Cord Jefferson on ‘American Fiction,’ His Rich and Debate-Ready TIFF Directorial Debut

William Earl The seventh season of “Rick and Morty” is set to debut next month on Adult Swim, but things might sound a bit strange. The trailer for the new season has been released, and while the sci-fi hijinks look consistent with past seasons, the title characters sound slightly different. That’s because series co-creator Justin Roiland, who voices both Rick and Morty, was fired in January by Adult Swim after he was charged with domestic violence.

Take That have shared their first new single in five years, ‘Windows’, and announced details of their ninth album and a huge UK and Ireland tour. See all the details below.The group – comprising Gary Barlow, Howard Donald and Mark Owen – premiered the song on BBC Radio 2 this morning (September 22) where they told host Zoe Ball about their next chapter.“New music, it is exciting,” Barlow said.

Michaela Zee After winning this year’s Toronto International Film Festival’s people’s choice award, “American Fiction” has pushed back its limited release to Dec. 15 and will expand in theaters on Dec. 22.

EXCLUSIVE: Cord Jefferson’s feature directorial debut, American Fiction, is changing up its release plan from Nov. 3rd limited opening to Dec. 15.

Holly Willoughby appeared choked up on This Morning after sharing a friend's health dilemma which also came after news of a second death from within the show's team in just a couple of weeks. It came as the presenter returned to the helm of the ITV daytime show on Tuesday (September 19) alongside Craig Doyle.

TORONTO – “American Fiction,” the directorial debut from Cord Jefferson, is genuinely a very, very funny movie. And that’s hyperbole on our part.

Trends change and ebb and flow, but in years past, winning the Toronto International Film Festival audience award used to be a surefire way to mean you were getting an Oscar nomination for Best Picture and, and many instances, winning the big Academy Award prize. And while the winning element of that trend has somewhat waned in recent years, the power of the prize is still there.

The People’s Choice Award from the just-wrapped 2023 Toronto Film Festival has gone to American Fiction . First Runner Up is Alexander Payne’s The Holdovers. Second Runner Up was Hayao Miyazaki’s The Boy And The Heron . The Documentary Award went to Mr. Dressup: The Magic Of Make-Believe, ,and the Midnight Madness winner was Dicks: The Musical.

Brent Lang Executive Editor “American Fiction,” Cord Jefferson’s satire of race and media, captured the Toronto International Film Festival’s people’s choice award, bolstering its Oscars chances. TIFF’s people’s choice award is considered to be among the best predictors of eventual awards success, though the 2023 festival hosted a weaker lineup than most years due to the writers and actors strikes that saw some prominent contenders skip a Canadian premiere. In the past, winners of the prize such as “Green Book,” “12 Years a Slave” and “Nomadland” went on to be named best picture at the Academy Awards.

EXCLUSIVE: Filmmaker Cord Jefferson has, in recent years, made two life-changing decisions.

A new spotting of Kyle Richards and Morgan Wade seems to prove that the rumoured couple are still going strong.

Scooter Braun needed some good press. So, on August 29, the Daily Mail came through, publishing an article with the headline: “Scooter Braun’s label teams up with billionaire David Geffen’s former record company to create ULTIMATE ‘global girl group’; talent search docuseries for Netflix.” The only problem? Braun has nothing to do with the series.

EXCLUSIVE: Following the June merger of Great American Media with Sony’s subscription streaming outfit Pure Flix, the combined entity will now be called Great American Pure Flix.

Brent Lang Executive Editor It’s been a Toronto Film Festival like few others. The writers and actors strikes meant that many A-listers opted not to touch down in Canada this year, depriving the gathering of film lovers of the star-studded red carpets and Q&As that make Toronto so memorable. Even if this year’s festival was starved for glamour, it was still a good opportunity to get a clearer picture of the awards race — and to check the pulse of Hollywood at a tumultuous time for the industry.

Time and again, we’ve seen that trying to smash the entirety of a life—especially that of a notable person—into the running time of a feature film is a fool’s errand, resulting in puddle-deep characterization, painfully expositional dialogue and narratives that offer little more than bullet points. But these movies win Oscars, so financiers see them as something resembling a low risk, and here we are.

Due to the SAG-AFTRA strike, Anna Kendrick couldn’t make it to Friday’s TIFF world premiere of her feature directorial debut, Woman of the Hour.

Had things gone according to plan, Anna Kendrick would be attending the Toronto International Film Festival in support of her directorial debut, “Woman of the Hour”, which is making its world premiere at the film fest.

In Cord Jefferson cinematic adaptation of Percival Everett’s Erasure, American Fiction emerges as a hard-hitting commentary on identity, storytelling, and the microaggressive terrains of the publishing industry. With a powerhouse ensemble, led by Jeffrey Wright and supported by the likes of Tracee Ellis Ross and Sterling K. Brown, the film aims to deconstruct the publishing world as it relates to myriad facets of Black lives.

McKinley Franklin editor Finn Wolfhard and Billy Bryk were tired of the garbled Gen Z stereotypes plastered about modern Hollywood — so, they created their own narrative in “Hell of a Summer.” “Our number one conversation was how annoying it is to see new teen movies and how badly our age group is represented,” says Wolfhard. “And we’re like, ‘Why don’t we just do it?’” And so they did. Premiering at the Toronto International Film Festival Sept.

Clayton Davis Senior Awards Editor With “American Fiction,” Cord Jefferson, best known for penning television episodes of “Succession” and “Watchmen,” helms one of the finest directorial debuts seen since Sam Mendes’ “American Beauty.” In the style that feels like an audacious blend of the screenplays of Alexander Payne’s “Sideways” and Nicole Holofcener’s “Can You Ever Forgive Me,” he shepherds an audacious dramedy anchored by a career-best and Oscar-worthy performance from star Jeffrey Wright. After debuting at the Toronto International Film Festival, it’s a movie that could be a contender for the coveted TIFF Audience Award, and it would be deserved.