More stories

  • in

    How ‘The Challenge’ Lasted 40 Seasons and Changed Reality Stardom

    When Johnny Devenanzio swiveled in his chair and playfully called for his mother to bring some meatloaf, he knew exactly what he was doing. In his impression of Will Ferrell’s man-child from “Wedding Crashers,” he was really evoking Johnny Bananas, the Peter Pan-like alter ego he has played for much of his adult life on the grandfather of all reality-competition shows: MTV’s “The Challenge.”Devenanzio, 42, said he’d likely be a stay-at-home-son had his life not so permanently veered into the world of reality television. Or maybe he would have used his Penn State college degree to enter the world of finance. Of his large flock of one-time castmates, many have forged ahead with new careers, gotten married, started families. Not Devenanzio.“When I die I’m going to donate my brain to science to study what the long-term side effects of reality TV has been,” Devenanzio said over a Zoom interview. “Because I have literally clocked more hours than anyone on the show.”Devenanzio spoke just before embarking for Vietnam to film the 40th season of “The Challenge,” the flagship show on which he has appeared in more than half the seasons. Subtitled “Battle of the Eras,” the new season (premiering on Aug. 14) will feature 40 cast members representing various generations of the show vying for a slice of a million-dollar prize.That’s a long way from the show’s summer camp-vibes origin. The series premiered before the first Real Housewife ever chucked a drink, ahead of any chef-judge barking, “Hands up, utensils down,” and earlier than anyone surviving to outwit, outplay and outlast their competition. “The Challenge” even outstayed MTV predecessors like “The Real World” and “Road Rules,” which initially served as feeders for contestants to enter the show.The often harrowing daily challenges may be the underpinnings of the show, whether leaping from cars suspended over water or trying to fling fellow castmates off moving trucks.Paramount+We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    ‘Catfish,’ the TV Show That Predicted America’s Disorienting Digital Future

    MTVThis is Danny. He fell in love with a woman he’d met online. When he saw her photo, he called it love at first sight.He and Rosa talked on the phone daily for months and exchanged reams of texts in Spanglish. They bonded over being Puerto Rican.“You’re so funny, Daddy,” she once texted him. “You’re so sexy, my love,” Danny replied. Though they’d never met, he was making big plans: marriage and family.When the red flags started to pile up, Danny contacted “Catfish,” on MTV, for help. The truth was far from what he’d hoped. Rosa was secretly Jose.The TV Show That Predicted America’s Lonely, Disorienting Digital FutureSince its first episode aired in 2012, “Catfish: The TV Show” has held up a mirror to our online lives, reflecting how we present ourselves and make sense of love, lust, trust, companionship and loneliness in an increasingly digital world. Each episode unfolds like a detective show, with the host Nev Schulman summoned to untangle truth from lies, to take relationships that exist only on computers and phones and drag them into our three-dimensional reality.Listen to this article with reporter commentaryThe saga of Danny and Jose, which aired in 2017, is emblematic of the deception, dashed hopes and complicated situations regularly featured on the show.Danny contacted “Catfish” for help, believing Rosa had moved from Connecticut to Orlando, where he lived, but still would not meet him. Rosa had warned Danny that she had anger issues, in part because she had been molested as a child. When meeting with Schulman and his co-host Max Joseph, Danny said he wanted to help her by bringing more faith into her life. “I think I could make her a better person,” he said. “We plan to have a family.”In their research, Schulman and Joseph quickly discovered the so-called mask, meaning the unwitting person whose photos had been sent to Danny: a woman named Natalie. But Rosa’s real identity was harder to pin down. “This is the weirdest thing that’s ever happened to me,” Danny said when shown the evidence. “I never had anybody send me fake pictures.”Schulman called Rosa to inform her that Danny was now aware she’d lied about the photos. Though combative, she agreed to meet in Connecticut. It became clear that she had never moved.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Eli Noyes, Animator Who Turned Clay and Sand Into Art, Dies at 81

    His innovative stop-motion animation influenced a generation of filmmakers, including the creators of Wallace and Gromit.Eli Noyes, a filmmaker whose use of clay and sand in stop-motion animation garnered an Oscar nomination and shaped the aesthetic of Nickelodeon and MTV during the early days of cable television, died on March 23 at his home in San Francisco. He was 81.His wife, the artist Augusta Talbot, said the cause was prostate cancer.Mr. Noyes made his first film, “Clay or the Origin of Species,” in 1965 as an undergraduate student at Harvard. To the accompaniment of a jazz quartet, clay model animals whimsically portray evolution in the movie, which lasts just under nine minutes.Though stop-motion filmmaking had existed for decades and clay was used in the 1950s to create animated characters like Gumby, directors and cinephiles credited Mr. Noyes’s rookie effort with reviving interest in the technique at a time when hand-drawn characters were more popular.“Clay or the Origin of the Species” (1965), Mr. Noyes’s first film, was nominated for an Academy Award.via Noyes familyThe film was nominated for an Academy Award for best animated short subject.“This recognition served as a tremendous boost to the credibility of clay as an animation medium, bulldozing a path for even greater works,” Rick Cooper, a former production manager for Will Vinton Productions, a Claymation film company, wrote in the journal Design for Arts in Education.Peter Lord, a founder of Aardman Animations, the English studio that used clay in the production of the “Wallace and Gromit” films, “Chicken Run” and other popular animated features, recalled seeing “Clay or the Origin of Species” on British television when he was getting started as a filmmaker.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Mojo Nixon, Who Mixed Roots and Punk Rock, Dies at 66

    A self-styled voice of “the doomed, the damned, the weird,” he was known for satirical songs including “Elvis Is Everywhere” and “Destroy All Lawyers.”Mojo Nixon, the psychobilly musician and radio host who gained cult status for his rabble rousing and celebrity spoofs like the 1987 hit “Elvis Is Everywhere”, died on Wednesday aboard a country music cruise that he was co-hosting. He was 66.His death was confirmed by Matt Eskey, the director of a 2020 documentary film about Mr. Nixon. He said that Mr. Nixon had a “cardiac event” while he was asleep as the Outlaw Country Cruise was docked in San Juan, Puerto Rico.A statement posted by the film’s official Facebook page said that Mr. Nixon had died “after a blazing show, a raging night, closing the bar, taking no prisoners.”Mr. Nixon was best known for his celebrity spoofs, like “Don Henley Must Die” and “Debbie Gibson Is Pregnant With My Two-Headed Love Child,” and for satirical tirades like “I Hate Banks” and “Destroy All Lawyers.”“All of it was performed in maximum overdrive on a bed of rockabilly, blues, and R&B, which earned Nixon some friends in the roots rock community but had enough punk attitude — in its own bizarre way — to make him a college radio staple during his heyday,” the All Music Guide wrote.“I’m a rabble-rouser who does humorous social commentary within a rock-and-roll setting,” he told The New York Times in 1990. In another interview with the paper, he described himself as a voice of “the doomed, the damned, the weird.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    What’s on TV This Week: ‘Abbott Elementary’ and Super Bowl LVIII

    The third season of the award winning sitcom airs on ABC. The Kansas City Chiefs and the San Francisco 49ers go head-to-head.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Feb. 5-11. Details and times are subject to change.MondayTHE EXORCIST 5:55 p.m. on Flix. There are two things I’m always in the mood to watch: reality television and horror movies (both involve a bit of schadenfreude). “The Exorcist,” of course, is genre royalty, and since it turned 50 last year, it’s a good time to watch Regan’s head go around and lament the ever-worsening quality in practical effects. You can also play my favorite TV game: trying to catch which parts have been edited out for broadcast.BELOW DECK 9 p.m. on Bravo. Our beloved “stud of the sea” Captain Lee Rosbach has finally sailed off into the sunset after 10 seasons of managing unruly young yachties (don’t worry, he’s fine: he’s gabbing about all things “Below Deck” on his podcast, “Salty”). Captain Kerry Titheradge, of “Below Deck Adventure” fame, is now manning the helm. Fraser Olender returns as the chief stew, and with the rumors that he’s now dating a charter guest confirmed, there’s sure to be plenty to rock the boat this season.TuesdayMatthew Broderick in “Ferris Bueller’s Day Off.”Paramount PicturesFERRIS BUELLER’S DAY OFF 5:30 p.m. on Freeform. References to “Ferris Bueller’s Day Off” abound in the latest season of “True Detective.” The “Twist and Shout” parade sequence plays in the Tsalal station leading up to the mysterious death of the researchers — and it’s on a loop when Chief Liz Danvers (Jodie Foster) inspects the scene. Later, a murderer eerily whistles the Beatles tune as both taunt and callback. Perhaps a rewatch of the John Hughes classic, with Matthew Broderick starring as the charming truant, will unlock the deepening mystery?WednesdayABBOTT ELEMENTARY 9 p.m. on ABC. Coming off another semi-successful awards season (Quinta Brunson won an acting Emmy for her role in the show), “Abbott Elementary” returns for its third season. Once again, optimism and hilarity will be set against the backdrop of the grimly underfunded Philadelphia public school system. Last season ended with an unexpected turn for Brunson and Tyler James Williams’s will-they-won’t-they couple (and a cameo from my favorite local celebrity, the massive anatomical heart at the Franklin Institute), so I’ll be eager to check back in.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    ‘Milli Vanilli’ Review: Blame It on the Fame

    Luke Korem’s documentary retraces the manufactured pop duo’s rise and fall, while asking pertinent questions about the price of stardom.The performers Fab Morvan and Rob Pilatus earn your empathy in the documentary “Milli Vanilli,” a jolting, eye-opening investigation on how fame destroyed them. The war-of-words film, directed by Luke Korem, unfolds like a whodunit.The film retraces the bonkers events of Morvan and Pilatus’s naïve rise to the top in the late 1980s as Milli Vanilli, the image-forward pop duo who secretly lip-synced prerecorded songs to live audiences. Their hits included “Girl You Know It’s True” and “Baby Don’t Forget My Number.”At first, the duo needed money to escape poverty, but their celebrity status kept them hooked, and their German producer, Frank Farian, held the bait.And then, the documentary revisits their fall: During a live performance on MTV in 1989, the song started to skip, exposing them as frauds. In 1998, Pilatus died of an overdose. “I lost my sobriety and every sense of reality,” we hear him say in the film.Impressively, Korem gets those who ran the business side of Milli Vanilli, including officials at Arista Records, to spill the juicy details on what actually happened to the duo: Morvan and Pilatus became Farian and the label’s scapegoats. As presented here, it’s easy to see how this could be the basis for a horror film by Jordan Peele.Morvan is the heart of the documentary; he reflects on the group’s past treatment (he thinks they deserved that revoked Grammy) and raises still-relevant questions about the way the music industry exploits vulnerable performers. Charles Shaw, one of the real singers behind Milli Vanilli, says that Farian, who also worked with the group Boney M., “made most of his money on Black artists, and it worked.”Milli VanilliNot rated. Running time: 1 hour 46 minutes. Watch on Paramount+. More

  • in

    Paul Justman, Who Shed Light on Motown’s Unsung Heroes, Dies at 74

    After establishing himself as a leading music video director in the 1980s, he found acclaim with his 2002 documentary about session musicians.During the filming of a climactic scene in his critically acclaimed documentary, “Standing in the Shadows of Motown,” a celebration of the unheralded session musicians behind countless 1960s hits, Paul Justman could have found himself foiled by Detroit’s harsh winter.Arriving at the city’s MacArthur Bridge one morning to interview the guitarist Eddie Willis about Motown’s fateful move to Los Angeles in 1972, Mr. Justman and his crew found the bridge blanketed with fresh snow, seemingly impenetrable. But the director was undeterred.“To Paul, this was an opportunity,” his brother, the musician Seth Justman, said by phone. “The glistening snow helped accentuate the feeling of loss.”Throughout his career, Mr. Justman blended a photographer’s eye with a musician’s feel for the pulse of pop as a prominent director of music documentaries and videos.He died on March 7 at his home in the Hollywood Hills section of Los Angeles. He was 74. His death, which was not widely reported at the time, was confirmed by his brother.While Mr. Justman enjoyed a long and varied career, he is best known for “Standing in the Shadows of Motown.” That film, released in 2002, brought to light the lasting contributions made to pop music by the session musicians, known as the Funk Brothers, who fueled countless era-defining Motown hits despite working in obscurity.“This salute to the literally unsung and underrecognized studio heroes of Motown is so good because it is one of those rare documentaries that combine information with smashing entertainment,” Elvis Mitchell of The New York Times wrote in a review. “And it is one of the few nonfiction films that will have you walking out humming the score, if you’re not running to the nearest store to buy Motown CDs.”Among Mr. Justman’s other documentaries were “The Doors: Live in Europe 1968” (1990) and “Deep Purple: Heavy Metal Pioneers” (1991). He also made features, including the 1983 battle-of-the-bands tale “Rock ’n’ Roll Hotel,” which he directed with Richard Baskin, and “Gimme an ‘F,’” a romp about cheerleaders, released the next year.Still, none of his films could match the ubiquity of the music videos he made in the 1980s, capturing the era’s Day-Glo look and Pop Art sensibility as MTV reshaped the pop landscape.Mr. Justman brought a quirky sense of deadpan to videos like the Cars’ “Since You’re Gone,” Diana Ross’s “Muscles” and Rick Springfield’s “Don’t Talk to Strangers,” as well as the MTV staple “Centerfold” by the J. Geils Band — for which his brother happened to play keyboards.Some of the studio musicians behind the Motown sound got back together for “Standing in the Shadows of Motown,” among them, from left, Eddie Willis, Joe Messina. Joe Hunter and Bob Babbitt.Entertainment Pictures/Alamy Stock PhotoPaul Evans Justman was born on Aug. 27, 1948, in Washington, the second of three children of Simon Justman, a government systems analyst, and Helen (Rebhan) Justman, a school drama teacher.Growing up in Washington, in Newton, Mass., and in Margate City, N.J., Mr. Justman was drawn to music (he played drums and guitar in rock bands as a teenager) and dance (at 9, he choreographed his own routines for courses at the Boston Conservatory). He also fell in love with photography.After graduating from Earlham College in Indiana in 1970 with a bachelor’s degree in philosophy, he moved to New York City and took a job with a team making short films about American culture for Swedish television.He soon started working as an assistant to Robert Frank, the lauded documentary photographer and filmmaker. He eventually served as an editor on Mr. Frank’s notorious warts-and-all documentary about the Rolling Stones’ raucous 1972 North American tour, which became famous, in part for its obscene name, although it was never officially released.Mr. Justman, who moved to Los Angeles in 1980, was also a fixture behind the scenes with the J. Geils Band as it was climbing from the clubs of Boston toward fame. In the mid-1970s, he made a short documentary, “Postcards,” about the high-energy blues-rock band’s frenzied life on the road. That film, which featured appearances by the rock critic Lester Bangs, was broadcast on PBS.In addition to his brother, Mr. Justman is survived by his wife, Saundra Jordan, and his sister, Peggy Suttle Kligerman.Not all Mr. Justman’s work with the J. Geils Band was behind the camera. He often collaborated on songs with his brother, and he contributed lyrics for all the songs on the band’s final studio album, “You’re Gettin’ Even While I’m Gettin’ Odd” (1984), recorded after the kinetic frontman, Peter Wolf, left the band. (Seth Justman handled most of the lead vocals.)But, his brother said, it was Mr. Justman’s ever-present videos that helped break the band into the pop stratosphere. His “Freeze Frame” video, featuring band members dressed in white and splattering one another in paint as if they were human Jackson Pollock canvases, received heavy airplay on MTV. The song hit No. 4 on the Billboard singles chart in 1982.But it could not match “Centerfold,” from the previous year, in ubiquity. The video for that song, featuring models marching around a high school classroom in teddies and, famously, a snare drum filled with milk, become a token of Generation X pop culture, and the song became the band’s first and only No. 1 hit.“MTV was really starting to cook,” Seth Justman said of “Centerfold,” “and that cinematic and energetic approach, along with splashes of humor, resonated and lit the fuse. The song, and the video, shot like a rocket.” More

  • in

    How MTV Broke News for a Generation

    MTV News bridged a gap between news and pop culture without talking down to its young audience. As it prepares to shut down, Kurt Loder, Tabitha Soren, Sway Calloway and others reflect on its legacy.A little over a year into his first term, President Bill Clinton made good on a promise to return to MTV if young voters sent him to the White House. The town hall-style program in 1994 was meant to focus on violence in America, but it was a question of personal preference that made headlines and helped put MTV News on the media map.Boxers or briefs?“Usually briefs,” Mr. Clinton responded to a room full of giggles.Now, a generation after MTV News bridged the gap between news and pop culture, Paramount, the network’s parent company, announced this week that it was shuttering the news service.The end of MTV’s news operation is part of a 25 percent reduction in Paramount’s staff, Chris McCarthy, president and chief executive of Showtime/MTV Entertainment Studios and Paramount Media Networks, said in an email to staff that was shared with The New York Times.MTV News and its cadre of anchors and video journalists were the ones to tell young people about the suicide of Kurt Cobain of Nirvana, and the killings of the Notorious B.I.G. and Tupac Shakur. They brought viewers on the presidential campaign trail and face to face with world leaders like Yasir Arafat, and took them into college dorms in New Orleans after Hurricane Katrina. They also embraced the messy chaos of 1990s and early 2000s celebrity, as when Courtney Love interrupted an interview with Madonna. They always put music first.Through it all, MTV News never strayed from its core mission of centering the conversation around young people.“There were no comparisons, it was one of one,” said SuChin Pak, a former MTV News correspondent. “We were the kids elbowing in. There just wasn’t anything out there for young people.”SuChin Pak, left, an MTV News correspondent, with Fergie, of the rap group the Black Eyed Peas, and Snoop Dogg. Ms. Pak said of MTV News, “We were the kids elbowing in.”Jason Merritt/FilmMagic, via Getty ImagesMTV News broke up the television news environment “in terms of young versus old, hip versus square” rather than the conservative-versus-liberal approach of many cable news networks today, said Robert Thompson, a professor of television and pop culture at Syracuse University. Its influence can be seen in the work of Vice News, the brash digital-media disrupter that is preparing to file for bankruptcy, and in the hand-held camcorder style of reporting that some CNN journalists have embraced.MTV was able to corner a young audience who could name the entire catalog of the band Flock of Seagulls but also had a curiosity about current events, he said.The Music Television network debuted in 1981 like a “fuse that lit the cable revolution,” Mr. Thompson said. Six years later, MTV News came on air under the deep, sure-footed voice of Kurt Loder, a former Rolling Stone editor, who co-hosted a weekly news program called “The Week in Rock.” But it was his interrupting-regular-programming announcement of Cobain’s death in 1994 that cemented Mr. Loder as “the poet laureate of Gen X,” Mr. Thompson said.“It was live TV at its best, I suppose, for an awful event,” Mr. Loder, who now reviews films for Reason magazine, said in an interview.MTV News tried to set itself apart from other cable news operations in a number of ways, Mr. Loder said.For starters, its anchors and correspondents did not wear suits. They also weren’t “self-righteous” and tried “not to talk down to the audience,” he said. That became especially important as rap and hip-hop seeped into every fiber of American culture.“We didn’t jump on rap at all as being a threat to the republic; we covered that stuff pretty evenhandedly,” Mr. Loder said. MTV then started adding more hip-hop to its music programing “and suddenly there’s a whole new audience.”Sway Calloway was brought into the MTV News fold to “elevate the conversation” around hip-hop and pop culture, and to do so with credibility.“MTV News took news very seriously,” he said. “We all wanted to make sure that we kept integrity in what we did.”Mr. Calloway, who now hosts a morning radio program on SiriusXM, said he knew respect for hip-hop culture had reached a new level when he was sitting in the Blue Room of the White House with President Barack Obama.“When Biggie said, ‘Did you ever think hip-hop would take it this far?’ I never thought that the culture would be aligned with the most powerful man in the free world, that we would be able to have a discussion through hip-hop culture that resonates on a global basis,” Mr. Calloway said. “That’s because of MTV News.”From its inception, MTV News saw itself as a critical connector for young voters. Tabitha Soren, an MTV News correspondent in the 1990s, saw that first hand on the campaign trail with MTV’s “Choose or Lose” get-out-the-vote campaign, and in the White House.“People were very earnest and sincere in wanting young people to be educated voters, not just willy-nilly, get anybody to the ballot box,” she said. “I felt like we were trying to make sure they were informed.”For Ms. Soren, who was 23 when she first appeared on air for MTV News in 1991, being able to connect with a younger audience was made easier because she was their age, she said. That meant asking Arafat about the role of young people in the intifada and going to Bosnia to follow American troops, many of whom were the same age as MTV’s viewers.“I was empathetic because I was their age,” said Ms. Soren, who is now a visual artist in the Bay Area. “My natural curiosity most of the time lined up with what the audience wanted to hear about.”During a town hall-style forum on MTV in 1994, President Bill Clinton was famously asked about his preference in underwear.Diana Walker/Getty ImagesThat rang especially true for Ms. Pak, who was born in South Korea and filmed a docu-series for MTV News about growing up in America with immigrant parents.“It was a culture shift for me personally, but with an audience that suddenly was like, wait, are we going to talk about this version of what it means to be American that is never shown and never talked about, and do it in the most real way possible?” said Ms. Pak, who was with MTV for a decade and now co-hosts a podcast. “Where else would you have seen that but MTV?”Just as Mr. Loder and Ms. Soren became cultural touchstones for Generation X, Ms. Pak, Mr. Calloway and others filled that role for millennials. Racing home after school to catch Total Request Live, they watched video journalists report the day’s headlines at 10 minutes to the hour during the network’s afternoon blocks and between Britney Spears and Green Day videos.“A lot of people were getting their news from us, and we understood that and knew it,” Ms. Pak said. “For all of us it was, OK, what is the audience, what’s our way in here that feels true? You do that by sitting down with them versus standing over them.” More