He recounts attempts at hair transplants that didn’t take, and how he started wearing a baseball cap — after he was told not to — which only made him look worse. Finally, he went to a toupee.

“That said, a wig is not without drawbacks of its own. A few years back, I was sleeping at my home in Atlanta, when I woke up to the sound of voices in the apartment. I was convinced we were being burgled. I pulled on my dressing gown and started creeping out to see what was happening. I was halfway down the corridor when I realized I didn’t have my hairpiece on. I rushed back to the bedroom, reasoning that if I was going to be bludgeoned to death by intruders, at least I wouldn’t be bald when it happened. Wig on, I went into the kitchen to find two workmen, who had been sent up to fix a leak. They apologized profusely for waking me up, but despite my relief, I couldn’t help noticing they were staring at me. Perhaps they were starstruck, I thought, as I headed back to bed. Stopping off in the bathroom, I realized that the workmen weren’t bedazzled by the sight of the legendary Elton John appearing before them. They were bedazzled by the sight of the legendary Elton John appearing before them with his wig on back to front. I looked completely ridiculous, like [famous British comedian] Frankie Howerd after a heavy night in a strong wind. I took the thing off and went back to sleep.”

How can you not love him? “Me” is on sale now, and it’s full of stories like that.

 

 

“The Two Popes” Wins Hamptons Film Festival Audience Award, On Its Way to Oscar and Golden Globe Nominations

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Fernando Mereilles’s “The Two Popes” has won the Audience Award for Narrative Feature at the Hamptons Film Festival.  I’m not surprised. This great film, which I wrote about it last night, is on its way to multiple Oscar and Golden Globe nominations. The other HIFF Awards are below:

HAMPTONS INTERNATIONAL FILM FESTIVAL CONGRATULATES THE 2019 WINNERS:

The HIFF Audience Award Winner for Narrative Feature

THE TWO POPES, directed by Fernando Meirelles

The HIFF Audience Award Winner for Documentary Feature

OLIVER SACKS: HIS OWN LIFE, directed by Ric Burns

The HIFF Audience Award Winner for Short

FIRE IN PARADISE, directed by Drea Cooper & Zackary Canepari

Zicherman Family Foundation Screenwriting Award

Trey Edward Shults, writer and director of WAVES

 

The HIFF Award Winner for Best Narrative Feature sponsored by Warby Parker

A WHITE, WHITE DAY, directed by Hlynur Pálmason

HIFF Award Winner for Best Documentary Feature sponsored by Investigation Discovery

OVERSEAS, directed by Sung-a Yoon

The HIFF Award Winner for Best Narrative Short Film

JUST ME AND YOU, directed by Sandrine Brodeur-Desrosiers

The HIFF Award Winner for Best Documentary Short Film

GHOSTS OF SUGAR LAND, directed by Bassam Tariq

 

Special Cinematography Award

Miguel Ioann Litten Menz for THE VAST OF NIGHT

 

Breakthrough Achievement in Filmmaking Award

THE BEST OF DORIEN B., directed by Anke Blondé

 

Special Jury Mentions for Acting Performances

Ída Mekkín Hlynsdóttir for IN A WHITE, WHITE DAY

Mama Sane in ATLANTICS

Corinna Harfouch in LARA

Kim Snauwaert in THE BEST OF DORIEN B.

Sierra McCormick in THE VAST OF NIGHT

 

Special Jury Prize for Artistic Vision

CUNNINGHAM, directed by Alla Kovgan

 

Special Jury Prize for Indomitable Spirit of Storytelling

TALKING ABOUT TREES, directed by Suhaib Gasmelbari

 

Special Jury Prize for Originality

ALL CATS ARE GREY IN THE DARK, directed by Lasse Linder

 

Special Jury Prize for Creative Filmmaking

THE NIGHTCRAWLERS, directed by Alexander A. Mora

 

The 2019 Brizzolara Family Foundation Award to Films of Conflict and Resolution

FOR SAMA, directed by Waad al-Kateab and Edward Watts

Suffolk County Next Exposure Grant

THE ARTIST’S WIFE, directed by Tom Dolby

The Zelda Penzel “Giving Voice to the Voiceless” Award

WATSON, directed by Lesley Chilcott

Victor Rabinowitz and Joanne Grant Award for Social Justice

CONSCIENCE POINT, directed by Treva Wurmfeld

University Short Film Awards

sponsored by Bloomingdales

BIRCH, directed by Paisley Valentine Walsh

THE BOXERS OF BRULE, directed by Jessie Adler

FINE, directed by Maya Yadlin

PERFECT MOMENT, directed by Matthew Noydens

THE UNITED STATES OF PARANOIA OR: HOW I STAYED ON THE LINE TO REPAIR MY AIR CONDITIONER, directed by Rashan Castro

Lifetime Achievement Award

Brian De Palma

The Dick Cavett Artistic Champion Award

Toni Ross

2019 Breakthrough Artists

Aldis Hodge, Camila Morrone, Lulu Wang

 

 

 

 

 

 

 

 

Critics Choice Documentary Award Nominees Include Oscar Favorites “Maiden,” “Apollo 11,” “American Factory,” Plus Aretha, Bruce Springsteen, Linda Ronstadt, “Pavarotti”

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The Critics Choice Documentary Award nominees include a number of Oscar buzzed films including the excellent “Maiden,” and Ron Howard’s “Pavarotti.” The first annual DA Pennebaker Lifetime Achievement Award will be given to Frederick Wiseman. I’m thrilled to see the lost Aretha Franklin gospel film “Amazing Grace” in the mix 47 years after it was shot by Sydney Pollack. I’m not so happy to see “Leaving Neverland,” subject of lawsuits and disproved by fans on the internet, included. (Don’t worry, it won’t win.) The awards will be given out next month at a ceremony in Brooklyn, at BRIC, near the BAM campus.

The nominees are:

DOCUMENTARY FEATURE

“American Factory” (Netflix)

“Apollo 11” (Neon)

“The Biggest Little Farm” (Neon)

“The Cave” (National Geographic)

“Honeyland” (Neon)

“The Kingmaker” (Showtime)

“Knock Down the House” (Netflix)

“Leaving Neverland” (HBO)

“Maiden” (Sony Pictures Classics)

“One Child Nation” (Amazon Studios)

“They Shall Not Grow Old” (Warner Bros.)

DIRECTOR

Waad Al-Kateab and Edward Watts, For “Sama” (PBS)

Steven Bognar and Julia Reichert, “American Factory” (Netflix)

John Chester, “The Biggest Little Farm” (Neon)

Feras Fayyad, “The Cave” (National Geographic)

Peter Jackson, “They Shall Not Grow Old” (Warner Bros.)

Todd Douglas Miller, “Apollo 11” (Neon)

Nanfu Wang and Jialing Zhang, “One Child Nation” (Amazon Studios)

CINEMATOGRAPHY

Ben Bernhard and Viktor Kossakovsky, “Aquarela” (Sony Pictures Classics)

John Chester, “The Biggest Little Farm” (Neon)

Fejmi Daut and Samir Ljuma, “Honeyland” (Neon)

Nicholas de Pencier, “Anthropocene: The Human Epoch” (Kino Lorber)

Muhammed Khair Al Shami, Ammar Suleiman, and Mohammad Eyad, “The Cave” (National Geographic)

Richard Ladkani, “Sea of Shadows” (National Geographic)

EDITING

Georg Michael Fischer and Verena Schönauer, “Sea of Shadows” (National Geographic)

Todd Douglas Miller, “Apollo 11” (Neon)

Jabez Olssen, “They Shall Not Grow Old” (Warner Bros.)

Amy Overbeck, “The Biggest Little Farm” (Neon)

Lindsay Utz, “American Factory” (Netflix)

Nanfu Wang, “One Child Nation” (Amazon Studios)

SCORE

Jeff Beal, “The Biggest Little Farm” (Neon)

Matthew Herbert, “The Cave” (National Geographic)

Matt Morton, “Apollo 11” (Neon)

Plan 9, “They Shall Not Grow Old” (Warner Bros.)

H. Scott Salinas, “Sea of Shadows” (National Geographic)

Eicca Toppinen, “Aquarela” (Sony Pictures Classics)

NARRATION

Alicia Vikander, narrator; Jennifer Baichwal, writer, “Anthropocene: The Human Epoch” (Kino Lorber)

John Chester and Molly Chester, narrators; John Chester, writer, “The Biggest Little Farm” (Neon)

Petra Costa, narrator; Petra Costa, Carol Pires, David Barker and Moara Passoni, writers, “The Edge of Democracy” (Netflix)

Chiwetel Ejiofor, narrator; Mark Deeble, writer, “The Elephant Queen” (Apple)

Waad Al-Kateab, narrator-writer, “For Sama” (PBS)

Adam Driver, narrator; Oren Rudavsky and Bob Seidman, writers, “Joseph Pulitzer: Voice of the People” (First Run)

Nanfu Wang, narrator-writer, “One Child Nation” (Amazon Studios)

Bruce Springsteen, narrator-writer, “Western Stars” (Warner Bros.)

DOCUMENTARY FEATURE

Midge Costin, “Making Waves: The Art of Cinematic Sound” (Matson Films)

A.J. Eaton, “David Crosby: Remember My Name” (Sony Pictures Classics)

Pamela B. Green, “Be Natural: The Untold Story of Alice Guy-Blaché” (Kino Lorber/Zeitgeist Films)

Tamara Kotevska and Ljubomir Stefanov, “Honeyland” (Neon)

Richard Miron, “For the Birds” (Dogwoof)

Garret Price, “Love, Antosha” (Lurker Films)

ARCHIVAL DOCUMENTARY

“Amazing Grace” (Neon)

“Apollo 11” (Neon)

“Maiden” (Sony Pictures Classics)

“Mike Wallace is Here” (Magnolia)

“Pavarotti” (CBS Films)

“Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese” (Netflix)

“They Shall Not Grow Old” (Warner Bros.)

“What’s My Name: Muhammad Ali” (HBO)

BIOGRAPHICAL DOCUMENTARY

“David Crosby: Remember My Name” (Sony Pictures Classics)

“The Kingmaker” (Showtime)

“Linda Ronstadt: The Sound of My Voice” (Greenwich)

“Love, Antosha” (Lurker Films)

“Mike Wallace is Here” (Magnolia)

“Pavarotti” (CBS Films)

“Toni Morrison: The Pieces I Am” (Magnolia)

MUSIC DOCUMENTARY

“Amazing Grace” (Abramorama)

“David Crosby: Remember My Name” (Sony Pictures Classics)

“Linda Ronstadt: The Sound of My Voice” (Greenwich)

“Miles Davis: Birth of the Cool” (Abramorama)

“Pavarotti” (CBS Films)

“Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese” (Netflix)

“Western Stars” (Warner Bros.)

POLITICAL DOCUMENTARY

“American Factory” (Netflix)

“The Edge of Democracy” (Netflix)

“Hail Satan?” (Magnolia)

“The Kingmaker” (Showtime)

“Knock Down the House” (Netflix)

“One Child Nation” (Amazon Studios)

SCIENCE/NATURE DOCUMENTARY

“Anthropocene: The Human Epoch” (Kino Lorber)

“Apollo 11” (Neon)

“Aquarela” (Sony Pictures Classic)

“The Biggest Little Farm” (Neon)

“The Elephant Queen” (Apple)

“Honeyland” (Neon)

“Penguins” (Disney)

“Sea of Shadows” (National Geographic)

SPORTS DOCUMENTARY

“Bethany Hamilton: Unstoppable” (Entertainment Studios)

“Diego Maradona” (HBO)

“Maiden” (Sony Pictures Classics)

“Rodman: For Better or Worse” (ESPN)

“The Spy Behind Home Plate” (Ciesla Foundation)

“What’s My Name: Muhammad Ali” (HBO)

MOST INNOVATIVE DOCUMENTARY

“Aquarela” (Sony Pictures Classics)

“Cold Case Hammarskjöld” (Magnolia)

“Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese” (Netflix)

“Screwball” (Greenwich)

“Serendipity” (Cohen Media)

“They Shall Not Grow Old” (Warner Bros.)

SHORT DOCUMENTARY

“The Chapel at the Border” (Atlantic Documentaries) (Director and Producer: Jeremy Raff)

“Death Row Doctor” (The New York Times Op-Docs) (Director: Lauren Knapp)

“In the Absence (Field of Vision)” (Director: Yi Seung-Jun. Producer: Gary Byung-Seok Kam)

“Lost World” (Director and Producer: Kalyanee Mam. Producers: Adam Loften and Emmanuel Vaughan-Lee)

“Mack Wrestles” (ESPN) (Directors and Producers: Taylor Hess and Erin Sanger. Producers: Erin Leyden and Gentry Kirby)

“Period. End of Sentence.” (Netflix) (Director: Rayka Zehtabchi. Producers: Melissa Berton, Garrett K. Schiff and Lisa Taback)

“The Polaroid Job” (The New York Times Op-Docs) (Director: Mike Plante)

“Sam and the Plant Next Door” (The Guardian) (Director and Producer: Ömer Sami)

“The Unconditional” (Director and Producer: Dave Adams. Producers: Adam Soltis, Renee Woodruff Adams, Josie Swantek Heitz, and Chris Tuss)