Sunday, September 29, 2024
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Fox News Trump Town Hall with Sean Hannity Scores Well Below CNN Trump Event from Last Month

Donald Trump, perpetual indictee, appeared with his bff Sean Hannity in a Fox News Town Hall last night.

The show– and it was a show not a news event — scored 2.85 million viewers.

But that was far less than Trump’s Town Hall in May on CNN with Kaitlan Collins. That event brought in 3.33 million.

Is Trump’s base done with him? Do they realize anything he does on Fox News is staged, scripted, and approved by him?

When the Hannity hour was over, it should be noted that nearly 1 million viewers tuned out of Fox as well. Greg Gutfeld at 10pm fell to 1.9 million. MSNBC’s Lawrence O’Donnell came within 300,000 pairs of eyes.

Earlier in the evening, with Fox having moved around its schedule, MNBC’s Ari Melber finished in a virtual tie at 6pm with Fox’s Bret Baier.

Random House Loses Dozens of Legacy Editors, Execs in a Corporate Buy Out/Lay Off Scheme that Guts the Company’s History

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A culture Atomic bomb has gone off at Random House.

You could call it Penguin Random House. But the venerable publishing’s power is held in the second name. For years Random House just housed its own company, the literary giant Alfred A. Knopf, acclaimed imprints like Pantheon and Shocken.

Over time and consolidation, Random House added a lot of rivals under its corporate umbrella including Viking Penguin and Doubleday. The Random House I worked for in the early 1980s is unrecognizable now. But the heart of the company always remained: dozens and dozens of famed editors who found the classic books, edited and published them, and were unknown to people outside the business.

In the last 48 hours, Random House has done something completely shocking. Through buyouts and layoffs they’ve gutted the company of people who worked there 40, 50, and 60 years. They’ve decimated the business in way that would have been unimaginable when arts and letters meant something.

By all accounts, 500 letters went out on Monday announcing these changes. Layoffs were inevitable. My sources say the corporate heads — bean counters who have no respect for the mechanisms that brought them critical and financial success — were actually shocked about all the buyouts that were accepted by veterans.

“The company hasn’t been the same for years,” says one source. “Everything is done by committee.”

Both the Associated Press and New York Magazine reported on a slew of people who are leaving Random House and its various labels. They include Ann Close, Jonathan Segal, and Victoria Wilson, as well as Penguin’s Wendy Wolf, Rick Kot, and Paul Slovak. Knopf managing editor Kathy Hourigan, “who has worked with Robert Caro on all his books dating back to The Power Broker,” will also take a buyout, New York magazine reported, as will head of production Andy Hughes, head of publicity Nicholas Latimer, and editor Shelley Wanger.

Another name not reported yet is Altie Karper, head of Shocken Books and the Pantheon imprint. Each of them is a devastating loss. Hughes, in particular, stings. He’s been responsible for 40 years of Knopf bestsellers maintaining their unique elegance and eloquence.

There are also the ones who’ve been fired including the estimable Dan Halpern, who came from Ecco Books two years ago with a raft of writers whose careers he developed.

At the center of this fiasco is the possible villain, Penguin Random House CEO Nihar Malaviya. A few weeks ago he sent out a letter offering Voluntary Separation Offers. According to Publishers Weekly, “The offer was made this spring to all employees at least 60 years old and who have been with the company for at least 15 years. Employees had until June 20 to decide whether or not to accept the VSO and according to sources, 49% of eligible employees signed on.”

On Tuesday, Malaviya wrote this letter to the staff: “As you know, the book marketplace has had several shifts over the past years. At Penguin Random House, we, too, have experienced these shifts and changes, especially during the last months. We are halfway through 2023, and while the book market has grown, particularly over recent years, we have also faced significantly increased costs in all areas across the board, and we expect these increases, as well as inflation, to continue.”

The letter continued: “We have been taking various actions over the last months to adapt our business to these market realities, and I’m sad to share the news that yesterday some of our colleagues across the company were informed that their roles will be eliminated. Everyone being affected has been informed directly in individual meetings. We long sought to avoid these actions, but unfortunately could not do so. This was the hardest decision I have had to make as a leader.”

A huge part of Random House’s financial agony is attributed to their failed purchase of rival Simon & Schuster. That merger was scotched by the a federal regulatory judge last fall. Random House incurred charges of $200 million in that failed battle. That bill was going to come due eventually, and this is the result.

Some suddenly orphaned authors will follow their editors to new homes. Other will hope the exiting talent will get consulting deals to finish projects. But the scope and richness of Random/Knopf/Penguin etc is going to undergo its worse sea change in almost 100 years. And even this lousy moment doesn’t solve the problem of Simon & Schuster’s ownership still with Paramount/Viacom. The Justice Department isn’t keen on losing one company to consolidation.

What a disappointment. When I worked in publishing — 35 to 40 years ago — it was a business (and often cutthroat). But there was a respect for books and how they made it through the pipeline to the customers. With this bit of mass destruction, it feels like that is gone for good.

Im at showbiz411@gmail.com if anyone wants to chime in, in confidentiality. This isn’t the end, by the way. Publishers Weekly reports tonight that Chicago-based IPG, the distributor affiliated with Chicago Review Press and Triumph Books, confirmed it is laying off nine employees this week, including five of Chicago Review Press’s 13 employees and one of Triumph Books’ seven.

UPDATED” Crowdfunded Christian Movie “Sound of Freedom” Hits $100 Mil*, Tops “Mission Impossible” Wednesday, Star Calls Trump “A New Moses” on Fox

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THURS MORNING UPDATE: “Sound of Freedom” narrowly beat “Mission Impossible” last night and took the top position at this morning’s box office. Technically. It’s time for an audit to figure out what went on here.

Also, this morning star Jim Caviezel called Trump “a new Moses” this morning on Fox and Fiends.

WEDNESDAY NIGHT: “Sound of Freedom” will cross the $100 million mark tonight. But it gets an asterisk. “SOF” is crowdfunded by Angel Studios. They’ve had millions of tickets purchased in blocks so audience members can go for free. No one knows who bought the tickets or how many people actually used them.

What happens if the free tickets donated by church and Christian groups aren’t used?

According to Angel Studios’ website:

“If there are any funds remaining after the theatrical run, they will be used to pay for streaming Sound of Freedom in the Angel Studios app. Remaining funds from Pay it Forward may also be used to help the filmmaker create additional content.”

So that should disabuse everyone about where the money is going. Because of this, the “Sound of Freedom” is just ka ching, but not the sound of truth.

A quick look tonight at Fandango in Chicago, Kansas City, and Indianapolis — places where “SOF” would have an audience — shows lots of seats available at all times. This would negate the proposition that it’s selling out like crazy. In all likelihood, Angel Studios sitting on plenty of tickets that haven’t been used.

Fandango and the other ticket systems would be wise to perform an audit.

Jason Aldean Fans Send Racist Song to the Top of iTunes Singles, Wrong Album to Number 3 Album

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Jason Aldean fans aren’t too bright.

They’ve sent Aldean’s racist song, “Try That in a Small Town” to the top of the iTunes singles charts. It doesn’t matter to them that the song is intended to incite violence against anyone who comes into a “small town” (meaning all white) and messes with “good ol boys.”

In their zeal to be part of this stupidity the fans have also sent an Aldean album to number 3 on iTunes. The only problem is, it’s the wrong album but has a similar title. “Rearview Town,” does not include the song. It came out in 2018 and has nothing to do with the newer more controversial screed.

Aldean has been denounced by Sheryl Crow. CMT has pulled the video, although it’s still easy to find on YouTube. Capitol Records Nashville should cut off sales of that record, but record companies exert little editorial judgement when it comes to records if they’re selling well. (Spotify and Apple should, too.) Sir Lucian Grainge has the ultimate authority over Capitol. It’s up to him to say enough is enough. But Universal Music Group did little to punish Morgan Wallen when he used the ‘n’ word in a home video. Since then he’s sold millions and millions of albums.

It’s all about money.

Review: Stunning “Oppenheimer” Christopher Nolan’s Masterpiece in Oscars Race

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There’s a lot to unpack in Christopher Nolan’s three hour masterwork, “Oppenheimer.” This is ostensibly the story of how America created the atomic bomb and a legacy of pending nuclear war starting in the 1940s and looming over us today.

It’s also a cautionary tale of how this country creates heroes and tries to destroy them all at the same time. “E Pluribus Unum” should really be replaced as our motto by “No good deed goes unpunished.”

For Nolan, “Oppenheimer” is a career high after two decades worth of innovative, intriguing filmmaking. All his sensational turns and rearranging of time have led to this moment. Forget “Barbenheimer.” This should be “Operaheimer.”

Cillian Murphy and Emily Blunt, who have immense chemistry, reunite from “A Quiet Place Part 2” as J Robert Oppenheimer and his his difficult wife, Kitty. She may be overwrought because he’s a distracted, emotionally distant womanizer (as described by others in the film) who’s got a quirky mistress (Florence Pugh) with a Communist past. (Here are Nolan’s first ever sex scenes.) Oppenheimer’s brother is also enamored of the American Communist party. But J Robert resists. Science is his focus. But, of course, the Communist associations will come back to bite him.

With these characters set up, Nolan begins mixing in the exceptional supporting cast beginning with Robert Downey Jr as Lewis Strauss (pronounced Stras, he says) head of the Atomic Energy Commission. Because Downey has been playing Iron Man for a generation no one recalls his Oscar nomination for playing Charlie Chaplin. But Downey is more than up to the challenge with the duplicitous Strauss, whose neck veins are always on the verge of exploding as he navigates his own Washington career at the expense of Oppenheimer. This is Downey’s performance of a lifetime.

There are plenty of other talented people doing exceptional work including Matt Damon, Josh Hartnett, David Krumholtz, Jason Clarke, Tony Goldwyn, Alden Ehrenreich, Kenneth Branagh, Macon Blair, and, inevitably, Gary Oldman as a surprise Harry Truman. Matthias Schweighöfer pops off the screen as German physicist Werner Heisenberg. Rami Malek and Casey Affleck each steal their respective scenes. Matthew Modine brings profoundly weary gravity to his moments. Nolan has rounded up the best people for this ensemble.

The other major player here aside from all these people is composer Ludwig Goransson. As a friend of mine said, this movie scored from wall-to-wall. There is rarely a moment without music underneath the dialogue or soaring through scenes of cosmic explosions. So many scenes are a lot of talk, the delivery of information, that the music is the apple sauce that makes the pill go down. The characters are almost singing the lyrics of how to build a better bomb. It helps that editor Jennifer Lame is cutting to the music, establishing a rhythm like it’s in a top 40 hit. You can almost snap your fingers to her work.

Nolan does play with time. but far more efficiently than in some of his previous more frustrating outings. It’s almost like he picked up a cue from Steven Soderberg. The different time lines are color coded and east to keep track of. This is especially helpful since two of the colliding plots are centered on hearings taking place in small rooms at conference tables. Yet they are distinct and build to dramatic counterpoints.

In the end, though, Nolan has constructed a compelling drama about a man upon whom the world’s fate rests. And when he succeeds at his mission, Oppenheimer is eventually punished for realizing the power of his invention. You’d think the highlight of a movie about the atomic bomb would be the actual explosion. But the mushroom cloud Nolan sets off is really after the climax, as the denouement of the film is almost more gripping because Oppenheimer has been so effectively presented as sympathetic but flawed.

We haven’t had a ‘big’ Best Picture in many years. The trend has been to quieter stuff, like “Nomadland,” “Spotlight,” “Moonllght,” etc. Nolan has the audacity here to address history writ large and ponder the universe, our place in it, and how decisions from 80 years ago have affected our present and future. A lot of people who see “Oppenheimer” may be shocked to discover all this really happened. But it really did, and we have this document to memorialize it.

Hollywood Pariah Mel Gibson Will Make New Film Starring Mark Wahlberg Despite Two Union Strikes Thanks to SAG Waiver

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If you didn’t hate Mel Gibson before, now’s a good time to join in.

Gibson and Lions Gate have gotten a waiver from SAG AFTRA to make a new movie despite two ongoing union strikes.

Gibson, the noted antisemite, racist, and misogynist, will direct “Flight Risk” starring that other man of the people, Mark Wahlberg.

“Flight Risk” sounds a like very important movie. It’s another formula piece of junk with this through line: “An Air Marshal transporting a fugitive across the Alaskan wilderness via a small plane finds herself trapped when she suspects their pilot is not who he says he is.”

Lions Gate is the already signed on distributor. No one has ever accused them of integrity. The production company is Gibson’s Icon.

It will be interesting to see which other actors sign on for this production.

Gibson and Wahlberg previously collaborated on “Father Stu,” which made just $21 million was a disaster. Gibson has been churning out crap for the last four years. He’s appeared in around 15 films since 2019 that have gone straight to video. His last actual hits came 20 years ago, before he was revealed in a DUI arrest to be a virulent antisemite who told a Malibu cop, “The Jews started all the wars,” He called a Black policewoman “Sugar tits,” denied the Holocaust to Diane Sawyer, and never looked back.

What kind of strike is SAG conducting here? This is the kind of movie they’ll allow to be made while their members are on picket lines? Color me confused.

SAG has approved 28 other films, by the way, including two legit ones from A24, one starring Anne Hathaway and the other Paul Rudd. Doesn’t that undermine the whole strike?

Jason Aldean’s Dog Whistle Racist Redneck Video Pulled by CMT, Capitol Records Urged to Drop Him

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This is not about being woke. This is about being racist.

Country singer Jason Aldean’s video called “Try That in a Small Town” has been yanked by Country Music Television.

It should be banned everywhere. Capitol Records, part of Universal Music Group, should drop him. Shame on them for not stopping this before it got out.

No one noticed these racist lyrics when Aldean released the song in May — and that’s his weak defense.

But the video he’s made spells it out. Is he kidding? This is a dog whistle for violence against who isn’t a “good ol’ boy.” Unbelievable. This is a redneck stomp with images that are solely provocative for his based, and frightening for anyone who is vulnerable.

Here are the lyrics. This guy should be shunned everywhere.

Sucker punch somebody on a sidewalk
Carjack an old lady at a red light
Pull a gun on the owner of a liquor store
Ya think it’s cool, well, act a fool if ya like
Cuss out a cop, spit in his face
Stomp on the flag and light it up
Yeah, ya think you’re tough
Well, try that in a small town
See how far ya make it down the road
Around here, we take care of our own
You cross that line, it won’t take long
For you to find out, I recommend you don’t
Try that in a small town
Got a gun that my granddad gave me
They say one day they’re gonna round up
Well, that shit might fly in the city, good luck
Try that in a small town
See how far ya make it down the road
Around here, we take care of our own
You cross that line, it won’t take long
For you to find out, I recommend you don’t
Try that in a small town
Full of good ol’ boys, raised up right
If you’re looking for a fight
Try that in a small town
Try that in a small town
Try that in a small town
See how far ya make it down the road
Around here, we take care of our own
You cross that line, it won’t take long
For you to find out, I recommend you don’t
Try that in a small town

Review: “Barbie” Wins for Best Marketed Film Ever, But Movie Starring Plucky Margot Robbie and Ryan Gosling Is Short on Laughs, Long on Lessons

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“Barbie” is everywhere.

The idea of taking Mattel’s number 1 doll and blanketing the world with her has worked. Greta Gerwig’s movie tie in to a toy has such high awareness that Warner Bros. is confident of making $100 million in the opening weekend.

But so far there have been no actual reviews. The studio has held them until this moment for a good reason. “Barbie” is a complicated release. Despite plucky stars Margot Robbie and Ryan Gosling, and a stylized production design for the ages, the movie itself is a mystery shrouded in a puzzle. Who is this movie for? Beats me.

The movie opens pre-credits with no less than Helen Mirren telling the history of dolls in a Kubrickian send up. Little girls are out on the cliffs playing with old fashioned dolls until — in a sequence set to “Also Sprach Zarathustra” — a towering Barbie appears like the obelisk in “2001: A Space Odyssey.” The girls smash their old dolls violently and embrace Barbie. (The American Girl company may object to this.)

Cut to Barbie Land, all Pepto Bismol pink. All the girls are named Barbie, all the men are Ken except for one, called Alan (Michael Cera), Everything in Barbie Land is fake, and director Gerwig plays it for laughs — especially the mild sex stuff including jokes about having no genitalia, and no idea why Ken wants to spend the night with Barbie. (“We’re boyfriend and girlfriend!” he cries, befuddled.) But the laughs wear thin quickly.

Barbie’s world is turned upside down when she discovers a creeping sense of death and darkness. All of a sudden her world goes wrong: her perfect feet go flat, and she’s askew. She’s sent to see Weird Barbie (Kate McKinnon, in an inspired turn), who says someone is playing with her in the real world who’s got dark thoughts, basically. She says Barbie must cross the line into reality, find that girl, and set her straight. Barbie and Ken set off on their voyage in Barbie’s convertible.

They head straight for Los Angeles and Mattel, “the mothership,” which is run by Will Ferrell. He wants Barbie to get back in a box so she can be shipped back to her imaginary world. She has other ideas.

The fun really stops there. Once this charmingly nitwit duo arrive in Los Angeles, the movie loses its cool groove. Set up as a strangers in a strange land, “Barbie” suddenly become a polemic about “the patriarchy” and endless talk of female empowerment. After Mattel, they find the culprit: America Ferrara, playing a frustrated feminist whose young daughter is giving away her toys a la “Toy Story.” Now Barbie knows why she felt so bad: she’s been rejected.

There’s some wink wink stuff, and breaking of the fourth wall — Mirren’s narration interrupts a scene to point out how beautiful “Margot Robbie” is — but it all starts to sound like noisy feedback. The movie hits a speed bump when America Ferrara (who I always like) delivers a dry filibuster about Women, with a capital W. Robbie kind of stares it her agape throughout. Her thought balloon must be, “I’m glad I didn’t have to say that.”

No one is more invested in this movie than Robbie and Gosling. They are completely committed, which is the only reason why the good parts work at all. They’re very charming. But they can’t overcome the turn in the second hour into preachy politics. Gerwig seems a little lost in this film after being so assured with “Lady Bird” and “Little Women.” I don’t think she is a director for hire. She’s an auteur who’s better than studio assignments. Who is this movie for? Little girls? Young women? If they go for this, I’m happy for them. But “Barbie” is a shiny brightly wrapped gift that loses its luster very quickly. Go for the fun, ignore the rest.

Robert Kennedy Embraces Roseanne Barr’s Favorite Rabbi, Shmuley Boteach, Who Socks Away $600K a Year from Bogus Charity

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Robert Kennedy Jr. is in boiling water over his video in which he declares COVID was designed to spare Ashkenazi Jews and the Chinese. Things are so bad, his sister and nephew have publicly criticized him.

His defense? He’s pals with America’s most self-publicized (and self aggrandizing) rabbi, Shmuley Boteach. He’s Kennedy is posting videos embracing Boteach. Kennedy just doesn’t get it. He’s on the wrong side of every single conversation.

I’ve been writing about Boteach since 2003 when he first emerged as Michael Jackson’s newest religious advisor. I revealed then that Shmuley had been kicked off Oxford University’s campus for financial malfeasance operating a questionable foundation. Then he came back to America and started a similar one with an unwitting Michael Jackson called Heal the Kids. They had a splashy and ridiculous fundraiser at Carnegie Hall. The New York Attorney General finally caught up with them.

This history of Shmuley Boteach in Tablet Magazine is a must read for his checkered past.

 

I last wrote about Boteach in 2018 when Roseanne Barr, who was recently accused like Kennedy of antisemitism, endorsed him during her racist Tweet fiasco. In the last month, Roseanne declared that six million Jews should have been killed in the Holocaust.

Shmuley over the last several years started a new not for profit, a 501 c3 called World Values Network. He and his wife take $600,000 in salary from donations, a little less than half their contributions. They run World Values Network out of their house in New Jersey. World Values Network in 2019, 2018, and 2017 –the last years their filed federal tax returns appear published –had expenses that far exceeded their income. All the expenses listed are personal ones — rent for the phony baloney organization, their own travel, and so on. The IRS lets them get away with it, and always has. They list no charitable donations of any kind. A son-in-law is listed as his Treasurer.

I started writing about Boteach in 2001 on Foxnews.com. Here’s what I wrote then. Nothing has changed except the victims.

In May 2001, this column discovered quite a lot about the so-called Oxford L’Chaim Society of New York, which has nothing whatsoever to do with Oxford University in Great Britain.

I wrote: “In 1999, the British government criticized (Boteach’s) L’Chaim Society of Oxford, London and Cambridge — an organization that was supposed to support and promote Jewish thinking and life on the Oxford campus — when they discovered that Shmuley (his name is Shmuel but he loves the nickname) had been dipping into the funds.

In an e-mail to the Oxford Union, Sonia Tugwell of the Charity Commission wrote on January 8, 2001: “In August 1999, the Charity Commission opened an inquiry under section 8 of the Charities Act 1993 into the L’Chaim Independent Charitable Trust as a result of concerns that the charity’s funds were being misapplied.

“The inquiry established that a number of apparent inappropriate payments were regularly being made by the founder of the charity, Rabbi Boteach and his wife. Fundraising costs and administrative expenses were high in relation to relatively low charitable expenditure.

“As a result of the inquiry, in March last year, the trustees of the charity, after taking appropriate legal advice, reached an agreement with the Boteaches. The result of this was that a sum was paid by them to the charity. The trustees of the charity decided to wind up the charity and the London and Oxford offices were closed last year with our approval. It was agreed that the assets of the Cambridge Society would be transferred to another trust. If there are any funds remaining after outstanding liabilities have been paid, these will be given to other charitable causes similar to those supported by the L’Chaim Independent Charitable Trust.”

An article dated June 1, 1998, in the London Daily Telegraph clearly states: “Ah Shmuley. The shame, the disgrace. (He’s been) publicly reproached by Elkin Levy, president of the United Synagogues; forced to resign from the synagogue in Willesden where he preaches, accused of conduct unbecoming, bringing the rabbinate into disrepute.” The resignation was apparently in response to the publication of Boteach’s controversial book, “Kosher Sex,” which has been a bestseller and was excerpted in Playbo y.

“It seems funny to me,” said a source at the Oxford Union, “that the headquarters for the L’Chaim Society of Oxford is in New York.”

Frustrated by the lack of information from Boteach’s office, I subsequently wrote another story on Feb. 18, 2002, stating that Boteach’s tax-free foundation in the United States is alled Oxford L’Chaim Society, implying a tie to the prestigious British university.

I also wrote that the L’Chaim Society’s 1999 public tax filing shows that the charity took in $300,000. Of that amount, $160,000 went to “management” and $122,000 was sent as a lump-sum donation to the L’Chaim Society of Cambridge, the other top British university.

But, of course, representatives of the Cambridge Society swore to me last year that they hadn’t heard from Boteach in a long time. Certainly they didn’t mention a huge donation, and neither did Boteach.

Even so, more than half the money collected by Boteach in 1999 went to salaries. Less than half was donated to charity. Just in case you were wondering.

The insinuation by @nypost and others that, as as result of my quoting a peer-reviewed paper on bio-weapons, I am somehow antisemitic, is a disgusting fabrication. I understand the emotional pain that these inaccurate distortions and fabrications have caused to many Jews who… pic.twitter.com/QY4BSNuP4v

British Film Academy Adds Special Slots for Non Binary Directors for 2024 BAFTA Long List

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Well, this is life in 2023. BAFTA, the British Academy, is adding special slots to their longlists for no binary directors.

Now there will be male, female, and non binary. This is in addition to considering genderless categories. It would seem non binary players will get slots soon in the acting categories.

Here’s the statement:

“BAFTA’s 2020 Review included a positive intervention for female directors submitting into the BAFTA Film Awards Director category, allowing for a 50:50 gender split for male and female directors in the longlisting stage (16 in total). This has had a very positive effect on the number of female directors nominated and winning in this category compared with the years prior to the Review. This intervention is now being evolved to include directors who identify as non-binary.

“For 2024, the top female, male and directors who identify as non-binary will be longlisted to a maximum of 17, with gender parity between male and female directors upheld. In the nominating round, the number of nominated directors will remain at six.”