Day: July 17, 2023

To get a sense of just how much animosity is flying around Hollywood these days, watch how Ron Perlman responded to a report that the studios aimed to prolong a strike long enough for writers to lose their homes. 

Perlman, the hulking, gravel-voiced actor of “Hellboy,” leaned into the camera in a since-deleted Instagram live video to vent his anger. “Listen to me, mother-(expletive),” Perlman said. “There’s a lot of ways to lose your house.” 

Three years after the pandemic brought Hollywood to a standstill, the film and TV industry has again ground to a halt. This time, though, the industry is engaged in a bitter battle over how streaming — after advancing rapidly during the pandemic — has upended the economics of entertainment.

Having weathered plague, Hollywood is now fully at war in its own “Apocalypse Now” double feature. When tens of thousands of Screen Actors Guild-American Federation of Television and Radio Artists hit the picket lines last week, joining 11,000 Writers Guild of America screenwriters who have been on strike since May, a smaller clash went nuclear just in time for the release of “Oppenheimer.” As striking actors and writers mobilized to mob studio lots and streamer headquarters, Puck’s Matthew Belloni wrote, “The town is burning to the ground.” 

“You cannot change the business model as much as it has changed and not expect the contract to change, too,” said Fran Drescher, SAG-AFTRA president, in a fiery press conference announcing the strike. “We’re not going to keep doing incremental changes on a contract that no longer honors what is happening right now with this business model that was foisted upon us.

“What are we doing?” she added. “Moving around furniture on the Titanic?” 

Disaster also loomed in Hollywood when COVID-19 in March 2020 shuttered movie theaters, emptied TV studios and shut down all production. The recovery is still ongoing.

Over the weekend, one of the first major film productions shut down by the pandemic — “Mission: Impossible – Dead Reckoning Part One” — only just reached theaters. And as its big-but-not-blockbuster opening showed, some of pre-pandemic Hollywood still just hasn’t returned. Box office remains about 20% to 25% off the pre-pandemic pace.

“We’ve talked about disruptive forces on this business and all the challenges we’re facing, the recovery from COVID which is ongoing. It’s not completely back,” Disney CEO Bob Iger said Thursday. “This is the worst time in the world to add to that disruption.”

Though many of the demands of SAG-AFTRA and the WGA are longstanding, much of the current dispute gathered force in the helter-skelter days of the pandemic. A digital land rush to streaming ensued, as studios, in many cases, hurried to craft their Netflix competitors. Subscriber growth became the top priority.

Rahul Telang, a Carnegie Mellon University professor and co-author of the book “Streaming, Sharing, Stealing: Big Data and the Future of Entertainment,” says an entire era of change was condensed into two years.

“What is happening right now was bound to happen. With streaming, the whole business got disrupted,” says Telang. “So naturally, they’re complaining, ‘We need our fair share.’ But how do you decide what’s a fair share? There has to be a transparency about where the money is coming from and where it’s going. Until this gets resolved, this issue will keep coming up.”

The last time screen actors and writers struck simultaneously, in 1960, the guilds established royalty (later residual) payments for replays of films and TV episodes, among other landmark protections. If that strike reckoned with the dawn of television, this one does much the same for the streaming era.

But streaming, especially when companies carefully guard audience numbers, offers no easy metric like box office or TV ratings to establish residuals — long a foundational part of how writers and actors make a living. SAG-AFTRA is seeking a small percentage of subscriber revenue, with data measured by a third party, Parrot Analytics.

The Alliance of Motion Picture and Television Producers, which negotiates on behalf of the studios, hasn’t agreed to that but says the studios have offered actors “historic pay and residual increases,” along with pension contributions and other protections.

Meanwhile, actors are sharing images of their paltry residual payments for streaming hits. Kimiko Glenn of Netflix’s “Orange Is the New Black” posted a clip of residual payments totaling $27.30. 

“You used to be able to work on a broadcast show, one show and you’re good for the year because of the residuals,” said actor Nachayka Vanterpool on the picket lines. “And then you have streaming coming along and you got 20 cent residual checks. That impacts you.”

Increasingly, it’s looking like everyone lost in the so-called streaming wars that went into hyperdrive under COVID-19. Since Wall Street last year began souring on subscription numbers being the be-all-end-all, most media companies have suffered stock declines. Wall Street’s message turned to: Show us the profits.

Many are now girding for a prolonged stoppage that, if carried into September, would greatly impact the fall TV schedule and the film festivals (Venice, Telluride, Toronto) that launch awards season contenders. Drescher said she “couldn’t believe” how far apart her union and AMPTP are.

Cooler heads could prevail. Perlman, for his part, later apologized for getting so heated. He implored studio executives to find “a degree of humanity.”

“It can’t all be about your (expletive) Porsche and your (expletive) stock prices,” said Perlman. “There’s got to be dignity if we’re going to hold a mirror up and reflect human experiences, which is what we do as actors and writers.” 
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Snicker if you wish. Guffaw for good measure. Bill May and other male synchronized swimmers — now called artistic swimmers — have heard the putdowns before.

But they’re getting the last laugh.

Men have competed in synchro at the lower levels for decades. Now, they’re being included in the Olympics, meaning next year’s Summer Games in Paris.

“I think it’s a huge opportunity for the sport to grow and attract more men,” May told The Associated Press at the World Aquatics Championships. “By keeping men out, you’re limiting the sport. By including men, you’re going to see an upshift in the popularity and the numbers.”

May looks like a lean bodybuilder. He was among the first men to compete when synchro was included in the worlds for the first time in 2015. And he worked for 17 years at Cirque du Soleil doing water-themed shows. He has come out of competitive retirement for a chance to compete at the Olympics.

“There has always been that misconception that it’s a female-only sport, or that it’s for wimps, or that it’s not a difficult sport,” May, 44, said. “Anyone that has anything negative to say about the sport — boy, female, anyone — just try it and you’ll know it’s the most difficult sport in the world.”

This is not the synchronized swimming that your parents or grandparents watched — the water ballet that made few waves below the flowery rubber caps and permanent smiles. It’s estranged from the sport introduced at the 1984 Los Angeles Olympics.

The acrobatic team event, in particular, features lifts, throws and flips, and diving routines launched off the shoulders of teammates treading water below. It’s gymnastics on water, and concussions are a risk.

Interested men often confront the stereotypes.

Beginning in elementary school, 18-year-old American Kenny Gaudet dreamed of being a synchronized swimmer. He made it, but it wasn’t easy.

“It makes me emotional just to think about the problems we all went through and the struggles we all had just to get a chance to swim and do what we love,” said Gaudet who competed at this year’s worlds.

“So much bullying. So much slander. So much hate,” he added. “Just because of my gender, just because I’m a male in artistic swimming. When I first started, I wanted to quit so many times. Growing up, my peers would ask why I’m doing a female sport, why am I being like a girl and degrade me for doing what I love to do.”

One aspect of Adam Andrasko’s job as the head of USA Artistic Swimming is recruiting men. He said there are about 100 participating in the United States, up from 25 just four years ago.

“There hasn’t been a good foundation of growth,” Andrasko said. “You haven’t had the farm system.”

A few countries at the world championships have male swimmers, including the United States, Japan, Germany and China. Spain and Italy also have top competitors.

“There aren’t a lot of countries with strong males,” in the international competition, Andrasko said, noting that men often lack the flexibility to compete. “So, you might not see a lot of males swimming in the Olympics. I’m concerned it goes to the Olympic Games and we don’t see a male participating. I definitely have that fear.”

“To this point,” he added, “women are still far better at this sport than a man.”

Another fear, apparently unfounded, is that women might resent the men competing in the sport. Men will compete in only team events at the Olympics. Teams have a maximum of eight members — with a limit of two men — which means men might crowd out some women.

There is no requirement for men to be included.

Asked about any acrimony, two-time American Olympian Anita Alvarez replied, “No, not at all.”

Alvarez has blacked out twice in the last two years while competing and had to be resuscitated. She’s been cleared to compete with no diagnosis except physical or mental exhaustion. Holding her breath for too long underwater is also suspected.

Men can add some physicality to routines, and their presence could lead to a wider audience. Alvarez also credits May with choreography skills that he picked up with Cirque du Soleil.

“Having the inclusion of both males and females will make it more open for young boys and young girls to dream of being in the Olympics, parents wanting to start their kids,” Alvarez said.

She ran off her workout routine, sure to scare away men and women equally.

“We’re training eight-plus hours a day, treading water all day,” she said. “You have to be able to count time and work with music. You have to be able to watch your patterns and stay in line. We don’t wear goggles when we compete. You’re holding your breath. You don’t touch the bottom. There are so many elements that go into it that people don’t see.”

And we’re about to see more men trying it.
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Elton John briefly testified Monday for the defense at Kevin Spacey ‘s sexual assault trial as the actor’s lawyer attempted to discredit a man who claimed the Oscar winner aggressively grabbed his crotch while driving to the singer’s summer ball.

John appeared in the London court by video link from Monaco after his husband, David Furnish, testified that Spacey did not attend the annual party at their Windsor home the year the accuser said he was attacked.

One of the alleged victims said he was driving Spacey to the White Tie & Tiara Ball in 2004 or 2005 when the actor grabbed him so forcefully he almost ran off the road.

Furnish supported Spacey’s own testimony that he only attended the event in 2001. Furnish said he had reviewed photographs taken at the party from 2001 to 2005 and Spacey only appeared in images that one year. He said all guests were photographed each year.

John said the actor attended the party in the early 2000s and arrived after flying in on a private jet.

Furnish said Spacey’s appearance was a surprise and he remembered it because it was a big deal.

“He was an Oscar-winning actor and there was a lot of buzz and excitement that he was at the ball,” Furnish said.

John said he only remembered Spacey coming once to the gala and said the actor spent the night at their house after the event. He also confirmed that Spacey bought a Mini Cooper at the auction held that night for the Elton John AIDS Foundation.

The alleged victim said he may have gotten the year wrong, but that he would not have forgotten the incident because it took his breath away and he almost crashed the car.

The timeline, however, is important because the man testified that Spacey had fondled him over several years beginning in the early 2000s. The incident was the final occasion, he said, when he threatened to hit the actor and then avoided him.

Spacey said the two were friends and they engaged in some romantic contact but the man was straight, so the actor respected his wishes not to go further. He said he was crushed when he learned the man had complained to police about him and said the man had “reimagined” what had been consensual touching.

Furnish said he was familiar with the accuser and described him as “charming,” the same term Spacey used.

Spacey, 63, has pleaded not guilty to a dozen charges that include sexual and indecent assault counts and one count of causing a person to engage in penetrative sexual activity without consent.

Over two days of testimony last week, the two-time Academy Award winner insisted that he never sexually assaulted three of the four accusers who described disturbing encounters between 2001 and 2013. The acts allegedly escalated from unwanted touching to aggressive fondling to one instance of performing oral sex act on an unconscious man.

Spacey dismissed one man’s fondling claims as “pure fantasy” and said he shared consensual encounters with two others who later regretted it. He accepted the claims of a fourth man, saying he had made a “clumsy pass” during a night of heavy drinking, but he took exception to the “crotch-grabbing” characterization.

John’s testimony comes just over a week after he wrapped up his 50-year touring career with a show in Stockholm.

It’s the second time the “Rocket Man” star and Furnish have made appearances in a London courtroom this year. The two showed up at hearings in their phone hacking lawsuit with Prince Harry against the publisher of the Daily Mail newspaper.

The couple, the Duke of Sussex and actors Elizabeth Hurley and Sadie Frost are among a group of claimants that allege Associated Newspapers Ltd. violated their privacy by intercepting voicemails and using unlawful methods to snoop on them.

A judge is deciding whether to throw out the case after the publisher said the group waited too long to bring their claims.
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There could be some surprises at the Women’s World Cup.

Sure, the U.S. is still considered dominant, and those elite European teams have developed even more with the rise of competitive clubs. Then there’s Brazil, which always seems on the verge of a breakout.

But an expanded field of 32 teams at the tournament starting Thursday in Australia and New Zealand means more players will see the international spotlight — and they no doubt want to prove they belong.

Consider Japan.

Back in 2011, Japan wasn’t expected to make the semifinals, let alone the championship match. But the Japanese, reeling from the earthquake and tsunami that devastated their country earlier that year, rallied and beat the Americans on penalties after a 2-2 draw, and in the process became the first Asian team to win soccer’s top prize.

That was the last Women’s World Cup that wasn’t won by the United States. The No. 1-ranked Americans aim to make it three in a row.

U.S. coach Vlatko Andonovski is well aware that other countries are catching up. He pointed to Zambia’s exhibition victory over Germany in the run-up to the tournament.

“The top 10 have always been there. The world that is catching up is Wales, is Vietnam, is Zambia, Portugal. These are these are the countries that are catching up. The 7-0, 8-0 games are gone. And we can see that Germany plays against Zambia, loses 3-2. Those games are going to happen,” Andonovski said. “And that’s what we are preparing ourselves for, so we don’t run into into a game like that with the mentality that it’s gonna be easy. No game is gonna be easy. It doesn’t matter who’s in front of us.”

Canada is considered among those top teams, particularly after winning the Olympic gold medal at Tokyo. But coach Bev Priestman suggested that growing parity means there are no givens.

“It could really throw up some surprises just on tournament football, you can lose group-stage games and then go on to win the thing. So yeah, it’s it’s tighter than it’s ever been,” Priestman said.

There are eight teams on debut at the tournament, including Ireland, Vietnam, Zambia, Haiti, Morocco, Panama, Portugal and Philippines. While most stand little chance against the likes of France or Sweden, there’s always that hope.

And there’s hope that the international stage will help push federations to invest in more for the teams that don’t traditionally have support.

“A lot of federations are slowly getting into the trend of being better,” South Africa forward Thembi Kgatlana said. “A lot of those girls in those countries have been professional athletes, so they have an idea of what it means to be a professional. And when they go back to the respective national teams, they are able to also help and say `Hey, we need this, we need that.’ It kind of forces the national teams to also adapt into the trends of changing and becoming better.”

More than a game

Players are well aware that the World Cup gives them the platform to speak about inequity, human rights and a whole host of social issues.

At the World Cup final four years ago in France, fans chanted “Equal Pay!” in support of the Americans’ fight for equitable compensation to their male national team counterparts. The players struck a contract that equalized pay last year.

Now other teams are joining the call for better pay and conditions. A group of international players, backed by the global players association FIFPRO, called on FIFA to increase prize money and make sure that each player at the tournament gets a share of those funds.

As a result, all 736 players participating at this World Cup will each get at least $30,000, an amount that increases the further teams advances in the tournament. FIFPRO has vowed to make the money gets to the players.

The overall fund for this World Cup is $152 million, covering prize money, team preparation and payments to players’ clubs. That’s a 300% increase over the funds for the 24-team edition in 2019, and 10 times what it was in 2015.

It’s just a number

It’s hard to say who has had more of an impact on women’s soccer in their home countries: Canada’s Christine Sinclair or Brazil’s Marta. Both players will be making their sixth appearance at the World Cup.

Sinclair, 40, holds the international scoring record, among both men and women, with 190 career goals. She’s played in 323 games for Canada.

Marta, 37, a six-time FIFA World Player of the Year, has scored 115 goals for Brazil in 174 appearances. Marta is the tournament’s all-time leading scorer with 17 goals and will vie to be the first player to score in six World Cups.

They are not the only players to make a sixth World Cup roster: Nigeria’s Onome Ebi, 40, is about a month older than Sinclair and is the oldest in the tournament.

The kids are alright

Casey Phair, an American-born forward on South Korea’s squad, turned 16 on June 29 and is the youngest person on a tournament roster. She’s one of four 16-year-old players in World Cup squads.

The United States boasts teenager Alyssa Thompson, who plays for Angel City in the National Women’s Soccer League. Just 18, she missed her high school graduation because of soccer.

A look back

The U.S. women ran through a gauntlet of tough teams — first host France in the quarterfinals and then England in the semis — before beating Netherlands 2-0 in the final to win the 2019 World Cup. Sweden defeated England in the third-place match.

Details, details

The co-hosts are in action on the tournament’s opening day, with New Zealand facing Norway in Auckland followed by Australia against Ireland in Sydney.

The United States opens against Vietnam on Saturday in Auckland, but because of the time difference, viewers in North America will watch on Friday.

The top two teams from each of the eight groups will advance to the knockout stage, which begins on Aug. 5. The championship game is set for Aug. 20.
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Hollywood actors walked off the job Friday, striking for higher pay, an improved residuals policy and protections against the use of artificial intelligence. Hollywood writers have been on strike since May. Genia Dulot has the report.
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