Matt Taibbi Does Sasha Stone A Solid

Five months after THR published Rebecca Keegan’s 8.14.24 hit piece on Sasha Stone, which I described and commented on the very same day, Racket News’ respected reporter Matt Taibbi has jumped into the fray. Which is fine — better late than never.

I’m not going to recap Taibbi’s article chapter and verse, but he covers the whole messy affair, deftly and dryly and without using the terms “woke Stasi” or “woke terror” or anything in that general realm.

He basically trashes Keegan and her THR bosses for behaving like cloddish dickhead assassins…for whacking Sasha like some dude on The Sopranos by disingenuously pretending to take her facetious “white power!” tweet seriously, and then by calling around and basically poisoning her brand among distributors and award-season marketers and ad-buyers, and essentially assuring that her $200K annual income would be whittled down to almost nothing.

Taibbi:

Stone:

Here’s some of what I posted on 8.14.24:

…and which is mercifully drawing to a close as we speak. Again, better late than never.

Everyone Admires “Emilia Perez” Star

I’ve said repeatedly that identity campaigns have become passe. Lily Gladstone‘s was the last such campaign to have an impact. Nonetheless Netflix and Emilia Perez star Karla Sofia Gascon are currently riding this horse around the track.

The basic idea conveyed by Julian Sancton’s 1.11.25 THR profile is that Gascon is a “controversial” figure, which in the realm of respect and decency is a fringe fallacy. Gascon is certainly a historical figure, yes, but broadcasting the fact that she’s had to contend with online haters doesn’t enhance her brief. Who cares what ugly people are saying on social media?

Gascon has given an entirely respectable, emotionally forceful performance as the titular character in Jacques Audiard‘s audacious musical drama, although not (be honest) an Oscar-worthy one. Respect but no cigar. End of story.

An Uh-Oh Moment for Karla Sofia Gascon,” posted on 11.2.24:

She’ll be Best Actress-nominated, of course, but in the blink of an eyelash our tectonic plates have shifted and…wait, what’s happening?…identity campaigns are no longer a compelling poker hand.

Or so says an 11.2 N.Y. Times article by Jeremy W. Peters and “Identity Trap” author Yascha Mounk in particular.

If you ask me Killers of the Flower Moon’s Lily Gladstone losing the Best Actress Oscar vote earlier this year to Poor Things’ Emma Stone was an early indication of this cultural-turning-the-road thang.

Respect But No Turn-On Factor…Made My Legs Ache…Wept When I Realized I Had Another Two Hours To Go

“‘Maestro’ vs. ‘Oppenheimer — Mano e Mano,” posted on 11.4.23:

J. Robert Oppenheimer (1902 — 1967) and Leonard Bernstein (1918 – 1990) were well-born, well-educated Jewish geniuses of the 20th Century and internationally famous giants in their respective fields (physics and music)..men who rocked their realms and left indelible cultural impressions while unmistakably shaping and changing the 20th Century in historic terms…in short household names, known to every school kid who ever cracked open a book.

Gifted, mercurial and selfish (as many if not most creative-genius types tend to be), both men led dramatic and to some extent conflicted personal lives (and certainly a professionally turbulent one in Oppie’s case). They both smoked like chimneys, causing Oppenheimer to die of throat cancer and Lenny to die of lung failure and a heart attack. And now, as fate would have it, both men are the subjects of major, highly praised motion pictures in 2023, and both directed by gifted and intense and highly exacting auteurs (Chris Nolan and Bradley Cooper) — Universal’s Oppenheimer and Netflix’s Maestro (11.22).

Both films are intense and rich and brilliant, but in my heart and mind there is no comparison in terms of the viewing pleasure and emotional upheaval factor — no contest at all.

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Fiddling With Potential Oscar Remedies

Richard Rushhfield‘s best suggestion about fixing the Oscars (he’s published three or so over the last few days) is to move up the date to “early” January, and let all the various pre-Oscar award shows scramble and adjust.

Basically get it over with sooner, Richard urged. Except we all know that early January is unworkable. Late January should be the target.

Yesterday Sasha Stone and I kicked this all around, except we didn’t stick to the subject and indulged in the usual Jeff-and-Sasha digressions.

All Hail Jeff Sneider’s Oscar Telecast Suggestion

For decades we’ve all been talking about (or denying the likelihood of) The Big One — the massive earthquake that might, God forbid, destroy much of Los Angeles a la Mark Robson and deliver a bruising blow to the entertainment industry.

It hasn’t happened yet, of course, but the various firestorm ravagings of the last six days (especially the Pacific Palisades Hiroshima blaze) have come damn close in terms of the numbing devastation…physical, historical, emotional, spiritual.

Last weekend it occured to damn near everyone that in the midst of all this shock and trauma, focusing on award season is suddenly, obviously a bad look.

Which is why Jeff Sneider’s suggestion to make the Oscars into a charity-and-compassion event sounds inspired.

Sneider: “It the Academy really wants to put its money where its mouth is, it should turn the Oscars into a telethon hosted by Conan O’Brien, backed by an army of A-listers. And I’m talking everyone — all hands on deck.

“If you’ve been reading Richard Rushfield’s thoughtful Ankler series on ‘How to Fix the Oscars’, one thing he’s absolutely right about is correcting the piss-poor attendance from A-listers. It shouldn’t matter if they’re nominated or not. Certain celebs need to make more of an effort to show their support, if only to signal that they care about the larger community.

THR‘s Steven Zeitchik has echoed Sneider in a post that appeared at 4:43 pm eastern:

“I think the show should be a giant all-in arts-based awareness-raiser of the kind done best in the 1980s,” he writes, “while also attempting to restore the spectacle of every Oscar decade but the last. A telecast that will at once provide the must-see qualities we all lament awards shows now lack while giving fundraisers the kind of shine they haven’t had in decades. Think Farm Aid meets the Titanic year.

“Here’s one way that could look:

“Every nominee comes with a plus-one — but it has to be someone who was affected by the wildfires. Could be a third-generation Altadena homeowner, could be a film person from the Palisades. As long as they lost something. Because it would be pointless to have this show and ignore loss.”

Back to Sneider: “This hypothetical Oscar telethon should, obviously, benefit every family and individual who was directly impacted by these wildfires, starting with those who experienced some loss of life, which should always be valued over property. As of now, the death toll stands at 25.

“Buildings, businesses and even communities can be rebuilt, but those 25 innocent people are never coming back. And that’s just awful to think about. The families of those victims need our help, as do so many others, and a global audience could be incredibly helpful in that regard.

“Meanwhile, if the Academy truly wants a viral moment, it will have first responders from the Los Angeles Fire Department on stage giving out the award for Best Picture.”

HE comment: I’m not so sure about this. I can see and heartily support various first-responders coming onstage and a spokesperson delivering the right kind of speech while urging charitable support, but announcing the Best Picture winner? Something about that feels a tiny bit off.

The 97th Academy Awards will be held on Sunday, March 2nd — seven weeks hence minus a day.

“Babygirl” Has Topped “Anora”?

Note: As the following article partly focuses on the financial earnings of Anora, any and all comments by HE commenter “This Is Heavy, Doc“, a relentless Anora buzzkiller and piss-sprayer, will be instantly deleted.

A friend reminded me yesterday that despite its overwhelming popularity with both critics and ticket-buyers, Sean Baker‘s Anora (Neon), which opened semi-wide in early November after a couple of weeks in select urban venues, managed to tally only $14,554,317 domestically and $15,699,037 internationally.

A $30 million haul is far from disastrous for a modestly-budgeted indie, of course, and Anora will continue to thrive on streaming platforms, especially if it snags several Oscar nominations (i.e., all but guaranteed).

But it struck me as odd or at least curious that Halina Reijn‘s Babygirl (A24), which opened on 12.25 but has sparked much less enthusiasm among critics as well as Joe and Jane Popcorn, has managed to bring in $21,738,200 in two and a half weeks of domestic theatrical play.

Don’t get me wrong — it’s great that Babygirl (of which I’m an ardent fan) has connected (it needs to make $50 million to break even) but given the fact that ticket-buyers are far less taken with it than Anora, what accounts for it having made more money?

That’s a simplistic, dumb-guy question, I realize. My first thought is that ticket-buyers were too lazy and stupid to have vigorously embraced Anora in November and early December because of Neon’s less-than-overwhelming promotion plus the no-star cast. Plus Babygirl‘s Christmas opening along with the name-brand attraction of Nicole Kidman obviously counted for something.

It’s just odd that despite a mixed or disappointed reception Babygirl has earned $21M in less than three weeks while Anora managed to earn only two-thirds of that amount over a five or six-week period. Younger urban audiences have flocked to it, but your suburban and rural slowboats…not so much.

Myth of Evil Lions

Directed by Stephen Hopkins and written by William Goldman, The Ghost and the Darkness (’96) was one of those mediocre, big-studio, high-concept films that had a B-movie vibe. You could smell it before it opened, and once you saw it there was virtually no residue.

Goldman sold the idea as “Lawrence of Arabia meets Jaws“, but despite being fact-based (John Henry Patterson‘s “The Man-Eaters of Tsavo“, published in 1907) it passed along a cruel mythology — a notion that bad-ass lions were somehow analogous to the great white shark in Jaws, which is to say bringers of primal evil.

Val Kilmer played the heroic Patterson; producer Michael Douglas played an invented lion-killer character, Charles Remington — a grizzled, brawny, larger-than-life figure who seemed modelled on Robert Shaw‘s Quint. Like Quint, Remington is eaten at the end, but Hopkins missed an opportunity by not including a shot of Douglas’s bearded head — the camera doesn’t even glance at this final carnage.

Shot within the Songimvelo game reserve and with great difficulty, Hopkins called the Paramount release “a mess…I haven’t been able to watch it.”

It’s significant that a 1.12.25 Forbes article about the real-like Tsavo lions that inspired Patterson’s book doesn’t even mention the Paramount film.

Lions are today an endangered species, and one of the reason for their population decrease is sport-hunting. I’m convinced that The Ghost and the Darkness inspired Donald Trump Jr. and Eric Trump (respectively 19 and 12 years old when The Ghost and the Darkness opened) planted the ideas that bagging a lion enhanced the masculinity of the hunter.