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The Writer Behind Mariah Carey’s “Christmas” Says Her Story About Writing it Herself as a Teen is “A Tall Tale”

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Mariah Carey’s long ago co-writer of her many hits says on a podcast today: “She doesn’t play anything, she doesn’t play keyboard or piano. She doesn’t understand music, she doesn’t know chord changes and music theory or anything like that. She doesn’t know a diminished chord from a minor seventh chord to a major seventh chord.”

Let’s start there. Walter Afanasieff co-wrote and produced many of Mariah Carey’s key hits back in the early 90s. But now he tells the podcast Hot Takes (click here, on iTunes) that Mariah has changed the history of the song’s origins. He’s fed up that Mariah keeps saying she wrote the song when she was a kid. He knows the truth. He wrote it.

Again, “She doesn’t understand music.”

Remember, I’ve told you many times about the countless plagiarism suits and settlements behind Mariah’s hits including “Emotions,” and many others. There was a famous legal dispute over the lyrics to “Hero,” for which Afanasieff wrote the music.

When Carey was inducted into the Songwriters Hall of Fame this year she didn’t even mention the dozens of composers who actually wrote her hits. Afanasieff wasn’t alone in the omission. Ben Margulies, who Afanasieff cites in the podcast, wrote most of her first and second albums. Others included Babyface, Dave Hall, and so on.

Afansieff says that once they finished “All I Want for Christmas,” that was the end of their relationship. Carey started taking the credit for the song. It would be twenty years before he’d hear from her again. And even then, he says on the podcast, she wanted something from him, promised to get in touch, and never contacted him again.

Afanasieff says Carey’s assertion now that she wrote “Christmas” years before they met is simply untrue. He says, “to claim that she wrote a very complicated chord-structured song with her finger on a Casio keyboard when she was a little girl, it’s kind of a tall tale.’

The podcast, from Jess Rothchild, must be listened to by all Mariah Carey fans. It’s enlightening beyond even Mariah. Afanasieff should write a book at this point. Other artists he composed for, like Celine Dion, would take cover! Afanasieff is equally unsparing about today’s pop stars like BTS. “Paul Simon never said Oh that’s that song on the radio, I’m going to write a song like that.’ He just writes whatever he wants.”

Afanasieff also criticizes Beyonce for her latest single. “It has nine songwriters. Nine!” He’s blistering about former “American Idol” star Pia Toscano and how she got screwed out of a career. (Read Toscano’s account in Billboard here.)

Compounding Carey’s problems on “All I Want for Christmas” is a lawsuit filed last year from a songwriter who says he wrote a similar song with the same title at least four years earlier, in 1990. He’s not just blowing smoke. The record was released under the name Vince Vance and the Valiants, sung by a female singer named Lisa Layne. It’s pretty clear Mariah knew the song existed when she sat down to write “Christmas” with Afanasieff.

UPDATE: The lawsuit was settled in November, officially cited as “Dismissed without prejudice.”

Afanasieff says, “Since the 90s we’ve seen the dismantling of the songwriting process.”

Review: Wendell Pierce’s Willy Loman Reinvents Greatest American Drama, “Death of a Salesman”

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Almost four years ago I ran into the great actor Wendell Pierce sitting in the lobby of the Four Seasons hotel in Los Angeles following a Hollywood event. He had a script in his hand, and I asked him what it was? He replied that he was going to open in “Death of a Salesman” in London’s West End. What? That sounded like a pretty good idea at the time.

Sure enough, the first mostly Black production of Arthur Miller’s towering drama opened that May at the Old Vic to rave reviews. The production won a bunch of awards including an Olivier Award nomination for Pierce and win for Sharon D, Clarke as Linda Loman.

The pandemic and Scott Rudin prevented this “Death” from arriving on Broadway until this past October. Rudin, before he was kicked out of Broadway, was going to bring in a production starring Nathan Lane. When opening night finally arrived, I had a two week flu, and missed all the standing ovations. So this week I caught up with it.

Suffice to say, Wendell Pierce is absolutely electric on stage, and so is Clarke. They are, as they say nowadays, “on fire.” Andre de Shields, a Broadway legend, has joined the cast as Willy’s ghostly brother, Ben, appearing in a blazing white suit as either an angel or devil, take your pick. Two younger Black actors with real heft, Khris Davis and, McKinley Belcher III, are Biff and Happy. Mixed into the main cast are white actors, as well, playing Howard, the heartless son of Willy’s employer, Charley, the neighbor, and Charley’s son, Bernard.

The woman Willy is sleeping with in Boston is also white. This brings new dynamics in “Death of Salesman” even though not a word has been changed. The cast, especially Pierce, gets that and they bring nuances we haven’t see before in the last almost 75 years that this play– and its subsequent movie — never showed. This is underlined in scenes when Willy is caught with The Woman (Lynn Hawley) at the motel. “There may be laws against this in Massachusetts,” Willy tells her because it’s the late 40s, and a Black man with a white woman would no doubt result in arrests. (When Willy and The Woman are both white, you think laws against prostitution, not race.) Similarly when Willy is fired by Howard, whose father loved Willy, it comes across as racism, not ageism.

The audience gets all this, I saw and heard the reactions at the Hudson Theater. (They also get the play’s humor, and respond approvingly.) The director, Miranda Cromwell (she and London co-director Marianne Elliott shared an Olivier for Best Director) is subtle enough not to change a Miller word, but the result is stunning and must be experienced. Cromwell and the cast have opened up a play nearly every adult knows by heart, so that we get an entirely new interpretation and appreciation of Miller’s genius. As much as the Lomans are ingrained in our minds already, eyes fill with tears even more so as Pierce details Willy’s rise and fall. He is really exceptional.

You’ve only got three weeks left to see this “Death of a Salesman” on Broadway. Run, don’t walk, to the Hudson. In addition to the casting there is another change: music. Music was always included in “Death of a Salesman,” but now we’ve got a blues guitar player and a singer (Grace Porter) on stage, and some deeply soulful singing from the great Sharon D. Clarke, who is as known for her ferocious voice as much as her dramatic prowess.

The show closes January 15th, but I will remind Tony voters every day from now until April that Pierce and Clarke must be nominated for their work. The whole production should remain fresh in minds for Best Revival of a Play. This is a landmark, and real theater lovers will never forget it.

Bill Nighy Actually: The British Star of “Living,” On His Way to An Oscar, Has Seen All of Adam Sandler’s Films

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“It’s kind of my area. Repressed men, or at least suppression. Useless with women. All of that. That’s what they call me for,” said Bill Nighy of the major roles he’s offered. The 73 year old British broke through in the US back in 2003 as the incredibly endearing rock star of “Love Actually” and just kept going. (He’s also pretty well known from “The Best Exotic Marigold Hotel” and “Pirates of the Caribbean.”) He was nominated in 2015 for a Tony Award on Broadway in “Skylight.”

Nighy charmed an audience at a post-screening Q&A of his new film, “Living,” last week in SoHo. “Living” is a remake by writer Kazuo Ishiguro (who was at the Q&A) of the 1952 Akira Kurosawa classic “Ikiru” or “To Live.” Directed by Oliver Hermanus, “The Remains of the Day” writer has moved the story to 1953 London.

Nighy plays Mr. Williams, an uptight civil servant who heads a Public Works office where he and his subordinates mainly shuffle around piles of documents, but in reality accomplish nothing. Procrastination is the order of the day.

A six months to live diagnosis by his doctor makes Mr. Williams realize he’d been dead until that moment anyway. He was nicknamed “Mr. Zombie” by a former underling, which amuses and doesn’t surprise him. After failed attempts at debauchery, he decides there’s something he might still accomplish to leave an imprint: he wears down city authorities to fund a little children’s playground, for which mothers had been stonewalled by ineffectual bureaucratic cogs like himself.

Bring your Kleenex.

“Living” will probably also net the veteran English actor his first ever Oscar nod.

Nighy said the kind of man Mr. Williams represented, buttoned up and stoical, was familiar to him. 

“I was born into that post-war atmosphere, and everyone was recovering from a brutal traumatic time, and London had been brutalized daily, and although I was unaware of these things, he was the first kind of men that were familiar to me. I’m not playing my dad or anything,” he added. “But I am really interested in him, because I find that very moving, it’s also funny, but there is an element of heroism. It’s not obviously desirable or healthy, and I’m aware of that, but I am very moved by people attempting that degree of restraint, which is,” he added, “bonkers, but that’s the atmosphere into which I was born.”

As to the question of how he prepared for the role, the physicality and how softly he spoke, Nighy said:

“I can’t really remember, but I’m going to speculate to be sociable. I used to make stuff up, but I’m going to intrigue you with this. I think the preparation was pretty much the same as always, it’s me walking up and down the living room carpet saying the lines over and over and over and over again, until I can give the impression that I’ve never said them before, which is my job. It’s not rocket science, but it’s not nothing either.

“As for the stillness, however, I didn’t consciously think about that… I mean he is somebody who’s been institutionalized in grief, having lost his wife at a very early stage of the marriage, and his personality, his response to the world, everything has formed around that like coral forming around an ocean floor.

“I suppose in terms of the physicality and in terms of the vocal thing, I spoke the first line on the very first day, ’cause you never know and you go, ‘Fucking hell.’ It came and I tried it really quietly, and I thought, “In a minute, the sound man is going to come up and say, ‘Bill, really? We’re going to seven weeks of this?’ but he never came near me, so I just kept going.”

(Mr. Ishiguro said the reason Nighy couldn’t remember these physical details is because he never watches himself on screen.)

As for whether Nighy had seen the Japanese film before he got the script:

“No, I hadn’t seen the Kurosawa, I’ve never seen the films you’re supposed to see. It’s like if you say, “What’s your favorite film?” I know you’re supposed to say ‘Metropolis.’ I’ve never seen ‘Metropolis.’ I’ve seen all the ‘Die Hard’ movies and everything with Adam Sandler, and a lot of sports movies where it goes into slow motion at the end. Those are supposed to be my guilty pleasure, but you know what? I’m not that guilty about it, but no, I haven’t seen it.”

A few minutes later Nighy admitted he had seen the Kurosawa film.

“Which was reckless in retrospect, because I don’t know, it could’ve undermined me or something, but it didn’t in fact. I admired it tremendously, and the central performance, I think because it was so different from anything I would imagine myself delivering, that I didn’t feel oppressed by it or daunted by it, and perhaps I should’ve been but I didn’t. I did watch it just once, and then I got superstitious about it… it’s too much information I don’t need and it’s not the film (I’m making)… I’ve never done a film that was an adaptation of a film before or a reimagining of a film before, so it was a unique situation.”

As for the urge to procrastinate and how this movie reminds us to make the most of our time, Nighy said,

“I procrastinate at an Olympic level, where when I die there will be a long list of things I just didn’t quite get ’round to. I get a kind of kick out of it, I get an obviously sort of toxic bang out of it. I actually love not doing stuff, and I’m not even ashamed of it because I do quite a lot of other stuff because people arrange for me to do it… Anyway, I am seriously interested in the way that an individual tendency, a personal tendency of that kind can be expressed in society, and that you have institutions of that size and complexity that are designed simply to prevent stuff from happening, that governments are involved in to a large degree.”

RIP Legendary Songwriter Thom Bell, 79, Wrote Dozens of Classics for Spinners, Stylistics, Dionne Warwick, Philly Soul Groups, Elton John

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I am really sad to report the death of Thom Bell, the Gershwin of Philly soul. Bell wrote so many hits, especially with his late partner, Linda Creed, that he was inducted a decade into the Songwriters Hall of Fame.

Indeed, there would have been no Philly soul without Thom Bell. He was so prolific and successful that he co-produced, mixed and wrote for a special Elton John EP called “The Thom Bell Sessions.” Bell also produced dozens of hits including The Spinners and Dionne Warwick on the monster, “Then Came You.”

Thom wrote all the hits for the Stylistics, the Spinners, the Delfonics.The titles included “Betcha By Golly Wow,” “Break Up to Make Up,” “Didn’t I Blow Your Mind This Time,” “You Are Everything,” “You Make Me Feel Brand New,” “La La Means I Love You,” “I’ll Be Around” and so on. What a run! His “People Make the World Go Round” for the Stylistics was such a transcendent hit that it was remade and covered by jazz artists.

Thom co-wrote with the great Jerry Butler (still alive in Chicago– if you know how to reach him, email me at showbiz411@gmail.com) “Brand New Me,” a hit for Dusty Springfield, for Jerry, and a song that Aretha Franklin recorded and included in her final couple of tours.

This is a HUGE loss for pop music. I hope the Grammys will do a special segment on Thom and his many hits.

Thom wrote so many songs, I could put all the videos here. But he produced The Spinners’ “Could It be I’m Falling in Love,” which may be his most classic record — and that’s saying a lot. Listen to the orchestration and the vocals. This was his genius.

And here’s La La Means I love You:

And my personal favorite, “You Are Everything”:

Oscars Telecast Could Include Performances from Lady Gaga, Rihanna, Taylor Swift, But Nothing from “Matilda” the Musical

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The Best Song short list came out yesterday from the Motion Picture Academy.

The artists who made the list could turn the Oscars into the Grammys!

Among those who made the cut are Lady Gaga, Rihanna, Taylor Swift, David Byrne, The Weeknd, Rita Wilson, Sofia Carson, and the gang from ‘RRR.” That’s quite a group.

But the one actual musical of the season, “Roald Dahl’s Matilda,” will be absent. “Matilda” is from Netflix, which dumped the movie into a few theaters for Oscar eligibility. But the songs aren’t eligible since they all come from a Broadway show and were not written specifically for a movie.

In fact, so far “Matilda” doesn’t even have a soundtrack album. It’s a stealth release at best.

The other pop stars, however, are in a hot race. LCD Soundsystem’s brilliant song from “White Noise,” is also a possibility. Can you imagine LCD Soundsystem on the Oscars? That alone would make the show worth watching. Ditto the “RRR” performers. Could they knock out Lady Gaga and her “Top Gun” song? Everything is up in the air, just like the planes from that movie!

Here are a couple of the videos involved. There’s nothing for “When I Grow Up,” the best song from “Matilda.” But here’s “Revolting Children.”

See the Picture: Hollywood CADS Get Together Off Screen for Some Downtime Fun at LA Hotspot Craig’s

Talk about a “roundtable” of stars at Hollywood’s most “in” restaurant.

The Hollywood CADs together at Craig’s this week to celebrate the holidays and munch on the traditional mouth watering Honey Truffle Chicken and Chocolate Pizza. That’s Bryan Cranston, Eric McCormack, Richard Kind, Noah Wyle, Jason Alexander, Steven Weber, Rob Morrow, Michael McKean, Michael Nouri, Levar Burton, Paul McCrane (of “Fame, a” and “ER” fame), and club founder Spencer Garrett, who took the picture.

Outside the frame, the great Craig Susser, the owner of this swinging establishment, on the left. Everyone in LA goes to Craig’s! The restaurant is famous for not only its food, but for paparazzi waiting outside to get pictures. Their bulbs must have been flashing like crazy!

The Character Actors Dining Society looks like a fun group. And can you imagine what they talk about with those resumes?

CADS (Character Actors Dining Society) holiday fiesta. 🌸@BryanCranston @EricMcCormack @kevinpollak @RobMorrow_ @MJMcKean @IJasonAlexander @levarburton #noahwyle #michaelnouri @RealRichardKind #stevenweber #paulmccrane thank you, @craigsla ! pic.twitter.com/EJKtC9tMgq

— Spencer Garrett (@1SpencerGarrett) December 20, 2022

Justin Bieber Youngest Pop Star to Sell Song Rights, Indicates Possible Need for Money As He Keeps Canceling Tours

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The Wall Street Journal says Justin Bieber is in a deal to sell his songwriting catalog to Hipgnosis Music, an aggressive player in this market.

If so, Bieber, at 28, would be the youngest star to cash in his chips. The usual sellers of catalog rights are legacy artists like Bruce Springsteen, Bob Dylan, Sting, Fleetwood Mac, and so on. These are people all older than 60, with huge catalogs and estates to plan.

One reason this has become so popular is that records are no longer selling in huge quantities, and these older artists otherwise depend on touring to make big money. But the pandemic cut into touring. making the monetization of song publishing even more important.

Bieber has a touring problem: he keeps cancelling tours, and not because of the pandemic. In one instance he cut a tour short because he wasn’t into it. This year he cut a world tour first because he had an illness, and then because he still wasn’t feeling well.

With tens of millions of dollars on the table, Bieber may be needing a cash infusion. At 28, he lives a pretty high lifestyle. Plus he undoubtedly has a large payroll to meet that includes family, friends, and various hangers on.

The Journal says the deal is worth $200 million but that would have to be divided among all of Bieber’s collaborators. Unlike the legacy artists named above, Bieber rarely has a solo writing credit. From “Love Yourself” to “Peaches,” the songs have many co-writers. Also, these songs have not proven lucrative with the test of time. They’re too new. Until we hear “Peaches” in a Dole commercial, we won’t know where this stands.

Oscars Set Back for “Everything, Everywhere”: Fails to Make Shortlist for Visual Effects, Its Strongest Asset

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The Academy released several short lists yesterday including those for Best Song, Score, Documentary Feature, Foreign Film, and all the visual and sound effects.

The big surprise is nothing in Visual Effects for “Everything, Everywhere All at Once.” The film directed by “The Daniels” has been mercilessly hyped for six months. Even I will admit that this movie is 99% visual effects. If they’re not going to be in the mix for that, I don’t see how they can win Best Picture. So this may be a real stumbling block.

Almost no one I know actually thinks this is an Oscar movie. I know some people are passionate about it. But the typical Academy voter obviously does not find “EE” understandable. And while I think Michelle Yeoh and Ke Huy Quan may get nominations, I don’t think they will win.

Interesting: In visual effects one of the semi-finalists is Ron Howard’s “Thirteen Lives.” I loved this movie, it’s been overlooked by the Oscar mob so far. Maybe this will give it a push.

Among Best Songs, my choices are in bold. Documentaries, too.

DOCUMENTARY FEATURE FILM
Fifteen films will advance in the Documentary Feature Film category for the 95th Academy Awards. One hundred forty-four films were eligible in the category.  Members of the Documentary Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

All That Breathes”
“All the Beauty and the Bloodshed”
“Bad Axe”
“Children of the Mist”
“Descendant”
“Fire of Love”
Hallelujah: Leonard Cohen, a Journey, a Song”
“Hidden Letters”
“A House Made of Splinters”
“The Janes”
“Last Flight Home”
“Moonage Daydream”
“Navalny”
“Retrograde”
“The Territory”


DOCUMENTARY SHORT FILM
Fifteen films will advance in the Documentary Short Film category for the 95th Academy Awards. Ninety-eight films qualified in the category.  Members of the Documentary Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“American Justice on Trial: People v. Newton”
“Anastasia”
“Angola Do You Hear Us? Voices from a Plantation Prison”
“As Far as They Can Run”
“The Elephant Whisperers”
“The Flagmakers”
“Happiness Is £4 Million”
“Haulout”
“Holding Moses”
“How Do You Measure a Year?”
“The Martha Mitchell Effect”
“Nuisance Bear”
“Shut Up and Paint”
“Stranger at the Gate”
“38 at the Garden”


INTERNATIONAL FEATURE FILM
Fifteen films will advance to the next round of voting in the International Feature Film category for the 95th Academy Awards.  Films from 92 countries and regions were eligible in the category.

Academy members from all branches were invited to participate in the preliminary round of voting and must have met a minimum viewing requirement to be eligible to vote in the category.

In the nominations round, Academy members from all branches are invited to opt in to participate and must view all 15 shortlisted films to vote.

The films, listed in alphabetical order by country, are:

Argentina, “Argentina, 1985”
Austria, “Corsage”
Belgium, “Close”
Cambodia, “Return to Seoul”
Denmark, “Holy Spider”
France, “Saint Omer”
Germany, “All Quiet on the Western Front”
India, “Last Film Show”
Ireland, “The Quiet Girl”
Mexico, “Bardo, False Chronicle of a Handful of Truths”
Morocco, “The Blue Caftan”
Pakistan, “Joyland”
Poland, “EO”
South Korea, “Decision to Leave”
Sweden, “Cairo Conspiracy”


MAKEUP AND HAIRSTYLING 
Ten films will advance in the Makeup and Hairstyling category for the 95th Academy Awards.  All members of the Academy’s Makeup Artists and Hairstylists Branch will be invited to view excerpts and interviews with the artists from each of the shortlisted films on Sunday, January 15, 2023. Branch members will vote to nominate five films for final Oscar® consideration.

The films, listed in alphabetical order by title, are:

“All Quiet on the Western Front”
“Amsterdam”
“Babylon”
“The Batman”
“Black Panther: Wakanda Forever”
“Blonde”
“Crimes of the Future”
“Elvis”
“Emancipation”
“The Whale”


MUSIC (ORIGINAL SCORE)
Fifteen scores will advance in the Original Score category for the 95th Academy Awards.  One hundred forty-seven scores were eligible in the category.  Members of the Music Branch vote to determine the shortlist and the nominees.

The scores, listed in alphabetical order by film title, are:

“All Quiet on the Western Front”
“Avatar: The Way of Water”
“Babylon”
“The Banshees of Inisherin”
“Black Panther: Wakanda Forever”
“Devotion”
“Don’t Worry Darling”
“Everything Everywhere All at Once”
“The Fabelmans”
“Glass Onion: A Knives Out Mystery”
“Guillermo del Toro’s Pinocchio”
“Nope”
“She Said”
“The Woman King”
“Women Talking”


MUSIC (ORIGINAL SONG)
Fifteen songs will advance in the Original Song category for the 95th Academy Awards.  Eighty-one songs were eligible in the category.  Members of the Music Branch vote to determine the shortlist and the nominees.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title:

“Time” from “Amsterdam”
“Nothing Is Lost (You Give Me Strength)” from “Avatar: The Way of Water”
Lift Me Up” from “Black Panther: Wakanda Forever”
“This Is A Life” from “Everything Everywhere All at Once”
“Ciao Papa” from “Guillermo del Toro’s Pinocchio”
“Til You’re Home” from “A Man Called Otto”
“Naatu Naatu” from “RRR”
“My Mind & Me” from “Selena Gomez: My Mind & Me”
“Good Afternoon” from “Spirited”
Applause” from “Tell It like a Woman”
“Stand Up” from “Till”
“Hold My Hand” from “Top Gun: Maverick”
“Dust & Ash” from “The Voice of Dust and Ash”
“Carolina” from “Where the Crawdads Sing”
“New Body Rhumba” from “White Noise”


ANIMATED SHORT FILM
Fifteen films will advance in the Animated Short Film category for the 95th Academy Awards.  Eighty-one films qualified in the category.  Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“Black Slide”
“The Boy, the Mole, the Fox and the Horse”
“The Debutante”
“The Flying Sailor”
“The Garbage Man”
“Ice Merchants”
“It’s Nice in Here”
“More than I Want to Remember”
“My Year of Dicks”
“New Moon”
“An Ostrich Told Me the World Is Fake and I Think I Believe It”
“Passenger”
“Save Ralph”
“Sierra”
“Steakhouse”


LIVE ACTION SHORT FILM
Fifteen films will advance in the Live Action Short Film category for the 95th Academy Awards.  Two hundred films qualified in the category.  Members of the Short Films and Feature Animation, Directors, Producers and Writers Branches vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“All in Favor”
“Almost Home”
“An Irish Goodbye”
“Ivalu”
“Le Pupille”
“The Lone Wolf”
“Nakam”
“Night Ride”
“Plastic Killer”
“The Red Suitcase”
“The Right Words”
“Sideral”
“The Treatment”
“Tula”
“Warsha”


SOUND
Ten films will advance in the Sound category for the 95th Academy Awards.  All eligible members of the Sound Branch vote to determine the shortlist and the nominees.  Academy members will be invited to view excerpts from each of the shortlisted films beginning Thursday, January 12, 2023, in the San Francisco Bay area, followed by New York, London and Los Angeles.  Branch members will vote to nominate five films for final Oscar consideration.

The films, listed in alphabetical order by title, are:

“All Quiet on the Western Front”
“Avatar: The Way of Water”
“Babylon”
“The Batman”
“Black Panther: Wakanda Forever”
“Elvis”
“Everything Everywhere All at Once”
“Guillermo del Toro’s Pinocchio”
“Moonage Daydream”
“Top Gun: Maverick”


VISUAL EFFECTS
Ten films remain in the running in the Visual Effects category for the 95th Academy Awards.  The Visual Effects Branch Executive Committee determined the shortlist.  All members of the Visual Effects Branch will be invited to view excerpts and interviews with the artists from each of the shortlisted films on Saturday, January 14, 2023.  Branch members will vote to nominate five films for final Oscar consideration.

The films, listed in alphabetical order by title, are:

“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Batman”
“Black Panther: Wakanda Forever”
“Doctor Strange in the Multiverse of Madness”
“Fantastic Beasts: The Secrets of Dumbledore”
“Jurassic World Dominion”
“Nope”
“Thirteen Lives”
“Top Gun: Maverick”

Happy Birthday: Two Time Oscar Winner Jane Fonda Celebrates 85 Years Young and Cancer Remission

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What can you send Jane Fonda on her 85th birthday? Maybe a donation to Greenpeace, the organization that helps her with Fire Drill Fridays. Or the foundation she started in Atlanta, her very successful and important Georgia Campaign for Adolescent Power and Potential.

The two time Oscar winner turns 85 today, and it’s years young, of course. This week she says that she has stood down cancer, she’s in remission after a brutal recent round of chemotherapy. And still, in that time, Fonda worked and was politically active, always standing up and doing what’s right. She’s amazing.

Indeed, Jane did make three movies in the last year as well as completing the seventh season of “Grace and Frankie,” Netflix’s longest running original show. One of the movies is “80 for Brady,” which co-stars Sally Field, Rita Moreno, and Lily Tomlin. Another dark comedy with Tomlin, “Moving On.” just got sold. And there’s also “Book Club 2” with Candice Bergen, Mary Steenburgen, and Diane Keaton.

Jane will celebrate her birthday and remission — what she calls “her greatest gift” — with a few pals and her kids and grandchildren. It will be an intimate gathering, full of love and appreciation. So we’re sending the same from New York, and fans will do the same from around the world.

Jane has always been a trailblazer for women’s rights, climate change, and human rights. When the country was in trouble in the 70s, she didn’t shy away from telling it like it is. Below is a great 1977 interview with Johnny Carson when Jane was promoting one of my favorite movies, “Julia.” (She received an Oscar nomination for the role.) The subjects they covered– and what she is advocating– are no different than what she’s talking about 45 years later! Fonda has always been many steps ahead of the crowd. I’m so glad we’re finally catching up to her!

“Young and the Restless” Exec Producer Ousted as Actress’s Sexual Harassment Trial Looms in March

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Anthony Morina, co-executive producer of CBS soap “The Young and the Restless,” has been ousted from his job after many years. For the time being, the show’s headwriter will serve as sole EP.

No reason was given for Morina’s exit, but here’s what’s going on: Last year Morina and CBS were sued by a background actress named Briana Thomas for sexual harassment. Thomas is not really known to the audience. She played a barista in the show’s coffeehouse, the kind of person you don’t notice. She said in her complaint that she appeared on the show more than 150 times between 2018 and 2019.

The audience might not have noticed her but Thomas says Morina did. Now her lawsuit is coming up for trial in March 2023. CBS either settled with her and Morina’s exit was part of the deal, or the reality of the trial has forced the network’s hand. Morina has been with the show on and off for years. His wife, Sally Sussman Morina, had been a long time writer there as well. But in 2017 she was let go.

Thomas says in her complaint that Morina offered her private acting lessons and made inappropriate comments to her about her appearance in a bikini. That sort of thing. She alleges there was touching involved, and veiled threats about her continued employment if she didn’t get with the program. Thomas says when she didn’t respond and continually brushed Morina away, he began to retaliate finally she was fired.

If Morina did that in 2018 it’s clear he could not “read a room.” The #MeToo movement started only a year earlier. Not too smart.

Also, very weirdly and presciently, the soap had a sexual harassment lawsuit story in the summer of 2017 that preceded the #MeToo revelations of late fall 2017 in real life. He must have missed those episodes.

“The Young and the Restless” has had a lot of issues with sexual harassment in the last few years. Another popular actor, Michael Muhney, was fired after rumors swirled that he’d harassed a younger actress, Hunter King. The rumors started when the husband of then head of CBS daytime, Angelica McDaniel, a comic named Brian McDaniel, repeated them on “TMZ.” No charges were ever filed, and no one else reported what McDaniel said, but Muhney was out. Maybe not so coincidentally, CBS gave King an additional job on a prime time series. She’s no longer with the network.

You can read Thomas’s complaint here in a public document that Deadline has watermarked as if it’s their own.