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    What’s on TV This Week: ‘Tinker, Tailor, Soldier, Spy’ and ‘Genius: Aretha’

    #masthead-section-label, #masthead-bar-one { display: none }The Grammy AwardsGrammys: What HappenedWinners ListBest and Worst MomentsBeyoncé Breaks RecordRed CarpetAdvertisementContinue reading the main storySupported byContinue reading the main storyWhat’s on TV This Week: ‘Tinker, Tailor, Soldier, Spy’ and ‘Genius: Aretha’Revisit the 2011 adaptation of John le Carré’s “Tinker, Tailor, Soldier, Spy.” Or see Cynthia Erivo play Aretha Franklin in National Geographic’s “Genius: Aretha.”Gary Oldman in “Tinker, Tailor, Soldier, Spy.”Credit…Jack English/Focus FeaturesMarch 15, 2021, 1:00 a.m. ETBetween 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, March 15-21. Details and times are subject to change.MondayTINKER, TAILOR, SOLDIER, SPY (2011) 8 p.m. on HBO2. John le Carré, who died in December at 89, made a name for himself writing espionage novels with spy characters that are flawed and fallible. If they order vodka martinis it’s probably to stave off loneliness, not to look suave. Such is the case with the MI6 officer George Smiley, a recurring character in le Carré’s novels and the focus of “Tinker, Tailor, Soldier, Spy,” which concerns an aging Smiley’s efforts to weed out a double-agent in the service’s ranks. Gary Oldman plays Smiley in this film version, which was directed by Tomas Alfredson and which, in her review for The New York Times, Manohla Dargis called a “superb” adaptation of le Carré’s novel. Oldman, she wrote, gives “a fascinatingly gripping performance that doesn’t so much command the screen, dominating it with shouts and displays of obvious technique, as take it over incrementally, an occupation that echoes Smiley’s steady incursion into the mole’s lair.”ROBIN AND MARIAN (1976) 6 p.m. on TCM. Five years after ostensibly hanging up his James Bond tux with “Diamonds Are Forever,” Sean Connery starred opposite Audrey Hepburn in this swashbuckling take on the Robin Hood legend. Connery plays an aging Robin Hood, who, after the death of Richard the Lionheart (Richard Harris), returns to Sherwood Forest to discover that Maid Marian, who has become the mother superior of a convent, has come under threat from Robin Hood’s nemesis, the Sheriff of Nottingham (Robert Shaw). The adventure is set to a score by John Barry, who also wrote the musical accompaniment for a slew of James Bond movies, including most of Connery’s.TuesdayMAYANS M.C. 10 p.m. on FX. This “Sons of Anarchy” spinoff has offered a distinctive blend of gasoline and adrenaline since its debut in 2018. The third season, which premieres on Tuesday night, continues the story of Ezekiel “E.Z.” Reyes (J.D. Pardo). It picks up after the events of the show’s intense Season 2 finale, which included a consequential murder.WednesdayThe singer Leon Bridges performing in 2016. Bridges is one of several artists slated to appear in the TV special “A Grammy Salute to the Sounds of Change.”Credit…Amy Harris/Invision, via Associated PressA GRAMMY SALUTE TO THE SOUNDS OF CHANGE 9 p.m. on CBS. The hip-hop artist Common will host this two-hour special, which will pay tribute to music’s ability to catalyze social change. Artists slated to appear include Yolanda Adams, Andra Day, Cynthia Erivo, John Fogerty, Gladys Knight, Patti LaBelle, Brad Paisley, Leon Bridges, Billy Porter and Gloria Estefan. The ongoing criticism of the Grammys’ lack of diversity, including its poor record of recognizing people of color, is bound to create some dissonance — but the power of the artists, including those involved here, was never in question.FINIAN’S RAINBOW (1968) 5:30 p.m. on TCM. Four years before “The Godfather,” Francis Ford Coppola helmed this film adaptation of the 1947 fantasy musical “Finian’s Rainbow.” The story follows an Irish father (Fred Astaire) and daughter (Petula Clark) who steal a leprechaun’s pot of gold, then flee to the United States. While the film has its fans — including the Coen Brothers, who have expressed a love for it — it was largely panned by critics, including Renata Adler, who in her review for The Times in 1968 referred to the film as a “cheesy, joyless thing.”ThursdaySHREK (2001) 6 p.m. on Freeform. This spring marks 20 years since Mike Myers, Eddie Murphy and Cameron Diaz teamed up in the original, animated, tongue-in-cheek “Shrek” fairy tale. Its original audience might enjoy revisiting it for a dose of nostalgia — or perhaps to show it to their own children.FridayRenée Fleming and Robert Ainsley in “Great Performances at the Met.”Credit…Metropolitan OperaGREAT PERFORMANCES AT THE MET 9 p.m. on PBS (check local listings). The New York performing arts venue the Shed announced last week that it will be reopening for indoor performances next month, with a lineup that includes a concert from the soprano Renée Fleming. But even most people who feel ready to return to indoor performances won’t get to go — the size of the virus-tested audience will be limited. Instead, they can get their Fleming fix remotely on Friday, when PBS airs this episode of “Great Performances at the Met.” The recorded program includes arias by Puccini and Massenet, plus works by Handel and Korngold. PBS is pairing it with “Live From Lincoln Center Presents: Stars In Concert” with Andrew Rannells, which airs at 10 p.m.SaturdayRELIC (2020) 8 p.m. on Showtime. Emily Mortimer, Bella Heathcote and Robyn Nevin play three generations of women haunted by one case of dementia — and perhaps more — in this horror debut from the director Natalie Erika James. The plot revolves around Edna (Nevin), an octogenarian who goes missing from her rural home. When Edna’s daughter (Mortimer) and granddaughter (Heathcote) go looking for her, they discover a sinister presence within the home’s dusty walls. In her review for The Times, Jeannette Catsoulis wrote that the film creates a “surpassingly creepy atmosphere and a patiently ratcheting unease.” The story, she added, “deftly merges the familiar bumps and groans of the haunted-house movie with a potent allegory for the devastation of dementia.”SundayCynthia Erivo in “Genius: Aretha.”Credit…Richard DuCree/National GeographicGENIUS: ARETHA 9 p.m. on National Geographic. The first two seasons of this National Geographic anthology series focused on the lives of Pablo Picasso (Antonio Banderas) and Albert Einstein (Geoffrey Rush). The third season, debuting Sunday night, dramatizes the life of Aretha Franklin (Cynthia Erivo). It was originally slated to air in May of last year, but was pushed back after the pandemic caused production delays. The new timing offers an interesting opportunity for viewers — the playwright Suzan-Lori Parks, who was the showrunner for this season of “Genius,” also wrote the just-released historical drama “The United States vs. Billie Holiday.” Watch both back to back to see Parks revisit the lives of two giants in 21st century music.AdvertisementContinue reading the main story More

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    ‘Allen v. Farrow’ Episode 4 Recap: An Adult Dylan Farrow Speaks Out

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Allen v. Farrow’ Episode 4 Recap: An Adult Dylan Farrow Speaks OutThe finale of the HBO docuseries delves into the changing perception of Woody Allen and Ms. Farrow’s decision to go public with her allegations of sexual abuse.Frank Maco, the former Connecticut state’s attorney who decided not to press charges in an investigation, with Dylan Farrow, in “Allen v. Farrow.”Credit…HBOMarch 14, 2021The final installment of “Allen v. Farrow,” an HBO documentary series examining Dylan Farrow’s sexual abuse allegations against her adopted father, Woody Allen, covers the years from 1993, when a state’s attorney declined to prosecute the filmmaker, to the present.The previous three episodes explored what Ms. Farrow says happened on Aug. 4, 1992, when she was 7 years old — that her father sexually assaulted her in the attic of the family’s Connecticut country home. The filmmakers combed through police and court documents, scrutinized the integrity of the investigations into her accusation and sought expert analysis of video footage of young Dylan telling her mother what happened.Mr. Allen has long denied sexually abusing his daughter and has accused her mother, Mia Farrow — Mr. Allen’s ex-girlfriend — of concocting the sexual-assault accusation because she was angry at him for having a sexual relationship with her college-age daughter, Soon-Yi Previn. (Mr. Allen and Ms. Previn later married.) A spokesperson for Mr. Allen, who did not participate in the documentary, said that it is “riddled with falsehoods.”The finale covers the world’s reaction to the events of the early 1990s, Mr. Allen’s continued fame and accolades and, in recent years, a growing unwillingness among those in Hollywood to be associated with him after the #MeToo Movement.The prosecutor’s decisionThe episode begins on Sept. 24, 1993. That day, Frank Maco, a Connecticut state’s attorney, announced that although he had “probable cause” to prosecute Mr. Allen, he had decided he would not press charges to spare Ms. Farrow the potential trauma of a trial.Mr. Maco, who was interviewed extensively for the documentary, says that earlier that month in 1993, he had met with young Dylan in his office, with toys in the room and a female state trooper there. When Mr. Maco asked about her father, he said, she froze up and would not respond.“The strongest proponents for prosecution just looked at me, and we all shrugged our shoulders,” Mr. Maco said. “We weren’t going anywhere with this child.”In a news conference, Mr. Allen said that rather that being happy or grateful for the decision, he said he was “merely disgusted” that his children had been “made to suffer unbearably by the unwholesome alliance between a vindictive mother and a cowardly, dishonest, irresponsible state’s attorney and his police.”“I felt if I had just kept his secret,” Ms. Farrow says, “I could have spared my mom all this grief, and my brothers and sister — myself.”Credit…HBODylan grows upIn the years after the police investigation and the custody trial, which ended in her mother’s favor, Ms. Farrow says she suffered through a long period of guilt, thinking that she was at fault for the family rift.“I felt if I had just kept his secret,” she tells the filmmakers, “I could have spared my mom all this grief, and my brothers and sister — myself.”Siblings say in the series that Ms. Farrow often kept to herself and seemed riddled with anxiety. She says that she didn’t talk about the assault in depth with anyone — not even her mother or her therapist. In high school, she recalls, she broke up with her only boyfriend after only three weeks because she anticipated that he would want to be intimate with her.Ronan Farrow, Ms. Farrow’s brother, tells the filmmakers that his mother tried to distance her children from Mr. Allen. But, he says, “there was always a lot of incentive to be drawn into Woody Allen’s efforts to discredit” his sister. For example, Mr. Farrow says, Mr. Allen had made him an offer that if he spoke out against his mother and his sister publicly, Mr. Allen would help pay for his college education.After an awards showThe saga returned to the public discourse in 2014, after Mr. Allen received a lifetime achievement award at the Golden Globes. In the past, Mr. Farrow tells filmmakers, he had discouraged his sister from speaking publicly about their father and the events of the 1990s with the hope that the family could put it behind them.But after the awards show, Mr. Farrow tweeted, “Missed the Woody Allen tribute — did they put the part where a woman publicly confirmed he molested her at age 7 before or after Annie Hall?” Ms. Farrow says that her brother’s willingness to speak publicly about the subject emboldened her to write about her memory of events, which were appeared in The New York Times columnist Nicholas Kristof’s blog. (Mr. Farrow, who helped his sister publish the open letter, said that after another newspaper declined to print the account, he took it to Mr. Kristof, a family friend.) Mr. Allen later published an Op-Ed in The Times denying his daughter’s allegations.For two decades, Ms. Farrow says, she felt isolated and alone because of her experience. After publishing her letter, she received an outpouring of messages from people she knew sharing their own experiences with sexual abuse.Loyalty to Mr. AllenStill, many Hollywood actors remained loyal to Mr. Allen despite the accusations, and his star power and industry reputation remained mostly intact..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-rqynmc{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:0.9375rem;line-height:1.25rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-rqynmc{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-rqynmc strong{font-weight:600;}.css-rqynmc em{font-style:italic;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1pd7fgo{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-1pd7fgo{padding:20px;width:100%;}}.css-1pd7fgo:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1pd7fgo{border:none;padding:20px 0 0;border-top:1px solid #121212;}.css-1pd7fgo[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-1pd7fgo[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-1pd7fgo[data-truncated] .css-5gimkt:after{content:’See more’;}.css-1pd7fgo[data-truncated] .css-6mllg9{opacity:1;}.css-coqf44{margin:0 auto;overflow:hidden;}.css-coqf44 strong{font-weight:700;}.css-coqf44 em{font-style:italic;}.css-coqf44 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-coqf44 a:visited{color:#333;-webkit-text-decoration-color:#333;text-decoration-color:#333;}.css-coqf44 a:hover{-webkit-text-decoration:none;text-decoration:none;}Understand the Allegations Against Woody AllenNearly 30 years ago, Woody Allen was accused of sexually abusing Dylan Farrow, his adopted daughter. A new docuseries re-examines the case.This timeline reviews the major events in the complicated history of the director, his children and the Farrow family.The documentary filmmakers Kirby Dick and Amy Ziering spoke about delving into this thorny family tale. Read our recaps of episode 1, episode 2, episode 3 and episode 4.Dylan Farrow wrote an open letter in 2014, posted by the New York Times opinion columnist Nicholas Kristof, recounting her story in detail.Our book critic reviewed Mr. Allen’s recent memoir, “Apropos of Nothing.”A.O. Scott, co-chief film critic, grappled with the accusations and his complicated feelings on the filmmaker in 2018. Four days after Ms. Farrow’s letter was published, her brother Moses Farrow told People Magazine that she was never molested. He also said that Mia Farrow coached the children to hate Mr. Allen and that she often hit him as a child. When Dylan Farrow learned what her brother said, she burst into tears, saying, “It was like I had been told that this person that I knew and loved and trusted was gone.”In interviews with the filmmakers, Ronan Farrow along with two more siblings, Fletcher Previn and Daisy Previn, say that the abuse allegations against their mother were untrue.In 2018, Moses Farrow followed up with a blog post that continued to dispute his sister’s account of sexual abuse. He targeted a specific detail of her story, which she had included in The Times letter: that while Mr. Allen sexually assaulted her, she remembers focusing on her brother’s electric train set, which had been traveling in circles around the attic. Mr. Farrow said that there was no electric train set in the attic. In Mr. Allen’s recent memoir, “Apropos of Nothing,” he also disputed that detail, calling it a “fresh creative touch.”But, according to police documents, the detectives investigating the alleged assault did find a train set in the attic. A detailed drawing from 1992, which is shown in the episode, includes an object labeled “toy train track” in the attic crawl space.Ms. Farrow with her mother, Mia Farrow.Credit…HBODylan, decades laterThis episode captures Ms. Farrow’s adult life, 28 years after she says her father assaulted her. It shows her husband, Sean, whom she met on a dating site linked to The Onion, and Ms. Farrow, now 35, playing with their young daughter.At one point, Mia Farrow asks her daughter, “Do you ever feel angry at me?” referring to her choice to bring Mr. Allen into the family. In response, Dylan Farrow says that, first and foremost, she was glad that her mother believed her account of that day in 1992, saying, “You were there when it mattered.”Another scene in the episode shows Mr. Maco, the state’s attorney, meeting with Ms. Farrow — their first encounter since 1993.Mr. Maco said that he told Mia Farrow that when her daughter becomes an adult, he would be happy to answer any questions. That opportunity came last fall — and the documentary team recorded their conversation.“A part of me really, really wishes that I could have done it,” Dylan Farrow tells Mr. Maco, “that I could have had my day in court.”AdvertisementContinue reading the main story More

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    Carmel Quinn, Irish Singer and Storyteller, Dies at 95

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCarmel Quinn, Irish Singer and Storyteller, Dies at 95A hit on the television variety-show circuit of the 1950s and ’60s, she also sang to packed crowds for many years at Carnegie Hall for St. Patrick’s DayMarch 14, 2021Updated 1:52 p.m. ETThe Irish-born singer Carmel Quinn gave an annual St. Patrick’s Day benefit concert at Carnegie Hall for a quarter-century.Credit…Carnegie Hall Susan W. Rose ArchivesCarmel Quinn, a blue-eyed, flame-haired Irish singer and storyteller who packed Carnegie Hall on St. Patrick’s Day for a quarter-century and regaled her audiences with tunes and tales from the Old Country, died on March 6 at her home in Leonia, N.J. She was 95. The cause was pneumonia, her family said.Ms. Quinn, who was born and raised in Dublin, came to the United States in 1954 and won an audition on “Arthur Godfrey’s Talent Scouts” the next year. Those auditions were famous for their rigor: Others who passed them included Pat Boone, Tony Bennett and Connie Francis; those who flunked included Elvis Presley and Buddy Holly.Ms. Quinn became a regular on another Godfrey television show, “Arthur Godfrey and His Friends,” for six years while rotating through other popular variety shows of the 1950s, ’60s and ’70s, including “The Pat Boone Chevy Showroom,” “The Ed Sullivan Show,” “The Mike Douglas Show” and many more. Much later, she showed up on “Live With Regis and Kathie Lee.”With the gift of gab and a voice that some compared to Judy Garland’s, she performed at the White House, first for John F. Kennedy and then for Lyndon B. Johnson.Ms. Quinn performed at the White House for President John F. Kennedy, right, and for President Lyndon B. Johnson.Credit…UPIThe standard Irish songs in her repertoire included “The Whistling Gypsy,” “Galway Bay” and “Isle of Innisfree.” In later years she filled out her act with a patter of anecdotes about life in general and amusing relatives in particular. One was her Aunt Julia.As Ms. Quinn told the story, Aunt Julia always wore her hat in the house so that if someone came to the door whom she didn’t want to see, she could say, “I was just on me way out.”Ms. Quinn disapproved of bachelors. “Make you sick, they would,” she would say, “out there sowing their wild oats and praying for a crop failure.”And her way of bringing people back down to earth if they got too big for their britches was to call out loudly: “Sorry to hear about the fire in your bathroom. Thank God it didn’t reach the house!”But holding pride of place for Ms. Quinn were her concerts at Carnegie Hall. They began in 1955, when she was approached by a group that wanted to raise money for a hospital in Ireland. Mr. Godfrey built an audience for her that first year, instructing his radio listeners, “Now, you get out there and go to Carmel’s concert.” But after that, she was draw enough on her own. She gave benefit performances each St. Patrick’s Day for more than two decades, and they all sold out.“The night of the concert, you couldn’t get in the place,” she told The New York Times in 1975 on the eve of the 20th anniversary of her first St. Patrick’s Day show. Hers was initially a solo act, but she later included groups like the Clancy Brothers and the Chieftains, their spirited performances turning Manhattan’s prestige concert stage into an old-fashioned Irish music hall.Writing after her St. Patrick’s Day show in 1969, Robert Sherman of The Times called her “a breezy hostess and a totally engaging singer.” Her music, he said, would “warm the cockles of any son, daughter or passing acquaintance of the auld sod.”Carmel Quinn was born on July 31, 1925, and grew up in Phibsborough, a now trendy neighborhood on the north side of Dublin. Her father, Michael, was a violinist and a bookie. Her mother, Elizabeth (McPartlin) Quinn, a homemaker, died when Carmel, the youngest of four siblings, was 7.Carmel sang with local bands and studied for a while at a teachers’ college, but she dropped out when she started winning singing engagements. Then she left for America.She married Bill Fuller, a colorful Irish music impresario, in 1955. As more Irish were coming to America, Mr. Fuller opened ballrooms in New York, Boston, Chicago and San Francisco, and she sang in many of those venues.The couple initially lived in the Bronx, but they would take Sunday strolls over the George Washington Bridge and soon found a small brick house in Leonia, just across the Hudson River. They separated in the early 1970s, and she lived in the same house for the rest of her life.Ms. Quinn is survived by two daughters, Jane and Terry Fuller, and a son, Sean Fuller; five grandchildren; and two great-grandchildren. Her son Michael died of a heart problem in 1988.Ms. Quinn, second from left, with, from left, the actor Niall Toibin, the cabaret performer Julie Wilson and William Warnock, Ireland’s ambassador to the United States, in 1970 at the Lyceum Theater on Broadway, where Mr. Toibin was appearing in Brendan Behan’s “Borstal Boy.”Credit…Solters-SabinsonHer love of being onstage took her to cabarets, clubs and Off Broadway. She starred in several musicals, on the road and in summer stock, including “The Sound of Music,” “Finian’s Rainbow” and “The Boy Friend.”She also presented revues of her own work at the Irish Repertory Theater in Manhattan: “Wait ’Til I Tell You” in 1997 and “That and a Cup of Tea” in 2001, in which, Neil Genzlinger of The Times said, she demonstrated “a Jack Benny-like gift for comic timing.”She continued to perform until she was 88. But it wasn’t all laughter and song. One of her final performances was in November 2013, after the death of the Irish poet Seamus Heaney. Ms. Quinn took the stage at the Irish Rep and recited his “Aye” and “Old Smoothing Iron,” evoking the working women she knew so well. She received standing ovations.AdvertisementContinue reading the main story More

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    Subway Product Placement Makes It a Star of Korean TV

    AdvertisementContinue reading the main storySupported byContinue reading the main storyKorean TV’s Unlikely Star: Subway SandwichesThe sandwich chain’s aggressive use of product placement has made it a ubiquitous presence on the country’s television shows.Subway has appeared in at least 17 Korean shows, according to an informal tally by The New York Times.March 14, 2021, 5:00 a.m. ETIn an episode of the Korean television show “The K2,” which takes place in a world of fugitives and bodyguards, a man is being treated with a defibrillator when he enters into a dream state. On the fringe of death, he recalls taking a past love to a Subway restaurant and to a park for a picnic, where he gently feeds her a sandwich and soft drink with the Subway logo facing the camera.The detail is not a narrative quirk. It is a result of South Korea’s broadcasting regulations and the aggressive use of product placement in the country’s shows by Subway, the American sandwich chain famous for its $5 foot-longs.“People joke, ‘If I had a drink every time Subway popped up, I’d be drunk before the first half is over,’” said Jae-Ha Kim, a journalist in Chicago who reviews Korean dramas. “Everyone here’s like, ‘I never got a Subway sandwich that looked that good, with that much meat.’”Product placement in TV shows is a reality the world over. But South Korea’s terrestrial stations are prevented from inserting commercial breaks during programming, meaning many Korean companies must be creative about getting their wares in front of viewers. As Korean dramas have become more popular with international audiences, global brands have pushed to be part of the action.And no company has pushed harder than Subway, which has grown into the world’s largest fast-food chain by store count since its founding in 1965 in Bridgeport, Conn.Colin Clark, the country director for Subway in South Korea, said product placements in popular dramas like “Descendants of the Sun” had a positive impact on global sales, specifically citing markets in China, Taiwan and Singapore.“I swear to you, it was a difference between night and day — before the product placement and after the product placement — the effect it had on the customers,” said Mr. Clark, who declined to provide specific sales figures.Subway’s country director in South Korea credits product placement in Korean dramas with a positive impact on global sales.Credit…Jean Chung for The New York TimesSubway did not provide a total of how many Korean dramas its products had appeared in, but an informal tally by The New York Times counted appearances on 17 shows. That can add up to a lot of people seeing the company’s cold cuts. Netflix, with over 203 million worldwide members, has become a leading portal for Korean dramas. When the highly anticipated Korean drama “Sweet Home” was released on Netflix in December, 22 million viewers watched the show in its first month.By sleekly presenting its products on Korean dramas as a harbinger of cool, Subway is also presenting a fresh image to American viewers who are increasingly watching the shows.Recently, the company has faced scrutiny of its bread, which an Irish court ruled is not bread, and its tuna, which a lawsuit claimed is “anything but tuna.”But on TV, pristinely clean Subway shops pop with bright colors serve as the setting for business meetings, social gossip and dates for beautiful couples. Instead of cookies and tea, elderly Korean TV characters keep freshly wrapped Subway sandwiches at the ready — you never can know when an unexpected guest will drop by and crave an Italian sub.On the popular Korean drama “Crash Landing on You,” North Korean soldiers and a South Korean businesswoman find common ground through Subway sandwiches.Product placement in Korean shows began in earnest in 2010, when South Korea’s stringent broadcasting laws eased restrictions on the practice in an effort to increase network revenues and promote Korean goods. In 2018, South Korea’s networks sold $114 million worth of product placement, up 15 percent from the previous year, according to Soobum Lee, a mass communication professor at Incheon National University.Shows collect an average of about $900,000 from product placements, although 2016’s “Descendants of the Sun” sold triple that amount, Mr. Lee said. It was also criticized by some viewers for excessive product placement.Other American companies, like Papa John’s Pizza, have used product placements in Korean dramas, but none are as ubiquitous as Subway.Ms. Kim said these kinds of shoehorned ads had become popular topics of discussion online, with some fans claiming they disrupt plots and threatening to stop watching altogether.She pointed to criticism of the show “Guardian: The Lonely and Great God” (also known as “Goblin”) and a scene where it’s inferred that the protagonist prevents a man from committing suicide; in an effort to cheer him up, the suicidal man is handed a Subway sandwich. Subway is also celebrated in death; in another episode, the Grim Reaper is shown enjoying a meal from the chain.“I know in the U.S. people are sick of it,” Ms. Kim said of the product placement. “We’ve had Subway, we know it’s not good. Stop trying to make it seem good.”While American viewers may roll their eyes at Subway’s being portrayed as haute cuisine, Seung-Chul Yoo, a communications professor at Ewha Womans University in Seoul, said product placement had been proved to work.Subway “tastes way better in South Korea,” said Seung-Chul Yoo, a communications professor at Ewha Womans University in Seoul.Credit…Jean Chung for The New York TimesWhen the actress Jun Ji-hyun wore red lipstick on the 2013 series “My Love From the Star,” similar products sold out in stores throughout Asia. Books featured on Korean dramas have become best sellers.Marja Vitti, who covers Korean television for the website Dramabeans, said some fans had watched dramas to spot new products from companies before they were released to the public.“I seem to notice a new Samsung feature in every drama,” Ms. Vitti said. “It’s like, ‘Oh, I guess we’re getting folding phones soon.’”Keeping up with trends, Subway has begun teasing new sandwiches on shows. In October, the company released its own mini-drama on YouTube, “Someway,” about a young woman who develops a crush on a Subway employee and regularly eats at his location to win his affection.Each episode begins with a character expressing fondness for a new sandwich variety, like one made with Altermeat, a meat substitute. The first episode of “Someway” has more than 1.3 million views.“There’s humor in the advertising we’re doing,” Subway’s Mr. Clark said. “As a brand, if you take yourself too seriously, you’re going to end up always getting into trouble.”Subway opened its first South Korea location in 1992. Now there are more than 430 Subways in the country, its second-largest footprint in Asia behind China.To continually appeal to its target demographic of 15- to 25-year-olds, Subway is also becoming more inventive with how it is presented. On the drama “Memories of the Alhambra,” gamers competing in an augmented reality game collected valuable swords and coins by going to Subway.In real life, newer restaurants with digital menu boards display the chain’s appearances on shows.Product placement “was a relatively cheap way to get us brand awareness,” said Mr. Clark, who has also overseen collaborations with the K-pop star Kang Daniel and a limited-edition Subway streetwear release with Fila. “It was something the other brands were doing, but weren’t really kind of owning that space the way Subway started doing.”Mr. Yoo said that in South Korea, Subway was generally viewed as a healthier option than burger chains, which added to its appeal. During the decade he lived in the United States he rarely ate at Subway, he said, but now he regularly enjoys its sandwiches in Seoul.“To be honest, it tastes way better in South Korea,” Mr. Yoo said.Brands like Subway will soon be able to do more traditional advertising on South Korean television. In January, the Korea Communications Commission announced plans to allow commercial breaks on terrestrial stations.Product placement is not likely to disappear, though.Mr. Clark said that terrestrial advertising was too expensive and that those stations didn’t reach Subway’s desired young customer base, who frequently stream episodes on their phones.Besides, the practice of product placement has already become a plot point.On the show “Because This Is My First Life,” the lead character dreams of becoming a television writer. When she lands a job in the industry, her assignment is to jam product placements into the scripts of popular Korean dramas.In Subway’s YouTube mini-drama, a young woman develops a crush on a Subway employee and regularly eats at his location to win his affection.Credit…Jean Chung for The New York TimesAdvertisementContinue reading the main story More

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    Chris Harrison Replaced as ‘Bachelorette’ Host by 2 Female Ex-Contestants

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyChris Harrison Replaced as ‘Bachelorette’ Host by 2 Former ContestantsMr. Harrison, who acknowledged making comments dismissive of racism, will be replaced on the coming season by the first women to host the franchise, Tayshia Adams and Kaitlyn Bristowe.Tayshia Adams, above, will co-host the next season of “The Bachelorette” with Kaitlyn Bristowe. Both are former contestants of the show.Credit…Valerie Macon/Agence France-Presse — Getty ImagesMaria Cramer and March 13, 2021Updated 5:54 p.m. ETChris Harrison will not host the next season of “The Bachelorette” for the first time in the history of the franchise, which began as a guilty pleasure when it debuted in 2002 but has in recent years been criticized for its lack of diversity and insensitive handling of race.Mr. Harrison, 49, will be replaced by Tayshia Adams, who will become the first woman of color to host a season of the show, and Kaitlyn Bristowe. Both are former “Bachelorette” leads.In a statement, Warner Horizon and ABC Entertainment said they supported Mr. Harrison “in the work that he is committed to doing,” and pledged to continue to try achieve “greater equity and inclusion” within the franchise.“We are dedicated to improving the BIPOC representation of our crew, including among the executive producer ranks,” Warner Horizon and ABC Entertainment said, using an acronym meaning Black, Indigenous and people of color. “These are important steps in effecting fundamental change so that our franchise is a celebration of love that is reflective of our world.”Mr. Harrison announced last month that he was “stepping aside” from the current season of “The Bachelor” after acknowledging making remarks that dismissed the racist behavior of a contestant.The decision to feature two women as hosts also follows years of criticism of the show for its portrayal of women as being fixated on marriage or as petty and unstable. The show was also pressured for years by many of its fans, members of “Bachelor Nation,” to include nonwhite leads and more nonwhite contestants.Last month, ABC said that Emmanuel Acho, a former N.F.L. player and the author of the book “Uncomfortable Conversations With a Black Man,” would host an hourlong post-finale special of “The Bachelor” on March 15.The announcement that Mr. Harrison would not host “The Bachelorette” was the latest development in a tumultuous season, which had intended to break ground by featuring the first Black male lead, Matt James, in “Bachelor” history.Before Mr. James, there had been two Black leads on “The Bachelorette”: Rachel L. Lindsay, who was announced as the lead in 2017, and Ms. Adams, whose father is African-American and whose mother is Mexican, and who was a recent midseason replacement.Mr. James’s season was praised for its diverse cast, but many viewers became dismayed by the producers’ decision to focus on fights between the women instead of the relationships building between the contestants and Mr. James.That disillusionment grew into outrage as offensive social media posts and photos of one of the contestants, Rachael Kirkconnell, emerged.In one post, Ms. Kirkconnell had liked a photo with a Confederate flag. Another photo on social media showed her attending an “Old South” plantation-themed ball in 2018.Last month, Mr. Harrison defended Ms. Kirkconnell, who is one of the two finalists on the show, when Ms. Lindsay asked him about the ball during an interview on “Extra.” Mr. Harrison said that “50 million people did that in 2018.”“Rachel, is it a good look in 2018 or is it not a good look in 2021?” Mr. Harrison asked during the interview, suggesting that such parties might have been acceptable in 2018.Ms. Lindsay replied: “It’s not a good look, ever, because she’s celebrating the Old South. If I went to that party, what would I represent at that party?”Mr. Harrison, who frequently talked over Ms. Lindsay during the interview, accused the “woke police” of going after Ms. Kirkconnell and acting as “judge, jury, executioner.”“I don’t know how you’re equipped, when you’ve never done this before, to be woke enough, to be eloquent enough, to be ready to handle this,” he said.Kaitlyn Bristowe will co-host the next season of “The Bachelorette.”Credit…Jc Olivera/Getty ImagesMs. Kirkconnell has apologized. Mr. Harrison also apologized on Instagram after the interview and said that, by excusing historical racism, he had defended it.“I invoked the term ‘woke police,’ which is unacceptable,” Mr. Harrison wrote on Instagram. “I am ashamed over how uninformed I was. I was so wrong. To the Black community, to the BIPOC community: I am so sorry. My words were harmful.”AdvertisementContinue reading the main story More

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    How a British Gardening Show Got People Through the Pandemic

    #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraCredit…Francesca Jones for The New York TimesHow a British Gardening Show Got People Through the PandemicCredit…Francesca Jones for The New York TimesSupported byContinue reading the main storyMarch 12, 2021, 5:00 a.m. ETThe television show “Gardeners’ World” is an institution in England, where it has aired for coming up on 54 seasons, having premiered way back in 1968. It broadcasts on Friday nights, welcomed by viewers as a gentle usher into the weekend.Monty Don, a British garden writer and author of some 21 books on the subject, has been the host since 2003. If Mr. Don’s sturdy appearance and deep, reassuring voice don’t comfort audiences, there’s the constant presence of his dogs napping at his feet.Last year, over the course of the 33-episode season, which follows the growing season from March through late October, something remarkable happened: “Gardeners’ World” went from being comfort TV to indispensable viewing.With restaurants, bars and theaters shut down and socializing at home (or anywhere else) risky, gardening was one of the few leisure activities the pandemic didn’t take away. Both the U.K. and the United States experienced a gardening boom last year, with sales of seeds way up and nurseries overrun on weekends. Judging by the 30 percent sales increase of Scotts Miracle-Gro, this spring promises another bumper crop.“Gardeners’ World,” which is available in the United States through streaming services like BritBox and on YouTube, rode the enthusiasm. Last year weekly viewership was the highest in five years and the BBC, which airs the show (produced by BBC Studios) deemed it essential public service broadcasting, said the executive producer, Gary Broadhurst. (The new season debuts March 19.)Crocuses on the cricket pitch at Longmeadow.Credit…Francesca Jones for The New York Times“It’s because of what gardening can do for people,” Mr. Broadhurst said. “The channel thought, and rightly so, that people would need the program. Because we were bombarded with news about coronavirus, and this was an opportunity for just an hour to have a release.”Nadifa Mohamed, a Somali-British novelist, wrote last April in the New Statesman that Monty Don and “his placid Labradors” offered viewers “29 minutes of televisual sedation,” adding that “the seasons turn in a neat and predictable way, each offering new shades of beauty and little lessons in how to survive.”To tune in each week and see the daffodils and bluebells coming up, to watch Mr. Don’s raised vegetable beds grow lush and abundant by high summer, was true counterprogramming: Life endures. The birdsong that begins each episode was an antidote to the trauma of the nightly news. In short, “Gardeners’ World” became an oasis of normalcy, a balm for frayed nerves — and not only for British viewers.Alex Yeske, an art director and graphic designer, turned to “Gardeners’ World” early in the pandemic when she felt cooped up in her New York apartment and fried from staring at screens. “So many of us have been reaching our limits,” Ms. Yeske said. “I spend way too much time on my computer, my phone. Getting to see all this greenery was relaxing.”As her anxiety mounted last spring, Alisha Ramos, who writes the newsletter Girls Night In, went looking for something to quell it. She tried meditation apps, but they lacked a storytelling component. Then she found “Gardeners’ World.” Ms. Ramos was living in an apartment in downtown Bethesda, Md., without any green space, and she had never gardened before, but she was instantly drawn in. “Every night before bed I would cue up an episode,” she said. “It’s very gentle in how the episodes are constructed. Even the sounds; the birds chirping, the rain. Those natural elements were really calming.”Mr. Don hosts “Gardeners’ World” from his own home and two-acre garden, Longmeadow, in the West Midlands of England. In last season’s Episode 1, there was no mention of Covid-19. By Episode 3, the United Kingdom was under enforced lockdown and Mr. Don was filming without a crew and getting camera tips from his director via Zoom.While his co-hosts visit London flower shows and the immaculate landscaped gardens of grand country estates, Mr. Don has his boots in the muck at Longmeadow, patching a fence or digging up the horned tulips he has over-planted in his jewel garden. At program’s end, Monty gives viewers jobs for the weekend. In his stretched wool sweaters and old blue work coat, he’s an unlikely style icon — a solid sort.Ms. Ramos mentioned a quote attributed to Lao Tzu, the Chinese philosopher: “Nature does not hurry, yet everything is accomplished.” Mr. Don, she said, espouses something of that eternal wisdom on “Gardeners’ World.”“He said something along the lines of, ‘The beauty of gardening and nature is it’s always here,’” Ms. Ramos said. “It’s a reminder that life goes on. It’s so great to be able to retreat into our gardens at a time like this.”Irises, hyacinths and muscari in pots.Credit…Francesca Jones for The New York TimesTeasel seed heads.Credit…Francesca Jones for The New York TimesPreparing for Spring“The snowdrops are coming, the aconites, the crocuses, the irises. You’re starting to see buds and shoots on the trees and shrubs,” Mr. Don said last month. He spoke via video chat, from Longmeadow, where the very wet winter was nearly over and he and the gardeners who assist him have been mulching the borders and digging up some box hedging hit by blight.Mr. Don, who is 65, was eagerly anticipating spring’s arrival — and with it his return to “Gardeners’ World.” “Particularly after this winter,” he said. “It’s been a long, hard winter here. People are pretty depressed and fed up. So they want to breathe again, and get outside, and have this sense of hope.”On his documentary specials, like “Monty Don’s Italian Gardens” and “Monty Don’s American Gardens,” and in interviews, Mr. Don imbues gardening with a drama and passion uniquely his. A water feature built for the garden of the Roman Emperor Hadrian is “extraordinary”; the lengthening spring days bring him “immense” excitement. He bites into adjectives like ripe plums.“Gardeners’ World,” by contrast, is more subdued, and without any of the hyperbole or busyness common to modern media. When Mr. Don is working in his garden, we never hear background music. Weather isn’t edited into — or out of — the show. If it rains, the host gets wet. Features on gardens and gardeners are given room to breathe; lingering close-ups of a flower or trees rustling in the breeze play between the segments.A Utah family, fans of Monty Don, Britain’s national gardener, replace their lawn with a bed of wildflowers.CreditCredit…BBC Studios“The basic rule is it has to take you away from whatever stresses and strains there are in your world,” Mr. Don said. “But at the same time, it has to be honest. Nothing is manufactured. We never layer birdsong on that wasn’t there.”While Covid-19 upended the show’s production last season, Mr. Don and his colleagues decided for the most part not to talk about the pandemic, apart from glancing mentions of “challenging times.” Freaking people out was the job of the news. “Gardeners’ World” reinforced the therapeutic power of gardening.When the show addressed Covid-19 head on, it did so movingly. Unable to travel widely to film, the producers asked viewers to share videos of what they were up to in their gardens during quarantine. A Utah family dug up their yard and planted a wildflower meadow; a young girl in Wales grew her own pumpkins and left them for strangers. The clips connected viewers at a time of social isolation and showcased gardeners’ creativity and resilience.It’s been a long, wet and cold winter at Longmeadow. Spring is eagerly awaited.Credit…Francesca Jones for The New York TimesDaffodils grown as cut flowers.Credit…Francesca Jones for The New York TimesOne of the more poignant segments paid a visit to Kate Garraway, a well-known TV presenter. Ms. Garraway’s husband, Derek, got Covid-19 last March, became critically ill and was in the hospital for months, and remains seriously ill today. Sitting in her London backyard, Ms. Garraway explained how she and her children planted a garden in hopes that he would return to see it bloom.“You don’t plant something unless you believe it’s going to come up,” Ms. Garraway said. “So by planting something and believing Derek will see it when it comes up, that gives us a sense of future.”When the camera cut back to Longmeadow, Mr. Don spoke in the comforting voice of a minister at bedside, saying, “Gardens can’t make our problems go away, they can’t solve them, but they can help us to deal with them.”Reflecting on the Kate Garraway segment now, Mr. Don said, “I’m old enough to know that if you have grief, if you have suffering, if you have loss, the garden is a solace.”From Jeweler to the Stars to Expert GardenerMr. Don’s parents cultivated a five-acre plot at the family’s home in south England, and growing up, he and his siblings were given gardening jobs to do. As a boy, he disliked weeding the strawberries or chopping wood, but, at 17, while sowing some seeds in spring, Mr. Don experienced what he called a “Dionysian moment.”“Suddenly I was awed by a kind of ecstasy of total happiness. Of complete sense of not wanting anything else,” he recalled. “And bearing in mind this was 1971. The most glamorous thing in the world was sex, drugs and rock n’ roll, not gardening.”Monty Don and his wife, Sarah, in their London jewelry studio, in 1983. Credit…Dafydd JonesMr. Don kept his hobby to himself. Luckily, his wife, Sarah, whom he met at Cambridge University, enjoyed gardening too. In 1981, the couple started a jewelry company, Monty Don. Their loud costume pieces became fashionable during the go-go ‘80s, worn by Princess Diana, Michael Jackson and others. Mr. Don led a glamorous life in London, draped in his own jewelry and knocking around with Boy George. He and his wife also gardened behind their townhome; when Elle magazine ran a feature, he was outed as a green thumb.In the early ’90s, the economy tanked, and with it, the couple’s jewelry business. Drowning in debt, with three young children to support, Mr. Don and his wife sold everything they owned to pay off creditors. He fell into a deep depression. Years later, Mr. Don still bears the scars of that financial failure, friends of his told the Prospect last year. Despite becoming Britain’s national gardener, he is a workaholic, never one to rest easy on his success.Mr. Don and his family left London and moved to Herefordshire, the most rural county in England, because his wife’s mother lived there and property was cheap. The historic house and land they bought was scrubby and untamed. Mr. Don threw himself into creating Longmeadow, in a sense his workplace and sanctuary both. It is no formal, restrained garden but crammed with plants, features and ideas, a canvas for his imagination and enthusiasm.Monty Don and one of his ever-present dogs, Nellie.Credit…Francesca Jones for The New York Times“I found the mixture of creativity and just sheer physical work completely satisfying,” Mr. Don said. “I remember making cuff links for David Bowie. It was as though the previous life was, not the wrong turn because it was fun, but it was a side event. And that what I was doing was getting back to my roots. I was doing what I was meant to be doing.”He began to write columns on gardening for newspapers, appear on TV and publish books, many of them centered on life at Longmeadow. As a passionate but amateur gardener, Mr. Don connected with those who shared his interest but were intimidated by what can be a fixation on expertise.On “Gardeners’ World,” Mr. Don emphasizes function, utility and sustainability. You don’t need to buy $200 pruning shears or memorize pH levels, he shows us. It’s about celebrating the harmony, well-being and richness of life to be found in gardens.To Everything There Is a SeasonLast August, Ms. Yeske and her husband left New York and moved to West Los Angeles, where they bought a house with a large yard. She plans to grow a garden of vegetables and flowers for the first time in her life.“This spring I’m starting things from seed and planning to have a couple of raised beds,” she said. “All of which I probably wouldn’t have done if I didn’t watch ‘Gardeners’ World.”Ms. Ramos also left her apartment behind during the pandemic. She and her husband moved to a suburb of Bethesda, and bought a house whose previous owner, a chef, had gardened in the backyard and even built a drip-irrigation system. Having outdoor space to garden was suddenly high on her list of priorities, Ms. Ramos said. Watching the casual, sometimes fumbling way that Mr. Don gardens had given her the confidence to try.“Gardeners’ World” usually begins each season with half-hour episodes, before expanding to one-hour broadcasts later on. But because of last year’s success, the network ordered one-hour broadcasts from the start. Audience anticipation is high. The pandemic is still with us, lockdowns have not yet lifted — and the garden beckons.“You plant a seed and the next spring it will grow. And next summer it will flower. And maybe next autumn it will bear fruit,” Mr. Don said. “That continuation of life is very powerful.”For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.AdvertisementContinue reading the main story More

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    Jimmy Kimmel Reminisces About One Year of ‘Living Contagiously’

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyBest of Late NightJimmy Kimmel Reminisces About One Year of ‘Living Contagiously’“If somebody said ‘N95’ to you one year ago, you’d think they were a bingo caller,” Kimmel joked on America’s “coronaversary.”“The traditional gift for a one-year anniversary is paper, so I figured toilet paper makes the most sense,” Kimmel said while throwing some to a socially distanced audience of employees.Credit…ABCMarch 12, 2021, 1:45 a.m. ETWelcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.One Year Later, Gifts for EveryoneJimmy Kimmel celebrated America’s “coronaversary” on Thursday night, referring to it as “one year of living contagiously.”“The traditional gift for a one-year anniversary is paper, so I figured toilet paper makes the most sense,” he said, while tossing the most in-demand item from last March to a sparse, socially distanced audience made up of “Jimmy Kimmel Live” employees.“I think we all remember where we were when we heard the news, because we’re all still there.” — STEPHEN COLBERT“Well, it’s been exactly one year since we’ve had an audience, and I’ve got to say, I really miss the laughs, the energy, and of course, keeping the lost wallets.” — SETH MEYERS“Yeah, it was a year ago today that we had our last show with a full audience. Six days later, I did the show from home, and six days after that, both my kids had agents.” — JIMMY FALLON“I remember that day like it was yesterday. Everything was shutting down, people were scared, grocery stores were ransacked, so I got up on a chair in the office and gave an inspirational speech where I said to my staff, ‘Gang, I know you’re terrified, but this is our moment. People are counting on us. So let’s get out there and put on the best [expletive] show of our lives!’ And then I looked down and the room was empty except for a tumbleweed that rolled past, stole a bottle of Purell off my desk and then left.” — SETH MEYERSThe Punchiest Punchlines (The Way We Were Edition)“And today marks one year since the World Health Organization declared Covid-19 a pandemic. Prior to that, it was actually categorized as a legume.” — STEPHEN COLBERT“If somebody said ‘N95’ to you one year ago, you’d think they were a bingo caller.” — JIMMY KIMMEL“Remember when we were carefully disassembling our Instacart deliveries like a munitions expert in ‘The Hurt Locker’? Watch out, the Chipotle could explode!” — JIMMY KIMMEL“Of course, it’s also the one-year anniversary of the first time I Lysol-ed a banana. But not the last.” — STEPHEN COLBERT“It’s also been one year since we all trapped ourselves inside our homes with stockpiles of gin and red wine, watching ‘Tiger King’ and ‘Love Is Blind’ while clinging to our last shreds of toilet paper like a plank floating in the water after a shipwreck.” — SETH MEYERS“I think we all remember where we were when we heard the news, because we’re all still there.” — STEPHEN COLBERT“Yeah, the past year was just like flying United Airlines. The engine fell off, but somehow we still made it.” — JIMMY FALLON“If you had told me a year ago that nearly 100 million Americans would be vaccinated for Covid by March 2021, I would have said, ‘What are you talking about? They said this will be over in two weeks. All we’ve got to do is flatten the curve, that’s it. When the warm weather comes, it will just disappear.’” — JAMES CORDENThe Bits Worth WatchingThe writer and chef Eddie Huang talked with Desus and Mero about his new movie, “Boogie,” and his feelings about recent racially driven attacks on Asian-Americans.Also, Check This OutCredit…Nathaniel Russell, Alex Kalman, Sinna NasseriSeventy-five musicians, authors, directors, comedians, painters and playwrights answer seven questions about creativity and productivity (or lack thereof) in the pandemic.AdvertisementContinue reading the main story More

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    Hollywood Loses $10 Billion a Year Due to Lack of Diversity, Study Finds

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyHollywood Loses $10 Billion a Year Due to Lack of Diversity, Study FindsA McKinsey report that combined previous research and new interviews argues that concrete steps like company bonuses tied to improved representation can lead to change.A scene from “Black Panther,” starring, from left, Lupita Nyong’o, Chadwick Boseman and Danai Gurira. A new study found that when studios “are looking for Black content, they’re looking for Wakanda or poverty, with no in between.”Credit…Marvel/DisneyMarch 11, 2021Updated 12:00 p.m. ETBy ignoring the systemic racial inequities that plague the film and television business, Hollywood is leaving $10 billion annually on the table. That is one of the main findings in a new report from the management consulting firm McKinsey & Company, which for the first time turned its attention to the lack of Black representation in Hollywood. And, unlike many other studies that do excellent jobs of pointing out problems without giving concrete solutions, this one includes a series of steps that could help change the makeup of the industry.The consultants examined multiple existing research reports on thousands of film and TV shows including the “Hollywood Diversity Report” conducted annually by the University of California, Los Angeles; Nielsen’s 2020 “Being Seen on Screen: Diverse Representation and Inclusion on TV”; and annual work by the University of Southern California’s Annenberg Inclusion Initiative. The McKinsey researchers collaborated with the BlackLight Collective, a group of more than 90 Black leaders who work in film and television.McKinsey conducted anonymous interviews with more than 50 Black and non-Black industry participants including studio executives, producers, writers, directors and agents. The goal was to both reflect their experiences and identify the “pain points” as they try to create content. Examples of such obstacles include Black talent being “forced to sell stories about personal trauma to get ideas optioned” and white executives’ stereotypical assumptions about target audiences being “valued more than lived experiences of creators.”The study noted that Hollywood’s unique structure — involving unpaid or underpaid apprenticeships, tight-knit networks, small, informal and temporary work settings, often in far-flung locations — contributed somewhat to the ecosystem’s failings. But the report also recognized persistent trends that occur in large corporate settings: Black creatives are primarily responsible for providing opportunities for other Black offscreen talent; emerging Black actors receive fewer chances in their career and have a lower margin for error; and there is little minority representation among top management and executive boards. The film industry, the authors concluded, is a less diverse one than even typically homogeneous sectors like energy and finance.“In the same way that collective action is needed to advance racial equity in corporate American, real and lasting change in film and TV will require concerted action and the joint commitment of stakeholders across the industry ecosystem,” said the study’s authors, Jonathan Dunn, Sheldon Lyn, Nony Onyeador and Ammanuel Zegeye.According to the study, the average production budget for films with a Black lead or co-lead is a quarter less than the budget for films with no Black actors. One creative executive, who talked to the authors anonymously, said that when executives “are looking for Black content, they’re looking for Wakanda or poverty, with no in between.” Added one anonymous Black actor, “I have to take stereotypical works, because that’s what’s out there, but then when I take those roles, they say that’s all I am capable of.”To solve these issues, McKinsey offered several concrete measures, including urging studios, networks, streaming services, agencies and production companies to commit publicly to a specific target for Black and nonwhite representation across all levels and roles that reflect the American population: 13.4 percent Black or a total of 40 percent for all people of color. And the report encouraged those companies to expand recruiting efforts beyond New York and Los Angeles into the South, where 60 percent of the Black American labor force is concentrated, and at historically Black colleges and universities.The consultants also suggested increasing transparency and accountability with regular reporting on the racial, gender and ethnic makeup of their organizations. As reinforcement, the study said, executive bonuses should be tied to diversity targets so companies can “ensure that leaders are held to account for progress on racial equality.”Another idea: financially support a range of Black stories by committing 13.4 percent of annual budgets to projects starring Black actors with Black producers, writers and directors behind the camera.And lastly, the authors encouraged Hollywood to create an independent organization to promote diversity — an arms-length group with vocal backers and strong partnerships with film and TV leaders.“It would seem unreasonable to expect on- and off- screen Black talent to continue spending countless hours trying to reform this vast, complex industry on their own, time they could otherwise be spending creating the next hit series or blockbuster movie franchise,” the authors wrote.AdvertisementContinue reading the main story More