The limited series, which is being produced to mark the 30th anniversary of her killing, will star Melissa McCarthy as JonBenét’s mother, Patsy, and Clive Owen as her father, John. They were immediate suspects in the brutal murder of the child beauty queen on Dec. 25, 1996, when she was found dead in the basement of her Boulder home.

A long ransom note, and the still-unsolved nature of the case, continue to inspire lurid fascination in the entertainment world. The crime has inspired documentary and narrative shows such as 2016’s “Getting Away with Murder” and Netflix’s 2017 experiment “Casting JonBenét,” amid many others before that. That last show casts local actors from Boulder to “offer multiple perspectives on her 1996 murder as they vie to play roles in a dramatization of the case,” Netflix wrote.

The Paramount+ series will take the dramatization route.

“(The Series) follows the Ramsey family, before and after the tragedy as they go through the painful loss of a child while facing intense public scrutiny caused by a media frenzy that caused this case to captivate an entire nation,” according to a statement from Paramount+.

“At the heart of the series, it is the story of Patsy and John Ramsey – exploring the unbreakable partnership of these two complex people – as husband and wife, as mother and father – who had committed themselves and their children to building the narrative of a perfect, privileged life only to have it destroyed one Christmas night in 1996.”

The show will be produced by 101 Studios and MTV Entertainment Studios, with production beginning soon in Calgary, Canada, according to the studio.

“JonBenét Ramsey continues to be one of the country’s most fascinating unsolved murders,” said Jeff Grossman, executive vice president of programming at Paramount+. “The incredible talent of Melissa McCarthy, Clive Owen and the creative team led by (showrunner) Richard LaGravenese will illuminate her story with the acuity and nuance it deserves.”

McCarthy is primarily known as a comedian, but has also taken on dramatic roles.

There is no release date for the show.

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Peyton, the Hall-of-Fame Broncos quarterback who led the team to its last Super Bowl victory in 2016, and brother Eli show up on stage in the roughly 10-minute video, which “required a number of top secret operations in the city, including set building, choreography and rehearsals, and a number of other actors on stage with the brothers, plus a full ‘audience’ in attendance,” according to a statement.

“The four-hour shoot day saw Peyton and Eli sing and dance their musical numbers live, while separately laying down additional vocal tracks in a full studio recording session,” a publicist for Omaha Productions wrote. Kent Denver is an exclusive private school for grades six-12 that is located at 4000 E. Quincy Ave. in Cherry Hills Village.

So how did they fare?

Let’s just say they shouldn’t quit their day jobs. In the video, which promotes Season 4 of their alternate-live television broadcast of Monday Night Football, the brothers lean on celebrity cameos for the relatively elaborate production. That includes Bob Iger, CEO of a little company called Disney, to start.

“Can you just get us a theater?” Peyton asks, his Emmy Award for “ManningCast” in the background, of Iger in his sudden quest to get a Tony Award.

Not all of it was filmed in Denver, of course. Deadline reports that production began right after the Pro Bowl in February, and some of the L.A.-based cameos are spliced into the stage show; see Kevin Hart, Snoop Dogg, Bill Burr, Pete Davidson and Jimmy Kimmel. Plus, of course, NFL regulars such as Sean McVay, Ja’Marr Chase, and Andy Reid.

Watch the parade of weirdness above, or on YouTube.

Manning last week also announced a show interviewing actor and writer Larry David, of “Seinfeld” and “Curb Your Enthusiasm,” at Denver’s Paramount Theatre on Sept. 20.

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For the most part, big action movies are giving way to character-driven affairs, lots of scares starting several weeks before Halloween and a highly anticipated adaptation of a beloved work of musical theater.

Here’s a rundown of much of what’s coming to a theater near you, as well as to your living room via streaming service. (As always, dates are subject to change.)

“Afraid” | Aug. 30 | Theaters >> AI causes big trouble at home for a family in this slice of science-fiction-meets-horror offering from “The Golden Compass” director Chris Weitz. The cast includes John Cho and Katerine Waterston.

“The Deliverance” | Aug. 30 | Netflix >> Already in select theaters, the latest from director Lee Daniels (of “Lee Daniels’ The Butler” fame) is a supernatural thriller inspired by a real case. Andra Day, who started in Daniels’ 2021 biopic/drama, “The United States vs. Billie Holiday,” is front and center here as the alcoholic mother of children thought to be demonically possessed. Glenn Close is among the film’s supporting cast members.

“1992” | Aug. 30 | Theaters >> Tyrese Gibson stars in this drama set on the night of the 1992 Los Angeles riots following the Rodney King verdict. With “The Iceman” director Ariel Vromen at the helm, the film also features actors Scott Eastwood and the late Ray Liotta.

“Beetlejuice Beetlejuice” | Sept. 6 | Theaters >> We first met Beetlejuice — Michael Keaton’s pesky demon character, who’s summoned when his name is said three times in a row — more than three and a half decades ago in director Tim Burton’s “Beetlejuice.” Well, the guy still looks, um … great? Fellow “Beetlejuice” players Winona Ryder and Catherine O’Hara also return in this sequel, as Lydia and Delia Deetz, respectively, and Burton is again behind the camera. Front and center on screen this time is Jenna Ortega — who stars as the titular figure in the Burton-produced Netflix series “Wednesday” — as Lydia’s rebellious daughter, Astrid. Also around for the dark fun are fellow newcomers Justin Theroux, Monica Bellucci and Willem Dafoe. If this is the hit we expect, can “Beetlejuice Beetlejuice Beetlejuice” possibly be far behind?

“Rebel Ridge” | Sept. 6 | Netflix >> Aaron Pierre, Don Johnson and AnnaSophia Robb star in this action thriller from writer-director Jeremy Saulnier (“Green Room”) involving a conspiracy in a small town chock full of corrupt cops.

“The Killer’s Game” | Sept. 13 | Theaters >> In this action comedy, Dave Bautista plays a hitman who, after receiving tough medical news, arranges a hit on himself, only to then desperately want out of his would-be assassins’ crosshairs. The cast also includes Ben Kingsley, Sofia Boutella, Terry Crews and Bautista’s buddy from the last two “Guardians of the Galaxy” romps, Pom Klementieff.

“My Old Ass” | Sept. 13 | Theaters >> We’re very much looking forward to this unusual comedy in which the typically delightful Aubrey Plaza plays the older version of a teen girl (Maisy Stella of “Nashville”) who visits said younger version in a vision, warning her about becoming entangled with someone named Chad (Percy Hynes White). This is the second film, following the well-reviewed 2021 film “The Fallout,” from actress-turned-filmmaker Megan Park.

“Speak No Evil” | Sept. 13 | Theaters >> A remake of a 2022 Danish film, this fright fest stars James McAvoy, Mackenzie Davis and Aisling Franciosi. The tale revolves around a couple’s weekend at a country estate of a family the couple befriended on vacation. It “begins as a dream holiday” and “soon warps into a psychological nightmare,” according to press materials. James Watkins (“The Woman in Black”) directs.

“His Three Daughters” | Sept. 20 | Netflix >> In select theaters two weeks before it lands on the streamer, writer-director Azazel Jacobs’ latest stars the appealing trio of Carrie Coon, Elizabeth Olsen and Natasha Lyonne. They portray estranged sisters who must come together to care for their father in the drama.

“Transformers One” | Sept. 20 | Paramount >> Anyone imagine a day, long ago, when bitter enemies Optimus Prime and Megatron may have been buddies? Us neither. At least this animated film, which will explore that era, seems targeted more toward a younger audience and less toward adults who grew up with the toys and for some reason are still interested in the “more than meets the eye” robots. The impressive voice cast includes Chris Hemsworth (Optimus), Brian Tyree Henry (Megatron), Scarlett Johansson, Steve Buscemi, Laurence Fishburne and Keegan-Michael Key. Another appealing asset: Josh Cooley, who helmed “Toy Story 4,” directs.

“Wolfs” | Sept. 20 | Theaters >> There’s so much reason for optimism with this action comedy, starting with its pairing of “Ocean’s” series veterans George Clooney and Brad Pitt as fixers who prefer to work alone but who must team up on a job. And then there’s the fact “Wolfs” is directed by Jon Watts, who did an amazing job on the recent trilogy of “Spider-Man” movies. However, we can’t help but wonder that if this romp were as fun as its trailer suggests it will be, would it be getting only a limited theatrical release, followed only a week later by its debut on Apple TV+?

“Never Let Go” | Sept. 27 | Theaters >> Halle Berry portrays a mother of twin sons, all of whom are in danger after an evil sets up shop just beyond their doorstep in the next frightening offering from director Alexandre Aja (“The Hills Have Eyes,” “Crawl.”)

“Super/Man: The Christopher Reeve Story” | Sept. 21 and 25 | Theaters >> As we wait for Warner Bros. Pictures to launch the DC Universe next year with the movie “Superman,” the studio will roll out this documentary it acquired about the late actor who starred in the “Superman” movies of the late 1970s and ’80s. Very well-received since its premiere at the Sundance Film Festival in January, the film is said to focus largely on the life of Reeve, who also was an activist and author, after the horse-riding accident that left him paralyzed from the neck down.

“Killer Heat” | Sept. 26 | Prime Video >> No, this isn’t a documentary about climate change but instead a mystery-based drama in which Joseph Gordon-Levitt attempts to solve a case on a remote Greek Island.

“Bagman” | Sept. 27 | Theaters >> It’s not even October, month of frights, and we have to deal with this dark horror film’s titular unpleasant-looking and malevolent creature. The Bagman haunted Patrick McKee (Sam Claflin) as a child and returns years later to endanger the lives of his family. Sounds like good times.

“Lee” | Sept. 27 | Theaters >> In the directorial debut of cinematographer Ellen Kuras (“Eternal Sunshine of the Spotless Mind”), Kate Winslet stars as war correspondent and photographer Lee Miller, who made a name for herself covering World War II. (Her famous shots include one of herself in Nazi leader Adolf Hitler’s bathtub.) The cast also boasts Alexander Skarsgard, Andy Samberg, Andrea Riseborough and Marion Cotillard.

“Megalopolis” | Sept. 27 | Theaters >> We’ll finally get to see filmmaker Francis Ford Coppola’s long-ago-conceived, self-financed, and much-talked-about science-fiction epic, which, despite its ambitiousness, hasn’t exactly wowed many who’ve already experienced it. Set in a huge decaying city called New Rome, the film stars Adam Driver as an architect who can stop time. The cast also boasts Nathalie Emmanuel, Giancarlo Esposito, Aubrey Plaza, Jon Voight and, among others, a notable alum of Coppola’s “Godfather” films, Talia Shire. Its distributor, Lionsgate, recently got in some hot water for a trailer, which it has since recalled, reportedly boasting fabricated negative critics’ quotes about previous Coppola films to suggest the director’s work long has been initially misunderstood. Yikes.

“The Wild Robot” | Sept. 27 | Theaters >> We’ve seen this animated adaptation of Peter Brown’s book and can say the visuals are dazzling. Also, this tale of a robot (voiced by Lupita Nyong’o) who crash-lands on an island and makes what at first is an uneasy alliance with a fox (Pedro Pascal) to care for a just-hatched gosling (Kit Connor) also has a heart. Director Chris Sanders (“The Croods”) also penned the screenplay.

“Hold Your Breath” | Oct. 3 | Hulu >> Scare-tober begins with this straight-to-streaming offering from Searchlight Pictures about a sinister presence threatening a family amid the dust storms of 1930s Oklahoma. (Geez, aren’t the dust storms stressful enough?) The cast features Sarah Paulson, Annaleigh Ashford and, last but not least, “The Bear” standout Ebon Moss-Bachrach.

“House of Spoils” | Oct. 3 | Prime Video >> As if opening a restaurant isn’t difficult enough under normal circumstances, a chef (Ariana DeBose) working to get a new eatery going must contend with the nefarious spirit of the property’s old owner. This one comes from budget-minded horror masters BlumHouse.

“Joker: Folie a Deux” | Oct. 3 | Theaters >> Expect musical mayhem in this sequel to 2019’s acclaimed “Joker,” which earned Joaquin Phoenix the Best Actor Academy Award for his portrayal of the Clown Prince of Crime in the gritty psychological thriller. To help with the whole musical aspect of the film, pop star Lady Gaga has been cast as Harley Quinn, another character from the Batman comics; she traditionally transitions from psychologist Harleen Quinzel into the Joker’s love interest and sidekick. “Joker” director Todd Phillips (“The Hangover”) returns to guide this sure-to-be-dark-and-wild ride, which also boasts returning cast member Zazie Beetz as Sophie Dumond.

“The Outrun” | Oct. 4 | Theaters >> Saoirse Ronan stars as a woman returning home after undergoing treatment for her alcoholism in this drama, based on the 2016 memoir of Amy Liptrot, who co-wrote the screenplay with director Nora Fingscheidt (“The Unforgivable”).

“White Bird” | Oct. 4 | Theaters >> After multiple delays, we should finally get this half-prequel-half-sequel to 2017’s “Wonder.” Based on the 2019 graphic novel, “White Bird” sees “Wonder” bully Julian Albans (now portrayed by Bryce Gheisar) learning about the experiences of his grandmother (Helen Mirren) as a young girl (Ariella Glaser) in Nazi-occupied France. Marc Forster (“Finding Neverland,” “Christopher Robin” directs from a screenplay by Mark Bomback (“War for the Planet of the Apes”).

“Piece by Piece” | Oct. 11 | Theaters >> The latest animation feature built with Lego pieces and parts, “Piece by Piece” is a … telling of the story of music star Pharrell Williams??? Williams voices himself, with fellow music figures such as Gwen Stefani, Justin Timberlake, Jay-Z, Kendrick Lamar and Snoop Dogg doing the same. This effort would seem to be in good hands with Morgan Neville, director of the acclaimed documentaries “20 Feet From Stardom” and “Won’t You Be My Neighbor?”

“Saturday Night” | Oct. 11 | Theaters >> Director Jason Reitman (“Ghostbusters: Afterlife”) helms and is the co-writer (with Gil Kenan) of this dramatization of the coming together of the late-night sketch-comedy staple that would come to be known as “Saturday Night Live.” Gabriel LaBelle portrays showrunner Lorne Michaels, while Cory Michael Smith, Ella Hunt, and Dylan O’Brien portray Not Ready for Prime Time Players Chevy Chase, Gilda Radner, Dan Aykroyd and Laraine Newman, respectively.

“Brothers” | Oct. 17 | Prime Video >> In select theaters a week before hitting Amazon’s streaming service, this action comedy comes from Max Barbakow, the director of the enjoyable 2020 offering “Palm Springs.” And Josh Brolin and Peter Dinklage as the titular siblings? A very sincere “yes, please.”

“Flight Risk” | Oct. 18 | Theaters >> Mel Gibson directs and Mark Wahlberg stars in this up-in-the-air action thriller. The actor plays a pilot who’s more than he seems, while Michelle Dockery portrays an FBI agent and Topher Grace an informant.

“A Real Pain” | Oct. 18 | Theaters >> Jesse Eisenberg is the writer, director and co-star of this dramady, in which he and “Succession” star Kieran Culkin portray mismatched cousins taking a tour of Poland to honor their beloved grandmother. Against the backdrop of their family history, old tensions resurface.

“Smile 2” | Oct. 18 | Theaters >> In this sequel to 2022 creepy-fun flick “Smile,” the supernaturally induced grinning is surrounding Skye Riley (Naomi Scott), a famous pop singer. Parker Finn, the writer-director of “Smile,” returns.

“Canary Black” | Oct. 24 | Prime Video >> Kate Beckinsale stars as a CIA agent whose husband is kidnapped by terrorists in this action thriller from “Taken” director Pierre Morel.

“Venom: The Last Dance” | Oct. 25 | Theaters >> OK, the campy “Venom” movies aren’t our particular cup of Spider-Man-adjacent tea, but 2018’s “Venom” and its 2021 sequel, “Venom: Let There Be Carnage,” have been successful enough to justify this apparent series conclusion. Tom Hardy is back as Eddie Brock — the antihero joined with a loud-mouthed alien symbiote attached to him — and is supported by appealing newcomers Chiwetel Ejiofor (“12 Years a Slave”) and Juno Temple (“Ted Lasso”). A co-writer on “Venom” and the writer of “Carnage,” Kelly Marcel returns as this film’s writer, and she is making her directorial debut.

“Here” | Nov. 1 | Theaters >> We have a genuine “Forrest Gump” reunion in the offing, with Tom Hanks and Robin Wright starring in this drama directed by Robert Zemeckis. Co-penned by Zemeckis and Eric Roth — yes, the “Gump” screenwriter — “Here” chronicles one small bit of the planet over many many years, a few of which see it become home to the couple played by Hanks and Wright. The cast also features Paul Bettany, Kelly Reilly and Michelle Dockery.

“The Best Christmas Pageant Ever” | Nov. 8 | Theaters >> Judy Greer and Pete Holmes star in this adaptation of Barbara Robinson’s 1972 children’s book, with Dallas Jenkins (“The Chosen”) in the director’s chair.

“Conclave” | Nov. 8 | Theaters >> That this adaptation of the international bestseller by Robert Harris looks gorgeous in its advanced footage is hardly surprising considering it is the work of Edward Berger, director of 2022’s “All Quiet on the Western Front.” In the thriller, intrigue swirls as a new pope must be chosen as the secrets of the one recently deceased surface. Ralph Fiennes portrays the cardinal tasked with leading the papal conclave, while the cast also boasts Stanley Tucci, John Lithgow and Isabella Rosellini. Note this is the wide date, the film being slated to get a limited release a week earlier.

“Back in Action” | Nov. 15 | Netflix >> Cameron Diaz and Jamie Foxx play former spies pulled back into the world of espionage after their identities are exposed in this action comedy from “Horrible Bosses” director Seth Gordon. Other notable cast members include Glenn Close, Kyle Chandler and Andrew Scott.

“Heretic” | Nov. 15 | Theaters >> The autumnal scares continue into November with this horror film about Mormon missionaries (Sophie Thatcher and Chloe East) who get more than they were looking to convert a man played by Hugh Grant. This is the latest from “Haunt” and “65” writing-and-directing duo Scott Beck and Brian Woods.

“Red One” | Nov. 15 | Theaters >> Jake Kasdan (“Jumanji: Welcome to the Jungle”) directs an impressive cast — Dwayne Johnson, Chris Evans and J. K. Simmons being among the notable names — in this Christmas-themed action-comedy. Johnson plays the head of North Pole security, who, after Santa Claus (Simmons) is kidnapped, must team with a bounty hunter (Evans) for the rescue. The screenplay is by Chris Morgan, best known for his work on the “Fast and Furious” franchise.

“Gladiator II” | Nov. 22 | Theaters >> In this sequel talked about for decades, Paul Mescal (“Aftersun,” “All of Us Strangers”) portrays the grown Lucius, who years earlier had witnessing the death of the heroic Maximus — Russell Crowe’s character from director Ridley Scott’s 2000 Academy Award winner, “Gladiator,” in case the name somehow doesn’t ring a bell — is now a gladiator himself. Scott returns, directing from a screenplay by David Scarpa (Scott’s “All the Money in the World”), as does “Gladiator” cast member Connie Nielsen, as Lucilla, mother of Lucius. Notable actors new to Scott’s spin on ancient Rome include Denzel Washington, Pedro Pascal and Joseph Quinn (“Stranger Things”).

“Spellbound” | Nov. 22 | Netflix >> The latest animated offering from “Shrek” director Vicky Jenson is set in the magical world of Lumbria, where a young girl voiced by Rachel Zegler must break a powerful spell. Others contributing voice work include Nicole Kidman, Javier Bardem, Nathan Lane and “Shrek” alum John Lithgow.

“Wicked” | Nov. 22 | Theaters >> You sometimes will see this film referred to as “Wicked: Part One,” and we have come to believe, rather strongly, that when you break a piece of source material into two movies, the second will be the stronger of the two because it tells the conclusion of a story. This film may be the exception, as we’ve also come to believe, almost as strongly, that the first act of a piece of musical theater tends to be stronger than the second, as their creators have a habit of packing Act I with more topnotch songs. And knowing that “Part One” is almost sure to end with the banger that is composer and lyricist Stephen Schwartz’s “Defying Gravity” has us thinking “Wicked: Part Two” — slated to ride a broom into theaters on Nov. 26, 2025 — will have a tough time topping it. The beloved stage musical is loosely based on Gregory Maguire’s 1995 novel, “Wicked: The Life and Times of the Wicked Witch of the West,” which, of course, wouldn’t exist without L. Frank Baum’s 1900 novel, “The Wonderful Wizard of Oz,” and the movie made from it, 1939’s “The Wizard of Oz.” In this screen version of “Wicked,” penned by the book writer of the show, Winnie Holzman, and directed by Jon M. Chu (“Crazy Rich Asians”), Cynthia Erivo and Ariana Grande lead the cast as witch pals Elphaba Thorpp and Galinda Upland, respectively. The cast also includes Jeff Goldblum and Michelle Yeoh.

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But post-pandemic and after last year’s dual labor strikes — which prevented actors from attending film fests to support their work — something feels different headed into the Labor Day weekend ritual.

“I feel like the program has an element of exuberance to it,” executive director Julie Huntsinger said in a call. Programming Telluride is an act of mirroring more than molding, she believes, so Huntsinger offered her customary  (if humble) caveat. “We just reflect. All glory goes to filmmakers — but there is a reflection of a hopefulness that everybody not only needs but is also entitled to.”

In a hallowed Telluride tradition, the fest announced the four-day program on the cusp of the gathering. The festival begins Friday and ends Monday evening. This is the first peek at what festivalgoers will line up for, ride the occasional gondola to get to and immerse themselves in. The fest will screen feature films, shorts, revival programs, along with tributes, panels, conversations and student programs. As a festival founded on a love of international cinema, it’s no surprise that 26 countries will be represented among the 60 or so films.

At a festival that has never shied away from the dark and demanding — and doesn’t for this edition, either — signs of the upbeat and exhilarating include “Saturday Night.” Director Jason Reitman’s film unfurls in the 90 minutes before the first airing of a little show called “Saturday Night Live” in 1975. As with so many innovations, creator Lorne Michaels’ idea of a show written by young firebrands and packed with unknowns who would in fairly short order become pop cultural quasars got lots of pushback.

As if to nod to the durability of the show, two of its stars who’ve gone on to first-rate film careers will appear onscreen in different movies. Will Ferrell and his dear friend Harper Steele, who is transgender, hit the road in the documentary “Will & Harper,” about the deep truths of friendship, directed by Jeff Greenbaum. And Bill Murray appears alongside Naomi Watts, Carla Gugino and Bing, a harlequin Great Dane, in directors David Siegel and Scott McGehee’s adaptation of “The Friend,” novelist Sigrid Nunez’s National Book Award-winning novel about an author who adopts the dog of her departed mentor. News has it the giant pup will be on hand. (In the unabashedly dog-friendly town, that won’t give anyone paws.)

Also in the ebullient department, director Morgan Neville’s “Piece by Piece” tells the story of Pharrell Williams, the singer-songwriter-producer responsible for one of the most titularly happy songs ever. To accentuate childlike wonder, the biopic is told using animation with Lego bricks.

The documentary “Casa Bonita Mi Amor!” will introduce those not in the know (i.e., not from the Denver area) to the pink palace of entrancing cliff driving and legendarily so-so (OK, not good) Mexican food, Casa Bonita. Director Arthur Bradford follows “South Park” creators Trey Parker and Matt Stone on their passionate quest to reopen the iconic restaurant (yes, with a great chef). It screens in the Backlot, the festival’s most accessible venue, which means non-passholders have a shot at seeing the film. (Also of note in the Backlot: the Irish drama “Swallow,” which features Brenda Fricker as a ruminative solitary figure living in a seaside home, who begins writing a letter to an unknown correspondent.)

Films that premiered at the Cannes Film Festival to acclaim — either whole-hearted or prickly —  will be well represented with Sean Baker’s Palme d’Or-winning “Anora” and festival honoree Jacque Audiard’s “Emilia Pérez.” Both make the argument that the language of filmmaking is often buoyant and wowing beyond its subject matter. Baker (“Tangerine,” “Red Rocket”) has made the loving centering of sex workers his oeuvre. “Anora” features a Brooklyn call girl who snags the affection of a scion of a Russian oligarch. When the news hits Russia, the fantasy Ani (Mickey Madison) hopes to live out gets complicated. Audiard’s latest features a quartet of lauded performances in a sumptuously shot musical about a transgender drug lord: Zoe Saldaña, Selena Gomez, Adriana Paz and Karla Sofía Gascón, as the cartel boss of the title, all took the best actress prize at Cannes earlier this year.

This year’s guests are scheduled to include Angelina Jolie, star of Pablo Larrain’s Maria Callas film, “Maria”; Danielle Deadwyler and John David Washington of “The Piano Lesson,” directed by Malcom Washington, making good on father Denzel’s promise to produce August Wilson’s 10-play cycle for the screen; Martha Stewart, the fascinating, resilient subject of R.J. Cutler’s documentary of the same name; Embeth Davitz, who directed but also acts in the adaptation of Alexandra Fuller’s “Don’t Let’s Go to the Dogs Tonight,” about her childhood in Rhodesia (Zimbabwe); guest director Kenneth Lonergan; and Amanda Zurawski (who, along with husband Josh, made indelible the outrages of the Dobbs decision at the DNC) in the documentary “Zurawski v Texas,” about Texas abortion ban and the women fighting it.

Also attending: Saoirse Ronan, who will receive a tribute and one of the fest’s three silver medallions. Her latest, “The Outrun,” directed by Nora Fingscheidt, is based on Amy Liptrot’s celebrated memoir about her downward spiral into alcoholism.

Telluride is known for its deeply enjoyable and illuminating program notes (hats off to Larry Gross, who authors many of them). The one on Ronan was written by Greta Gerwig, who directed the actor in “Ladybird” and “Little Women.” “The word ‘prodigy’ is thrown around a lot, but in her case, it is fitting,” Gerwig writes of the four-time Oscar nominee, who made such a disquieting impression in “Atonement” at the age of 12. Her work has only deepened in films as varied as “The Lovely Bones,” “Hanna” “Brooklyn” and “Ammonite.”

“Her gift is incredibly rare, but how she’s cared for it and grown it to become the formidable artist she is today is rarer still,” Gerwig continues. “She is a translucent actor — she somehow makes her external life transparent so we can all see her soul. But every character she plays is unique, wildly different from the others, so each soul she shows us is a new revelation.” That should be one helluva tribute reel.

So, too, will be the one for film editor Thelma Schoonmaker, whose work as Martin Scorsese’s longtime collaborator is unparalleled. The Oscar nominations started in 1971 with Michael Wadleigh’s documentary “Woodstock” and continued to last year’s “The Killers of the Flower Moon.” The wins began in 1981 with Scorsese’s “Raging Bull” and include “The Aviator” and “The Departed.” Schoonmaker was married to British film director Michael Powell (who died in 1990). In an elegant gesture both cinematic and familial, Schoonmaker will be interviewed onstage by Powell’s grandson, director Kevin Macdonald (this year’s TFF doc “One to One” John & Yoko”).  She’ll also be in conversation with film editing’s wise practitioner and champion Walter Murch.

If the festival were as tall as one of the nearby mineral-specked peaks, this preview would barely get us to the first steep incline. With films by Errol Morris (“Separated” about families cleaved at the U.S.-Mexico border), Matt Tyrnauer (“Carville: Winning Is Everything, Stupid”) and Bonnie Cohen (“In Waves and War” with Jon Shenk and “The White House Effect” with Shenk and Pedro Kos) among others, the documentary slate is better than robust, it’s edifyingly timely.

One film sure to arrive with the aura of discovery is “Nickel Boys.” The book it hails from is well known, but its budding director, RaMell Ross, is a cherished secret. His much-anticipated film is based on Colson Whitehead’s Pulitzer Prize-winning novel that focuses on friends Elwood and Turner, who meet at a harsh Florida reformatory in the 1960s. That literary provenance might be reason enough for attendees to queue for the film, but it is Ross, in his narrative feature debut, who holds such great promise.

“It’s a remarkable achievement,” Huntsinger said of the film, which screens in the Herzog venue, an ice rink transformed into an arthouse with impossibly pristine sound. The film also opens the New York Film Festival next month.

“I just want everybody to understand how privileged we are to witness this,” Julie Huntsinger said. “I wish I could be in the screening at the Herzog to watch everybody discover this movie and feel it and go through the things that the characters go through. I’m very happy for everybody involved. May it be as beloved when it’s finally out there in the world.”

And with that benediction, the Show, as it’s dubbed, begins.

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Telluride’s Aug. 30-Sept. 2 event, however, is long sold out. Here are more ideas for Colorado film festivals through the rest of the 2024 awards season, with a focus on independent features and documentaries — plus the occasional “Wild Robot.”

San Souci Festival of Dance Cinema

The 21st version of this unique festival mixes in-person and virtual screenings, including titles streaming through the end of the year and in person at the Dairy Arts Center’s Boedecker Theater. The Aug. 30-Sept. 1 opening events on the Museum of Boulder’s rooftop patio include films, live performances and art installations, along with food and drink. Futures events, such as the Sept. 10 short-film screenings at the West Age Well Center, include discussion and a low-mobility-friendly dance class — free to the public age 60 “and better.” sanssoucifestival.org

Aspen Filmfest

Celebrating 45 years, Aspen Film’s feature-length event (they also run the excellent, Oscar-qualifying Shortsfest) retains its modest footprint from last year, hewing close to the Aspen Isis Theatre, Sept. 17-22. It retains the well-balanced programming of last year too, with more than a dozen buzzy indies and Hollywood features. The titles range from the opening film “Super/Man: The Christopher Reeve Story,” an audience favorite from Sundance, but also the big-budget Dreamworks animated film “The Wild Robot,” and the Jesse Eisenberg family comedy “A Real Pain.” aspenfilm.org/festival/2024-filmfest

Crested Butte Film Festival

This 14-year-old gem has a lightness to it that’s reinforced with the stunning mountain views. A nonprofit event running Sept. 18-22, the Crested Butte Film Festival has documentaries, narrative features, shorts, local entries, and in-person filmmakers. We like the high placement of “Kneecap,” the feature dramedy about an Irish hip-hop group that features real musicians. Also keep an eye out for the all-ages highlights, including a children’s film workshop on Sept. 21. cbfilmfest.org

Breck Film Festival

Breckenridge waves goodbye to summer with its mix of independent and festival-track films screened at The Eclipse Theater, The Riverwalk Center, and the Breck Backstage Theater, Sept. 19-22. Like most high country film confabs, this is a walkable and casual event that last year presented about 100 titles, typically with a genre-agnostic approach. This year’s schedule and film guide are expected to be released Sunday, Sept. 1, at breckfilm.org.

Denver Silent Film Festival

Don’t sleep on the chance to see film’s bedrock works illuminated in new and stunning ways. In addition to nine, lovingly restored silent films programmed from around the world, the Sept. 27-29 screenings at the Sie FilmCenter are presented with live musical accompaniment by local artists like the world-renowned Mont Alto Motion Picture Orchestra. Seriously, this is one of the coolest little fests anywhere. denverfilm.org/denver-silent-film-festival

Telluride Horror Show

The new golden age of horror movies we’re living in draws its lifeblood from fests such as these. This one’s marking 15 years with another round of murderously fun high-country screenings, guests, panels and parties — although the lineup has not yet been announced. Expect that shortly before the fest, which takes place Oct. 11-13. telluridehorrorshow.com

Rocky Mountain Women’s Film Festival

The 37th festival returns to Colorado College in Colorado Springs with an international celebration of women filmmakers. This year, the event will have in-person screenings at Colorado College Oct. 18-20, followed by a “virtual encore” Oct. 24-27. The full schedule will be available Oct. 1 at rmwfilm.org.

Denver Film Festival

The program and guest list is still firming up, but passes are already on sale to the 47th Denver Film Festival, the city’s largest and most prestigious movie party. Expect to see the lineup the first week of October when single tickets go on sale to subscribers (Oct. 3) and the general public (Oct. 4). The event runs Nov. 1-10 and includes the typically impressive schedule of screenings, parties, panels, themed packages, and awards spread across the Sie FilmCenter, as well as the Ellie Caulkins Opera House, Denver Botanic Gardens, MCA at the Holiday Theater and others. denverfilm.org/denverfilmfestival

Ridgway Film Festival

The lineup’s not out yet for this 10th event in the San Juan Mountains, running Nov. 14-17, but last year’s program featured fun options such as skygazing trips (it’s really, really dark there at night), an art show and lots of in-person meet-ups alongside the many screenings. Lost of events are free, too. filmfreeway.com/ridgwayindependentfilmfest

Vail Film Festival

This late-season, competitive event is still taking submissions on its website, so a public lineup hasn’t even begun to take shape. There’s a screenplay competition open now for features, shorts and TV pilots. The schedule for the 21st event, which will again feature dozens of films in the high country ski town, will be announced in the coming weeks. Dec. 7-10. vailfilmfestival.com

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The 48-year-old football star, who led the Denver Broncos to its last Super Bowl victory in 2015, will interview “Seinfeld” co-creator and “Curb Your Enthusiasm” star Larry David on stage about his comedy career.

The show takes place 7 p.m. Friday, Sept. 20, at the Paramount Theatre in downtown Denver, 1621 Glenarm Place. Tickets go on sale starting at 10 a.m. on Wednesday, Aug. 28, through ticketmaster.com. Prices were not listed.

Dubbed “A Conversation with Larry David,” the show features “an informal discussion about Larry David’s time on ‘Seinfeld,’ ‘Curb Your Enthusiasm,’ and everything in between with Hall of Famer Peyton Manning as the special guest moderator,’ according to a statement.

While it’s not clear why Manning was chosen to pick the brain of David — one of the most popular, successful comedians in TV history — he’s well-liked in Denver and certainly no stranger to Hollywood.

In addition to playing starting quarter for the Broncos 2012-2015, Manning hosted “Saturday Night Live” in 2007 and has appeared in dozens of pre-taped comedy bits, commercials and live events over his decades-long NFL fame.

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“Chris came to me with three ideas for this year, and he left Winona Ryder for last,” said Andrew Novick, who along with Chris Getzan programs and runs the annual fundraiser for Denver Film. “I was like, ‘Wait, what? That’s not a theme. I love it, but I have no idea what it means.”

What Getzan meant is what attendees will see at the Thursday, Aug. 22 party, which as usual includes adult drinks, unlimited rides on the classic theme park’s attractions (the open ones, anyway), and lots of interactive programming. In the past, that has centered on ’90s pop culture as well as a historical, carnival boardwalk-style dive into Lakeside’s 116-year history.

Last year, Summer Scream sold 3,500 tickets, although actual attendance was closer to 3,300, Getzan said. That’s still a record and another consecutive sell-out for the nonprofit Denver Film’s biggest fundraiser of the year. Summer Scream’s budget is up this year after being flat for the last two events (Novick declined to provide numbers), so they will be able to pay performers a bit more, Novick said.

“What we care about just as much as the attendees is, ‘Did Lakeside like it?’ We’re out to impress them and Denver Film folks. Lakeside, for example, was skeptical about the pro wrestling (event) last year, but everybody loved it. I had no doubt people would be entertained, but they were worried about insurance.”

“Denver Film also really liked our Blockbuster video store last year, which was a surprise because we didn’t say anything about it ahead of time,” said Getzan, who likes to plan scavenger hunts for attendees. “People took an hour out of the time of the party to go solve all these clues last year.”

Roving character actors, the open bar, relevant trivia and (likely) some posters and/or film clips of Ryder’s work will be in effect. They’ll have plenty of visual fodder from her roles as Tim Burton’s muse (“Beetlejuice,” “Edward Scissorhands”); disillusioned popular girl (“Heathers”); Gen X dream-woman (“Reality Bites”); dramatic go-to (“Little Women”); and indie stalwart (“Night on Earth,” “A Scanner Darkly”)..

It’s no wonder the poster depicts six different eras of Ryder as six people packed into a roller coaster car, designed by Denver artist Cori Redford. Denver Film’s Sie FilmCenter is also screening a selection of Ryder’s best roles beginning Aug. 2, and leading up to the Aug. 22 event. On tap, according to Denver Film: “Edward Scissorhands,” “Mermaids,” “Reality Bites,” “Bram Stoker’s Dracula” and “Heathers.”

“This is a love letter and homage to (Ryder’s films),” Getzan said. “And with ‘Beetlejuice Beetlejuice’ coming out the month after our event, and a new ‘Stranger Things’ season coming on Netflix, we hope we can get the attention of film companies and get some Winona-related stuff.”

Ryder is set to reprise her role as the black lace-clad Lydia Deetz in the “Beetlejuice” sequel, which will be released on Sept. 6, and will return as Joyce Byers — mother to intrepid, dimension-busting kids — in “Stranger Things” Season 5 on Netflix, which is set for 2025.

Getzan and Novick were typically cagey about exactly how the theme will be rendered. They like to surprise attendees with quirky, creative and memorable in-person offerings — things you’ll never again experience, they said. Coupled with the rides on the historic carousel, Ferris wheel, or Tilt-A-Whirl, the event is set up to be another dreamlike experience, Getzan said.

“We’re very, very strongly encouraging people to come in costume,” he said. “If I see, in the waning days of summer at a 100-year-old plus amusement park, a bunch of people dressed as Winona Ryder, I might just walk into the lake after that and go join my ancestors, because it doesn’t get better than that.”

“This party’s going to be so Winona that she might even show up,” Novick joked, however aspirationally. “We’ve got professional cosplayers from Colorado Cosplay Academy making costumes. They’re sewing dresses and making original outfits. They’re looking so great that if the real Winona was there, you might not even recognize her.”

If you go

Summer Scream 2024. Denver Film fundraiser. 6-11 p.m. at Lakeside Amusement Park, 4601 Sheridan Blvd. in Denver. 21-and-up. Tickets: $65 for Denver Film members, $75 for non-members, plus fees. denverfilm.org

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During his final appearance Friday on 9NEWS mornings, Greene announced he’d be passing on his weather clicker and leaving the Denver news scene — for good.

Greene’s nearly half-a-century career in Denver television and radio included time at 9NEWS, Denver7, CBS Colorado and KOA radio.

The 47-year veteran of Denver’s news scene broke into broadcast journalism in radio at KIMN’s Mix 100 in 1972, joined Denver7 as a weather and news anchor in 1976 and jumped to CBS Colorado’s Channel 4 in 1981.

When Greene was phased out of CBS Colorado in 2017, the weather forecaster retired for the first time. At the time, Greene’s 40 years of broadcast experience in Denver made him the longest-serving weather forecaster and on-air broadcast personality in Denver history.

Greene’s first appearance on 9NEWS was during the 1996 Summer Olympic Games in Atlanta, and he officially rejoined the team as a weather forecaster in 2021 after four years of retirement.

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Far from city lights, the Frontier Drive-Inn in Center is a cinematic sanctuary, a testament to a bygone era.

Originally called the Frontier Drive-In, the theater opened in 1955 and was one of the few places showing Spanish-language films in the 1960s and 1970s. Today, the venue screens everything from cult classics to kids’ movies and the occasional art film.

“We don’t share our movie titles until you’re actually on site,” Frontier owner Luke Falcone said. “We want people to come for the full experience. We’ve shown horror films on Halloween and had a weekend of just baseball films.”

While the popcorn is always free, the Frontier wants to expand its food and beverage offerings. Guests can use the shared kitchen and rent cooking equipment to prepare meals.

Before Falcone took over, the last movie shown at the drive-in was in the mid-to-late 1980s. Falcone cleaned up some of the original Arch projectors, speaker system, and popcorn machine to display on site.

Lodging on site

The Frontier offers guests accommodations, including two pods, each with five yurts clustered around gas firepits and spa-like bathhouses. Each yurt is equipped with a queen bed, sitting area, and pellet stoves designed to provide a low-maintenance in-unit fire to provide heat.  Or choose one of a pair of Steelmaster sheds, retro-fitted with custom wood-paneled interiors, private bathrooms, and in-floor heat.

But the Frontier isn’t the only drive-in movie theater in the valley. The Star Drive-In in Monte Vista screens movies nightly from mid-May through mid-September.

Like the Frontier, the Star offers lodging at the Best Western Movie Manor, where guests can watch movies on the big screen from the comfort of their rooms.

“We didn’t want to step on their toes, so we thought about how do we turn this into a business that has enough interest,” Falcone said.

“We realized we had to import the customer for that. We’re all in the built-environment space, and this was a unique opportunity to test out different construction methodologies.”

Respecting Dark Skies

Parts of the San Luis Valley, like Crestone, are designated Dark Sky communities, and the Great Sand Dunes National Park is a Dark Sky Park.

“People give us a hard time about our lighting, so we keep it low,” Falcone said. “We don’t want to interfere with your movie experience, but it’s also a Dark Sky-designated place.”

Falcone’s investment hasn’t stopped with the Frontier Drive Inn. He also purchased the old movie theater in downtown Center, which will open this summer and show movies during the day and in inclement weather.

“Our plan is not to run that like a blockbuster movie theater where we’re showing the big summer films,” he said. “We plan to program that as a service to the Frontier. We’re in early talks about hosting smaller film festivals.”

In addition to restoring the theater, Falcone plans to renovate the building to include four apartments and install three Airstream trailers on its side.

Falcone purchased the theater from Steve Huey, an engineer from the Kansas City area who purchased five buildings in downtown Center. In addition to selling the movie theater to Falcone, Huey sold a building to a friend from Lawrence, Kan.

Since discovering Center, Huey and his friends have hosted four Summer Solstice events, which aim to attract a community of artists to the sleepy town. Huey is importing bands from Lawrence and has lined up artists for performances and installations, including Amy Kligman, Misha Kligman, Marie Bannerot McInerney, Cory Imig and Caleb Taylor.

Hyeyoung Shin will conduct a two-day hands-on workshop teaching traditional Korean paper casting.

“It’s going to be a lot bigger this year and more art oriented,” Huey said. “When we move out there and live out there, we’ll do more of this in our space.”

Get to know Center

Center’s history dates back to the mid-19th century when settlers, drawn by the fertile soil and promise of a new life in the American West, began establishing homesteads in the valley.

With the arrival of the Denver and Rio Grande Western Railroad in the late 19th century, Center emerged as a hub for agricultural activity, particularly potato farming.

Center experienced growth and development with the expansion of irrigation systems and the establishment of agricultural cooperatives in the early 20th century.

Huey said Center appeals because it’s still untouched, unlike other towns in the valley along the highway.

“All have had some sort of revitalization,” he said. “None of that has ever happened in Center. Very little has changed in 30 years. It’s a blank slate — you’re not fighting something that was already there.”

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But every performance takes choreography and time to practice. The same goes for what you see on the third season of FX’s “The Bear,” which dropped on Hulu in June. The Emmy-award-winning dramedy – which some chefs have described as the most accurate portrayal of a chaotic restaurant kitchen – lets viewers see the not-always-pretty insides of a former Italian sandwich shop in Chicago struggling to transform into a fine-dining restaurant.

Back in January, Lockwood flew to California to spend one-on-one time with actor Jeremy Allen White, who plays titular chef Carmen “Carmy” Berzatto.

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“We were able to just spend a week together just going through these techniques, you know, how to chop, how to butcher a fish, how to segment a piece of citrus, how to actually wipe your board, how to put your spoon back, or how to wear your equipment,” Lockwood said.

“For chefs, everything has its place,” he continued. “That initial week was technique, but also teaching him how to dance: where things go, how to just make that transition smooth, how to plate things, how to spoon a sauce, how to baste a piece of fish, whatever he needed to feel comfortable.”

Lockwood is a Boulder native who built a lengthy resume by working in Michelin-star kitchens like The French Laundry in California and Eleven Madison Park in New York City. In Colorado, he was previously chef-de-cuisine at the Michelin-starred Frasca Food and Wine in Boulder and a chef consultant for Benzina, a hip Italian restaurant in Park Hill. Most recently, he had a residency at Basta in 2021 and hosted pop-up dinners at Michelin-starred Beckon in Denver.

It was his connection with restaurateur Will Guidara, the former co-owner of Eleven Madison Park, that got him a four-month job as a consultant in Chicago on the set of “The Bear”; Lockwood worked for Guidara for nine years there and at NoMad.

Guidara, a co-producer and writer for season three of “The Bear,” brought Lockwood onto the team of professional chefs, including pastry chef Malcolm Livingston II and Chicago-based chefs Justin Selk and Nicole Bayani, who helped prepare the actors for filming and created fine-dining dishes for the show.

“As a chef, my motto is the six P’s: Prior preparation prevents piss poor performance,” Lockwood said. “It’s a military thing, but I live and die by that. So when I met everybody, and I saw the way that they were preparing, how seriously they were taking this, and the level they wanted to deliver at, I was like ‘These are my people.’ It just felt right.”

Prior to his involvement in the third season, Lockwood admits that he’d never seen an episode of “The Bear.” He and his wife had sat down probably a dozen times to start it, but they barely made it two minutes in. “It’s too realistic and so gut-wrenching and intense,” Lockwood said. “And I’ve lived that life. I mean I started at 14, and now I’m 45, so it’s been 31 years of that.”

Three days before he met Allen White, Lockwood pushed past the emotion, however, and binged the whole thing. “Every pedigree chef can kind of relate to what Carmy’s been through, and I will say that that’s very true to me,” Lockwood said. “I’ve worked for Thomas Keller, [who makes a cameo in the show]. I’ve worked for Daniel Humm. I’ve spent time in Europe and these really high-end kitchens all across the world.”

The actors on “The Bear” had previously trained at culinary school and with other high-end chefs to prepare for their roles, but Lockwood was surprised at just how professional they were.

“Everybody could really do what they were doing on film,” Lockwood said. Allen White and co-star Ayo Edebiri “would plate all the food,” while Liza Colón-Zayas, who plays Tina, “would cook all the food.” Allen White, in particular, was “a little too good” of a chef-in-training, he added. “There’s things that he picked up on, where I was just like, ‘Wow, you should not pick that up that quick.’”

One day, the script called for an overcooked piece of steak, and Allen White decided it looked a little too charred for his liking, so “Jeremy sent a piece of meat back,” Lockwood said. “He literally got into the role of chef. It was so fun for me to see these guys all get into character because you think there’s somewhat of a switch, but they all carried themselves like chefs.”

In the latest season, The Bear (the actual name of the restaurant) is newly opened, and chef Carmy, reeling from a previous setback, bullheadedly sets out to achieve a Michelin star. He creates an unsustainable menu with high-quality ingredients that change every day, and spends hours researching, developing and wasting expensive products.

Lockwood and the team helped create most of the stunning dishes on screen, like ravioli with peas and parmesan mousse in episode three. And if you squint hard enough, you might be able to point out the back of his head in one of the show’s countless kitchen scenes.

Director Christopher Storer would write certain ingredients or menu ideas in the script, and the culinary team would decipher his vision on a plate, which wasn’t always easy. “Sometimes we’d have a day to come up with a dish, and sometimes, we’d have the luxury of a week,” Lockwood said. They’d also brainstorm and help develop the menu with weekly tastings, just as Lockwood would when he was at Eleven Madison Park.

“There aren’t many directors you can actually sit down and have a conversation with to say, ‘Hey, in a real restaurant this would be done differently or a little more efficiently this way,’” Lockwood said. “Everybody was able to impart their feedback from their own experiences.”

After watching how Storer works, Lockwood understands the importance of those uncomfortable moments he once couldn’t sit through. “He makes it intentionally uncomfortable at times because he really wants that level of intensity,” Lockwood said.

But, the set wasn’t void of any laughs. Chef Matty Matheson and actor Ricky Staffieri, who play the goofy Fak brothers, are just as funny in real life as they appear on screen, Lockwood said. “There’s a lot of material that just comes out of those two being a room together,” he added. “One of Chris’ [Storer] greatest strengths is he will just keep rolling and let it take whatever direction it’s headed. Any leader knows when to lead and when to follow.”

Lockwood flew to Los Angeles for the premiere of “The Bear,” watching it with the entire team last month, but even as he watches the rest of the season with his wife and daughter in Boulder, he’s looking for his next opportunity in a real kitchen.

Like Carmy’s mentor, the fictional chef Andrea Terry (played by Olivia Colman), told him in the season three finale episode, there is power in not always knowing your next step. “You have no idea what you’re doing and therefore, you’re invincible.”

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