
Jane Elliott on the mic
Independent Lens
EXCLUSIVE: Independent Lens is going on something of an acquisition binge – welcome news for the documentary field.
The award-winning PBS series announced it has picked up four films: Jane Elliott Against the World, Seeds, My Omaha, and The Other Side of Memory. The documentaries, which will air as part of the 28th season of Independent Lens this fall, “reveal the personal stakes behind the issues shaping communities across the country,” according to a release.
“Independent Lens continues to champion filmmakers whose work challenges, inspires, and expands our understanding of contemporary America,” commented Lois Vossen, a founding executive producer of the series. “We are thrilled to welcome these films into the Independent Lens family. Whether telling deeply personal stories or examining issues that shape our national conversation, each of these films exemplifies the kind of storytelling at the core of our series.”

Jane Elliott on the mic
Independent Lens
Jane Elliott Against the World, directed by Judd Ehrlich, has emerged as one of the most honored documentaries of 2026. It premiered at the Sundance Film Festival and went on to win Best Documentary at the Bentonville Film Festival in Arkansas and audience awards at the Boulder International Film Festival, Cleveland International Film Festival, and Sonoma International Film Festival in Northern California. The film examines the impact of the titular Jane Elliott, a white schoolteacher in Iowa who developed a method to open the eyes of her young students to the reality of racism in America and the damage it inflicts. She later conducted the Blue Eyes/Brown Eyes exercise with adults, often triggering extremely defensive reactions.

Independent Lens
Seeds, directed by Brittany Shyne, earned a place on the Oscar shortlist for the 98th Academy Awards, and won numerous prizes including the Grand Jury Prize for U.S. Documentary at the Sundance Film Festival. It examines Black farmers in the South who till land held in their families for generations.
In The Other Side of Memory, directed by Nick Capezzera, “a Korean adoptee travels to Seoul to seek answers about his past and find his biological parents, leading to personal discoveries that reshape his understanding of family.”

Director Nick Beaulieu with his father in ‘My Omaha’
Independent Lens
My Omaha, the documentary directed by Nick Beaulieu, was nominated for the Grand Jury Prize for Best Documentary Feature at Slamdance. Set in the Nebraska city, My Omaha centers on the filmmaker’s relationship with his terminally ill father, a Trump supporter, against the backdrop of Omaha’s response to the racial justice movement.
Independent Lens films have been nominated for 10 Academy Awards and have earned dozens of Emmys and Emmy nominations. Recent IL acquisitions include Ghost in the Machine, directed by Valerie Veatch.
These are the four acquisitions announced Wednesday:
JANE ELLIOTT AGAINST THE WORLD
Filmmakers: Judd Ehrlich, Max Powers, Elena Gaby
Educator Jane Elliott faced decades of backlash and national debate over her 1968 classroom experiment. At age 90, she refuses to back down from the fight for racial justice.
MY OMAHA
Filmmakers: Nick Beaulieu, Doug Block
Against the backdrop of Omaha’s racial justice movement, a filmmaker navigates the deep political and emotional divide separating him from his dying, conservative father.
SEEDS
Filmmakers: Brittany Shyne, Danielle Varga
SEEDS documents the everyday joys and financial precarities of Black generational farmers protecting a disappearing legacy.
THE OTHER SIDE OF MEMORY
Filmmakers: Nick Capezzera, Faye Yuan
Spanning from New England to Seoul, a Korean adoptee’s decade-long hunt for the truth behind his abandonment redefines what it means to belong.
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Netflix is in regrouping mode heading into its second-quarter earnings reveal – a very familiar place for the company.
The streaming giant, which will report financials Thursday afternoon after the close of trading, has already signaled that the quarter is unlikely to be a barnburner. That was the takeaway of many Wall Streeters in April after the company declined to raise its full-year guidance.
Netflix have skidded to an 18-month low, down 40% over the past year and 21% in 2026 to date, as skepticism lingers about the company’s user engagement, competitive set and M&A aspirations.
“There’s a lot riding on Q2 as Netflix faces no shortage of near and longer-term questions – from Q2 engagement trends and potential revisions to 2026 margin guidance to the broader challenge of sustaining growth amid evolving consumer preferences and viewing behavior,” Bernstein analyst Laurent Yoon wrote in a note to clients.
Apart from Harlan Coben’s I Will Find You, there weren’t many no-doubt hits during the April-to-June quarter, and some viewership was also siphoned off in June by the World Cup. More disconcerting to investors was a report by Bloomberg that many series are experiencing increasingly steep dropoffs in viewership between their first and second seasons.
The company has taken steps already to shore up overall engagement, adding vertical video, podcasts and live sports to create a more comprehensive programming lineup. It is also reportedly considering more significant moves, like potentially expanding on the live broadcast partnership it formed in France with TF1 or possibly the addition of a free tier or even substantial M&A to bolster its IP library. Given lingering questions about the end of its merger agreement with Warner Bros., as well as recent reports the company is taking a look at acquiring Letterboxd, it is likely that execs will be asked yet again about potential deals.
John Blackledge of TD Cowen acknowledges the fretting over engagement trends as a major theme for investors, but he believes that angst ignores significant upside in the company’s growing ad business. “We expect the burgeoning ad tier to help drive member growth and support margin expansion over time as the biz scales,” he wrote in a note to clients, also pointing out that Netflix was the No. 1 choice of consumers Cowen’s surveyed about living room viewing.
Sean Diffley of Morgan Stanley, in a report headlined “We’ve Seen This Movie Before,” said the company has had a lot of experience with comebacks. “With many asking where shares could bottom, we would look to 2022 as the last major period of growing pains for Netflix that saw subs go negative for the first time in 10 years,” wrote. In the end, however, “We think it all comes back to pricing power, and our survey work suggests they still have the best perceived original content and the strongest breadth & depth, along with viewer intention.”
The rope-a-dope dynamics of past quarters, where the bar is set low and the company overdelivers and the stock jumps, could make a return on Thursday, according to BofA Securities analyst Jessica Reif Ehrlich. “Given the recent pullback in shares, we believe investor sentiment remains muted and a beat-and-raise quarter could go a long way in assuaging several of these investor concerns,” she wrote. “Conversely, should fundamentals indicate a further deceleration in trends, that would only amplify these bearish concerns and weigh on the multiple going forward.”
Consensus forecasts among Wall Street analysts are for revenue in the quarter of $12.58 billion and earnings per share of 79 cents. Both metrics are close to the company’s own internal projections.
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EXCLUSIVE: Ella Anderson (Song Sung Blue) is the latest addition to the main cast of Conviction, Hulu‘s upcoming series starring Elisabeth Moss, from 20th Television.
Anderson is set as a series regular in the legal drama, joining Moss, who also executive produces, and previously cast Jimmi Simpson, Kevin McKidd, Sebastian De Souza, Adam Godley and Linda Emond.
Written by House and The Good Doctor creator David Shore, Conviction follows criminal defense attorney Neve Harper (Moss), a confident lawyer who finally has her shot at a career-making case: a high-profile murder where the husband is accused of killing his wife by setting their home on fire. But when a mysterious stranger begins blackmailing Neve, she is forced to compromise every legal, moral, and ethical obligation to gain an acquittal — or else risk her dark secrets being exposed.
Details about the rest of the characters are not being disclosed.
Conviction is based on the 2023 book of the same name by Jack Jordan who is executive producing alongside David Shore and Erin Gunn via Shore Z Productions; Moss and Lindsey McManus via Love & Squalor Pictures; Warren Littlefield, Ann Johnson and Lisa Harrison via The Littlefield Co.; and Bert Salke via Co-Lab21.
Anderson, known for her role as Piper Hart on Nickelodeon’s hit series Henry Danger and the feature Henry Danger: The Movie, most recently appeared in Focus Features’ Song Sung Blue opposite Hugh Jackman and Kate Hudson. She completed filming Jesus Land, directed by Saila Kariat, in which she stars opposite Juliette Lewis. Anderson, whose film credits also include Suncoast, The Boss and Mother’s Day, is repped by WME, Gilbertson Entertainment and Yorn, Levine, Barnes.
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Paramount is seeking to have the judge assigned to the state attorneys general challenge to its merger with Warner Bros. Discovery recused from the case, arguing that he has an “appearance of bias” because of his prior legal work for the Writers Guild of America.
In a motion filed in federal court on Wednesday, Paramount’s legal team wrote that U.S. District Judge P. Casey Pitts previously was in private practice for Altshuler Berzon LLP and served as “long standing labor counsel” for the WGA. They noted that the WGA has filed a related case, and that the guilds had expressed support for the state AGs lawsuit.
Paramount’s legal team asked that the case be reassigned to Judge Araceli Martínez-Olguín, who is overseeing a lawsuit that was brought by a group of consumers in April.
Pitts, appointed to the bench by President Joe Biden in 2023, was randomly assigned the case on Tuesday.
Paramount’s legal team, led by Jeffrey Kessler, wrote, “WGA is not merely an interested observer in this action; it is an active litigant whose interests are directly aligned with those of the Plaintiffs in this litigation and directly adverse to Paramount’s interests. Judge Pitts’ prior long-standing representation of WGA—a vocal opponent of the proposed merger that has publicly committed to working with regulators to block it—creates precisely the type of appearance of impropriety that Section 455(a) seeks to prevent.”
More to come.
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