Six top TV casting directors will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Experts” Q&a event with 2022 Emmy Awards contenders. They will participate in two video discussions to premiere on Tuesday, May 17, at 4:00 p.m. Pt; 7:00 p.m. Et. We’ll have a one-on-one with our senior editor Joyce Eng and a roundtable chat with all of the group together.

RSVP today to our entire ongoing Emmy contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.

This “Meet the Experts” panel welcomes the following 2022 contenders:

As We See It (Amazon Prime)

Synopsis: Three autistic roommates find a way to live together and strive for similar things in life.

Bio: Cami Patton is an Emmy winner for “Band of Brothers” and “The Pacific.” Other...

Joseph Baxter Nov 18, 2019

Disney’s live-action remake of The Little Mermaid, starring singer Halle Bailey as Ariel, will be directed by Rob Marshall.

The Little Mermaid is coming back to theaters, this time in live-action form, as part of Disney’s deluge of live-action movie remakes of its iconic animated classics. Of course, the move is hardly the biggest surprise in the world, with the year 2019 alone yielding "A-list" releases of Dumbo, The Lion King, and Aladdin, and with Mulan set arrive in March 2020, and 101 Dalmatians prequel Cruella arriving in May 2021, giving its prolific corporate tentpole neighbors at Marvel a run for their money.

Halle Bailey will embrace life under the sea, and later on the surface, to star as Ariel. This is a major break for the singer/actress, who is part of the cast of Freeform’s Grown-ish and is one-half of the R&b act, Chloe X Halle.

New openers include eOne’s ‘Nativity Rocks!’, Sony’s Girl In The Spider’s Web, and Lionsgate’s Robin Hood.

Warner Bros’ Harry Potter spin-off sequel Fantastic Beasts: The Crimes Of Grindelwald took off with a strong £12.3m three-day opening last weekend at the UK box office.

While the takings were down on predecessor Fantastic Beasts And Where To Find Them’s £15.3m opening in November 2016, the number still saw the film debut comfortably at the top of the chart and it will be tough to beat this weekend.

There are several new openers vying for the crown but no...

New openers include eOne’s ‘Nativity Rocks!’, Sony’s Girl In The Spider’s Web, and Lionsgate’s Robin Hood.

Warner Bros’ Harry Potter spin-off sequel Fantastic Beasts: The Crimes Of Grindelwald took off with a strong £12.3m three-day opening last weekend at the UK box office.

While the takings were down on predecessor Fantastic Beasts And Where To Find Them’s £15.3m opening in November 2016, the number still saw the film debut comfortably at the top of the chart and it will be tough to beat this weekend.

There are several new openers vying for the crown but no...

Steve McLean’s first film, “Postcards From America,” was also his last, made way back in 1994. But with his follow-up, “Postcards From London,” it seems no time has passed at all: the film is so steeped in stylized mannerisms and dialogue that it might have been made 25 years ago.

“I’m searching for a world full of mystery and possibilities,” 18-year-old Jim announces after arriving in London from the relative backwater of Essex, where he’s long dreamed of adventure. His wish serves as a sort of motto for a movie built upon declarations.

Jim quickly falls in with a group of hipster escorts, who see their work as art. They charge big bucks primarily for their post-coital conversational skills, in which they debate art and literature with the men who hire them.

Also Read: Broadcast TV's Lgbtq Characters of Color Outnumber White Ones for the First Time Ever

Jim willingly joins their ranks,...

“Lizzie” (Sept. 14)

Chloe Sevigny stars as the 19th-century axewoman who killed her father and stepmother — but also had a romantically charged relationship with the family’s live-in maid (Kristen Stewart).

“Colette” (Sept. 21)

Keira Knightley stars as the early-20th-century French author who confronts not only the patriarchy but also dallies with women, including the cross-dressing noblewoman Mathilde de Morny (Denise Gough).

“Studio 54” (Oct. 5)

Matt Tyrnauer’s documentary, which debuted at Sundance, looks at the legendary New York City nightclub of the 1970s created by college pals Steve Rubell and Ian Schrager.

“The Happy Prince” (Oct. 10)

Rupert Everett directs and stars as the Irish author Oscar Wilde as he lives out his last days in exile following his conviction for “gross indecency” with men.

“Boy Erased” (Nov. 2)

Lucas Hedges (“Manchester by the Sea”) plays the gay son of a Baptist minister who is sent off to a gay conversion therapy program.

What critic B. Ruby Rich dubbed the “New Queer Cinema” encountered little but praise (plus some attention-getting damnation from political conservatives) with such early ’90s titles as “Swoon,” “My Own Private Idaho,” “The Living End,” “Paris Is Burning,” and so forth. But by mid-decade the vogue had run long enough that even gay audiences felt less inclined to embrace every creative effort, giving a relatively cold shoulder to Steve McLean’s “Postcards From America” (1994) and Todd Verow’s “Frisk.” Both were adapted from edgy gay lit figures — the former from autobiographical writings by David Wojnarowicz (who’d died of AIDS), the latter from a typically violent, queasy novel by Dennis Cooper.

These films look better now than most critics or viewers allowed then. The revulsion “Frisk” was greeted with (at a time when gay films were expected to provide some measure of reassuring uplift) only emboldened Verow as a since-highly-prolific director of microbudget features,...

Line-up includes introductions from Hugh Grant and Rupert Everett.

The BFI Flare: London Lgbtq+ Film Festival has announced its industry programme, which will run alongside the wider festival, March 21 to April 1.

The Makers, a strand of conversations with prominent individuals in Lgbtq+ cinema, returns with speakers Robin Campillo (director of Bpm (Beats Per Minute), which screens at the Festival, Elizabeth Karlsen (Carol producer) and Francis Lee (God’s Own Country writer/director).

Also included in the programme is Anatomy Of An Episode: The Assassination Of Gianni Versace: American Crime Story, in which writer/executive producer Tom Rob Smith will discuss...

IndieWire’s Springboard column profiles up-and-comers in the film industry worthy of your attention.

For his first feature, British actor and filmmaker Harris Dickinson didn’t shy away from some significant challenges. As the star of Eliza Hittman’s Sundance premiere “Beach Rats,” Dickinson appears in nearly every frame, tasked with striking a delicate balance between rough-and-tumble teen and a young man struggling with his sexuality. His Frankie lives out parallel existences that threaten to not just bump up against each other, but with annihilation.

“Beach Rats” follows Frankie over the course of one summer, a season spent alternately lazing around with his rabble-rousing pals at the beach and exploring visits to gay chatrooms that steadily go from digital-only to all-too-real. When Frankie meets Simone (Madeline Weinstein), he gets a glimpse of what his life could be like, but that’s a choice that could mean denying his real feelings.

IndieWire’s Springboard column profiles up-and-comers in the film industry worthy of your attention.

For his first feature, British actor and filmmaker Harris Dickinson didn’t shy away from some significant challenges. As the star of Eliza Hittman’s Sundance premiere “Beach Rats,” Dickinson appears in nearly every frame, tasked with striking a delicate balance between rough-and-tumble teen and a young man struggling with his sexuality. His Frankie lives out parallel existences that threaten to not just bump up against each other, but with annihilation.

“Beach Rats” follows Frankie over the course of one summer, a season spent alternately lazing around with his rabble-rousing pals at the beach and exploring visits to gay chatrooms that steadily go from digital-only to all-too-real. When Frankie meets Simone (Madeline Weinstein), he gets a glimpse of what his life could be like, but that’s a choice that could mean denying his real feelings.