In today’s episode, Jennifer Maas, Variety’s senior business writer for TV and gaming, discusses the debate in gaming over the pricing of premium titles, as well as the anticipation building for next year’s release of “Grand Theft Auto 6”; Emily Longeretta, senior TV features editor, details how Variety assembles its annual baker’s dozen Emmy Extra Edition issues.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:08):
Welcome to Daily Variety, your daily dose of news and
analysis for entertainment industry insiders. It's Tuesday, August twelfth, twenty
twenty five. I'm your host, Cynthia Littleton. I am co
editor in chief of Variety alongside Ramin Setuda. I'm in
LA He's in New York, and Variety has reporters around
the world covering the business of entertainment. In today's episode,
(00:30):
we'll talk with Jennifer mos, senior business writer for TV
and Gaming, about grand theft, Auto six and the big
debate in gaming overpricing eighty dollars remember that number. And
then we'll hear from Emily longeretta senior TV features editor,
on how she assembles the Baker's Dozen of Variety Emmy
(00:51):
extra editions that we will publish this year. But before
we get to that, here are a few headlines just
in this morning that you need to know. You may
have heard by now. Taylor Swift has a new album coming,
The Life of a Showgirl. Once again, I stand back
and marvel at her mastery of marketing herself, this time
(01:12):
with a little help from Travis Kelcey. Adult Swim has
an interesting new project. They've ordered a fifteen minute live
action animated sketch comedy series, The Terrors of Jordan Mendoza.
It's described as following a very scared man as he
navigates a barrage of absurd, terrifying, and hilarious dreamscapes. Interesting
(01:34):
to see them playing with the form. China's ten Cent
music is on the rise. Revenue and net profits were
way up for the service in the quarter on the
strength of its subscription properties. You can read all of
those stories and much more on Variety dot com right now.
Now we turn to conversations with Variety journalists about news
(01:56):
and trends in show business. Jennifer Moz joins me to
discuss the debate in video gaming about pricing and whether
top tier titles are pushing consumers too hard, and we'll
talk about the big tent pole looming over the gaming
market that will arrive next May, Grand Theft Auto six. First,
we'll hear a snippet from the GTA six trailer. I'm
(02:19):
here for Lusia Caminos. She's supposed to be getting own.
What's your name, Jason Duvaux.
Speaker 2 (02:26):
I think you heard.
Speaker 1 (02:26):
Before you might have. Jennifer mos thank you for joining me.
Happy to be here. You had an interesting story that
I wanted to draw you out on. There's a lot
of discussion about pricing of video games, and that came up.
You had a conversation with Take two Interactive CEO straus
Selnik on the occasion of their second quarter earnings. I
wanted to talk to you about that. But let's talk
(02:48):
specifically about the price point that everybody in gaming is
talking about.
Speaker 3 (02:53):
Yeah, so this is a very hot topic right now. Previously,
first a good chunk of time, sixty dollars was the
going raid for a premium game, a triple A game
that you play on Xbox, PlayStation, Nintendo. Then about five
years ago that went up to seventy. This year it
has been set at eighty in a precedent by Nintendo,
(03:14):
who charged eighty for Mario Kart World when the Switch
to came out. Soon after that, Microsoft made announcement, Hey,
at the end of the year, we're going to charge
eighty dollars for some of our premium games. That had
a mixed reaction. And then recently one of the games
that they had priced at eighty dollars, Outer Worlds two,
they rolled back and they said, never mind, never mind,
(03:35):
it's going to be seventy. So there's continued conversations surrounding
pricing of games, what people are willing to pay for games,
what's a fair price for games based on the amount
of time put into making it. It's going to be
huge for them, it's going to be huge for the
gaming industry at large. And people have been waiting ten
years for this game. So Strauss would not come up
with a price yet. They're not ready to announce that
just yet. I did want to ask him, you know,
(03:56):
what do you see as the appetite for this and
when do you feel comfortable announcing because they have until
next May when the game comes out. But the longer
they wait, the more people wonder exactly how much is
this game going to cost us? And for something like
GTA six, they could certainly charge eighty, but they could
charge more than that and people will still pay it
because this game is going to be so big.
Speaker 1 (04:16):
When Nintendo set that eighty dollars benchmark, where there are
voices out there that said that's too much, that's pricing
people out of this market.
Speaker 3 (04:25):
Absolutely, yes, it was a discussion. As soon as that
price came out, people were already having a lot of
the concerns about just the price of the switch To
in general, there was pushback to it, but look, the
switch To has been selling like crazy, and Mario Kurt
has been selling like crazy.
Speaker 1 (04:39):
Remind us what they charge for the switch To.
Speaker 3 (04:42):
With the switch To being priced at four hundred and
fifty dollars, eighty dollars for a game by comparison, starts
to look a little more reasonable.
Speaker 1 (04:51):
So you're saying that historically the factors that have gone
into game pricing is the cost to produce it, the labor,
and goodness knows, between general inflation, there's been a unionization
push in gaming, so their costs are certainly not going down.
Speaker 3 (05:05):
No, their costs are not going down, And it's definitely
about you know, like you said, there's dynamic pricing, what
you can charge. A game does offer hours and hours
more entertainment for people. There are multiple people, whether you're
a completionist or not, as it's called, where you can
go down side quests, you can do everything you can
try and get every trophy for hitting every benchmark that
(05:26):
the game has to offer. But for something like Mario Kart,
it is less about like a cinematic experience a long story,
but it has multiple replay value, right Like you play
with your friends online, you will play for hours Mario Kart,
You're gonna play a Raise over and over and over again. Well, now,
it's all about relativity there. So if they set the precedent,
(05:47):
if Microsoft is able to make that go through with
other games by the end of the year, what then
becomes a precedent by next year for GTA six and
other games. It could be eighty, it could be.
Speaker 1 (05:57):
More and grand Theft Auto six. As you have been
reporting every shred of information about this game, millions of
people flocked to our coverage. So it'll be interesting to
see how the arrival of this will be greeted as
a major show biz event. That's truly what it is.
Speaker 3 (06:14):
The way that the industry at large has been talking
about it as not the biggest game release of all time,
but the biggest piece of entertainment release of all time
is how they're putting it.
Speaker 1 (06:23):
What is it about this franchise that keeps them coming back?
Speaker 3 (06:26):
I think one of the things about the franchise is
one there's a lot of millennial nostalgia there, there's a
lot of gen X nostalgia there, It was one of
the first big games that got a lot of people
into it, depending on how young you were at the
time the first one and the next ones came out,
and it was kind of the first game where it
felt like, Okay, it's not a sports game, it's not
a fighter, it's it's this other thing. It creates an
(06:50):
immersive world and what you could do in GTA was
very different from just the traditional like Oh Zelda or
Mario or playing a sports game. But it was their
product that probably drew in people who weren't traditional gamers
because the concept of the game on its own was
interesting to them.
Speaker 1 (07:06):
What do you anticipate from Take two in terms of
stunts or promotional oomph to get behind the launch?
Speaker 3 (07:13):
I imagine there will be a million real world activations.
They are going to be live events, there's gonna be
product tie ins. Obviously, you know you've got a lot
available in terms of different armobile companies who are probably
vying for all of the sponsorship opportunities that could possibly
be available there. But it's going to be one of
the ones where they're tapping every possible avenue, TV show
(07:36):
tie ins, movie tians like anything they can do to
get it out there.
Speaker 1 (07:40):
So much to watch, and obviously with that kind of anticipation,
it doesn't seem like there's much of a world where
this game won't open. But you don't know until you know.
Thank you for helping us monitor this really important sector
of the business, of course, thank you. Now we'll hear
from Emily Longerta on how Variety is says the Emmy
(08:01):
Extra Editions that we publish every year. Emily is hands
down the most organized person I know. Emily Longeritta, thank
you for joining me.
Speaker 2 (08:11):
Thank you for having me.
Speaker 1 (08:13):
Emily, I can't believe that you are sitting here smiling
and in great spirits because you and a small band
of other folks are basically putting out four extra editions
of Variety for fully baked, standalone issues that will be
out starting today Tuesday, August twelfth, through the next eight days,
(08:35):
all devoted to all things Emmy's, which we are of
course laser focused on at this time of year. Emily,
just from the most big picture standpoint, as you're starting
to conceive these issues every year, where do you start?
Speaker 2 (08:49):
The first thing I do is make a list of
eligible shows, all the shows that are in the running.
My best friend is an Excel doc and a word doc.
I have many docs and many folders on my desktop
right now, and then I start piecing it out. As
you said, we have a lot of extra editions. During
phase one we had eight. During phase two we have five.
(09:10):
And then we also have Emmy content in each of
the weekly issues, so it's color coded. It is a
list of deadlines for myself to send them to get edited,
deadlines I give to writers, deadlines that I give to
writers that I know might need an extra day or two.
Speaker 1 (09:24):
I have it all. That would be me.
Speaker 2 (09:28):
I'm all about a spreadsheet, and that's the whole thing
is coming up with a list of these shows and
then going out to staff, going out to these great
freelancers we've worked with for years and saying what I do,
is you guys have or what shows are you watching?
What shows should we be covering. In phase one, it's
a bit easier because there are so many shows. Phase
two is a tougher because these are shows that have
also been written about and talked about in the staff
(09:51):
of these shows, the casts and the below the line talent.
They've been doing interviews for almost a year now, so
they've talked about everything, so it's really about coming up
with fresh ideas.
Speaker 1 (10:00):
I love where you start, which is what are people
passionate about. Let me ask you how long is that list?
It's anywhere from like two hundred, two hundred and fifty
shows or longer. Now usually my list is around three hundred.
And of course there's shows that are eligible that aren't
going to get nominated, but that doesn't mean they're not
doing interesting things. So I think Phase one, in a way,
I think, is a way we can highlight these shows
(10:21):
that are still doing incredible things that maybe aren't getting
the attention they deserve because maybe they're on a platform
a lot of people aren't watching, but we can get
some eyes on them. And there's especially when it comes
to crafts. I mean, we know there's so much below
the line that people are doing that are just such
incredible work that deserves to be highlighted. So anytime I
can do that, I definitely jump on that.
Speaker 2 (10:39):
For Phase one, you're not only coordinating all these additional issues,
but you're also coordinating with the Mothership and making sure
that they complement but don't overlap exactly. We want to
make sure as many as possible are recognized, especially in
Phase two, obviously there's only five or six in each category,
So how do we spread that love? Make sure that
(11:01):
there's going to be someone on staff or a freelancer
who watches some of these shows. So I really do
my due diligence in finding people who watch all of
these shows and not just the huge hit shows.
Speaker 1 (11:11):
Dear listeners, know that it's important to us that we
spread the wealth. But let me ask you a little
bit more specifically. On Phase two, you go from three
hundred to what about sixty that are nominated? Yeah, and
then in that process, now I would imagine that the
lobbying gets pretty intense.
Speaker 2 (11:27):
Yes, it does get intense. And again, it's not the
lobbying for the huge stars. It's the lobbying for the
supporting actors who got their first nomination ever, which is
crazy that we need to talk about. It's the somebody
somewhere as it's Jeff Hiller who's got a nomination finally.
And what I love about that is so many of
the freelancers we've worked with and the staff that we have,
so many people pitch me, can I talk to him?
(11:49):
Can I do that?
Speaker 1 (11:50):
Can it?
Speaker 2 (11:50):
And it makes me excited to see people excited about
these shows. So then it comes down to, Okay, we
need to figure out who we can cover from each category,
how we can spread it out among issues, how we
can do something different that we didn't do in Phase one.
You know, we had an excellent feature that just went
out in our Actress Extra edition on Monday, and it
(12:10):
was with Kate Lenchette Pee was nominated for Disclaimer. Disclaimer
aired a very long time ago, and she's done interviews,
she's talked about that. So it's how do we find
a new way into this and we were able to
do that. We had an excellent freelancer who jumped at
the opportunity and we went for it. And that's the
kind of thing that these issues have in then.
Speaker 1 (12:28):
It's a difficult job and you do it with such grace, Emily.
Can you talk listeners through the issues that are coming
and folks do get them wrapped with your print edition
of Variety and you can also find them on Variety
dot com.
Speaker 2 (12:41):
Yes, So August seventh, we came out with our Actor one.
Make sure to check that out. It's already out now
fully online as well. August eleven's was Actress and then
down the coming this week, we have comedy on the fourteenth,
Drama on the eighteenth, and reality doc and game show
on the nineteenth. And then we also have a lot
of Emmy coverage in the two weeklies that are leading
to the Emmys, including some very interesting exclusive interviews. I
(13:04):
don't want to tease too much, but one that I
think is going to make a lot of.
Speaker 1 (13:06):
Waves, and we always do the week before the Emmys.
Our cover star is always a previous Amy winner, somebody
who can reflect on what it meant. I can't wait
for people to see this year's issue that will be
published September tenth. Emily oodles of gratitude to you for
doing these really important issues and doing them so well.
We will see you at the Emmys. I'll be there.
(13:31):
As we close out today's episode. Here's a few things
we're watching for. I'll be heading to the Paramount Pictures
lot tomorrow with a few colleagues to meet the new
regime at the Melrose Plant. I'll have a full report
in Thursday's episode. We can't wait to show off Wednesday's
print edition of Variety. We have a great cover story
from our own Clayton Davis Stay tuned. I'm getting excited
(13:54):
about Eleanor the Great Scarlett Johansson's directorial debut. It stars
June's Squib as a woman who tells some pretty fantastical tales.
It's in Theatre's September twenty eighth from Sony Pictures Classics
Before We Go. Congrats to Liz Tang. She's joined Fox
Entertainment Global as VP of UK Content and Acquisitions. She's
(14:16):
based in London. Tang spent the past five years with
Fifth Season and Endeavor Content. Thanks for listening. This episode
was written and reported by me Cynthia Littleton, with contributions
from Jennifer Moz and Emily Longeretta. It was edited by
Aaron Greenwald. Stick snickt hick Picks. Please leave us a
review at the podcast platform of your choice, and please
(14:38):
tune in tomorrow for another episode of Daily Variety.
Welcome to Daily Variety, your daily dose of news and
analysis for entertainment industry insiders. It's Tuesday, August twelfth, twenty
twenty five. I'm your host, Cynthia Littleton. I am co
editor in chief of Variety alongside Ramin Setuda. I'm in
LA He's in New York, and Variety has reporters around
the world covering the business of entertainment. In today's episode,
(00:30):
we'll talk with Jennifer mos, senior business writer for TV
and Gaming, about grand theft, Auto six and the big
debate in gaming overpricing eighty dollars remember that number. And
then we'll hear from Emily longeretta senior TV features editor,
on how she assembles the Baker's Dozen of Variety Emmy
(00:51):
extra editions that we will publish this year. But before
we get to that, here are a few headlines just
in this morning that you need to know. You may
have heard by now. Taylor Swift has a new album coming,
The Life of a Showgirl. Once again, I stand back
and marvel at her mastery of marketing herself, this time
(01:12):
with a little help from Travis Kelcey. Adult Swim has
an interesting new project. They've ordered a fifteen minute live
action animated sketch comedy series, The Terrors of Jordan Mendoza.
It's described as following a very scared man as he
navigates a barrage of absurd, terrifying, and hilarious dreamscapes. Interesting
(01:34):
to see them playing with the form. China's ten Cent
music is on the rise. Revenue and net profits were
way up for the service in the quarter on the
strength of its subscription properties. You can read all of
those stories and much more on Variety dot com right now.
Now we turn to conversations with Variety journalists about news
(01:56):
and trends in show business. Jennifer Moz joins me to
discuss the debate in video gaming about pricing and whether
top tier titles are pushing consumers too hard, and we'll
talk about the big tent pole looming over the gaming
market that will arrive next May, Grand Theft Auto six. First,
we'll hear a snippet from the GTA six trailer. I'm
(02:19):
here for Lusia Caminos. She's supposed to be getting own.
What's your name, Jason Duvaux.
Speaker 2 (02:26):
I think you heard.
Speaker 1 (02:26):
Before you might have. Jennifer mos thank you for joining me.
Happy to be here. You had an interesting story that
I wanted to draw you out on. There's a lot
of discussion about pricing of video games, and that came up.
You had a conversation with Take two Interactive CEO straus
Selnik on the occasion of their second quarter earnings. I
wanted to talk to you about that. But let's talk
(02:48):
specifically about the price point that everybody in gaming is
talking about.
Speaker 3 (02:53):
Yeah, so this is a very hot topic right now. Previously,
first a good chunk of time, sixty dollars was the
going raid for a premium game, a triple A game
that you play on Xbox, PlayStation, Nintendo. Then about five
years ago that went up to seventy. This year it
has been set at eighty in a precedent by Nintendo,
(03:14):
who charged eighty for Mario Kart World when the Switch
to came out. Soon after that, Microsoft made announcement, Hey,
at the end of the year, we're going to charge
eighty dollars for some of our premium games. That had
a mixed reaction. And then recently one of the games
that they had priced at eighty dollars, Outer Worlds two,
they rolled back and they said, never mind, never mind,
(03:35):
it's going to be seventy. So there's continued conversations surrounding
pricing of games, what people are willing to pay for games,
what's a fair price for games based on the amount
of time put into making it. It's going to be
huge for them, it's going to be huge for the
gaming industry at large. And people have been waiting ten
years for this game. So Strauss would not come up
with a price yet. They're not ready to announce that
just yet. I did want to ask him, you know,
(03:56):
what do you see as the appetite for this and
when do you feel comfortable announcing because they have until
next May when the game comes out. But the longer
they wait, the more people wonder exactly how much is
this game going to cost us? And for something like
GTA six, they could certainly charge eighty, but they could
charge more than that and people will still pay it
because this game is going to be so big.
Speaker 1 (04:16):
When Nintendo set that eighty dollars benchmark, where there are
voices out there that said that's too much, that's pricing
people out of this market.
Speaker 3 (04:25):
Absolutely, yes, it was a discussion. As soon as that
price came out, people were already having a lot of
the concerns about just the price of the switch To
in general, there was pushback to it, but look, the
switch To has been selling like crazy, and Mario Kurt
has been selling like crazy.
Speaker 1 (04:39):
Remind us what they charge for the switch To.
Speaker 3 (04:42):
With the switch To being priced at four hundred and
fifty dollars, eighty dollars for a game by comparison, starts
to look a little more reasonable.
Speaker 1 (04:51):
So you're saying that historically the factors that have gone
into game pricing is the cost to produce it, the labor,
and goodness knows, between general inflation, there's been a unionization
push in gaming, so their costs are certainly not going down.
Speaker 3 (05:05):
No, their costs are not going down, And it's definitely
about you know, like you said, there's dynamic pricing, what
you can charge. A game does offer hours and hours
more entertainment for people. There are multiple people, whether you're
a completionist or not, as it's called, where you can
go down side quests, you can do everything you can
try and get every trophy for hitting every benchmark that
(05:26):
the game has to offer. But for something like Mario Kart,
it is less about like a cinematic experience a long story,
but it has multiple replay value, right Like you play
with your friends online, you will play for hours Mario Kart,
You're gonna play a Raise over and over and over again. Well, now,
it's all about relativity there. So if they set the precedent,
(05:47):
if Microsoft is able to make that go through with
other games by the end of the year, what then
becomes a precedent by next year for GTA six and
other games. It could be eighty, it could be.
Speaker 1 (05:57):
More and grand Theft Auto six. As you have been
reporting every shred of information about this game, millions of
people flocked to our coverage. So it'll be interesting to
see how the arrival of this will be greeted as
a major show biz event. That's truly what it is.
Speaker 3 (06:14):
The way that the industry at large has been talking
about it as not the biggest game release of all time,
but the biggest piece of entertainment release of all time
is how they're putting it.
Speaker 1 (06:23):
What is it about this franchise that keeps them coming back?
Speaker 3 (06:26):
I think one of the things about the franchise is
one there's a lot of millennial nostalgia there, there's a
lot of gen X nostalgia there, It was one of
the first big games that got a lot of people
into it, depending on how young you were at the
time the first one and the next ones came out,
and it was kind of the first game where it
felt like, Okay, it's not a sports game, it's not
a fighter, it's it's this other thing. It creates an
(06:50):
immersive world and what you could do in GTA was
very different from just the traditional like Oh Zelda or
Mario or playing a sports game. But it was their
product that probably drew in people who weren't traditional gamers
because the concept of the game on its own was
interesting to them.
Speaker 1 (07:06):
What do you anticipate from Take two in terms of
stunts or promotional oomph to get behind the launch?
Speaker 3 (07:13):
I imagine there will be a million real world activations.
They are going to be live events, there's gonna be
product tie ins. Obviously, you know you've got a lot
available in terms of different armobile companies who are probably
vying for all of the sponsorship opportunities that could possibly
be available there. But it's going to be one of
the ones where they're tapping every possible avenue, TV show
(07:36):
tie ins, movie tians like anything they can do to
get it out there.
Speaker 1 (07:40):
So much to watch, and obviously with that kind of anticipation,
it doesn't seem like there's much of a world where
this game won't open. But you don't know until you know.
Thank you for helping us monitor this really important sector
of the business, of course, thank you. Now we'll hear
from Emily Longerta on how Variety is says the Emmy
(08:01):
Extra Editions that we publish every year. Emily is hands
down the most organized person I know. Emily Longeritta, thank
you for joining me.
Speaker 2 (08:11):
Thank you for having me.
Speaker 1 (08:13):
Emily, I can't believe that you are sitting here smiling
and in great spirits because you and a small band
of other folks are basically putting out four extra editions
of Variety for fully baked, standalone issues that will be
out starting today Tuesday, August twelfth, through the next eight days,
(08:35):
all devoted to all things Emmy's, which we are of
course laser focused on at this time of year. Emily,
just from the most big picture standpoint, as you're starting
to conceive these issues every year, where do you start?
Speaker 2 (08:49):
The first thing I do is make a list of
eligible shows, all the shows that are in the running.
My best friend is an Excel doc and a word doc.
I have many docs and many folders on my desktop
right now, and then I start piecing it out. As
you said, we have a lot of extra editions. During
phase one we had eight. During phase two we have five.
(09:10):
And then we also have Emmy content in each of
the weekly issues, so it's color coded. It is a
list of deadlines for myself to send them to get edited,
deadlines I give to writers, deadlines that I give to
writers that I know might need an extra day or two.
Speaker 1 (09:24):
I have it all. That would be me.
Speaker 2 (09:28):
I'm all about a spreadsheet, and that's the whole thing
is coming up with a list of these shows and
then going out to staff, going out to these great
freelancers we've worked with for years and saying what I do,
is you guys have or what shows are you watching?
What shows should we be covering. In phase one, it's
a bit easier because there are so many shows. Phase
two is a tougher because these are shows that have
also been written about and talked about in the staff
(09:51):
of these shows, the casts and the below the line talent.
They've been doing interviews for almost a year now, so
they've talked about everything, so it's really about coming up
with fresh ideas.
Speaker 1 (10:00):
I love where you start, which is what are people
passionate about. Let me ask you how long is that list?
It's anywhere from like two hundred, two hundred and fifty
shows or longer. Now usually my list is around three hundred.
And of course there's shows that are eligible that aren't
going to get nominated, but that doesn't mean they're not
doing interesting things. So I think Phase one, in a way,
I think, is a way we can highlight these shows
(10:21):
that are still doing incredible things that maybe aren't getting
the attention they deserve because maybe they're on a platform
a lot of people aren't watching, but we can get
some eyes on them. And there's especially when it comes
to crafts. I mean, we know there's so much below
the line that people are doing that are just such
incredible work that deserves to be highlighted. So anytime I
can do that, I definitely jump on that.
Speaker 2 (10:39):
For Phase one, you're not only coordinating all these additional issues,
but you're also coordinating with the Mothership and making sure
that they complement but don't overlap exactly. We want to
make sure as many as possible are recognized, especially in
Phase two, obviously there's only five or six in each category,
So how do we spread that love? Make sure that
(11:01):
there's going to be someone on staff or a freelancer
who watches some of these shows. So I really do
my due diligence in finding people who watch all of
these shows and not just the huge hit shows.
Speaker 1 (11:11):
Dear listeners, know that it's important to us that we
spread the wealth. But let me ask you a little
bit more specifically. On Phase two, you go from three
hundred to what about sixty that are nominated? Yeah, and
then in that process, now I would imagine that the
lobbying gets pretty intense.
Speaker 2 (11:27):
Yes, it does get intense. And again, it's not the
lobbying for the huge stars. It's the lobbying for the
supporting actors who got their first nomination ever, which is
crazy that we need to talk about. It's the somebody
somewhere as it's Jeff Hiller who's got a nomination finally.
And what I love about that is so many of
the freelancers we've worked with and the staff that we have,
so many people pitch me, can I talk to him?
(11:49):
Can I do that?
Speaker 1 (11:50):
Can it?
Speaker 2 (11:50):
And it makes me excited to see people excited about
these shows. So then it comes down to, Okay, we
need to figure out who we can cover from each category,
how we can spread it out among issues, how we
can do something different that we didn't do in Phase one.
You know, we had an excellent feature that just went
out in our Actress Extra edition on Monday, and it
(12:10):
was with Kate Lenchette Pee was nominated for Disclaimer. Disclaimer
aired a very long time ago, and she's done interviews,
she's talked about that. So it's how do we find
a new way into this and we were able to
do that. We had an excellent freelancer who jumped at
the opportunity and we went for it. And that's the
kind of thing that these issues have in then.
Speaker 1 (12:28):
It's a difficult job and you do it with such grace, Emily.
Can you talk listeners through the issues that are coming
and folks do get them wrapped with your print edition
of Variety and you can also find them on Variety
dot com.
Speaker 2 (12:41):
Yes, So August seventh, we came out with our Actor one.
Make sure to check that out. It's already out now
fully online as well. August eleven's was Actress and then
down the coming this week, we have comedy on the fourteenth,
Drama on the eighteenth, and reality doc and game show
on the nineteenth. And then we also have a lot
of Emmy coverage in the two weeklies that are leading
to the Emmys, including some very interesting exclusive interviews. I
(13:04):
don't want to tease too much, but one that I
think is going to make a lot of.
Speaker 1 (13:06):
Waves, and we always do the week before the Emmys.
Our cover star is always a previous Amy winner, somebody
who can reflect on what it meant. I can't wait
for people to see this year's issue that will be
published September tenth. Emily oodles of gratitude to you for
doing these really important issues and doing them so well.
We will see you at the Emmys. I'll be there.
(13:31):
As we close out today's episode. Here's a few things
we're watching for. I'll be heading to the Paramount Pictures
lot tomorrow with a few colleagues to meet the new
regime at the Melrose Plant. I'll have a full report
in Thursday's episode. We can't wait to show off Wednesday's
print edition of Variety. We have a great cover story
from our own Clayton Davis Stay tuned. I'm getting excited
(13:54):
about Eleanor the Great Scarlett Johansson's directorial debut. It stars
June's Squib as a woman who tells some pretty fantastical tales.
It's in Theatre's September twenty eighth from Sony Pictures Classics
Before We Go. Congrats to Liz Tang. She's joined Fox
Entertainment Global as VP of UK Content and Acquisitions. She's
(14:16):
based in London. Tang spent the past five years with
Fifth Season and Endeavor Content. Thanks for listening. This episode
was written and reported by me Cynthia Littleton, with contributions
from Jennifer Moz and Emily Longeretta. It was edited by
Aaron Greenwald. Stick snickt hick Picks. Please leave us a
review at the podcast platform of your choice, and please
(14:38):
tune in tomorrow for another episode of Daily Variety.
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
NFL Daily with Gregg Rosenthal
Gregg Rosenthal and a rotating crew of elite NFL Media co-hosts, including Patrick Claybon, Colleen Wolfe, Steve Wyche, Nick Shook and Jourdan Rodrigue of The Athletic get you caught up daily on all the NFL news and analysis you need to be smarter and funnier than your friends.