Yahoo Q3 Earnings Solid, Says It’s Still Prepping For Verizon Takeover

Yahoo earnings bumped up in after-hours trading following a third-quarter 2016 earnings report that saw revenue top analysts’ expectations. The beat comes amid uncertainty over Verizon’s proposed $4.8 billion deal to acquire Yahoo’s web assets following the disclosure of a massive data breach back in 2014 that impacted as many as 500 million email accounts.
Total revenue for Q3 was $1.31B, a 6.5% jump year-over-year, Yahoo reported today. Revenue was down from $1B a year…

Great Job, Internet!: At 90, Chuck Berry has a new album in the works

Chuck Berry, the man whose very name John Lennon suggested as a synonym for rock ’n’ roll, is celebrating his 90th birthday today with the surprise announcement of a new album. Scheduled for release in 2017 on the Nashville-based Dualtone Records label, Chuck will be “comprised primarily of new, original songs written, recorded and produced” by Berry himself.

This is a fairly big deal, since according to his own autobiography, the last time Berry ventured into a recording studio was February 1979, when he laid down tracks for a mostly forgotten LP called Rock It. After an astonishing run of groundbreaking hits beginning in 1955 with “Maybellene,” Berry largely began coasting in the 1970s and beyond, his reputation tarnished by perfunctory live shows, endless re-recordings of old triumphs, and numerous legal entanglements. Chuck looks like a good faith attempt to end his career on a high note.

In recent years …

Leonardo DiCaprio Circles ‘Truevine’ Adaptation for Paramount

Leonardo DiCaprio is looking to star in an adaptation of Beth Macy’s celebrated historical novel “Truevine: Two Brothers, A Kidnapping, And a Mother’s Quest: A True Story of the Jim Crow South,” TheWrap has learned.

Based on true events, the story revolves around two African-American albino brothers, George and Willie Muse, who were taken away as youths to be displayed as circus sideshow freaks while their mother tries for decades to get them back.

Paramount Pictures and DiCaprio’s Appian Way are cutting a deal to to acquire screen rights to the book.

Also Read: Leonardo DiCaprio Pressured to Step Down from UN Climate Change Post

DiCaprio and Appian Way’s Jennifer Davisson are on board to produce the film version of the story, which takes place in 1899 on a tobacco farm in Truevine, Virginia.

The Muse brothers became a world famous act, even performing at Buckingham Palace at one point in their careers.

The book is represented by Richie Kern of Foundry.

Also Read: Nat Geo Sets First ‘Earth Week,’ Pegged to Presidential Election (Exclusive)

In March, DiCaprio and Paramount CEO Brad Grey finalized a three-year, first-look production deal between the studio and Appian Way Productions.

At the time of the deal, the actor’s production company had four projects in development with Paramount, including “The Devil in the White City,” based on the book by Erik Larson, “Sandcastle Empire,” a yet untitled film, and a limited television series.

“I’ve had the pleasure of working with Brad and the team at Paramount Pictures on numerous projects throughout my career,” said the actor in March. “I cannot think of a better home for Appian Way as we continue our growth.”

Also Read: Inside TIFF Parties: Nicole Kidman, Leonardo DiCaprio, and a Smooching Miles Teller (Photos)

The Appian deal adds prestige to the Paramount lot — in the form of newly-minted Oscar winner DiCaprio.

Appian Way has produced films like “The Revenant,” “The Wolf of Wall Street,” “Ides of March,” “Public Enemies” and “The Aviator.”

The company is producing Ben Affleck‘s “Live By Night” (2017) and also “Robin Hood: Origins” (2017).

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A.V. Undercover: Touché Amoré covers Pearl Jam’s “Corduroy”

It seems fitting that the post-hardcore band Touché Amoré would choose to cover Pearl Jam’s “Corduroy”—the singers in both bands love to deliver personal lyrics that cut to the bone. Touché Amoré’s latest, Stage Four, deals with the death of frontman Jeremy Bolm’s mother from cancer, and it’s a heartbreaking listen. PJ’s 1994 hit “Corduroy” doesn’t cut quite as deep, though it does take a look at the ugly side of fame. Enjoy.

CNN Dominates Election Cycle Among Millennials

Millennials might not watch as much cable news as their parents, but when they do, the majority of adults age 18-34 prefer CNN over rivals Fox News and MSNBC.

Among that group, CNN has dominated the election cycle, averaging 50,000 millennial-aged viewers compared to 39,000 for Fox News and 28,000 for MSNBC from July 2015 through Oct. 4, 2016. CNN’s millennial audience grew 52 percent over that time period, with Fox News’ growth at 22 percent and MSNBC’s at 17 percent.

Only 64 percent of millennials actually pay for cable, while 26 percent have never had pay TV, according to a USA Today study from last December. It should be noted that USA Today considered millennials adults age 18-29 as opposed to 18-34, but the bottom line is that young people watch less TV than their parents.

Also Read: Anthony Bourdain Says No to Dining with Donald Trump: ‘Absolutely F–ing Not’ (Exclusive)

It appears the youngsters who actually spring for cable flock to CNN. During primetime, the network averaged 109,000 millennial-aged viewers, outpacing Fox News’ 89,000 and more than doubling MSNBC’s 49,000. CNN grew 106 percent among millennials during primetime, while Fox News and MSNBC’s growth was at less than 50 percent.

CNN and its cable news rivals have additional competition to deal with nowadays. Voters can receive information on their phones, and various streaming services provide extensive election coverage. The Young Turks’ YouTube page has over three million subscribers, while CNN’s YouTube page has 1.6 million.

The Pew Research Center recently noted that baby boomers and previous generations dominated every presidential election since 1980, but Generation X eligible voters and millennials will be more important than ever when it comes to deciding the next president and could “mark the beginning of a new era for U.S. presidential elections.”

Also Read: Why HLN’s Robin Meade Isn’t Celebrating Her Work Anniversary

Pew also noted that Millennials’ views of national news media have grown more negative, with only 27 percent of the youngest demographic of voters claiming the news has a positive impact — but at least they’re watching.

Millennials aren’t the only people watching CNN. The network finished the week of Oct. 10-16 as the third most-watched network in all of cable, behind only Fox News and Nickelodeon.

Related stories from TheWrap:

Cable Ratings: Only ESPN Tops Fox News, CNN in Primetime

Debate Ratings: CNN Dominates Fox News, MSNBC With 11.2 Million Viewers

Anderson Cooper’s New CNN Deal Takes Him Out of Running for ‘Live with Kelly’

Ben Feldman, Olivia Thirlby’s ‘Between Us’ Picked Up by IFC Films

IFC Films has acquired North American rights to Rafael Palacio Illingworth’s indie “Between Us,” TheWrap has learned.
The film, written and directed by Illingworth, stars Olivia Thirlby, Ben Feldman, Adam Goldberg, Analeigh Tipton, Lesley Ann Warren, Peter Bogdanovich and Scott Haze.
“Between Us” made its world premiere at the 2016 Tribeca Film Festival and will be released by IFC Films in January 2017.
The film was produced by Madeline Samit of Caviar Films, Eleonore Meier of Nora Films and Bert Hamelinck of Caviar Films.
In “Between Us,” a couple confronts the fear that settling down and getting married will mean their carefree days as city-dwelling young adults is coming to an abrupt and depressing end. Both are tempted by the allure of another life before ultimately realizing why they fell in love in the first place.
“We are very excited to be working once more with Rafael Palacio Illingworth after releasing his impressively sharp debut feature “Macho.” In “Between Us, Rafael continues to demonstrate a deft hand at balancing comedy, drama and romance while eliciting strong performances from his wonderful ensemble,” said IFC Films.
The deal for the film was negotiated with CAA on behalf of the filmmakers.
IFC Films is a sister label to Sundance Selects and IFC Midnight, and is owned and operated by AMC Networks Inc.
Related stories from TheWrap:

IFC Films Cuts Deal for Northern Ireland Drama ‘The Journey’

James Franco’s ‘King Cobra’ Sells Domestic Rights to IFC Films

IFC Films Buys US Rights The Clash Movie ‘London Town’

DGA Contract Negotiations Date Set

The Directors Guild of America and the Alliance of Motion Picture and Television Producers have set a tentative date to enter into contract negotiations for early December 2016, the groups announced on Tuesday.

Both parties plan to continue talks ahead of the tentative negotiation date to help further define the issues before determining whether this will be the official start date for negotiations for the 2017 Agreement.

More on the matter likely won’t be revealed as the DGA and the AMPTP typically don’t offer more details on negotiations to the press until an announcement is made.

Also Read: Hollywood Reacts to FCC Decision to Delay Changes to Cable Set-Top Boxes

The DGA, which boasts more than 16,000 members, has a three-year deal with the AMPTP which expires on June 30, 2017.

DGA Contract Talks To Begin In December

The DGA will begin negotiations for a new film and TV contract with management’s AMPTP in early December, the two sides said today. Three years ago, in the last contract cycle, the sides started talks in October and reached a deal in November — a full seven months before the expiration of the film and TV pact. Based on that timeline, negotiations this time around are running a bit behind schedule.
“The parties have agreed that they will continue discussions in the interim…

Relativity Slaps Netflix With $1.5 Billion Lawsuit for ‘Smear Campaign,’ Contract Breach (Exclusive)

Relativity Media sued Netflix for breach of contract and libel on Tuesday, claiming that a “bad faith scheme” by the streaming giant caused the studio “damages in excess of $1.5 billion.”

Lawyers for Ryan Kavanaugh‘s company claimed that Netflix used them to gain standing in Hollywood, and then ruthlessly attempted to dissolve an output deal so lucrative that Relativity became dependent on its guaranteed payments to survive.

The suit also accuses Netflix and its Chief Content Officer Ted Sarandos of falsely representing its obligations to Relativity in the press, publicly criticizing the studio’s business model and poisoning Relativity’s name to power brokers like WME co-CEO Ari Emanuel — all in an elaborate and “aggressive smear campaign.”

A Netflix spokesperson did not immediately return TheWrap’s request for comment.

Also Read: 3 Possible Relativity Media Buyers Now That the Studio Is For Sale Again

“Relativity was the third largest mini-major studio in the world, having been involved in the production of over 100 major feature films. Netflix, by contrast, was a virtual non-entity,” papers obtained by TheWrap said of the output deal forged in 2010. At the time, the suit claims, Netflix was “a fledgling DVD mail-order business with no bargaining power, little theatrical content, and few successful programs.”

The licensing agreement gave Relativity Media, which emerged from Chapter 11 bankruptcy this year and is currently for sale, fees based on the box office performance of any given film — with a guaranteed cash minimum of $3.7 million which could escalate to nearly $20 million per movie based on theatrical revenue.

A breakdown of the Relativity-Netflix “Fee Card,” or percentages Relativity is paid to stream its titles with Netflix

But six years later, Netflix’s market capitalization “rose by billions, [and] Netflix wasted little time turning on its maker, Relativity,” the papers said, likening its dilemma to Dr. Frankenstein and his famous monster.

Relativity contends that by “choosing Netflix as its pay television or SVOD partner, Relativity single-handedly converted Netflix from a DVD mail-order company into a pay television business.”

Also Read: ‘Masterminds’ Premiere: Ryan Kavanaugh ‘Relieved’ at Relativity’s Post-Bankruptcy Coming Out Party

Given the service’s present glut of content partners and robust slate of original programming, it’s easy to forget that from 2010 to 2013, approximately 85 percent of Netflix’s new films were from Relativity, the suit said.

Three years into the deal, Netflix attempted to renegotiate the fee rate to more favorable terms to the streaming service, the suit said. Relativity would not budge, except for a small amendment to the required number of screens the films had to play on prior to coming available for Netflix users. At that point, Kavanaugh’s company was using projected Netflix earnings as collateral for production and operating costs.

Netflix also attempted to void the deal throughout the bankruptcy process — first claiming that the studio’s financial problems prohibited them from releasing films and fulfilling their end of the deal. Bankruptcy Court Judge Michael Wiles did not agree, and would not go to the extraordinary measure of voiding the agreement. Netflix later lost an appeal, and a subsequent request to stream Relativity movies before their theatrical release — which would significantly kill their chances of success at the box office.

Though the suit does not spell out how it came up with its projection of $1.5 billion in losses, the papers note that Netflix paid between $100 million and $300 million per year to Relativity under the deal — “a known substantial piece of Relativity’s business.”

It’s unclear why Netflix would be responsible for the drop in payments to Relativity — the distributor did not release any new movies theatrically for more than a year in the midst of its bankruptcy woes. In addition, the two movies it did release last month, the Kate Beckinsale thriller “The Disappointments Room” and the Kristen WiigZach Galifianakis comedy “Masterminds,” both underperformed at the box office.

(According to the rate card, Relativity stands to receive $3.7 million from Netflix for “The Disappointments Room” even though the movie grossed just $2.4 million in domestic theaters.)

Shortly after Relativity filed for Chapter 11 in July 2015, Netflix attempted to dissolve the output deal in New York Bankruptcy Court, a legal bid that was denied and then shot down again in appeal.

Also Read: ‘High Noon’ to Be Remade by Relativity

“Unsuccessful in removing the obligations of the License Agreement through renegotiation, it would do the next best thing: destroy Relativity completely by putting it out of business,” the papers said. “Netflix has endeavored to do so by undertaking an aggressive smear campaign against Relativity, making false and misleading statements regarding its rights to certain Relativity-licensed films.”

Relativity Chairman and CEO Kavanaugh hinted on Sunday something was in the pipeline in his stormy relationship with Netflix.

“#Netflix is about to understand ‘you reap what you sow’. you can’t be as manipulating and dishonest as they are and get away with it,” he tweeted.

Relativity is seeking damages to be determined by the court, on top of legal fees and other expenses incurred.


Related stories from TheWrap:

Was ‘Masterminds’ the Last Straw for Relativity?

3 Possible Relativity Media Buyers Now That the Studio Is For Sale Again

Relativity Fires Co-President Adam Fields for Breach of Contract

Income Disposal: On sale on Amazon today: Ghostbusters and Columbia fleece jackets

In an effort to both serve our readers and help support The A.V. Club, we are going to post daily links to deals and interesting items that we find over on Amazon. If you use these links to click through and buy something—not just the thing you clicked—on Amazon, we will see a portion of that income. You don’t have to do that if you don’t want to, but if you do, know that we appreciate it.

Ghostbusters and Ghostbusters II ($10.49 for Blu-Ray, $9.96 for DVD)

Photo: Columbia Pictures/Getty Images

Sure, this summer’s all-lady Ghostbusters is out on video now, but if you’re more into the older, Bill Murray-fueled Ghostbusters, then Amazon’s got you covered there too. The site is selling a two-pack of both Ghostbusters and Ghostbusters II for just about $10, meaning you can get your …

Samuel Goldwyn Films Picks Up Idris Elba’s ‘100 Streets’

Idris Elba‘s “100 Streets” has been acquired by Samuel Goldwyn Films, the company announced Tuesday.

Previously known as “A Hundred Streets,” the drama explores the interconnecting stories of a former rugby star (Elba) and his wife (Gemma Arterton), a small time drug dealer (Franz Drameh) and a photographer (Tom Cullen) in London.

Idris Elba and Gemma Arterton are at the top of their game along with the rest of the cast in this deep and moving film,” said president of Samuel Goldwyn Films, Peter Goldwyn. “We’re pleased to release ‘100 Streets’ in January to the widest audience possible.”

Also Read: Idris Elba Will Train to Become a (Real) Pro Kickboxer on Discovery’s ‘Fighter’

“100 Streets” is directed by Jim O’Hanlon and written by Leon F. Butler. The film also stars Charlie Creed-Miles, Kierston Wareing and Ken Scott. Pippa Cross, Ros Hubbard, Butler and Elba are producers on the project, while John Caudwell, Xavier Alcan, Thomas R. Atherton, Justin Bache, Janette Day, Mark Denney, Natasha Dwyer and Joe Hutchinson are executive producing.

Elba’s upcoming projects include “The Dark Tower,” in which he plays the Gunslinger, and “Thor: Ragnarok,” alongside Chris Hemsworth and Tom Hiddleston.

Also Read: Ads for Idris Elba’s ‘Bastille Day’ Film Come Down Following France Attack

“100 Streets” will be released in U.S. theaters and on demand on January 13, 2017.

The deal was negotiated by Peter Goldwyn of Samuel Goldwyin Films and Peter Rogers of UMedia on behalf of the filmmakers.

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Watch Shia LaBeouf Get Weird on ‘Ellen’ (Video)

Was Shia LaBeouf‘s interview on “Ellen” just a piece of performance art? It was certainly weird enough to be.

First, the windbreaker-and-shorts clad actor showed off his thigh tattoos, which include two portraits of Missy Elliott, and one apiece of Notorious B.I.G., Tupac Shakur, Dr. Dre and Prince.

“They’re like landmarks. It’s love, it’s people I love,” he described the ink. Alright.

Also Read: ‘American Honey’ Trailer Finds Shia LaBeouf on Road With Teenage Troublemaker (Video)

After that, he talked about his recent wedding, which was apparently a real thing.

“And part of the package, the King Tut package, you get a live stream for free — part of the deal,” the “Transformers” actor recalled. “And I said, ‘Ya know, we don’t really need that, as a matter of fact. We’ll just take our private tape we got our Mom’s there.’ And they said, ‘No problem.’”

“We get back home and it’s like, ‘Whoa, hey listen, something changed!’ I call them up and they said somebody pressed the wrong button that sends the video to TMZ,” LaBeouf continued. “I said, I understood. I checked with my girl and she said, ‘Hey, what are you gonna do?’ and, ya know, it’s love. We’re proud of it. It was love.”

Double alright. Watch that video above.

Also Read: Shia Labeouf to Bum Rides Across Country for Art

Finally, LaBeouf described his latest performance art project, which basically allows strangers to kidnap him and two collaborators and take them anywhere. The actor said he didn’t encounter as many “weirdos” as he thought he might. Unclear if the actual drivers came away thinking the same thing.

“They were tripping with us, not against us, so it was cool,” he said, whatever that means.

He then talked about his work being all-about “empathy push-ups,” whatever those are.

Also Read: Shia LaBeouf Lookalike Assaulted for Resemblance to Actor

Watch that video below, thank us later.

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Samuel Goldwyn Picks Up Idris Elba-Starrer ‘100 Streets’

Samuel Goldwyn Films has picked up U.S. rights to 100 Streets, starring Idris Elba and Gemma Arterton. Irish filmmaker Jim O’Hanlon directs the film from a script written by Leon Butler. Story follows the lives and interconnecting stories of a range of city dwellers including former rugby star (Elba) and his wife (Arterton), a small-time drug dealer, played by Franz Drameh, and a photographer, played by Tom Cullen, as they fight to keep their lives on track in…

‘Kevin Can Wait’ Tickles Offshore Buyers; ‘Thunderbirds Are Go’ In China – Mipcom

Following a deal for Sony Pictures Television’s Timeless yesterday, its hot new sitcom Kevin Can Wait has also been picked up by the UK’s Channel 4. The Kevin James-starring comedy debuted on CBS last month with over 13.2M viewers and continues to be the No. 1 new comedy on Total TV and the No. 2 comedy with adults 25-54. The series is also headed to China’s iQiy and India via Viacom 18’s Comedy Central; New Zealand’s TVNZ has also acquired while Turner has taken it for…

Disney Last ‘Toon Giant Standing As DreamWorks Animation Offers $50M Settlement In Anti-Poaching Suit

With DreamWorks Animation reaching a multi-million deal today , it is now really just Disney who haven’t settled with animation workers in the long running class action suit over over wage-fixing and anti-poaching allegations. On Monday, the now NBCUniversal owned home of the How To Train Your Dragon franchise filed paperwork to start ending its part in the over two-year long action with a proposed $50 million settlement – up to 30% of which could end up going to…

China’s Wanda Group CEO Says Hollywood Needs to ‘Go Back to Storytelling’

Wang Jianlin, the CEO and founder of China’s Dalian Wanda Group — owner of Legendary Entertainment and AMC Theaters — came to Los Angeles on Monday night to unveil more details about Wanda’s 408-acre Qingdao Movie Metropolis, and announce a 40 percent rebate to lure Hollywood productions to China.

Although Wanda’s aggressive entertainment dealmaking has raised some suspicions in Washington, Monday’s event, which featured remarks from Los Angeles Mayor Eric Garcetti and Academy of Motion Picture Arts and Sciences President Cheryl Boone Isaacs, focused on the ties between the two countries. Wang pitched the Qingdao park as an “opportunity” and not a “competition” for Hollywood, careful to point out the jobs he expects it to create for entertainment industry workers.

However, Wang couldn’t resist taking a dig at Hollywood’s recent spate of special effects-heavy blockbusters — many of which are hugely popular in China. Wanda’s Legendary Entertainment, which it acquired for $3.5 billion in January, has produced two films in that genre — “Jurassic World” and “Warcraft” — that were among China’s biggest box office movies ever. However, Wang had plenty of strong opinions about the quality of recent Hollywood fare.

Also Read: Wanda’s China Mega-Studio Seeks Hollywood Shoots With Huge Rebate, $750 Million in Incentives

“From a Chinese perspective, Hollywood is the professor and Chinese filmmakers are the students,” he said in a speech in Chinese that was translated into English. “How do you tell the teacher to increase their quality?”

Wang singled out films that rely heavily on visual effects — although he didn’t name any specifically. He wondered aloud whether Hollywood had become reliant on movies that emphasize technology and “big scenes.”

“It seems like Hollywood is starting to tell less of a good story,” he said.

Wang closed that portion of his remarks by speculating that such a reliance on spectacle wouldn’t be able to deliver box office results indefinitely, which prompted cheers from several in the mixed crowd of Chinese dignitaries and Hollywood execs.

“To tell a good story purely depending on technology will not work forever,” he continued. “We have to make Hollywood go back to storytelling.”

Related stories from TheWrap:

Wanda’s China Mega-Studio Seeks Hollywood Shoots With Huge Rebate, $750 Million in Incentives

China’s Wanda Group CEO Heads to Hollywood With All Eyes on Him

Why DC Started Caring About Dalian Wanda Group and China in Hollywood