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    Who’s That Wonderful Girl? How “Nanalan’” Found New Success on TikTok

    She’s Mona, the puppet heroine of “Nanalan’,” an old Canadian children’s show that has found a new audience on TikTok.“Nanalan’” hasn’t been on TV in years, but it’s the hottest show on TikTok.A Canadian children’s program that made its debut in 1999, it has had a resurgence in recent weeks, thanks to its growing popularity on the social media platform, where it has been watched millions of times.A big part of the show’s appeal lies in its fiendishly catchy songs. One of them includes the lines: “Who’s that wonderful girl? Could she be any cuter?”The girl in question is Mona, a little green puppet with pigtails sticking out from both sides of her head. No, she could not be any cuter.The “who’s that wonderful girl?” earworm comes from a scene in which Mona enters a room dressed as a princess. Her grandmother, Nana, is singing the song while accompanying herself on organ. Nana’s dog, Russell, then appears in the garb of a royal courtier.The clip took off in mid-October, after a TikTok user posted it with the caption “When the clothes you ordered arrive and you treat the family to a fashion show.” The video has been viewed over 9.5 million times.

    @nanalanofficial Thewhole video can be viewed on Nanalan Official yu Tube #whosethatwonderfulgirl #wonderfulgirl #nanalan #princess #barbie ♬ original sound – nanalan’ official “Nanalan’” joined TikTok, YouTube and other social media platforms this year. But it didn’t make much of an impression until the video of Mona in her princess regalia began circulating, said Jamie Shannon, who created the show with Jason Hopley. The pair started making “Nanalan’” shorts in 1999, and the series ended up airing on CBC, Nickelodeon and PBS for Kids.In addition to reposting old content, Mr. Shannon, 51, has started making new videos with the “Nanalan’” puppets for social media. He discussed the show’s newfound audience and weighed in on why nostalgia reigns supreme online. The conversation has been edited and condensed.How did you get into the puppet business?I was traveling in Europe, I think it was 1990, and Jim Henson passed away. He was such a big part of my childhood. And I was like, “Well, that’s exactly what I want to do.” I was already kind of a puppet maker and an actor. So I kind of combined it all.For many people online, this is their introduction to your show. What should they know?It’s wild. Fifty-two percent of our audience on TikTok is American. “Nanalan’” is short for Nana Land, which is what I called my nana’s backyard. It’s about a little girl in that backyard. Mom drops Mona off at her nana’s everyday and goes to work, just like a lot of people’s situations. We were so lucky to do it without scripts, improvised.When did the show end?In 1999, we made the original set of three-minute shorts. We did that again in, I think, 2000. In 2003, we made a bunch of half-hour episodes, and that was it.Jason Hopley, left, and Jamie Shannon, the creators of “Nanalan’,” film a scene featuring the puppets Nana and Mona.via Jamie ShannonUntil social media discovered “Nanalan’.”We had a huge viral breakout in 2016 as well. Somebody did this hilarious thing. In one of the three-minute episodes, Mona’s describing the garden to Russell: “There’s a cooshie and a peepo.” Someone put the words up on the screen, just the silly words and then it went crazy on Tumblr. It became one of these things where people were like, “Try not to laugh.”Sorry — a peepo?A pea pod. I’m trying to imitate a kid imitating what a parent told them, but they don’t quite remember the word.Why do you think TikTok has embraced Mona?The world is so, so difficult and scary right now, and the show’s very comforting. Everything looks soft. There’s no special effects. It heralds to what I think people want to see, which is just something that’s real and authentic in the, you know, fake, fake, fake world. Everything’s A.I., and people don’t know what’s real.

    @nanalanofficial Replying to @Brooke backyard dance party #nanalan #dance #puppets #deli #delidancechallenge ♬ original sound – BREANNA🩷 Mona recently joined Cameo, a platform that allows celebrities to send video messages to fans for a fee. What’s that like?I was trying to join Cameo so long ago, and I guess they weren’t accepting puppets. It’s great, I love it. It’s like four or five videos a day. Touching stuff, too. People say, “Grandma died, can you …?” So I do a lot of pep talks. More

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    Russell Brand’s Alternate Reality

    On Sept. 12, four days before he was expected at the Troubadour Wembley Park Theater for another sold-out show, Russell Brand asked his fans for a favor. “I’ve always struggled with authority and being told what to do,” he wrote to ticketholders, attaching a questionnaire for a planned bit with his audience. “Even when it comes to something small like being offered a seat by a doctor, I’ll purposefully refuse rather than comply. Tell me about your relationship with authority — whether you tend to yield to authority or fight it.”Listen to This ArticleOpen this article in the New York Times Audio app on iOS.At the time, Brand’s more-than-two-decade quest for lasting attention had been proceeding apace along two tracks. In mainstream entertainment circles, at home and abroad, he remained the fading but still bankable British comedian whose selectively confessional accounts of heroin addiction and promiscuity made him an avatar of a very mid-aughts sort of fame — the guy who played a rocker version of himself in the 2008 film “Forgetting Sarah Marshall” and would later marry Katy Perry (it was brief). But for those partial to Brand’s midlife canon, he had come to resemble something more like a political sage.With Jesus-length hair, multidenominational tattoos and promises of unspecified revolution, Brand, 48, had in recent years been reaching millions daily across a media and wellness empire, fusing the downward-facing dogmatism of a proper guru with the cold efficiency of the YouTube algorithm. His remit was nothing less than “a social-political-spiritual movement,” he told listeners. His prime offering was a trove of foreboding and regularly misleading videos from his flagship series, “Stay Free with Russell Brand,” lobbed at a cumulative social media following of more than 20 million. His episode titles charted the ideological swerve of a man who once used his celebrity to elevate progressive causes: “STATE OF FEAR! COVID Propaganda EXPOSED!” “Leaked Audio PROVES Trump Right!”For the past year, Brand’s recording studio in the Oxfordshire countryside has been blessed as an emerging nerve center of the American right, or at least the anti-anti-right, with a procession of presidential candidates beaming in. In July alone, Brand interviewed Ron DeSantis, who compared Brand favorably to loathsome “corporate journalists”; hyped a pull-up contest with Robert F. Kennedy Jr., conservative media’s favorite lapsed Democrat and Covid conspiracy theorist; and scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News. “Maybe I’ve just been called a right-wing crazy for so long that I thought I was,” Carlson told me recently. “But if I agree with pretty much everything Russell Brand says, I don’t know what I am.”In July, Brand scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News.Screenshot from RumbleLike Joe Rogan, the carnivorous pooh-bah of this intellectual space, Brand appeared interested in teaching a certain kind of man how to be a certain kind of man, mining the tension between think-for-yourself riffs and listen-to-me conclusions. (Brand has been a repeat guest on Rogan’s podcast.) Unlike Rogan, he appeared to model a more expansive vision of manhood — vegan, sober, Aldous Huxley-quoting. The event in Wembley, part of a tour scheduled for late summer and early fall, seemed designed to accentuate Brand’s overlapping profiles: electric live performer and terminally online click-hunter. As with much of his output lately, the marketplace would help dictate his direction. The tour was called “Bipolarisation” for two reasons, he joked: because people would be polled and “because I’m severely mentally ill.” His September email to attendees requested answers to several related prompts. “What’s the strangest way you’ve yielded to or gone against authority?” the first question read. “What’s the weirdest/naughtiest/most embarrassing thing you’ve done in reaction to being told what to do?” another asked.Three days later, Brand’s followers received a less whimsical communication. In a prebuttal video posted across his social media, Brand said he was about to face “very serious allegations that I absolutely refute,” without detailing them. He insisted that all past relationships were consensual. He darkly suggested that “another agenda” might be at play, noting that supporters had long warned him about “getting too close to the truth.” The next day, Sept. 16, The Sunday Times, The Times of London and Channel 4 Dispatches published a yearslong joint investigation in which four women accused Brand of sexual assault between 2006 and 2013. The accounts were specific, revolting and, in some cases, bolstered by medical records and other contemporaneous evidence. The accusers included a woman who was 16, the British age of consent, during her relationship with Brand, who was in his early 30s. She said Brand once forced her to perform oral sex as she strained to push him off, stopping only after she punched him in the stomach. There was a time, as recently as a few years ago, when this sort of reputational earthquake almost certainly would have followed the dutiful rhythms of celebrity crisis management: performative introspection, nominal contrition (often paired with a narrow denial of the most grievous offenses), a pledge to disappear for a while. Instead, Brand’s story quickly became a self-evident data point in two divergent realities. In the first, the one still tethered at least somewhat to traditional notions of scandal and consequence, Brand was an overnight pariah and criminal suspect. The police in London opened investigations. More women came forward, including an extra on Brand’s 2011 film “Arthur,” who filed a civil suit in New York claiming that Brand assaulted her in a bathroom on set. Brand’s management company almost immediately dropped him. YouTube suspended him from making money from his channel, which has more than six million subscribers. A parliamentary committee chairwoman wrote to Rumble, the video platform that caters to the right and exclusively carries Brand’s full episodes (shorter clips still appear on YouTube), expressing concern that he might continue to profit there and “undermine the welfare of victims.”In the second reality, the victim was Brand, and his welfare was suddenly the concern of many, from the powerful new friends he has made to the “awakening wonders” (as he addresses his flock) refusing to abandon him. His example has become a repentance-free case study in a very 2023 template for public survival, a post-post-#MeToo lesson in the spoils and fortifications available to those who are thought to be scorned by the right people. “Criticize the drug companies, question the war in Ukraine, and you can be pretty sure this is going to happen,” Carlson said of Brand on X (formerly Twitter), to which Elon Musk, the site’s reply-guy owner, responded: “Sure seems that way!” Rumble also posted on X, calling the parliamentary letter a “deeply inappropriate” intrusion of the state. Already, for those who support Brand and those who do not, his fate is being processed as a kind of referendum — on who gets to decide what happens to the accused; on what a preternaturally charismatic figure can talk himself into or out of; on the limits, or limitlessness, of tribal loyalty.Brand leaving the Troubadour Wembley Park theater in London in September. He performed just hours after sexual assault allegations were made public.James Manning/Press Association, via Associated PressThough the balance of his live tour was scrapped within days, Brand kept one last date, Sept. 16 in Wembley, hours after the allegations landed. “You came,” he said to a crowd of about 2,000, according to the BBC, walking out to “You Don’t Own Me,” the feminist standard performed by Lesley Gore. He told his guests he loved them and talked about teaching his young children to be skeptical. One fan held a sign reading, “We stand by you.” Another threatened to kick down a ladder carrying paparazzi outside. And by the end of the night, the room had a new answer to Brand’s preshow queries.How had they most memorably snubbed authority? How had they responded when told what to do and think?With a standing ovation for a freshly accused predator.More than a week after the allegations, “Stay Free” returned, unbowed but discernibly altered. Brand appeared alone, his bare chest visible beneath a largely unbuttoned white button-down. The show credits, which once ran about 20 names deep, were gone — not necessarily because Brand’s whole team was but perhaps because associating with him had become more complicated. “The corporatist state and global media war against free speech is in full swing!” Brand told his listeners. “How do I know? Take a guess.”Seated at a desk, with a “Daily Show”-style prosecutorial montage of videos and text, Brand blamed the “collusion between big tech and government” and a “centralist state and globalist elite” that he suggested was persecuting him. He discussed the letter from Parliament, alleging ties between its author and Google (“a competitor to Rumble”). He welcomed Jimmy Dore, another conspiracy-theory-minded comedian-podcaster, for a remote interview, thanking him for a mood lift “at a time where I plainly need it.” “Stay strong,” Dore said. This booking choice was notable. Dore, who has himself been accused of sexual harassment, is among a cluster of high-profile Brand supporters who seem particularly invested in the idea that false or agenda-led accusations are an occupational hazard for their lot. Andrew Tate, the misogynist mega-influencer awaiting trial on rape and human-trafficking charges in Romania, tagged Brand on X: “Welcome to the club.” Donald Trump Jr., whose father has been serially accused, posted a meme on Instagram showing the former president, Brand, Tate and Julian Assange, the WikiLeaks founder, who was accused of rape. “Notice a pattern?” the meme read, alongside Trump Jr.’s caption: “One day they’ll be coming for you. I don’t believe in this much coincidence and neither should you.” For Brand’s audience, long encouraged to consider his voice too dangerous for entrenched interests to abide, the allegations stand as proof of concept, only making him more credible. “Enough of us know what’s going on here,” one commenter assured him upon his return. “No wonder they’re trying to silence you,” another posted on an October video that criticized President Biden.“It’s almost like cancel capital,” Nick Marx, a professor of film and media studies at Colorado State University and the co-author of a book on right-wing comedy, told me. “It’s something he recognizes as having a value distinct from money.” With Trumpian verve, Brand has reframed accusations against him as an act of war against everyone who backs him. “They’re out to get you,” he told his audience in November, citing “censorial forces” like YouTube and quoting from Kafka’s “The Trial.” “I’m just in the way.” And like the former president, Brand has channeled lessons from his early rise, betting on his basest self — and on the accommodations and calculations that those around him have always made.Since his public beginnings, Brand has derived his power from appearing to get away with something, from saying and doing what others never would. His fame was entwined with an almost ostentatious misogyny, a sizzle reel of mistreated women and gleefully poor taste for which he was broadly celebrated. His best-selling 2007 memoir relayed such rollicking tales as breaking the phone of a Turkish sex worker mid-encounter because the ringing bothered him. The British tabloid The Sun saluted him as its Shagger of the Year from 2006 to 2008. A breezy 2008 GQ profile winked at the “souvenir” that Brand acquired at a photo shoot (“her name is Penny”) and shared an anecdote from another romantic partner who claimed he told her, “I’m Russell Brand — I can do anything I like.” Brand denied this, semantically. “That may be the informing attitude,” he told the magazine, “but that’s never explicitly stated.”Brand with the singer Katy Perry, to whom he was briefly married, at the premiere of “Get Him to the Greek” in 2010. Kevin Winter/Getty ImagesEven scandal generally served Brand’s ends. In 2008, he and a co-host set off a national uproar after broadcasting on Brand’s BBC radio show the prankish voice messages they left for Andrew Sachs, a beloved former actor on “Fawlty Towers.” Sachs’s granddaughter Georgina Baillie was in a relationship with Brand in her early 20s. The messages to Sachs included singsongy Brand lyrics: “It was consensual/and she wasn’t menstrual.” Suspensions followed. Gordon Brown, the sitting prime minister, scolded him. Brand eventually resigned. His cad-for-the-masses legend grew anyway. “He was being very much rewarded,” Baillie, now 38, told me. “It didn’t even occur to me that I deserved an apology.”In interviews, people who know Brand described him to me as someone almost pathologically incapable of not having an audience and willing to do virtually anything to keep it. He has often admitted as much, joking that he could be whatever his followers wanted. “Are you unapologetically yourself?” he asked in August. “Because I’m not. I’m apologetically myself. ‘Hello, I’m me. Is this OK with everyone? I can change it if you want.’” (Brand and a longtime associate did not respond to an interview request or fact-checking queries.)In the 2008 GQ piece, Brand identified one clear gift (“attracting attention”) and warned playfully that his wider influence should be curbed. “I don’t think for a minute that I should be the person that comes up with how we organize a new postapocalyptic order,” he said, “because I think I’d exploit it to get girls.”When Brand speaks now about forging a new social order, he attributes his rise as a media force, accurately enough, to a collapse of faith in traditional institutions. Left unsaid is that Brand himself was a creation of legacy gatekeepers and their customers — the media companies that employed him, the outlets that toasted him, the viewers who couldn’t resist — and a leering testament to their priorities. What has lingered for some lately is not how so many people missed the signs about him but why they seemed so eager to ignore them. In recent months, two former employers, the BBC and Channel 4, announced internal inquiries into Brand’s past workplace behavior. Channel 4, where Brand was accused of flashing a female colleague, aired the investigative documentary about him in September. Its title: “In Plain Sight.”“It was this wash of devil-may-care, it’s-exciting-to-push-boundaries-or-just-have-no-boundaries, and women were less than,” Shaparak Khorsandi, an early peer of Brand’s on the comedy circuit, told me of the era that made him. “Yet a man behaving absolutely appallingly was given endless television and radio contracts.”The subject of the day in December 2014 was immigration, and the lineup for a BBC political panel was suitably formidable: a Conservative member of Parliament, another from Labour, a Sunday Times columnist. But two combatants stood out: Nigel Farage, then the leader of the U.K. Independence Party, reprising his argument that new entrants to Britain were a dangerous resource drain, and Brand.“There is a corrupt group in our country using our resources, taking away our jobs, taking away our housing, not paying taxes,” Brand agreed. But it was “the economic elite” funding Farage’s party. “His mates in the city farted,” Brand continued; Farage was “pointing at immigrants” and “holding his nose.” The studio audience roared.Raised as a working-class “bloke” in his frequent telling, Brand had long angled to amplify his voice on the left, infusing early appearances with sometimes deliberately shocking allusions to global affairs. He has delighted in claiming that on Sept. 12, 2001, while employed as a presenter at British MTV, he showed up at work dressed as Osama bin Laden. The following spring, he was detained by the police after fully disrobing at a protest in Piccadilly Circus, “explaining himself by mentioning ‘ecological,’ ‘Armageddon’ and ‘culture’ without making a great deal of sense,’” according to a news report from the time. (“Oh, God,” an MTV spokeswoman said then. “That sounds like Russell.”)Brand speaking in Parliament Square in London during a protest against the Conservative Party’s austerity policies in 2015.Tim Ireland/Associated Press“Even before he was famous, he sort of fancied himself a bit of a Che Guevara,” Khorsandi told me. After he was famous, Brand expanded his political footprint proportionally. In 2012, he was invited to testify before a parliamentary committee on drug policy, walking the halls in a black tank top and bolero hat. The same year, he developed a short-lived talk show for American TV, FX’s “Brand X With Russell Brand,” appearing with Matt Stoller, a liberal policy researcher. (The men met while Brand was shooting “Forgetting Sarah Marshall,” which Stoller’s brother, Nicholas, directed; they reconnected in 2011 at the Occupy Wall Street protest at Zuccotti Park in New York.) “They wanted to do a more radical version of ‘The Daily Show,’” Stoller told me of “Brand X” in August. “It was a bad show.”Brand’s political breakthrough came in a viral BBC interview in 2013 with Jeremy Paxman, one of Britain’s most fearsome questioners. Paxman appraised Brand as a “trivial man” whose calls for revolution and apathy about voting gave him away. “You’ve spent your whole career berating and haranguing politicians,” Brand responded. “Then when someone like me, a comedian, goes, ‘Yeah, they’re all worthless — what’s the point in engaging with any of them?’ you sort of have a go at me because I’m not poor anymore.” The exchange enshrined Brand as perhaps the nation’s foremost lefty. “It had a massive impact,” George Monbiot, a well-known environmentalist and writer, told me. “It galvanized people. It galvanized me.”In short order, Brand was hailed as a kind of crossover intellectual, validated by authors and thinkers who schlepped to his East London home to appear on his popular YouTube series, “The Trews,” a portmanteau of “true” and “news.” Academics said they could become entranced by Brand’s free-associative conviction on their subjects, even when he sounded only semi-sensical — absorbing the quick-draw wit and baroque vocabulary of a host liable to deploy “perspicacity” or “effulgent” off the cuff. “I actually remember thinking at the time, Oh, this is how a new religion would start,” Edward Slingerland, an expert on ancient Chinese thought now teaching at the University of British Columbia, told me of their interview.For activists, Brand became a treasured ally, showing up at rallies — to oppose austerity, protect tenants, support firefighters — and invariably attracting cameras. He also began ingratiating himself with more mainstream politicos, at one point initiating a correspondence with Bill de Blasio, whose 2013 mayoral victory in New York had briefly stirred the left. “I do remember thinking of him as a fellow traveler,” de Blasio told me. In 2015, Ed Miliband, then the Labour Party’s leader, made a pilgrimage to Brand’s home for the web series, hoping to reach younger voters within its seven-figure following. Both men came to rue their choices. “Obviously knowing what I know now, I regret doing it,” Miliband said after the assault allegations. Brand’s second thoughts arrived sooner, when his imprimatur could not prevent a Conservative election triumph. “My only regret,” he said afterward, “is I thought I could be involved.”If Brand felt disillusioned, he was not alone on the British left. “They used Russell,” Monbiot said of Labour. “But they never embraced him.” Brand has since resolved to live “beyond all political systems.”Among onetime admirers, the most generous interpretation for Brand’s political transformation is bleak but straightforward: Today’s version of him is the logical upshot of social media incentives, boundless ego and a bespoke personal radicalism that was always a little ominously amorphous. (“I don’t know how to describe Russell’s politics,” Marianne Williamson told me in August, warmly recounting the fund-raiser he helped host for her during the 2020 Democratic presidential primary.) In this reading, Brand is simply who we told him to be — or at least what the algorithm did. He has been known to track his trend lines on social media obsessively, staying apprised of follower counts and video performance. A job posting on Brand’s website earlier this year for a “YouTube Optimiser” was bracingly explicit: The task was to juice viewership and propose topics “based upon topics covered by similar channels and those that our audience watch.” This is the path from interviewing favored commentators of the right, like Ben Shapiro or Jordan Peterson, to having those videos recommended to fans of Ben Shapiro and Jordan Peterson, to sounding increasingly like Ben Shapiro and Jordan Peterson.“You can either try to drive the masses or be driven by them,” Faiz Shakir, the 2020 campaign manager for Bernie Sanders, told me after appearing on Brand’s show in August to push his labor-supporting nonprofit. “He’s more driven by them. It’s ‘Here’s where I think they already are.’”Brand has said that at least half his viewers are in the United States. After he interviewed DeSantis last summer, a person close to the campaign’s decision-making told me the host was seen as a conduit to men under 45, especially those who were not lifelong Republicans. On air, Brand can sound occasionally uncomfortable with his new constituency. Last year, he pressed Peterson to “prioritize compassion” rather than antagonize trans people. In the otherwise slobbering session with DeSantis, Brand almost begged him to agree that imposing an ideology on others was illiberal. “What about the freedom of those opposed?” Brand asked. But such flashes have been rare. In 2015, Brand called Trump a joke whose “punchline is a worse world for everyone”; by this February, he was posing with Trump Jr. at a Rumble event in Florida. He once quoted Gandhi on nonviolent protest; now he mocks those “clutching their pearls over Jan. 6.” Jeff Krasno, a former manager of Brand’s, suggested on his own podcast in September that Brand has by now “likely drunk his own kombucha,” adding, “there’s a clear business rationale for the content that Russell generates.”The Republican presidential candidate Ron DeSantis appeared on “Stay Free With Russell Brand” in July.Screenshot from RumbleOnstage, Brand has prided himself on a thrill-seeking gameness. “You have to be truthful and honest,” he has said of his comedy, “self-aware and willing to take risks.” Yet in many ways, Brand’s reinvention was exceedingly safe. He would be rewarded for playing the hits, for doing the expected. He would be cancel-proofed, if it came to it, with an army of backers primed to distrust anyone who attacked him.This is the less charitable read on Brand’s evolution: His alt-rightward drift — and his escalating insistence that mainstream outlets were corrupt agents of the status quo — has coincided roughly with the investigative journalism of mainstream outlets he now calls corrupt agents of the status quo. According to The Times of London, the reporting began in 2019, and Brand’s team was made aware of one assault allegation in 2020. In the years since, Brand has been “setting himself up more and more as the lone voice of truth,” Monbiot, Brand’s former progressive ally, told me. “It would definitely align with an attempt then to exonerate himself using the same argument.”Even privately, though, Brand’s orbit seems increasingly paranoid. After the allegations were made public, Brand’s father, Ron, wrote to Monbiot, who previously criticized Brand’s political shifts, to suggest that no one was safe from whatever plot had ensnared his son. “Do you think you could be next?” Ron Brand asked, according to messages Monbiot shared with me. The elder Brand later sent a conspiracy video about the World Health Organization and the World Economic Forum, two favorite targets for Brand and others who use “globalist” unironically. Tucker Carlson, who said that he and Brand have been speaking often, told me the allegations against Brand were “inevitable,” suspicious and cynically engineered to play on the debauched past of a man who is now remarried with children. “We’re leaving the part of history where people try to persuade each other in good faith,” Carlson said. “We’re entering the part where we just throw our opponents in jail or accuse them of crimes.”So far, Brand’s podcast guests have likewise stayed loyal. In an industry rife with voices insisting they are about to be silenced, loudly saying the things they swear you can’t say anymore, Brand represents a rousing spectacle, Staying Free despite the designs of a sinister “they.” “The cancelers of the world seem with each passing week to become more and more crap at their jobs,” the writer Matt Taibbi said on Substack in October, promoting his interview with the “conspicuously still-breathing Russell Brand.” Teasing an interview in November with Alex Jones of Infowars, who has described the assault allegations against Brand as a vast conspiracy, Brand suggested a kinship: “Have you noticed,” he said, raising two fingers for scare quotes, “how many of the wild Alex Jones ‘conspiracy theories’ have come to pass?”More than anything else, Brand is testing a tantalizing kind of liberty before a group that reveres the word. He has hinted about a financial crunch since YouTube began blocking his profits, telling viewers on Rumble that he is “plainly in a position where your direct support is going to be incredibly valuable.” But if Brand’s strategy is successful — if he can subsist without the institutions that long sustained him, the collaborators who abandoned him, the former fans who might wince through his movie scenes now — there is a new kind of power in that freedom, and a new kind of freedom in that power.“We’re planning a movement so that we can form new communities as the apocalypse apparently unfolds before our very eyes,” he told listeners on Oct. 26. “Without you, we are nothing.” The episode turned moments later to another aspiring movement leader: Vivek Ramaswamy, a returning guest and the first presidential candidate to appear with Brand after the allegations. Speaking from Iowa, midcampaign, Ramaswamy called for a “great uprising” against establishment forces. “It’s when they tell you to shut up that you have to actually grow the spine to be more vocal than ever,” Ramaswamy said.“I can see why there would be an appetite to censor you,” Brand replied admiringly. The host thanked his guest for “elevating the caliber of the conversation” in his “stream of freedom.” He previewed future episode subjects: the Covid lab-leak theory, another chat with Jordan Peterson, “the necessity for radicalism in politics.” Then he made a promise.“Next week,” Brand vowed, raising his open hands, “the revolution will grow a little stronger.” More

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    Gen Z Beatles Fans Come Together on TikTok

    “Can’t believe it’s 2023 and I get the joy of hearing a new Beatles song for the first time ever,” a 23-year-old says in a video post.Eloise Smith, 23, posted a reaction video on TikTok immediately after listening to “Now and Then,” the Beatles song released on Thursday.“Can’t believe it’s 2023 and I get the joy of hearing a new Beatles song for the first time ever,” Ms. Smith, who has a forearm tattoo rendering of the band’s “Abbey Road” album cover, wrote in the video’s caption.In an interview, she added that she was a third-generation fan: Her grandmother introduced her father to the Beatles, and her father introduced them to her.“I was 1 when George Harrison died,” Ms. Smith said.Ms. Smith, a civil servant who lives in Manchester, England, said she was “thrilled” weeks ago when she heard about “Now and Then.” The ability to immediately react and connect with other fans of the band through social media has made the experience of hearing a new Beatles song richer, she added.“Rather than just being in the kind of bubble of your friends, you can speak to people all over the world about it,” she said.The Beatles came late to digital media. The group did not sell downloads of its songs at Apple’s iTunes store until 2010, seven years after it had opened for business. When streaming became the main medium for music fans, the Beatles held out once more, waiting until 2015 before making the band’s work available on Spotify, Apple Music and other platforms.The decision to go digital allowed new generations of listeners to more easily discover a group that had won the adoration of mobs of screaming fans in the 1960s. Now, Gen Z listeners regularly post Beatles-related videos on social media platforms.

    @earlgreylou i am having a big ol’ emotional moment rn #nowandthen #thebeatles ♬ Now And Then – 2023 Mix – The Beatles “This song is my Roman Empire,” one listener wrote in a TikTok post, referring to a meme claiming that men think about the Roman Empire at least once a day. In the comments of the video, several people replied that the video was making them teary. “Sobbing,” they wrote. Others said that they were excited to listen to the song with their grandparents.Skylar Moody, 24, said she spent most of Thursday trying to avoid “Now and Then” spoilers. A superfan whose social media presence is almost entirely devoted to all things Beatles, she wanted to record her reaction to her first listen, which meant waiting until she was finished with work. She kept her phone on silent all day, lest she accidentally hear a snippet of “Now and Then” while scrolling online.Ms. Moody, who lives in New Jersey and goes, fittingly, by @lucyinthesky.lar on TikTok, said she became a Beatles fan after watching “A Hard Day’s Night,” the group’s 1964 film, during a music history class in high school. She described the Beatles’ online fandom as “very diverse and also unified.”“No matter what age or demographic you’re in,” she said, “we can all come together in one agreement that we love the Beatles.”She continued: “This is where we find our people now. It’s so easy to go on social media and find a fan community of people to talk to that will understand you.”Late on Thursday afternoon, she made a reaction video of herself listening to “Now and Then” in her car. “I’m listening to the Beatles! In 2023!” she exclaimed, clutching her face through a two-minute clip in which she describes what she’s hearing.The Beatles’ company, Apple Corps, has billed “Now and Then” as the group’s “last song.” It’s the third Beatles release since John Lennon’s death in 1980, after “Free as a Bird” and “Real Love” in the mid-1990s. All three were built on home demo recordings made by Mr. Lennon.“My heart feels so heavy right now, but in a good way,” Ms. Moody said in another TikTok video, adding, “We are experiencing their last song together, and this is going to go down in history. I’m so happy that we get to share it all together and that we’re able to share our thoughts like this online with people who get it.”Ms. Smith, the civil servant in England, said that she would try not to wear out “Now and Then” in the coming days. “I’ve been kind of listening to it every once in a while, to savor it,” she said, “because it’s such a big deal.” More

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    Laufey’s Old-Time Pop Is Smooth. Its Relationship to Jazz Is Spikier.

    The 24-year-old multi-instrumentalist found fame on TikTok with her nostalgic songs. But her dedication to her followers may be holding her music back.About 20 minutes into her set at Town Hall on Wednesday night — the first of two sold-out shows at the Midtown Manhattan theater — the nostalgic TikTok star Laufey put down her hollow-body electric guitar. With her hands free, she started singing “Dreamer,” the barbershop-pop tune that opens her second album, “Bewitched.” As she moved across the stage, she struck a new pose for each line: bending forward at the waist, as if to share a morsel of gossip; leg straight, hip bent; head turned sideways, as if mid-sigh.The act of posing is a key component in the Laufey equation. So is the big sigh.If you are one of the millions who have fallen for Laufey (pronounced LAY-vay) in the past 12 months, you are probably online enough to consume a good deal of your music through 15-second video clips; young enough to feel powerfully seen by a song about the catastrophe of a crush; and only vaguely aware of the midcentury pop repertoire that she so precisely draws upon.Laufey Lín Jónsdóttir, 24, is a cellist and multi-instrumentalist who grew up between Washington and Reykjavik. Half-Chinese and half-Icelandic, she is a third-generation musician, and as a youngster she often tagged along to her violinist mother’s orchestra rehearsals. She studied music business at Berklee College of Music in Boston, and when the pandemic sent students home, she returned to Iceland and began posting videos of herself covering tunes by Billie Eilish and Chet Baker — always in a throwback style swelling with overdubbed vocal harmonies and jazzy acoustic guitar. (Mind that word, jazzy. We’ll come back to it.) Amid the pandemic, this content was a comfort, and a following developed fast.Laufey likes to remind interviewers that she considers herself “old-fashioned.”Maansi Srivastava/The New York TimesLaufey’s vibe is somehow both hopelessly nostalgic and ideally suited to our extremely online world, where huge feelings are best delivered in Pop Tart-size bites. Almost everything except her lyrics — which sometimes mention social media, or the disappointments of digital-age dating — would have sounded at home on the American radio waves between 1940 and the mid-1960s, before the Beatles and the Stones started breaking the rules.Before 2020, Laufey hadn’t written much original music, but as a talented, classically trained musician, she discovered a knack for piecing pleasant parts into a satisfying whole. (The jazz musician and YouTuber Adam Neely in September released an erudite explainer of the science of her music, and he had little trouble decoding its DNA.)One of the first original tunes Laufey wrote was “Street by Street,” which she recorded with the help of a music production major living across the hall, the day she left Berklee’s campus for lockdown. That song became popular in Iceland, and then all over the internet. It showed up on the EP that she released the following year, “Typical of Me,” which pulled some yellowy pages out of the old jazz and bossa nova books, but also felt lodged in a wishful dream of Laufey’s own making. With an unfussy drum machine sound and a Corinne Bailey Rae-adjacent grooviness, there was something distinct and precarious about this music. Like most of us in that moment, it wasn’t sure where it stood or what the future held.Since then, you could say that her process has become subsumed into her profile. She now has over three million followers on TikTok, plus another two million on Instagram, and her feed has gradually turned into a kind of direct-to-fan service. Putting a premium on relatability, posting almost daily, Laufey — who writes music primarily with the composing partner Spencer Stewart — says that her followers dictate much of what she writes and covers. When someone asked her to write a song about being a love interest’s second choice, she came up with “Second Best,” a doleful and catchy but hard-to-place tune from “Bewitched,” on which she laments, “You were my everything/I was your second best.”Onstage at Town Hall, Laufey sang in front of a dark-blue drape dotted with little stars and a set of big movie-set spotlights. It looked like a set from “La La Land.” (A follower recently said her music sounded “like if La La Land had a sequel”; she loved this feedback.) Joined by a four-piece band and a string quartet, she alternated between guitar, piano and cello, playing each one with an expert’s touch. She motored expediently through a set that fit 17 songs into almost exactly 75 minutes (not including a short encore).About 70 percent of the audience was in their 20s, but there was also a significant contingent of older listeners who seemed grateful to see that Laufey’s pleasant, everyday-can-be-Christmastime aesthetic had caught on with a younger crowd. We live, after all, in messy and anxious times. Laufey’s amalgam of bossa nova, romantic pop and show tunes is here to reassure us that, yes, some old standards do still apply. (Mid-set she played “I Wish You Love” and quoted “Misty.”)Laufey says that her followers dictate much of what she writes and covers. Maansi Srivastava/The New York TimesLaufey likes to remind interviewers that she considers herself “old-fashioned,” a term that, on her lips, sounds like it’s splitting the difference between quirky and virtuous. She talks often about her love for Chet Baker and Ella Fitzgerald, and their influence is obvious. But the swooning syrup of her voice has a lot more to do with, say, Patti Page, the grande dame contralto of the 1950s, known for “Tennessee Waltz” and “(How Much Is) That Doggie in the Window?”None of this is necessarily a problem. But it can be off-putting to hear Laufey (and her now formidable P.R. apparatus) proclaim herself an ambassador of jazz, a genre that she says has been “gate-kept” by an older crowd. “Jazz music was created in the first place as kind of like a deviation from rules, and something that was meant to be free and for everyone,” she told the podcast host Zach Sang recently. “So the fact that it’s become something that feels like it isn’t for everyone is kind of sad, actually. And I think is the death of the genre.”Equal access, openness, nonjudgmentalism. All important. And yes, it’s possible that her music will bring some listeners to the very much alive and wide-open creative landscape that is jazz. But Laufey — who does not improvise on her instrument, play music with even an ounce of swing rhythm or engage with the chancy collaborative spirit that is the real joy of jazz — is not the music’s ambassador. She is, in fact, making a kind of antiquated radio pop and calling it jazz — precisely the kind of thing that holds the music back, and leaves casual listeners confused about how jazz could possibly still be relevant.Meanwhile, there is a bumper crop of young, alchemical jazz singers who are smartly engaging with the past, reinventing it in the present, and trying to figure out how its values might translate in our increasingly isolated, digital future. Samara Joy, who won the Grammy for best new artist this year, knows what it means to celebrate the classics while pushing ahead. Esperanza Spalding has been doing it with peerless creativity for over a decade, and she too has caught on with young people by the millions. Melanie Charles’s live show is bold and joyous and well-crafted, but anything but careful or predictable.The biggest tell at Town Hall was how Laufey played her own tunes: more or less exactly as they appeared on record. It seemed not unrelated to her process on social media: When your followers are dictating what you make next, then you’re trapped in a loop of familiarity. What’s known of you is also what’s expected, and that becomes what you make. To take her music to another level, Laufey may want to take a cue from Mitski — a musician she has covered and for whom she’s expressed admiration — and log off for a while. More

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    ‘Treason,’ the Musical, Was Built on an Online Foundation

    The producers cultivated online followers for three years before mounting a full production, bringing them along on the show’s journey to the stage.The catchy, folk-tinged numbers from “Treason the Musical” have been streamed online over a million times, in 96 countries. Its fans — known as “Plotters” — have been listening to an EP, an acoustic record and a live album of the songs, as well as sharing their own performances on TikTok. But until this fall, there hadn’t even been a full-scale production of the show.Unlike “Beetlejuice,” “Heathers” or “Dear Evan Hansen,” which all parlayed onstage popularity into huge digital followings, “Treason” is turning the formula for musical success around. Its producers cultivated an online fandom for three years before raising the curtain on the show, and are now banking on those fans buying theater tickets, too.It seems to be working. “Treason” is currently on a 27-show tour of Britain that culminates in two performances at London’s largest theater, the 2,286-seater Palladium, on Nov. 21-22.Created by Ricky Allan, the musical tells the story of the Gunpowder Plot of 1605: a failed attempt by a group of persecuted English Catholics to blow up the Houses of Parliament in London and assassinate the protestant King James I. The show features folk ballads, rousing pop and rock numbers, and spoken word and rap, with period costumes — ruffs and capes, doublets and hose — and candle-like lighting to evoke a 17th-century setting.As an original retelling of an episode from English history, “Treason” brings to mind another grass-roots British success story: “Six,” the hit musical about the wives of King Henry VIII. “Six” started out as a scrappy student show in the Edinburgh Fringe and grew into a professional production that is playing on the West End and Broadway. Its cast album became the second-most streamed of all time (after “Hamilton”), and its Instagram account has more followers than any West End show ever.Roxanne Couch, center, as Catherine Parr, one of the six wives of King Henry VII in “Six.”Pamela RaithWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More

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    Martin and Francesca Scorsese, TikTok’s Dynamic Duo

    The acclaimed director’s daughter, a filmmaker herself, has been peppering her feed with videos of her father, showing a rarely seen side of him.Step aside, Leonardo DiCaprio. Martin Scorsese seems to have found a new muse: Oscar, his daughter Francesca Scorsese’s aptly named miniature schnauzer.In a playful video posted to her TikTok last week, the director — just days before the release of his latest epic, “Killers of the Flower Moon” — conducted a very important, very serious audition with Oscar.After mentioning that he had been making films for nearly 50 years with brilliant actors — including with DiCaprio, Robert De Niro, Ellen Burstyn, Michelle Pfeiffer, Margot Robbie — he said he was ready for a change.“I need to find something that I could take further and to another level,” he tells the pup who is sitting motionless across from him on a tufted ottoman. “What that is I’m not quite sure, but I’ve heard some extraordinary things about you.”“Oscar, show me fear,” he says. “Oscar, show me sadness, love, show me love, show me transcendence.” When the pup goes from sitting to lying, Scorsese yells out, “Brilliant! You’ve got the role.”Martin Scorsese with his latest film subject — Oscar, the miniature schnauzer.Francesca ScorseseThe tightly composed scene — which toggles between Scorsese and Oscar in a dimly lit study and tells the story from Oscar’s point of view — was imagined and directed by Francesca, an actress and filmmaker whose short dramatic film “Fish Out of Water” premiered at the Cannes Film Festival in May, was shown at this year’s Tribeca Film Festival and will screen at New York Film Week, which began Wednesday.The camerawork on the TikTok post was done from a low angle, “because Oscar’s kind of small, we thought it was so funny,” Francesca, 23, who is a graduate of New York University Tisch School of the Arts (which her father also attended), told The New York Times on Thursday. “Then when the reveal happens, it makes it a little bit more successful because we were actually experiencing it from Oscar’s position.” (She convinced him to lie down at the end with a piece of chicken, his favorite.)It’s a heartwarming insight into perhaps the most famous living director when he is not behind the camera. (Martin Scorsese was amazed, she said, at the speed in which the scene was edited and available to watch.) It also might introduce Scorsese, 80, to a younger generation who may not technically be old enough to watch his most famous works like “Taxi Driver” (1976), “Cape Fear” (1991) or “The Wolf of Wall Street” (2013).It wasn’t his first appearance on Francesca’s TikTok. Amid posts that would be at home on any 23-year-old’s page — a cute video of her scrunching her nose to “You Wish” by Flyana Boss; another of her and a friend getting small tattoos and ear piercings — are several cameos of the elder Scorsese.A few weeks ago, in a post that has been viewed more than two million times, she tested his knowledge of slang terms. He was pretty spot on explaining the meaning of “tea” (“tell all you know”) and “ick” (“thoroughly repulsed”), but thought a “sneaky link” was a “personal peccadillo.” She corrected him: “It’s like a booty call.”They have worked together before, including on a Bleu de Chanel commercial this year with Timothée Chalamet. And Francesca says her father is eager to participate in these social media projects with her and sees value in the medium. “The people that he surrounds himself with keep him pretty young,” she said. “DiCaprio texts him and calls him the GOAT, calls him bro, you know they’re buddies.”When she originally explained the concept for the slang video to him, she used the expression GOAT as an example. “People keep saying that to me. People keep calling me the GOAT, but I don’t know what that means,” she recalled him telling her. It stands for “greatest of all time,” she replied, to which he said, “No way! I had no idea.”The TikTok video of Martin Scorsese guessing slang has been viewed over two million times.Francesca ScorseseIn July, she posted a compilation in appreciation of her father with the caption “He’s a certified silly goose.” The 22-second video, which has been viewed more than two million times, includes snippets of the director snuggling a tiny puppy and laughing hysterically in a tuxedo alongside De Niro and Harvey Keitel.“Fine, I’ll watch one of his movies,” a commenter wrote. “Omg love seeing this side of him,” wrote another.His lighthearted tone in these videos stands in contrast not only to his films, known for their haunting and violent themes, but also to some reflections he has made in his recent interviews. When GQ asked him about his own mortality in September, Scorsese said that he thought about it all the time. “I was a great collector, a great obsessive glutton for cinema and books, and now they all have to go away,” he said. “Once you know that you got to let go and you’re going to die, everything changes.”Providing a full picture of Martin Scorsese to the public is a significant part of why his daughter incorporates him on social media and why, years ago, she encouraged him to start an Instagram account, so the public could not only see him at work but also glimpse family photos and see him with his dogs. There’s also a lesser-seen part of his life, which is his role in caring for his wife and Francesca’s mother, Helen Morris, who has Parkinson’s. “He’s a lot more private about that stuff,” Francesca said. “People would think it’s this luxurious, glitz and glamour lifestyle. But then on the other hand, he’s in and out of hospital visits with her.”Some of that life experience was channeled into “Fish Out of Water,” her thesis film at N.Y.U., which was about a young mother who has an opportunity to reconnect with her estranged family after she is approached by her father with news of her mother’s failing health.While Martin Scorsese first dipped a toe into social media on Instagram, it was the introduction of TikTok that has allowed Francesca to give the world another perspective on her father, she said.“It’s really awesome to see that one of the most incredible filmmakers, he’s not just this big star that people see — I mean, he is — but he’s also a totally normal person that walks around in his pajamas, plays with his dogs and just helps his daughter with her math homework if he can,” she said. “People love seeing that side of him.” More

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    A Britney Spears Book Tour: No TV, No Podcasts, Lots of Instagram

    The singer, who has not given a face-to-face interview since 2018, has avoided traditional public appearances for “The Woman in Me,” which is still finding audiences.In the run-up to the release of his blockbuster autobiography earlier this year, Prince Harry sat down with “60 Minutes” — and “CBS Mornings,” “ABC News Live,” “The Late Show With Stephen Colbert” and others. Paris Hilton did “The View” and spoke with the BBC. Kerry Washington appeared on NPR’s “Fresh Air” and “Good Morning America.” Arnold Schwarzenegger opted for Kelly Clarkson and Howard Stern.But for Britney Spears, the endlessly sought after and speculated about pop star who released her memoir, “The Woman in Me,” this week, there was mostly Instagram.To gin up excitement about one of the most anticipated celebrity memoirs of the year, there were prerelease excerpts in People magazine, but no face-to-face interviews, which Spears has avoided since 2018, when she was still in the conservatorship that strictly controlled her life and career. (In the book, Spears writes of mentioning the arrangement in a 2016 interview, only to have it edited out.)Now legally cleared to do and say what she pleases, however, Spears has held back, essentially throwing out the playbook for promoting a celebrity tell-all. The singer and her team are instead letting the book do the talking, with its gossipy nuggets and condemnations of the 13-year conservatorship feeding a steady churn of press coverage and social media chatter.Her reluctance to be interviewed, stemming in part from a distrust sowed by decades of insensitive coverage, does not seem to have affected early sales: The book reached No. 1 on Amazon’s best-seller list; complete sales data will not be available until next week. But the lack of any significant promotional or public appearances by Spears, 41, has been obvious to professionals in the worlds of publishing and public relations.In seeking a less public life, Spears has spoken about the constant attention of the paparazzi. Bauer-Griffin/GC Images, via Getty Images“This is completely out of the ordinary,” said Eleanor McManus, a former booking producer for CNN’s “Larry King Live” who now works as a crisis manager. McManus said she was watching TV on Monday morning to find out which shows would be teasing a conversation with Spears. “I was thinking, ‘Who got the first interview?’” she said, before realizing that the answer was “no one.”“The only time you recommend not doing interviews is if you can’t control what the subject would say, or if what he or she would say would damage their brand,” she added.But some experts suggest Spears’s robust social media following may be all she needs for a successful book launch. At a time when celebrity memoirs are booming, subjects may not need to engage with traditional media as they once did if they have a substantial audience of their own, said Madeleine Morel, an independent literary agent who represents ghostwriters.“The whole thing is about the size of your platform,” Morel said. “Can you bring an audience to a book?”Spears is indeed known for communicating these days almost exclusively through her free-associative and often cryptic social media posts. Her most significant commentary on “The Woman in Me” has come not in Vogue, with Oprah or even a cheeky appearance on “Saturday Night Live” but via social media, where she has shared messages about the book that were alternately grateful, scarred and conflicted to her more than 100 million followers across platforms.It’s not like the traditional media was not interested. Spears said in a since-deleted voice message posted to Instagram last year that after her conservatorship was terminated in late 2021, she had been approached by all manner of outlets.“I have offers to interviews with Oprah and so many people, lots and lots of money, but it’s insane,” she said. “I don’t want any of it.”A representative for Spears declined to comment and the memoir’s publisher, Gallery Books, an imprint of Simon & Schuster, did not respond to requests for comment about their nontraditional strategy to secure promotion.So far, Spears’s traditional media engagement has been limited to the excerpts in People magazine — including the bombshell that Spears had an abortion during her relationship with Justin Timberlake — accompanied by emailed quotes attributed to the singer and a cover photo, which captured Spears smiling on a beach in Tahiti, sourced to “Britney Brands” rather than a photographer for the magazine.The publisher also helped to organize an international rerelease of the 2002 movie “Crossroads,” starring Spears. That rollout has featured interviews by its director, Tamra Davis, who has generated her own wave of news tidbits about Spears.A scene from the 2002 movie “Crossroads,” starring Spears.In Spears’s own recent comments on the book, she has chided the media for focusing on her past, though the memoir is essentially a retelling of her life story.“I don’t like the headlines I am reading … that’s exactly why I quit the business 4 years ago !!!,” she wrote on Instagram. “My motive for this book was not to harp on my past experiences which is what the press is doing and it’s dumb and silly !!! I have moved on since then !!!”She went on to briefly deactivate her account, only to return soon after with a picture of a cake that said “See you in hell.” On the book’s release day, she shared a single promotional post reading: “My story. On my terms. At last.” (She later deleted the post from Instagram.)Most celebrities with books to sell still combine more old-fashioned media appearances, like the “Today” show and the late-night circuit, with a dedicated social media strategy and newer, friendly outlets like the podcasts Armchair Expert and On Purpose With Jay Shetty, the lifecoach and influencer.The actress Jada Pinkett Smith, who released a memoir this month, did all of the above, plus more. Her deluge of media appearances even became the subject of a joke on “S.N.L.”“Sorry if I seem a little tired,” said the comedian Ego Nwodim, who played Pinkett Smith. “I’ve been on the ‘Today’ show 14 times in three days.”The writer Neil Strauss, who has worked on books with Mötley Crüe, Marilyn Manson and Jenna Jameson, said that celebrities could run the risk of making themselves bigger than the book with overexposure. “Sometimes by talking about it, you can only hurt it,” he said, adding that Spears “seems like she has a lot of trauma around the media.”In her memoir, Spears describes the press as having been unfairly focused on her body as a rising pop sensation and on her fitness as a mother during a series of public struggles in 2007 and 2008 that ultimately led to her father, James P. Spears, being granted control of her personal life and finances.She wrote that she felt exploited in 2003, when her father and her management organized an interview with Diane Sawyer following her breakup with Timberlake. “It was completely humiliating,” Spears writes. “I wasn’t told what the questions would be ahead of time, and it turned out they were 100 percent embarrassing.”Spears, left, in an interview with Diane Sawyer. The singer writes in her memoir that the conversation, which focused on her breakup with Justin Timberlake, was “humiliating.”ABCStrauss, the celebrity collaborator, said, “She’s just analyzed and scrutinized beyond the level that any human should have to be.” Still, he acknowledged, echoing others in the industry, it was “highly unusual” for someone of Spears’s stature to do no interviews. Even Bob Dylan, a notorious media antagonist for most of his career, promoted his memoir in 2004.Paul Bogaards, a veteran book publicist who has led campaigns for best-selling memoirs by Bill Clinton and Andre Agassi, said that the power of a celebrity speaking publicly about their book tends to be greater than the media mining it for a news story.“Once they’re out there in the world talking about their book, it becomes a 24-7 coverage-palooza,” Bogaards said, adding that most publishers required contractual agreements about promotion. “You want them to be visible in a significant way,” he added. “It’s hard to defend taking on a multimillion dollar advance in the absence of those kinds of agreements.” (Published figures put the price tag for Spears’s memoir, which was announced last year, between $12.5 million and $15 million.)Another major selling point for celebrity memoirs tends to be the subject’s own voice on the audiobook edition, but in this case, Spears has largely opted out as well. In a short introduction to the audiobook version of “The Woman in Me,” Spears said she had chosen to read only a short snippet of her 275-page book because the process of reliving its contents had been “heart-wrenching.” Apart from a minute and a half, the rest of the book’s five-plus hours is read by the actress Michelle Williams.Spears’s most loyal fans see no issue in her letting the work speak for itself. For years, the mantra for many supporters has been “leave Britney alone,” especially after the singer upbraided fans earlier this year for calling the police with concerns about her well-being when she temporarily deactivated her Instagram account. She voiced her objections again last month when another emergency call was made in response to a video of her dancing with what appeared to be kitchen knives. (Spears said they were props.)“A lot of the sentiment in the book are these instances where she was forced to do things against her will,” said Jordan Miller, the founder of the Spears fan site BreatheHeavy.com, which helped start the “Free Britney” campaign that brought more public attention to conservatorship.“It’s cool that she’s going in the opposite direction of what the status quo is in terms of conventional promotion,” he added. “It’s like, ‘Here are my words, you can read these. Here are the photos that I want you to see. I’m going to have approval of all of this.’ In the context of everything that’s gone on, that is super refreshing.”But a celebrity memoir with an eye-popping purchase price may need to reach more than just superfans in order to be seen as a phenomenon worth its investment, experts said.“It’s going to be a major release, but I think that they could be doing more to make it a real moment that sticks around,” said Anthony Bozza, an author who has written books with Slash, Tracy Morgan and Artie Lange.If not, he added, “You’re just going to be a blip in the cycle.” More

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    Britney Spears Timeline, From the Conservatorship to Her Memoir

    Before the pop star releases her memoir next week, here’s a look back at her life since the guardianship controlling her affairs was terminated in 2021.In June 2021, Britney Spears spoke to a Los Angeles courtroom, giving an impassioned 23-minute statement about her struggles under the conservatorship that had controlled her personal and business decisions for 13 years.“I’ve been in denial,” she said. “I’ve been in shock. I am traumatized. I just want my life back.”It was the first time the pop star, who rose to fame in the late 1990s, had provided a window into her realities of the legal arrangement that her father, James P. Spears, had petitioned for in 2008, citing her public mental health struggles and possible substance abuse. During the decade-plus that Spears was restricted by the guardianship, she performed a Las Vegas residency and released four albums; behind the scenes, she said, she lived in terror and shame, unable to make decisions about her work or her own body.Five months after Spears’s speech, Judge Brenda Penny terminated the conservatorship.Spears embraced her sudden freedom to speak freely, unloading about family betrayal and years of isolation on her Instagram, her main outlet for communication with her fans. Now, Spears, 41, is making her biggest statement yet with “The Woman in Me,” a memoir that will be officially released on Tuesday. In it, she says that since the end of the conservatorship she has tried to “rebuild my life day by day.”“I’m trying to learn how to take care of myself,” she writes, “and have some fun, too.”Here’s what’s happened since the end of the conservatorship — in the public sphere, at least.Spears’s personal lifeWhen Spears gave her emotional speech to the Los Angeles judge, she said that two of the conservatorship’s restrictions that pained her the most were limitations on getting married and having another baby.Several months after the arrangement ended, she married her boyfriend, Sam Asghari, whom she met when he was in her music video for the song “Slumber Party.” The marriage lasted just over a year; he filed papers asking for a divorce in August. (The book does not get as far as the split, mentioning their relationship only in positive terms.)In April 2022, Spears announced that she was pregnant, but the next month, the couple said that she had had a miscarriage. It would have been her third child, after two sons with her ex-husband Kevin Federline.“I’d been so thrilled to be pregnant that I’d told the whole world,” she writes in the book, “which meant I had to un-tell them.”In the immediate aftermath of the conservatorship’s end, Spears was outspoken on her Instagram about the ways she felt her family had wronged her, but earlier this year, she signaled in an Instagram post that she may be softening, at least toward her mother. Lynne Spears — who, she writes in the book, supported the creation of the conservatorship — showed up at her doorstep, and her daughter appeared to embrace a reconciliation. “Time heals all wounds !!!” she wrote.Tensions between Spears and Federline over their teenage children spilled into public view last year, when the singer’s ex-husband gave an interview in which he said their sons had been unwilling to see their mother. Spears responded by criticizing Federline’s decision to speak publicly about their children; in her memoir, she writes about the highs and lows of motherhood but does not discuss any estrangement with her sons.Her careerSpears last released an album, “Glory,” in 2016; the final date of a limited tour supporting it was in 2018.In her book, Spears says she’s hesitant to jump into making music again, but one person who did entice her back into the studio was Elton John. She says the 76-year-old rocker sent her a video message asking her to collaborate on “Hold Me Closer,” a duet that remixes some of his hits, including “Tiny Dancer.” The recording session took a few hours in the basement of a producer’s Beverly Hills home, she writes, describing the track, which was released in 2022, as the first new song made on her own terms in a long time.“Mind Your Business,” a song with a former collaborator, Will.i.am, was also released this past summer. And a long-gestating Broadway musical about fairy tale princesses fighting for their emancipation that featured her music opened in June, closing a little over two months later. (The singer offered some support to the show in an Instagram post, but she did not attend, and some fans remained leery of a project instigated amid the conservatorship.)In courtSince the termination of the conservatorship, there has been an ongoing legal battle around wrapping up the arrangement that long managed the fortune that Spears had made as an international pop sensation.A judge rejected a request from Spears’s father, known as Jamie, that she be deposed, but he was ordered to sit for a deposition; its details have not been made public. There has been ongoing legal wrangling over some of the accounting from the conservatorship years, as well as over who will pay Jamie Spears’s legal fees.One specific area of dispute involves Jamie Spears’s attempts to secure documents from an investigative firm that accused him in court papers of directing a surveillance apparatus over his daughter’s activities, including placing a “secret recording device” in her bedroom. The singer’s father denied authorizing such a device in a court filing, and he has said for years that his intentions in the conservatorship were always to protect his daughter.Still, the biggest issue at the heart of the case — whether Spears should be in charge of her personal life and estate — remains resolved.“Her civil liberties were stripped away and now they are back, and I think that’s what anyone would want,” Spears’s lawyer, Mathew S. Rosengart, said in a statement this week.Moments in the spotlightPerhaps Spears’s most widely discussed public debacle in the past two years involved a rising N.B.A. rookie named Victor Wembanyama.In July, according to Spears’s account, the singer tried to greet Wembanyama outside of a hotel in Las Vegas when a member of the player’s security team backhanded her in the face. She demanded an apology, but the security team denied that she had been hit directly, saying that a guard had pushed her hand off Wembanyama. No charges were filed.The most consistent magnet for attention in Spears’s life, however, has been the singer’s unfiltered and often eccentric Instagram account. Tabloids regularly seize on photos and videos of Spears dancing in her home and posing in various outfits, at times in the nude.In her memoir, she seeks to explain her instinct toward revealing her inner life to fans.“I know that a lot of people don’t understand why I love taking pictures of myself naked or in new dresses,” she writes. “But I think if they’d been photographed by other people thousands of times, prodded and posed for other people’s approval, they’d understand that I get a lot of joy from posing the way I feel sexy and taking my own picture.”Since the end of the conservatorship, the posts have regularly stirred up debate among fans and observers about whether she has the support she needs post-conservatorship. Earlier this year, fans called the police to check on Spears after her Instagram account disappeared, and last month, another call was put in to the police after she posted a video of herself dancing with a pair of what appeared to be kitchen knives. She clarified on Instagram that the knives were, in fact, props.“So unacceptable for cops to listen to random fans and come in to my home unwarranted,” she wrote on Instagram. “I’ve been bullied in my home for so long now…ITS ENOUGH!”In her book, she writes, “Freedom means taking a break from Instagram without people calling 911.”As some fans fret on social media about how the pop star is handling the effects of being suddenly released from intense, long-term oversight, others insist that this is exactly what the #FreeBritney movement had been working toward: uninhibited free expression.“We always said that we wanted Britney to live her life on her own terms, whatever that may look like,” said Kevin Wu, who started organizing within the #FreeBritney movement in 2019, when fans began to coalesce in opposition to the conservatorship. “I’m trying to live by that and leave Britney alone because I think that’s what she would want.” More