Guilty pleasures
By NewsPress Now
Judge rules Alec Baldwin’s role as co-producer not relevant to trial
A New Mexico judge decided Monday that actor Alec Baldwin’s role as co-producer isn’t relevant to the involuntary manslaughter trial over a fatal shooting on the set of the Western film “Rust.”
Judge Mary Marlowe Sommer ruled that evidence won’t be allowed at trial about Baldwin’s secondary role on the movie, siding with defense attorneys.
“I’m having real difficulty with the state’s position that they want to show that as a producer he didn’t follow guidelines and therefore as an actor Mr. Baldwin did all of these things wrong that resulted in the death of Ms. Hutchins because as a producer he allowed these things to happen,” Marlowe Sommer said. “I’m denying evidence of his status as a producer.”
Special prosecutor Erlinda Johnson argued unsuccessfully to allow evidence that Baldwin’s “role as a producer made him keenly aware of his responsibilities on set” for safety.
“It goes to Mr. Baldwin’s knowledge, knowing that his conduct on set was negligent,” she said.
In the courtroom Monday, Baldwin sat between lead attorneys Luke Nikas and Alex Spiro. He appeared to listen intently, taking occasional notes on a yellow legal pad and handing written messages to an attorney. Baldwin wore glasses and close-cropped hair.
The trial starts July 9 with jury selection and is scheduled to last 10 days.
Last week, the judge cleared the way for crucial firearms experts for the prosecution to testify about Baldwin’s handling of the revolver and whether the gun was functioning properly prior to the fatal shooting.
On Monday, the judge sided with prosecutors to exclude at trial the summary findings from a state workplace safety investigation that places much of the blame on assistant director Dave Halls. Halls has pleaded no contest to negligent use of a firearm and may be called to testify at Baldwin’s trial.
Prosecutors say the workplace safety investigation was incomplete, unreliable and glossed over Baldwin’s responsibilities in the fatal shooting.
Rust Movie Productions paid a $100,000 fine to resolve violations of state safety regulations that were characterized as “serious” but not willful, under a 2023 settlement agreement. Several witnesses to the workplace safety investigation are likely to be called to testify at Baldwin’s trial.
Prosecutors also will be able to present at trial graphic images of Hutchins’ injuries from an autopsy report, over objections from the defense, as well as police lapel camera video of the immediate aftermath of the shooting as medics arrived on set to treat the wounded Hutchins and Souza.
Baldwin is charged with a single felony count of involuntary manslaughter punishable by up to 18 months in prison if he’s convicted.
Hannah Gutierrez-Reed, the armorer on set, was convicted of involuntary manslaughter in cinematographer Halyna Hutchins’ death and sentenced to 18 months in prison. She is appealing the conviction.
In October 2021, Baldwin was rehearsing a cross-draw maneuver with the revolver when the gun went off, killing Hutchins and wounding director Joel Souza.
Baldwin has pleaded not guilty and claims the gun fired accidentally after he followed instructions to point it toward Hutchins, who was behind the camera. Unaware the gun contained a live round, Baldwin said he pulled back the hammer — not the trigger — and it fired.
Baldwin’s attorneys successfully sought to bar discussion at trial of fatal gun incidents on movie sets, including actor Brandon Lee’s death from a shot to the abdomen while filming a scene from “The Crow” in 1993. In that instance, a makeshift bullet was mistakenly left in a gun from a previous scene and struck Lee while filming a scene that called for using blank rounds.
Prosecutors have agreed not to elicit testimony about “The Crow,” but also contend that Baldwin knew about safety risks posed by guns — even when live rounds are not present.
Marlowe Sommer said she’ll allow just a single reference at trial to the fact that blank rounds without a projectile can be fatal. Attorneys for Baldwin argue that it was inconceivable that live rounds would wind up on set.
Prosecutors want to exclude a letter signed by crew members that disputes the characterizations of the “Rust” set as chaotic or dangerous prior to the fatal shooting.
Another pretrial motion might defuse snipping between the prosecution and defense teams. Prosecutors want the judge to preclude accusations of “prosecutorial misconduct” and “personal attacks.”
Marlowe Sommer said discussion at trial of prosecutorial misconduct will be limited to testimony analysis of the gun in the fatal shooting and FBI forensic testing that damaged the firing mechanism. Defense attorneys argue that may have destroyed possible exculpatory evidence.
The judge ruled evidence and arguments designed to garner sympathy for Baldwin won’t be allowed at trial, including indications of remorse or the impact of events on his family. Prosecutors say those arguments have no bearing on determining guilt.
Baldwin is a three-time Emmy winner who has gone from star and leading man to bit player to scene stealer, at times going years without a major role in a hit film or show. But he’s remained a household name for nearly 35 years, largely on the strength of his real-life personality: as an outspoken liberal, talk-show guest and the king of all “Saturday Night Live” hosts.
Paramount and Skydance merge, signaling end of a family reign in Hollywood
NEW YORK | The entertainment giant Paramount will merge with Skydance, closing out a decades-long run by the Redstone family in Hollywood and injecting desperately needed cash into a legacy studio that has struggled to adapt to a shifting entertainment landscape.
It also signals the rise of a new power player, David Ellison, the founder of Skydance and son of billionaire Larry Ellison, the founder of the software company Oracle.
Shari Redstone’s National Amusements has owned more than three-quarters of Paramount’s Class A voting shares through the estate of her late father, Sumner Redstone. She had battled to maintain control of the company that owns CBS, which is behind blockbuster films such as “Top Gun” and “The Godfather.”
Just weeks after turning down a similar agreement with Skydance, however, Redstone agreed to a deal on terms that had not changed much.
“Given the changes in the industry, we want to fortify Paramount for the future while ensuring that content remains king,” said Redstone, who is chair of Paramount Global.
The new combined company is valued at around $28 billion. In connection with the proposed transaction, which is expected to close in September 2025 pending regulatory approval, a consortium led by the Ellison family and RedBird Capital will be investing $8 billion.
Skydance, based in Santa Monica, California, has helped produce some major Paramount hits in recent years, including Tom Cruise films like “Top Gun: Maverick” and installments of the “Mission Impossible” series.
Skydance was founded in 2010 by David Ellison and it quickly formed a production partnership with Paramount that same year. If the deal is approved, Ellison will become chairman and chief executive officer of what’s being called New Paramount.
Ellison outlined the vision for New Paramount on a conference call about the transaction Monday. In addition to doubling down on core competencies, notably with a “creative first” approach, he stressed that the company needs to transition into a “tech hybrid” to stay competitive in today’s evolving media landscape.
“You’ve watched some incredibly powerful technology companies move into the … media space and do so very successfully,” Ellison said. He added that it was “essential” for New Paramount to chart a similar course going forward.
That includes plans to “rebuild” the Paramount+ streaming service, Ellison noted — pointing to wider goals to expand direct-to-consumer business, such as increasing engagement time on the platform and reducing user churn. He also said that the company aims to transition to more cloud-based production and continue the use of generative artificial intelligence to boost efficiency.
Executives also outlined further restructuring plans for New Paramount on Monday’s conference call, with chairman of RedBird Sports and Media Jeff Shell noting that they had identified some $2 billion in cost efficiencies and synergies that they’ll “attempt to deliver pretty rapidly.”
Shell and others addressed the declining growth of linear TV. Flagship linear brands will continue to represent a big chunk of the company’s operations, but learning how to run this portion of business differently will be key, he said.
The on-again, off-again merger arrives at tumultuous time for Paramount, which has struggled to find its footing for years and its cable business has been hemorrhaging. In an annual shareholder meeting in early June, the company also laid out a restructuring plan that included major cost cuts.
Leadership at Paramount was also volatile earlier this year after its CEO Bob Bakish, following a number of disputes with Redstone, was replaced with an “office of the C.E.O,” run by three executives. Four company directors were also replaced.
Paramount is one of Hollywood’s oldest studios, dating back its founding in 1914 as a distributor. Throughout its rich history, Paramount has had a hand in releasing films — from “Sunset Boulevard” and “The Godfather,” to “Raiders of the Lost Ark” and “Titanic.”
The studio also distributed several early Marvel Cinematic Universe films, including “Iron Man” and “Thor,” before the Disney acquisition. In addition to “Mission: Impossible” and “Top Gun,” Paramount’s current franchises include “Transformers,” “Star Trek” and “Jackass.”
While Paramount has not topped the annual domestic box office charts for over a decade, the wild box office success of “Top Gun: Maverick” in 2022 (nearly $1.5 billion worldwide) was an important boon to both movie theaters and the industry’s pandemic recovery.
Still, its theatrical output has declined somewhat in recent years. Last year it released only eight new movies and came in fifth place for overall box office at around $2 billion — behind Universal (24 films), Disney (17 films), Warner Bros. and Sony.
This year the release calendar is similarly modest, especially with the absence of “Mission: Impossible 8,” which was pushed to 2025 amid the strikes. The studio has had some successes, with “Bob Marley: One Love” and “A Quiet Place: Day One,” and still to come is Ridley Scott’s “Gladiator” sequel.
The National Association of Theatre Owners, a trade organization that represents over 35,000 screens in the U.S., said in a statement Monday that it plans to look closely at the details of the merger with an eye towards whether it will produce more or less theatrical releases.
“We are encouraged by the commitment that David Ellison and the Skydance Media team have shown to theatrical exhibition in the past,” said Michael O’Leary, president and CEO of the National Association of Theatre Owners. “A merger that results in fewer movies being produced will not only hurt consumers and result in less revenue, but negatively impact people who work in all sectors of this great industry – creative, distribution and exhibition.”
Sumner Redstone used National Amusements, his family’s movie theater chain, to build a vast media empire that included CBS and Viacom, which have merged and separated a number of times over the years. Most recently, the companies re-joined forces in 2019, undoing the split consummated in 2006. The company, ViacomCBS, changed its name to Paramount Global in 2022.
Under Sumner Redstone’s leadership, Viacom became one of the nation’s media titans, home to pay TV channels MTV and Comedy Central and movie studio Paramount Pictures.
It is a company with a rich history, as well as a deep bank of media assets, and Skydance wasn’t the only one to gun for Paramount in recent months — Apollo Global Management and Sony Pictures also made competing offers.
Late last year, Warner Bros. Discovery also made headlines for exploring a potential merger with Paramount. But by February, Warner had reportedly halted those talks.
Dafoe is named artistic director of Venice Biennale’s theater department
ROME | Actor Willem Dafoe, a frequent red-carpet visitor to the Venice Film Festival, was named artistic director Monday of the Venice Biennale’s theater department.
Dafoe, who lives near Rome with his Italian wife, said the appointment came as a surprise but that he was “born in the theater” and trained initially as a stage actor.
In a statement released by the Biennale, he said the program of his two-year 2025-2026 term would follow his own development, “a sort of exploration of the essence of the body.”
Dafoe co-founded The Wooster Group theatre company in 1977 in New York and performed with it for some 20 years. He is more widely known for his film career, including as the scientist opposite Emma Stone’s Bella in Yorgos Lanthimos’ “Poor Things,” which won the Golden Lion at the Venice Film Festival last year.
He is expected on the Lido this summer with the cast of Tim Burton’s “Beetlejuice, Beetlejuice,” which is opening the film festival.
The Biennale Teatro is an independent department of La Biennale, founded in 1934.
—From AP reports
