producer

Andrew Gunn, a film producer on live-action Disney favorites including “Freaky Friday” and “Sky High,” has died. He was 56.

Gunn died Monday at his Toronto home following a battle with amyotrophic lateral sclerosis, or ALS, according to an obituary.

“He was a courageous and modest man always doing for others before himself. His love of family, friends, motorcycles and tattoos will long be remembered by those who knew him,” his wife Jane Bellamy Gunn said in a statement to USA Today. She told the outlet that Andrew had been diagnosed with Bulbar-onset ALS, a form of the neurodegenerative disease affecting the neck and face, in September 2025 after experiencing symptoms for more than two years.

The Canadian film producer was best known for his work on family friendly Disney comedies starting in the 2000s. Gunn launched his own production company, Gunn Films, in 2001 and had an exclusive first-look deal with Walt Disney Pictures.

Among his earliest hits was the 2003 body-swap comedy “Freaky Friday,” starring Jamie Lee Curtis and Lindsay Lohan as a mother-daughter duo who wake up one morning in each other’s bodies. The remake was made after Gunn had pitched the movie to then-studio president Nina Jacobson.

Andrew Gunn, center, with director Mark Waters, left, and Jamie Lee Curtis on the set of “Freaky Friday” in 2003.

(Ron Batzdorff / Disney Entertainment)

“Andrew Gunn … was a producer with great passion and emotionality which added so much to what makes those movies special,” Curtis wrote in her tribute posted to Instagram on Wednesday. “His legacy lives on, and he will be missed.”

Gunn was also the producer on the 2005 superhero comedy “Sky High,” as well as films based on iconic Disney theme park attractions, including “The Country Bears” (2002) and “The Haunted Mansion” (2003). His most recent credits include “Cruella” (2021), the fashion-forward origin story of “101 Dalmations” villain Cruella de Vil, as well as the next-gen sequel “Freakier Friday” (2025).

Born July 15, 1969, in Toronto, Gunn moved to L.A. to earn a master’s degree from the Annenberg School at USC, according to Deadline. He began his Hollywood career in the late 1990s, working at John Hughes’ Great Oaks Entertainment where he contributed to the development of films such as “101 Dalmatians” (1996), “102 Dalmatians” (2000) and “Flubber” (1997).

Gunn is also credited with helping establish the Disney Writers Program in 2001, where he championed and mentored up-and-coming writers.

“Andrew Gunn took a chance on a very green 29 year old from nowhere and gave him a screenwriting career and more than that…a family in my adopted city,” said “Clifford the Big Red Dog” writer and Disney Writers Program alum Blaise Hemingway in his Instagram tribute.

“Andrew fostered a fraternity of writers who did EVERYTHING together,” Hemingway added. “Lunches, Friday movies, happy hours at Mo’s, kid’s birthday parties. Alongside Andrew, we rewrote, roundtabled, did triage on productions in crisis…you name it. It was crazy, unhinged, and so [f—] fun. And despite the leather jackets and tattoos, Andrew was a softy who got a kick out of his writers’ knuckle-headed antics. He was a great mentor.”

Gunn is survived by his wife Jane; his children Isabelle and Connor Gunn; mother Anne Gunn; and siblings Hilary Knight, Graeme Gunn and Cameron Gunn.

ACTRESS Alexandra Daddario has split from her hubby after their marriage “fizzled out”.

The White Lotus star, 39, has a 15-month-old son with film producer Andrew Form, 57.

New York court records show she filed for divorce on Friday.

Her rep said: “They have made the decision to end their marriage.

“The decision was made with love and respect.”

Insiders claimed their marriage started “hot and heavy” but cooled due to work schedules, eventually suffering a “consistent loss of love”.

A source said: “Alexandra and Andrew slowly grew apart.

“Raising a child was a reason to carry on but they weren’t even doing that together often and their married life slowly disintegrated.”

Alexandra was nominated for an Emmy for her role in The White Lotus alongside Sydney Sweeney.

She has also appeared in Baywatch and True Detective.

She and Form met by chance in New York before marrying in 2022.

Form’s movies include Friday the 13th, The Texas Chainsaw Massacre, Teenage Mutant Ninja Turtles, The Purge and A Quiet Place.

Alexandra slammed critics of her acting last year, saying: “Sometimes I’m lit poorly, but I’m not a bad actress.

“I got an Emmy nomination.”

Jennifer Hudson raised more then a few eyebrows in 2022 when she was close to realizing her dream — becoming a daytime talk show host.

At the time, she had just become the youngest member of the small elite group of artists who are EGOT — Emmy, Grammy, Oscar and Tony award — winners. She was also aware that the highly competitive daytime talk show arena had been a notorious minefield for several top stars, leading to quick failure.

But she was unfazed. Just days before the premiere of the “Jennifer Hudson Show,” she called it the perfect birthday present.

“This is going to be such a gift,” she said near the set of the show at Warner Bros., which produces the series. “If I were not working on my birthday, that is what I would be wishing for — performing on a stage or a platform … I love a challenge … It is a difficult arena. You will always see me try.”

The entertainer expressed even more excitement Thursday after her syndicated show was renewed for a fifth season, bringing some welcome sunlight to the afternoon landscape which has been shaken in the last several weeks by the upcoming departures of popular hosts Kelly Clarkson and Sherri Shepherd.

Hudson and Drew Barrymore, who has hosted her own eponymous show since 2020, are now the sole survivors in the celebrity-oriented afternoon talk genre. (The talk show hosted by Tamron Hall is more focused on topical issues and trends.)

Insiders say the continuing economic difficulties in Hollywood and the explosion of video podcasts hosted by stars such as Amy Poehler, Conan O’Brien, Dax Shepard and the “Smartless” trio consisting of actors Jason Bateman, Will Arnett and Sean Hayes has substantially crippled the traditional daytime talk format.

Shock waves have resonated through the daytime TV industry since early February when Clarkson said she would be ending her Emmy-winning talk show at the conclusion of its current seventh season for personal reasons. Just hours later, producers of “Sherri” announced they were pulling the plug on that series, attributing the cancellation to “the evolving daytime television landscape.” Shepherd in recent days has said she was fighting to save the show.

Rumors about the future of Hudson’s show have been circulating since those announcements. Although some insiders considered Hudson an unlikely entrant in daytime, she has established herself as an engaging and warm host, connecting with her enthusiastic studio audience and highlighting the show with musical performances and duets with her guests.

The show has also aggressively employed social media to promote its “Spirit Tunnel,” where staff members lining a corridor greet celebrities with chants on their way to the stage. Producers say the ritual has surpassed 6 billion views.

“The Jennifer Hudson Show” replaced Ellen DeGeneres’ talk show, which ended in 2022, had run for nearly 20 years and was produced by Warner Bros.

Experts say the current landscape is indicative of the cyclical nature of daytime talk, recalling the era of “trash talk” during the 1990s when afternoon talk shows such as “Sally,” “Jerry Springer” and others emphasized fierce confrontations and provocative, often sexually oriented topics.

“Daytime has always gone through these cycles, so this is nothing new,” said Rachel Schwartz, head of the Daytime Emmys and Children & Family Emmy. And video podcasts appear to be part of this latest cycle.

“Now audiences are proving that they are really hungry for podcasts, which is impacting the landscape of daytime TV,” she said. “The podcast can be narrowly focused on one celebrity. It’s like the listener is sitting down with a friend. And the guest can be more comfortable.”

Pamela Rutledge, director of the Media Psychology Research Center, which explores the psychology of human interaction with media and technology, said that while daytime talk shows offer familiarity with the same host, tone and daily presence, podcasts give celebrities more control, intimacy and influence without the constraints and pressures of broadcast TV.

“Podcast hosts tend to be partners in conversation, not ‘hosts’ or moderators,” she said. “Talk shows are in the middle of the voyeurism spectrum — too curated by time, pacing and commercial interruptions to feel really intimate and too restrained to be thrilling.”

Rutledge added that maintaining TV studios, crews and accommodating large audiences is becoming increasingly costly for producers, who are looking more to other types of digital and social platforms that are more attractive to advertisers.

Finalists and honorees for the 46th Los Angeles Times Book Prizes were announced Wednesday.

Writer-curator Ekow Eshun is among the biography finalists for “The Strangers: Five Extraordinary Black Men and the Worlds That Made Them,” which parses Black masculinity as embodied by various civil rights activists, philosophers and other visionaries. Contenders in the fiction categories ranged from seasoned novelists like Michael Connelly to breakouts including Saou Ichikawa, whose debut novel, “Hunchback,” was longlisted for the 2025 International Booker Prize.

Many selected books evoke the greatest anxieties of our time, from government-sanctioned historical revisionism to the ongoing proliferation of AI.

“The Joy Luck Club” author Amy Tan will be honored with this year’s Robert Kirsch Award for lifetime achievement. Nonprofit We Need Diverse Books and novelist Adam Ross will receive the Innovator’s Award and Christopher Isherwood Prize for Autobiographical Prose, respectively.

Winners in the remaining categories will be revealed at the 46th L.A. Times Book Prizes on April 17 at USC’s Bovard Auditorium. The ceremony is a prelude to the annual L.A. Times Festival of Books, which this year runs April 18-19.

The Oakland-born Tan will be given the marquee Robert Kirsch Award, which celebrates literature with regional and thematic connections to the Western United States, for her highly awarded body of work exploring multicultural identity and its complex effects on familial bonds.

“Throughout her extraordinary career, Amy Tan has transformed American literature by shining a light on the emotional complexities of family, identity and cultural inheritance,” said Times senior editor for Books Sophia Kercher. “Her work confronts the social and cultural legacies of the American West with rich details of the immigrant experience.”

Tan’s 1989 debut novel, “The Joy Luck Club,” which interweaves the stories of four Chinese immigrant mothers and their American-born daughters in San Francisco, is a staple of the modern literary canon and was previously a finalist for the National Book Award and the National Book Critics Circle Award. “The Joy Luck Club,” along with the essays, memoirs and novels Tan has since penned — most recently 2024’s “The Backyard Bird Chronicles” — have also led her to be inducted into the American Academy of Arts and Letters and earned her a National Humanities Medal from President Biden.

We Need Diverse Books, a viral 2014 Twitter campaign turned nonprofit, is being honored with the Innovator’s Award for its efforts toward promoting diversity and inclusion in children’s and young adult publishing.

According to the WNDB website, upon the nonprofit’s launch more than a decade ago, only 8% of children’s books published in the U.S. were written by authors of color. In 2023, that figure rose to 47%, in no small part due to WNDB’s grants, library partnerships and other advocacy work, per the Cooperative Children’s Book Center at the University of Wisconsin-Madison.

“We Need Diverse Books has played an important role in publishing by championing stories that reflect our world, and opening doors for writers and readers,” said Times Executive Editor Terry Tang. “We are thrilled to recognize them with this year’s Innovator’s Award, honoring their unwavering commitment to access and representation in literature.”

Ross rounds out the L.A. Times Book Prize honorees as the winner of the Christopher Isherwood Prize for “Playworld,” a semi-autobiographical novel about a teen growing up in 1980s New York that is described as “less a bildungsroman than a story of miseducation.”

In addition to the achievement awards, the Book Prizes recognize titles in 13 categories: audiobooks, autobiographical prose (the Christopher Isherwood Prize), biography, current interest, fiction, first fiction (the Art Seidenbaum Award), graphic novel/comics, history, mystery/thriller, poetry, science fiction, science and technology and young adult literature. Each category’s finalists and winners are chosen by panels of writers specializing in that genre.

For more information about the Book Prizes, including the complete list of finalists, visit latimes.com/BookPrizes.

Robert Kirsch Award

Amy Tan

Innovator’s Award

We Need Diverse Books

The Christopher Isherwood Prize for Autobiographical Prose

Adam Ross, “Playworld: A Novel”

The Art Seidenbaum Award for First Fiction

Andy Anderegg, “Plum”

Krystelle Bamford, “Idle Grounds: A Novel”

Addie E. Citchens, “Dominion: A Novel”

Justin Haynes, “Ibis: A Novel”

Saou Ichikawa translated by Polly Barton, “Hunchback: A Novel”

Achievement in Audiobook Production, presented by Audible

Molly Jong-Fast (narrator), Matie Argiropoulos (producer); “How to Lose Your Mother”

Jason Mott, Ronald Peet, and JD Jackson (narrators), Diane McKiernan (producer); “People Like Us: A Novel”

James Aaron Oh (narrator), Linda Korn (producer); “The Emperor of Gladness: A Novel”

Imani Perry (narrator), Suzanne Mitchell (producer); “Black in Blues”

Maggi-Meg Reed, Jane Oppenheimer, Carly Robins, Jeff Ebner, David Pittu, Chris Andrew Ciulla, Mark Bramhall, Petrea Burchard, Robert Petkoff, Kimberly Farr, Cerris Morgan-Moyer, Peter Ganim, Jade Wheeler, Steve West, and Jim Seybert (narrators), Kelly Gildea (producer); “The Correspondent: A Novel”

Biography

Joe Dunthorne, “Children of Radium: A Buried Inheritance”

Ekow Eshun, “The Strangers: Five Extraordinary Black Men and the Worlds That Made Them”

Ruth Franklin, “The Many Lives of Anne Frank”

Beth Macy, “Paper Girl: A Memoir of Home and Family in a Fractured America”

Amanda Vaill, “Pride and Pleasure: The Schuyler Sisters in an Age of Revolution”

Current Interest

Jeanne Carstensen, “A Greek Tragedy: One Day, a Deadly Shipwreck, and the Human Cost of the Refugee Crisis”

Stefan Fatsis, “Unabridged: The Thrill of (and Threat to) the Modern Dictionary”

Brian Goldstone, “There Is No Place for Us: Working and Homeless in America”

Gardiner Harris, “No More Tears: The Dark Secrets of Johnson & Johnson”

Jordan Thomas, “When It All Burns: Fighting Fire in a Transformed World”

Fiction

Tod Goldberg, “Only Way Out: A Novel”

Stephen Graham Jones, “The Buffalo Hunter Hunter”

Mia McKenzie, “These Heathens: A Novel”

Andrés Felipe Solano translated by Will Vanderhyden, “Gloria: A Novel”

Bryan Washington, “Palaver: A Novel”

Graphic Novel/Comics

Eagle Valiant Brosi, “Black Cohosh”

Jaime Hernandez, “Life Drawing: A Love and Rockets Collection”

Michael D. Kennedy, “Milk White Steed”

Lee Lai, “Cannon”

Carol Tyler, “The Ephemerata: Shaping the Exquisite Nature of Grief”

History

Char Adams, “Black-Owned: The Revolutionary Life of the Black Bookstore”

Bench Ansfield, “Born in Flames: The Business of Arson and the Remaking of the American City”

Jennifer Clapp, “Titans of Industrial Agriculture: How a Few Giant Corporations Came to Dominate the Farm Sector and Why It Matters”

Eli Erlick, “Before Gender: Lost Stories from Trans History, 1850-1950”

Aaron G. Fountain Jr., “High School Students Unite!: Teen Activism, Education Reform, and FBI Surveillance in Postwar America”

Mystery/Thriller

Megan Abbott, “El Dorado Drive”

Ace Atkins, “Everybody Wants to Rule the World: A Novel”

Lou Berney, “Crooks: A Novel About Crime and Family”

Michael Connelly, “The Proving Ground: A Lincoln Lawyer Novel”

S.A. Cosby, “King of Ashes: A Novel”

Poetry

Gabrielle Calvocoressi, “The New Economy”

Chet’la Sebree, “Blue Opening: Poems”

Richard Siken, “I Do Know Some Things”

Devon Walker-Figueroa, “Lazarus Species: Poems”

Allison Benis White, “A Magnificent Loneliness”

Science Fiction, Fantasy & Speculative Fiction

Stephen Graham Jones, “The Buffalo Hunter Hunter”

Jordan Kurella, “The Death of Mountains”

Nnedi Okorafor, “Death of the Author: A Novel”

Adam Oyebanji, “Esperance”

Silvia Park, “Luminous: A Novel”

Science & Technology

Mariah Blake, “They Poisoned the World: Life and Death in the Age of Forever Chemicals”

Peter Brannen, “The Story of CO2 Is the Story of Everything: How Carbon Dioxide Made Our World”

Karen Hao, “Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI”

Laura Poppick, “Strata: Stories from Deep Time”

Jordan Thomas, “When It All Burns: Fighting Fire in a Transformed World”

Young Adult Literature

K. Ancrum, “The Corruption of Hollis Brown”

Idris Goodwin, “King of the Neuro Verse”

Jamie Jo Hoang, “My Mother, the Mermaid Chaser”

Trung Le Nguyen, “Angelica and the Bear Prince”

Hannah V. Sawyerr, “Truth Is: A Novel in Verse”

ATHENS, Greece — Israeli producer Dana Eden, best known for co-creating the International Emmy-winning espionage thriller “Tehran,” has died suddenly in Greece, Israeli public broadcaster KAN said Monday.

Eden, 52, was found dead in a hotel in the Greek capital, Athens, a Greek police official said, adding that initial indications suggested she had taken her own life and there was no suspicion of foul play. The official spoke on condition of anonymity as Greek police do not comment publicly in such cases.

KAN said Eden was in Greece for the filming of the hit series’ fourth season.

“Dana was among the leading figures in Israel’s television industry and played a central role in the creation and leadership of some of the most prominent and influential productions within the corporation,” KAN said in a statement. It did not give a cause of death.

“Her professional work, uncompromising dedication, and love for creation left a deep mark on the Israeli Public Broadcasting Corporation. KAN shares in the deep sorrow of her family, friends and colleagues,” the broadcaster said.

In a statement posted on its Facebook page, Eden’s production company, Donna and Shula productions, sought to dispel rumors that the producer had been killed.

“The production company wishes to clarify that the rumors of a criminal or nationally motivated death are false and unfounded,” it said.

“This is a moment of great pain for the family, friends and colleagues. We ask that Dana’s dignity and the privacy of her loved ones be respected,” the production company said.

Israel Culture and Sports Minister Miki Zohar, in a social media post on X, said it was “with great sadness” that he had received the news of Eden’s death, describing her as “one of the most prominent and influential producers in the Israeli television industry.”

“Dana left a deep mark on Israeli creation and brought our story to international stages with pride, talent and courage,” Zohar said.

“Tehran,” which premiered in Israel and on Apple TV in 2020, tells the story of Tamar Rabinyan, a young Mossad operative tasked with hacking into and disabling the Iranian nuclear reactor so the Israeli military can carry out an airstrike. The show was named best drama series at the 49th International Emmy Awards in November 2021.

Eden started working in TV production in Israel in the 1990s, working on shows including comedy “Yom Haem” and crime drama “Magpie,” before finding international success with “Tehran.”

In 2018, her show “Saving the Wildlife” won best TV magazine for children and youth at the Awards of the Israeli Television Academy.

Kantouris and Becatoros write for the Associated Press. Kantouris contributed from Thessaloniki. Matt Kemp in London contributed.

In a smoothly run show peppered with sharp humor but, for the most part, a dearth of pointed political commentary — save for one unscripted expression of anti-ICE sentiment from “The White Lotus” star Natasha Rothwell — the 2026 Film Independent Spirit Awards celebrated its 41st edition on Sunday in Hollywood.

The ceremony has long served as a counterpoint to the Oscars: looser, more unpredictable, typically mounted in a beach tent by the Santa Monica Pier. For over three decades, it was held the Saturday afternoon right before the Academy Awards.

But this year, due to coastal planning for the 2028 Los Angeles Olympics, the Spirit Awards relocated to the Hollywood Palladium (where they were last held in 1994), a venue decked out in the show’s signature blue and pink signage and decor — a pivot that proved effective.

“We don’t have a permit,” cracked host Ego Nwodim, riffing on scrappy independent tactics in her monologue. Her athletic hosting duties had her doing everything from cornering attending celebs such as Kirsten Dunst and Jesse Plemons via a “sexual tension cam” to picking up her falafel order at the main entrance on Sunset Boulevard.

Last year’s event played more like a coronation for a widely favored front-runner, Sean Baker‘s “Anora.” That film would go on to sweep at the Oscars a little over a week later. The mood today was more tenuous, the industry crowd mulling in the lobby with cocktails, discussing the tail end of awards season and the controversy coming out of the Berlin Film Festival concerning politically cautious juror statements.

The movies that would be honored here, by contrast, were bolder than the Spirits usually go, resulting in a truly independent raft of winners. Rose Byrne won the lead actor prize (the Spirits have gone gender-neutral since 2022) for her commanding, ruinous turn in “If I Legs I’d Kick You.” Accepting the award, Byrne half-joked, “This character of Linda really could only exist in an independent film — she’s fierce and she’s gracious and she’s a middle-aged woman.”

Other awardees included the subtly wrought academia drama “Sorry, Baby,” honored for director Eva Victor‘s screenplay and its supporting actor Naomi Ackie; the star-stalking thriller “Lurker,” which took both the first feature and first screenplay awards; and Brazil’s “The Secret Agent,” claiming the prize for international film.

The afternoon’s big winner was “Train Dreams,” the little movie that could, one that emerged 13 months ago at Sundance 2025 and is now proving itself to be one of Netflix’s sturdiest Oscar contenders. It took prizes for best feature, director and cinematography, the kind of haul that suggests real momentum.

A complete list of today’s Spirit winners

FILM CATEGORIES

Best Feature
“Train Dreams” (Netflix)
Producers: Michael Heimler, Will Janowitz, Marissa McMahon, Ashley Schlaifer, Teddy Schwarzman

Director
Clint Bentley, “Train Dreams” (Netflix)

Screenplay
Eva Victor, “Sorry, Baby” (A24)

First Feature
“Lurker” (Mubi)
Director: Alex Russell
Producers: Galen Core, Archie Madekwe, Marc Marrie, Charlie McDowell, Francesco Melzi D’Eril, Duncan Montgomery, Alex Orlovsky, Olmo Schnabel, Jack Selby

First Screenplay
Alex Russell, “Lurker” (Mubi)

John Cassavetes Award
For the best feature made under $1,000,000
“Esta Isla (This Island)”
Writers/Directors/Producers: Cristian Carretero, Lorraine Jones Molina
Writer: Kisha Tikina Burgos

Breakthrough Performance
Kayo Martin, “The Plague” (Independent Film Company)

Supporting Performance
Naomi Ackie, “Sorry, Baby” (A24)

Lead Performance
Rose Byrne, “If I Had Legs I’d Kick You” (A24)

Robert Altman Award
For a film’s director, casting director and ensemble cast
“The Long Walk” (Lionsgate)
Director: Francis Lawrence
Casting Director: Rich Delia
Ensemble Cast: Judy Greer, Mark Hamill, Cooper Hoffman, David Jonsson, Tut Nyuot, Joshua Odjick, Charlie Plummer, Ben Wang, Garrett Wareing

Cinematography
Adolpho Veloso, “Train Dreams” (Netflix)

Editing
Sofía Subercaseaux, “The Testament of Ann Lee” (Searchlight Pictures)

International Film
“The Secret Agent” (Neon)
Director: Kleber Mendonça Filho

Documentary
“The Perfect Neighbor” (Netflix)
Director/Producer: Geeta Gandbhir
Producers: Sam Bisbee, Nikon Kwantu, Alisa Payne

Someone to Watch
Given to a talented filmmaker not yet widely recognized
Tatti Ribeiro, “Valentina”

Truer Than Fiction
Given to an emerging director of nonfiction features
Rajee Samarasinghe, “Your Touch Makes Others Invisible”

Producers Award
For an emerging producer of quality independent films with limited resources
Tony Yang

TELEVISION CATEGORIES

New Scripted Series
“Adolescence” (Netflix)
Creators/Executive Producers: Jack Thorne, Stephen Graham
Executive Producers: Philip Barantini, Brad Pitt, Dede Gardner, Jeremy Kleiner, Nina Wolarsky, Hannah Walters, Mark Herbert, Emily Feller
Co-Executive Producers: Carina Sposato, Niall Shamma, Peter Balm

New Non-Scripted or Documentary Series
“Pee-wee as Himself” (HBO Max)
Executive Producers: Matt Wolf, Emma Tillinger Koskoff, Ronald Bronstein, Eli Bush, Benny Safdie, Josh Safdie, Paul Reubens, Candace Tomarken, Kyle Martin, Nancy Abraham, Lisa Heller, Sara Rodriguez

Breakthrough Performance in a New Scripted Series
Owen Cooper, “Adolescence” (Netflix)

Supporting Performance in a New Scripted Series
Erin Doherty, “Adolescence” (Netflix)

Lead Performance in a New Scripted Series
Stephen Graham, “Adolescence” (Netflix)

Ensemble Cast in a New Scripted Series
“Chief of War” (Apple TV)
Ensemble Cast: Charlie Brumbly, Luciane Buchanan, Cliff Curtis, Brandon Finn, Moses Goods, Te Ao o Hinepehinga, Benjamin Hoetjes, Siua Ikale’o, Keala Kahuanui-Paleka, Mainei Kinimaka, Kaina Makua, Jason Momoa, Temuera Morrison, Te Kohe Tuhaka, James Udom