Telemundo executive José Suárez was one of four Americans, who died in a helicopter crash in northeastern Kenya Wednesday.

There were seven people on board the aircraft which crashed in the foothills of Mount Ololokwe in Samburu County, according to Kenya’s Civil Aviation Authority. All six passengers and the pilot were killed in the crash.

Suárez served as the president and general manager of several of Telemundo‘s TV stations in Orlando, Tampa and Fort Myers-Naples, Florida.

More to come…

EXCLUSIVE: Lord Miller, the production shingle for Academy Award-winning Project Hail Mary helmers Phil Lord and Christopher Miller, is set to produce a feature adaptation of Forrest Brazeal‘s forthcoming debut novel Paradox Inc. for Universal Pictures.

Daniel Roher, the Academy Award-winning Canadian filmmaker behind Navalny and this year’s Tuner, will direct and co-write a treatment for the film with Matthew Robinson. Writer of the sci-fi horror flick The Last House, which just topped Netflix’s charts, along with the Gore Verbinski-helmed Good Luck, Have Fun, Don’t Die, Robinson will adapt the screenplay.

Paradox Inc. is about the rivalry between a scrappy startup and a dysfunctional Big Tech company racing to build the world’s first consumer time machine. The prize: control of reality itself. Maybe… The tech industry’s version of time travel doesn’t seem to work quite the way you’d expect.

First-time novelist Brazeal is no stranger to Silicon Valley. He worked at Google during the peak of the AI and crypto crazes and is otherwise known for co-founding the technology marketing company Freeman & Forrest. Before catching the town’s attention with Paradox Inc., he found a wide audience with YouTube videos and webcomics skewering the tech industry. His novel releases with Penguin Random House on January 19, 2027.

Chris Miller and Phil Lord will produce the feature take through Lord Miller’s first-look deal with Universal Pictures. Lucy Kitada, who brought the book to the company, and Aditya Sood will also produce for Lord Miller, with Brazeal exec producing. Senior Vice President of Production Development Ryan Jones and Director of Production Development Christine Sun will oversee for Universal.

Roher won an Oscar for his 2022 doc Navalny on the Russian opposition leader and anti-corruption activist turned political prisoner of the same name. His first narrative feature, the crime thriller Tuner starring Dustin Hoffman, Leo Woodall and Havana Rose Liu, released in May, and he also this year unveiled The AI Doc: Or How I Became an Apocaloptimist, a Focus Features doc produced by the Everything Everywhere duo of Daniel Kwan and Jonathan Wang, among others. Currently, he’s in post on the Netflix caper Positano, produced by Working Title and starring Matthew McConaughey and Zoe Saldaña. He is repped by UTA, Range and Gang, Tyre, Ramer.

Lord Miller has had a banner year between Project Hail Mary, the Andy Weir adaptation sending Ryan Gosling on an interstellar mission, and the Nicolas Cage-led Spider-Noir series for MGM+ and Prime Video. Project Hail Mary has become Amazon MGM Studios’ highest-grossing film to date with a $684M worldwide release and is viewed as a likely awards contender. Spider-Noir, meanwhile, is up for 11 Emmy nominations.

Upcoming, Lord Miller has Spider-Man: Beyond the Spider-Verse, the third film in the Spider-Verse series, releasing in June 2027. Projects in the pipeline for Universal include Murder She Wrote; a live-action Archie movie; an adaptation of the novel The Six: The Extraordinary Story of the Grit and Daring of America’s First Women Astronauts; The Last Expedition by Carly Wray, based on a story by Weir; and Everyday Parenting Tips. There’s also Netflix’s The In-Claus, based on a short story by Travis Braun and Gabrielle Meyer.

Lord and Miller and their production banner are repped by UTA and Johnson Shapiro Slewett & Kole. Robinson is repped by UTA, 3 Arts Entertainment and Ziffren Brittenham; Brazeal by Circle Management + Production and Eric Showers at the Howard Morhaim Literary Agency.

IndieWire each week exclusively shares a box office chart via Rentrak looking at the top 10 releases in specialized release, presented in full with added commentary.

It really doesn’t get closer than this.

In their second weekends in theaters, “Teenage Sex and Death at Camp Miasma” from MUBI and “Tony” from A24 are separated by just a few hundred dollars in their overall box office hauls. Both films have earned $1.268 million after opening on just a few screens in New York and LA in their first weekends, and both are now expanding further still in limited release.

Jane Schoenbrun’s “Camp Miasma” edged “Tony” this past weekend, earning $890K from 54 locations for a per-screen-average of $16,495, while Matt Johnson’s Anthony Bourdain biopic earned $741K from just 37 locations for a PSA of $20,047. “Tony” had the bigger opening in Week 1 and added fewer theaters, while “Camp Miasma” added a few more but had a 257 percent jump from its opening on just 5 screens.

Based on our chart’s criteria of just 500 screens, “Camp Miasma” and “Tony” shake out to be No. 1 and 2 on the specialized chart from Rentrak, but a few others that opened just beyond that would have been right in the mix.

Black Bear’s “The Rivals of Amziah King,” whose disappointing haul of $1.02M from 632 screens we recently wrote about, would have otherwise placed No. 1 on this chart. Neon’s “The Wrong Girls,” which was just over our limit at 520 screens, would have placed No. 3 with $433K in its opening for a weak PSA of just $834. “The Invite” also would’ve cracked the Top 10 with just 271 screens this week, but it expanded wide a while ago and took itself out of specialized contention. The same is true of “Hadestown,” which is hanging around on just 91 screens in its fourth weekend and has now surpassed $20 million domestic.

Among other new releases this weekend that did crack the Top 10 was Watermelon Pictures’ “American Doctor,” about three American doctors of different religious backgrounds all working together in Gaza. The film played on just one screen at the Angelika in NYC and made $41,104, which the distributor said gives it a PSA that places seventh all-time for documentaries.

Top 10 Specialized Releases 8/14-8/16 (all figures are domestic results courtesy of Rentrak)

1. “Teenage Sex and Death at Camp Miasma” – $890,715
   • Distributor: Mubi
   • Week: 2
   • Avg/Location: $16,495
   • Cumulative: $1.268M
2. “Tony” – $741,751
   • Distributor: A24
   • Week: 2
   • Avg/Location: $20,047
   • Cumulative: $1.268M
3. “The Samurai and the Prisoner” – $121,447
   • Distributor: Janus Films
   • Week: 3
   • Avg/Location: $1,557
   • Cumulative: $515,029
4. “Cookie Queens” – $45,501
   • Distributor: Roadside Attractions
   • Week: 2
   • Avg/Location: $382
   • Cumulative: $558,649
5. “Mary Oliver: Saved By the Beauty of the World” – $43,401
   • Distributor: Kino Lorber
   • Week: 7
   • Avg/Location: $1,113
   • Cumulative: $619,289
6. “American Doctor” – $41,104
   • Distributor: Watermelon Pictures
   • Week: 1
   • Avg/Location: $41,104
   • Cumulative: $41,104
7. “Late Fame” – $32,847
   • Distributor: Magnolia
   • Week: 2
   • Avg/Location: $8,212
   • Cumulative: $97,277
8. “Wild Inside” – $29,967
   • Distributor: HBO Documentary Films
   • Week: 3
   • Avg/Location: $870
   • Cumulative: $155,496
9. “Ueck” – $12,687
   • Distributor: September Club
   • Week: 4
   • Avg/Location: $634
   • Cumulative: $247,087
10. “Namaslay” – $10,245
    • Distributor: Junghal Films
    • Week: 2
    • Avg/Location: $445
    • Cumulative: $25,370

IndieWire’s criteria for inclusion on the Specialized Chart looks at independent and mini-major distributors with films that at their widest release at any point are below 500 screens, excluding event cinema, re-releases, and major Bollywood or Chinese North American releases.