Hollywood
Vin Diesel inks first-look deal with Universal Television
MUMBAI: Vin Diesel’s One Race Television is partnering with Universal Television on a multi-year, first-look production deal.
One Race, founded in 1995 by writer, director, producer and actor Diesel, has produced the four highest-grossing films in the seven film Fast franchise — Furious 7, Fast and Furious 6, Fast Five as well as Fast & Furious. The franchise has earned $3.9 billion at the worldwide box-office. He has directed Multifacial, Strays and Los Bandoleros.
Previously, One Race launched multiple franchises in the action genre, including the science-fiction thriller Pitch Black and the two follow-up films, Chronicles of Riddick and Riddick, along with the hit xXx and the follow up xXx: Return of Xander Cage, in pre-production now. Diesel’s business acumen also extends to the gaming universe, where his Tigon Studios produced three critically acclaimed console titles including Chronicles of Riddick: Escape from Butcher Bay and original property The Wheelman.
One of the first offerings going to market will be a television series complement to Diesel and writer/director David Twohy’s highly successful sci-fi franchise, Riddick.
“In addition to being a huge star for our feature division, Vin is a true creative force as a producer. After sitting down with him and his team at One Race Television, it’s clear he will now also be an incredible asset to both the network and our television studio. We feel really fortunate to be in business with, not only an international powerhouse, but a truly thoughtful and passionate producer,” said NBC Entertainment president Jennifer Salke.
Diesel has hired industry veteran and former Fox Broadcasting Co senior vice president – event series Shana C. Waterman as head of television. Waterman will oversee development and production under this multi-year, first-look deal.
“I have dreamt about expanding the One Race brand into television and now we’ve found the perfect creative partners in Bob, Jen and the team at Universal Television,” Diesel said. “Shana is an incredible addition to this team.”
“I’m incredibly excited to join the exceptionally smart, innovative team Vin’s built at One Race,” Waterman said. “Both he and fellow producer Samantha Vincent, alongside their partners at Universal, have grown a formidable global brand ready-made for this diverse and highly creative time in the world of television.”
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
