Marathon, time change slows Broadway box office

Broadway sales downshifted just a little in Week 23 (March. 31-November. 6), although two shows grew to become an associate from the selection, aiding and also hardwearing . cume on componen while using prior sesh.One cause of the downtick could lie inside the November. 6 switchover from daylight not spend your time, which some legiters believe negatively impacts B.O. Also affecting biz was the NY Marathon, annoying travelers and Gothamites.Primary Stem cume wound up, just, to $21.2 million for 30 shows round the boards, with attendance rising slightly to 230,161.The 21 musicals made $17,142,682 for 80.9% in the Broadway total, with attendance of 180,467 plus an average paid out admission of $94.99. The nine plays made $4,047,124 for 19.1% in the Broadway total, with attendance of 49,694 plus an average paid out admission of $81.44. Contact Gordon Cox at gordon.cox@variety.com

Taryn Manning Set To Star In The White-colored Trash Christmas

EXCLUSIVE: Taryn Manning remains attracted on for your lead role inside the indie A White-colored Trash Christmas, a undertake the Christmas Carol story that concentrates on the struggles of from the trashy, whiskey-drenched, unemployed hairstylist and mother (Manning) who's visited by three ghosts who make an effort to show her a route to a much better future. Ron Carlson is pointing in the script he co-written with Terri Kauffman. Carlson and Rachel North are coming up with. Manning, recognized for such films as Hustle & Flow and 8 Mile, is repped by APA and MPE.

Carlos Slims Broadcast Rivals Protest His Web TV Delivery In Mexico

Rivals of Carlos Slim are protesting to government regulators his delivery of TV programming over the Web in Mexico, Bloomberg reports. Grupo Televisa CEO Emilio Azcarraga complained last month and TV Azteca has filed suit against Slim’s companies as well as complained to the nation’s phone regulator over Web broadcasts such as last months Pan American Games.Slims America Movil and Telefonos de Mexico are forbidden from using their networks to offer TV service under the terms of their telecommunications license that was acquired in a 1990 privatization sale. Slim, 71, has tried unsuccessfully to reverse the ban, especially as Televisa has begun offering phone and Internet service to lure away his customers. Banning web videos without a broadcast license would also affect companies such as Netflix, which has begun streaming services in Latin America, and Mexican phone company Maxcom which started an online TV plan in September. Jose Otero, an analyst at Signals Telecom Consulting based in Uruguay said thatif youre going to need a broadcasting license to offer video streaming, youre going to need to block a lot of companies. America Movil is already the biggest pay-TV provider across all of Latin America, with 12.5 million subscribers, mostly in Brazil, compared with DirecTVs 10.3 million. And America Movilis moving aggressively toward delivery of pay-per-view and streaming of Hollywood movies. Telmex, as the America Movil unit is known, began offering an online news service, Uno TV Noticias, three years ago. It has added coverage of Formula One racing where it sponsors driver Sergio Perez, and of events such as the International Cervantino Festival, an arts gathering in Guanajuato, Mexico.TV Azteca began its legal moves after Telmex started online transmissions last month of the Pan American Games, held this year in Guadalajara, Mexico. The broadcaster argues that even though the streaming video is free for all Internet users, Telmex uses its network to transmit the programming and is therefore violating the terms of its license, Nino said. Telmex was an official sponsor of the Games and had online broadcast rights for Mexico.Competition between Slims companies and Mexicos two broadcasters has intensified this year. Slim pulled his companies advertising from the broadcasters and both sides filed antitrust complaints against each other.America Movil has 70% of Mexicos wireless subscribers, and Telmex has 77% of the nations land lines. Televisa and TV Azteca get almost all of the nations TV viewers.

Prince Harry Surprises Arizona Restaurant Patrons

First Launched: November 7, 2011 9:37 AM EST Credit: Getty Images GILA BEND, Ariz. -- Caption Prince Harry visits Salford Ambulance Headquarters to fulfill ambulance crew those who have been working throughout last days riots in Salford, England on August 18, 2011The western Arizona capital of scotland - Gila Bend got a visit from royalty when Prince Harry dined about 30 military pals within the Little Italia Restaurant. Fridays royal visit came just like a large surprise for the staff and restaurant owner Antonino Buccellato. He notifies The Arizona Republic newspaper that Harry ate a pizza engrossed in pepperoni, sausage and sausage. Residents are actually wondering once they would obtain the chance to look for the 3rd in line for the British throne. Buccellato states patrons recognized the prince and began whispering and talking with one another, but nobody awoke and asked for to talk with him. Prince Harry is at Arizona for Apache helicopter learning the Gila Bend Air Pressure Auxiliary Area. Copyright 2011 with the Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

John Cho on A Very Harold & Kumar Christmas, Meeting the World's Leaders, and Talking Basketball with the President

The sweetest feel-good flick of the holiday season may well be the one about two ex-BFFs, who’d once gone in search of White Castle sliders and tangled with Homeland Security, who reunite on Christmas Eve to hunt down the perfect fir, crossing paths with drug-sniffing babies, Ukrainian gangsters, and a sweater-clad Danny Trejo along the way. Stoner heroes Harold and Kumar have come a long way since 2004 — and so has co-star John Cho, who sat down with Movieline recently to talk H&K, career moves, and his encounters with the likes of U.N. Secretary-General Ban Ki-moon and President Obama. And why shouldn’t the leaders of the world mingle with Cho and sometimes-White House staffer Kal Penn? In three films, their Harold and Kumar characters have grown into American cinematic heroes of a sort, post-racial emblems of a generation balancing budding responsibility with the occasional marijuana puff. There’s a surprising amount of well-intentioned life lessons to be found in the franchise’s latest holiday-themed installment, which Cho succinctly describes as “both a perversion of and an homage to” seasonal classics like A Christmas Story and the entire Rankin/Bass oeuvre. Read on as Cho shares his thoughts on the Harold & Kumar franchise, the shenanigans he was afraid of his mother seeing, and what he talked about upon meeting President Obama and various other political and cultural luminaries. How long had a Christmas movie specifically been in the works for Harold and Kumar, and why did it make sense? Well, the first question — I feel like it was in the works as soon as the project was in the works. It was 3-D and Christmas, all kind of a bundle idea. How does it fit? For me, there are a lot of things. We wanted to age the characters. I couldn’t imagine doing a movie set a minute after the second one, it just didn’t feel like we could keep them at 23 or however old they were. And I was interested in playing something else, having them in different circumstances. The first movie was sort of this race polemic in a lot of ways, and the second one was this goof on political satire; I didn’t think we could keep that going with a third one. How far can we go with this particular direction? So they pitched this idea of a Christmas movie and I thought it seemed radical to then go very traditional, ironically. So it’s perfect. It’s a Christmas movie that hits all the beats of a holiday film, but at the same time it is completely and totally a Harold and Kumar story. Right — it’s both a perversion of and an homage to, you know? It’s also self-aware, in that the film acknowledges perceived criticisms out of the gate. You have a line about the necessity of 3-D, there’s a conversation about jumping the shark… Well, that’s become the language of our movies at this point, to goof on ourselves and to goof on whatever we’re doing. Somehow they get away with it — we’ve always had our cake and eaten it, too. We bring up stereotypes and then make fun of them, so we’re kind of guilty of bringing them up in the first place but we make fun of them, too. [A plate of sliders is brought in for Cho.] You want a burger? No, thanks. No waffles at this junket? No waffles. [Pause] So that’s kind of been our thing now at this point. We just do both things. Going back to the first question, by the way, the most important thing that happened, I think, between the second and the third one in our real lives, is that Neil [Patrick Harris] came out! So there was this whole thing, he was this cooze-hound. [Laughs] This was the opportunity for a fun joke here. That was a brilliant move. Hayden [Schlossberg] and Jon [Hurwitz] have written all three Harold & Kumar movies. I’m curious as to how collaborative they are with you and Kal… They do their thing and we sit in awe of them, really. That’s kind of more the process. They run it by us and I figure if we had a real problem we could definitely say something. We’re so close at this point. Really, we’re friends; we go to each other’s weddings and all that stuff. I was concerned about some things in this script but I kept my mouth shut because I do feel like if I start tampering with it, because of my vanity or my own values, they wouldn’t be Harold & Kumar movies anymore. I don’t want to mess with a winning formula. What sort of things do you mean? [SPOILERS] I was concerned about the baby — the drug baby. [Laughs] I was concerned about the penis on the pole… [END SPOILERS] Were you worried that audiences would reject those gags? Well, just that my mother would see it at some point. I just felt like maybe it was… embarrassing to family? How does your family feel about this character? I mean, certainly your other work, even Sulu in Star Trek, should make up for any embarrassing scenes from Harold & Kumar. Maybe. I mean I’ve done stuff that’s more… I mean, Sulu is an important character that marked an advance for Asians in pop culture. Yes — I would argue that Harold and Kumar are, too! They totally are. But you know, from my mother’s point of view — which is the relevant point of view, the most important point of view — she has other things to talk about as well. She liked Flash Forward, she liked Star Trek. But honestly, they love these movies too in the sense that I think what we get away with is they’re kind of well-meaning dudes, and the movies are well-intentioned. We get away with stuff, it’s kind of surprising. Most of all to me. That underlying heart and sweetness makes Harold & Kumar stand out within the category of so-called stoner movies, but this installment in particular seems to be advocating on behalf of responsible drug use — at the end, marijuana brings friends together. You’re right, maybe it could be read that way. Also, I feel like what was nice about aging the characters was that the audience aged and it was a nod to them. Harold and Kumar, though older, are still the same guys at their core. So it was a nod to our audiences as well. I see it as a valentine to them, too. Do you feel something similar with the American Pie franchise, which has another sequel coming out that sees familiar characters come back years later? Yes. We did a reunion movie now, so I think it’ll be interesting as the people who were in high school when the first movie came out have now gone to their ten-year reunion, which is crazy. It’ll be another way to relate to that movie. Kal mentioned that he doesn’t think of the Harold & Kumar franchise as a stoner series. You know, it never really sunk in that we were in a stoner movie because we don’t spend much of the movie being high. There’s basically about two scenes per movie where we’re smoking weed, and then the rest of the movie we’re stone cold sober and pissed. And the third one doesn’t really have a fantasy — Weed sequence! Well, there was a Russian belladonna scene, the Claymation sequence. But we didn’t have a romance-weed sequence, either. That was my one regret. I love watching that stuff. The suspension of disbelief runs strongly within me. You share scenes with Danny Trejo, who plays your disapproving — but Christmas-obsessed — father-in-law. Is he scary in real life… when he’s wearing a silly Christmas sweater? Slightly less scary, I’d say. But as soon as they yell “Cut,” he takes it off. Really? Oh, yeah. If you had all those tattoos you’d be wanting to show them off, too. Very scary man. How did all those cameos come together? Personal favors from funny friends? A little bit, but there was more of that with the first one — the personal phone calls. They’re very choosy with who they use, because sometimes the studio is pitching someone who’s on a show, very popular, and that’s not necessarily who the team wants. They’re looking for somebody who fits, has the right sensibility. So I can really say we’re happy about each and every cameo because they’re very particular. And to get the RZA, or Bobby Lee, or Elias Koteas — it’s just a weird, wide variety. It somehow works, I don’t know why. RZA’s cameo is as one of two African-American Christmas tree salesmen who the audience sees playing deliberately with stereotypes, which brings me back to Hayden and Jon — how do two white guys get it right when it comes to this franchise starring Asian-American heroes, in which the characters aren’t necessarily built around their own ethnicities but many of the jokes are? I think they’re just honest. There’s a guy named Harold Lee that they wrote this series about, who I’m very close to know. I think they just grew up hearing him talk and they just know him, and they just stole from his life. You know, the first script had a lot more culturally-specific references because it was a defensive thing. They were afraid that the studio would change the title to David and Jason Go to McDonald’s. So they wrote more culturally-specific talk that didn’t make it in the movie. And there’s plenty in the movie, but there was even more in the first draft in order to dissuade someone from changing it. So they use a lot of Harold. I think it’s great; that stuff adds to the specificity and makes him more real. You’ve got Total Recall coming up; how do you feel that fits into your career as a whole, the kinds of roles you take? I don’t know that I think about my career in the bigger sense. I appreciate the way it’s turned out, looking back, but there wasn’t a lot of planning. It’s more emotional, like somebody presents an idea and you react to it. It’s more like somebody comes to you with an idea and you say, that sounds great. It feels good. And I also have this rule now, because I’ve made this mistake before, of doing something because your agents say you should. It’s always a bad idea because you don’t bring much to the project when you’re not excited about it on a very personal level. …Which project are you talking about? [Smiling] I’m not gonna say… [jokingly] Star Trek. Clearly I’m talking about Star Trek. Obviously! So, we all know Kal went to the White House for a few years. You also visited the White House recently. What was that experience like? That was, strangely enough, my second visit. I went earlier this summer and met [Obama] in the Oval Office, and this time I went for a State dinner and it was great. I brought my father, so that was a mind-blower for him. It was a very, very special evening. And I also got a chance to meet a lot of Korean heroes of mine, [like] Chang-rae Lee. It’s funny how we were all keeping tabs on one another as Koreans. I was like, “You!” and he was like, “You!” Even, like, Secretary-General of the U.N. Ban Ki-moon. It was just really crazy. Wait - Secretary General Ban Ki-moon knew you… from your movies? He watches your career? Yeah. That blew my mind. It was pretty wild. When you met the President, was Harold & Kumar a touchstone for him? Did you talk about your movies? We talked about the basketball lockout. [Laughs] When I first met him, he was just curious about what I’ve been up to, and what I was working on. Have you ever been inspired to do something like Kal did, taking time off for public service? I wouldn’t want to do what he did, personally, but from my perspective I don’t know that I have the stamina to do a job that hard. A Very Harold & Kumar Christmas 3-D is in theaters today. Follow Jen Yamato on Twitter. Follow Movieline on Twitter.

ABC's Paul Lee States 'Grey's Anatomy' Won't Follow 'Desperate Housewives' On their way (Q&A)

This story appears inside the November. 11 problem in the Hollywood Reporter. Relaxing in the sparsely decorated office in Burbank, ABC Entertainment Group's mild-mannered leader, Paul Lee, values he wasn't alert to everything accompany controlling a studio and network when he recognized the role in summer season 2010. But because the Oxford-educated former BBC America founder and ABC Family chief is busy filling holes around the schedule that has taken its share of hits lately, lots of his newcomer efforts -- from Revenge to Suburgatory to fall's No. 1 new drama, Not such a long time ago -- seem to become connecting track of audiences. Still, the present Family network was lower four percent inside the internet marketer-coveted 18-to-49 demographic 5 days to the season, according to Nielsen, considered lower having a stable of aging series as well as the since-canceled Charlie's Angels. PHOTOS: Fall TV Dying Pool: Which Shows Will Probably Be Axed First? Lee, 51, a married father of two college-age sons who got his start just like a BBC reporter designated to cover the conflict in Belfast, Northern Ireland, sitting lower while using Hollywood Reporter to talk about the fitness of reboots, the failure of Angels and also the necessity to try out the broadcast model. The Hollywood Reporter: What's the most difficult factor in regards to the job that you just didn't expect? Paul Lee: There's a massive workload for broadcast systems because you produce a hell of plenty of television. I'm fairly shy, and also you receive a lot of attention in this job. You obtain checked out for every move you're making. You're like, "Oh, I believed I'd accomplish that, but everybody first seen it.Inch (Laughs) THR: Can you anticipate more deviation within the traditional broadcast model, like shorter seasons? Lee: We're starting to. We did 10 cases of Missing with Ashley Judd, which we're doing eight cases of [horror drama] The River. I came from from the global where in the event you handled to acquire 10 cases of something, it absolutely was a massive success. You are able to crack open champagne -- well, it absolutely was a great deal a lot more like Guinness. Here, you're failing in the event you don't get beyond 16. I really think, if this involves getting in talent or certain kinds of storytelling, it appears sensible with something such as The River to convey, "OK, let's do eight of individuals and very construct them with techniques making sense." It appears sensible with Ashley Judd to carry out a limited series. But essential, as well as the energy within our business, does 22 or 24 episodes. That's still an important business, which we're not departing from that. One component that distinguishes American television is always that we could make storytelling that sustains on the very long time. But we'll experiment round the edges. THR: How about lower-cost programming, possibly on Friday nights? Lee: We're experimentation. We've had some success with Rookie Blue, the low-cost little bit of programming that's effective for people inside the summer season. We're doing other versions of the. We're doing worldwide co-productions, which we'll have a look at cost points on broadcast inside the U.S. However don't think it stops the fact we'll be buying and selling in large storytelling on comedy, drama and reality for primetime. THR: Reality franchises like Dwts are actually flagging this season. Will that genre's slice in the primetime cake shrink? Lee: Certainly not. It's a massive genre. It probably rules nearly all cable it rules broadcast in lots of nations. Nevertheless it's much more tough to develop possible demonstrate that's prone to break the recommendations now. You throw somebody off an exotic, plus it's unlikely to surprise people any more. PHOTOS: 'Dancing While using Stars' Season 13 Cast Official Photos THR: Cable systems want to be clearly defined brands. How achievable and valuable could it be for just about any broadcast network like ABC being one? Lee: I'd argue ABC has a brandname. You will discover brands on cable whose job is always to setup a sign saying, "In the event you're a girl, don't can be found in,In . or, "In the event you're a guy, don't can be found in,In . or, "In the event you're over 34, don't can be found in.In . The primary difference is always that we're an even more inclusive brand, closer to Apple or Target instead of Urban Outfitters. It's not our responsibility to put up a sign that states, "Don't can be found in,In . nevertheless it's absolutely our responsibility to produce brand promises that you know what happens you'll get in the event you come. I enjoy say it's a "smart with heart" network. THR: You set an finish date for Desperate Regular folks. Is always that something you'll look associated with Grey's Anatomy? Lee: Not again. I am hoping Grey's lasts another decade. THR: Producer Mark Gordon told us he'd would like it to go until he dies. Lee: I really like his ambition. Let's say five decades! With Desperate Regular folks, it absolutely felt like the right step to complete. Marc [Cherry] wanted to make it happen as well as the showrunners wanted to make it happen. We managed to get happen with Lost before I obtained here, plus it felt as being a great factor take its victory lap. Marc will write it which he's recognized for eight years what the last a quarter-hour are. We're likely to be in the sealed envelope and shipped getting a motorcade. [laughs] THR: Why didn't Charlie's Angels work? Lee: It's always so frantically to see. In my opinion we just didn't breathe existence into that idea. We didn't catch everyone else or have the momentum we wanted within the show. THR: While using struggles of NBC's The Playboy Club along with your Charlie's Angels and Pan Am, is retro TV dead? Lee: No. Ultimately, what really matters happens when good the show is. The advantage of obtaining a recognised brand is that you could get out of the clutter, too as with the fall launches, that's a useful step to complete. However when you don't stick to it tabs on an amazing show, it's unlikely to sustain. PHOTOS: 10 Tv Shows Canceled Faster Than 'The Playboy Club' THR: You want to say, "Essentially can't market it off, I'm not considering it.Inch What do i mean? Lee: I'm an ex-director, therefore i are available in a show visually, that's unusual because most people that do that job are ex-designers are available in the host to words. Personally, If only to think will have the ability to see some key art. THR: What's a genre you need to maintain? Lee: We're trying a completely new genre while using River. We glance carefully at what labored previously tough occasions throughout the final century. In the event you think about the 19 thirties as well as the ྂs, comedy did perfectly. It's not just that people desire to laugh, they wish to be entertained and moved, which is probably the reasons we did a tale book. Don't forget, the Wally Disney Co. is created on favorite anecdotes within the 19 thirties. So when you gaze at people periods, fear carried out, too. We just originated from the launch of Paranormal Activity, which we now have [its creator] Oren Peli doing The River. It's unlike anything you've seen on ABC. It's some risk, nevertheless it's one I like taking. I'm absolutely open to searching at new genres. THR: Between Marc Cherry's Hallelujah and Carlton Cuse's project with pastor-author Make the most of Bell, you're developing inside the spiritual genre. What options can you see in this space? Lee: Religion can be a fascinating subject, it goes back for the voice in the showrunner. Bobby Harling, who [GCB], involves religion getting huge dose of humor. We haven't seen the redeveloped pilot of Marc's Hallelujah, nevertheless it's deeply sincere. I don't think it's a subject that's off-limits. It's very relevant, which i'm a great believer that might be no taboos. As extended since it's produced by anybody that has talent and class, In my opinion you'll be able to discuss anything. THR: What's most likely probably the most surprising pitch you've heard? Lee: A pitch is certainly an invite to have an invitation with a preparty. You're telling us just how much of the outline might be, which outline may well be a script, which script may well be a pilot, which pilot may well be a series. It's up to now from really visiting the party the very best customers must have amazing antennae for when the party will most likely be worth visiting. You're acquiring the idea those being pitched in addition to trying to determine whether these individuals and ideas will catch fire and be various and surprising. Related Subjects ABC Desperate Regular folks Modern Family Paul Lee The River Grey's Anatomy ABC Entertainment Group

Participant taps marketing exec Boettcher

Veteran marketing exec Chad Boettcher will join Participant Media as exec VP of social action and advocacy. Jim Berk, CEO, made the announcement Tuesday. Boettcher, who takes the new post on Nov. 28, will be responsible for leading the creation, development and execution of campaigns for all Participant content. Participant said the hire is aimed at building on the success of its social action initiatives this past year with its campaigns for "Waiting for "Superman" and "Contagion." Participant said the "Waiting for "Superman" campaign has reached over 30 million people and that over 2 million people have visited Participant's online Social Action "hub" for "Contagion." Boettcher founded the digital co-creation platform Goodzuma and teaches marketing innovation at NYU. He's previously served as senior VP of social innovation at Weber Shandwick, Global Director of Corporate Responsibility at Nike and Senior Director of Strategic Partnerships and Public Affairs at MTV: Music Television. Boettcher is also the National Co-Chair of the Gay Lesbian Alliance Against Defamation. Contact Dave McNary at dave.mcnary@variety.com