
movies
Kane Parsons On Short-Form, Bill Kramer On Oscars YouTube Deal: Zurich
The youth demographic has been key to fuelling this summer’s box office boom.
Backrooms director Kane Parsons and Academy boss Bill Kramer were among those taking part in a Deadline-moderated Zurich Summit panel this past weekend which addressed theatrical success in the age of YouTube, TikTok and other online platforms.
Kramer thanked YouTube native Parsons for his film Backroom, which helped energise young audiences, and also noted how the youth demographic flocks to Academy screenings of classic cinema.
“Your fandom traveled from YouTube to the theaters, and we saw the same thing with Curry [Obsession director Curry Barker]. Young people want to go back to movie theaters…YouTube can inform a theatrical fandom.”
He continued: “We see this in our Academy Museum. We have two theaters, which show classic films and rep programming, but more than half of our ticket buyers are under the age of 40, and we sell out every screen. People love seeing movies in movie theaters. We just needed to attract new fans, and you helped to do that this summer.”
The 20 year-old Parsons, whose record-breaking Backrooms took $400M off a $10M budget, said he thought it was “reductive” to think that people his age were only interested in short-form content.
“I feel like this sentiment is weaponized, like it is algorithmically incentivized, but it’s not really something I think most people enjoy about their own wiring. They don’t love that their attention spans are being sucked into the spiral of mostly consuming stuff that is short. They’re still [enjoying] going into a closed room [cinema] without outside interferences.”
Later in the discussion, Kramer talked about the Academy’s eye-catching deal to make YouTube the free-to-stream broadcasting home of the Oscars from 2029, ending ABC’s run showing the awards.
Deadline moderator Andreas Wiseman asked whether the pact felt like a risk.
“Not at all,” replied Kramer. “It almost feels risky to not do it because we’re looking at the future. With each month, a larger percentage of the TV-watching audience is on YouTube.”
He continued: “We have a great partnership with Disney right now. They’ve been amazing partners and will continue to be for the next two years. But we’re already deep in discussions with [YouTube CEO] Neal Mohan and his team, and I think you’ll see a very different-looking Oscars that allows you to engage with the show in more interactive and deep ways than we can right now. It’ll be free to everyone around the world in over 30 languages. Right now, in certain markets, they show a reduced version of the Oscars. This allows everyone around the world to see the exact same telecast at the same time. That’s important to us.”
He expanded: “As we become more global as an organization, the best way for us to reach a global audience of film lovers, film fans, young artists is YouTube. I think the timing [syncs] this year with Obsession and Backrooms, and with the direction moving from YouTube to theatrical. We’re an organization that celebrates theatrical movie making, but at the same time, the Oscars is a TV show, and we want to reach a large audience. YouTube allows us to directly engage with our audience, our viewers, film fans, in a way that we just can’t do right now. Right now, more people outside of the U.S. watch the Oscars than in the U.S. The deal allows us to capture that audience and a lot more. That’s great for the Academy and it’s great for the films of that year, and it’s also great for film lovers around the world.”
The reporting at the time – and Deadline’s understanding – is that the deal was comfortably into the nine figures. Kramer wouldn’t be drawn on stage as to how lucrative the pact is but smiled and called it “a very good deal”.
ABC had been back in for the rights. Netflix was also in the mix.
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movies
Diablo Cody Movie Always, Roxanne In Works With True North (EXCLUSIVE)
EXCLUSIVE: Diablo Cody has lined up familiar faces as partners for her next film project, Always, Roxanne: The film will be produced by Nathan Kahane via his True North banner, as well as Mason Novick, Deadline has learned.
Cody’s script follows Roxanne, an obsessive high school senior who goes to her ex-boyfriend’s college campus to win him back, only to wage war on his new girlfriend and accidentally find the first person who truly understands her.
The film, which does not yet have a director, extends a longstanding creative partnership between Cody and Novick, who have now worked together on over 10 projects: Novick was Oscar-nominated for producing Cody’s Best Picture nominee Juno and is currently working with her on a sequel to her cult classic Jennifer’s Body.
Kahane worked with Cody & Novick on the films Juno and Young Adult during his time at Mandate Pictures. He told us, “I couldn’t imagine a better time to reunite with my former collaborators Diabo Cody and Mason Novick than a moment when younger audiences are rediscovering the joy of the theatrical experience.”
Best known for breakout with Juno, the coming-of-age romance that brought her the Academy Award for Best Original Screenplay, Cody’s filmography also includes titles like Tully, Ricki and the Flash, Lisa Frankenstein and more, in addition to those previously mentioned. She is represented by WME and MXN Entertainment.
While at his previous companies Mandate and Good Universe, Kahane shepherded the Neighbors and Harold and Kumar comedy franchises, as well as films sfuch as This Is the End, Don’t Breathe, Good Boys and Stranger Than Fiction. Prior to launching True North, he was President of the Motion Picture Group at Lionsgate.
Other credits for Novick include (500) Days of Summer and the recent Forbidden Fruits.
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movies
‘Tulsa King Season 4 Trailer’: “Bad Things Are Going To Happen”
“Thing happen, they change the course of a man’s life,” says Sylvester Stallone‘s Dwight at the opening of the Season 4 trailer for Tulsa King. “If I find out whose fault this is, bad things are gonna happen to bad people,” warns the beaten-down Dwight.
Per the Season 4 logline, Dwight (Stallone) fights to legitimize his empire and protect his crew as corrupt politicians, dangerous new enemies, and a crushing personal loss hit from every direction. However, every hard-won gain comes with even harder truths: about loyalty, leadership and the cost of ambition. Each move drags Dwight deeper into the street instincts he left behind in New York – turning Tulsa into a battleground and Dwight into the one threat no one can afford to underestimate.
“Everything I own is gone,” Dwight laments a bit later in the trailer. “I’m not ready to fold.” he confidently asserts. “I’m gonna get it all back.”
We also see a bit more of new cast member Gretchen Mol in the trailer. Mol plays Amanda Clark, a Tulsa politician. When asked by a reporter, “Has the mob come to Oklahoma?” she replies sternly, “It may have come, but it sure as hell ain’t staying’.”
Terence Winter is head writer and executive producer. Sheridan and Stallone executive produce, along with David C. Glasser, Ron Burkle, David Hutkin, Bob Yari, Thomas Kelly, and Keith Cox.
The series, which premieres Friday, October 16 on Paramount+, is produced by Paramount Television Studios and 101 Studios and distributed by Paramount Global Content Distribution.
Check out the trailer above and see first-look photos here.
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movies
Richard Linklater Gives Major ‘Merrily We Roll Along’ Update
Upon accepting his career achievement award at an intimate Zurich Film Festival ceremony, beloved U.S. auteur Richard Linklater was swiftly asked for an update on his musical film, Merrily We Roll Along.
Based on Stephen Sondheim’s 1981 show, Linklater’s movie is set to shoot over a 20-year period, similar to his Oscar-nominated Boyhood, with stars Paul Mescal, Ben Platt and Beanie Feldstein aging in real time.
Before a screening of his iconic Before Sunrise, Linklater sat for a 45-minute discussion with Zurich Film Festival CEO Christian Jungen to reflect on his entire career, from his early interest in cinema to making Dazed and Confused with Matthew McConaughey and later, School of Rock with Jack Black.
Toward the end of the conversation, an audience member asked for a status update on Merrily We Roll Along, to which the American filmmaker responded that it’s proving a little trickier to be discreet compared to 2014’s Boyhood (shot over 12 years). “When I was doing Boyhood, we worked in complete anonymity. No one knew about the film. This one, on the other hand, because it’s a Stephen Sondheim musical and it’s very public, I have to answer this question for 20 years while we’re making it,” he laughed.
“But my progress report,” continued Linklater, “is it’s [shooting] nine sections in 20 years. And in a few months, we’re filming the fourth section. So see you in 2040,” he added, the room applauding.
Linklater also dismissed concerns about “tempting fate” with such a long shoot. “It worked on Boyhood, […] and that’s just the way the film should be made and that’s the only way to tell the story. And people were like, ‘Well, what if someone died?’ There’s always an extreme thing that would prevent it from being made. But I was like, ‘Well, that usually doesn’t happen,’ and you gotta believe in collaborating with the future of some kind. So definitely got lucky [with Boyhood] and hoping to get lucky this time. But it’s been so fun so far. It’s very different. I have music already — it’s a great score. We’re adapting it step-by-step. I’ve always made music films. … But it’s fun to be making a full-on musical. But it’s about friendship, long-term.”
Merrily We Roll Along is based on the 1934 play of the same name by George S. Kaufman and Moss Hart, follows Franklin Shepard, a talented composer of Broadway musicals that abandons his friends and career to become a producer of Hollywood movies. The story begins at the height of his Hollywood fame and moves backwards in time, showing important moments in Frank’s life.
Naturally, Linklater was probed on how he came to cast Ethan Hawke and Julie Delpy in the cult Before trilogy, and regaled the audience with anecdotes about making the Vienna-set romance. When Jungen cited an interview with Delpy where she said she’d been “only made a third” of what Hawke was paid, Linklater responded: “That’s not true. I actually remember fighting for it because I knew how hard the actors were going to have to work. And I did have some producers saying, ‘Oh, Julie has no American credits. We don’t have to pay her that much. We can get her for scale. ‘ And I was like, ‘Let’s get them closer.’ It was definitely the most she’s ever made, but it was a little less than he did. But not [by] much.”
Upon receiving his career achievement award, Linklater, director of Hit Man, Nouvelle Vague and, more recently, Blue Moon, told the crowd: “I feel so lucky to be in this world, to work with people in the film culture — not just filmmakers, but the film culture that we all live in too. Film festivals, curators, teachers of film, just film lovers everywhere, film societies,” he said, alluding to his launching of the Austin Film Society in 1985.
He continued: “I’ve been so lucky all these years now to awaken every day in that world where it’s optimistic, because film is optimistic. It’s people who want the best, who want to see something great, who want to make something great, and we try to help each other in that. And it’s the best people, too.”
The evening was celebratory from the moment Linklater walked in to his picking up Zurich’s Golden Eye Award. He joins 2026 honorees Julianne Moore, John Turturro and Naomi Watts. The 22nd edition runs Sept. 24-Oct. 4.
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