Randall

The Writers Guild of America West has removed Randall Emmett from its “strike list” after the film producer paid $630,000 to resolve a judgment in a long-standing dispute over unpaid compensation.

The resolution comes more than five years after Emmett’s former production firm, Emmett/Furla Oasis, failed to pay health insurance benefits and other compensation to four writers on a proposed Arnold Schwarzenegger television show, “Pump,” that collapsed in 2019 when the action star bowed out.

“This was originally a financial obligation tied to former companies,” Emmett said in a statement. “However, I made the personal decision to take it on independently because it was simply the right thing to do.”

The WGA confirmed Monday that Emmett had been taken off its strike list after nearly five years, a penalty due to his former firm’s lingering debt. But a WGA representative said members should still refrain from working with him unless he becomes a signatory to the guild’s contract with producers.

Emmett/Furla Oasis has been defunct for years. His current production firm, Convergence Entertainment Group, is trying to mount a film project in collaboration with Oscar-winning director Martin Scorsese. The filmmakers hope to bring to the screen “Wall of White,” a story of a deadly 1982 avalanche near Lake Tahoe.

However, in March, the WGA warned its members to stay clear of the project, citing the unpaid debt. The WGA’s high-profile advisory clouded Emmett’s endeavors.

Emmett was the subject of a 2022 Times investigation and subsequent Hulu documentary that surfaced allegations of mistreatment of women, assistants and business partners, which he has denied.

Emmett has continued to crank out low-budget films, primarily starring John Travolta and Sylvester Stallone.

Last year, Emmett attempted to fly under the radar by using the moniker “Ives,” which is his middle name.

Emmett ran afoul of union rules in 2019 after hiring four guild writers to develop scripts for a TV series loosely based on Schwarzenegger’s early years in California.

Writers of the project previously told The Times they wanted “Pump” to be a love letter to Venice Beach in the early 1970s and the birth of the modern bodybuilding culture.

At the time, Emmett’s firm was burning through cash, according to internal documents previously viewed by The Times. The writers were also brought on board before Schwarzenegger committed to the project.

The WGA won a $541,464 judgment against Emmett/Furla Oasis in 2021 after it filed a claim on behalf of writers. The debt swelled with interest.

The “Wall of White” project draws on a 2010 book as well as a 2021 documentary, “Buried: The 1982 Alpine Meadows Avalanche.” After a heavy spring storm in Northern California in 1982, tons of snow rushed down a mountain and into a village, trapping eight people at a ski resort. Seven died, and rescuers pulled one woman from the wreckage.

Screenwriter Petter Skavlan, a WGA member, was attached to the film, according to IMDb.

Book author Jennifer Woodlief also has been listed as a screenwriter.

Emmett has been working on the project for more than a year. He introduced the Netflix documentary to Scorsese, according to a March article in the Tahoe Guide, which touted how the local tragedy was being adapted into a feature film.

The filmmakers are searching for a director.

“We expect to finalize an A-list director by this summer in preparation for a February 1st production start,” Emmett said.

The project is expected to film in Nevada, Ohio and Canada, he said.

The Television Academy first embraced Sterling K. Brown nine years ago and has kept him in a loose side hug ever since. Brown’s a contender for lead actor in a drama for his role as a Secret Service agent in “Paradise,” a Hulu thriller that reunites Brown with “This Is Us” creator Dan Fogelman.

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Emmy nominations Brown has received across …

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Different projects, including for narrator (“Lincoln: Divided We Stand”) and character voice-over (“Invincible”).

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Brown’s first two wins came in back-to-back years — for supporting actor in a limited series in 2016, as prosecutor Christopher Darden in “The People v. O.J. Simpson,” and lead actor in a drama series in 2017 for his performance as Randall in NBC’s big-feelings family saga “This Is Us.”

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Brown has received two nominations in a single year three times: 2018, 2020, 2021.

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The Screen Actors Guild Awards also love Brown, who has won four times from 11 nominations, including …

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Twice in one year as part of both the winning film (“Black Panther”) and TV drama (“This Is Us”) ensembles.

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Brown received his first Oscar nomination in 2024 for his supporting role as the hedonistic, hurting brother of Jeffrey Wright’s novelist in “American Fiction.”

At the beginning of “Mountainhead,” written and directed by Jesse Armstrong of “Succession” fame and premiering Saturday on HBO, three multibillionaire tech bros make their way by private plane, helicopter and SUV caravan to join a fourth in a big modernist house on an isolated, snowy mountaintop for a weekend of poker and drugs — “no deals, no meals, no high heels.” One might wish for an avalanche, were there anything higher to fall on them.

Venis (Cory Michael Smith), the world’s richest man — imagine Musk, Bezos and Zuckerberg put in a blender, as perhaps you have — commands a social media site with, wait for it, four billion subscribers, and has just released new “content tools” that allow for super high-res “unfalsifiable deep fakes.” As a result, the sectarian world is going up in flames. Jeff (Ramy Youssef), a rival who had poached members of Venis’ team, has an AI algorithm capable of filtering out the bad information which Venis, closing the digital barn door after the cow is out, wants to acquire; but Jeff, for reasons of profit, power and/or ego, is not going to let it go.

Randall (Steve Carell), their gray-haired guru — they call him “Papa Bear,” though Jeff also dubs him “Dark Money Gandalf” — controls a lot of international infrastructure, including military. Preoccupied with his mortality — told by his latest oncologist that his cancer is incurable, he responds, “You are not a very intelligent person” — he’s hoping to upload his consciousness to the grid, a possibility Venis assures him is only five years off as long as he can get his hands on Jeff’s AI. The relatively inoffensive Hugo (Jason Schwartzman), whose house it is, hopes to expand the meditation app he created, into a lifestyle super app — offering “posture correction, therapy and a brand new color” — with his friends’ investment of “a b-nut,” i.e., a billion dollars. They call him “Souper,” for “soup kitchen,” because he is worth only $521 million. He’s the runt of the litter, and the comedy relief.

Jason Schwartzman plays Hugo, only worth half a million, who is the comedic relief in “Mountainhead.”

(Macall Polay / HBO)

For no given reason, they call themselves the Brewsters — perhaps just so they can crow “cock-a-doodle-brew.” They are full of themselves — “The great thing about me,” says Randall, “is that I know everyone and do everything” — and basically insecure.

They rewrite their fundamental nihilism into the belief that their business is good for mankind, whatever the actual human cost. “You’re always going to get some people dead,” Randall says. “Nothing means anything,” Venis says, “and everything’s funny and cool.” (But he does miss his mother and, in a particularly creepy interlude, his baby is brought up the mountain for an uncomfortable minute.) In the only scene to take them out of the house, the four travel to the crest of a mountain, where Hugo writes each man’s net worth in lipstick on his chest, they don hierarchical headgear and shout, “Mountain god accelerator legacy manifestation!” into the valley below, each adding a wish. It is, seemingly, something they have done before.

Randall name-checks philosophers — Hegel, Kant, Nietzsche, Plato, Marcus Aurelius — he misunderstands to his advantage and drops references to the Catiline Conspiracy and the Battle of Actium to make base actions sound important and dignified. He calls the president a “simpleton” — one assumes Armstrong is reflecting on the current one — but for all their power, money and influence, they all lack wisdom. And if recent years have taught us anything, it’s that these things are not mutually exclusive.

Venis thinks the violence engulfing the globe, which cannot touch him, may prove cathartic; Randall is “excited about these atrocities.” They discuss taking over “failing nations” to “show them how it’s done.” (In perhaps the film’s funniest line, Hugo, who has been working on his house, muses, “I don’t know if I want to run Argentina on my own — not on the back of a major construction project.”) They trade in gobbledygook phrases like “AI dooming and decelerationist alarmism,” “compound distillation effect” and “bootstrap to a corporate monarchy, cyber-state it to the singularity, eat the chaos,” which for all I know is just Armstrong quoting things people of this sort have actually said. It seems possible.

As the only one with a sense of humor and a semblance of perspective, Jeff is the most sympathetic of this toxic crew. He tracks the worsening world situation with some empathetic concern, but even though he holds the key to end the madness, he does not seem in a hurry to turn it. (Mostly he is concerned with his girlfriend, who is in Mexico, not so much because of the unrest, but because he fears she’s having sex.) Still, he stands a little apart, to his peril.

The first half of the film proceeds essentially as a play for four characters. Apart from Hugo’s asking for “help with the cold cuts” or inquiring whether everyone’s cool with reusing plates, there is a scarcely a line in which people talk like people; it is all theatrical declaration. To some extent it fits the coldness of the quartet — they hug and hoot and occasionally express a droplet of emotion, but the friendship on which they insist is competitive, transactional and illusory. They are not good company, but for those of us less than impressed by the whole “move fast and break things” thing, or not willing to bow down before ChatGPT and OpenAI or the actual tech billionaires deforming the world, there is some fun in watching them fall apart. In some ways, “Mountainhead” (rhymes with “Fountainhead”) feels as much a public service as an entertainment. So thanks for that, Jesse Armstrong.

When, in the farcical, action-oriented second half, some attempt to execute a … plot, they bumble and argue and push each other to the front. It is an old kind of movie comedy, and works pretty much as intended.