What Happens to ‘Project Runway’ and Other Weinstein TV Projects in Bankruptcy?


Now that The Weinstein Company’s has filed for bankruptcy, what will become of the series produced by Harvey and Bob Weinstein’s once-thriving TV division?
Before the sexual harassment scandal that forced CEO Harvey Weinstein from the company in disgrace, the New York-based studio had a diverse array of shows on the air and in development. But networks have since scrambled to cut ties with the tarnished company, leaving little on the line as the company seeks protection from creditors under Section 363 of the U.S. Bankruptcy Code.
For starters, the Weinstein Company was a passive producer on History’s “Six,” which is set to return unaffected for Season 2 on Memorial Day 2018. The Navy SEAL story, which recruited Olivia Munn for its sophomore run, was produced in-house at A+E Studios. In other words, a TWC bankruptcy won’t change a thing for Barry Sloane and the boys.
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The situation is much more serious for “Project Runway,” which is pretty much TWC’s crown jewel of its dwindling TV business.
“Project Runway: All Stars” is currently airing original episodes, and there’s another upcoming season already in the can — both were shot before all of the sexual assault and misconduct allegations against Weinstein became public. The two runs also still star Harvey’s estranged wife, fashion designer Georgina Chapman, who judges on the second-chance series.
As for regular “Project Runway,” shooting any additional seasons is very much up in the air. The show would typically start casting a few months from now, but the series’ future hangs in the balance because of TWC’s financial and PR problems. Everyone at the A+E-owned Lifetime is pretty much just waiting to see what happens with the bankruptcy process.
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In other words, the Harvey mess could very much kill the flagship show before another Fashion Week, even though the disgraced mogul wasn’t hands-on (for once). TWC executives Barbara Schneeweiss and Patrick Reardon were the ones who ran “Runway,” but they are sidelined until there’s more resolution about the company’s future.
Other networks have already taken steps to distance themselves from the embattled studio.
Viacom relaunched Paramount Network relaunched in January with the Michael Shannon limited series “Waco” — which was developed and produced by TWC — and it has another new TWC-produced series, the upcoming Kevin Costner drama “Yellowstone,” due to debut in June.
However, the network has since cut ties with the production house altogether, scrubbing Harvey Weinstein and TWC from the credits of both shows.
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Paramount Network president Kevin Kay has previously suggested that a reconstituted TWC could regain its onscreen credit over time — but that presupposed that either show would actually be renewed.
Amazon Studios also had two high-profile projects in the works with Weinstein at the time of the initial scandal — an untitled drama from David O. Russell with Robert De Niro and Julianne Moore attached to star, as well as “The Romanoffs” from “Mad Men” creator Matthew Weiner.
The Russell project, which had been given a two-season order, was scrapped entirely in October (earning TWC a $2 million lawsuit from the show’s producers), while Amazon took over full control of “The Romanoffs,” which will hit the streaming service later this year without any involvement from TWC.
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The Weinstein Company also still has a credit on the MTV adaptation of the horror franchise “Scream.” Though it’s been well over a year since the series last aired, the network does have a third season of the series that has yet to be scheduled.
Produced by TWC’s genre label Dimension TV in conjunction with Queen Latifah’s Flaver Unit Entertainment, the entire six-episode season has been shot and will air regardless of TWC’s future.
Oh, and if you were wondering about the TWC-produced VH1 reality series “Mob Wives,” yeah, that show sleeps with the fishes.

Indie mogul Harvey Weinstein, who was fired last October from his position of co-CEO of The Weinstein Company, revolutionized the Oscar race both at TWC and his previous company, Miramax.

Harvey Weinstein first got into the Oscar race in a big way in 1990 with a “guerilla” campaign for the art-house drama “My Left Foot” by setting up meet-and-greets between Academy members and film talent. The result? Oscar wins for stars Daniel Day Lewis and Brenda Fricker.

In 1995, Weinstein mounted a surprisingly aggressive campaign for upstart director Quentin Tarantino’s ultraviolent “Pulp Fiction” — helping to redefine what sorts of movies could appeal to the Academy. Tarantino shared a screenplay Oscar with Roger Avary.

Miramax snagged its first Best Picture victory for 1996’s “The English Patient” — which earned a total of nine awards, including for director Anthony Minghella and lead actress Juliette Binoche.

Weinstein built an awareness campaign for the then-unknown Billy Bob Thornton for 1996’s “Sling Blade” — which yielded an Oscar for his adapted screenplay and a nomination for Best Actor.

Miramax pulled off a double coup with 1997’s “Good Will Hunting,” delivering Robin Williams his long-awaited first Oscar and a rare screenplay prize for two twentysomething newbies, Ben Affleck and Matt Damon.

One year later, Miramax pulled out all the stops after landing two Best Picture nominations, including for the Italian-language drama “Life Is Beautiful.” According to Peter Biskind’s book “Down and Dirty Pictures,” star-auteur Roberto Begnini “moved into L.A. for a month during the peak of the voting period.” The film came away with three Oscars, including Best Actor.

That year, Miramax pulled off a bigger upset when “Shakespeare in Love” seized Best Picture over Steven Spielberg’s heavily favored “Saving Private Ryan.” “Shakespeare” won a total of seven Academy Awards, including for actresses Gwyneth Paltrow and Judi Dench.

Miramax surprised many by landing yet another Best Picture nomination for the 2000 Juliette Binoche-Johnny Depp bonbon “Chocolat.”

In 2003, the Weinsteins had a hand in four of the five Best Picture nominees: “Chicago,” “The Hours,” “Gangs of New York” and “The Lord of the Rings: The Two Towers” (on which they had producer credits). “Chicago” won the top prize — as well as five others.

In 2004, Miramax took advantage of a careful reading of Academy rules and scored four nominations for the Brazilian inner-city drama “City of God” — even though the film had failed to land a Best Foreign Language film nomination the previous year.

The Weinsteins exited Disney-owned Miramax and founded their own company in 2005 — and got right back in the Oscar race with two nominations for one of their first releases, the Felicity Huffman vehicle “Transamerica.”

By 2009, The Weinstein Company landed its first Best Picture contender with “The Reader” — and also snagged Kate Winslet her first Oscar as Best Actress in a role that many thought was more of a supporting part.

Two years later, TWC scored its first Best Picture win for “The King’s Speech” — as well as three other awards, including Best Actor for Colin Firth.

The following year, Weinstein pulled off another coup: landing five Oscars, including Best Picture for the mostly silent, black-and-white ode to Old Hollywood, “The Artist.”

In 2013, TWC again had two horses in the Best Picture race: Quentin Tarantino’s “Django Unchained” and “Silver Linings Playbook” — which landed Jennifer Lawrence the prize for Best Actress.

Last year, Weinstein successfully landed six nominations — including Best Picture — for Garth Davis’ tear-jerker “Lion.” But just as Open Road won the top prize in 2016 for “Spotlight,” another upstart, A24, used a lot of Harvey touches to score the indie “Moonlight” a Best Picture win.

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This is the first Oscar season in decades without the disgraced mogul who challenged the major studios and changed the game at the Academy

Indie mogul Harvey Weinstein, who was fired last October from his position of co-CEO of The Weinstein Company, revolutionized the Oscar race both at TWC and his previous company, Miramax.

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