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Your Daily Edition January 27, 2020

Daily Edition

“I Was Mortified”: Key Witness Testifies That Harvey Weinstein Sexually Assaulted Her

Miriam Haley took the stand on Monday morning to tell her story of being sexually assaulted by Harvey Weinstein in 2006.

Harvey Weinstein’s fate in New York County hinges largely on whether the 12 men and women of the jury believe that he sexually assaulted two particular individuals.

One of those individuals, a former production assistant named Miriam “Mimi” Haley, took the stand on Monday morning to tell her story of being sexually assaulted by Weinstein in 2006.

Haley first met Weinstein in 2004 at an afterparty for The Aviator, later running into him at the Cannes Film Festival in 2006, after her boss, British producer Michael White, had become sick.

At Cannes, she asked Weinstein about working on one of his productions in New York City, and was later given a gig as a production assistant on Project Runway.

It was in New York, at Weinstein’s apartment in SoHo, when Haley says that he orally sexually assaulted her.

At first, she said, Weinstein was “friendly, normal” and welcomed her to the loft apartment, asking her if she wanted something to drink. They sat on opposite ends of a sofa.

"At some point, he came toward me and lunged at me, trying to kiss me,” Haley told the jurors. “I got up from the sofa and I said, ‘Oh, no.’ I kind of rejected him and pushed him away and he just came back and kept kissing me and fondling me. I got up and tried to walk away from him, but he pulled me toward him. He was kind of walking toward me and I was walking backward trying to get away. … I was backed into a bedroom that was on the corner of that open space area, through the door. I walked backward because he was pushing me with his body until I got to the bed and I fell backward onto the bed, and I tried to get up and he pushed me down."

Haley continued: “I rejected him, but he insisted. Every time I tried to get off the bed, he would push me back and hold me down. He pushed me down, he held me down by my arms. At that point, I started realizing what was actually happening.”

She considered her options for escape, but “ultimately, after a while, I checked out. … He forced himself on me orally. I was on my period. I had a tampon on in there. I was mortified. I was just crying, ’no.’ I kept trying to tell him, ‘No, don’t go there.’ … I was in such shock that I just checked out.”

Haley said there were children’s drawings on the wall of the room in which she was assaulted. “Every time I tried to get up, he would push me back down,” she said. “I was trying to get away until I figured it was pointless.”

After the alleged assault, Haley said she told a roommate about what happened but did not call the police. “I thought about my options, but I decided that going to the police was not an option for me,” she said. “Obviously Mr. Weinstein has a lot more power and resources and connections. I didn’t think I would really stand a chance.”

Approximately two weeks later, on July 26, 2006, Haley met Weinstein at the TriBeCa Grand Hotel. “I feel like I was trying to regain some sort of power or something,” she said.

She was sent upstairs to Weinstein’s room. “Almost instantly, he just took my hand and pulled me toward the bed,” Haley said on Monday, beginning to cry. “I just laid there. He had intercourse with me. … I was laying there motionless. I felt numb.” (Weinstein called her “a whore and a bitch,” she said.)

“The first incident was deeply embarrassing, but I didn’t blame myself,” Haley said. “The second time, I hadn’t struggled enough.” (The second alleged assault is not part of the indictment.)

Asked by assistant district attorney Meghan Hast how she dealt with the alleged assaults, Haley said: “Honestly, I didn’t know how to deal with it, so I just put it in a box and carried on as usual.”

She decided to continue having a professional relationship with Weinstein, and continued to communicate with him regarding work opportunities. Haley later met with him in London to pitch him an idea she had and, a few years later, emailed him to say that she was becoming a yoga teacher.

After Haley’s prosecution testimony concluded, she was cross-examined by defense attorney Damon Cheronis, who pointed out that Haley saw Weinstein at Cannes in 2008, two years after the alleged assaults. She called him that same year and signed a 2008 email to Weinstein, “Lots of Love, Miriam.”

“When you saw him in Cannes, you didn’t walk away from him in the other direction, did you?” Cheronis asked her.

Weinstein’s lawyer focused in on the fact that Haley crossed off parts of multiple May 2006 calendar entries mentioning her contact with the defendant. “Why would you cross off Harvey’s assistant off there?” he asked.

Cheronis also focused on a July 2006 cross-off that he said obscured an entry that contained contact information for Weinstein’s assistant.

“I scribbled over a lot of things,” Haley said later in her testimony. When questioned by the prosecution, she said she never crossed out anything “to hide what was written.”

While Haley said she “didn’t recall” whether she had contact with Weinstein while she visited California in July 2006, her calendar included an entry for “HW 5 p.m.,” which suggested that she met or talked to him on the trip, which immediately followed the alleged sexual assault. She clarified later that she did not see him.

In an entry for the three days in late July 2006 that followed an undesired sexual encounter with Weinstein, Haley had drawn hearts on her calendar. (The hearts were “certainly not” related to Weinstein, she said later.)

Another calendar entry, Cheronis said, related to Weinstein giving her tickets to fly to London. “You know that Harvey Weinstein paid for that ticket, right?” Cheronis asked. “I know that now, yes,” she replied. A related entry regarding a Weinstein aide, “Call Dan to see if I can go,” was completely crossed out. (Haley flew to London on Aug. 2, 2006.)

An early September 2006 email from Haley to a Weinstein assistant, highlighted for the jury, showed that Haley said she was “totally bummed” to miss him.

Haley later met with Weinstein in London to share an idea she had for an online show called Trash TV. “I thought he was a successful producer who knew a lot,” Haley explained, and she said she didn’t fear him at the time of the meeting: “He wasn’t pursuing me in that manner anymore, so I thought I was safe after that.”

At the Cannes Film Festival in 2007, Haley received tickets from Weinstein. She reached out to Weinstein in February 2009 via email, telling him that she planned to become a yoga teacher and adding, “I just wanted to announce myself available for work if you have happen to, by any chance, have anything shooting in London. I’ll be a runner, whatever. I’d really appreciate any leads. My cat needs feeding!”

Haley sent “maybe a couple” scripts penned by her friends to Weinstein over the years, she said.

Summing up their relationship for the jury, Cheronis argued that Weinstein was “useful” for Haley. “You wanted a connection with Mr. Weinstein to help your career,” he said. “The truth of the matter is that you had a consensual relationship with Mr. Weinstein. The truth is that you had a friendship with Mr. Weinstein.”

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Sundance: Hulu and Neon Nab Andy Samberg Comedy ‘Palm Springs’ for Record-Breaking Sum

Neon and Hulu have landed worldwide rights to the Andy Samberg-fronted comedy 'Palm Springs.'

Neon and Hulu have landed worldwide rights to the Andy Samberg-fronted comedy Palm Springs.

UTA Independent Film Group brokered the $17,500,000.69 deal, the companies announced Monday. That figure breaks a record for the biggest sale ever at the Sundance Film Festival by 69 cents: The mark was previously held by 2016's The Birth of a Nation, which was bought for $17.5 million.

“We spent over 85 million dollars of our own money on this movie, we are taking a bath on this deal. We hope Neon and Hulu are happy but we definitely have a lot of explaining to do to our families,” producers Party Over Here (comprised of Samberg, Akiva Schaffer, Jorma Taccone and Becky Sloviter) said in a statement.

In the movie, Saturday Night Live alum Samberg plays wedding guest Nyles, who befriends reluctant maid of honor Sarah (Cristin Milioti). After their impromptu tryst is thwarted by a surreal, unexpected interruption, Sarah joins the nihilistic Nyles in embracing the idea that nothing really matters and they begin wreaking spirited havoc on the wedding celebration.

The U.S. Competition title was directed by Max Barbakow from a script by Andy Siara (Lodge 49). J.K. Simmons, Meredith Hagner, Camila Mendes and Peter Gallagher also star.

Samberg produced the film with his Lonely Island cohorts Schaffer and Taccone. Sloviter also produced, along with Dylan Sellers and Chris Parker via their Limelight Entertainment banner, which also financed. Alex Dong and Gabriela Revilla Lugo executive produced.

In 2017, Hulu inked an output deal with Neon, where titles from the indie distributor would become available to stream exclusively on the service following a theatrical release. Last year, the two companies teamed up to acquire the Sundance title Little Monsters, starring Lupita Nyong'o and Josh Gad.

Palm Springs is the latest in a string of Sundance deals to be brokered as the first weekend of the fest came to a close. Other pickups include the Cold War drama Ironbark landing at Lionsgate, Searchlight Pictures grabbing the thriller The Night House and Amazon nabbing the Irish drama Herself and Alan Ball's Uncle Frank

Jan. 27, 9:48 p.m. Updated with Neon and Hulu's announcement of the purchase.

Sundance: Apple, A24 Nab Hot Doc ‘Boys State’ for Record-Breaking $12M (Exclusive)

Apple and A24 have acquired worldwide rights to the documentary 'Boys State,' a political coming-of-age story which examines the health of American democracy. Sources pegged the deal at $12 million.

Apple and A24 have acquired worldwide rights to the documentary Boys State, a political coming-of-age story which examines the health of American democracy. A source pegged the deal at $12 million, which marks the largest sale for a documentary ever at a festival. A24 will release the film theatrically.

The previous record for the largest documentary sale at Sundance was 2019's Knock Down the House, which sold for $10 million. Sources say Netflix and Hulu were also bidding at $12 million.

Directed by Jesse Moss and Amanda McBaine, the film rode into the Sundance Film Festival with the buzz of being this year's American Factory. Boys State chronicles an unusual experiment: 1,000 17-year-old boys from across the state of Texas gather together to build a representative government from the ground up. High-minded ideals collide with low-down dirty tricks as four boys of diverse backgrounds and political views navigate the challenges of organizing political parties, shaping consensus and campaigning for the highest office at Texas Boys State — governor.

Boys State made its world premiere on Friday at the Library Center Theatre in Park City to sustained standing ovations and drew strong reviews. It is screening in the Sundance fest’s U.S. Documentary Competition.

Concordia Studio's Laurene Powell Jobs, Davis Guggenheim, Jonathan Silberberg and Nicole Stott served as executive producers on the pic. The deal marks the first for the newly announced company.

Submarine negotiated on behalf of the filmmakers. It also handled the deal for last year's American Factory, the first film from Barack and Michelle Obama's production company Higher Ground Productions that landed at Netflix and eventually scored an Oscar nomination.

“It’s been an incredible experience watching audiences fall in love with Boys State at Sundance," Moss and McBaine said Monday in a statement. "Along with Concordia Studio, we are thrilled to partner with two incredible companies, Apple and A24, that will help bring Boys State to audiences all over the world.”

The pic joins Apple’s original feature film slate, which includes two other efforts from the company’s partnership with A24: Sofia Coppola's On the Rocks and Josephine Decker's The Sky Is Everywhere. Boys State is a Concordia Studio Presentation of a Mile End Films Production.

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Jan. 27, 9:55 p.m. Updated to reflect the final price, $12 million.

New ‘Transformers’ Movies in the Works With ‘Zodiac,’ ‘Army of the Dead’ Writers

Paramount and Hasbro are rebuilding 'Transformers,' hiring not one but two writers to pen scripts for the multibillion-dollar film franchise.

Paramount and Hasbro are rebuilding Transformers, hiring not one but two writers to pen scripts for the multibillion-dollar film franchise.

Joby Harold, who co-wrote the upcoming Zack Snyder zombie movie Army of the Dead, and James Vanderbilt, perhaps best known for writing David Fincher’s Zodiac, have been tapped to pen separate scripts as the companies pursue concurrent development.

The move comes over a year since the December 2018 release of the last Transformers-related pic, Bumblebee. That outing, a 1980s-set spinoff focusing on one of most popular characters, was the most critically acclaimed Transformers movie, although it generated the least of the entries ($468 million worldwide).

The film series — which launched with 2007's Transformers, starring Shia LaBeouf and Megan Fox and directed by Michael Bay — hit box office highs with 2011’s Dark of the Moon and 2014’s Age of Extinction, both of which made over $1.1 billion.

Takes on the direction of the new projects were not revealed, but Paramount and Hasbro see the hires as giving the franchise a chance to build out multiple arcs and to also expand the Transformers universe. The toy brand's underlying storyline is the seemingly never-ending battle between the good robots-who-can-turn-into-cars, Autobots, and the wicked robots-who-can-turn-into-military-hardware, Decepticons.

Harold wrote Guy Ritchie’s King Arthur: Legend of the Sword and worked on John Wick: Chapter 2 and John Wick: Chapter 3 – Parabellum. He is repped by Kaplan/Perrone Entertainment and Goodman Schenkman.

Vanderbilt’s most recent credit was Netflix’s Adam Sandler hit Murder Mystery. He also co-wrote the Andrew Garfield-starring Amazing Spider-Man movies and penned and directed the newsroom drama Truth starring Cate Blanchett and Robert Redford. Vanderbilt is repped by UFUSE Management and McKuin Frankel.

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TV Ratings: Grammys Fall a Little, Reach 12-Year Low in Viewers

As they usually do, the Grammy Awards ruled Sunday's ratings — although they were down a little year-over-year.

As they usually do, the Grammy Awards ruled Sunday's ratings — although they were down a little year-over-year.

The 62nd annual awards ceremony, airing on its earliest date since 2013, drew 18.7 million viewers and a 5.4 rating among adults 18-49 in time zone-adjusted ratings. Those numbers are down about 5 percent in viewers and 4 percent in the 18-49 demo from the 2019 kudocast.

Last year's ceremony ended up with 19.88 million viewers and a 5.6 in the 18-49 demographic.

The small downturn for the Grammys mirrors that of NBC's Golden Globes broadcast in January: It was down by a slight 2 percent in viewers and 10 percent in adults 18-49.

Sunday's Grammys broadcast delivered the show's smallest audience since 2008 (17.18 million viewers) and its lowest 18-49 rating ever. The all-time low in viewers came in 2006, when 17 million people tuned in. Despite the declines, the Grammy broadcast is the most-watched entertainment program of the 2019-20 season so far and the highest-rated among adults 18-49, beating the Globes in both instances (18.33 million, 4.7).

Only a handful of first-run shows aired opposite the Grammys. An ABC News special on the death of NBA legend Kobe Bryant drew 2.46 million viewers and a 0.5 rating in the 18-49 demographic. NBC's American Ninja Warrior: USA vs. the World averaged 2.16 million viewers and a 0.4 in adults 18-49. And The CW's Batwoman and Supergirl (both 0.2 in the demo) were both steady.

CBS easily led Sunday's 18-49 rankings with a 4.1 rating, pending updates. ABC finished second with a 0.7. NBC and Telemundo tied for third place with 0.4. Fox and Univision also tied, with 0.3, and The CW trailed with a 0.2.

Bookmark THR.com/Ratings for more ratings news and numbers.

Jan. 27, 1:15 p.m. Updated with time zone-adjusted ratings.

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Queen Latifah-Led ‘Equalizer’ Reboot Nabs CBS Pilot Pickup

CBS on Monday handed out a formal pilot pickup to its reboot of the classic series 'The Equalizer.'

CBS is moving forward with The Equalizer. 

The network on Monday handed out a formal pilot pickup to its reboot of the classic series.

First put into development in November with a sizable pilot-production commitment, The Equalizer is described as a reimagining of the 1980s show, with Queen Latifah attached to portray an enigmatic figure who uses her extensive skills to help those with nowhere else to turn. (Latifah will take on the role that was originally played by Edward Woodward on the CBS drama that ran for four seasons in the mid- to late-1980s. The Equalizer also was rebooted as two feature films with Denzel Washington in 2014 and 2018.)

The new CBS take is written by Castle creators Andrew Marlowe and Terri Miller, with Latifah also attached as an executive producer though her Flavor Unit banner. The potential series is a co-production between CBS TV Studios and Universal Television. The Blacklist duo John Fox and John Davis, via Davis Entertainment, will also exec produce. Original Equalizer co-creator Richard Lindheim is also on board as an EP alongside Debra Martin Chase and her production company. Flavor Unit's Shakim Compere will also oversee for the company.

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The Equalizer is CBS' second drama order of the young pilot season and joins the Silence of the Lambs sequel Clarice, with the latter receiving a hefty series commitment earlier this month.

It is also the second pilot order of the season for Harriet producer Martin Chase, who also exec produces the NBC drama At That Age. The latter, an exploration of a black family's legacy, has an entirely African-American team writing and producing the project. The Equalizer is also the third pilot order for Davis Entertainment, joining ABC's Rebel and NBC's high-concept procedural Echo.

For Marlowe and Miller, The Equalizer would be their second follow-up series to their Nathan Fillion-led ABC procedural Castle. The duo also created ABC's short-lived summer drama Take Two.

Should The Equalizer go to series, it would be the latest reboot to join a CBS schedule that currently features Hawaii Five-0, MacGyver, Magnum P.I., SEAL Team and SWAT.

Keep track of all of this season's pilot orders with THR's handy guide.

‘Crazy Ex-Girlfriend’ Co-Creator Moves Overall Deal to ABC Studios

Former 'Crazy Ex-Girlfriend' showrunner Aline Brosh McKenna has departed her longtime home at CBS TV Studios and signed a three-year pod deal with Disney-owned ABC Studios.

Aline Brosh McKenna is on the move.

The former Crazy Ex-Girlfriend showrunner has departed her longtime home at CBS TV Studios and signed a three-year pod deal with Disney-owned ABC Studios. As part of the deal, Brosh McKenna's newly launched production company, Lean Machine, will create and develop new projects for all platforms for ABC Studios.

The first project in development from Lean Machine has also been set up at Hulu, with the comedy Hit in the works for the Disney-backed streaming platform. That effort has director Jennifer Kaytin Robinson (Sweet/Vicious) attached. Emily Rasenick serves as director of development for Lean Machine.

"I am so excited to be partnering with ABC Studios," Brosh McKenna said Monday in a statement. “Dana [Walden], Jonnie [Davis] and the whole development team have so much passion for creating unique, quality television. I’m thrilled for the chance to continue working on projects I love. I hope Lean Machine will be a home for material that is character-driven, inclusive, human and which puts writers and writing at the center of the creative process."

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In addition to serving as showrunner on all four seasons of The CW's critical darling Crazy Ex-Girlfriend — which Brosh McKenna co-created alongside Rachel Bloom — her feature credits include The Devil Wears Prada, 27 Dresses, Morning Glory and We Bought a Zoo. With Lean Machine, she will create and develop new projects as well as partner with other creators.

"Aline’s film and TV work is truly unique and exceptional," said ABC Studios president Davis. "Anyone who can write for Meryl Streep and Rachel Bloom is someone we want to be in business with, and we can’t wait to see what Aline and Emily have in store for us."

Brosh McKenna is the latest creator to move their overall deal to ABC Studios. She joins John Legend, Schitt's Creek creator Dan Levy and Little Fires Everywhere showrunner Liz Tigelaar, among others. The pact arrives as Disney is looking for top producers who can juggle multiple projects for a variety of platforms that feed into family-friendly and female-driven programming.

To that end, Lean Machine's first project — Hit — is co-written and executive produced by Brosh McKenna and Crazy Ex-Girlfriend scribe Alden Derck. Robinson will exec produce and direct, should the script move to pilot. Hit revolves around a young pop star, struggling to write her debut album, who gets stuck in a songwriting boot camp organized by the anxious execs at her record label. Lean Machine's Rasenick most recently was a creative executive at Footprint Features (When We First Met), where she worked after receiving her Master of Fine Arts from USC’s Peter Stark Producing Program.

Brosh McKenna is repped by attorney Ken Richman.

Netflix Inks Overall Deal With ‘Big Mouth’ Animation Studio

Netflix is investing further in the adult animation genre. The streamer, which launched its own in-house studio in 2018, on Monday announced that it has signed an overall deal with Titmouse, the animation company behind its hit comedy 'Big Mouth.'

Netflix is investing further in the adult animation genre.

The streaming giant, which launched its own in-house studio in 2018, on Monday announced that it has signed an overall deal with Titmouse, the animation company behind its hit comedy Big Mouth.

Under the terms of the multiyear agreement, Titmouse will produce original adult animated series for Netflix, which will also have a first-look option on all adult animated series that will be created and developed by the company.

The pact extends Netflix's relationship with Titmouse, which in addition to doing the animation for Big Mouth — created by Nick Kroll, Andrew Goldberg, Mark Levin and Jennifer Flackett — also serves in the same capacity on the streamer's forthcoming comedy The Midnight Gospel, which was created by Pendleton Ward and Duncan Trussell.

The adult animation space has been booming in the Peak TV era, where comedies like Adult Swim's Rick and Morty and Fox's Bob's Burgers and Family Guy are routinely among the most-watched licensed fare. Originals, too, have become breakout hits (see Netflix's fellow critical darling BoJack Horseman). Animated fare is significantly less expensive to produce than live-action scripted originals and, in success, can become multibillion-dollar empires that include merchandising, video games and more.

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With Titmouse, Netflix bolsters its own in-house animation studio with a second company to do physical animation at a time when it continues to invest in the space. Big Mouth was renewed last year for three additional seasons (through 2022), and the streamer also has new adult animated series on the way including Hoops, Inside Job, The Liberator, Titmouse's Midnight Gospel and Q Force, among others.

"Titmouse has been at the forefront of the evolving animation industry and is the creative force behind an impressive variety of projects, including our very own Big Mouth and The Midnight Gospel,” Mike Moon, head of adult animation for Netflix, said in a statement. “We’re thrilled to expand our collaboration with Chris, Shannon, and the entire team at Titmouse as we continue to develop and produce bold original animation together." 

Titmouse was founded in 2000 by Chris Prynoski and his wife and producing partner, Shannon Prynoski. Chris Prynoski started his career as an animator on the MTV hits Daria and Beavis and Butthead and the latter's subsequent movie. The studio's credits include Adult Swim hits like The Venture Bros. and Disney XD's Motorcity, among others. The indie company has offices in Los Angeles, New York and Vancouver and features a staff of 700 writers, producers, directors, storyboard artists, animators, composers, editors and artists.

"When Netflix asked if we wanted to go steady, we were thrilled," said Titmouse president and founder Chris Prynoski. "When we asked if it could be an open relationship, they said, ‘Yeah, of course. It’s the 21st century, kid. That’s the only way we’ll have it.’ Now we are friends with benefits and I couldn’t be more stoked. This new and exciting relationship will help quench our relentless thirst for producing animated cartoons. Excuse me, I’m gonna go carve NF+TM on a tree now."

Netflix launched its own in-house animation studio in 2018 in a bid to better monetize what can be hugely lucrative programming. As it has with live-action scripted efforts, the streamer will scale back on outsourcing the costly process to animation companies like Bento Box, which is handling animation on its comedy Hoops. Netflix's studio, say sources, will animate kids programming, originals and films, working with writers including Alex Hirsch (Gravity Falls) and Shion Takeuchi (Disenchantment) to create new projects.

The Titmouse deal follows news in August that Fox Corp. had purchased Bento Box, the animation studio behind its hit comedy Bob's Burgers and new comedies The Great North and Duncanville.

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Starz Programming Chief Exits

Starz continues to clean its executive house: Nearly a year after CEO Chris Albrecht was forced out amid a power struggle with new owner Lionsgate, Starz programming president Carmi Zlotnik is exiting as the premium cable network's roster of executives left from its previous regime dwindles.

Starz continues to clean its executive house.

Nearly a year after CEO Chris Albrecht was forced out amid a power struggle with new owner Lionsgate, Starz programming president Carmi Zlotnik is exiting as the premium cable network's roster of executives left from its previous regime dwindles.

Zlotnik, who presented Starz's originals Hightown, Outlander and Vida to reporters earlier this month at the Television Critics Association's winter press tour, will step down from his position after a decade with the cabler. He will remain on board through the end of the month and consult while helping Starz with the transition. Zlotnik does not yet have a new role lined up.

“Carmi’s track record speaks for itself. He has been a valued member of the Starz team for nearly a decade, helping to build the Starz original programming team and strategy from the ground up while also serving as a great creative partner, mentor and friend to so many. We remain grateful to Carmi for his contributions and commitment to Starz throughout his time here and wish him continued success in his next chapter,” Starz president and CEO Jeffrey Hirsch said Monday in a statement.

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Zlotnik's departure leaves Starz without a senior creative executive. Hirsch — who previously served as Starz's COO — was tapped to serve as Albrecht's interim replacement nearly a year ago. Hirsch was formally given Albrecht's president and CEO title in September. Under his purview, a number of execs from Albrecht's regime departed. Among them was rising star Marta Fernandez, who served as executive vp originals and had been with the cabler for 12 years when she stepped down last May — a mere five months after she was promoted to the position. 

Under HIrsch, Starz is more closely aligning itself with parent company Lionsgate. Nearly all of its scripted originals are now produced in-house by Lionsgate TV, with more in the works from the studio including offshoots of its well-known IP like Weeds and Blindspotting. Hirsch's mandate, as he explained to critics in his first TCA appearance since taking over the network, is to focus on what he called "premium female." He is looking for period dramas that resonate with the upscale and older female viewers who are drawn to the Starz hit Outlander.

For his part, Zlotnik spent a decade with Starz and helped launch many of the premium cable network's most beloved originals including the mega-hit Power, Outlander, American Gods, Vida, The Girlfriend Experience, The White Queen, Black Sails, Magic City, Spartacus and the upcoming Hightown and Power spinoffs. Albrecht brought in Zlotnik to Starz after the former arrived at HBO, reuniting the execs who together helped develop shows including Band of Brothers, The Sopranos, The Wire, Sex and the City, Six Feet Under and many others.