Howard Kurtzman leaves the studio as president of business operations of 20th Century Fox Television after 20 years as head of the business and legal department. He will officially resign in June.

As a result, Carolyn Cassidy will step up from her current position as President for Creative Affairs and take over as President of 20th Century Fox TV. The news was released on Tuesday by Dana Walden, chair of Disney Television Studios and ABC Entertainment, Craig Hunegs, president of Disney Television Studios.

When the studio hires a new head of business operations, that person will report to Cassidy.

“The 20th has been much more than my employer for all these years. It was also an incredibly lively and exciting place to work, where we did so many great things together, from “Modern Family” to “Family Guy”, “Glee” to “24” and most recently “This Is Us”, just to name a few, ”Kurtzman said in a statement. “Those close to me know that I’ve been talking about resigning for some time, and I’m so grateful to Dana and Craig for their generosity in the process. This career has been an incredible journey – indeed an e-ticket journey. “

“Howard came to Gary Newman and me two years ago to say he decided to retire,” said Walden. “We asked him to stay for a year because we weren’t ready to consider what the studio would look like without his leadership. A year later, Craig and I asked him to postpone his retirement for another year – this time to coordinate the integration of 20th Century Fox Television into the Walt Disney Company – and he graciously agreed. “

“Howard is a Hall of Fame TV manager who has been responsible for some of the most impressive and breakthrough deals in the industry. He is a great leader and mentor and we will miss his great sense of humor, ”said Hunegs.

Kurtzman has been President of Business Operations since 2014 when he worked with Jonnie Davis, who took over as President of ABC Studios in July. At that time, Kurtzman worked with Cassidy as President of Business and Creative, respectively, and signed extensive contracts with Dan Fogelman, Liz Meriwether, Steve Levitan, Lizzie and Wendy Molyneux, Saladin Patterson and Kay Oyegun and others. Before becoming President of Business Operations, Kurtzman was Executive Vice President of Business and Legal Affairs for two decades.

‘Green Book’ and 13 other winners of the best pictures that can’t stand it (photos)

  • By now we all know that the film that the Academy chooses as the “best picture” of a year is rarely the best picture. However, in a few years it will be difficult to explain why they chose what they chose. Nevermind “Shakespeare in Love” defeats “Saving Private Ryan” because “Shakespeare in Love” is a respectable production with a funny script. Nevermind “Dances with Wolves” beats “Goodfellas” because “Dances with Wolves” is at least a respectable western.

    We take a look at the films that we cannot see without bending even in a vacuum. And when you compare them to the nominees who didn’t deserve the Oscar, it’s just hard to justify why the academy chose it.

  • “The Broadway Melody” (1929)

    The second best picture winner and the first dubbing film that won the main prize were innovative for that time. The musicals finally entered the cinemas and “The Broadway Melody” even contains a Technicolor sequence (which is now unfortunately being lost). Unfortunately, the actual film is a boring melodrama with repetitive music numbers and a cadet of a leading actor who gets caught between two performing sisters, none of whom deserve to get involved in the manipulative jerk.

    The competition at the second Academy Awards was not so tough, and the historical importance of “The Broadway Melody” undoubtedly played a role, but Roland West’s inventive and exciting crime drama “Alibi” leaves a bigger impression over the years.

    MGM

  • “Cimarron” (1931)

    Edna Ferber’s intoxicating novel “Cimarron” becomes a frustratingly straightforward, but nicely produced feature film about a heroic pioneer, Yancey Cravat (Richard Dix), and his disapproving wife Sabra (Irene Dunne), a sprawling metropolis. Excellent production design, innovative camera work and a great performance by Dunne cannot make up for the chaos of the film, which tells condescending and – despite some efforts to the contrary – damn racist stories.

    “Cimarron” faced tough competition at the 4th Academy Awards, with “The Front Page” telling a funny and wonderful story (later reworked as an even better “His Girl Friday”), but in retrospect the candidate is the one who started on most noticeable is “Skippy”, the first comic adaptation that has ever been nominated for “Best Film”.

    RKO

  • “Cavalcade” (1933)

    Frank Lloyd’s ambitious multigenerative story “Cavalcade” follows a British family around the turn of the century when the most important events in recent history influence and redefine their fate. It’s a big swing, dramatically, but the film’s many twists and turns are often ridiculous. The tragic moment when two lovers plan their future just to leave the frame and reveal that they are on the Titanic is an unwanted cry.

    There were 10 Best Picture nominees in 1933 and there was no shortage of timeless classics, including “42nd Street”, “I was a chain gang refugee”, “Little Women” and “Henry VIII’s Private Life”.

    Fox Film Corp.

  • “The Great Ziegfeld” (1936)

    The life of the legendary theater producer Florenz Ziegfeld Jr., played by William Powell, is the subject of the first biopics that Best Picture won. But although Robert Z. Leonard’s film mimicked the size of Ziegfeld’s productions in a fantastic way – including an outstanding music number that then cost $ 220,000 (almost $ 4 million today) – the actual drama is a clean, cushioned one Drama implausible scratchy version of Ziegfeld’s life. And even then he still looks like a lout.

    The competition at the 9th Academy Awards was hardly the toughest, but Frank Capra’s “Mr. Deeds Goes to Town” is as skewed and sharp today as it was in 1936 and forms the framework for many of the great filmmaker’s future melodramatic crowd-pullers.

    MGM

  • “Gentleman’s Agreement” (1947)

    “Gentleman’s Agreement” is well-meaning but unwieldy and plays Gregory Peck as a reporter who is supposed to write about anti-Semitism in New York City and who wants to pretend to be a Jewish man in order to experience discrimination firsthand. Predictably and painfully mistreated by focusing on the awakening of a white man rather than the real experience of the people the film claims to be praising, even Peck later admitted that it was out of date, and director Elia Kazan said he was not happy with it.

    “Gentleman’s Agreement” was fought against several time-honored classics at the 20th Academy Awards, including David Lean’s “Great Expectations” and two Christmas classics, “Miracle on 34th Street” and “The Bishop’s Wife”.

    20th Century Fox

  • “The Biggest Show in the World” (1952)

    Big, wide and colorful, there’s no denying that Cecil B. DeMille’s circus melodrama “The World’s Greatest Show” was a spectacle, but the best picture of the year? Any year? This unforgettable spectacle, with Charlton Heston as ringleader desperately trying to keep the show going, and James Stewart as a circus clown who is actually a doctor on the lookout for killing his wife (to end her suffering) one of the strangest footnotes in best picture history.

    Especially when you consider that “The Greatest Show on Earth” is competing against at least two absolutely phenomenal films: John Ford’s beautifully romantic “The Quiet Man” and Fred Zinnemann’s politically charged western “High Noon”.

    Paramount

  • “Around the World in 80 Days” (1956)

    Speaking of the spectacle: “In 80 Days for the Word” is one of the largest productions in the history of Hollywood, which spans the entire globe, contains an amazing number of cameos (blinking and Frank Sinatra will be missing) and is characterized by an incredibly beautiful widescreen Screen features cinematography. Unfortunately, it’s also an insignificant and insightful colonial adventure with David Niven and the legendary Mexican comedian Cantinflas as travelers trying to end the legendary journey to win a bet. (The less talked about casting Shirley MacLaine as an Indian princess, the better.)

    “Around the World in 80 Days” somehow won several incredible Best Picture nominations and won the top prize at the 29th Oscars, including “The Ten Commandments”, “The King and I” and “Giant”.

    United artists

  • “Driving Miss Daisy” (1989)

    If we jump a bit further, we will get one of the most stunning winners of the best picture. “Driving Miss Daisy” is an aggressively safe portrayal of race relations in America in which a bigoted old lady, played by Jessica Tandy, is gradually learning to be less bigoted because her chauffeur, played by Morgan Freeman, is nice. “Driving Miss Daisy” isn’t the worst film to win the title of “Best Film” as the performances are certainly excellent, but there is a valid argument that it is one of the most banal films that take the award home ,

    “Driving Miss Daisy” competed against several classics at the 62nd Academy Awards, including “Field of Dreams”, “Born on the Fourth of July” and “Dead Poets Society”. But perhaps the greatest injustice is that Spike Lee’s brand new and extremely intelligent “Do the Right Thing” was not even nominated.

    Warner Bros.

  • “American Beauty” (1999)

    Over 20 years later, it became clear that 1999 was one of the best years for films in the history of the medium, with dozens of influential, pioneering, and daring films that premiered within 12 months. At that time, “American Beauty” seemed to be one of them, but the story wasn’t friendly. Sam Mendes’ melodrama about midlife crises and suburban meltdowns offers strong performances and excellent cinematography, but it is invented and congratulates even bizarre extremes.

    It’s hard to believe today that “American Beauty” was considered an outstanding film in a year when we got “The Insider” and “The Sixth Sense”, both of which were nominated for “Best Film”, not to mention from notable, nominated classics like “The Matrix”, “Fight Club”, “All About My Mother”, “Eyes Wide Shut”, “Three Kings” and “Toy Story 2” to name a few.

    DreamWorks

  • “A Beautiful Mind” (2001)

    Ron Howard’s glossy biography of the famous economist John Nash was freed from the many imperfections in the subject. But the biggest problem with “A Beautiful Mind” is not the Hollywood representation of Nash, but the absolutely lousy manipulations with which Howard and screenwriter Akiva Goldsman lead him through his life story. Although “A Beautiful Mind” was filmed and played excellently, it pounded through one biopic cliché after the other until you either give in and accept the action with the fists of the ham, or reject it directly.

    The 74th Academy Awards also had an otherwise outstanding number of nominees for the best picture, including “The Lord of the Rings: The Fellowship of the Ring”, “Gosford Park” and “Moulin Rouge!”

    Universal

  • “Chicago” (2002)

    Rob Marshall’s attractive but chaotic adaptation of the Broadway hit “Chicago” features striking and exciting performances by Catherine Zeta-Jones, Renee Zellweger and Queen Latifah. But Marshall’s determination to play every musical number like a dream sequence makes “Chicago” ashamed of its theatrical roots and cacophonic cut – which tries to hide the fact that co-star Richard Gere deviates from him, but does not successfully hide it the dance floor – makes it a really difficult watch for fans of singing, dancing, storytelling and / or “Chicago”.

    “Chicago” has struggled with a number of films at the 75th Academy Awards, including “The Pianist”, “The Hours”, “The Lord of the Rings: The Two Towers” and “Gangs of New York”, the two the latter of which were – at least – safer and more impressive productions.

    Miramax

  • “Crash” (2005)

    In the incredibly wrong and smug montage film “Crash”, which follows a series of interconnected characters and stories in Los Angeles, the good intentions strike again. The problem is that every action is so dependent on forced irony that none of the films work. Even the handful of subplots that would be strong in a vacuum fall flat because they’re thrown together with all the others. The last thing you want in a movie about serious topics is a feeling of absolute insincerity.

    “Crash” notoriously defeated the groundbreaking novel “Brokeback Mountain” at the 78th Academy Awards, but the less popular other nominees – “Capote”, “Munich” and “Good Night and Good Luck” – play more convincingly today.

    Lions gate

  • “The King’s Speech” (2010)

    There is nothing terribly wrong with Tom Hooper’s “The King’s Speech”. there is nothing particularly good either. It’s a cute biography of how King George VI. Wanted to overcome his lifelong stuttering in order to confidently guide his people with radio addresses in World War II – a novel story that Hooper and his excellent cast mine for drama and comedy wrote. But the film is undeniably safe, a comforting little thing that does not affect the medium or its cast in any way.

    Compare “The King’s Speech” with some of the other, braver nominees at the 83rd Academy Awards and you’ll see how little Hooper’s film is noticed. After all, was this the film that beat “Black Swan”, “Inception”, “The Kids Are All Right”, “Toy Story 3”, “Winter’s Bone” and “The Social Network” for the best film?

    The Weinstein Company

  • “Green Book” (2018)

    “Green Book” was not a good time when critics, commentators and the family of jazz pianist Don Shirley complained that the film washes its story white and wrongly gives its white chauffeur the honor of having taught him about his own culture and draws on condescending stories from past times. (See: “Gentleman’s Agreement”, “Driving Miss Daisy” etc.)

    In other words, “Green Book” has not been able to hold its own from day one, especially when compared to the more courageous, challenging and exciting nominees who deal with topics like “BlacKkKansman” and “Black Panther” or other impressive storylines like “Roma” “busy” and “The Favorite” or just good melodramas that didn’t feel as uncomfortably backward as “A Star is Born”.

    Universal

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Some Oscar winners have stood the test of time – not so much

By now we all know that the film that the Academy chooses as the “best picture” of a year is rarely the best picture. However, in a few years it will be difficult to explain why they chose what they chose. Nevermind “Shakespeare in Love” defeats “Saving Private Ryan” because “Shakespeare in Love” is a respectable production with a funny script. Nevermind “Dances with Wolves” beats “Goodfellas” because “Dances with Wolves” is at least a respectable western.

We take a look at the films that we cannot see without bending even in a vacuum. And when you compare them to the nominees who didn’t deserve the Oscar, it’s just hard to justify why the academy chose it.