beatles

The pitched battle for Warner Bros. took yet another turn Monday night as Paramount Skydance enhanced its bid for the storied studio.

The decision by Warner Bros. Discovery to leave the door slightly ajar for Paramount came after weeks of pressure from its leader, tech scion David Ellison, and his billionaire father, Oracle co-founder Larry Ellison.

The media company has been vying to acquire Warner since late last year, and that fight only increased after the “Casablanca” and “Harry Potter” studio chose Netflix as the winning bidder back in December.

The bidding war has divided Hollywood’s creative community, with filmmakers, producers and unions all staking positions on the deal.

The latest to weigh in was “Avatar” and “Titanic” director James Cameron, who reportedly described Warner’s sale to Netflix as “disastrous for the theatrical motion picture business” in a Feb. 10 letter to Sen. Mike Lee (R-Utah), chair of the Senate subcommittee on antitrust, competition policy and consumer rights.

“I am very familiar not only with ships that sail, but also those that sink,” he wrote. “And the theatrical experience of movies could become a sinking ship.”

Actor Mark Ruffalo shot back at Cameron: “Are you also against the monopolization that a Paramount acquisition would create? Or is it just that of Netflix?” he posted on Threads over the weekend, adding that he was “speaking on behalf of hundreds of thousands of filmmakers worldwide.”

Regardless of which bidder prevails, consolidation in the industry is a major fear, particularly after waves of job cuts due to the pandemic and pullbacks in production spending amid streaming losses. And for the theatrical exhibition business, any merger revives concerns about an even greater decrease in films headed to theaters — particularly if the winning bidder is Netflix.

The health and future of cinemas is an especially sensitive topic in Hollywood. Box office revenue still has not returned to pre-pandemic levels, and some fear it never will, leaving theaters scrambling for alternative ways to fill their auditoriums.

Paramount has positioned itself as a champion for theatrical films, and David Ellison has said a combined Paramount and Warner Bros. would release 30 films a year.

But theater owner trade group Cinema United and the Writers Guild of America have warned that further consolidation would further concentrate the entertainment business, bringing more layoffs and theater closures.

Netflix co-Chief Executive Ted Sarandos has since tried to temper these concerns.

In a recent Senate subcommittee hearing, he pledged to maintain a 45-day theatrical window for Warner Bros. films, while also saying the deal would increase production investments going forward. In a recent letter to Lee responding to Cameron’s missive, Sarandos said he had previously spoken with the director in December about Netflix’s plans for Warner Bros., and that he had been “very supportive.”

Then there’s the politics of it all.

My colleague Meg James has written about Paramount’s efforts to use its political influence with the Trump administration to push its deal — and undermine Netflix’s. Paramount has declined to comment on the matter.

To put it mildly, Trump is a deeply unpopular figure in liberal-leaning Hollywood.

Creatives have feared a chilling effect on speech, particularly after Federal Communications Commission Chair Brendan Carr has aggressively tried to enforce long-dormant rules that require broadcast TV stations to give equal time to opposing candidates. The free-speech matter came to a head last year, when Carr warned that ABC could lose its TV station licenses after late-night host Jimmy Kimmel made a remark about slain conservative activist Charlie Kirk.

More recently, the equal-time rules resurfaced when CBS late-night host Stephen Colbert blasted his own network over its handling of his interview with Democratic Senate candidate James Talarico. Colbert said that CBS told him he could not air the interview because it would require giving equal time to Talarico’s opponents in the Senate primary and that he was instructed not to talk about the issue on the air, which he refused. CBS has disputed Colbert’s comments, saying he was not prohibited from airing the interview.

News industry insiders also raised concerns after the installation of Bari Weiss as editor in chief of CBS News. Two months into her tenure, she made the decision to pull a “60 Minutes” episode that investigated the alleged abuse of detainees sent from the U.S. to an El Salvador prison, a highly unusual step that critics interpreted as a decision to placate the Trump administration.

CBS News, which aired the episode in January, denied the claim, saying the piece had only been held for additional reporting.

On the film side, Paramount continues to make deals with creatives, including the irreverent South Park creators, who have churned out parodies of the Trump administration, “Wicked” director Jon M. Chu and writer, producer and actor Issa Rae, who in a statement earlier this year vowed to “tell stories for and by the diverse communities that have supported my work over the years.”

As the Warner Bros. deal drama unfolds, we’ll see how the lines continue to form in Hollywood’s creative class.

Stuff We Wrote

Film shoots

Number of the week

Sony Pictures Animation’s “Goat” led the domestic box office this weekend with an estimated three-day total of $17 million, beating out the Margot Robbie and Jacob Elordi-led “Wuthering Heights.”

The film, which was also produced by Warriors star Stephen Curry’s production company, has bucked the trend for original animated movies, which have largely faltered at theaters in recent years.

What I’m watching

Last week, I watched more Olympic figure skating (who didn’t watch Alysa Liu’s joyful, gold medal-winning performance?), but I’m also now re-watching 2000s teen detective drama “Veronica Mars.” I’m not Gen Z, but my newfound zeal for comfort TV is not unlike the story my colleague Stephen Battaglio wrote last year about young people’s interest in nostalgic shows.

“LINDA looks so beautiful, so cool,” says Paul McCartney.

He’s just been watching a film about the decade of his life after The Beatles broke up — and it is filled with images of his much-missed first wife.

“The Linda stuff was very emotional,” he admits at the Man On The Run launch event in London.

“Linda, the kids, me and John [Lennon] — all these memories. It’s like my life flashing in front of me.”

Macca is talking to an intimate gathering that includes his daughter Stella, son James, superfan Noel Gallagher and the actor who will play him in a forthcoming biopic, Paul Mescal. Oh, and me.

He continues: “Seeing me and Linda interacting is special because, you know, she’s not here.

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“So is seeing the kids when they were little, because they’re not little any more. They’ve got kids of their own now.”

The film stirs memories of forming his own band, Wings, with Linda in 1971, prompting this from McCartney: “We tried to follow The Beatles — it’s mad!”

It also brings into sharp focus his relationship with Lennon, which broke down in the wake of The Beatles split but, as we see, they reconciled shortly before John’s death.

Directed by Oscar-winning Morgan Neville, Man On The Run is a masterpiece of ­documentary storytelling.

Rich in source material, partly because Linda was a professional photographer who also shot home movies, it is raw, heartfelt, funny, poignant and, crucially, not remotely sugar-coated.

Before the screening starts, Sir Paul, looking fit and well for his 83 years, strolls on to the stage and quips: “I just want to say thank you to Morgan for keeping in all the embarrassing moments that I asked him to take out.”

But let’s get back to the big ­question: How DO you follow The Beatles?

It was a conundrum that weighed heavily on McCartney as the ­Swinging Sixties drew to a close.

As he puts it himself in the movie, the first thing he did was “escape” and then he had to learn how “to grow up”.

He had married American Linda Eastman in March, 1969, at Marylebone Town Hall, London, and soon afterwards adopted her daughter Heather from a previous marriage.

McCartney was still only 27 when, on April 10, 1970, he told the world that he, John Lennon, George ­Harrison and Ringo Starr were going their separate ways.

The announcement came amid acrimony over the band’s crooked business manager Allen Klein, favoured at the time by John and the others but later described by Paul as “a sort of demon”.

It was all over for the band of four likely lads from Liverpool who changed popular culture for ever.

In private, McCartney had known for months that his songwriting partner Lennon was leaving.

“John broke up The Beatles,” Macca affirms in Man On The Run. “But I got the rap. And that’s a bit of a weight to bear.”

Around the same time as ­Lennon’s bombshell, in late 1969, there were rumours across the US and around the world that “Beatle Paul may be dead”.

There’s a hilarious moment in the film when his younger brother Mike is asked whether it’s true.

“It’s a hoax, it’s a con,” he exclaims, before being asked when was the last time he saw his brother.

Mike replies: “The last time? It was his funeral, I think!”

It turned out that McCartney had the perfect bolthole, in an archetypal middle of nowhere, to hide away and reset his life.

In 1966, he had bought High Park Farm, a 183-acre sheep farm on the Mull of Kintyre (yes, that explains the song) in Argyllshire, only reached via a “long and winding” track.

With its corrugated iron roof and general state of dilapidation, it was, as someone in the film points out, the sort of place a poor farm labourer might baulk at accepting.

But, as the Sixties ebbed to a close, Paul, Linda, their daughters, Heather and baby Mary, plus their Old English Sheepdog ­Martha decamped to the Scottish wilds.

In the movie, McCartney suggests, “We got up there to escape”, and ponders whether he would write “another note of music” before confessing to drowning himself in one wee dram of Scotch after another.

But, with the responsibility of supporting a young family on his shoulders, he realised that “it was a question of HAVING to grow up”.

At the Man On The Run launch, McCartney reflects: “With The Beatles, we were just lads. Everyone, all our management, used to call us ‘the boys’.

“Then I got married and then there was a baby [Mary] on the way.

“I had to grow up. I thought, ‘We can’t just be these ‘boys’ any more’. It was time to think about stuff.

“Even though the film is kind of madcap and you see all our insane decisions, in the background there were some sensible decisions, too.”

He remembers how Linda was his guiding light through those years.

“If there was an idea that was a little bit crazy, I’d say, ‘Should I do that? Could I do that?’ She’d say, ‘It’s allowed’. It was a brilliant philosophy in life.”

Director Neville picks up on this theme: “I looked into the questions Paul was trying to ask of himself, questions that I felt were universal.

“How do you deal with your own legacy and the expectations people have of you? How do you balance your career with your family?

“In Paul’s case, he made them one and the same. And that, I thought, was completely inspirational.”

Though Kintyre provided a necessary respite from the dazzling glare of publicity, Macca has never been far away from making music. It’s in his blood.

In 1970, he released his debut solo album, simply titled McCartney, with its intimate DIY aesthetic and featuring at least two songs with his beloved partner in mind — The Lovely Linda and Maybe I’m Amazed.

In 1971, he formed Wings with ex-Moody Blues musician Denny Laine and, controversially, Linda, who until that point had little or no experience, as core members.

Rehearsals for their debut album Wild Life took place at Macca’s converted barn in Scotland, dubbed Rude Studio.

It felt to him as if he was starting over, at the bottom of the pile.

“It was so impossible to do something like that,” he says today.

“Just go back to square one, show up at a university, don’t book hotels, take the dogs in a van. For some reason, we thought it was a great idea!”

If Wings took time to take flight, everything changed in 1973 when they released third album Band On The Run, loaded with classic tunes such as the title track, Jet and Let Me Roll It.

Recorded in extraordinary ­circumstances at EMI’s studio in Lagos, Nigeria, not far from where Paul and Linda were mugged at knifepoint, it paved the way for ­stadium-sized shows in America.

Without the McCartneys’ sojourn to Scotland, there would have been no Mull Of Kintyre, which, at the time of its release in 1977, became the biggest selling single of all time.

A “love song” to that remote idyll, it featured Great Highland bagpipes played so passionately by the local Campbeltown Pipe Band.

Yet, interwoven with stories of Wings’ upward trajectory, there are musings on McCartney’s strained relationship with Lennon during the Seventies.

We’re reminded of John’s caustic song How Do You Sleep?, directed at Paul with its line, “The only thing you done was yesterday”.

And there’s his old buddy left thinking, “Aside from Yesterday, what about Eleanor Rigby, Lady Madonna, Hey Jude, Let It Be and the rest?”

Macca says: “As it shows in the film, I knew John from a very early age — we were just a couple of rock and roll fans.

“We enjoyed hanging out together and we started writing little songs round at my place.

“My dad had a pipe in his drawer. So we thought we’d smoke it. We couldn’t find any tobacco so we smoked tea! We had all those ­memories in common.

“Then we went through the whole trajectory of The Beatles. But John was always just that guy to me, even when he was being really mean and I was having to take it.

“At the same time, it was like, ‘Yeah, it’s just John, he does that’. He’d always done that — so that made it a little bit easier.

“But I loved him, you know. I loved all the guys in The Beatles.

“I try and think of how else it could have been, but with just me, John, George and Ringo, it was a magic grouping. And we did OK!”

Near the end of Man On The Run, you see McCartney being confronted by camera crews about the shocking death of Lennon, who had been shot the day before outside the Dakota Building apartment he shared with partner Yoko Ono in New York.

Macca was criticised at the time for a rather cool, unemotional response — but one look in his eyes reveals his utter devastation.

As for the aforementioned “embarrassing moments” on display in the film, they are what make it so refreshing and endearing.

Hence you see McCartney singing Mary Had A Little Lamb wearing a red clown’s nose with Wings guitarist Henry McCullough looking as if he wants the earth to swallow him.

There’s a moustachioed Paul in a baggy pink suit performing the cabaret-style Gotta Sing Gotta Dance, complete with dancing girls, for his 1973 variety show.

And what about him getting ­busted by Japanese cops in 1980 for having 219g of cannabis in his luggage, spending nine days in custody before being booted out of the country?

McCartney was supposed to be embarking on a Wings tour of Japan but, as it turned out, they never played together again.

He says: “So many bits are embarrassing. The look on Henry McCullough’s face! He’s not happy.

“I was thinking, ‘Maybe we could cut those bits, the dance routine, cool out my image’.

“But Morgan said, ‘No, let me keep them in. You’ll see all that stuff but because you overcame it all and found yourself, you won in the end’.”

Finally, McCartney takes a long hard look at himself — at the ­person “growing up” in Man On The Run and the man he is today.

He says: “You start to see yourself, not just in the mirror, but to realise what your character is like.

“It’s natural for me to be enthusiastic so I don’t always see pitfalls, With me, it’s, “Nah, nah, just do it’.”

It has been a roller coaster week for theme parks boss Josh D’Amaro, who was named the next chief executive of Walt Disney Co. last week.

Once he officially takes the helm of the Mouse House in mid-March, he must tackle several key areas to chart the future of the 102-year-old media and entertainment giant.

For one, he’ll need to bolster Disney’s pipeline of content. As the saying goes, “content is king.”

The Burbank company already has a strong stable of franchises and stories that power its entertainment and streaming businesses, theme parks, merchandise and cruise ships, but Disney will need to keep building on that.

Strong sequels like last year’s “Zootopia 2” and live-action adaptations such as “Lilo & Stitch” — both of which grossed more than $1 billion in worldwide box office revenue — show that good stories can keep paying dividends in new ways, Moffett Nathanson senior research analyst Robert Fishman wrote in a note to clients last week.

On the bright side: This year’s film lineup has several historically strong franchise contenders, including Disney and Pixar’s “Toy Story 5,” Lucasfilm’s “Star Wars: The Mandalorian and Grogu” and Marvel Studios’ “Avengers: Doomsday.” (Marvel, however, has struggled in recent years to pump out consistent hits at the box office.)

But Disney also needs to develop new stories — which has been more of a struggle.

Disney and Pixar’s “Elio” misfired at the box office last year, as original animated movies have had a harder time bringing in the massive audiences they once did because of the drop-off in theater attendance since the pandemic.

That puts more pressure on Disney and Pixar’s upcoming “Hoppers,” an original animated film out in March. The film has gotten strong early traction in online trailer views, Fishman wrote.

The content investment also extends to scripted series, which Fishman noted are a “critical component of success and cannot become an afterthought to theatrical.” He singled out Disney-owned FX as a “prestige outlet” that can contribute to both television and streaming lineups. The network has had a number of successes, including 2024’s “Shogun,” which was one of my favorites.

D’Amaro likely will get help on the content side from soon-to-be president and chief creative officer Dana Walden, a longtime television executive who is respected in Hollywood and well-versed in the entertainment knowledge he lacks.

D’Amaro’s area of expertise is Disney’s experiences sector, which includes the theme parks, cruise line, merchandise and Aulani resort and spa in Hawaii and brings in the lion’s share of operating income for the company. In the fiscal first quarter of this year, the experiences business hauled in a record $10 billion in revenue.

The challenge there will be maintaining Disney’s market dominance in the theme park space while continuing to invest to drive growth and managing attendance in the face of ongoing competition from arch rival Universal Studios.

On the investment front, Disney is all in. The experiences business is in the midst of a 10-year, $60-billion expansion project that would add new themed lands to parks around the world, including at Anaheim’s Disneyland Resort. The company also is building a park in Abu Dhabi and added new cruise ships.

In the near term, however, are concerns about “international visitation headwinds” at Disney’s U.S. parks. The company signaled in its most recent earnings call that those foreign visitor trends could contribute to “modest” operating income growth for the experiences division in the fiscal second quarter, along with pre-launch costs for a new cruise ship and an upcoming “Frozen” land in Disneyland Paris.

To keep attendance rates up, the company shifted its marketing and promotional focus to a more domestic audience, said Hugh Johnston, senior executive vice president and chief financial officer, on the earnings call. But stock analysts — and D’Amaro — undoubtedly will be keeping an eye on international attendance rates and what that will mean for the theme parks going forward.

The part of the company with the potential to drive the most growth, analysts say, is its streaming business.

After recording billions of dollars in losses, Disney’s streaming services, which included Disney+, Hulu and ESPN+, finally reached profitability in 2024. The company’s next goal is to reach 10% operating margins in its entertainment streaming business comprised of Disney+ and Hulu — a milestone that would give investors confidence in its vision.

To get there, continued investment in local language content will be a key priority to increase international subscriptions, as well as bolstering the tech that powers the platforms and provides recommendations.

In short, D’Amaro faces a choice.

“Some investors are thinking, ‘Will he choose to be the same? Or can he start a new era?’” asked Laurent Yoon, senior analyst at Bernstein.

At least one former Disney CEO has weighed in.

“My advice to Josh is continue Bob Iger’s strategy that creativity will handle profits, always protect the brand, and keep close the words of Walt Disney: ‘We love to entertain kings and queens, but the vital thing to remember is this — every guest receives the VIP treatment,’” Michael Eisner posted on social media last week.

But D’Amaro’s own words provide an idea of what he’s thinking. At a global town hall meeting with Disney employees last week, D’Amaro spoke about the company’s legacy — and its path forward.

“We are 100 years old, but we’re 100 years young as well, willing to embrace new technology, new creators and new markets,” he said. “That willingness to change and take risks is what keeps the brand going, and it’s something I intend to continue to push on.”

Stuff We Wrote

Film shoots

Number of the week

Post-apocalyptic horror film “Iron Lung” has grossed $34.3 million in worldwide box office revenue, a remarkable number given the film’s reported $3 million production budget and self-distribution route.

Written, directed and executive produced by YouTuber Mark Fischbach, who goes by the online alias of Markiplier and also stars in the film, “Iron Lung” follows the story of a convict who sails a blood ocean in a submarine. The movie had a $17.8-million opening during the weekend of Jan. 30, placing it right behind Disney’s 20th Century Studios’ “Send Help,” which grossed about $19.1 million in its debut. “Iron Lung” picked up an additional $6 million this past weekend.

Its success reignited the debate about self-distribution and the theatrical draw of content creators.

What I’m watching

Since the Olympics started last week, I’ve been all in on figure skating, a sport I’ve watched since I was a kid who marveled at the artistry and athleticism of stars like Kristi Yamaguchi, Scott Hamilton, Brian Boitano and Michelle Kwan.

So I was supremely interested in this piece by my colleague Thuc Nhi Nguyen about the strength of the U.S. Olympic figure skating team this year, and the camaraderie between U.S. women Amber Glenn, Alysa Liu and Isabeau Levito.

VICTORIA Beckham was in the biggest girl group of all time but her son Cruz is taking inspiration from another brilliant British band for his debut album — The Beatles.

The budding musician’s close friend Luke Pritchard has unofficially helped guide the project thanks to years of experience in the industry, along with his ten UK Top Ten singles with his band The Kooks.

In an exclusive chat, Luke revealed Cruz was heavily influenced by the Fab Four’s ninth record, The White Album, which gave us iconic songs including Ob-La-Di, Ob-La-Da and Blackbird.

“He’s brilliant. He’s got all the right things,” Luke told me at the Iconic Images Gallery in London, where we were invited to celebrate a new exhibition of The Cure ahead of their headline slot at Isle of Wight Festival.

“I think he’s a rockstar, I really do.

“It’s got a kind of White Album psychedelia sound, with warm tones.

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“I think he’s a great guitar player – it’s kind of what I want to hear in my head.”

In March, Cruz took to social media to tease a self-penned track inspired by his love for The Beatles.

In the short clip, he sang: “I wanna be John Lennon.”

Last week, as the showbiz world imploded thanks to his brother Brooklyn’s bombshell statement hammering his family, Cruz was locked away in a north London studio putting the finishing touches to the record.

As speculation about the family rift circulated the globe, Cruz took to Instagram to reshare a shot from the studio with the words “Loneliest Boy” along the top of a song sheet, leading some fans to wonder if it will be about his estranged brother.

Luke, who has released a new live version of The Kooks’s 2014 song See Me Now today, explained: “We were actually in the studio with him.

“His album sounds so good, so authentic. It’s really refreshing.

“You know, he’s recording everything completely authentically and trying to pick up that magic to some parts. I think that’s amazing.”

And he is determined to prove himself as an artist in his own right, breaking free from the nepo baby label.

Luke continued: “He’s the real deal. He wants to do things properly and he wants to gather his fan base the right way and he wants to go out and just play. It’s been a mad few days for him.”

Cruz has sold out his first headline show in London in March and has announced a UK tour with his band The Breakers which went on sale on Friday.

As well as their own tour this year, The Kooks are performing at Isle of Wight Festival alongside The Cure, Calvin Harris and Lewis Capaldi.

PARK CITY, Utah — Welcome to a special Sundance Daily edition of the Wide Shot, a newsletter about the business of entertainment. Sign up here to get it in your inbox.

Good evening — it’s Monday, Jan. 26, and you’re reading the last of our Sundance dispatches. Today we’ve seen a high of 36 degrees on a notably sunny day. We waited and waited for deal news, but it hasn’t quite arrived yet.

We’re hearing about distributors circling both Olivia Wilde’s “The Invite” and the provocative “Josephine,” the latter of which is coalescing into a critical favorite at the fest.

We’ve been speaking the last few days with a parade of fascinating stars and directors: Ethan Hawke, Salman Rushdie, the legendary Billie Jean King, Brittney Griner, many more. Check out our videos right here as we make them live.

Mark Olsen spoke with director NB Mager about her debut feature “Run Amok,” which premiered at the festival today. Here are some recommendations for you.

What we’re watching today

“Gail Daughtry and the Celebrity Sex Pass”

Miles Gutierrez-Riley, John Slattery, Ken Marino, Zoey Deutch and Ben Wang in the movie “Gail Daughtry and the Celebrity Sex Pass.”

(Sundance Institute)

Twenty-five years ago, the Sundance premiere of David Wain’s “Wet Hot American Summer” reignited the ’80s-style sex romp. Now he’s returned to Park City to see if he can rescue the comedy again.

“Gail Daughtry and the Celebrity Sex Pass” stars Zoey Deutch as a Kansas hairdresser whose fiancé cheats on her with his “hall pass”: a get-out-of-the-doghouse-free exemption for canoodling with his movie-star crush. (I’ll let you discover that cameo yourself.)

To even the score, Gail travels to Los Angeles to sleep with her own idol, Jon Hamm, and is soon skipping down Hollywood Boulevard with a ragtag group of new friends, including “Mad Men’s” John Slattery as himself. There’s a sensitive indie way to tell this story — and then there’s Wain’s giddy lampoon of “The Wizard of Oz.”

Too many modern comedies are jokeless anxiety attacks. I just wanna laugh. I need to laugh. If you need to laugh, this is your hall pass to get slap-happy. — Amy Nicholson

“Chasing Summer”

Iliza Shlesinger stars in the movie “Chasing Summer.”

(Eric Branco / Summer 2001 LLC / Sundance Institute)

Comedian Iliza Shlesinger writes and stars in “Chasing Summer,” directed by Josephine Decker. Having recently lost her job and her boyfriend at the same time, Jamie (Shlesinger) returns to her parents’ house in the small Texas town where she grew up.

As she falls back into some of the same social dynamics from when she was a teenager, possibly rekindling an old flame (Tom Welling), Jamie also enjoys an affair with a much-younger man (Garrett Wareing).

Though Schlesinger’s bawdy humor and Decker’s explorations of female interiority in films such as “Shirley” and “Madeline’s Madeline” (both played at Sundance) might make for an unexpected collaboration, it’s a surprisingly good match. Funny and insightful, the movie shows that sometimes you can in fact go home again. — Mark Olsen

The sexy ‘Sundance tribute’ in ‘Gail Daughtry’

Having the world premiere of “Gail Daughtry and the Celebrity Sex Pass” at Sundance was a full-circle moment of sorts for director and co-writer David Wain. His first introduction to the festival was Steven Soderbergh’s hall of famer “sex, lies and videotape,” and Wain noted after the well-received premiere of his new film that he “overtly stole” two sex scenes from that indie classic as “a tribute to Sundance.”

Of course, “Gail Daughtry” is about as opposite as you can get from Soderbergh. It’s an absurdist, cameo-filled comedy proudly shot on location in L.A. that co-writer Ken Marino described before the screening as a “silly, fun romp.”

Even before its theatrical release, it already has the hallmarks of a cult classic à la another Wain and Co. film, “Wet Hot American Summer,” and features many faces from that movie as well as the State, the comedy troupe that cast member Kerri Kenney-Silver explained started in a supply closet at New York University because they couldn’t get any other rehearsal space.

“Making movies with your friends is a privilege,” cast member Joe Lo Truglio said. And with their ever-expanding circle of friends, we’re the ones who benefit. — Vanessa Franko

Some deal news

Neon has acquired the worldwide rights to horror film “4 X 4: The Event” from filmmaker Alex Ullom, the indie studio said Sunday afternoon.

The deal is the first to be made in Park City so far, though the film was not shown at Sundance and will begin production later this year. The value of the deal was not disclosed.

The film follows eight contestants who join an illegal “sensory assault” livestream in which they can only harm each other with items they can buy online, Neon said in a statement.

The studio previously bought global rights to Ullom’s first horror film, “It Ends,” after it premiered at SXSW last year. — Samantha Masunaga