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      in Music

      With #MeToo Case Against Kris Wu, China Hits Out at Celebrities

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      The detention of Kris Wu, a popular Canadian singer, has been hailed as a rare victory for the movement. But Beijing, wary of social activism, has cast it as a warning to celebrities.China’s ruling Communist Party has seized on the high-profile detention of a Canadian Chinese pop singer in Beijing on suspicion of rape to deliver a stark warning against what it regards as a social ill: celebrity obsession.In less than a month, the pop singer Kris Wu, 30, has gone from being one of China’s biggest stars, with several lucrative endorsements and legions of young female fans, to perhaps the most prominent figure in the country to be detained over #MeToo allegations. The police said over the weekend that Mr. Wu was being investigated after weeks of public accusations of sexual wrongdoing against him, though officials provided few details.Born in China and raised partly in Canada, Mr. Wu rose to fame as a member of the Korean pop band EXO, before striking out on his own as a singer and actor. He built a huge following in China with his manicured good looks and edgy swagger. He amassed endorsement deals with many domestic and international brands, including Bulgari and Louis Vuitton.Mr. Wu has not been formally charged, but his career in China has already taken a big hit. After mounting public pressure, more than a dozen brands cut ties with him. His Weibo social media account, where he had over 51 million followers, was taken down shortly after the news of his detention. His songs have also disappeared from Chinese music platforms.Chinese women’s rights activists have hailed the detention as a rare victory for the country’s fledgling #MeToo movement. But the Communist Party’s official news outlets have largely cast the investigation into Mr. Wu as proof that the party, led by Xi Jinping, one of its most hard-line leaders in decades, defends the interests of ordinary people.Guo Ting, a gender studies scholar at the University of Hong Kong, said, “Xi has tried to reinvent the party as the legitimate party for the people and the party of Chinese socialism for the people.” By going after Mr. Wu, she added, the party is “targeting the so-called rich and powerful, while evading the real kind of gray area of that wealth and power within the party elite.”Mr. Wu on the runway during a Louis Vuitton show in Shanghai last August. Before the allegations, Mr. Wu had several lucrative endorsements.Lintao Zhang/Getty ImagesWhen the accusations against Mr. Wu first emerged weeks ago, the party’s propaganda outlets largely stayed quiet. But after his detention, they put out commentaries and news reports hailing it as a lesson to celebrities.“Wu Yifan has money, he’s handsome and he has the status of being a ‘top star,’” read a commentary in The Global Times, a Communist Party-run newspaper, referring to the singer by his Chinese name. “Perhaps he thought that ‘sleeping with women’ was his advantage, maybe even his privilege.”“But on this precise point he has made a mistake,” the newspaper noted.Some of the rhetoric noted that foreign citizenship did not place celebrities beyond the reach of the law, pointing in part to continuing tensions between China and Canada as well as rising anti-Western sentiment among Chinese.CCTV, China’s state broadcaster, said in a commentary, “No one has a talisman — the halo of celebrity cannot protect you, fans cannot protect you, a foreign passport cannot protect you.”The state news media’s approach reflects the Chinese government’s recent crackdown on the entertainment industry and the culture of celebrity worship that Beijing has accused of leading the country’s youth astray. The authorities have stepped up censorship, cracked down on the widespread practice of tax evasion within the industry and ordered caps on salaries for the country’s biggest movie stars.Concerns about the outsize influence of celebrities on the country’s youth reached a peak in May when fans supporting contestants in a boy band competition spent huge sums of money buying — then apparently dumping — yogurt drinks to vote for their favorite idols. The government promptly issued regulations aimed at cracking down on what they called “chaotic” online fan clubs and their “irrational” behaviors. The authorities on Monday said they had already taken down thousands of “problematic groups” as part of an ongoing effort to address “bad online fan culture.”The authorities “are concerned about the impact on the youth,” said Bai Meijiadai, a lecturer at Liaoning University in northeastern China who studies fan culture. “They want to see the youth studying and working, not spending excessive amounts of money to chase stars.”Mr. Wu, too, had an army of fans eager to open their wallets to bolster his image by buying albums and even making donations to charities in his name. He has also sought to use his influence to pressure his critics into silence, according to his accuser and a producer of a popular showbiz program.The producer, Xiao Wei, said his show, “Xiu Cai Kan Entertainment,” had been compelled to remove a video it had posted online in which its hosts criticized Mr. Wu after the allegations of sexual misconduct had emerged. Mr. Xiao said the short-video platform Douyin had told the program that they had been contacted by Mr. Wu’s lawyers.An Elle magazine cover featuring Mr. Wu, at a newsstand in Beijing on Sunday. The government in China has accused the culture of celebrity worship of leading the country’s youth astray.Ng Han Guan/Associated Press“This is an age of stars, fans and traffic,” Mr. Xiao said in an interview. “Money has become the only criterion to success — this is not right.”.css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}The police investigation into Mr. Wu came weeks after a university student, Du Meizhu, now 18, accused the singer of enticing young women like herself with the promise of career opportunities, then pressuring them into having sex.Ms. Du’s public accusations were met with an outpouring of support, but also criticism from the singer’s fans, prompting debates about victim shaming, consent and abuse of power in the workplace.Some women’s rights activists saw Mr. Wu’s detention as a sign that feminist values had finally permeated the mainstream to the extent that the authorities could no longer afford to look the other way. They said they were hopeful that it would encourage more women to come forward to share their experiences and that it could lead to wider avenues for legal recourse for sexual assault survivors.“This time, progress was made very suddenly, but it was very satisfying,” said Li Tingting, a gender equality activist in Beijing. “Everyone is looking forward to what will happen in the future.”But it remained unclear if the police in Beijing were looking specifically into Ms. Du’s complaints. The authorities last month released initial findings about her allegations that said she had hyped her story to “enhance her online popularity.”Ms. Du did not respond to requests for comment. Emails to Mr. Wu’s studio and his lawyer received no response. Mr. Wu denied the allegations on his personal Weibo account last month, saying he would send himself to jail if they were true.Despite the surprise development, activists know that China’s #MeToo movement is tightly constrained by the government’s strict limits on dissent and activism. Women who have previously come forward with accusations of sexual harassment and assault against prominent men have often become targets of threats and defamation lawsuits. Feminist activist accounts and chat groups on Chinese social media sites are routinely shut down.The swift manner in which the authorities have addressed the complaints against Mr. Wu contrasts with how they responded to #MeToo accusations against Zhu Jun, a prominent television personality at CCTV, the state broadcaster. Mr. Zhu was accused by a former intern, Zhou Xiaoxuan, in 2018, of forcibly kissing and groping her in 2014 while she was working on his program, accusations that he has denied. Ms. Zhou has sued Mr. Zhu for damages, but three years later, her complaint remains unresolved.Zhou Xiaoxuan at her home in Beijing in 2018. Her #MeToo accusations against Zhu Jun, a prominent television personality at CCTV, the state broadcaster, remain unresolved.Iris Zhao/The New York TimesMr. Wu, by comparison, is not part of the party establishment.Professor Guo, of the University of Hong Kong, said, “It is still a state capitalist system and Wu Yifan is not a part of that official establishment,” adding, “His nationality and his status, I think, make it easy for the party to on one hand cut him off, while still maintaining its own legitimacy.” More

    • 63 Shares129 Views

      in Movies

      The Riddle of Riley Keough

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      The “Zola” actress has a knack for inhabiting working-class characters who feel real, even though her own family history is as outrageous as it gets.Most actresses play to you. When they’re thinking or feeling something, you know exactly what that thing is. But Riley Keough is a little more elusive.Whether she’s weighing matters of money and sex in “The Girlfriend Experience” or staring down a romantic rival in “American Honey,” Keough, 32, certainly looks like a star — it helps that she inherited ice-blue eyes and a chin curved like a question mark from her grandfather Elvis Presley — even though her screen presence remains unusually impassive and mysterious. What are Keough’s characters thinking? You can never quite tell.This isn’t a bad thing. Instead, it’s the primary source of her allure: That gap between what you don’t know but want to find out is what’s so beguiling. And then, as you scan Keough’s face for flickers of intention and emotion, you realize you’re leaning in.“She’s one of those actors who so effortlessly lands in the feet of her character that it almost seems like it isn’t acting,” said the director Janicza Bravo, who pursued Keough to play Stefani, an exotic dancer with murky intentions, for her raucous new comedy “Zola.” You’re compelled by Stefani even when you don’t fully trust her, and Bravo knew Keough could play that ambiguity to the hilt.“That morsel, that taste, that juice, that flavor — I wanted that,” Bravo said.In late 2018, the “Zola” script was sent to Keough, and a meeting was set at the starry, storied Chateau Marmont, in Hollywood. Bravo got there first and while she waited, a woman came by her table, said hello and began to hover. The Chateau boasted a high level of celebrity density in its prepandemic heyday but every so often, a civilian still got through. And this one wasn’t leaving.Though Bravo nodded back, she was busy scanning the room for her would-be star. But this normie, this noncelebrity, this interloper kept standing by her table like she expected something.And then she said, “I’m Riley.”Bravo apologized profusely to Keough that day, and now she laughs about it. “I had this idea of what I thought she was going to be like — I believed her to be a larger-than-life person — and what landed in front of me was someone with a good deal of ease,” Bravo said. “I’m maybe dancing around it, but I didn’t expect her to be normal.”Me neither. When I met Keough in mid-June at the home of a friend in Los Angeles, I was struck by her calm, undisturbed energy — something I’ve never sensed in even the most wellness-obsessed stars. With Keough, there is no eagerness to please, no need to impress or to have all eyes on her. You feel that you’re simply talking to and observing a normal person.So how does she hold on to that lack of self-consciousness in Hollywood? “I have an ability that’s really hard in this industry to be kind of like, ‘Meh,’” Keough told me, shrugging. “I don’t take things too seriously.”“Zola,” based on a notorious Twitter thread, is about people who use social media as an advertisement, but Keough prefers using it to puncture her own celebrity: Though she has starred in a few films for the hot studio A24, Keough hopped on her Instagram last year to breezily rattle off all the A24 movies she failed to book, including “Uncut Gems,” “Spring Breakers” and “The Spectacular Now.”Directors of those films messaged Keough to offer apologies, but the rejections hadn’t bothered her much to begin with. “I don’t care if I fail,” she said. “I have this attitude of, ‘Well, then I’ll just do better.’” And besides, there were bigger quandaries to spend that energy on.“I’ve lived my whole life in a sort of existential crisis,” she told me matter-of-factly, tucking strands of auburn hair behind her ear. “The minute I got to Earth, I was like, ‘What am I doing here? Why is everyone just acting like this is normal?’”Of course, Keough’s childhood was far from ordinary: When she was about 5, her mother Lisa Marie Presley split from her musician father, Danny Keough, and married Michael Jackson. One parent provided access to moneyed fortresses like Graceland and Neverland, while the other lived more modestly, in trailer parks with mattresses on the floor.Keough had no qualms about visiting her father; once, she even told him, “When I grow up, I want to be poor like you.” She hadn’t known then how offensive her remark was, but that bifurcated childhood with her brother, Benjamin, would come in handy in her 20s, when Keough pursued work as an actress: She had amassed enough authenticity to play regular people as well as enough privilege to live her life without much worry.And blasé suits her: In movies like “American Honey” and “Logan Lucky,” about hustlers just trying to get by, her characters feel real and lived-in rather than condescended to. Or, as a recent tweet put it, “Riley Keough understands the white working class way better than J.D. Vance.” Was it glib to compare her to the “Hillbilly Elegy” author turned struggling Senate candidate? Perhaps, but the tweet still got more than 1,000 likes: Keough’s brand is strong.Keough as a sex worker opposite Taylour Paige in “Zola.”  Anna Kooris/A24The Florida-set “Zola” at first appeared to be cut from that same cloth: Stefani is a Southerner and a sex worker, two types Keough has played plenty of in the past. Still, the actress wanted to use this opportunity to push things a little further. “I didn’t want it to be ‘American Honey,’ this really naturalistic, understated performance,” Keough said. “When you do something well, people want it again and then you kind of get stuck.”Bravo wanted her to go big, too. Adorned in blond cornrows and hoop earrings, Stefani shrieks and cajoles in a blaccent so pronounced that even Iggy Azalea might blush. At first, when Keough was trying to find Stefani’s voice, she would text recordings to Bravo: “And Janicza was always like, ‘More, more.’ I was like, ‘OK, if you say so!’”The movie’s Black heroine, Zola (Taylour Paige), can hardly believe the vibe that Stefani is putting down, and in an era when white appropriation of Black culture has become a hot topic, audiences might find themselves shocked by Stefani, too. “Riley said, ‘Am I going to get canceled for this?’” Bravo recalled. “But what she’s playing only lands if you’re going to the extreme. If you’re at all shying away from what it is, it can look like an apology.”The result is the polar opposite of Keough’s more tamped-down performances: Stefani is outrageous, over the line and gut-bustingly funny, even if Keough can sense that some viewers don’t know what do with her.“People are like, ‘Am I allowed to laugh? Am I a bad person?’” she said. “I love that. I’m a little bit of a troll in my heart, and I think I bring that into my work.” And if you have trouble sussing out Stefani’s intentions as she goads Zola into a road trip that quickly turns dangerous, that’s by design.“You don’t know if the whole thing’s a manipulation, even in her moments of being vulnerable,” Keough said. “That’s why I love playing these characters that would seem like the bad guy. It’s so much more fun to make people have moments with those characters where you’re like, ‘I feel bad for her.’ Or, ‘I’m having fun with her. I’d go with her, too.’”“Zola” premiered in January 2020 at the Sundance Film Festival, and Keough was excited for it to come out that summer: She’s always been kind of a searcher, and if the movie led to new and more interesting work in comedies, maybe those roles would help her to understand herself better. Then the pandemic scuttled those plans, and as Keough was adjusting to months off from work, her younger brother, Benjamin, killed himself in July 2020.What followed was “a year of feeling like I was thrown into the ocean and couldn’t swim,” Keough said. “The first four or five months, I couldn’t get out of bed. I was totally debilitated. I couldn’t talk for two weeks.”Even now, Keough finds the tragedy hard to accept. “It’s very complicated for our minds to put that somewhere because it’s so outrageous,” she said. “If I’m going through a breakup, I know what to do with that and where to file it in my mind, but suicide of your brother? Where do you put that? How does that integrate? It just doesn’t.”After the suicide of her brother, Benjamin, Keough went through “a year of feeling like I was thrown into the ocean and couldn’t swim.”Maggie Shannon for The New York TimesKeough got through it with the help of her friends and her husband, Ben Smith-Petersen, a stuntman, but first she laid down some ground rules: “I wanted to make sure that I was feeling everything and I wasn’t running from anything,” she said. To that end, Keough recently became a death doula. Instead of helping to facilitate a birth, she guides people through the issues that arise during the final portion of their lives.“That’s really what’s helped me, being able to put myself in a position of service,” she said. “If I can help other people, maybe I can find some way to help myself.”And she has lately found things to treasure about her grief, too, though she admits that if someone had told her to expect a silver lining shortly after Benjamin died, she probably would have replied with expletives. “But there’s this sense of the fragility of life and how every moment matters to me now,” Keough said.It’s her new normal, one she’s still getting used to: Maybe you’re never quite certain where Keough stands because until recently, she hadn’t been all that sure herself. It almost couldn’t be helped with a childhood that whiplashed between two extremes. But now, at 32, she’s finally figured something out.“I think growing up, I was always searching for answers,” she said. “Now I know that everything’s inside me. All you can do is surrender and be present for the experience.” More

    • 150 Shares119 Views

      in Music

      At the White House, Olivia Rodrigo Says Vaccines Are ‘Good 4 U’

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      The pop star with the No. 1 album in the country joined the Biden administration’s efforts to encourage the young and unvaccinated to get their shots.WASHINGTON — Nixon and Elvis. Trump and Kanye. Biden and Olivia.On Wednesday, Olivia Rodrigo, the 18-year-old pop star with the No. 1 album in the country, visited the White House and joined the Biden administration’s efforts to use the young and influential to reach the young and unvaccinated.“It’s important to have conversations with friends and family members,” Ms. Rodrigo said, reading from prepared remarks during a short appearance in the White House briefing room, “and actually get to a vaccination site, which you can do more easily than ever before.”The White House could not have scripted it better. (In fact, White House officials helped her craft her remarks, according to an administration official.) The “Good 4 U” singer has millions of followers on social media who hang on her every word, and she is part of a growing list of creators, celebrities and influential people who are interested in working with the White House to deliver a pro-vaccine message directly to their respective communities.Rob Flaherty, the White House director of digital strategy, has been organizing an effort to reach out to people like Ms. Rodrigo and invite them to Washington to create content. The plans for bringing her to the White House, Mr. Flaherty said in an interview, began in June. After she arrived, Ms. Rodrigo wandered the halls of the West Wing with Dr. Anthony S. Fauci, stopping by desks and chatting with officials before it was time to film a series of educational videos with President Biden.“Not every 18-year-old uses their time to come do this,” Jen Psaki, the White House press secretary, said from the lectern.Administration officials are hoping the time investment pays off. In recent weeks, as the federal strategy has shifted to more personalized efforts to reach unvaccinated people, the White House has recruited YouTube stars, social media influencers and celebrities who can send the messaging to their own channels. It has also highlighted efforts by popular dating apps to encourage young singles to promote their vaccination status.Ms. Rodrigo has millions of followers on social media who hang on her every word.Evan Vucci/Associated PressHealthy young adults are historically hard to reach, and the White House has been upfront about the difficulties that officials have faced in persuading those groups to receive a vaccine. Hesitancy can result from a mix of inertia, fear, busy schedules and misinformation.At times, the young stars who have met with Mr. Biden have gone on to directly address those concerns with their followers. In a video titled “I COLLABED WITH PRESIDENT BIDEN! THIS IS NOT A DRILL!” after he interviewed the president in May, Manny MUA, a YouTube star and makeup artist, told his four million followers that he had enjoyed the experience but that getting vaccinated was still a personal choice.“You can do whatever you guys want,” he said in the video, “but I am pro-vaccine.”Mr. Biden’s aides say he is open to taking questions from YouTubers and welcoming celebrities to the White House if it might help sway the unconvinced.“There’s only so much we as a White House can do to stop misinformation,” Mr. Flaherty said. “What we can do is go on offense. That underscores exactly why this work is so important.”Young people under the age of 27 are vaccinated at a lower rate than older people, according to the White House, and they were part of the reason the administration said it fell short of Mr. Biden’s goal of partly vaccinating 70 percent of adults by July 4. Younger people became eligible for immunization later in the vaccine rollout, after other high-priority risk groups, and children aged 12 to 15 became eligible for the Pfizer-BioNTech vaccine only in mid-May.Across the country overall, providers were administering about 0.55 million doses per day on average, as of Wednesday, about an 84 percent decrease from the peak of 3.38 million reported on April 13.The White House still faces significant challenges in reaching reluctant Americans, particularly in states where officials say they face pressure against evangelizing for a vaccine.After Ms. Rodrigo left the podium, Ms. Psaki was asked about Dr. Michelle Fiscus, a pediatrician and Tennessee’s top vaccination official, who said she was fired from her job after distributing a memo that suggested that some teenagers might be eligible for vaccinations without their parents’ consent. The memo repeated information that has been publicly available on the state Health Department’s website for years.“We continue to see young people hit by the virus,” Ms. Psaki said, “and we’ve been crystal clear that we stand against any effort that would politicize our country’s pandemic response and recovery from Covid-19.” More

    • 100 Shares99 Views

      in Television

      Cryptocurrency Seeks the Spotlight, With Spike Lee’s Help

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      The filmmaker’s commercial for a crypto company is one of many recent marketing efforts to make digital cash palatable for newbies.Before Spike Lee accepted cryptocurrency, he turned down Crocs.Years ago, the filmmaker rejected an offer to buy into the Colorado company that makes perforated foam clogs, a decision that caused him to miss out when its stock soared on the strength of the footwear fad.“I wish I would’ve given some money back then,” Mr. Lee said in a recent interview. “Anytime something is new, you’re going to have people who are going to be skeptical. With some of the best ideas, people thought the inventors were crazy.”Now he has taken a leap into another cultural craze, having agreed to direct and star in a television commercial for Coin Cloud, a company that makes kiosks for buying and selling Bitcoin and other virtual currencies. Although cryptocurrency is not widely used for transactions, an increasing number of merchants now accept it as payment.The commercial, which he shot last month, is one of several recent marketing efforts meant to broaden the audience for a form of currency that can intimidate people accustomed to cash and credit cards.Mr. Lee, outfitted nattily in a straw hat and gold-tipped cane while filming part of the commercial on Wall Street, led a diverse cast that included his daughter Satchel, the “Pose” actress Mj Rodriguez and the drag queen Shangela. Other shoot locations included Fort Greene Park and the Chillin’ Bar and Grill in Washington Heights, where breakfast patrons craned to catch a glimpse of the director as he filmed a Coin Cloud machine on the sidewalk.“Old money is not going to pick us up; it pushes us down,” Mr. Lee says in the commercial, which portrays the cryptocurrency system as a more accessible and equitable alternative to traditional, discriminatory financial institutions.“The digital rebellion is here,” he says.Cryptocurrency has also been known to intimidate investors, with its extreme volatility and the overwhelming number of virtual alternatives, known as coins. The marketing of this relatively new money has so far been limited mostly to ads on trade websites and targeted pushes on social media, where aficionados swap meme-fueled in-jokes about coin values rocketing to the moon.The industry is increasingly betting that celebrities can help demystify cryptocurrency for the uninitiated.The actor Alec Baldwin offered crisp definitions of cryptocurrency in a series of online ads for the crypto trading platform eToro, and the National Football League star Tom Brady signed on as a brand ambassador for FTX, a crypto exchange that also has a deal to sponsor Major League Baseball.Alec Baldwin is advertising for the cryptocurrency trading platform eToro.eToroThe actor Neil Patrick Harris recently appeared in a TV commercial for the digital currency kiosk operator CoinFlip. “Now anyone, anywhere, can turn cash into crypto!” he declares.EToro and Coinbase, another exchange, collectively spent $22.8 million on advertising last year, nearly double the $12.4 million they shelled out in 2019, according to the research firm Kantar. In recent months, Coinbase hired the Martin Agency, the advertising company behind GEICO and DoorDash.As Madison Avenue fields more inquiries from cryptocurrency clients, agency executives are feeling pressure to better communicate the investment risks, rather than romanticize the industry.“I get very nervous because I start looking at the way that some of the platforms are specifically targeting younger investors,” said Alex Hesz, the chief strategy officer of the advertising giant DDB Worldwide. In the face of frenzied cryptocurrency trading, ad agencies should push for moderation and diversification, he said. “Maximizing is what’s being encouraged here — the idea that this is an amazing asset, and as much as you want to put in, come on and jump on in, the Bitcoin’s lovely,” Mr. Hesz said. “We would never feel comfortable for an alcohol client, or a high-salt or high-sugar or high-fat client, to encourage that level of unequivocal behavior.”Some celebrity endorsements of cryptocurrencies have run into trouble. In 2017, the Securities and Exchange Commission cautioned that some famous people were hyping the virtual currency sales known as initial coin offerings without disclosing that they had been paid to promote them. The commission has since settled charges against the boxer Floyd Mayweather Jr., the music producer DJ Khaled and the actor Steven Seagal.Social media influencers and e-sports stars have also been linked to shady cryptocurrency schemes, accused of pumping up coins just before their value crashes.Coin Cloud’s chief marketing officer, Amondo Redmond, said he hoped Mr. Lee’s stature would help elevate the industry by delivering something “more than just cool creative, but that is really at the forefront of digital currency becoming mainstream.”“It’s more than just adding a celebrity face,” he said.Mr. Lee, who won an Oscar in 2019 in the best adapted screenplay category for “BlacKkKlansman,” has worked on ads for Capital One, Uber and, most famously, Nike. In the 1980s and 1990s, he directed and starred in commercials for Air Jordans, playing his cinematic alter ego Mars Blackmon opposite Michael Jordan.“That was lightning in a bottle,” Mr. Lee said from a flight bound for the Cannes Film Festival, where he is the first Black person to lead the festival jury.He declined to say how much he had been paid for the Coin Cloud commercial, but noted that “if anyone’s known my body of work over the last four decades, you kind of know about the way I see the world, and when they approached me, it fit in line.”As the coronavirus pandemic continues to highlight financial disadvantages for people of color, Mr. Lee hopes to promote cryptocurrency as neutral to race, gender, age and other identifying characteristics.But he was no expert before filming began, and had to take “a crash course” on crypto. He insisted that the commercial include a line urging viewers to do their own research on virtual money.Mr. Lee said he now planned to invest in virtual coins. He said he would not, however, go anywhere near the digital ownership certificates known as nonfungible tokens.“NFTs, I don’t understand that,” he said, laughing. “I’m old school, so sometimes my children have to turn on the TV — all those remotes and stuff.” More

    • 113 Shares99 Views

      in Television

      Americans Have Discovered the Garden, and Celebrities Want In

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      Many of us turned to gardening for solace during the pandemic. Now Martha Stewart and Drew Barrymore want to guide us to green thumbs.Last spring, as the world descended into a collective panic, Drew Barrymore planted her first lawn. “I did not think I could do this,” said Ms. Barrymore, 46, who until last year did not include gardening in her exhaustive list of achievements.And yet, the actress, writer, producer, businesswoman, mother and recent television host managed to make grass grow. “It was all barren. I got the water and the rake and the bag of seed and I waited weeks and watched it grow,” she said, speaking by phone as one of her two daughters vied for her attention in the background.In early-stage pandemic fashion, she — like many other locked-down homeowners — also got chickens and planted a victory garden, growing tomatoes, cucumbers, eggplants, strawberries and squash. “It was a miracle. I never knew I could do these things, I didn’t think I was capable of it,” said Ms. Barrymore, who lives on the East Coast. “I felt really empowered.”Now, she is sharing her enthusiasm for grass as the face of Instead, a new lawn-care subscription service that fertilizes grass using ingredients like molasses, wheat flour, feather meal, blood meal and alfalfa. Over the course of the growing season, subscribers who pay $132 for a small lawn or $264 for a large one will receive three packages that promise to deliver a “happy lawn” that will be “overjoyed with this special recipe.”Ms. Barrymore is the latest celebrity to seize on a moment when millions of Americans have turned to their gardens as a source of solace, and to spin it into a business opportunity. Martha Stewart was the first to read the room. She weathered the pandemic last summer by filming “Martha Knows Best” for HGTV, a reality series about life on her sprawling Bedford, N.Y., estate, followed quickly with a second series in the fall. The show is now filming its third season, to air this summer.Last October, Aly Raisman, the Olympic gymnast who frequently posts Instagram selfies with her overgrown zucchini and miniature lime trees, partnered with the indoor gardening-kit company AeroGarden to share growing tips. And in January, UrbanStems, a flower and plant delivery service, released the love fern, a potted Blue Bell fern designed with Kate Hudson’s King St. Vodka brand.Even noncommercial ventures seem to play better in the garden these days. During their March interview with Oprah Winfrey, Prince Harry and Meghan Markle took their guest on a tour not of their Montecito living room, but of their chicken coop, projecting a message that in this time of social distancing, the most intimate setting is the backyard.Americans don’t have a national gardener in the way that the British have Monty Don, who hosts “Gardeners’ World,” which is a national institution in Britain. But with this newfound appetite for homegrown tomatoes and luscious lawns, the time might be ripe for one. As the country emerges from a long winter and (hopefully) the pandemic, all those raised beds and carefully tended lawns planted last spring and summer are still out there, waiting to be tilled and seeded for another season. Someone needs to explain the difference between a shovel and a spade.One candidate for the role would be, of course, Ms. Stewart, 79, who has been schooling Americans on their pruning methods for decades. She published her first book about gardening in 1990 and sells a line of garden tools and décor. In “Martha Knows Best,” she offers housebound viewers advice on how to achieve the perfect gardening soil, plant trees and build stone pathways, among other things.“People have started this hobby of gardening that’s addictive,” said Jane Latman, the president of HGTV. “We get letters and comments on our social feed constantly. Where is the gardening? You’re HGTV. Put the ‘G’ back in HGTV.”The first two seasons of “Martha Knows Best” were filmed with a skeleton crew on Ms. Stewart’s 153-acre estate, where she was locked down with a few members of her household staff. The mogul of domesticity spent much of each episode haranguing her cheery gardener, Ryan McCallister, as he dutifully planted 18,000 daffodil bulbs and wrapped her enormous boxwoods in burlap for the winter. (A crew of silent workers stitched the burlap shut with sewing needles.) In typical Martha Stewart fashion, she also demonstrated how to carve pumpkins and make wreaths, and bantered with celebrities, including Ms. Barrymore, over video.Filming began on April 9 for the third season, which will offer viewers more of Ms. Stewart’s property and take them indoors, as pandemic restrictions loosen. “We’re going to see more chickens,” Ms. Latman said. “The audience was very interested in the chickens.”As HGTV begins to look beyond the pandemic, it still has an eye toward the outside. “The idea of home has changed over the last year and a half, and there is a nesting that people have done and will continue to do,” Ms. Latman said.“Inside Out,” a show about an interior designer and landscape designer squaring off to win the larger share of a homeowner’s budget, premieres April 26 on Discovery+, the streaming service for Discovery, HGTV’s parent company. And “Clipped,” a topiary competition series premiering May 12, has cast Ms. Stewart as the lead judge deciding who has created the best sculpted shrubbery.If Ms. Stewart is a natural fit to channel our newfound enthusiasm for the garden, Ms. Barrymore is a less likely one. “Had they asked me two years ago, I think I probably would have been like, ‘You don’t want me, I’m not the real deal,’” she said of her partnership with Instead.But by the time the company did come around, Ms. Barrymore, who also has beauty and home-furnishings lines, was hosting a new talk show and had acquired an appreciation for dirt. Now, her Instagram feed is an eclectic mix of trying on lipstick for her beauty brand, selfies in the television studio, and videos of her hugging her chickens.In Instead’s version of landscaping, grass has an opinion and “lawning” is a verb like nesting, Zooming, adulting or Instagramming. Ms. Barrymore is the co-chief creative officer of the company, which is funded by the venture capital arm of Scotts, the lawn-care behemoth. She defines “lawning” as the act of “setting up a space for you and your family, and it’s a place that doesn’t want to be a museum that you stare at but a place that you interact with and live.”In a 30-second commercial for the lawn-care product, Ms. Barrymore, wearing a denim shirt and patchwork skirt, spreads out on an impeccable lawn and pets the grass, professing her love for it. “Happy lawn, meet happy lawn,” she says with a giggle.For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate. More

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      The Swag Must Go On: Hollywood’s Pandemic Oscar Campaign

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      #masthead-section-label, #masthead-bar-one { display: none }Awards SeasonOscar Nomination PredictionsOscars Dos and Don’tsOscars DiversityDirectors Guild NominationsBAFTA NominationsAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Swag Must Go On: Hollywood’s Pandemic Oscar Campaign“There is a why-are-we-even-doing-this feeling,” one industry insider said of jockeying for nominations, to be announced on Monday.Billboards like this one in Los Angeles are recommending films for Oscars as usual, but Hollywood is feeling its way through other promotions.Credit…Tag Christof for The New York TimesBrooks Barnes and March 14, 2021, 5:00 a.m. ETLOS ANGELES — As a potential Oscar nominee for film editing, William Goldenberg should be feeling dizzy right about now. So many tastemaker cocktail parties to attend. So many panel discussions to participate in.So much flesh to press.Instead, his tuxedo has been gathering dust. Mr. Goldenberg, who stitched together the Tom Hanks western “News of the World,” has participated in get-out-the-vote screenings on Zoom, and that’s about it. During afternoon walks with his dog, a handful of neighbors have called out from windows and driveways to say they liked the film. Mr. Goldenberg, an Oscar winner in 2013 for “Argo,” described those impromptu encounters as “really fun.”Such is life on Hollywood’s virtual awards scene, where the pandemic has vaporized the froth (Champagne toasts! Standing ovations! Red-carpet reunions!) and created an atmosphere more akin to a dirge. There is a dearth of buzz because people aren’t congregating. Screenings and voter-focused Q. and A. sessions have moved online, adding to existential worries about the future of cinema in the streaming age.And some film insiders are privately asking an uncomfortable question: How do you tastefully campaign for trophies when more than 1,000 Americans a day are still dying from the coronavirus?Oscar nominations will be announced on Monday, but almost none of the movies in the running have even played in theaters, with entire multiplex chains struggling to stay afloat. “In terms of campaigning, there is a why-are-we-even-doing-this feeling,” said Matthew Belloni, a former editor of The Hollywood Reporter and co-host of “The Business,” an entertainment industry podcast.Ever since Harvey Weinstein turned Oscar electioneering into a blood sport in the 1990s, the three-month period leading up to the Academy Awards has been a surreal time in the movie capital, with film distributors only ever seeming to push harder — and spend more — in pursuit of golden statuettes. In 2019, for instance, Netflix popped eyeballs by laying out an estimated $30 million to evangelize for “Roma,” a film that cost only $15 million to make.But it’s not as easy to influence voters and create awards momentum during a pandemic. Roughly 9,100 film professionals worldwide are eligible to vote for Oscars. All are members of the Academy of Motion Picture Arts and Sciences, which has nine pages of regulations that campaigners must follow. Film companies, for instance, “may not send a member more than one email and one hard-copy mailing” per week. Telephone lobbying is forbidden.The 93rd Academy Awards will take place on April 25, pushed back by two months because of the pandemic.Calling off the campaigns is not an option for Hollywood, where jockeying for awards has become an industry unto itself. Stars and their agents (and publicists) also pay keen attention to campaign parity: Hey, Netflix, if you are going to back up the Brink’s trucks to barnstorm for “Mank,” you’d better do it for us, too.“There are so many egos to serve,” said Sasha Stone, who runs AwardsDaily, an entertainment honors site.Contenders, wary of tone-deaf missteps, have been feeling their way.Sacha Baron Cohen, for one, has been openly mocking the process, even as he has participated in Zoom events to support “The Trial of the Chicago 7” (Netflix) and “Borat Subsequent Moviefilm” (Amazon). Asked by phone how the virtual campaign trail was going, he quipped, “I imagine it’s much better than being on an actual one.”At least no one has pushed him to break into song, he said, recounting how, in 2013, he was asked to belt out a number from “Les Miserables” at a campaign stop. (He declined.)At times, however, Mr. Cohen has been willing to play along. In a skit on “Jimmy Kimmel Live” this month, he pretended to be moonlighting as a black-market vaccine procurer for desperate celebrities. “It seems like you should be focused on your Oscar campaign,” Mr. Kimmel said at one point. Mr. Cohen responded dryly, “This is my Oscar campaign.”There is business logic to the seasonal insanity. The spotlight generates interest from the news media, potentially increasing viewership. For streaming services like Amazon, Hulu, Apple TV+ and Netflix, awards bring legitimacy and a greater ability to compete for top filmmakers.“The business benefit is that we will win deals that we wouldn’t have otherwise,” Reed Hastings, Netflix’s chief executive, told analysts on a conference call last year.Because in-person events have been scuttled this time around, less money has been flowing into the Oscar race.“In a good year, the awards season represents 40 percent of our annual business,” said Toni Kilicoglu, the chief executive of Red Carpet Systems. “And it’s gone. Just gone.” Last year, Red Carpet Systems handled more than 125 awards-season events, including Golden Globes parties and the SAG Awards.Caterers, chauffeurs, florists and D.J.s have also suffered major losses. All after a year when more than 36,000 motion picture and sound-recording jobs were lost in Los Angeles County, according to a county report that was released last month.At the same time, studios and streaming services are still spending heavily on “for your consideration” spreads in trade publications. For $80,000 to $90,000, for instance, campaigners can cover Variety’s cover with voter-focused ads. Hulu recently promoted “The United States vs. Billie Holiday” that way. (“For your consideration in all categories including BEST PICTURE.”) Netflix and Amazon have given films like “Da 5 Bloods” and “One Night in Miami” similar treatment.“It has been a huge, really strong season for us,” said Sharon Waxman, the founder and chief executive of The Wrap, a Hollywood news site. The Wrap hosted 40 virtual awards-oriented screenings in January, underwritten by film companies.“We have another whole round on the way,” Ms. Waxman said.The price for events can be steep. A virtual panel discussion, hosted by Vanity Fair or The Hollywood Reporter, costs around $30,000, the same as last year, when receptions accompanied the events. Studios normally pay $15,000 to $25,000 for a table of eight at the Critics Choice Awards, an additional opportunity to solidify a film’s place in the awards conversation. This year, each guest was charged $5,000 for a “virtual seat,” which some saw as an exorbitant price for a square on a computer screen. (Joey Berlin, chief operating officer of the Critics Choice Association, said it was needed to produce a three-hour TV special and come out even.)With fewer people out on the roads, the billboards don’t appear to be hitting the eyes of as many Oscar voters this year.Credit…Tag Christof for The New York TimesAnd don’t forget the for-your-consideration billboards. One eight-block stretch of Melrose Avenue in Los Angeles has nine of them, with Netflix pushing “Ma Rainey’s Black Bottom” and Warner Bros. extolling “Judas and the Black Messiah.”Those blocks are typically brimming with voters; Paramount Pictures is there, as is Raleigh Studios, where Netflix rents production space. With most people in Los Angeles still holed up at home, however, the thoroughfare was eerily quiet last Monday at 5:30 p.m. Actual crickets were chirping at Paramount’s closed Bronson Gate, which bore a sign reading, “Per government direction, access to the studio is now restricted.”Comical at best, absurd at worst?“The public must be so confused,” Ms. Stone said.None of the studios or streaming services angling for awards would comment for this article. Campaigning, while commonplace, remains a taboo subject. No film company wants to look as if it is trying to manipulate voters.It is easy to understand where they are coming from, though.“Like a political campaign, you have to crest at the right moment,” said Paul Hardart, director of the entertainment, media and technology program at New York University’s Stern School of Business. “You need the maximum exposure at that time. And that’s a hard thing to do. How do you become top of mind at the right time?”So the swag must go on.As part of its promotional effort for “Nomadland,” about an impoverished van dweller, Searchlight Pictures sent a bound copy of the screenplay to awards voters. The Hollywood press corps received “Nomadland” wine glasses, a “Nomadland” license plate, “Nomadland” keychains, a “Nomadland” T-shirt and a 5-by-2-foot “Nomadland” windshield sunshade.To celebrate the film’s Feb. 18 virtual premiere, Searchlight teamed with local small businesses to have a “curated concessions crate” delivered to the homes of invitees. It included artisanal beef jerky, wild berry jam, oranges, pears, dried apricots, dill pickle slices, banana bread, salami (“humanely raised”) and a canister of chocolates.Still, it is hard for publicists to know if such buzz-building efforts are working. They don’t know what academy members are talking about with one another because academy members aren’t talking to one another.“People are relying more on what the critics are saying than what their friends are saying, because people aren’t congregating,” Mr. Goldenberg, the “News of the World” editor, said.On the bright side, the pandemic has made it easier for studios and streaming services to attract voters to awards-oriented screenings, which are followed by Q. and A. sessions focused on various specialties: art design, editing, song composing.In years past, when attendance obstacles included Los Angeles traffic, filling the 468-seat Writers Guild Theater for such an event involved sending out more than 5,000 invitations. Similar events — held virtually — have recently had a higher turnout rate: 1,000 invitations might yield 200 attendees, most of whom even stick around for the post-screening discussion, organizers said.Campaigners have been generating interest with celebrity moderators. Oprah Winfrey interviewed Viola Davis (“Ma Rainey’s Black Bottom”) at one. Former President Barack Obama participated in a chat to support the A24/Apple documentary “Boys State.”Netflix paired Amanda Seyfried (“Mank”) with Cher. It may not sound like an intuitive coupling, but even if you weren’t terribly interested in “Mank,” wouldn’t you tune in just to get a peek into Cher’s living room?AdvertisementContinue reading the main story More

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      In Australia, Hollywood Stars Have Found an Escape From the Virus. Who’s Jealous?

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyIn Australia, Hollywood Stars Have Found an Escape From the Virus. Who’s Jealous?Dozens of international film productions have been lured to the country, where cases of the coronavirus are few. In turn, actors have found almost paradise.Chris Hemsworth is filming “Thor: Love and Thunder” in Australia.Credit…Getty Images for The Critics Choice AssociationMarch 10, 2021Updated 4:52 a.m. ETMELBOURNE, Australia — In the photo posted to Instagram, the actors Chris Hemsworth, Idris Elba and Matt Damon, all wearing 1980s-style sweats, embrace. They are maskless. Touching. Happy, even. The caption reads: “A little 80s themed party never did any harm!”Their fans, indignant, peppered the post with comments. What of the pandemic? Social distancing? Masks? We are still, after all, suffering through a pandemic that has all but crippled the travel industry and blocked most people from casually taking off for vacation in paradise.But the Hollywood brigade was in Australia, a country that has effectively stamped out the coronavirus, allowing officials to ease restrictions for most gatherings, including parties (with dancing and finger food). As a result of the near-absence of the virus, plus generous subsidies from the Australian government, the country’s film industry has been humming along at an enviable pace for months compared to other locales.Australia has managed to lure several Hollywood directors and actors to continue film production. In effect, many celebrities, including Natalie Portman, Christian Bale and Melissa McCarthy, have found freedom from the pandemic there.As one person wrote on Mr. Hemsworth’s Instagram post: “Before you comment, remember that not everyone lives in America.”Though the quickened pace of vaccinations in the United States has raised hope of returning to some semblance of normalcy by the summer, the country still leads the world in the number of coronavirus cases and deaths. Movie theaters reopened only last week in New York City. Some fans are cautiously creeping back, while others are still wary of contracting the virus.But thousands of miles away, many stars who appear on the big screens can be seen frolicking, or filming, on location in Australia. (Mr. Hemsworth is himself a permanent fixture — he moved back to Australia in 2017 after several years of living in Los Angeles.) In the United States, where hundreds are still dying every day, some fans have looked on with envy.“These Hollywood stars have been transported to another world where the problems of this world aren’t,” said Robert Thompson, a professor of popular culture at Syracuse University in New York. He added that the temporary exodus from the United States revealed a further crumbling of the myth that Hollywood was the endgame for celebrities.Village Roadshow Studios in Gold Coast, Australia.Credit…Bradley Kanaris/Getty ImagesAustralia has become the “hip place” where “fabulous people want to go,” Professor Thompson said. “When you’re trying to be a star, you’ve got to go out to the West Coast to make your bones.” When you become “a really big star,” you buy property somewhere exotic, like Australia, he added.“It definitely feels like a time machine,” Ms. Portman, calling in from Sydney, told the late-night host Jimmy Kimmel in December. “It’s so different, all the animals are different, all the trees are different, I mean even the birds, like, there’s like multicolored parrots flying around like pigeons,” she added. “It’s wild.”A spokeswoman said the government had helped 22 international productions inject hundreds of millions into the local economy. Paul Fletcher, the federal minister for communications, said, “There’s no doubt it’s a very significant spike on previous levels of activity.”But even as celebrities preen and pose on social media, some Australians grumble that the country’s strategy for stamping out the virus has left tens of thousands of citizens stranded overseas. Several tennis players and 2021 Australian Open staff were allowed into the country for the tournament. And now, they say, Hollywood’s rich and famous are turning up during the pandemic, angering critics who see a clear bending of the rules for those with money and power.“Everyone knows there’s a separate set of rules, it seems, for everyone that’s a celebrity or has money,” said Daniel Tusia, an Australian who was stuck overseas with his family for several months last year. “There are still plenty of people who haven’t been able to get home, who don’t fall into that category, who are still stranded,” he added.In an emailed statement, the Australian Border Force said that travel exemptions for film and television productions were “considered where there is evidence of the economic benefit the production will bring to Australia and support from the relevant state authority.”A year ago, Tom Hanks, Hollywood’s everyman, made all-too-real the threat of the pandemic when he and his wife, Rita Wilson, tested positive for the coronavirus in Queensland, Australia, while he was filming an unnamed Elvis biopic. Their illness made personal a threat whose seriousness was only beginning to become crystallized at the time.The actors Tom Hanks and Rita Wilson at the Academy Awards in Los Angeles last year. They tested positive for the coronavirus in Queensland, Australia, about a month later.Credit…Robyn Beck/Agence France-Presse — Getty ImagesBut by May, Australia appeared to be on track to quashing the first wave of the virus, and the soap opera “Neighbors” became one of the world’s first scripted TV series to resume production. The federal government has committed more than $400 million to international productions, which, together with existing subsidies, provides film and television producers with a rebate of up to 30 percent to shoot in the country.More than 20 international productions, including “Thor: Love and Thunder,” a Marvel film starring Mr. Hemsworth, Mr. Damon, Ms. Portman, Taika Waititi, Tessa Thompson and Mr. Bale; “Three Thousand Years of Longing,” a fantasy romance starring Mr. Elba and Tilda Swinton; and “Joe Exotic,” a spinoff of the podcast made following the popular Netflix series “Tiger King,” starring the “Saturday Night Live” actress Kate McKinnon as the big-cat enthusiast Carole Baskin, are all either in production or set to be filmed in the coming year.Ron Howard is directing “Thirteen Lives,” a dramatization of the 2018 Thai rescue of a soccer team from a cave, in Queensland (the coast of Australia makes a good stand-in for the tropics). And later this year, Julia Roberts and George Clooney are set to arrive in the same state to shoot “Ticket to Paradise,” a romantic comedy.Though a number of American stars have landed in the country for temporary work, some like Ms. McCarthy, originally in Australia to work on “Nine Perfect Strangers,” have decided to stay on to shoot other projects, said those in the industry. “Oh, the birds!” she gushed in a YouTube video. “I love that I’ve seen a spider the size of my head.”Others, like Zac Efron, appear to have settled here permanently.Zac Efron has been spotted all over Australia.Credit…Lucy Nicholson/ReutersHis Instagram is flush with Australiana: Here he is in a hammock, in the red-earth desert, appearing to participate in an Indigenous ceremony or wearing the Australian cowboy hat, an Akubra. Last year, Mr. Efron even got what an Adelaide hairdresser described as a “mullet,” a much-maligned hairstyle popular in Australia.“Home sweet home,” he captioned one image of himself in front of a camper worth more than $100,000.Chances are the stars will keep showing up. They’ve been spotted camping under the stars, heading out to dinner sans masks, and partying (yes, like it’s 1989). Mr. Damon said in January that Australia was definitely a “lucky country.”But locals in Byron Bay — the seaside town that in recent years has been transformed from hippie to glittering — have complained that the influx of stars in the past year has irreparably changed the town.“The actors and the famous people are the tip of the iceberg,” said James McMillan, a local artist and the director of the Byron Bay Surf Festival. He added that the large cohort of production crew member from Melbourne and Sydney was pricing locals out of real estate.“It’s definitely changed more than I’ve ever seen it change in the past 12 months,” Mr. McMillan, who has lived in Byron Bay for two decades, added. “People have got stars in their eyes.”AdvertisementContinue reading the main story More

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      The Dos and Don’ts of Staging a Pandemic-Era Awards Show

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      #masthead-section-label, #masthead-bar-one { display: none }Awards SeasonGolden Globes: What HappenedBest and Worst MomentsWinners ListStream the WinnersRed Carpet ReviewAdvertisementContinue reading the main storySupported byContinue reading the main storyThe ProjectionistThe Dos and Don’ts of Staging a Pandemic-Era Awards ShowThe Oscars have nearly two months to get right what has gone oh-so-wrong at other ceremonies.Joaquin Phoenix was onstage Sunday night at the Globes while the best-actress nominees and their supporters loomed behind him. (Top, from left, Viola Davis, Andra Day and Vanessa Kirby; bottom, Frances McDormand, left, and Carey Mulligan.)Credit… NBC/NBCU Photo Bank via Getty ImagesMarch 3, 2021, 2:12 p.m. ETAre awards shows merely the perk for a fully functioning society, or is there a way to make them work even while the world around us in still in dire straits? These are the questions that many in Hollywood are asking after Sunday’s disastrous Golden Globes ceremony brought in 6.9 million viewers, a free-fall plunge from last year’s tally of 18.3 million.Certainly, people have more pressing matters on their minds than whether “Nomadland” can beat “The Trial of the Chicago 7,” but even casual movie fans surely cringed (or changed the channel) when technical difficulties nearly torpedoed the speech given by Golden Globe winner Daniel Kaluuya at the top of the show. We’re all tired of buggy Zoom calls by now, even when those thumbnails are filled with Hollywood’s best and brightest.There are still nearly two more months before the Oscar telecast on April 25, which will be produced by the often innovative Steven Soderbergh alongside Stacey Sher and Jesse Collins. It won’t be easy for them to mount a glitzy gala during a still-raging pandemic, but here are the lessons that can be learned from the awards shows that were unlucky enough to go first.DO a sound check.In too many of the ceremonies I’ve watched this year, from the Gotham Awards to the Golden Globes, the first big winner of the night either had no idea when to speak or was still on mute when they finally began to. Clearly, some more robust preshow prep is necessary: If you’ve already got the stars on standby, keep drilling them offscreen until they know their cue to come in. (And send them better cameras and microphones, when possible.) An acceptance speech ought to begin with emotion, not technical difficulties.DON’T do improv comedy.The Golden Globes booked two sets of consummate vampers — the “Saturday Night Live” vets Maya Rudolph and Kenan Thompson, and the “Barb and Star” leads Kristen Wiig and Annie Mumolo — but each duo’s improvised patter only made a ramshackle show feel even more chaotic. Improv comedy works better as a palate cleanser during a tightly scripted ceremony, and it feels perverse to let comedians churn through show time in pursuit of a punchline when some of the biggest winners then have their speeches quickly curtailed by wrap-it-up music.DO some short, pretaped bits.Live award ceremonies still feel hemmed in by awkward social distancing, but plenty of movies and television shows are back in full production all over the world. The Oscars could take advantage of their long lead time and ask some of Hollywood’s wittiest to shoot pretaped bits, running no more than thirty seconds, to help expand the breadth of the show in safe and creative ways. Call up Taika Waititi and have him improvise something funny with Chris Hemsworth! Tell Judd Apatow that yes, it has to be 30 seconds — not 60! And any shorts that are cut for time can easily be released online the next day to extend Oscar’s golden afterglow.Awards Season More