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Weekly Emmy Awards 2021 Children’s and Animation Winners Announced

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Weekly Emmy Awards 2021 Children's and Animation Winners Announced


Mark Hamill and Lupita Nyong’o were honored by the National Academy of Television Arts & Sciences (NATAS) on Saturday night at the 48th Annual Weekly Emmy Awards for Children and Animation. Announcing the winners of the Daytime Emmy Awards, I was one of the winners. The show represented the second of three Daytime Emmy Awards this year. The third will be broadcast live on Sunday.

Nyong’o won an Emmy Award-Limited Performance for Children’s Program as a storyteller on Netflix’s “Bookmarks: Celebrating Black Voices” Hammil was voted Outstanding Actor in Disney Channel’s “Elena of Avalor” Kindergarten Animation Program.

This marks the first year in which all children’s programs, regardless of time zone, are converted to weekly Emmys under a new agreement between New York-based NATAS and the Los Angeles-based Television Academy.

Children and Animation Daytime Emmy winners were announced via NATAS’ Emmy OTT platform featuring over 30 categories. Weekly Emmy-nominated actress Raven-Symoné hosted the live stream and featured presenters including Millie Davis (“Odd Squad,” PBS) and Tom Kenny (“SpongeBob SquarePants”, Nickelodeon).

The Daytime Emmys Fiction & Lifestyle Awards will also be announced on the Emmy OTT platform on NATAS on Sunday, July 18th at 8pm. The fiction and lifestyle event features boxing world champion and TV stars Laila Ali, Francisco Hernández Cáceres (“Un Nuevo Dia”), Lawrence Hilton-Jacobs (“A House Divided”) and Jodi Long (“Dash and Lily”).

Here are the Saturday Children’s and Animation winners.

Outstanding Kindergarten, Kids or Family Watching Program

Babysitter Club (Netflix)
Dino Dana The Movie (Amazon Prime Video)
Mo Willems and Storytime All-Stars (HBO Max)
Present: Don’t let the pigeons do story time! Odd Squad (PBS)
Our Power: Sesame Street Special (HBO Max)** WINNER
Sesame Street (HBO)

Outstanding preschool children’s animated series

The Adventures of Paddington (Nickelodeon) ** WINNER
Eleanor Wonder’s Y (PBS)
Esme and Roy (HBO Max)
Still Water (Apple TV Plus)
Garbage Truck (Netflix)

Outstanding children’s animated series

Amphibians (Disney Channel)
Craig of Creek (Comic Network)
Hilda (Netflix) ** WINNER
Age of Bubbles and Wonders (Netflix)
Tales of Arcadia: Wizard (Netflix)

Outstanding Special Class Weekly Animation Program

Adventure Time: Far Lands Obsidian (HBO Max)
Angela’s Christmas Wishes (Netflix)
Baba Yaga (Baobab Studio)
Here We Are: A Note for Living on Earth (Apple TV Plus) ** WINNER
Xavier Riddle and the Secret Museum: I am the President’s wife (PBS)

Outstanding Education and Information Series

CNN/Sesame Street Town Hall (CNN)
Critical Engineering (Amazon Prime Video)
Thanks for asking (YouTube Originals)
Henry Ford’s State of Innovation (CBS)
Life 2.0 (Syndicate)
PBS KIDS Talk About (PBS) ** WINNER

Outstanding Key Outcomes of Children’s Programs

Jace Chapman as Noah, “The Healing Powers of Dude” (Netflix) ** WINNER
Emilie Cocquerel, Sandy, “The New Legend of the Monkey” (Netflix)
Ryan Dillon, Elmo, “Sesame Street” (HBO)
Nathan Lovejoy as Principal Swift of “Gabby Duran & Unsittables” (Disney Channel)
Tyler Sanders as Leo, “Just Add Magic: Mystery City” (Amazon Prime Video)

Outstanding young performer in a children’s program

Issac Ryan Brown, “Raven’s Home” as Booker (Disney Channel)
Sophie Grace, Kristy Thomas, “The Babysitters Club” (Netflix) **WINNER
Sky Katz, Tess, “Raven’s Home” (Disney Channel)
Navia Robinson, Nia, “Raven’s Home” (Disney Channel)
Christian J. Simon as Leo, “Sydney to Max” (Disney Channel)

Outstanding performer in a kindergarten animation program

Eric Bauza, Fozzie, “Muppet Babies” (Disney Jr.)
Mark Hamill, Vuli, “Elena of Avalor” (Disney Channel) ** WINNER
Juliet Donenfeld, Sally Squirrel, “Pete Cat” (Amazon Prime Video)
Eric Jacobson, Grover “The Monster at the End of this Story: A Sesame Street Special” (HBO Max)
Eric Peterson, Ant’ney, “Madagascar: Little Wild” (Hulu and Peacock)
Patrick Warburton, Grand Marco, Elena of Avalo (Disney Channel)

Outstanding performer on a weekly animation program

Eric Bauza, Bugs Bunny / Daffy Duck, “Looney Tunes Cartoons” (HBO Max)
Tom Kenny, SpongeBob SquarePants, “SpongeBob SquarePants” (Nickelodeon)
Tress MacNeille, Dot, “Animaniacs” (Hulu)
Sir Jonathan Price as Grandpa Sid, “Piney: The Lonesome Pine” (Disney Junior and Disney Channels)
Parker Simmons, Mao Mao, King Snugglemagne, Slim Pigguns, Guard, “Mao Mao: Heroes of Pure Heart” (Comic Network) ** WINNER

Additional winners of the Saturday show:

Outstanding short form children’s program

Girls’ Voice Now (Here TV) ** WINNER

Outstanding limited performance in children’s programs

Lupita Nyong’o, Storyteller “Bookmarks: Celebrating Black Voices” (Netflix) ** WINNER

Outstanding Writing Team for Kindergarten Animation Program

“The Adventures of Paddington”: Jon Foster, Lead Writer; James Lamont, Lead Writer (Nickelodeon) ** WINNER

Outstanding writing team for a weekly animation program

“Phineas and Ferb Movie: Candace Against the Universe”: Dan Povenmire, Executive Producer/Writer; Jeff “Swampy” Marsh, Executive Producer/Writer John Colton Barry, Writer; Jim Bernstein, author; Joshua Pruett, author; Kate Condel, author; Jeffrey M. Howard, author; Bob Bowen, Author (Disney Plus) ** WINNER

Outstanding writing team for preschool, children’s or family viewing programs

“Our Power: Sesame Street Special”: Geri Cole, Author (HBO Max) ** WINNER

Outstanding Supervision Team of Kindergarten Animation Program

“Go! Go! Cory Carson”: Alex Woo, Director; Stanley Moore, Director (Netflix) ** WINNER

An outstanding team of directors for a weekly animation program

“Baba Yaga”: Eric Darnell, director; Mathias Chelebourg, Co-Director (Baobab Studios) ** WINNER

Outstanding Supervision Team for Kindergarten, Kids or Family Watching Programs

“Sesame Street”: Ken Diego, director; Rick Fernandes, Director; Shannon Flynn, Director; Kimmy Gatewood, Director; Jack Jameson, Director; Benjamin Lehmann, Director; Linda Mendoza, Director; Liliana Olszewski, Director; Scott Preston, Director; Matt Vogel, Director (HBO) ** WINNER

Excellent voice directing for a weekly animated series

“Animaniacs” Sara Jane Sherman, Voice Director (Hulu) ** WINNER

Outstanding music directing and composing for preschool, children’s or animation programs

“The Tom and Jerry Show”: Vivek Maddala, composer; Steven Morrell, Boomerang ** WINNER

Excellent original songs for kindergarten, kids or animation programs.

“Animaniacs” – “Suffragette City” by Jess Lacher, lyrics; Andrew Babot, lyrics; Roderick Hart, composer and lyricist; Thomas Reilly, Composer and Lyricist (Hulu) ** WINNER

Outstanding casting for a live-action children’s program

“The Healing Power of Friends”: Amber Horn, Casting Director; Danielle Aufiero, Casting Director; Jackie Lind, Casting Director; Steven Tyler O’Connor, Casting Associate (Netflix) ** WINNER

Excellent casting for a weekly animation program

“Helena of Avalor”: Jennifer Trujillo, starring; Tatiana Bull, starring; David Wright, Cast By (Disney Channel) ** WINNER

Outstanding main title of the weekly animated program

“Tales of Arcadia: Wizards”: Francisco Ruiz Velasco, director; Alfonso Blaas, Production Designer; Yingjue Linda Chen, Art Director; Brandon Tyra, Composite Supervisor; Greg Lev, Visual Effects Supervisor; Igor Lodeiro, Visual Effects Supervisor; Jonatan Catalan Navarrete, Visual Development Artist (Netflix) ** WINNER

Excellent editing for preschool animation programs

“Stillwater”: Jill Calhoun, editor; Jack Paulson, Editor (Apple TV Plus) ** WINNER

Excellent Editing (Tie) for Weekly Animation Programs

“Animaniacs”: Ryan Burkhard, editor; Mark Miller, editor; Philip Malamuth, Editor (Hulu) ** WINNER
and
“Hilda”: John McKinnon, Editor (Netflix) ** WINNER

Excellent sound mixing and sound editing for preschool animation programs

“Dragons Rescue Riders: Secrets of the Songwing”: Otis Van Osten, Sound Supervisor; Jay Culliton, Rerecording Mixer; Josh Johnson, Sound Editor; Mishelle Fordham, Director Conversation Editor; Jason Oliver, Conversation Editor; Lee Gouen, Foley Editor (Netflix) ** WINNER

Excellent sound mixing and sound editing for your weekly animation program

“Star Wars: The Clone Wars”: Directed by Matthew Wood, Sound Editor; David Acord, Director of Sound Editor; Kimberly Patrick, Rerecording Mixer; James Spencer, Sound Editor; Danielle Dupre, Rerecording Mixer; Frank Rinella, Supervisor Foley; Jason Butler, Polly Mixer; Andrea Gard, Foley Artist; Margie O’Malley, Foley Artist; Peter Lam, music editor; Cameron Davis, Conversation Editor; Brian Frank, Conversation Editor; Tony Diaz, Conversation Editor; Carlos Sotolongo, Conversation Editor (Disney Plus) ** WINNER

Outstanding personal achievements of animation winners

Karl Athanasov, Art Director
“Baba Yaga” (Baobab Studio)

Anne Moth, 3D Animator
Here We are: A Note for Living on Earth (Apple TV Plus)

Mike Dutton, set designer
“Go! Go! Cory Carson” (Netflix)

Production Designer Chris Sasaki
“Go! Go! Cory Carson” (Netflix)

compulsory director
‘Jurassic World: Cretaceous Camp’ (Netflix)

Karl Hadrika, Storyboard Artist
“Animaniac” (Hulu)

Weekly Emmys are awarded to digital and syndicated programs in specific categories of personal and program-like content that air between 2:00 a.m. and 6:00 p.m. More than 3,000 submissions, premiered in 2020, were received by NATAS and judged by a pool of more than 1,000 TV industry experts.

Among the major winners of the CBS Telecast, hosted by Sheryl Underwood and aired on June 25, was “The Kelly Clarkson Show” for Best Entertainment Talk Show and Kelly Clarkson for Entertainment Talk Show. I did. ‘General Hospital’ took first place in the drama, including the lead actor (Morris Benard), the supporting actor (Max Gale), the drama directing team, the drama technical team, and the drama casting.

Meanwhile, “Jeopardy!” It once again won Best Game Show, and the late Alex Trebek won another Emmy for Hosting the Game Show.

Live coverage of the July 17th and 18th Weekly Emmy Awards is available on the web on Watch.TheEmmys.TV and via the Emmy app for iOS, tvOS, Android, FireTV, Samsung Smart TV and Roku.

The 48th Annual Weekly Emmy Awards are produced by NATAS with executive producers Adam Sharp and Steve Ulrich. Lisa Armstrong, Senior Producer; Rachel Schwartz, Writer and Manager, Daytime Awards Administration, and Brent Stanton, Executive Director, Daytime Awards Administration. Kids/Anime and Fiction/Lifestyle events are all supervised and co-produced by David Parks of Viewfinder.





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Long-term questions about social media’s ad revenue boom

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Long-term questions about social media's ad revenue boom


The advertising recovery over the past year has been remarkable, but no one has benefited more than tech companies, especially social media platforms.

Businesses continue to pour cash into advertising on the platforms with the greatest reach, as this week’s Q2 financial results from social giants including Snap, Twitter, and Facebook show.

The total revenues of these three social enterprises, which come almost entirely from advertising, saw another divergence. Snap posted revenue growth of a whopping 116%, while Twitter’s revenue grew 74%, the highest growth since 2014.

On the other hand, Facebook’s sales growth rate was 56%, the highest since 2016, and there were advertisements to be grateful for, accounting for about 98% of total sales. The number of Facebook ads delivered increased 6%, and the social giant saw its average price per ad increase 47% over the second quarter.

This is not too surprising given the massive user engagement for these platforms. In Q2, Snap reported a total of 293 million daily active users (DAU), a 23% increase over last year, and Twitter’s monetizable daily active users (mDAU) or users viewing ads on the platform increased by 11% 2 reported 6 billion people.

And there is a giant called Facebook. It has 1.91 billion DAUs and 3.51 billion monthly users across its app suite, including Facebook’s main apps, Messenger, Instagram, and WhatsApp.

Facebook tops the older demographic for usage, according to a new study from GetWizer Consumer Insights of nearly 1,500 Americans of VIP+. The situation between the 15-29-year-olds, who more regularly and actively use various platforms, was even more interesting. They said last week they spent at least 30 minutes on Instagram, Facebook, Snapchat and Twitter.

Whatever these companies are doing now is definitely working, as advertising revenue is steadily growing at an alarming rate. However, there are concerns that the growth will not be sustained in the long term, and the recent Apple iOS 14.5 update is expected to act as a major threat to Big Tech’s advertising strategy.

Social media platforms like Facebook, Twitter, and Snap use targeted advertising to reach their audiences. Personalized experiences that have proven to be more effective at getting people to click and even buy through the ads they serve.

However, new Apple software updates give users more power and control by giving them the option to opt out of app tracking. Snap, Twitter, and Facebook are all doing their best to estimate how much impact software updates will have, but Facebook CFO David Wehner warns that if the advertising business is affected, it will be worse in Q3 than Q2.

As social giants explore the current advertising landscape, the biggest opportunities are in video and mixed reality (VR, AR, etc.). Video advertising is showing healthy growth, and Facebook COO Sheryl Sandberg said in its earnings call Wednesday that the company is seeing more than 2 billion in-stream ad-qualified videos every month. Facebook and Snap are both actively working to become leaders in VR and AR, respectively, and these moves could open new avenues to further drive ad revenue.

Facebook revealed in its earnings call that it plans to create a so-called metaverse. Zuckerberg said this will be a social and digital environment unlike anything else that exists. Building the metaverse doesn’t happen overnight, but the ultimate goal is to make money by selling virtual goods and advertising them internally.

Whether Zuckerberg’s metaverse ideas are as grandiose as he invented them, it’s true that social media companies will have to ponder and ponder for a long time to innovate and tap the next stage of growth in a rapidly evolving environment.

Advertising is the bread and butter of social, and new delivery methods will play an important role in determining who succeeds and who lags behind.





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Billie Eilish proved that her first album on ‘Happier Than Ever’ was no coincidence.

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Billie Eilish proved that her first album on 'Happier Than Ever' was no coincidence.


If you’re a big fan of the confessional pop songwriting school, waking up to the release of Billie Eilish’s “Happier Than Ever” will feel like Christmas morning. It doesn’t feel too neatly tied with a bow. Her 2nd studio album hits a sweet spot where mixed emotions about love and fame, and sometimes self-contradictory emotions, seem to pour out in real time, despite the complex production and vocal rhythm betraying the song’s secret. All work is done. An intersection that somehow looks perfectly formed and at the same time perfectly messy? For some listeners, it may be the happiest place on earth.

What it isn’t: Noisy, or even particularly mezzo most of the time. Eilish is running almost the arena from now on, as anyone would expect, but she and her collaborator brother Finneas have resisted the temptation to bring the message to the media with any flair. Fill a space the size of a hockey field. It is an album that feels more friendly than the first, and the first one came to me quite friendly. “Happier Than Ever” has some explosive moments. The second half of the title track, which is basically a wall of distortion, is definitely important. But what shakes the room like “You Should See Me in the Crown” or “Bad Guy”? no way. And that will be fine by most of the fan base already ready to lean on instead of a blast. Great headphone record. How it goes on the Fabulous Forum is something to worry about later.

The whole release might seem anti-emotional because so many parts of the album have already come out. Seeing how 6 of the 16 tracks had previously entered the realm and were selected and killed (5 singles, 6 colloquially “Not My Responsibility”, video), how many people would therefore see how many people would think by the time the release date arrives. I am-pieces about the Eilish world left in it. The answer should be: Much more. Exactly a year after “My Future” was released as a single, as the fourth track after three previously unheard songs, it’s a little strange to hear the new album sound like it’s being interrupted by a hit. collection. But Eilish has a voice that’s good enough to speak and charming enough to sing, so you don’t feel spoiled by all the crumbs throughout the album. With all that interim music and documentary and internet-breaking Vogue cover, she still doesn’t feel overexposed. (Note to other singers who might consider that it’s a good idea to never leave the public eye for her ubiquity: don’t try this at home.)

It turns out that “My Future”, which has just celebrated its one-year anniversary, doesn’t indicate where the rest of the material has gone. Yes, perhaps a fairly subdued tone and showcase of vocal stylist Eilish, which is not the usual feeling of satisfaction. “We All Fall Sleeps, Where Do We Go?” I’ve been hearing a lot about her since then. What made her a global sensation in 2019 is how she got in a better position and overcame the teenage demon with a powerful family support system. The sensuous oral maturity of ‘My Future’ solidified that impression. But how can you not like her if she doesn’t get mad to overturn Bruce Banner’s words? As it turns out, we don’t need to know, at least yet. “Happier Than Ever” is perhaps a title with multiple levels of authenticity and irony. Eilish allowed her to be happier…Er. But when it comes to her personal damage and our interests, it’s a pretty annoying record. The Grammy-winning single “Everything I Wanted” (which Eilish did not include here and left as a standalone) was information that she had some feelings for fame, and Eilish didn’t limit it here. Even an older man and a narcissistic boyfriend who took advantage of her youth can see that there remains uncertainty about how the categories might overlap. Suicidal thoughts and night terrors no longer appear as they did on the first album. In “Happier Than Ever,” 19-year-old Eilish, after self-harm, deals with the everyday insults she must endure when she knows she has to go on living. Fortunately, the components that make up a daydream can be just as exciting as a lucid dream.

It’s an old self-evident idea that artists spend their lives writing their first album, and then sometimes spending the rest of their lives writing about how unhappy their first album’s success was. It is often the best trap to avoid. However, Eilish works for her on a significant portion of the album. She uses a lot of sharp observation and self-perceived humor to go with her post high-level celebrity self. -Consciousness. The whole log isn’t about it, but she’s a very interesting self-narrator, so you’ll hardly care. “you… I feel like I’m always watching.” She whispers in the middle of “Not My Responsibility.” And it breaks down the fourth wall, so intense that you can feel the Irishness right in front of you, and looking behind you. That particular monologue deals with body shame, the lust of the male gaze, and all the double standards she handles, and I’ve taken the edit if you feel it’s a bit biased compared to the rest of the album. Most others are observational and conversational, but often speak in a serious manner. Repeated references to her stalker are nowhere to go, even Taylor Swift. The inevitable paparazzi (“News? News to whom? Am I really just like you?”); A semi-ludicrous, half-poignant acknowledgment that she signed the NDA before sending him into the night. All these details should theoretically make her less relevant, but counter-intuitively, it has the opposite effect. We all know enough about the celebrity trap at this point, and we can see that Eilish is accurately portraying how we would feel if we were in her position. It’s like a much more beautiful variation of “Curb Your Enthusiasm” featuring celebrities. The aggravation doesn’t seem to be really that far away from us.

It leads to perhaps the scariest position on the album. “Things I once enjoyed / now stay employed.” There is the worst fear of all musicians, or what they should be most afraid of. “Happier Than Ever” would be a sad album if Eilish actually felt really faithful to it when making music. But for all that snark and kvetching it’s a really enjoyable experience. There’s not a single cynicism that infects the love of sound she and Finneas have, and what you can do within the minimum volume levels of an almost silent, two-handed, one-man band activity. The dynamics are so subtle that “When We All Fall Asleep…” sounds like a show off record. Finneas has her own empirical moments as a co-writer/producer. The record-breaking effect of giving “I Didn’t Change My Number” an extensive outro is the kind of fun he can do professionally, and welcome when “Oxytocin” leans harder on the beat to get you up. Breath of hot air. However, most of everything here exists to make up Eilish’s voice and only goes up once or twice. She has refused to be referred to as a “whisper” in her songs, and although it usually means compliment, I can understand how she could take the term reductively. Her phrasing is exquisite, and even more jazz-like when her singing is filled with rock ‘n’ roll lightness or has the rhythm of a rapper. Finneas is also accumulating more of her own backing vocals than adding her own, but co-writing has a kind of “blood harmony” that’s more than a song. It seems to be the work of one author, not two. (This is almost unheard of in the modern age of 10-person co-writing.) The emotions may feel vague, but the final musical effect is sort of like watching a series of unfiltered, raw diary entries unravel. of your favorite font.

After all, it’s not just music that Eilish likes to save. She allows moments of true love and/or true lust on the album, with a few co-workers whose evenings with her may not have ended with an NDA. Or maybe her affections from “Billie Bossa Nova” or “Halley’s Comet” may now be fantasies, but “I Didn’t Change My Number”, “Lost Cause” and “Your Power”. In “My Future,” the awakening of self-love is still realistic, but in order to at least slightly offset the rise of “I made every moment of yours yours,” a little “stupid me, stupid making me fall in love with you” You benefit from having “me”. / Just leave me fucking alone” screams the title track.

Don’t let all this seem too solipsistic. And why? This is the basis of grand pop music. Eilish also has an eye for the big picture. “Everybody Dies,” as the title suggests, does a great job on the subject of death. “You should know / when the time comes / you may not want to go,” she told fans. Some of them are young enough and may not have considered this before… Then she ends the song by adding: “But it’s okay. / It’s okay to fold. / But you’re not alone / You’re not unknown.” And damn, if in these moments of comfort she doesn’t sound almost… maternal.

Needless to say at this point, let’s say anyway. WTF? Are you still 19 and developing your music like this? really? At the beginning of the album, Eilish sings: This is one of the only records of how Eilish got through her teenage years that it’s hard to tell if she’s joking or serious. If she feels like a veteran, that’s how we can reasonably feel about her too. Eilish has a spookyly precocious personality that makes us feel like we got to know him by spending a lot more time than we know. The fact that she’s still relatively young to become an artist is part of the thrill of “Happier Than Ever.” Even if you don’t have to think about her future for the record itself to be a happy reward.





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Prentice Penny inks Disney’s Onyx Collective and the overall deal.

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Prentice Penny inks Disney's Onyx Collective and the overall deal.


Peabody and Golden Globe winner Prentice Penny have signed an eight-digit multi-year full contract with Disney General Entertainment’s Onyx Collective.

Under the new deal, Penny will create, write, and direct new projects through her A Penny for Your Thoughts Entertainment banner across Disney platforms, including Hulu, the main home of the Onyx Collective title.

“I am very excited to partner with Onyx Collective for the next step in my career,” Penny said in a statement announcing the new contract. “The second time I sat with Dana. [Walden, chairman of entertainment at Walt Disney Television] and Tara [Duncan, president of Freeform and Onyx Collective] I knew I wanted to work with them and make this my new home. It is an honor to be on the ground floor of what Tara and the entire Onyx Collective team want.”

In addition to projects directly led by Penny, A Penny for Your Thoughts Entertainment will also have the ability to develop and oversee projects by other authors. The company’s president and partner, Chris Pollack, will continue to lead the company with Penny. The company’s development team, led by Alex Soler, will also move.

“The type of project Onyx, Chris (Pollack) and our fantastic team want to align perfectly with. We are also very excited to continue nurturing and developing more artists through this transaction,” added Penny. “As a writer/director/producer, you always want to have as many tools as possible to create all the different platforms of the Disney brand built for your art and your beautiful marriage.”

Penny is best known as an Emmy-nominated showrunner on HBO’s “Insecure”. Here he acts as executive producer and self-director. The hit series, created and starred by Issa Rae, returns for its fifth and final season this fall.

Most recently, Penny co-produced and produced “Pause With Sam Jay” with stand-up comedian and former “SNL” writer Sam Jay. The Late Night Series has been renewed for a second season on HBO. In 2020, Penny made her feature director and screenplay debut with the Netflix original film “Uncorked” starring Mamoudou Athie, Niecy Nash and Courtney B. Vance.

Announced in May 2021, Onyx Collective focuses on curating premium content for creators of people of color and marginalized voices. The producer roster of the Duncan-led Onyx Collective includes writer and comedian Natasha Rothwell (“Insecure”, “SNL”, “The White Lotus”). It is also home to all the non-Marvel titles produced by Ryan Coogler’s Proximity (“Judas and the Black Messiah”, “Black Panther”).

Duncan said of his partnership with Penny, “Prentice Penny was at the top of the vision board when it came to planning the Onyx Collective’s strategy and ideal partner.” “Prentice has a deep experience telling a very interesting and culturally specific story.”

Duncan added: “As a writer and director, his prolific ambitions and unique ability to discern trends make him the perfect creator to help build our brand. It is an honor for him to choose Onyx Collective as his creative space.”

In addition to the scriptwriting of A Penny for Your Thoughts, the multimedia company has also produced unscripted series, including the original lifestyle series “Upscale With Prentice Penny” for TruTV. Penny’s past credits include Golden Globe Award-winning “Brooklyn Nine-Nine”, “Happy Endings”, “Scrubs” and “Girlfriends”.

Penny is represented by WME, Theresa Kang-Lowe’s Blue Marble Management, attorneys John Meigs and Adam Kaller.





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