Real Screen announced news of Abdi's latest project with World of Wonder, an adaptation of the documentary OUT OF IRAQ. Read the complete piece here, or below: Fenton Bailey and Randy Barbato‘s prodco World of Wonder is slated to adapt the Emmy Award-winning documentary Out of Iraq into a scripted film. Co-directed by Academy- and Emmy Award-winner Eva Orner and Chris McKim, the doc follows the story of two Iraqi men – Nayyef, a U.S. translator, and B’too, an Iraqi soldier – who fall in love and flee Iraq after one of them becomes the target of an honor killing. World of Wonder served as producers on the award-winning doc. The documentary originally aired on LGBT-focused net Logo, and was feted with the 2017 Outstanding Special Class Special Emmy. Attached to pen the fictional script is Water’s
Awards Daily interviewed Abdi about Menendez: Blood Brothers. Click here for the full interview. An excerpt:
This is the first time you’ve tackled crime, what made you want to explore this genre?I was in high school when the Menendez trials happened, and we were all really fascinated by it. So much so that I remember having a party when Menendez: A Killing in Beverly Hills aired. Everyone came in tennis clothes. That was a long time ago. Now, as a writer, I think what true crime gives us is a lens through which we can to look at social issues. When I got the chance to write this movie, what I was so taken by is how much of the story I missed back then because it was so easy to get lost in the narrative of spoiled rich kids who murdered their parents. Looking at it now as an adult and through
The WOW Report has a comprehensive rundown of all the press coverage for MENENDEZ: BLOOD BROTHERS, written by Abdi. Click here for the rundown, which includes interviews with the cast and filmmakers, reviews, and clips of Courtney Love talking about the film on Good Morning America and Late Night with Seth Meyers.
Madonna wants to be taken seriously, people. Like really, really, really seriously. In her new film, which I watched projected onto the wall of the Santa Monica Civic Center, she proclaims her desire to start “a revolution of love.” Over visually stunning imagery of Madonna being imprisoned, we hear her inimitable voice: “I keep telling everyone that I want to start a revolution, but no one is taking me seriously,” she says. “If I had black skin and an Afro, would you take me seriously? If I was an Arab waving a hand grenade, would you take me seriously? If I was wearing combat gear and I had an AK-47 strapped to my back, would you take me seriously?” she asks. And then she adds the film’s best and most self-aware line: “Instead, I’m a woman. I’m blonde. I have tits and ass,
It seems as if everyone who lives in West Hollywood has a Faye Dunaway story. I have heard of sightings at the cheese counter of Whole Foods, Faye berating some poor soul because they don’t have the manchego she likes. I have heard of sightings at the Virgin Megastore (remember CD stores?), Faye accosting a manager because she was displeased with their classical selection. I have heard of sightings at local coffee shops, Faye mistaken for one of West Hollywood’s Russian babooshkas. But despite living in West Hollywood for fifteen years, my Faye Dunaway story happened long ago and faraway from the city of Angels. Wallingford, CT. 1994. After two years at the tony New England prep school Choate Rosemary Hall, I had finally come out of my shell and started to express myself. And a big part of that self-expression came through