TBS Orders Multi-Camera Pilot From Breckin Meyer And Jamie Tarses

EXCLUSIVE: After veering into developing hourlong comedies for the past 2 years, TBS is returning to the half-hour comedy genre with Men At Work, a multi-camera sitcom created by Breckin Meyer, star of TNT’s new dramedy Franklin & Bash, which originated at TBS. The project is being produced by Sony Pictures TV and Jamie Tarses’ studio-based Fanfare, the companies behind Franklin & Bash. Men at Work is described as an ensemble multi-camera comedy that explores bromance, sexcapades and office adventures of four buddies who work at a magazine. It centers on Milo, who finds comfort in his three best friends. They help reinvent his manhood after being dumped by his girlfriend while navigating their own personal and professional lives. In addition to his acting career, Meyer has been a writer on Adult Swim’s hit animated comedy Robot Chicken, on which he also voices a number of characters. He is executive producing Men At Work with Tarses. TBS started off its original programming efforts with half-hour comedies to complement its off-network comedy acquisitions, putting on the air such shows as the single-camera My Boys, also from Sony and Tarses, and the multi-camera The Bill Engvall Show. Then at the end of 2009, TBS shifted development to hourlong comedies with such shows as Glory Daze and the upcoming The Wedding Band. (The network has continued to air original half-hour sitcoms but all of them, Tyler Perry’s Meet the Browns and House of Payne and Ice Cube’s Are We There Yet?, are done as outside productions for which TBS only serves as a cable distributor.

Is Zooey Deschanel the New Andie MacDowell?

As we discovered when comparing the careers of Shia LaBeouf and Michael J. Fox, as well as Leslie Mann and Madeline Kahn, it’s hard to be original. It’s even harder to be a breakout talent who forges an trajectory that defies categorization and precedent. In the case of Our Idiot Brother star Zooey Deschanel, her career has matched one other raven-haired thespian’s rise to prominence: That would be Andie MacDowell. Now, it’s only fair to note the differences between these two before we pigeonhole them in French Lieutenant’s Woman-style generational parallelism. Deschanel is an acclaimed songstress with the hip outfit She & Him, and she didn’t exactly come to represent out-of-nowhere screen stardom as Andie MacDowell did in 1989 — even if her breakthrough role was similar. Furthermore, MacDowell’s status as a consummate leading lady is a bit different (or more realized, I should say) than Deschanel’s burgeoning draw as a comic-romantic actress. Still, their three biggest similarities line up pretty well. Fashionplate credibility Before MacDowell stormed the Sundance circuit, she populated the pages of Vogue with modeling gigs, working with titans like Richard Avedon, Irving Penn and Herb Ritts. Deschanel never made a career out of her fashion instincts, but she is certainly as defined by her vintage hipster cuteness (twee-ness, to invoke an exhausted but necessary word) as she is by her acting and singing abilities. She’s a ribbon-adorned paperdoll with a heart pendant. You might even say MacDowell and Deschanel built their It Girl foundations on different takes of the same high-brow glamor. Indie breakthrough Sex, Lies, and Videotape, the movie that propelled Andie MacDowell into a lifetime of festival appearances, garnered her an Independent Spirit Award in ‘89. Deschanel copped the same nomination in 2004 for her role in All the Real Girls. Both of these helped propel new writer/directors (Steven Soderbergh, David Gordon Green) into prolific careers. and both established their female stars as new molds of intelligent, bankable actresses. Calendar-defying comedy Groundhog Day is a film that works in part because Bill Murray sells us so well on its kitschy conceit, but it’s Andie MacDowell — his coworker and eventual paramour — whose down-to-earth appeal makes the repetitious premise feel like an artful play on the unrequited male crush. In (500) Days of Summer, Deschanel’s character, who is both reasonable and maddening, makes the film’s chronological disarray seem like the natural response to the befuddlement of dependent dating. Though Joseph Gordon-Levitt is the true star and soul of the movie, his enervated, working stiff appeal can’t function without her aloofness. These are two women who use slightly distant, splendidly telegenic appeal to amp up their costars’ delirium. Is there a better parallel for Deschanel’s career? Who would that be? Sound off in the comments below.

'Our Idiot Brother' Director Jesse Peretz Talks Sundance Edits and Title Change

NEW You are able to - Google will be the most compelling champion from the auction for movie partnership Hulu, BTIG analyst Richard Greenfield stated Thursday. "The customer that's most likely mostcompelling is Google," he authored inside a blog published titled "Top Ten Potential Hulu Bidders: Examining Who Should Win and Why?" But he reiterated his thought from earlier within the week that it might be best if current proprietors Wally Disney, News Corp. and NBCUniversal ongoing to possess Hulu, quarrelling that it might be "an error of epic proportions" to market. "Google wants to become a larger player in video (think YouTube, Google TV, Motorola Mobility etc.) and Hulu would seem to be an ideal "fit"to accelerate that strategy," Greenfield stated in explaining why the web search giant will be the most compelling new Hulu proprietors. "In the current proprietors of Hulu's perspective, Bing is also quite attractive, given very deep pockets and knowledge of selling internet marketing - the larger Hulu will get, the greater it'll have the ability to acquire content privileges from media companies." Plus, Greenfield contended that the Google-Hulu deal "would produce a strong third player within the video arena alongside Netflix and Amazon . com - while Hulu has already been "that" third-player in the current structure, its current proprietors are reluctant to get capital into Hulu therefore it can purchase more privileges from their store, for example catalog TV and movie content." Meanwhile, the greatest negative of the Google-Hulu combination could be Google itself "for the reason that most of the media companies fear the dimensions and importance" from the Web giant, the analyst recommended. Plus, he predicted regulating risk given Google's size and market energy. Initial bids for Hulu are due now, and several open questions remain. So far as Amazon . com.com goes, Greenfield also sees benefits of a Hulu purchase, observing the e-tailer seems "progressively ambitious" in movie which Hulu Boss Jason Kilar accustomed to work on Amazon . com. "It might also produce a unique marketing advantage for that coming Amazon . com tablet - make a free six several weeks of Hulu Plus if you purchase the Amazon . com tablet," the analyst stated. About the downside, Amazon . com hasn't experienced the advertising business, whichisthe core revenue source for Hulu, Greenfield outlined. How about another large online player that's thought to stay in the search for Hulu - Yahoo? "Desperation does funny items to your proper decision-making," stated the analyst. "Yahoo can use Hulu to construct video engagement...That being stated, content proprietors could be concerned that Yahoo doesn't have the deep pockets they wish to buy content beyond theinitialacquisitions privileges." Plus, he echoed comments from others on Wall Street that Yahoo investors could protest "a pointless acquisition, fearing Yahoo will try to spoil it.Inch Meanwhile, satellite television provider DirecTV could win completely unique content to advertise to its customers inside a Hulu deal - much like its National football league Sunday Ticket."However, DirecTV possessing Hulu might make it harder to achieve authentication handles cable operators who see DirecTV like a directcompetitorand whodesperatelywant use of the NFL's Sunday Ticket content," Greenfield stated in highlighting the potential risks. AT&T, whose U-Verse service competes with satellite and cable television firms, might get from Hulu "something to differentiate their bundling offering" and "completely unique content because they unveil next generation wireless service choices," the BTIG analyst authored. "That being stated, because of the technological hurdles of the largely DSL broadband customer base and limited geographic coverage, as well as no real experience of running an advertisement-driven Internet start-up, we discover AT&T a frightening fit." Email: Georg.Szalai@thr.com Twitter: @georgszalai Related Subjects Google The Wally Disney Company News Corp. NBCUniversal Hulu

Anne Hathaway in 'One Day' Makes Life's 'Worst Accents in Movie History' List

As if 'One Day' flopping at the box office isn't bad enough, now star Anne Hathaway, who goes British in the film, has just been named to Life magazine's list of "The Worst Accents in Movie History." Her character Emma is supposed to hail from Leeds, so Hathaway should sound something like actors who are actually from there, like 'Tron: Legacy's James Frain or John Simm from 'Life on Mars.' According to Life, her "research" was watching the World Cup and hanging out in pubs. No wonder that accent is all over the map! She's now among cinema's most monumentally awful British accents, like Kevin Costner in 'Robin Hood: Prince of Thieves,' Keanu Reeves in 'Bram Stoker's Dracula' and one of the worst offenders ever: Dick Van Dyke as a cockney chimney sweep in 'Mary Poppins.' Was Anne that bad? See a clip after the jump and judge for yourself. [via Life magazine] Image courtesy of Focus Features

Keck's Exclusives: Start Looking: Castle's New Captain

Cent Manley Jerald Captain Montgomery, we hardly understood ya. When Castle returns September 19, Kate Beckett (who, knowing with this photo, we are able to now securely assume survives her cliffhanger shooting) is going to be taking marching orders from the new boss. And not simply any boss - but one performed by actress Cent Manley Jerald, who so enchantingly terrorized 24's early seasons as Leader Palmer's estranged wife, Sherry.In the seem from it, Ron Castle might be first about this new captain's hit list, as she questions why he's hanging out her precinct. TV Guide Magazine: Champion about the new gig, Cent. Inform us who this character is. Cent Manley Jerald: Our last captain was just like a taking care of father figure, but my character's quite different for the reason that she's eyes at the back of her mind and will not allow them to pull off anything. There might be just a little trembling up happening in the beginning. TV Guide Magazine:What's her title? Jerald: I did not know until two hrs before we began shooting. Her title is Captain Victoria Gates and her a.k.a. is Iron Gates. And she's putting on a wedding band, so there has to be a guy somewhere. I have been told I most likely possess a girl along with a boy. TV Guide Magazine: Where's she originating from? Jerald: She originates from Internal Matters, so getting a location of authority is essential to her. TV Guide Magazine: Who she bond and clash with? Jerald: She bonds without any one but herself, and there's contention with Castle. She's trying to puzzle out why he's here. He's just like a fly you cannot eliminate. But Nathan [Fillion], I have to let you know, in tangible existence, is really a charmer. After I take a look at him I crack up. And That I was getting a little of the problem learning the beat from the show - speaking so quick - and Stana [Katic] stated, "We are able to just walk reduced and talk faster." I understood I loved that girl. TV Guide Magazine: Had you seen Castle before? Jerald: It's unfortunately, but possibly to my advantage, I'd never witnessed these figures before. I've now looked at all of the episodes with my hubby at our farm about the new england if not shooting in L.A. TV Guide Magazine: What's your preferred scene you've shot to date? Jerald: We have finished three, and my personal favorite was most likely the initial words you hear emerge from my character's mouth within the first episode. It's with Beckett and I only say, "If my mother came by, you are able to call her 'Ma'am,' however, you will call me 'Sir' or 'Captain.'" I really like it! TV Guide Magazine: For the 24 fans, so how exactly does Captain Gates rival Sherry Palmer? Jerald: Sherry was self-motivated for the reason that she would be First Lady on her behalf method to becoming Leader, also it did not matter who had been in her own way. In my opinion that Iron Gates has a little more tact and it is from the host to truly wanting everybody within the precinct to become their best. Sign up for TV Guide Magazine now!

Aarakshan

A Reliance Entertainment release of a Basic Industries Group presentation of a Prakash Jha production. Produced by Jha, Firoz A. Nadiadwala. Directed by Prakash Jha. Screenplay, Anjum Rajabali, Jha.With: Amitabh Bachchan, Saif Ali Khan, Deepika Padukone, Prateik Babbar, Manoj Bajpai, Darshan Jariwala. (Hindi dialogue)Prakash Jha's socially conscious meller "Aarakshan" concerns the quotas determining India's "reservation" system, whereby a percentage of public university admissions and government posts are earmarked for the lowest caste (Dalit) in order to redress centuries of equality. Yet while its questions of affirmative action and charter schools could theoretically resonate with American auds, the pic's corny theatrics, talky, preachy approach and taxing 164-minute running time will not translate. Pic sparked a political controversy in India that, along with its stellar troupe of thesps, might spell respectable domestic B.O. Jha sets his drama around a prestigious private college in Bhopal that becomes a battleground of class warfare when the privileged realize the reservation system may cost them status and jobs. Prabhakar Anand (played with imposing dignity by Amitabh Bachchan) serves as the revered head of this premier institution, a touchstone of academic excellence regardless of caste (he tutors under-advantaged students for free on the side). Anand's daughter Poorbi (Deepika Padukone); her Dalit boyfriend, Deepak (Saif Ali Khan); and their upper-class friend Sushant (Prateik Babbar) form a popular threesome on campus, prompting a spirited musical number with crowd participation and a one-on-one romantic ditty that sends Poorbi and Deepak through several changes of clothing and scenery. As the mood grows more somber, the musical interludes taper off, no longer performed onscreen but pensively played on the soundtrack. Serious topicality looms when Dalit youngsters rally at the college gates, celebrating a Supreme Court decision on quotas, polarizing the students inside. Deepak angrily sides with the demonstrators while Sushant morphs into a militant defender of the privileged. Meanwhile, Prabhakar's tenure comes increasingly under fire from the elite, unable to bribe their children's way into the institution, and from the mushrooming industry of education-for-profit tutoring centers. Jha casts Manoj Bajpai as the marvelously loathsome villain Mithilesh Singh, appointed vice principal by the governing board as the first step toward ousting Prabhakar. The utterly unprincipled Singh sets out to systematically destroy Prabhakar by turning his every generous act into a source of humiliation, costing him his house, position and reputation. Though Prabhakar's refusal to compromise alienates everyone at first, he maintains a steadfast insistence on teaching, in contrast with the spectacle of the avaricious forces allied against him; the climactic showdown finds him fending off bulldozers, armed police and shady politicians. Yet the visual excitement Jha generates is severely mitigated here by the good guys' exaggerated fearless stances, the swelling, triumphal score and the conjuring of a deus ex machina.Camera (color, widescreen), Sachin Krishn; editor, Santosh Mandal; music, Wayne Sharpe; musical directors, Shankar Mahadevan, Ehsaan Noorani, Loy Mendonsa; art director, Jayant Deshmukh; costume designer, Priyanka Mundada; sound (Dolby Digital), Jitendra Chaudhary; choreographer, Jayesh Pradhan. Reviewed at Big Cinemas Manhattan, New York, Aug. 10, 2011. Running time: 164 MIN. (I: 83 MIN., II: 81 MIN.) Contact the Variety newsroom at news@variety.com

Crazy for You

Timothy Sheader revamps the Gerwins classic Crazy for You. A Regent's Park Open Air Theater presentation of a musical in two acts with music and lyrics by George and Ira Gershwin and book by Ken Ludwig. Co-conceived by Ludwig and Mike Ockrent, from material by Guy Bolton and John McGowan. Directed by Timothy Sheader. Choreography by Stephen Mear. Musical direction, supervision and arrangements, Gareth Valentine. Bobby Child - Sean Palmer Polly Baker - Clare Foster Bela Zangler - David Burt Irene Roth - Kim Medcalf Lank Hawkins - Michael McKell Lottie Child/Patricia Fodor - Harriet Thorpe Perkins/Jimmy/Eugene Fodor - Samuel Holmes Tess - Rachel Stanley Patsy - Alexis Owen Hobbs In the tree-lined glade of Regent's Park Open Air Theater, Timothy Sheader's delightful staging of the Gershwin revamp "Crazy for You" has everything you could wish for, with the possible exception of a roof. For the first 10 minutes on opening night, cast and audience were drenched by rain -- but faced with this theatrical charm offensive, no-one cared. "Birds in the tree sing their dayful of song/ Why shouldn't we sing along?" So goes the verse to "I Got Rhythm," and never has it sounded more apt. Sheader, the theater's a.d., has an uncanny knack for matching material to his unique space and this, the first London revival of the 1992 Ken Ludwig/Mike Ockrent confection, is no exception. The show hinges on the preposterousness of putting the show on in Deadrock, Nevada, the world's least urban(e) location. That plays all the more strongly in the great outdoors as emphasized by Peter McKintosh's versatile wooden set. Winning casting right from Alexis Owen Hobbs' nicely played lamebrain Patsy through to the beautifully relaxed leads gives the show rare charm. The suitably ostritch-like showgirls don't overdo the squealing and the lanky, heavy men actually look like unfit townsfolk, not chorus boys. By keeping a tight rein on the mugging opportunities offered by Ludwig's gag-strewn book, Sheader ensures that his romantic leads are not overshadowed by pizzazz, as happened with the original staging. McKintosh's terrific costumes help: Claire Foster's Polly looks totally at home -- think Julianne Moore in fringed buckskin. As her would-be paramour Bobby, U.S. import Sean Palmer carries out his character's impresario disguise with effortless charm. But what really makes the pair register is their ease -- they partner beautifully -- and their sincerity, a rarity in the tits-and-teeth ethos of musical comedy. When they sing "They Can't Take That Away From Me," they look at one another with ache and affection. It's underplayed, so their regret at a love lost is unusually moving. It is, however, the tethering of dance to the Gershwin score that has always been the show's true motor. Stephen Mear not only danced Susan Stroman's original heartstopping choreography in London, he was her assistant on the show. That's abundantly clear in numerous conscious nods: He borrows her groundbreaking handling of props, and the finale has Ziegfeld-style showgirls fanning out in clouds of dry ice. But Mear has ideas of his own too. His take on "Stiff Upper Lip" becomes a celebration of all things English from tennis racquets and hockey sticks to a collective tea ceremony. In the gloriously extended "I Got Rhythm," he revolves McKintosh's set to open the stage right out for a vast, advancing kickline that sends the audience's pulse-rate rocketing. And while "Slap that Bass" repeats Stroman's trick of plucking ropes to mimic double-basses, Mear's vise-like grip on the rhythm, courtesy of Gareth Velentine's tight dance arrangements, builds the number into the production's finest. The production looks likely to be a sell-out and numerous producers were present on opening night, eyeing up transfer potential. Recreating the unique outdoor charm of this staging beneath a West End proscenium arch would be well-nigh impossible, but given a budget to beef up the production values, its big-hearted high spirits might prove seriously infectious.Sets and costumes, Peter McKintosh; lighting, Tim Mitchell; sound, Mike Walker; orchestrations, Chris Egan; production stage manager, Andy Beardmore. Opened, reviewed Aug. 8, 2011. Running time: 2 HOURS, 35 MIN.With: Lucy Anderson, Jessica Buckby, Cara Elston, Charlene Ford, Joanna Goodwin, Amy Griffiths, Richard Jones, Joshua Lacey, Sidney Livingstone, Jo Morris, Harry Morrison, James O'Connell, Carl Sandeson, Phil Snowden, Stephen Whitson. Contact David Benedict at benedictdavid@mac.com

Glees Naya Rivera To Graduate With Colfer, Michele & Monteith

LOS ANGELES, Calif. -- After all of the recent hullabaloo surrounding the impending exit of Glees Chris Colfer, Lea Michele and Cory Monteith, whose characters are all seniors, it appears Naya Rivera will also be saying goodbye to McKinley High. Im a senior. I guess that means Im graduating. Thats what happens when youre a senior! I dont think its a thing, Naya, who plays the sassy Santana Lopez on the FOX hit, told E! at a TCA party for the network in Pacific Palisades on Friday. Its like, what is it when youre in high school? Youre a senior, you graduate. Yes, Im graduating this year. Though the actress seems to have come to terms with her characters logical departure, Naya said the experience will always be bittersweet. [Glee] is like our baby and weve been with it since the beginning and its always sad, she said. Its literally like the feeling of being in high school. Its bittersweet, but it happens. Thats what you do. Ive had a great run and hopefully it continues. Showrunner Ryan Murphy has hinted that a spin-off show could be in the works for the graduating seniors, but Naya isnt quite sure her feisty character will prove to be the collegiate type. Hopefully she gets into some type of college, but I think shes going to be a hot mess in college, she said. Copyright 2011 by NBC Universal, Inc. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

Report: Carey Mulligan and Marcus Mumford Are Engaged

Carey Mulligan After five several weeks of dating, Carey Mulligan and music performer Marcus Mumford (of Mumford & Sons) are going to get married, Us Weekly reviews. Carey Mulligan dates back to brunette hair The pair includes a lengthy history, as Mulligan and Mumford were pen pals within their youth. They reconnected in Feb in a Mumford & Sons concert and also have been dating since. Shia LaBeouf on his relationship with Carey Mulligan Mulligan was formerly mounted on Shia LaBeouf, while Mumford split from folk singer Laura Marling this year.

FilmDistrict Hires Lia Buman To Spearhead Acquisitions

FilmDistrict has hired Lia Buman to be executive vice president of acquisitions for FilmDistrict. She will report to Adrian Alperovich, FilmDistrict's president of acquisitions and operations. Buman was veep at Sony Pictures Worldwide Acquisitions, where she worked for FilmDistrict chief Peter Schlessel. Buman helped in the acquisiton of the FilmDistrict hit Insidious as well as Moon, The Men Who Stare At Goats, Machete and Hanna. Buman started her career at IBM before becoming a development exec for Schlessel at his consulting company before he brought her over to Sony Pictures Worldwide Acquisitions. "Lia is an established world class acquisitions executive who understands how to acquire and manage product in order to achieve success," Alperovich said. FilmDistrict's Schlessel and Bob Berney have gotten off to a strong start with Insidious and Soul Surfer. They next release Don't Be Afraid of the Dark on August 26, the Ryan Gosling-starrer Drive on September 16, the Johnny Depp-starrer The Rum Diary on October 28; the Angelina Jolie-directed In the Land of Blood and Honey on December 23; Playing the Field on March 9 and Lockout on April 13.