Fox Buys Wyatt Earp Western From Alex Kurtzman & Roberto Orci, Dating Comedy

Fox is joining the Western trend this development season with an untitled drama project from producers Alex Kurtzman and Roberto Orci, who co-wrote this summer’s big-screen Western with a sci-fi twist Cowboys & Aliens. Written by The Shield alum John Hlavin, the project is described as a Western that tells the origins of Wyatt Earp, chronicling both the well-known incidents in his life such as the Gunfight at the OK Corral and lesser-known details of Earp and his brothers bringing order to a lawless frontier. UTA-repped Hlavin, who has a feature Western, The Gunslinger, in development at Warner Bros, brought the project to Kurtzman and Orci. The three will executive produce with Heather Kadin for 20th Century Fox TV and Kurtzman and Orci’s K/O Paper Products. This marks K/O’s return to Fox, where the company had two high-profile drama pilots last season, Locke & Key and Exit Strategy, neither of which were picked up to series. This is Kurtzman and Orci’s second sale this season, following the script plus penalty commitment at CBS for an Anna Fricke-written drama about a congresswoman advocate. The Hlavin project joins a slew of Westerns in development at the broadcast networks. NBC has an untitled Kerry Ehrin project set in the 1880s, which is produced by Sean Hayes’ Hazy Mills; ABC has Ron Moores Hangtown, set in the early 1900 and David Zabels Gunslinger. Additionally, TNT recently gave a cast-contingent pilot order to Bruce C. McKenna and Danny Cannons Gateway, set in the 1880s. On the comedy side, Fox has bought The Good Life, a single-camera comedy project by stand-up comedian/writer Carlos Kotkin and writer Justin Sternberg (The Paul Reiser Show), which is being produced by 20th TV and another studio pod, Chernin Entertainment. Loosely based on Kotkin’s upcoming book Please God Let It Be Herpes, a collection of short stories about the often awkward dating situations Kotkin has found himself in, the comedy is about a guy whose continued optimism always lands him in unexpected and humorous predicaments. Chernin, Katherine Pope and Brad Mendelsohn of Circle of Confusion, which manages Kotkin, are executive producing. Steinberg is with WME.

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Trammell joins 'Long Time Gone'

Mike Trammell of "True Blood stream" has grew to become an associate from the cast of indie drama "Very Very Long Time Gone" opposite Virginia Madsen and Anthony LaPaglia.Smokewood Entertainment is creating "Very Very Long Time Gone," with co-founder and producer Sarah Siegel-Magness ("Precious") making her directorial debut.Production began Sept. 12 in La. Trammell began work Monday."Very Very Long Time Gone" also stars Zach Gilford, Amanda Crew and newcomer Graham Rogers. Karen McCullah ("The Ugly Truth") written the script according to April Stevens' novel "Angel, Angel."The story follows a broken family who must cope when the husband (carried out by LaPaglia) leaves his wife, (carried out by Madsen) for the next lady. Their sons have no idea what direction to go when their mother will not leave her mattress room for the on finish which becomes days.Trammell plays an easy-going garden enthusiast who utilizes one of the sons just like a day laborer and befriends his troubled mother.Bobbi Sue Luther, Gary Magness ("Precious") and film author McCullah are coming up with. Andrew Sugerman and Seth Jaret are executive creating.Shooting continues until March. 25. Contact Dork McNary at dork.mcnary@variety.com

The Great Food Truck Race Season 2 Winner Is ...

Team Hodge Podge's Chris Hodgson, Team Lime's Jesse Brockman After a coast-to-coast challenge and six defeated food trucks, the Lime Truck and Hodge Podge were the last two competitors in Sunday night's finale of Food Network's The Great Food Truck Race. Did The Lime Truck's take on fresh California cuisine drive laps around its rival? Or did Hodge Podge's fancier twist on comfort food propel it through the finish line first? The final stop: Miami, where the first truck to make $15,000 and meet host Tyler Florence at South Point Park would win. Fall Preview: Get scoop on your favorite returning shows Starting with $500, the teams had to start serving ASAP. Although Chris Hodgson had connections in the city and was able to obtain high-end ingredients like lobster, black truffles and foie gras. Lime Truck didn't have a plan in place but purchased mussels for a red curry, crab for ceviche and beef for Philly cheesesteak fries. Speed Bump No. 1 Tyler calling on the phone is always bad news, so after brisk sales by both trucks, they were bummed to hear that they had to start selling food without the heating elements on their trucks, which in turn would be towed to a nearby impound. Only when the teams earned $200 from the food they prepared off the truck would they be able to pay off the impound. Hodge Podge started serving sashimi off the top of their Volkswagen and quickly retrieved their truck. Lime Truck, however, struggled with their sidewalk mussel-cooking demonstration and were reunited with their truck much later. Regardless, they seemed to recoup that night when they started serving in Little Havana, near several bars. Truck Stop Each team was up early to go fishing in the Atlantic Ocean. From their catch, they had to prepare one dish that would change the competition. Chef Michael Schwartz of Michael's Genuine Food and Drink would judge which dish was best and win a prize that Florence hinted was a "game changer" in the competition. Jesse from Lime Truck presented an amuse-bouche of raw fish wrapped around shredded asparagus and then a seared citrus fish topped with tuna tartare. It was deemed, fresh, well-seasoned, well-executed, with bright flavors but perhaps a little dated in concept. Hodge's king mackerel steak with potatoes, garlic, onions, heirloom tomatoes and kale topped with remoulade sauce also got high marks, although Schwarz felt the dish could use some editing. Meet the trucks in The Great Food Truck Race Season 2 Lime Truck took the prize -- $1,500. They had been trailing by about $100, so now they were far in the lead and closer to the $15,000 victory. Hodge Podge was a bit bummed, but they recouped quickly by its strategic central location at Kendall's Car Wash. Lime Truck didn't do badly, either, by locating near a brewery. At the end of the night, when Florence ordered them to stop selling, Lime Truck had earned more than $13,000, while Hodge Podge had $12,000. These are unprecedented earnings on the show. This final showdown is taking much less time than we expected. Speed Bump No. 2 For the first two hours the next morning, the trucks had to sell nothing but desserts. Sweets. In the morning. Lime Truck decided to do the breakfast-as-dessert concept downtown, while Hodge Podge would sell to the employees at a wholesale business where they purchased their ingredients. Bread pudding, Nutella and mascapone quesadillas, bananas not so fosters, berry waffles, "puppy chow" ... what's not to love? The concept is a hit, possibly selling even faster than their regular menu. Hmm, we smell a spin-off truck! Both Hodge Podge and Lime Truck reached their $15,000 goal quickly, pack up and race off to see Florence. Check out our fall preview for galleries, scoop, premiere calendars and more! In the end, we see the Lime Truck trio run up to Florence, who's dressed in his best aviator sunglasses, shorts and inscrutable expression. He demands that Daniel wear his lime green sweatband so he can match his partners in "full team regalia" before handing them a briefcase. If they open it and it's empty, they've lost. If they find $100,000 inside, well, they get the $100,000. It wasn't empty. Lime Truck wins. Chef Jason Quinn wants to put part of the money toward opening his own brick-and-mortar restaurant. Although the Hodge Podgers run up to see them celebrating, and sad piano music plays over their entrance, the somber mood doesn't last for long. It was a worthy competition, Hodgson grew closer to his sister and girlfriend, and he reflected, "It's the greatest win of my life." Aww! Congrats to Lime Truck! And now, we all do the Lime Truck dance! Are you happy with the winners? Do you think the competition was fair?

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Its Official: Trisha Cardoso Attracted on As Top Communications Executive At Showtime

Trisha Cardoso Lands Top Showtime PR Job Showtime Systems today introduced the appointment of veteran PR executive Trisha Cardoso up communications publish of EVP, Corporate Communications. Cardoso works Richard Licata who departed last evening to participate his former boss Robert Greenblatt as EVP communications for NBC Entertainment. In their new role, Cardoso, who started her professional career in Showtime’s PR department two decades ago, will oversee Showtime Systems’ programming publicity, media and talent relations, occasions, corporate branding and pr. She'll also function as organization’s chief press officer to ensure that as communications liaison with parent company CBS Corp. Cardoso is not a straight-forward choice for the job as she doesn’t result from another network or studio. The first sort SVP publicity for Vital Network TV spent yesteryear eight years outdoors in the spotlight, controlling her own proper speaking to firm although raising her daughter. Cardoso oversaw crisis communications, lifestyle marketing, media relations and social mediaoutreach for a range of clients, like the Hollywood-centric ICM, seriesTwo . 5 Males, producers James Burrows and Chuck Lorre, additionally to non-entertainment organizations the California Condition Summer season School for your Arts, the African nation of Gabon, The Turks & Caicos Worldwide Film Festival, Hudson Jeans, as well as the five-star luxury resort Pelican Hill in Newport Beach. It absolutely was really Cardoso’s unorthodox background that be a huge hit to Showtime’s entertainment leader David Nevins who introduced the mission for Licata’s alternative. “My goal wound up being to hire a roofer creatively inspired andstrategically focused,who could also bringa large picture perspective,” he mentioned. “I’ve known and respected Trisha for quite some time, then when you mix her broad connection with such varied regions of the communications business along with her extensive background in entertainment media relations, you have a very formidable leader for that already top-notch communications department.” Showtime’s Robin McMillan, SVP, Pr, is constantly on the supervise consumer pr teams on shores. Johanna Fuentes, V . p ., Corporate Pr, is constantly on the handle corporate trade and business media relations. Both will account to Cardoso. As SVP of Advertising, Publicity and Promotion for Vital TV, Cardoso oversaw trade, consumer media, award campaigns,and mix-promotions on all series, including juggernaut Frasier. Before joining Vital in 1993 as V . p ., Media Relations, she was V . p ., Entertainment Marketing for Burson-Marsteller, where she oversaw media campaigns for Coca Cola, The Grammys, the Golden Globe and seriesNorthern Exposure andCheers. She grew to become an associate of Burson-Marsteller in 1991, combined with formerly been Director of Television for Mahoney Communications.

Toronto 2011: ATO Pictures Grabs 'Last Get in touch with the Oasis'

"Last Get in touch with the Oasis" ATO Pictures has acquired U.S. rights to Last Get in touch with the Oasis, that have its premiere within the Toronto Worldwide Film Festival the other day. The project, directed by Jessica Yu, was produced, funded and executive produced by Participant Media. "We are in a position to Not more proud being coping with Participant relating to this riveting, enthralling doc which everyone knows will open people eyes for the severe calamity at hands," mentioned ATO co-foundersJohnathan DorfmanandTemple Fennell. "Audiences will be in with an eye opening experience and Jessica is doing a great job lighting this vital problem." Oasis explores the world water crisis and the way it'll affect cities around the globe. Elise Pearlstein produced the film, which featuresErin Brockovich, Peter Gleick, Alex Prud'homme, Jay Famiglietti and Robert Glennon. "We're very excited being joining tabs on ATO Pictures to produce Jessica's bracing and fantastically-made wake-up call in regards to the emergency in the water crisis to U.S. movie audiences with the kind of robust social action and advocacy campaign that Participant is well known,In . mentioned Participant leader Ough Strauss. ATO mind of purchases Sarah Lash talked about the sale with Submarine'sJosh Braunand Participant COO Rob Ivers. ATO Pictures has recently released Terri, Casino Jack and Mao's Last Dancer. Forthcoming game game titles are the Lady inside the Fifth, Thin Ice as well as the Oranges. Participant Media is behind such films becoming an Annoying Truth, Food, Corporation. and Waiting for "Superman." Toronto Worldwide Film Festival Worldwide

Complete List: 2011 Emmy Those who win

La, Calif. -- Listing of those who win at Sundays 63rd Annual Primetime Emmy Honours presented through the Academy of Television Arts & Sciences: Drama Series: Mad Males, AMC. Actress, Drama Series: Julianna Margulies, The Great Wife, CBS. Actor, Drama Series: Kyle Chandler, Friday Evening Lights, DirecTV/NBC. Supporting Actor, Drama Series: Peter Dinklage, Bet on Thrones, Cinemax. Supporting Actress, Drama Series: Margo Martindale, Justified, Forex. Writing, Drama Series: Jason Katims, Friday Evening Lights, NBC. Pointing, Drama Series: Martin Scorsese, Boardwalk Empire, Cinemax. Comedy Series: Modern Family, ABC. Actor, Comedy Series: Jim Parsons, The Large Bang Theory, CBS. Actress, Comedy Series: Melissa McCarthy, Mike&Molly, CBS. Supporting Actress, Comedy Series: Julie Bowen, Modern Family, ABC. Supporting Actor, Comedy Series: Ty Burrell, Modern Family, ABC. Writing, Comedy Series: Steven Levitan and Jeffrey Richman, Modern Family, ABC. Pointing, Comedy Series: Michael Spiller, Modern Family, ABC. Miniseries or Movie: Downton Abbey (Masterpiece), PBS. Actress, Miniseries or Movie: Kate Winslet, Mildred Pierce, Cinemax. Actor, Miniseries or Movie: Craig Pepper, The Kennedys, ReelzChannel. Supporting Actress, Miniseries or Movie: Maggie Cruz, Downton Abbey (Masterpiece), PBS. Supporting Actor, Miniseries or Movie: Guy Pearce, Mildred Pierce, Cinemax. Pointing, Miniseries, Movie or Dramatic Special: John Percival, Downton Abbey (Masterpiece), PBS. Writing, Miniseries, Movie or Dramatic Special: Julian Fellowes, Downton Abbey (Masterpiece), PBS. Reality-Competition Program: The Astonishing Race, CBS. Variety, Music or Comedy Series: The Daily Show With Jon Stewart, Comedy Central. Pointing, Variety, Music or Comedy Series: Don Roy King, Saturday Evening Live, NBC. Writing, Variety, Music or Comedy Series: The Daily Show With Jon Stewart, Comedy Central. Copyright 2011 by Connected Press. All privileges reserved.These components might not be released, broadcast, rewritten or redistributed.

REVIEW: Straw Dogs Remake Trades Edgy Complexity For Genre Schlock

As I’ve mentioned, I’ve never been the type to get hives over the remake announcements that seem to crop up in the trades every other day, or who feels that a bad redo can somehow denigrate its original. I understand that the idea of people associating The Wicker Man with Nicolas Cage karate kicking Leelee Sobieski into a wall instead of the 1973 Christopher Lee version can be a little painful, but overall what’s the harm, so long as the film at least tries to bring something interesting to the table? That said, there are few films that are worse candidates to receive a Hollywood gloss than Straw Dogs, Sam Peckinpah’s nasty, brutish and sharp 1971 film about how we’re all just animals underneath the surface, prone to dominance displays and aggressiveness, merely fooling ourselves into thinking we’re not slaves to fleshly impulses. The original Straw Dogs starred Dustin Hoffman as David Sumner, a masculinity-challenged mathematician who moves with his hotcha wife Amy (Susan George) back to her rural Cornwall hometown, only to clash with the rough-hewn villagers, and is centered around a controversial and much-discussed rape scene that suggests that Amy enjoys it when her brawny former lover forces himself on her. It’s nihilistic and violent and a virtuoso bit of filmmaking, and it has the capacity to linger with and disturb you long after your first viewing. This new version of Straw Dogs, written and directed by Rod Lurie (of Resurrecting the Champ and The Contender), has been contemporized, sanitized and stripped of all complexity, and what’s left is as empty as a used piata. The action’s been transported to a small Mississippi town named Blackwater, and the cast has been prettied up — James Marsden plays David, now a Los Angeles screenwriter planning to hole up in a bucolic part of the Deep South to finish his script about the Battle of Stalingrad. Amy (Kate Bosworth) has become an actress whose supporting role on a network procedural means she’s the local superstar. Alexander Skarsgrd is her ex, Charlie, who is, like the rest of his construction crew who take on the job of repairing the hurricane-wrecked roof of the barn next to Amy’s childhood home, a former high school football hero whose glory days are gone. The red state/blue state divide is carved out with a ham fist — David drives a Jaguar, likes to listen to classical music and tries to pay for everything with a credit card, even at the town picnic. He’s constantly condescending, wears a Harvard Lacrosse T-shirt and walks out in the middle of a church service because God’s not his thing. Charlie and his crew get around in a pickup with a Confederate bumper sticker that reads “These Colors Don’t Run,” drink at a bar that only has Budweiser on tap (David’s attempt to order a Bud Light is shot down), blast hard rock and love to go huntin’. Charlie is capable of making the denim/denim combination sometimes referred to as a “Texas tuxedo” look rather fetching, which has to be a point in his favor. As the macho posturing escalates, Amy starts needling David, suddenly needing him to become more like the men she grew up with rather than the kind of guy who suggests she put on a bra when she complains that the contractors are shamelessly ogling her. Other than a moment in which she strips down for the workers by an open window out of revenge after a tiff with David, Amy’s absolved of much of the retrograde behavior in this take on Straw Dogs. She isn’t trying to provoke the townies — she begs to leave, and the rape scene, when it arrives, is far less muddied. This centering of Amy seems a way around the accusations of misogyny that were aimed at Peckinpah’s version, but it also puts her in the more typical position of a female character being the voice of reason, the sane one, while everyone else around her gets to be a luxuriant asshole. Open violence finally erupts in Straw Dogs because of an Of Mice and Men-ish accident involving the mentally disabled Jeremy Niles (an incredibly miscast Dominic Purcell). His wife has kept what happened to her a secret from David, which makes the stand he takes on behalf of Jeremy bitterly ironic — after everything that’s come to pass, this is his breaking point? And yet the film doesn’t seem to see the irony — the film seems to think it’s finally gotten to the exciting part, and there’s not denying the audience at my screening cheered on the splatter like it was a long time in coming, like they agreed with Charlie that it was high time David learned to nut up and defend his home. When you set aside the film that served as its source material, this new Straw Dogs is left a clumsy, culture war-baiting revenge B-movie that seems assured of its relevance without actually settling on meaning. It includes seemingly significant elements — the shadows of war, religious belief, ethical convictions — without actually using them for anything other than decoration for what’s really just two pretty boys cockfighting.

Five Reasons 'Warrior' Is The Next Must-See Movie

Using the summer time movie season formally wrapped, you're ready to turn our filmgoing focus toward the generally more desirable fall fare. The very first of the season's must-see movies is "Warrior" starring Tom Sturdy, Joel Edgerton and Nick Nolte, directed by Gavin O'Connor ("Miracle"). This film is all about a lot of things: recognition, duty, love, family, but mainly it's the story of two siblings beaten lower by misfortune and private devils, who when playing not one other options, enter a mma tournament with the expectation of having the ability to fulfill promises designed to their family members. And O'Connor, who also co-authored the film, drawn no punches (pun intended) in subjecting audiences towards the intense, gritty realm of MMA. Take a look at five explanations why this film is essential-see following the jump. It'll Change How You Consider MMA Fighting I understand nothing about MMA, nor will i like watching it, however the means by which O'Connor woven it into and round the story, you come away by having an understanding and appreciation for that artistic elements active in the sport. For Tom Sturdy, Celebrity Within The Making Individuals who've seen Sturdy in "Bronson," happen to be aware of a peek at the British actor's crazy talent. From his swagger to his stare to his silence, Hardy's intensity because the broken, estranged brother and boy Tommy is unnerving. As well as his total bad-assery like a take-no-criminals fighter within the cage. It is the way he plays the subtle, nuanced cracks within the character's hardened exterior that actually reach you, however. Grown Males Are Reduced To Tears Basically haven't already chose to make this point obvious, a warm and fuzzy movie, "Warrior" isn't. It's an almost nonstop, adrenaline-fueled assault in your feelings, every single one of these, and that's why people of audiences is going to be gone to live in tears. (I saw a minimum of two males dabbing at their eyes and sniffing at because they walked from the two tests I attended - yes, I needed to view it two times.) Just when was the final time you heard about a movie that moved grown males to tears? Bear Witness To Nick Nolte's Soon-To-Be-Nominated Performance I can not think about a movie by which Nolte has completed a finer performance. And frankly, who thought he'd any greatness left in him? Not me. But wowza. Nolte just knocks it from the park because the damaged and dejected formerly alcoholic father to Sturdy and Edgerton's figures. There's a particular scene so devastating that after it performed out onscreen I immediately thought, 'I is going to be seeing it can in clip form come honours season.' The Unconventional Ending No spoilers here, I promise, but when you're able to the climax of the film, you are feeling as if you have been via a fight yourself. Even when you believe you realize what's coming. And also you will not, the industry beautiful factor. Roger Ebert authored that "This can be a rare fight movie by which we don't wish to see either fighter lose," and that he is completely correct (See: "Grown Guy Are Reduced To Tears" previously mentioned). "Warrior" is within theaters today, September 9. Are you likely to see "Warrior?" Inform us within the comments or on Twitter!

Ough Gervais To Reside-Snark Golden Globes

Wow, this is appointment listening. But most probably it might happen only when he doesn’t host again. From Ough Gervais’ blog: Exactly what do you think about this? An active 3 hour podcast throughout The Golden Globes. Me along with a couple of chums (like Louis CK, Chris Rock, Karl Pilkington, John Stewart, Ray David popping out and in) doing our very own alternative commentary. People in your own home might have the telly up with the seem lower hearing us online say stuff that no broadcaster could pull off. Nobody could perform a fucking factor. The greatest live webcast ever? You never know? Who cares? What’s fun may be the shit we may come forth with. Nothing. No sponsor. No guide lines. Fuck me I'm able to’t wait. Maybe I’ll perform a non-broadcast practice using the Emmys to ascertain if it really works. I’ll inform you. [And Then ...] Wow. I’ve opened up a can of earthworms. Or The planet pandora’s box. Or launched the Kraken maybe? I’ve had an incredible reaction to yesterday’s blog entry. Not just was the concept received well, but we’ve had offers of sponsorship, tech support team and a lot of comics up for this. I don’t want individuals to believe that this really is some kind of anti-establishment stunt. It’s not. Any longer than determining to perform a podcast in 2005 was. It’s about new horizons, technology and artistic freedom. Fun essentially. Although, basically really get it done, it'll show people how tame my official hosting was this past year. I still can’t quite know how anybody would think I overstepped the objective, was cruel, or pressed any limitations of taste and decency. It had been a network friendly gentle ribbing of the profession. Anything. I didn’t even dress as Hitler ultimately. Anyway. I’m considering it. May not happen. I would not really be accessible. You never know, I would attend The Golden Globes. (awkward silence.) The funny factor is, everybody who tunes into the live webcast can also get to become watching the particular show on NBC. I possibly could be helping their rankings. ' '. I hadn’t thought this through. Maybe they ought to sponsor me? (awkward silence… slightly more than the final one… gradually fade to black.)